Orphans

Orphans takes place in Scottish working class surroundings. It is in the middle
of the, as in seems, constantly wet and down-trodden Scotland of the poor. We meet broken humans, worn-out environments, shattered hopes and other such things that we have gotten used to from the British social-realism film tradition.
A mother dies and leaves her four grown children in chock and deep mourning. The night before the funeral a storm breaks out, both meteorologically and emotionally, that pull the four orphans into complications and misunderstandings, so severe that they have to fight
to keep their head above water.
After a visit to the pub that ends in fights, tears and hysteria, the four split up and get lost in the dangerous and adventurous night. Each one is trying on his own to come to terms with the grief. They are about to loose their touch with reality. Death is always nearby.
Orphans is yet another example that the British social-realistic film is alive and kicking. It has almost become a genre of its own and makes you wonder: can things tru Iy be so naked Iy free of ill usions as th is, in the English and Scottish working class neighbourhoods? Peter Mullan does not
need to feel ashamed, not even before such English filmmakers as Ken Loach and Mike Leigh. Orphans is carried through in a relaxed and consistent way, both as to narrative and style. Like in the films of Mike Leigh, it is obvious that a lot of time and effort has been placed on the acting.
Even though the lives of the main characters are so miserable, one cannot help but be charmed by them. The characters are nakedly turned inside-out and we get so close to these people that it becomes sincere. I am delighted. I hope Peter Mullan will continue to pull us down into the Scottish filth.
ISAK WESTERSTRÖM

Premiärstatus
Skandinavisk premiär: Medverkande
Gary Lewis,Douglas Henshall,Rosemarie Stevenson: Producent
Frances Higson: Manus
Peter Mullan: Foto
Grant Scott Cameron: Musik
Craig Armstrong: Talat språk
English