Dir. Paul Weiland,
UK, 2006, 89 mins
Cast: Eddie Marsan, Helena Bonham Carter, Stephen Rea, Catherine
Tate, Peter Serafinowicz, Geraldine Somerville, Richard Katz,
Gregg Sulkin, Ben Newton
Review by Jaya Jiwatram
More often than not,
elaborate special effects dominate traditional story telling
techniques to reel in visual-hungry moviegoers into the
cinema. Sixty Six just goes to show that a simple story
idea mixed with well-crafted humour can still make a movie
sell. Based on the real life experience of director Paul
Weiland and shot in a mere eight weeks, this endearing
coming of age tale is peppered with comedic and humbling
moments that grip the audience’s
attention from the word go.
Simply constructed, yet original,
Sixty Six’s core
storyline revolves around shy 12-year-old Bernie (Sulkin)
who wishes for nothing more than England to exit early from
the 1966 World Cup games so that his Bar Mitzvah, set for
the same day as the finals, can still be the glamorous bash
he has always dreamt it to be. As one obstacle piles on top
of the other, Bernie’s quest to become a man crumbles
before his eyes. Alongside Bernie is his father, Manny (Marsan),
who also struggles to be a “man” as his family
grocery store is threatened by a bigger competitor in the
neighbourhood. The outcome looks bleak, but both father and
son unite, ironically, through what Bernie despises most – football.
What makes this film compelling, aside from the narrative,
are the convincingly true-to-life characters. Neither superficial
nor overly complex, the main characters steer away from typical
Jewish stereotypes and are people easily recognisable in
everyday life: Bernie is the pushover desperately in need
of attention; Alvie (Newton) is the dominant defiant sibling;
Manny is the quirky obsessive-compulsive wreck; Esther (Carter)
is the glue of the family; Jimmy (Serafinowicz) is the gregarious,
business-wise uncle; and Lila (Tate) is the lovable aunt.
In each character, there is a familiarity, and in that familiarity
we see our lives mirrored, and become part of the larger
family, laughing alongside Bernie and feeling his humiliation
too as he goes through the painful experience of growing
up.
Perhaps the only area where the movie
falls short – but
only slightly – are the few instances in which the
narrative feels almost forced. Is it really necessary for
Bernie to sum up his bonding experience at the end with “that
was the best moment ever with my dad”? Also, when Manny
reaches his lowest point and wants to leave his family behind,
he is stopped short from running away after his brother,
Jimmy, falls off a ladder. This deus ex machina almost seems
too convenient a plot device to allow Manny to suddenly realise
his familial responsibilities.
Of course, this is a “true...ish” story,
and a little suspension of disbelief does not hurt in this
case to enjoy what is truly a well-told tale. Sixty Six
may not kick certain coming of age classics like Big out
of its top spot, but, on par with other memorable hits
like Billy Elliot, it will be one of those movies easily
watched over and over again many years down the line.
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