FISH TANK
UK, 2009, 120 minutes, Colour.
Katie Jarvis, Michael Fassbinder, Kierston Wareing, Rebecca Griffiths, Harry Treadaway.
Directed by Andrea Arnold.
A slice of British urban life, with the 15 year old Mia observed as if she were in a tank, close-up, swimming in a confined space and unable to get out. Later in the film, a fish is caught in a pool, then, gasping for air, it is skewered. The kinder thing to do, one of the characters said. Later, we see the fish was not eaten by the family as intended. The pet dog is chewing on it. Metaphors and symbols. (There is also an old horse in a car junkyard that Mia wants to free.)
Andrea Arnold won the Jury Prize in Cannes 2006 for her keenly observed Scottish drama, Red Road. This time she is in Essex having lost none of this keenness of observation. This is not unlike Mike Leigh territory. He often has strong leading women characters. Leigh has his cast improvise without knowing the details of the screenplay which he forges out of these improvisations. Andrea Arnold did not reveal the plot to any of the cast. She let them know the nature of each scene step by step and the cast did their best. This is an admirable test of acting skill. It is all the more remarkable because Katie Jarvis the lead had never acted, never danced (and had to learn this key element for her character) and was sighted on a railway station. It is a standout performance.
Mia is 15, school rebel, has a younger, very cheeky sister and a mother who was probably like Mia at that age but with less determination for life. She is no role model for her daughters. Her current boyfriend, Connor (Michael Fassbender), takes a shine to Mia, though she dislikes him. After going on the car ride where the above-mentioned fish was caught, she responds positively to him. He encourages her in her interest in dancing and going to a club audition. But... sexual advances and her response to Connor on his telling her she was only 15, 'it's all right if you like someone'.
Mia makes some huge mistakes that could have ruined her life. But, underneath the constant rage and manifestations of anger – the culture depicted here in the family and beyond is 'I bicker, therefore I am' – Mia has some determination and seems to be about to act on it as she says goodbye to her family (mother and sister dancing with her) and a balloon wafts up, over and out of the estate.
Yes, it has been done before. But this telling is expertly made and Katie Jarvis' performance guarantees this.
1.The impact of the film as a slice of life? Contemporary, urban? The United Kingdom? Universal?
2.The title: Mia as in a fish tank, the life tank, confined, unable to get out? The later fish symbol? Caught, breathing, skewered, not eaten by the family, eaten by the dog? The later symbol of the white horse that was sixteen years old and Mia wanted to free? Its having to be put down?
3.The realism, authentic, the housing estate, the individual flats, the verandahs, the overall views of the facades? The streets, the club? The contrast with the paddock, the junkyard, the horse? Essex, Tilbury, homes, the pool, the sea?
4.The songs, California Dreamin’? The musical score?
5.Mia as the focus, the anchor for the film, the strength of the performance, the actress’s inexperience yet striking presence? Strong and convincing? Age, fifteen, out of school, the visit of the inspector? Her mother, careless life, not a role model, her men? Mia’s lifestyle, her room, her relationship with Tyler? The bickering in the household? Mia exercising, dancing, her talent? Phoning Keely, seeing her dancing with the girls, the insults? Wanting to free the horse? Billy, the other boys taunting her, taking her purse? Her return and meeting Billy? Establishing her character?
6.Her going in and out of the flat, Tyler at home, listening to music, rehearsing, seeing the notice, her plan for the audition, with Connor, Connor affirming this, watching the rehearsal, her going to the audition, letting her hair down, walking out? Seeing the judges, the fat lady auditioning?
7.Connor, seeing him at home, in the kitchen, his provocative presence, her mother and relationships, sexuality? The phone calls, Connor living in, Mia critical, going through his wallet, knowing where he worked? The excursion to the fish, catching the fish, Mia hurting herself, his looking after her leg, at his workplace? Playing California Dreamin’?
8.Connor, the drinking, the night with Mia, the talk, affirming her, the sexual encounter, his boasting about his prowess, his stopping, her being fifteen, his leaving?
9.Mia being upset, going to search for him, walking, finding the house, Connor coming out, his reaction, driving her to the station, giving her the money? Her standing at the station, decision to return, breaking into the house, seeing the video and learning the truth about his family, urinating on the floor, escaping when the family came back, Kiera in the video?
10.Watching Kiera on the scooter, deciding to abduct her, chasing her, the tension, the fight, her falling into the sea, rescuing her? Connor finding out, hitting her?
11.Mia and the school inspector, her intentions? Her going to the audition? Her not staying?
12.Billy, telling her about the horse dying, the prospect of taking the repaired car to Wales, inviting her to go?
13.The farewell dance in the kitchen with her mother and sister? Tyler running after the car, Mia looking back, waving?
14.The balloon, floating up, over, out of the estate? Symbolic ending?
15.Mia, her anger and rage, frustration, the bickering, lack of role models, hopeless and needing affirmation, young and inexperienced, her values, morals and lack of morals? Her looking back? But deciding to go – and knowing that there was more to life?
