Following (1998) 7.6
A young writer who follows strangers for material meets a thief who takes him under his wing. Director:Christopher NolanWriter:Christopher Nolan |
|
| Watch Trailer 0Share... |
Following (1998) 7.6
A young writer who follows strangers for material meets a thief who takes him under his wing. Director:Christopher NolanWriter:Christopher Nolan |
|
| Watch Trailer 0Share... |
| Cast overview, first billed only: | |||
|
|
Jeremy Theobald | ... | |
|
|
Alex Haw | ... | |
| Lucy Russell | ... |
The Blonde
|
|
|
|
John Nolan | ... |
The Policeman
|
|
|
Dick Bradsell | ... |
The Bald Guy
|
|
|
Gillian El-Kadi | ... |
Home Owner
|
|
|
Jennifer Angel | ... |
Waitress
|
|
|
Nicolas Carlotti | ... |
Barman
|
|
|
Darren Ormandy | ... |
Accountant
|
|
|
Guy Greenway | ... |
Heavy #1
|
|
|
Tassos Stevens | ... |
Heavy #2
|
|
|
Tristan Martin | ... |
Man at Bar
|
| Rebecca James | ... |
Woman at Bar
|
|
|
|
Paul Mason | ... |
Home Owner's Friend
|
|
|
David Bovill | ... |
Home Owner's Husband
|
An older man listens to Bill's story about being a callow writer who likes to follow strangers around around London, observing them. One day, a glib and self-confident man whom Bill has been following confronts him. He's Cobb, a burglar who takes Bill under his wing and shows him how to break and enter. They burgle a woman's flat; Bill gets intrigued with her (photographs are everywhere in her flat). He follows her and chats her up at a bar owned by her ex-boyfriend, a nasty piece of work who killed someone in her living room with a hammer. Soon Bill is volunteering to do her a favor, which involves a break-in. What does the older man know that Bill doesn't? Written by <jhailey@hotmail.com>
The debut that plucked from obscurity one of the brighter stars of contemporary noir is an assured, if limited, stab at the con game and obsession. Filmed for zero money, Nolan couldn't have chosen a better subject than the drab and seamy underside of London to ply his trade, given the lack of funds. This short (67 min) is at its best in playing with the audience's and protagonist's expectations about who is scamming whom, though the initial set-up does ring some alarm bells in the credibility dept. The muddy cinematography (he often used natural lighting due to budget) can be mostly chalked up to noir stylization, though the limitations do show at times.
One can easily see Nolan's style developing in this fledgling effort; many of the same themes of blurred identity and expectation smashing recur in MEMENTO and INSOMNIA. Not a masterpiece but good and certainly worth a look for modern noir and Nolan fans.