Tag Archives: McCarthy

Outcast


When you’re an established director in British television it must be important to time your leap into films. It could be a matter of waiting for the right opportunity to come along. You might have a brainchild of your own to nurture into life. However you go about it, mistakes could be fatal for your aspirations. Do you stick to what you know or strike out boldly to get yourself noticed?

Colm McCarthy adopted the practical approach of a bit of both. Born in Edinburgh, his debut feature is set in the city and packed full of bleak, grey vistas. They’re similar to the gritty tone of one of McCarthy’s previous credits, Murphy’s Law. And McCarthy relies on the star of that show, James Nesbitt, to head up a strong line-up of British acting talent in Outcast. The director also co-wrote the film, which is a shocking and dramatic departure from glossy programmes like Hustle, The Tudors and Spooks which also adorn his CV.

Outcast is the tale of Mary (Kate Dickie) and Fergal (Niall Bruton), a mother and son pair that find themselves settling into a dingy, dirty flat on a rough estate on Edinburgh’s outskirts. As the film progresses it’s clear that Mary is fiercely protective of her son and that she and him are running and hiding from something dark in their past. Connections which link them to Cathal (Nesbitt) gradually surface, who arrives in the city on a primal hunt to kill. It doesn’t take long before members of the recognisable British cast start dropping like flies, but the culprit remains ambiguous right up until the climax of the story.

From the start Outcast tries too hard to establish its weird, horrific credentials. Rather than subtly revealing the occult aspects to the story, the clunky script hammers them home. We watch as Nesbitt’s character endures the application of painful ritualistic carvings to his back and immediately afterwards, Dickie’s mysterious mother drawing blood from her own naked chest and daubing ancient symbols over the walls. Later when Fergal’s teen love interest Petronella (Hanna Stanbridge) barges into the flat and discovers these odd images, Fergal simply explains his mother has different beliefs, rather than panicking or struggling more realistically (and interestingly) to keep the secret burden from his friends. Equally bizarrely Petronella isn’t fazed.

With so much blood and gore on show, Outcast needs strong, engaging and believable characters to be watchable. Unfortunately a weak script again lets down the cast. Most of the characters are nothing more than stereotyped caricatures. The highly sexed yobs on the estate are entirely predictable, as is Doctor Who’s Karen Gillan’s small role as an estate slut. Petronella’s simple brother is also a cardboard cut-out of a character. Her relationship and eventual love for Fergal, a key pillar of the plot, is not at all convincing. Another faulty key ingredient is Nesbitt’s miscasting as the menacing pursuer. Most of the time he appears baffled and far from frightening. Christine Tremarco gives a good performance as a rather pointless housing inspector and Dickie’s genuinely mysterious mother is just about the only character with the capacity to deliver proper scares. She does so a number of times, springing out from nowhere on her wandering son, issuing warnings and cursing Tremarco’s character so that she loses her mind.

For a horror film Outcast is far too predictable and its execution is heavy handed. All the pieces of a really gripping, frightening story are there but they simply don’t fit together in the right order. The crucially important occult influences are both overused and not ever satisfactorily explained. Grand themes like repressed sexual desire, forbidden fruit and ancestor’s sins returning to haunt the next generation, never quite come off. Brutal sacrifices and attacks, potentially original elements of the story, are uncomfortable to watch but never truly shocking. When more traditional scares arrive in monster form, the special effects look amateurish and almost laughably like a parody of a classic.

Most of the praise heaped upon McCarthy’s debut feature seems severely misguided in my view, although one review is right to hail the project an “ambitious” one. Sadly for the British film industry, Outcast lacked both the polished script and the resources to pull off what it was attempting. Throughout the whole thing you’re never quite sure what’s going on, but you’re never shocked or scared either. Outcast’s two dimensional plotting and characterisation means that a handful of sexy scenes, the charms of rising star Hanna Stanbridge and continuous gore are all that’s left to endear it to the (I suspect male) teenagers keen to get hold of it on its release, despite the 18 certificate.

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The Song of Lunch/ The Fry Chronicles/The Road/South of the Border, West of the Sun


Trawling through various cultural mediums is for me not just a search for entertainment and means of passing the time but a hunt for reassuring truths, universal truths of life that we all share and when found elsewhere as better formed, well expressed versions of your own troubles offer satisfying comfort. I am no poetry connoisseur but when I do read poems the ones I enjoy speak to me for saying something true, often in the simplest of ways.

Take The Song of Lunch, a BBC adaptation of Christopher Reid’s narrative poem, recommended to me by a friend. Through the artificial constructs of art it says something true and genuine about life, rising above the reality of existence. Of course lunches with old friends are not the profound verbal duels shown here, they are not always feasts of slow-mo exquisite detail. But at times the language, the imagery of the poem is spot on and the sentiments exact. That feeling of so much change and yet so little. Those regrets impossible to accurately voice. The simultaneous significance and insignificance of everyday gripes like the noise of the next table, the disappointing wine. On the whole the dramatisation of the poem works well too and certainly the first half an hour or so is immersive and engaging. Alan Rickman’s lazy, lingering, drooling tones suit such a piece perfectly. You rejoice with his ageing character as his planned escape from the office comes off, via the “yawn” of the lift and enjoy his observations of the London crowds. The direction matches the poem well, vividly evoking stand out lines and images. The arrival of the old lover and the disbelief and resurgence of old feeling is also dealt with well, but as Rickman’s character loses himself amongst his thoughts the adaptation struggles to convey the essence of the words, resorting to overlong focuses on Rickman’s vacant, ogling face. During these moments the drama loses its urgency and coherence and even Rickman’s loving recital of the language, full of irresistible rhythm and emphasis, cannot avert awkwardness for the audience. Despite this and the sense that the adaptation worked best at the beginning, only to trail away, The Song of Lunch was a beautiful, meaningful and enjoyable watch.

Emma Thompson, the old flame and muse of Rickman’s character in The Song of Lunch, also features prominently at times in Stephen Fry’s latest and second autobiographical work, The Fry Chronicles. This book focuses on Fry’s Cambridge years and the formative years of his career, mainly in comedy. However the book joyfully flits about all over the place, touching upon all manner of topics. Forgive me for what is a very Stephen Fry-espque tangent, but the cover of The Fry Chronicles, by which I mean the covering of the book itself, is extremely attractive and I cannot understand the unrealistic snobbery of people who continue to adhere strictly to the old mantra “never judge a book by its cover”.  It is surely impossible today not in some, even wholly unconscious way, to judge or dismiss books based upon their colourful jackets. A writer can slave away at the world’s next great novel only for it fall flat on its face, or be devoured by entirely the wrong sort of audience, because of a wrong decision in the marketing department. Fry’s book is carefully kept simple, with a mostly pure white background and a tasteful picture of himself accompanied by the title in bold blue. The quotes selected for the cover go some way to conveying the essence of what is in inside. I have also bought and shall soon read C by Tom McCarthy, the expected winner of this year’s Booker prize. His publishers too have done a fine job of creating an enticing, attractive cover, reflective of the book’s content (a whirl of lines reflect the theme of communication) and informative (positive criticism expectedly prevails), without excluding anyone by opting for a garish pink. A nice touch to The Fry Chronicles’ cover is that the inside cover has a coloured stripe pattern that matches that of the socks Stephen sports on the cover and generally such colours would seem to represent his personality too.

Cover rant over, is The Fry Chronicles actually any good, jostling for position as it does with whopping political memoirs from not just Blair himself but his advisers and fellow New Labour architects and other assorted celebrities with bright, bubbling, amusing lives to share? The answer is yes and I have not even quite finished the thematic, slightly chronological trip through Fry’s memories as yet. Of course like any autobiographical work has its faults but Fry does his best to acknowledge them. It is also surely more entertainingly, amusingly and playfully written than a host of other similar works set to come out in the endless run-up to Christmas gift season. Fry’s book will ride high on the bestselling lists right up to the turkey dinner and beyond, and deserves to. Not only is it stuffed full of interesting content and fascinating anecdotal tales, but offers an enormous amount of wit, humour and personal, emotional insight; of the truth I search for on my cultural wanderings.

If anything the book starts slowly with a brief focus on Fry’s adolescent addiction to sugar, which if I am honest I found irritating and hard to relate to, but never boring as the sheer energy and wit of Fry’s prose carried me through this section. Once he reached the start of Cambridge however I could identify far more and I whizzed through this portion of the book. Every now and then Fry will interrupt the recounting of actual events to bemoan his lack of confidence and express his own doubts. He fears that he has become a jack of all trades, master of none and that he has squandered natural talents. It is comforting to hear a man of such talent and intelligence admit to such fears about topics as wide ranging as ambition, fame and relationships. He even hopes that his trials and tribulations are merely facts of the human condition, shared by all, and in so doing says something true. At times his refusal to analyse the failings of others as he examines himself is frustrating, with most name-drops also accompanied by gushing praise, but this is all tolerable as he repeatedly acknowledges he is too kind to be a critic, can be seen as arrogant and would not want to judge anyone but himself, in what is after all, an excellent autobiography first and foremost, as well as a snapshot of the entertainment world of the eighties (which Fry makes accessible to those not familiar with the era, as well as the ardent fan).

If Fry’s book is for the most part a light hearted, jovial glance at what it means to be human, set amongst manicured university grounds and the artificial, rich entertainment world, then director John Hillcoat’s 2009 cinematic imagining of Cormac McCarthy’s novel The Road is a bleak and brutal, stripped back stare at the core of existence. Unlike Wall Street: Money Never Sleeps which I reviewed last week, concluding that it had little purpose or idea of what it was, this movie has a strong narrative and never fails to engage, doing so on a number of levels. Early on we are struck simply by the aesthetics of a barren, apocalyptic landscape, the moving soundtrack by Nick Cave and Warren Ellis and the emptiness of father and son walking, emaciated and dirty. Then there are moments of genuine tension, excitement and action when the gangs, cannibal or not, emerge and threaten to discover our protagonists and then no doubt exploit or kill them. The scene where a gang member discovers the crouched Viggo Mortensen whilst taking a piss, clutching a gun with just two bullets left, bullets meant for his son and himself should they be necessary, is incredibly tense. It emerges that to be a father in such an environment means being just steps from being a killer. The film grapples with some big ethical questions around suicide, parenting and violence by placing them in a fictional, extreme context. Even without thinking about these deeply it’s impossible not to be moved by the bonds between Viggo Mortensen’s father and Kodi Smit-McPhee’s son, who both give excellent performances, or not to be gripped by the hard hitting action or grim scenery.

For me the most moving parts of the film were the flashbacks that revealed the boy’s mother choosing to leave the father and son, effectively choosing to die rather than go on living in a dangerous, frightening, fallen world. Viggo Mortensen’s character must deal with the fact she chose to die rather than be with them throughout the film as he clings desperately to life for his son. Again here I found that elusive truth that could resonate in my own life; people can do irreparable damage to each other, unimaginable hurt, just by living or in this case by choosing not to, but for her things were clearly so bad for it to be the only choice, the only path forward. This passive process, this capacity to senselessly destroy the meaning of the lives of others, is also recognised by Haruki Murakami in his novella South of the Border, West of the Sun.

I read this in its entirety during a series of train journeys this weekend and found it compulsive reading, for want of a better less clichéd phrase. This is the second Murakami I have read following Norwegian Wood and he seems to have an ability to articulate romantic feeling that I find fascinating, given the differences that perhaps ought to exist between Japanese and Western culture. He seems to capture some sort of universal feeling, especially when writing about the ambitions and frustrations of adolescence. His style is simple and elegant and full of spot on imagery, whilst always retaining a sense of urgency and passion. I could empathise with the narrator of South of the Border, West of the Sun despite our vast differences; he a wealthy, Japanese bar owner, facing a mid-life crisis and the return of a childhood sweetheart, me an ordinary student in Britain. I could share the agony of his conflicting desires and that sense that incompleteness will always prevail. In fact the novella seemed to conclude that such incompleteness was the only certain destiny of the human condition and that life will always be a meandering search for truth in vain.