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Even the more "laddish" Football Factory tended not to dwell on the full scale chaos between its football gangs and Love has clearly kept this in mind with The Firm. Yet Love has no agenda here other than to show how quickly such altercations are broken up and how they often amount to little more than benign screaming matches.
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Thanks to Love's impeccable eye for the 1980s, the sense of watching a documentary on football violence runs close at times, with the camera skittering about to capture snatches of fight that never quite take off as quite accurately, the police intervene - with their standard uniform and makeshift formation, capturing them in flux before the later arrival of CCTV and full riot gear. The scenes of violence here must also be commended for their reserve and authenticity. It is this held focus on the family, combined with the way in which Dominic is positioned when the violence first unfolds (felled by a single punch and then little more than a terrified witness for the remainder of the film)that make for a clear mission statement on the behalf of the director. Central character "Dominic" shares an all too believable rapport with his father, forever wrangling money from him, whilst both parents playfully tease him throughout the film - trying their best not to cramp his style when a friend catches Dom at his local sports store.
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The film is also a far warmer and optimistic piece than anything Love has made so far. What immediately strikes here, as it does in "Goodnight Charlie Bright", and "The Football Factory" is the skill and accuracy with which Love conveys his subject matter. Which brings us back to Love and The Firm. Self conscious fight sequences shot through with booming dance interludes, whilst a preoccupation with all things bloody gave way to an orgiastic ending which was more like a scene from Braveheart than a realistic portrayal of football mob violence. Contrary to what director Lexi Alexander may think, this was a film that at every opportunity served to heighten the voyeuristic delight of its male, teenage demographic. A film so inept in its plotting, acting and overall plausibility that you'd be forgiven for thinking the whole thing had been stitched together by a gang of football thugs themselves. The worst example of which (and still prominent in most bargain bins of HMV up and down the land) would be the truly execrable "Green Street". The argument that such material merely glamorizes the violence it depicts, (appealing as it does to a section of youth that also worship the fashion and lingo of the genre) is without question. My objection lay not so much in the fact it was a remake of a classic film, but more as to why we needed yet another film centering on football hooliganism. I want to search out Susanne Bier’s 2005 film “Broedre”–it can’t lessen the impact of this one, however.Like a lot of people, when I first heard the news that Nick Love was "updating" the original version of The Firm I anticipated the worst. They will cause you to wince, but its good film making, not microscopic detail. The tortures are not so so graphic as some of the other reviews imply. The scenes in Afghanistan seem authentic. This is not an anti-war film except in the sense that any film that shows war either glorifies it unrealistically or jars us into questioning, if it is realistic. Natalie Portman is excellent and look for Carey Mulligan’s four minutes of screen time. Gyllenhaal is amazing, transforming an angry, unsure ex-con into a believable figure of redemption, slowly growing before our eyes as the story unfolds. This film is apparently a remake of a Danish film that had the same story line.īut it didn’t have Tobey Maguire and Jake Gyllenhaal! Maguire reaches into the darkest corners of his soul to flesh out the good brother, the Marine, who returns from Afghanistan with a staggering burden of guilt. Two brothers, one returning from prison, one heading as a Marine to Afghanistan.
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