I’LL SLEEP WHEN I’M DEAD

UK, 2003, 102 minutes, Colour.
Clive Owen, Charlotte Rampling, Jonathan Rhys Myers, Malcolm Mc Dowell, Jamie Foreman, Ken Stott, Sylvia Syms.
Directed by Mike Hodges.

British director Mike Hodges made a name for himself in the 1970s with the tough gangster thriller, Get Carter. In the late 90s he revived that reputation with his gangster thriller, Croupier. I'll Sleep When I'm Dead will please his fans though ordinary moviegoers might find it too serious and ponderous.

It is film noir for the 21st century. Clive Owen (who played the Croupier) is tall, dark, solid, handsome and extremely taciturn. (Owen does not usually smile in his films and gives the impression that he would have to make an effort to do so (managing to do a little in King Arthur.) This works well for his character, Will Graham, a gangster who has turned his back on London and gone out to work in the Welsh forests. He has left his reckless brother (Jonathan Rhys Myers) and lover (Charlotte Rampling) who are devoted to him. When he learns that his brother has killed himself, he very determinedly sets out to find out why. This leads him into some strange psychosexual behaviour, especially on the part of a businessman (Malcolm Mc Dowell) who is hostilely obsessed with the young man. The film then moves into revenge noir.

It is interesting in its characters, has some stern performances, except for the passionate Jamie Foreman as the young brother's best friend who is grief-stricken, angry and violent with what has happened. The screenplay often has its characters gazing pensively, which gives us time to check how much we are identifying with them, as well as some characters stalking others, which gives us time to observe as they observe.

While the plotline might generally be familiar, except for the male rape and the psychological implications, it is treated in a serious and often stylised way which makes it a better drama.

1.The impact of the film? A British film noir of the 21st century? The previous films of Mike Hodges?

2.The film as a mood piece, its frequently slow pace, the silences, the contrast with the action? The musical score? Its mood?

3.The London settings, the detail, homes and streets? The contrast with the forest?

4.The title, the focus on Will Graham? His life, career, change of life, prospect of death?

5.Davey, his relationship with Will? His life, in itself, the deal? The interaction with Boad? His death? The explanation, visual, the clinical aspects, physical, psychological?

6.The impact on Will? His own story? The strong and silent man? His appearance, his manner of looking at people? Going to the forest, his work, the past friends? The investigation, the interrogation? The phone calls, his arrival in London? Mrs Bartz? His friends, the coroner, the explanations? Visiting the room? His visit to Helen, the past relationship? Their discussions? The torture? Surveillance? The picture of society? The dog? The confrontation? The final threats, the killing? The cliff? The future? Helen’s place in Will’s future?

7.Mickser? His friendship with Davey, ordinary man, the discovery, listening, the phone calls? Helen and Will? The money? Sheridan and the torture? The disbelief about the sexual experience?

8.Helen, her past with Will, with Davey, the friendship, her work, unforgiving? The phone call and her leaving?

9.Turner, the thugs, the races, the bell? The body?

10.The character of Boad, sinister, cruel, his control, his thugs? The relationship with Davey? The explanation of his behaviour, the rape?

11.The revenge, the revenge theme and its being carried out? Audience sharing the intensity?

12.The homosexual issues, attitudes? Davey and his experience of the sexual encounter and his despairing response?

13.The grimness of the film noir, its look, mood characters, issues?