Dir.
Ken Loach, 2002, UK/Ger/Spain, 106 mins
Cast:
Martin Compston, William Ruane, Annmarie Fulton, Michelle Coulter
If you were browsing through the video store and came across the title Sweet Sixteen, you might expect it to be one of those frothy Hollywood teenage comedies. Think again. This is a Ken Loach film, and its bleak social commentary fits in perfectly with the director's previous filmography.
Loach's 2002 release centres on Liam (Martin Compston), a tempestuous 15-year old from a broken family. He spends most of his time getting up to no good with his best friend, Pinball (William Ruane), and having the resulting injuries nursed by his older sister, Chantelle (Annmarie Fulton). Liam dotes on his mother, Jean (Michelle Coulter), who is soon to be released from jail. He doesn't have much time, understandably, for either his stepfather or his grandfather. Both are hard, violent men involved in drug trafficking. Ironically, it's Liam's desire to buy a caravan home as a surprise present for his mother that leads him down the same destructive path as the significant male influences in his life. Fuelled by noble desires, Liam is soon running a drug ring under the guise of pizza delivery. It's a scheme that is never going to work. And it doesn't.
I'm glad that filmmakers like Loach are prepared to make serious films that deal with important issues, but it's difficult to swallow a story as cheerless as this one is. There is little in the way of optimism to take out of the film, and few of the characters have any real virtues. Only Chantelle, whose earnest, well-intentioned advice is consistently ignored by her brother, emerges as a person of strength.
The contemporary Scottish setting in the screenplay by Paul Laverty doesn't disguise the film's all too familiar themes. You don't have to look far for films that show how easily young people may be seduced by the power and wealth of criminals, and how they learn the painful lesson that crime doesn't pay. Sweet Sixteen doesn't offer much that's new, while some sloppy editing and Loach's unconvincing use of soundtrack do not help the downbeat subject matter.
The film is almost saved by the terrific performances of Compston and Fulton, both appearing on the big screen for the first time. Both actors exhibit a rare combination of steely edge and tenderness that makes the scenes between them moving. Ruane also offers an impressive debut performance, although his character is so off-putting that it may be difficult to notice.
One final warning. Sweet Sixteen is the only English language film I've seen that needs subtitles. Sadly, it doesn't have them. And you won't be rewarded if you do manage to get past the thick Scottish accents and colourful dialogue.
Justin Whitton |
