This is the hard and shocking story of life in a British Borstal for young offenders. Luckily the regime has changed since this film was made. The brutal regime made no attempt to reform or... See full summary »
Trevor is a 16 year old, sometimes-violent skinhead with no regard for authority, and would rather spend his time stealing cars than sitting in the detention centre to which he is sent. His... See full summary »
The family of Raymond, his wife Val and her brother Billy live in working-class London district. Also in their family is Val and Billy's mother Janet and grandmother Kath. Billy is a drug ... See full summary »
Two girls escape from an open borstal for two very different reasons; Annetta to attempt to visit her baby daughter, who is being raised in a convent; and Carol, who hopes to be recaptured ... See full summary »
London, 1965: Like many other youths, Jimmy hates the philistine life, especially his parents and his job in a company's mailing division. Only when he's together with his friends, a 'Mod' ... See full summary »
This is the hard and shocking story of life in a British borstal for young offenders. Luckily the regime has changed since this TV film was made. The brutal regime made no attempt to reform... See full summary »
Cocky cockney snooker player Billy Kid accepts the challenge of a grudge match from Maxwell Randall (the Green Baize Vampire), six times world champion; the loser will never play ... See full summary »
'John McVicar' was a London Bad Boy. he graduated to armed bank robbery and was Britain's "Public Enemy No. 1". He was captured and put into a high security prison. Will even the highest ... See full summary »
This is the hard and shocking story of life in a British Borstal for young offenders. Luckily the regime has changed since this film was made. The brutal regime made no attempt to reform or improve the inmates and actively encouraged a power struggle between the 'tough' new inmate and the 'old hands'. The film was originally made as a BBC play but it was banned before ever being shown. So 'Alan Clarke' and 'Roy Minton' got it re-made as a film. This is a tough and brutal film and should not be viewed lightly. Written by
Steve Crook <firstname.lastname@example.org>
All Borstal inmates were subject to the same mandatory haircut of short back and sides, yet a vast array of hairstyles are shown throughout the film, including afros. See more »
[Angel, Davis and Carlin are all lined up against a wall]
Right. I'm Mr. Sands, this is Mr Greaves. I'm the senior officer and I run A wing. I run it. Right, Carlin?
I come down very heavy on anyone who doesn't grasp that fact. Right? Right?
[Mr Sands walks up to Angel]
Angel, you're in a single room. Some of the lads are what you might call..."prejudiced". You're well advised to keep yourself to yourself. It's your first borstal, innit lad?
Yes, sir, apart from the Scrubs...
[...] See more »
The grandaddy of 'incarceration' films - this is one of the best, oft copied but never bettered.
I liked it because it's so damn British. The one liners are legion; you all know what they are and where, but among a stellar list 'Mecca, Archer' rises just above and never fails to have me in fits. The way Goodyear looks at the Governor just after this great outburst is also revealing; as is the look of satisfaction on Archer's face when he finally succeeds in riling the 'religious maniac'.
Of course, there's a serious message in here; expedited best in the conversation between Archer and Mr Duke over 'coffee'. Analysing the situation, as Archer attempts to do, will simply not be tolerated and is interpreted as dissent by a man who embodies the 'system' and is intellectually and emotionally unequipped to deal with his own, and the State's ultimate failure to deliver.
Like true class acts, this film works on several levels; it's a no nonsense drama bedecked with Taj Mahal one liners everyone loves, yet it also works on a deeper level; you cannot punitively 'correct' all offenders with violence and cruelty. You are not corrected, you are merely broken, as Davis and Toyne are. If you're not broken, you run amok, but the point is you're not 'cured'.
When this film was on TV in 1983, just after Channel Four started broadcasting, they edited the notorious potting shed sequence to such an extent that the heinous act committed was virtually excised, thereby diluting the dramatic effect to virtually zero. Interestingly enough, they also edited out the bit where Mr Greaves ignores Davis' second press of the bell. Why? Presumably because they feared the ire of the State at the highlighting of its inadequacies? I suppose they can be forgiven, Channel Four was new then after all, but it's quite revealing nonetheless.
If I'm home alone, I quote this film as I'm wandering around the house. I don't quite know why. It's all about the importance of individuality, standing up for yourself and not just 'accepting' things. That's probably the reason. Now, where's your tool?
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