Harry Brown, directed by Daniel Barber
©Lionsgate
The director Daniel Barber and his cast and crew do well with this material. Harry Brown begins in a very artsy way – not that there's anything wrong with that - but becomes more straightforward as the action gets moving, while retaining some interest in visuals throughout. Performances are decent all round, Emily Mortimer and David Bradley I thought doing particularly well, she as the idealistic, perhaps naive Detective Inspector Frampton and he as Harry Brown's grumpy old mate Len - each making something of a part that is not, in truth, well written. Liam Cunningham is also strong, though in a stereotyped role, and Michael Caine is Michael Caine as an old codger. Dialogue is not Harry Brown's strong point, and the screenplay generally is predictable. But there are impressive things other than the acting.
First, this very familiar Deathwish-style tale with as I've said very predictable characters and plot does have a fair amount of fresh energy about it because of a credible, if very bleak, view of Britain today that will ring true with many people. Second, the way tension and anxiety (a word that fits the film well) are managed is excellent, and makes the comic-book proceedings very effective. The effect certainly isn't achieved by pure violence, either. I'm against violence as entertainment, but gritty and brutal though its vision is, I wouldn't criticise Harry Brown on that score.
The music is interesting, and the orchestral ending I think by Ruth Barrett and Martin Phipps, is outstanding - it helps prolong and deepen the impact and atmosphere of the film, and lends it a more serious mood than the script itself perhaps deserves.
I worry, though, about the social and political impact of this film. It gives such a very bleak, despairing, "broken Britain on smack" view of London today. And although I'm sure not intending to do so - one of the interesting things about Harry Brown is the way it seems careful to avoid the accusation that it racialises urban crime and angst (though not all agree it succeeds) - nonetheless it does I think risk confirming fears about society that may help serve political agendas including the mainstream, but also those of the far right. If I'd been involved in making or marketing Harry Brown, that would trouble me. Some gay people, too, may feel unease about the nasty, squalid nature of the film's one homosexual encounter. There is, finally, an intriguing use of the Northern Irish troubles as a sort of recurring metaphor. I wonder how it'll be received on the other side of the water.
There's real potential for this film to become controversial and politicised if a certain sort of politician sees it, or a certain sort of journalist writes a moral panic story about it. That inflammatory potential results at least in part from the film's sheer effectiveness. Worth seeing, then? Yes. Worth taking a reasonably long popcorn spoon, too.
You can see the trailer here.
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