Orphans (18)

Today we have gritty British indie flick Orphans (1998), out on DVD and Blu-ray Monday 31st October.

Orphans (18) (This review on FilmJuice.com)

Actor Peter Mullan’s 1998 feature debut as writer and director is a gritty, no holds barred Scottish drama mixing heartfelt agony and unexpected hilarity, resulting in a rich and powerful ensemble piece. This is a must see for any fans of British indie cinema.

Recently bereaved of their mother, four siblings (three brothers and a sister) embark on a sleepless night of turmoil and anguish ahead of her funeral the next day. Gary Lewis plays Thomas, the oldest and most emotionally bottled up brother. Thomas chooses to spend the night alone in the local Church, keeping vigil by his mother’s body. Douglas Henshall is spellbinding as Michael, perhaps the most interestingly written character in the script. After suffering a stab wound defending Thomas’ honour in a pub brawl, he rejects hospital treatment in favour of waiting for his next day of work, planning to pretend that it was a work related injury and thereby claim compensation. The film is laced with many such difficult to watch but extremely funny twists and turns, and although deeply sympathetic to his character’s burdens, Mullan was also clearly having a whale of a time bringing the dark and bracing humour of his Scottish homeland to the screen. Some of the passionate but boneheaded sweary dialogue is side-splitting.

Youngest brother John channels his feelings into a misguided crusade for vengeance against his brothers knife attacker. His misadventures take him on a wild roller coaster of emotions, and Stephen McCole plays the part with flair. The final sibling and only sister is the handicapped Sheila (Rosemarie Stevenson), who suffers after being left in her older brother Thomas’ care. His devotion to his dead mother trumps that for his live and very needy sister. Left to wander the dark streets alone in her wheelchair, Sheila serves as a symbol for where the bereaved’s focus should lie, but sadly rarely ever does.

At first the film’s score (an insight into the early days of now successful composer Craig Armstrong) feels overly melodramatic, but soon it’s appropriateness is made clear as it helps to soften the contrast between the film’s bleak atmosphere, and the explosions of comedy which appear left, right and centre. So pitch black is the style and tone that visually the picture looks like it’s been dipped in tar, and that coupled with Mullan’s emotive camera work and direction is shatteringly effective.

Orphans paved the way for Mullan to direct The Magdalene Sisters (2002) and Neds (2010), and as far as career launchers go it’s a belter. Here’s hoping he’ll take the reins behind the camera for many more films to come!