Monster
D r a m a I
Words by Jack Jones
n Paddy Considine’s powerful grit-drama Tyrannosaur, a journey of redemption and salvation for two troubled souls in the midst of a violent domestic hell, there are two of some of the finest performances you are likely to see on screen, as well as a remarkably confident and accomplished presence of direction for a debut feature. “Powerful” is often an adjective used to describe films of this socially real and visceral nature, but such is the surge of ‘power’ and hightened intensity in Tyrannosaur that there is noother way to paint how affecting and overwhelming an experience this film is. As well as conceiving the script for Tyrannosaur, actor Paddy Considine has taken a step behind the camera and is as convincing directing performances as he is providing them himself. Because of Tyrannosaur’s subject matter, comparisons will be made to that of filmmaker Shane Meadows and his penchant for hard-hitting social-realism. And after working with Meadows on A Room for Romeo Brass, Dead Man’s Shoes and Le Donk & Scor-zay-zee, Considine has clearly inherited a thing or two in terms of cinematic vision. Like Meadows, there is never the sense of violence being used in a profligate manner. Tough though certain scenes may be, they are never without purpose and serve only to contribute to the overall atmosphere of menace that the film aims for.
this is a monste
others and it is ju Originating from Considine’s award-winning short film Dog Altogether, Olivia Colman and Peter Mullan reprise their roles as the same conflicted characters. Joseph (Mullan), consumed by an uncontrollable rage that is driving him into an abyss of self-destruction, encounters Hannah (Colman), a charity shop worker who has her own dark secrets behind her kind exterior, and becomes close to her in search of salvation. Struggling to cope with the loss of his wife, Joseph drinks and abuses local residents. Sometimes verbally and sometimes physially. Violence it seems is his choice of punishment for himself. Though why exactly Joseph is the way he is, is not entirely all explained. Subtle hints at his past scatter clues as to his background, perhaps a military one as he often salutes passers by and collects a doll money of sorts as a way of financing his existence, but as Joseph puts it; “I’m just not a very nice person”. And things are not all rosy when Joseph stumbles across Hannah, he verbally abuses her because of her faith
and makes crude assumptions as to her lifestyle. Considine shows us, however, Joseph struggling with his inner demons and how he realises that his own behaviour is abhorrent. In fact, by the time we are introduced to Joseph her has already decided that he needs to change his ways and his encounter with Hannah will only serve to open up and help others, as well as himself. In tandem with Mullan, Olivia Colman plays something of a polar opposite to Joseph. Hannah is kind at heart, charitable and open about her religion in a way that Joseph fails to be open about anything at all. To Hannah, Joseph is a soul worth saving and, despite his violent tendencies, feels safe in his presence. As it happens, Hannah is herself in need of saving. Her obsessive and husband, James (Eddie Marsan), has imprisoned her in a secret hell of domestic abuse. The hallmarks of which are all too obvious for Joseph, who sees right through what is happening to Hannah.
er film like few
ust as frightening Some may say that Tyrannosaur depicts the horror of domestic violence through the lense of well used clichés. But a lot of Tyrannosaur feels intimate and real, after all how people deal with their personal problems, whether it be drink or drugs, are the foundations of where clichés originate. Tyrannosaur’s achievement is that everything is heartfelt and genuine. Without these qualities there would be nothing to separate this film from a glut of middling Brit social-verité cinema that has emerged in the post This Is England/Kidulthood mode of filmmaking. If anything, Tyrannosaur is much more of a mystical tale or parrable than socially real cinema. Little is given about the film’s location and details are left blank as to time and era. The atmosphere feels current, but nothing pins Tyrannosaur to a moment in history or place. In a sense there is a feeling that Considine re-evaluating a classic tale in a modern form. There are all the tropes of redemption story-
telling, but Considine has found an inventive and touching way in which to frame it all. At times it feels as if there is little, or no, message to be found in Tyrannosaur, only the stark realities of people’s lives in turmoil. Though there is hope in Tyrannosaur, the pain that its characters feel are also felt by the viewer. Wounds are often left exposed and in full view and the experience is all the more heartfelt because of what is sometimes left unsaid and unexplained. As a resut, Tyrannosaur is a riveting watch. On this showing Considine shows all the skills of an much more experienced filmmaker. His steady hand with the camera lingers on moments that allow you to interpret scenes in various ways, while actors clearly gravitate towards him as all of the performances here are outstanding. Though the title at first glance may be deceiving, this is a monster film like few others and it’s just as frightening.
Tyrannosaur is released on DVD/Blu-ray on 6 February