Arts: Film

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The Relevance of Dirty Pretty Things in Today’s Climate

TILLEY BENNETT | FILM EDITOR

Stephen Frears’ thriller Dirty Pretty Things, shared with audiences in 2002, follows the life of Okwe (Chiwetel Ejiofor) a hotel porter who encounters a human heart in the toilet of a hotel. This sets up the film to have a fast-paced plot which parallels the life of the immigrants depicted. The film is a chilling depiction of humanity and the empathy we share with others. It particularly seeks to dismantle the stereotypes surrounding the perception of immigrants, particularly illegal immigrants, in the United Kingdom. Considering postBrexit Britain, this film maintains extraordinary pertinence today. For the first time since Mask of the Phantasm, we have a Batman who needs to learn where his morals lie. A Batman that seems to take pleasure in the violence, rather than understanding the importance of protecting. This is reflected in the colour choices used; for most of the film, there is a prominent use of orange and yellow, representing the misunderstanding and lack of clarity for what the Bat ultimately represents, resulting in the explosions that very nearly doomed Gotham. The only time red is used is when he cuts that cable at the end, killing his past self to become something better. Pattinson’s portrayal is my favourite live-action Batman and there is no competition. Being portrayed in this film as a cowboy, evident just from the heaviness of his footsteps, the future of this character remains to be seen.

Source: IMDb

This film is far more of a social observation than a ‘whodunnit’ style murder mystery, despite the human heart adding anticipation to the plot. The film follows eight days in Okwe’s life and yet there is no respite from the oppressive nature of his reality. What Frears does well is observe a London removed from the romanticised vision of the capital that is often shown in cinema. There is only one recognisable street in the entirety of the film and yet Okwe and Senay (Audrey Tatou) seamlessly sink into this version of the city. Their ability to blend into the background of bustling London provides great insight into the uncertainty of their lifestyles. They have had to create a life that is so secretive and underground that London is merely a geographical location rather than the prosperous city filled with hope that audiences often witness. Amidst the heart-aching stories of desperation and disillusionment, there is the tender and loving relationship between Senay and Okwe. Tatou brings real warmth to the character of Senay, a woman who rather ironically wears her heart on her sleeve. She is proud, determined, and aspirational.

She wants more for herself but above all else, she wants security, something many westerners take for granted. Okwe is aware that Senay harbours romantic feelings towards him, yet he is far more in-tune with the fragility of their situation. Despite Elijofor and Frears injecting great empathy and morals into this character, he is still a man running from his past and from the greater threat, immigration services. Because of this, he must be selfish when it comes to his relationship with Senay. He acts as the conscience of the story, as the voice of those who are unheard, pleading with the public to remember their humanity. Ultimately, Frears is the master of shedding light on the aspects of humanity that the public would rather remain ignorant to. Despite the heavy subject matter, there are blissful moments of humour and the mundane which enable the film to dive into the more pressing issues. The film is worth watching for the plottwist alone and, mostly, for an insight into London’s seedy underbelly.

The Outfit: A Fit for The Ages, But Perhaps a Stitch Too Far?

JETHRO ROBATHAN | CONTENT WRITER

Graham Moore’s directorial debut The Outfit (2022) stars Mark Rylance and Co. in a cutthroat feature filled with the requisite twists and turns of any self-respecting crimedrama. The Outfit is set in 1950s Chicago and follows the action that unfolds within Leonard Burling’s tailors, in a neighbourhood run under the watchful eye of Irish mob don Roy Boyle. Roy was Leonard’s first patron after migrating from ‘the Row’ (Saville Row, London) and this cements Burling’s as an informal mob rendezvous. The feature begins with a charismatic voiceover from Mark Rylance, offering a sermon on the craft of tailoring – or, as his persona of Leonard Burling insists, ‘cutting’. This seems like an innocent enough introduction, yet in these opening minutes Moore is already stitching together threads of foreshadowing to be later unravelled in the closing minutes of the film. The introduction of receptionist Mable Sean (Zoey Deutch), followed by mobster duo Francis (Johnny Flynn) and Richie (Dylan O’Brien) complete the core ensemble cast.

Francis is Roy Boyle’s favourite enforcer, despite not being ‘family’. This is a sore point for Richie who, being Roy’s son - and heir to the Boyle dynasty - rather predictably steers his relationship with Francis to a bloody conclusion. Roy is vying for membership into Al Capone-led criminal syndicate, ‘The Outfit’, but first he needs to flush out the rat who is leaking confidential information to gang nemesis, The LaFontaines. Leonard is uncomfortable with his criminal clientele (rather understandable) and disapproves of Mable’s choice to date Richie (Mable’s father is stereotypically absent so Leonard fills in). Despite his reluctance, Leonard remains complicit. Needs must in the world of business. Don’t let the clichéd setting fool you though, the guns and violence are more psychological props than tools of gratuitous actionthrillers. The sensation of being blindsided does admittedly wear thin towards the end, with Moore over-embroidering Leonard’s backstory unnecessarily. In a similar vein, the montage of shears cutting through fabric, accompanied by comically overwrought foley, is effective the first time round but soon turns gimmicky. On-screen chemistry between Rylance and Deutch contributes a large part towards the fluidity of The Outfit, with complimentary performances from supporting cast members Johnny Flynn and Simon Russell Beale (playing Francis and Roy respectively). The picture is shot entirely from within the interiors of Burling’s, with the small exception of external opening and closing shots that tidily bookend the film. Moore’s decision to stick to a single location is a gamble for a crime-drama, but one that pays off gloriously. Rylance’s theatrical expertise lends itself to the stage-like quirks of The Outfit and the role of Leonard ‘English’ Burling does seem tailored to both his talents and disposition. Pun intended. There is the unshakeable sense that The Outfit is clamouring for our recognition of its narrative intricacy, but Moore should be reminded that less is more. Explicitly unveiling Leonard’s tragic backstory serves little more than as a tropey tearjerker, unravelling the claustrophobic tension so sinuously sewn in the preceding ninety-odd minutes. Francis’ small zombie episode felt tacked on, artificially elongating the denouement in a failed attempt to ramp up the excitement. Fortunately, this titbit nominally disrupts the story’s pacing. Moore reminds us of the common denominator to any good film – the script. Much like the timeless appeal of a suit, The Outfit’s core strength lies in the tried-andtested method of letting a good story tell itself naturally. This is helped along by Alexandre Desplat’s brilliantly minimalist score, allowing the visuals to breathe. Taut, jazzy orchestrations available when most needed but otherwise a skilful understanding to the noise of silence.