|
BaftaBaby 
"Always entranced by cinema."
|
 Posted - 01/01/2013 : 23:03:58
|
Actor Dexter Fletcher's directorial debut is poignant and powerful. His script, co-written with Danny King, speaks with authority about London low-life and whether it's escape proof.
He also captures excellent ensemble characterizations from both leads and cameos. Notable in the latter category is the convincingly dangerous Andy Serkis as a local head honcho. Smiling viper in a suit.
Fletcher's film doesn't break any barriers in this tale of redemption, either of technique or narrative. But he takes command and we get a thoroughly professional piece of work.
A nifty phrase, as it turns out - for in the UK to call someone a piece of work indicates major disapproval of their behavior.
Taking the spotlight on the nifty stage is Wild Bill himself, brilliantly brought to life in an understated performance by familiar UK telly face Charlie Creed-Miles.
We meet him on release from the nick for something serious enough to have burdened him with nearly a decade of inside time. And, though he's back in the territory that kicked him in the balls - we manage to believe him when he says he wants to change.
His primary motivation is the salve and salvation of the remnants of family life. But instead of happy families, he meets his two boys, the younger of whom doesn't even remember him, and Dean the elder, 16, spitting with hatred for being abandoned.
Add the excellent performances of both kids to this year's roster of amazing child actors. Dean is given total credibility by Will Poulter, who impressed bigtime with his debut in Son of Rambow. Brother Jimmy's played with all the cheeky charm he brought to Attack The Block.
Yep, these are street-savvy kids, yessir!
Dean's been in loco parentis since their mum fucked off to a different life. Both boys have evolved ways of survival, ways not always legit and untouched by the care and affection we all require. All. No matter who. No one is born deserving a life fraying precariously at the seams, unravelling itself to a nothingness.
How Bill manages to pull the threads together, how he must overcome the demented normality of threats both unexpected and predictable are all the focus of the film.
I suppose Wild Bill will be relegated to the line of contemporary hard-boy films - Shane Meadows being a prime exemplar. But Fletcher's debut proves he's got his own tales to tell, and he knows how to tell them, too.
|
|
Wild Bill
