colinr0380 wrote: ↑
Thu Nov 07, 2019 6:49 am
Also whilst this is and always has been an 18 certificate (and does feature at least the aftermath of a stabbing and a very novel scene of "an unloaded gun meeting an unloaded one" as described by Mullan in his commentary!), it is probably for the standard Scottish reason of the "c" word being used throughout almost as a verb! There must be about thirty instances of it in the first ten minutes or so!
Just three, as it happens, but 22 across the entire film. Plus four apiece in Close
and nine in Good Day for the Bad Guys
, making it comfortably the sweariest disc that I've subtitled since Blue Collar
a year ago.
I think it would comfortably qualify as an 18 even without the language, but it is indeed pure untrammelled Glaswegian, with all that that implies. In fact, I was amused to see that the subtitles on the old MGM disc significantly toned down what was being said onscreen, and there were times when overseeing the Indicator equivalent that the job mostly seemed to involve adding more swearwords (75 "fucks" in the MGM subs, a whopping 166 in the Indicator ones).
Plus it does have a lady with cerebral palsy in a wheelchair telling someone falteringly attempting to 'deal' with her to "fuck off", so there's that too!
There's a really sweet bit in the Orphans Reunited
documentary where Rosemarie Stevenson (who really does have cerebral palsy; Peter Mullan insisted on that, even though it meant casting a non-professional as there were no professional Scottish actors who qualified) confesses that this was the hardest bit of the film for her to do, because she hates swearing, never normally does it, and was mortified at the thought that her family might see her do it onscreen. Although given what's happened in the film before that point, they'd most likely have fled the cinema already if they were that sensitive.
Incidentally, Orphans Reunited
is one of the best retrospective docs I've seen in a long, long time - the mere fact that they've got the writer/director, all four lead actors, two significant supporting actors and the composer on board itself flagged up in advance that they were all fiercely proud of their work (and quite rightly), and there are some glorious anecdotes along the way.
I went back and watched the film last night and it is an astonishingly good film (arguably better than many a Ken Loach because there's a real sense of cheeky humour to leven the drama). So many great scenes especially in the sister's journey through the dark streets only to encounter a group of young teen girls who 'adopt' her and whisk her through the streets and parks ("like a Fellini or De Sica film", as Mullan says) before just as quickly abandoning her. Or that moment that always gets me in tears just after this as one of the girl's mothers, after having been told to "Fuck off" but not taking that for an answer wheels the sister up the ramp by the side of their house whilst a elderly neighbour gets quickly to her feet and shouts at them through her window to "stay off ma ramp! It was put in for my use only!". Which initially makes her just seem nastily belligerent, but then in briefly holding on her shouting about her late husband having fought to put it in for her and then after being ignored shakily closing the window again and sitting back down staring out of the window as if on eternal vigilance of the ramp, feels heartbreaking in an awful way.
There are lots of moments like that - Mullan has a real gift for switching from comedy in such appalling taste that even John Waters might think "Hang on a minute there, Pete" to something that's really properly devastating, and then back again. For all the film's wild raucousness, Mullan never forgets that the core subject is about the traumatic experience of going through bereavement, and it's fiercely honest about this throughout. (Incidentally, Douglas Henshall says in the doc that his own mother died six weeks before shooting started, and that in retrospect he really should have pulled out of the project, but... well, a lot of his performance basically isn't acting, and is all the more affecting for it.)