MOJO
UK, 1997, 90 minutes, Colour.
Ian Hart, Ewan Bremner, Hans Matheson, Aiden Gillen, Martin Gwynne Jones, Harold Pinter, Andy Serkis, Ricky Tomlinson.
Directed by Jez Butterworth.
Mojo was based on the multi-award-winning play by writer-director, Jez Butterworth. It does not transfer easily to the screen. What would have worked in a stylised theatrical atmosphere, transferred to the realism of London in 1958, makes it seem quite artificial – with gaps in characterisation and plot continuity.
The setting is London 1958, the world of the newly emerging clubs. This is the world seen in films of that period from the UK, especially the Cliff Richard vehicle, Expresso Bongo.
This world is more sinister. Ricky Tomlinson portrays the owner of a club, a homosexual who has abused his son, Aiden Gillen, with dire results. He has a new protégé who is very successful, Hans Matheson. A rival club owner, played by playwright Harold Pinter, is jealous and wants the club and the young man. He employs some of the staff at the club to murder the owner. The film takes place over a couple of days, focusing on all the characters and their interactions. Sometimes these are emotionally overwrought.
The film shows some of Britain’s leading character actors in earlier roles, especially Ian Hart (a strong scene where he cannot bring himself to shoot Ricky Tomlinson), Ewan Bremner (from Trainspotting), Aiden Gillen (who was to star in Queer as Folk), Andy Serkis (Gollum in the Lord of the Rings trilogy. Ricky Tomlinson is a stalwart of British cinema and television, especially from Ken Loach films and The Royle Family.
Jez Butterworth was to go on to make The Birthday Girl with Nicole Kidman.
1. The impact of the film? Theme, characters?
2. The film originating as a play, its theatrical atmosphere, characters, interactions? The transfer to the screen?
3. The London setting, London 1958? Inner London, the clubs? The streets? The film’s focus on the interiors of the clubs, homes? Less on the exteriors? The musical score – echoes of the clubs, songs and jazz of the period?
4. The title? Meaning? As applied to the characters?
5. The opening, the discussion between Potts and Sweets? The words, the issues, the tone, the style? The continued characterisation of these two? Observing, working at the club, their relationship with Ezra? With Mickey as leader? With Skinny Luke, with Silver Johnny? Their doing what they were told? Not knowing exactly what was going on? Their characters, language, issues, submitting to Mickey?
6. Ezra, owning the club, his relationship Silver Johnny, the sexual overtones? In the dressing room, the shirt, getting him to turn? His performances on stage? Ezra and his satisfaction? His relationship with Sam Ross? The rivalry? Sam Ross’s visit, his reactions, his going with Johnny to Ross’s club? Playing pool? The atmosphere, the bargaining, Ross’s henchmen? His being brutally murdered? Ross wanting Mickey to shoot him? The death, his being taken by the naked man to be buried? Johnny and Baby looking at him? An ignominious end, the young man’s comment about how he treated Baby?
7. Baby, son of Ezra, moody, lying in Trafalgar Square, arriving when he liked? His father’s reactions? The sexual past? Baby and his taunting of Skinny Luke? The antagonism between the two? His going to Sam Ross’s club, the death of his father? Wanting to take over, trying to stand up to Mickey? Mickey dominating him? His agreeing to reconcile, to apologise to Luke? The aftermath with the gun, his shooting Luke in the head? The buying of the bike, on the edge of the building? His living on the edge? With Johnny at the end?
8. Johnny, young, coming from Acton, living with his mother? His ambitions and dreams, his talk to Ross about composing songs, feeling he was a bit mad? Nervousness, performance? The response of the girls? His submission to Ezra, the clothes, sexually? Going to Ross’s club, talking, sitting with him, drinking milk? His reaction to Ezra’s death, going back to the club, observing?
9. Mickey, pretending to be ill, going home, the plan with Ross? Coming back, keeping people inside? His being ordered to shoot Ezra, his attempts, crying, inability? Yet his determination to own the club and manage it? Ross letting him go? His return, the confrontation with the others, with Baby, Baby and his attacking him with the knives? His final control?
10. Sam Ross, his henchmen? Tough, his envy of Ezra, wanting Johnny? Coming to the club, the good manners, the conversations? His approaches to Johnny, the playing of pool, Johnny ineffectualness? The death of Ezra? Pressurising Mickey? Wanting Johnny?
11. An atmosphere of an unsavoury London? The clubs of the past? The relevance to the present?
