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IMDbPro

Nil by Mouth

  • 19971997
  • RR
  • 2h 8m
IMDb RATING
7.3/10
9.7K
YOUR RATING
Kathy Burke, Charlie Creed-Miles, and Ray Winstone in Nil by Mouth (1997)
A rough, short-tempered patriarch of a working-class family sees his life and the relationships around him slowly unravel.
Play trailer1:57
1 Video
19 Photos
Drama
A rough, short-tempered patriarch of a working-class family sees his life and the relationships around him slowly unravel.A rough, short-tempered patriarch of a working-class family sees his life and the relationships around him slowly unravel.A rough, short-tempered patriarch of a working-class family sees his life and the relationships around him slowly unravel.
IMDb RATING
7.3/10
9.7K
YOUR RATING
  • Director
    • Gary Oldman
  • Writer
    • Gary Oldman(screenplay)
  • Stars
    • Ray Winstone
    • Kathy Burke
    • Charlie Creed-Miles
  • Director
    • Gary Oldman
  • Writer
    • Gary Oldman(screenplay)
  • Stars
    • Ray Winstone
    • Kathy Burke
    • Charlie Creed-Miles
  • See production, box office & company info
    • 99User reviews
    • 42Critic reviews
    • 76Metascore
  • See more at IMDbPro
    • Won 2 BAFTA Awards
      • 9 wins & 9 nominations total

    Videos1

    Trailer
    Trailer 1:57
    Watch Trailer

    Photos19

    Charlie Creed-Miles in Nil by Mouth (1997)
    Jamie Foreman and Ray Winstone in Nil by Mouth (1997)
    Ray Winstone in Nil by Mouth (1997)
    Kathy Burke and Ray Winstone in Nil by Mouth (1997)
    Ray Winstone in Nil by Mouth (1997)
    Ray Winstone in Nil by Mouth (1997)
    Nil by Mouth (1997)
    Ray Winstone in Nil by Mouth (1997)
    Kathy Burke, Charlie Creed-Miles, and Ray Winstone in Nil by Mouth (1997)
    Nil by Mouth (1997)
    Charlie Creed-Miles in Nil by Mouth (1997)
    Nil by Mouth (1997)

    Top cast

    Edit
    Ray Winstone
    Ray Winstone
    • Raymond
    Kathy Burke
    Kathy Burke
    • Valerie
    Charlie Creed-Miles
    Charlie Creed-Miles
    • Billy
    Laila Morse
    • Janet
    Edna Doré
    • Kath
    Chrissie Cotterill
    • Paula
    Jon Morrison
    • Angus
    Jamie Foreman
    Jamie Foreman
    • Mark
    Steve Sweeney
    Steve Sweeney
    • Danny
    Terry Rowley
    • M.C. in Club
    Sam Miller
    Sam Miller
    • Club Comic
    Leah Fitzgerald
    • Michelle
    Gerry Bromfield
    • Drug Dealer
    Neil Maskell
    Neil Maskell
    • Schmuddie
    Sid Golder
    • Old Guy in Window
    John Blundell
    John Blundell
    • Man with Knife
    Kenan Hudaverdi
    • Laundrette Owner
    Everton Nelson
    Everton Nelson
    • Street Violinist
    • Director
      • Gary Oldman
    • Writer
      • Gary Oldman(screenplay)
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The word "fuck" and its variations are used 428 times, an average of 3.34 times per minute.
    • Goofs
      A boom mic is visible in the supermarket parking lot.
    • Quotes

      Ray: She took his dinner in to him once. Me mum, in the pub, and plonked it in front of him on a tray. Knife and fork, salt and pepper. He said, "What's that?" She said, "It's your dinner. I thought you might be hungry. You ain't eaten for three fucking days. You live in here, you might as well fucking eat in here." It's funny. He didn't like that, did he? Mugged him up in front of his mates. Thought more of them cunts than he did us. Lovely. Yeah. She got a clump over that. Well, she would, wouldn't she? He was always pissed in there, weren't he? You know? We go in the pub to get our living, you know? That's where we do our business. He'd be there spunking out while we're sitting at home without a dinar, you know, thank you. And he'd promise things. You know? Promise to take us places, you know? Never did. Never took us anywhere. And when he did bother to come home he'd sit in that fucking chair, doss off with his tray in his lap. And I'd just stand there looking at him. I'd look in his face, and my mother'd go upstairs, and I'd say, "Say, Mum, ain't Daddy coming to bed?" And she'd say, "No. No, he's all right, son. He'll come up when he wakes up." He's gotta wake up to go to bed! Now, I'd stand there looking at this fucking old man, you know, my dad, you know, in that chair, that horrible fucking chair with the shiny, worn-out arms. I should've burnt the fucking thing. By the end he was hemorrhaging from both ends, you know? I used to hear him in the morning hanging on to the kharzi. It was lovely. Never stopped him going to the pub, though. No, he was well enough to do that. Now, one day, right, he's staggering across the pub pissed from the night before. He's gone over, crunch, right on his mooey, like a fucking ironing board. His hooter's around here, his railings all over the fucking place. Me and me mum had to go the hospital to see him. We walked in. He's laying in bed. He's got tubes up his arms, fucking up his nose, down the back of his Gregory. He didn't look well. Fucking vodka was keeping him alive. Well, I ain't that interested, so I'm having a little mooch about, you know. I looked above his bed, and there's this sign, right, with some weird writing on it. I couldn't read too well at the time. I said to my mum, "Mum, what's that say? You know, that sign above Daddy's head." All right? She said, "Nil by mouth." "What's that, a football score?" One-nil, three-nil, two-nil, a geezer called fucking Nil. Yeah. I said, "Well, what's it mean?" She said, "It means... "

      Mark: It means nothing to eat.

      Ray: Yeah, nothing down the...

      [points into his mouth]

      Mark: Nothing down the... Yeah.

      Ray: Yeah, all right. I remembered that day, because I could've put that on his fucking tombstone, you know? Because I don't remember one kiss, you know, one cuddle. Nothing. I mean, plenty went down, not a lot came out, you know, nothing that was any fucking good. And I'd look at this man that I call Dad, you know? My father, I knew him as Dad. He was my fucking dad but he weren't like other kids' dads, you know? It was as if the word itself were enough, and it ain't.

      Mark: That ain't when he died though, is it?

      Ray: No. He lived another ten years, slippery old cunt. He died one afternoon in that fucking armchair. About right. I went around to see him, you know, when he was plotted up at me mother's.

      Mark: Hatcham Road?

      Ray: Yeah, Hatcham Road. He was upstairs in that front bedroom. Laid out.

      Mark: Free.

      Ray: Yeah. Yeah. I've gone up there, gone in. I'm sitting on the bed looking at him. He's laying there like... Mullered. And it was like he'd shrunk, you know? He was a big man.

      Mark: He was a lump.

      Ray: Yeah. You should know. You got enough clumps off the cunt. (sighs) And I just touched him, you know? He was fucking freezing cold. It frightened the life out of me. I was looking at him, you know? For the first time in my life, I talked to him. I said, "Why didn't you ever love me?"

    • Connections
      Featured in Especial Cannes: 50 Anos de Festival (1997)
    • Soundtracks
      Las Vegas
      Written by Mitch Murray and Peter Callander

      Performed by Tony Christie

      Courtesy of MCA Records

    User reviews99

    Review
    Review
    Featured review
    Bleak raw movie that cuts to the bone with its sheer force
    This is far from an easy movie to watch and is not really a good definition of `entertainment' (although it is disturbingly compelling). It's got about as much hilarity as `Monster's Ball', `Dancer in the Dark' and `Requiem for a Dream'.

    There's not really a plot here. What we're looking at is a family in council housing - a poor, distraught family, torn apart by the people. Kathy Burke is Valerie, the long suffering wife of Ray (Ray Winstone). Ray is a drunken abusive man, haunted by his demons. He fights regularly with Valerie's heroin addicted brother, who cannot escape his own life style. Over this watches Valerie's mother, Janet, in a resigned fashion, lost to any real hope of something different. We get to spend some time with these characters, seeing how their lives develop. Unlike traditional movie structures we're not really building to a giant convergence of plot lines, a climatic final scene. Real life is not like that - it's a series of events, marked by occasions. This is the view the movie takes and it works well because it makes it far more credible than a final showdown involving a gun and a murder. What's even more interesting is that while Ray is `bad' he could not be quite considered evil - there's a darkness in him that he's fighting against. There's a great scene involving a telephone which brilliantly highlights how torn apart these characters are and how nothing is ever quite as simple as you would like to believe.

    The acting is astonishing. I can't praise either Burke or Winstone enough. One of the reasons this movie is so unnerving is that the characters are believable - and this is due to the actors behind them. When Winstone's face becomes animated with range it really seems like he is ferocious, full of venom. You would race across the other side of the street from him, seeing the fury inside this man. Burke herself could have just played the demure wife but she adds far more complexity. Yes she is suffering, but there's a great hint of steel beneath her - shown in the delivery of a dialog, or the turn on a face. By not distracting us with pretty faces, director Gary Oldham manages to deliver actual characters. The energy - unflinching - delivered by them makes them seem horribly like people you know can exist within miles of your home.

    Oldham himself shows a good directorial view. The movie uses a lot of hand-cameras (and presumably some unusual film stock) to get a grittier realism. This is aided by some excellent cinematography - the lighting is bleak, subdued, in keeping with the movie. Even the sunshine is pale, as if there's never really any hope to be had. The sound design is crisp, and generally minimalist - instead letting the camera and acting tell the story rather than forced manipulation via a composed piece. The set design also deserves a nod - the house around which a lot of the movie resolves has a real `lived in' feel. Too often Hollywood directors décor their house in a few luxury sofas and leave it at that. Here there's a real sense of a home with condiments and grit engrained in the walls. It all adds up the power. Ultimately though it is Oldham's unflinching depiction of the events that stands in the movies favour - the camera is close, it's there, you cannot escape through some banal metaphor (which is typical of most movies).

    `Nil By Mouth' is more of an `experience' movie. It's a wrenching, arresting viewing that is sometimes very difficult to watch because you know there's a horrible shade of truth to it. It's not necessarily something you'd watch repeatedly (unless you've a shade of masochism to you), but it is something that will leave a little indelible mark on you as something to muse on. Definitely worth seeing - but be prepared. 8.1/10.
    helpful•90
    1
    • Aidan McGuinness
    • Sep 6, 2002

    Details

    Edit
    • Release date
      • February 6, 1998 (United States)
    • Countries of origin
      • United Kingdom
      • France
    • Official site
      • Sony Pictures Classics
    • Language
      • English
    • Also known as
      • 切勿吞食
    • Filming locations
      • Piccadilly Circus, Piccadilly, London, England, UK
    • Production companies
      • SE8 Group
      • EuropaCorp
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $9,000,000 (estimated)
    • Gross US & Canada
      • $266,130
    • Opening weekend US & Canada
      • $28,367
      • Feb 8, 1998
    • Gross worldwide
      • $284,477
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 8 minutes
    • Color
      • Color
    • Sound mix
      • Dolby Digital
      • SDDS
    • Aspect ratio
      • 1.85 : 1

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