Neds D i r e c t e d by Pe t e r M u l l a n S t a r r i n g C o n o r M c C a r r o n , Pe t e r M u l l a n , M a r i a n n a Pa l k a Released Januar y 21
large portion of Peter Mullan’s first directorial outing since 2002’s similarly provocative The Magdalene Sisters might centre on gang violence and seemingly psychotic bloodshed, but at its core, Neds is a glorious coming-of-age tale like no other. Set in 1970s Glasgow, the film revolves around highly intelligent schoolboy John McGill (Conor McCarron), and his slow integration into the wild street gangs that inhabit the estates around his home. The first five minutes are deceptively quiet, but no sooner has the film hit its stride than we’re confronted with an explosive, foul-mouthed tirade directed at our helpless protagonist by an unknown hoody. This attack, which sucker punches the audience early on, sets the precedent for much of the remaining two hours, and initiates the beginning of a tour de force of pure, concentrated tension. The film itself could easily be likened to a two-hour mugging, with clever positioning of random acts of extreme violence throughout the narrative insinuating into the audience a nagging sense of anxiety. While Mullan allows the story to flow, he sharply switches the tone and pace of scenes, constantly placing the viewer
in an unnerving state of uncertainty. What’s more, there’s a genuine feeling that Neds is authentic in its portrayal of the landscape and character of this despairing neighbourhood. Unlike many plastic British gangster films, the action doesn’t feel cheap or cynical, but forceful, dominant and wholly plausible. And when it comes to language, Neds is brave enough to stick to its naturalistic guns – employing a local Glaswegian vernacular that renders large portions of the dialogue only semi-comprehensible (when it was screened at the Toronto Film Festival it came complete with subtitles). Rather than jerking us out of the environment, this commitment to authenticity simply makes the experience all the more immersive. One thing the film is certainly never short of is drama; with a seemingly endless supply of subplots sustaining our attention and contributing to John’s exponential growth from a spineless boy into a confident young man. However, this is perhaps Neds’ only undoing – too many of these sprawling stories are in dire need of resolution towards the final third of the film. Nonetheless, this is an accomplished piece of storytelling. Brave, bold and true to the Scottish
roots from which it grew, it is nothing less than we’ve come to expect from the formidable Peter Mullan. James Wright
Anticipation.
The Magdalene Sisters was an incendiar y piece of filmmaking. All the festival talk has pointed towards yet another provocative hit for Mullan.
Enjoyment.
It draws you in and shakes you to your ver y core. This is an urban British drama of the highest order. B e t t e r s t i l l , t h e r e ’s n o D a n ny Dyer in sight.
In Retrospect. T h e c l o s i n g 30 minutes sag a little, but overall this is stor ytelling at its most engrossing.
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