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Clapham Junction (2007)

TV Movie  -   -  Drama  -  22 July 2007 (UK)
7.3
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Ratings: 7.3/10 from 1,600 users  
Reviews: 24 user | 7 critic

36 hours in the lives of a number of gay men in Clapham, South London.

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Cast

Cast overview, first billed only:
...
Roger Hopkirk
James Bellamy ...
Black Youth 2
Robin Berry ...
Man in Toilet 2
...
Belinda Hopkirk
...
Marion Rowan
...
Gavin
Philip Childs ...
Newscaster
Jason Frederick ...
Black Youth 1
Richard Freeman ...
Registrar
...
Robin Cape
...
TV Assistant
Jefferson Hall ...
Mail Man
...
Tough Man
Francis Lee ...
Murray
...
Alfie Cartwright
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Storyline

36 hours in the lives of a number of gay men in Clapham, South London.

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Taglines:

Their Lives Will Never Be The Same Again

Genres:

Drama

Certificate:

Not Rated | See all certifications »

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Details

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Release Date:

22 July 2007 (UK)  »

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Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

Inspired by the murder of Jody Dobrowski in October 2005 who was beaten to death by two "gay-bashers" on Clapham Common. Dobrowski was beaten so badly, he could only be identified by his fingerprints, a detail that is echoed in the film. Both of Dobrowski's murderers received life sentences. See more »

Quotes

[first lines]
radio announcer: 30 degrees plus expected today. In fact, we could break the record which stands as the twelfth of June this year...
doctor: Look to the right.
See more »

Connections

References Maurice (1987) See more »

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User Reviews

 
Abandon All Hope All That Enter Here...
24 July 2007 | by (England) – See all my reviews

Over a two day period a series of interconnected events impact a disparate group of Londoners.

Occasionally brilliant, often shocking and ultimately depressing exploration of contemporary urban gay sexuality and the resultant array of societal attitudes across age and class. In part influenced by the horrendously brutal murder of Jody Dobrowski on Clapham Common in 2005, Elyot creates a host of deeply unpleasant characters as the main focus of his exploration into homosexuality, its surface acceptance and ever-present homophobia across all social strata's today.

Whilst astonishingly frank in its depiction of casual, anonymous sexual encounters in public toilets and open spaces (Clapham Common, Hamstead Heath) and the contrast between being 'out' versus being closeted and covert, Elyot falls back on the clichéd and contrived device of 'the dinner party' to enable a host of views to bubble up to the surface. Perhaps it's the environment Elyot knows best so finds it easiest to write about, but it's still hard to gauge what his intention is with his moneyed and privileged group of diners – are they intended as a representation of middle class views and behaviours? In addition, why is practically every character either unpleasantly selfish or irritatingly naïve? It may well be that the well-heeled dinner party set do have these views and opinions, but if they are so singularly unpleasant, how can we care? It's difficult to determine exactly what Elyot is trying to say with Clapham Junction – that homophobia is still real and in consequence very dangerous? That the general view is that gay men can be universally accepted but only if they behave like the wealthy, urban, heterosexual upper middle-classes? That heterosexual people don't have any kind of secretive, covert sex life? No, straight people don't go cruising for anonymous sex in toilets or parks, but that's only because they don't need to.

Elyot paints a deeply depressing picture in Clapham Junction, which may in part reflect the truth, but he fails to find any counterpoint. All is bleak, all is dangerous - hatred, bigotry and prejudice prevail. The minor strand of the young black boy playing his violin in the face of intolerance and persecution only serves to crack the nut with a hammer

  • we've already learnt that it takes bravery to be who you are in the


face of adversity (witness the deeply unsettling, painfully honest encounter between Theo and Tim), so why bludgeon the viewer with this message a second time? The closing scene is gratuitous in light of all we have witnessed before.

Shergold and Elyot are well served by their actors, with Treadaway and Mawle in particular offering spectacularly honest, real and brave performances – their plot-strand is perhaps the most challenging, the most unsettling but ultimately the most truthful story, and this time the concluding lack of hope is in proportion and understandable.

Moments of brilliance then, from all involved, but in the end Clapham Junction is deeply flawed and devoid of any shred of hope. Is that all there is?


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