NIL BY MOUTH

UK, 1997, 129 minutes, Colour.
Ray Winston, Kathy Burke, Laila Morse, Charlie Creed Miles, Jamie Foreman.
Directed by Gary Oldman.

The title refers to the inability of the central character's father's to express anything by way of love or affection. And this is a major theme of the whole film. The male characters are embodiments of 'nil by mouth'. This is a very hard film to sit through. And much of this is because it is so well made, one of the grimmest portraits of life on screen in recent years. It is both appealing and appalling in its more than two hours running time.

It is appealing in some of the characterisations of working class people at the margin in south London, trapped in a drab world, especially the women. One is very moved by the portrayal of their plight, culminating in a grandmother (and the next three generations present) singing, ironically, Showboat's 'Can't help lovin' that man of mine'. It is appalling in the attitudes and behaviour of the men, locked in their own mateship and erupting in brutality, including one of the most vicious bashings of a wife by a husband. Those who experience this way of life and those who work for victims may not want to look into this mirror of life. Those who don't experience it will find it very hard. The language is frequently blunt and crude.

Actor Gary Oldman (villain in Airforce One, Lost in Space, 5th Element) has written a memoir of his area of London and of his growing up. He clearly writes from the inside. Dedicated to his father, this is a work of insight and exorcising and (one hopes) a healing of memories. Performances are outstanding especially Kathy Burke (Cannes Award winner) as the wife. Appealing and appalling.

1. The acclaim for this film? For Gary Oldman? Its success at Cannes? Kathy Burke best actress? The impact for a British audience, London audience? Non-British? audiences and their perceptions on the UK?

2. Gary Oldman and his work as an actor, his writing this screenplay, directing it? His sister performing in it? Based on his own memories of his family? Recreating the world of his growing up? The possibility of his exorcising his memories and his demons about his family? The dedication of the film to his father?

3. London in the 1980s and 1990s, the focus on a particular part of London, lower middle class, homes, pubs, the streets? The visualising of the suburb? The authentic atmosphere?

4. The colour, the drab colours, the colours and mood? The musical score, the songs – especially ‘Can’t Help Lovin’ That Man of Mine’ – and its irony?

5. The incessant language, the assault on the sensibilities of the audience, yet the reflection of the vocabulary and interactions of the characters?

6. The title, Ray and his explanation of the title, the memory of his father, telling Steve, his remembering, drinking and becoming maudlin? Sad that his father had never hugged him? His regrets? The moments of self-awareness?

7. The portrait of the family, the hard life, opportunities and lack of opportunities, a tough love, the wife being taken for granted? The generations of women? Work, relaxation, a bit of fun, drinking? The background of drugs in the suburbs? The culture of brutality? The male camaraderie, at the expense of intimacy with the women? The women and their banding together? The consequences in this kind of society?

8. The home sequences, the repetitious style, the talk, the meals, the verbal abuse, the put-downs, the physical abuse? The reactions? The picture of marriage, modelling, pregnancy and danger for Val? The tension, the miscarriage?

9. The opening, the detailed attention to the pub scene, the group of women talking, Ray at the counter, his ignoring the women, going to his mates, their chat, the topics, the bonds – male talk?

10. Ray as the centre, Ray Winston’s performance, his own experience of life, work, friendship with Steve, the relationship with Val, her pregnancy? His mother-in-law, her mother? Val’s brother, the work site, the drugs, the drink? The vengeance on the brother-in-law, bashing him? Ray’s encounter with Val, his brutality, the miscarriage? The sexual encounters – matter-of-fact and brief? His being ousted by Val, sorry for himself, remembering his father? His return, apology? The final talk before the women went to visit the brother in jail? The touches of compassion?

11. The portrait of Val, Kathy Burke’s award-winning performance? Thirty and looking older, pregnant, the relationship with her mother, her grandmother, her brother in the house? The problems with Ray, the problems with her brother? The outings, a bit of fun at the pub, her regrets about life, Ray’s excuses? The brutality of Ray’s bashing her? The violent world, her going to hospital? Her talking to her mother, making up stories about falling? Her return, the possibility of taking him back? The battered wife syndrome?

12. Val’s mother, a tougher woman, present in the house, living with her mother, her treatment of her mother? The attacks on Ray? Continually giving money to her son, knowing he spent it on drugs? The women finally at the pub – and singing the song from Showboat?

13. The portrait of the brother, his relationship with his mother, getting the money, his desperation for drugs, his stealing, brutality, cheating? This catching up with him? The deals, his being bashed? Ray attacking him? Ray being attacked and bashed? The dangers – and his going to prison?

14. Steve, as a mate, supporting Ray, listening, encouraging him? Driving him round, coping when Ray was bashed?

15. Pub life, the outlet for families and individuals, the songs?

16. Gary Oldman’s observation of these characters, in their context? The concern from the audience, dismay?

17. The possibilities for the future, some hope, the emotion of the final scene, sitting round the table and talking, the calm? Ray and the possible change? Getting ready to go to prison?

18. A classic British film of the 90s, well observed and well crafted?