It’s clear that, if music provides the soundtrack to our lives, movies make up the mental scrapbook. While we are a far more aural than visual race, we do tend to take certain films at face value. We’ll shiver at the thought of a shower after Psycho, or become the wariest of beach goers after Spielberg bares his Jaws. Yet we don’t typically take the actual image with us. Instead, a motion picture is filed away as a feeling in our cultural cabinet, lovingly recalled whenever a similar scene or sequence pops up. For the young boys of a small English town, Sylvester Stallone’s unhinged Vietnam vet with a personal vendetta and a wondrous way with weaponry becomes a symbol of their social coming of age. The reverence and need for a remake forms the basis for Son of Rambow, an effervescent look back at one director’s post-punk past.
Will Proudfoot lives a very sheltered life. As a member of the Plymouth Brethren religious sect, he is not allowed to watch TV, listen to modern music, or befriend his classmates. Quite by accident, he makes the acquaintance of school bad boy Lee Carter. Initially, the relationship is very one sided. Lee takes advantage of Will, and Will is too inexperienced to know any better. The duo begins work on a homemade movie, inspired by the recent release of First Blood, starring Sylvester Stallone. Entitled “Son of Rambow”, it incorporates many of Will’s wildest fantasies, mostly concerning the recent death of his father. As the boys make their mini action epic, they draw the attention of a French exchange student named Didier. He also wants to star in the film. On a far more serious note, Will’s work outside the order gets the attention of the elders. They warn the Proudfoots - end this association, or face expulsion.
Son of Rambow
Bill Milner, Will Poulter, Jules Sitruk, Jessica Stevenson, Neil Dudgeon, Ed Westwick
US theatrical: 2 May 2008 (Limited release)
UK theatrical: 4 Apr 2008 (General release)
Wistful and a little wonky, playfully recreating a fanciful early ‘80s UK summer, Son of Rambow definitely feels like someone’s personal experiences reinterpreted for public consumption. Writer/director Garth Jennings, last heard from helming the underappreciated big screen version of Douglas Adams’ Hitchhiker’s Guide to the Galaxy, takes snapshots from his childhood, mixes them with some intriguing local color, and paints a glorious canvas of an era unsure of itself, punk plowing into pop without a Blitz kid’s concern for style or substance. There are sequences of sumptuous reminiscence here, times when we literally get lost in the unique time and place that Jennings is portraying. At other instances, things become so pat and predictable that the forewarning undermines the wistfulness at play.
It goes without saying that the stars of this particular piece are the young actors at the center of the story. As the irascible Lee Carter, Will Poulter seems pulled directly out of a primer on purposefully angry young lads. He’s Butch from Our Gang given a slightly cockney bent, and he’s totally believable, even when slightly schizophrenic in his motivations and mannerisms. We may not believe in his ability as a future filmmaker, but we do get the impression that he’s dedicated, and when personal push comes to shove, quite loyal. Of the duo, young Bill Milner definitely has the harder role. His perplexed Will Proudfoot is walking, talking fundamentalist naiveté, desperate to break out of his religious restrictions, but unable to achieve the proper perspective. For him, the world is one big animated adventure just waiting to be had. Gullibility is hard to sell, especially in these all-knowing ‘naughts’. But Milner makes us believe, even if his ideas are a bit babyish.
Indeed, the whole moviemaking subtext steals some of Son of Rambow‘s potency. When Will and Lee are recreating overly aggressive action scenes and steroided stunts, we instantly anticipate the physical comedy. It may be rote shtick, but it is mostly satisfying. Where the film really flies is in its mix tape mapping of the early ‘80s. Sure, the song selection is all over the Top of the Pops terrain (“I Just Can’t Get Enough” by Depeche Mode never shared chart time with Sioxsie and the Banshee’s “Peek a Boo”), and the fashions scream of the broadest epoch generalization, but Jennings does a jolly job of capturing a moment when the dour depression of before seemed to open into an optimist, anything goes giddiness. It’s nostalgia, but its knowing, not knotty.
Perhaps the most intriguing material is left more or less unexplored. The Plymouth Brethren may appear like any other sect, starved of rationality as they use the Bible as the basis for every one of their often unconscionable decisions. And there is an interesting plotpoint when Will’s mother lets slip her secret love of a certain 45 rpm record. But we don’t get much more than mean-spirited reprimands and a leader who clearly lusts for the passive Proudfoot widow. Not much is made out of the missing father either - he is dead, but the details appear shrouded in a lack of clarity that makes his absence lack the standard cinematic impact. We want more of this material, to really understand the last act decision made by the family. But Son of Rambow is not interested in intricacy. It’s satisfied with a more slapdash approach.
Not that we as an audience mind, really. This is clearly a movie where the sum of all parts transcends the individual problems with each particular narrative thread. When mixed together with Didier’s pseudo stash, Plastic Bertrand panache (he’s an odd addition to this story, to be sure), Lee Carter’s old folks home front, Will’s wonderfully cartoonish flights of fancy, and the Monty Python meets misery of our heroes’ school situation, the manic movie making really zings. Certainly this is an incomplete effort, leaving more questions than clear cut conclusions, and the required wrap seems too easy given all that’s gone before. But there is also a bubbly exuberance that really reminds one of their youth and all its awkward awakening glory. This is one Son that any source could be proud of.
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article