David O'Connell
MIFF 2011: Tyrannosaur
August 8th 2011 02:34
by David O’Connell
Tyrannosaur marks the uncompromising, gut-wrenching directorial debut of Paddy Considine. Watching this emotionally-charged film of damaged people is like encountering a car crash that you are compelled to investigate further. This is a stark reminder, too, of other fine British debuts, most recently Samantha Morton’s brave The Unloved (2010) which screened at last year’s Festival and which displayed a stark similarity in tone.
The fearsome Peter Mullan plays Joseph, a psychologically wounded individual with a profound resentment festering inside him. He’s like a weeping sore, projecting his rage upon the nearest available target. After an alcohol-fuelled rant with a local at the pub he kicks his beloved dog to death. Later, after copping a hiding from some kids he'd previously struck out at, he stumbles into the thrift shop of Hannah (Olivia Colman).
A devout Christian, she offers him consolation in prayer; he’s momentarily touched but then vents his rage at her hypocrisy. Remorseful, he returns the next day, on a subliminal level seeking a simple human connection. We’re shown horrifying glimpses of Hannah’s own story through her poisoned marriage to the monstrous James (Eddie Marsan); glimpses as frightening as they are repellent. Joseph and Hannah find another through the pain inflicted upon them by the world; a tentative friendship forms, one that scares both for differing reasons.
The two leads are nothing short of remarkable, carrying this punishing film along on a tide of bleakness that’s rarely released. The always intense Mullan is a formidable force, able to project seething rage with the blink of an eye. But the work of Colman as a woman attempting to rationalise the infected remnants of her marriage, whilst retaining her sanity under this black cloud of evil, is just as remarkable.
Considine takes no prisoners with his remarkable screenplay for Tyrannosaur (2011). And yet, a flicker of humanity – the last opportunity for soldering these two broken lives together – flickers at the edges, offering hope from a tainted, unlikely source.
Tyrannosaur marks the uncompromising, gut-wrenching directorial debut of Paddy Considine. Watching this emotionally-charged film of damaged people is like encountering a car crash that you are compelled to investigate further. This is a stark reminder, too, of other fine British debuts, most recently Samantha Morton’s brave The Unloved (2010) which screened at last year’s Festival and which displayed a stark similarity in tone.
The fearsome Peter Mullan plays Joseph, a psychologically wounded individual with a profound resentment festering inside him. He’s like a weeping sore, projecting his rage upon the nearest available target. After an alcohol-fuelled rant with a local at the pub he kicks his beloved dog to death. Later, after copping a hiding from some kids he'd previously struck out at, he stumbles into the thrift shop of Hannah (Olivia Colman).
A devout Christian, she offers him consolation in prayer; he’s momentarily touched but then vents his rage at her hypocrisy. Remorseful, he returns the next day, on a subliminal level seeking a simple human connection. We’re shown horrifying glimpses of Hannah’s own story through her poisoned marriage to the monstrous James (Eddie Marsan); glimpses as frightening as they are repellent. Joseph and Hannah find another through the pain inflicted upon them by the world; a tentative friendship forms, one that scares both for differing reasons.
The two leads are nothing short of remarkable, carrying this punishing film along on a tide of bleakness that’s rarely released. The always intense Mullan is a formidable force, able to project seething rage with the blink of an eye. But the work of Colman as a woman attempting to rationalise the infected remnants of her marriage, whilst retaining her sanity under this black cloud of evil, is just as remarkable.
Considine takes no prisoners with his remarkable screenplay for Tyrannosaur (2011). And yet, a flicker of humanity – the last opportunity for soldering these two broken lives together – flickers at the edges, offering hope from a tainted, unlikely source.
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Comment by Bryn
Horrorphile
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
what makes me wonder about such explorations, is the motive to do it, what does the writer and director want us to take away from this, how is this experience beneficial or enlightening?
cheers
fog
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Yes, it's ugly and confronting but despite the abject bleakness in Tyrannosaur you'll also find it offers a redemptive glimpse at the strength and capacity of the human spirit to endure unspeakable horror - that's what I got from the suprisingly, well tentatively, optimistic finale. I think it's a very fine film and staggeringly well acted.
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
admittedly, many great works delve into the darker side of humanity and produce fabulously powerful performances, granted.
And yes, I agree, too much light weight piffle dominates the screen these days, but, sometimes a film comes along that offers no balance, or even a path towards a better ideal, and the possibility exists for the film to be a just a cynical vehicle and/or expoitation.
Not having seen this film, I am arguing blind, so, at some point, I shall catch up with it hopefully, as I trust your judgement.
cheers
fog