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In a typical English working-class town, the juveniles have nothing more to do than hang around in gangs. One day, Alan Darcy, a highly motivated man with the same kind of youth experience, starts trying to get the young people off the street and into doing something they can believe in: Boxing. Soon he opens a training facility which is accepted gratefully by them and the gangs start to grow together into friends. Darcy manages to organize a public fight for them to prove what they have learned. A training camp with hiking tours into the mountains of Wales forge the group into a tight-knit club society. With the day of the fight drawing closer, the young boxers get more and more excited. Written by
Julian Reischl <email@example.com>
From the album 'Les Nouvelles Polyphones Corses - In Paradise'
Written by Trad./Arr. Peg Patrizia
Publishing by Polygram Editions
Courtesy of Mercury Records France
Licensed by kind permission of
The Polygram Commercial Marketing Division See more »
TwentyFourSeven is a pleasing film from director Shane Meadows who also acted and co-wrote the screenplay. Rather sensibly for a first-time endeavour, he's opted for a low-key work rather than the flashy fragmented works of other young debutantes (Guy Ritchie please take note).
The story is alarmingly simple and is thus: Alan Darcy (Bob Hoskins, excellent) helps out wayward youths in a harsh Northern town by running a boxing club. And that, basically, is it. The film perhaps plays on too narrow a canvass and it's "life is harsh" rhetoric can be mildly overstated. Witness the habitual drug user who turns up to a bout with the largest spliff in history. This guy does drugs, and in case you don't get the point, here's a telescopic joint that would bankrupt Columbia. Bruce Jones' wife-beater can also be a little one-dimensional, saved only by the actors' charm. Yet the fact that the screenplay is so modest in it's ambitions helps it immensely. A lesser talent would have thrown everything at the screen for his first full-length work, yet Meadows tells his tale and tells it well.
Dialogue that could veer towards slight pretention is saved by the wonderful Hoskins, while the real triumph is the black and white filming. This isn't the Schindler's List type of black and white; a dull grey that looks like a normal film with the colour control on your TV turned down. This is a dark, grimy black and white that takes away any contemporary restraints. Particularly notable are the scenes set against the woods and train car, and the pace they evoke. This is a film that doesn't drag but takes it's time with precision. It will entertain you and doesn't need to rush it. Impressive.
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