SHOPPING
UK, 1994, 109 minutes, Colour.
Sadie Frost, Jude Law, Sean Pertwee, Fraser James, Sean Bean, Marianne Faithfull, Jonathan Pryce.
Directed by Paul W.S. Anderson.
Shopping was the tour-de-force debut of writer-director Paul Anderson. Anderson then had to call himself Paul W.S. Anderson because of American director Paul Thomas Anderson (Magnolia, Boogie Nights).
The film was a star vehicle for Jude Law and his wife Sadie Frost. However, many commentators thought that they were too posh (especially Jude Law with his accent) for inner-city criminals.
The film was heavily criticised on its release in the mid-1990s for encouraging vandalism and robbery as well as antisocial behaviour. It was also criticised in the United States and released straight to video.
The film, which exhibits great visual flair, is the story of a young man released from prison who clashes with the main criminal in inner London. Their method of robbery is to steal cars and crash them into storefronts and then ransack the stores. Sean Pertwee portrays the boss. Sean Bean portrays the power in marketing who takes the stolen goods. Jonathan Pryce is the probation officer and there is a momentary cameo from Marianne Faithfull.
The film is interesting in terms of the subsequent career of Anderson who then directed Mortal Combat and moved into the graphic comic films with such films as Resident Evil. More seriously, he made Event Horizon and Soldier with Kurt Russell.
1.The impact of the film? In the UK on its release? Criticisms for its portrayal of violence and criminal action? A nihilistic film?
2.The London settings, the night, caravans, apartments, the shops, the warehouses? The action sequences, the car chases? The robberies? The musical score?
3.The title and its irony, referring to the robberies? Selling the goods on to marketers?
4.The moral point of view of the film, sympathy or not for Billy and Jo? For their actions? For society which led them to this kind of action, self-esteem? The role of the law, represented by the parole officer?
5.The nihilistic ending, Billy and Jo dead, the futility of their lives?
6.Billy, released from prison, surly attitudes, his interactions with Conway? Conway knowing him since he was a boy? His meeting up with Jo, their relationship? Wariness about sexual relationships? In action, his friends, discussions, the shops, the stolen goods? Going to see his mother, his father not wanting to see him? The meeting with Bev? Conway coming to his trailer? Accusing him of participation in the robberies? His decisions, confrontations with Tommy? Stealing the cars, the reckless driving, the pursuit by the police? Always escaping? His raid on the Alaska store? Crashing into the front, the water falling, the umbrella and his casually stealing the goods? The final confrontation with Tommy? The car, the plan, the chase, the crash, their deaths?
7.Jo, girlfriend, her background, condoning the robberies, love for Billy? With the various criminals and their confronting her? Wanting to leave? Participating in the final robbery, her death?
8.Tommy, the local boss, his standover tactics? His bargaining with the market traders? His bargaining with Venning? His seeing himself as a leader – but at the mercy of the traders? His clashes with Billy and Jo? The confrontation? Planning the Alaska robbery to get the clothes for Venning? Billy robbing the store before him? The final clash with Billy?
9.The other members of the gang, the underworld of London, robberies and their methods? The various market traders? Venning and his bargains?
10.Conway, representing the law, his trying to help Billy go straight, the visit to the caravan? The futile action of the law – having no effect on criminals like Billy?
11.The overall effect of the film, its flashy visual style and action, its pessimistic perceptions of British society?
