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Thursday, April 15, 2010
BD impressions: Harry Brown
11:15 AM / BD Impressions /
15 Comments
Generally speaking I try to avoid politics on this site, since I think it's fairly safe to assume that people come here for my latest impressions on films and BD transfers, not who I'm going to vote for in the upcoming election (although, in case you're wondering: the Liberal Democrats). However, with a film like HARRY BROWN, politics are pretty much impossible to avoid, as the plot seems to have been culled from the pages of the Conservative Party manifesto. The world portrayed in HARRY BROWN is, I suspect, what the Conservatives would like us to believe the whole of the UK looks like, in spite of the country's murder rate last year being the lowest in 20 years, with a drop of 5% in overall reported crime compared to the previous year. We are repeatedly told, on rather slim evidence, that this country has lost its way, and while I won't for a moment pretend that crime isn't a problem, the notion that we've fallen into anarchy and that things were infinitely better in the "good old days" (whatever THOSE were) strikes me as nothing more than fantasy.
(Incidentally, the film's star, Michael Caine, recently came out an openly backed the Conservatives, which I can't say was much of a surprise to me given the film's leanings.)
HARRY BROWN is often described as a British GRAN TORINO, and the similarities are readily apparent. Both revolve around an elderly former soldier living in a crime-infested area who, fed up with the situation, decides to take matters into his own hands. The differences lie in the ideology. Whereas GRAN TORINO effectively undercut Clint Eastwood's DIRTY HARRY image by ultimately refusing to have the character pick up a weapon and go around blasting away his neighbourhood's problems, Harry Brown is more than happy to torch a drug den (after killing the two resident dealers), threaten to kneecap one youth and shoot at least three others to death. I get the impression we're meant to see him as a man pushed to the edge and driven to commit actions he would normally abhor, but something about the ease with which he slips into the role of ultra-violent vigilante undermines this.
Morally, I find it all rather suspect, but at the same time there's a lot to admire in the film. It's very nicely shot and manages to maintain a palpable atmosphere of foreboding from beginning to end, and when all said and done there IS something rather compelling about watching a pensioner taking on some of the most disreputable examples of humanity. Michael Caine is terrific as the eponymous Harry Brown, and the supporting cast is comprised of a number of very capable performers, including Iain Glen, Liam Cunningham and Emily Mortimer, although the former two are playing characters that are too thinly written to make much of an impact, while Mortimer is stuck with the most thankless role in the movie: a buttoned-down detective who must simultaneously serve as Harry's foil and represent the counter-argument that the filmmakers seem to have little interest in airing.
So which film did I prefer? On the one hand, HARRY BROWN provides a sense of catharsis that GRAN TORINO, for obvious thematic reasons, denies the viewer. On the other, GRAN TORINO is a far more optimistic film. The moral of HARRY BROWN, fundamentally, is that the world is filled with scumbags and the best of dealing with them is with a bullet in the head, while GRAN TORINO is considerably more egalitarian. Divorced from its underlying message, HARRY BROWN is a rather effective piece of work, but eh... it all seems a bit mean-spirited. Maybe I'm guilty of over-analysing it, but I suspect HARRY BROWN is aimed less at the sort of people who actually live on estates such as the one depicted in the film and more at the sort of Tory-voting Daily Mail readers who lament how society has gone to pot while tucking into the Sunday roast.
Image quality: This is a very impressive-looking disc from Lions Gate. According to IMDB, HARRY BROWN was shot in Super35, but I find that very hard to believe, as the image looks nothing like film and at times suffers from many of the problems that tend to blight digital photography, namely heavy noise in darker scenes and "tizzing" around high contrasts. Detail is very impressive, and I can't fault the encoding on any level. Contrast is a little murky, and while I suspect that this may have been intentional on the part of director Daniel Barber, the fact that there are numerous fades to dark grey rather than to black leads me to suspect that some elevation of the blacks may be occurring. On the whole, though, I was rather pleased with how the film looked. 9/10
Harry Brown
studio: Lions Gate; country: UK; region code: B; codec: AVC;
file size: 26.6 GB; average bit rate (including audio): 37.06 Mbit/sec
15 Comments
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1. Erik said:
Believe the Sony F35 CineAlta was used for this.
(Posted on Thursday, April 15, 2010 at 3:21 PM)