Nil By Mouth (1997)

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Nil By Mouth is a non-linear insight into a miserable cycle of violence, abuse and addiction.

Don’t be mistaken, this is not another piece of British scuzzploitation, far from it. Although it appears comparable on face value, it certainly isn’t within the lowly sphere of Rise of the Footsoldier or The Football Factory.

The film concentrates on Ray (Ray Winstone), his wife Valerie (Kathy Burke), mother-in-law Janet (Laila Morse), brother-in-law Billy (Charlie Creed-Miles) and best friend Mark (Jamie Foreman). Winstone and Burke are both tremendous, they share scenes – one in particular – of harrowing intensity. Ray is a man consumed with rage and jealousy, emotions that have most likely followed him throughout his sorry existence. To summarise the film’s premise/narrative, it is essentially a depiction of the causes and consequences of his latest brutal outburst. Winstone’s  performance is a piece of realist brilliance; some may say he’s one-dimensional, but he really is a rather good actor. Nil By Mouth’s portrait of a deeply violent, self-destructive man is one of the most frightening and brutal I’ve ever seen, more so than even Robert De Niro in Raging Bull (1980).

In a film of hapless victims, Ray’s wife Valerie suffers to the greatest extent. Burke portrays a woman completely servile to her husband, she unfortunately enables his tyranny by interminably tolerating his wayward, selfish behaviour.  It is Kathy Burke’s moments that are the most moving, chiefly a scene where she desperately tells a white-lie – it’s genuinely upsetting.

Another interesting character is Mark. Foreman’s character is a vapid parasite, a little abettor of a man who’s codependent on Ray and his tempestuous emotions.

The dialogue of Gary Oldman’s script has ample profanity, and I really mean ample, with a combination of around 80 c*nts and 428 f*cks, it’s the most profane film ever made. Amongst all the cockney bellowing however are monologues of real poignancy, most notably one delivered by Winstone in which he speaks of his awful, putrid father, reminding the viewer that the misery they’ve witnessed is a toxic generational cycle that’s largely inescapable.

One criticism of Oldman’s script/narrative is that it is a trifle convoluted at 128 minutes, there are a few scenes that contribute little or nothing to the film, including an annoying Apocalypse Now re-enactment and an annoying shouty scene in a dry cleaners (both scenes feature this repellent little tattooed man with a grating hoarse voice.)

The film is rightfully spared of romanticism, it’s completely devoid of poetic licence and elaborate narrative arcs, what you see is pure, candid realism. Ironically, the film isn’t pure at all, it’s gritty and unrestrained in its depiction of violence and vulgarity; one moment being particularly horrifying. To criticise the film for being ‘unfocused’ is missing the point. To me, it was an almost non-linear insight into the human condition, a film woven from the personal experiences of Gary Oldman and delivered with the utmost conviction from Burke, Winstone and indeed the whole cast.

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Monster (2003)

charlize theron aileen wuornos

A torturous, depressing biography with an uncannily accurate lead performance.

What a tortured life this woman led; a life of inferiority, confusion, violence, victimisation, prostitution, anger and ultimately, murder. Charlize Theron’s utter transformation is what drives this film, her performance and physical emulation perfectly conveying the desperate pain and impetuous anger of her character. I think the Oscars are not much more than a smug festival of self-celebration, but this performance deserved commendation.

‘Monster’ is the story of Aileen Wuornos, a prostitute from Florida who murdered seven men between 1989 and 1990. One might think that the film’s title would suggest otherwise, but  the film gives a very human representation of Wuornos. She was indeed a ‘monster’ in her final years, but the film’s emphasis on the brutal, relentless path that led to her first killing shows the architecture of such a creation. But not for a second, I hasten to add, does the film condone her violence, she isn’t glorified and she isn’t vilified either, the film is so very downbeat and visceral that it would be impossible for anyone to be allured by it. ‘Monster’ is by no means the tale of one woman standing up against chauvinist pigs; her tale of nature, nurture and the consequences of violence is impartially told.

The film reflects on Wurnos’ childhood, a time of sexual favours, inadequacy, rape and beatings. A narrative gap, which misses a dubious failed marriage and numerous arrests, presents the viewer with a sorry picture, a woman who washes in petrol station toilets, a woman who is desperately trying to survive. She then meets a companion, the vulnerable Selby Moore. It’s at this point that the film strays from the facts; ‘Selby Moore’ is a fictional character, very loosely based, especially in appearance, to Tyria Moore, Wuornos’ lover until her execution.

The pair, who have moved in together, live off Wuornos’ prostitution wage until their relationship is complicated by Moore’s discovery of Wuornos’ taste for violence. The film depicts the first murder as Wuornos described it -self defence. Unlike her later stories, I think this claim has credibility; it’s quite possible that Mallory thought Wuornos was expendable social underclass, an easy thrill without consequence. I respect that the scene was orchestrated in this manner.

Monster is a stark and balanced insight into the frankly miserable life of Aileen Wuornos. You may not like her and all the violence will most likely strain your empathy, but I think you’ll leave the film having a greater understanding of the woman.

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