Scum
May 19th 2008 00:07
Scum (1979), a shocking and sobering view of British Borstal life (prison for young offenders), was originally commissioned and made for British TV (BBC’s Play for Today series) in 1977, but after viewing the film authorities deemed it too documentary-like, too realistic, too violent, too bleak. It was immediately banned from airing.
Director Alan Clarke had to wait two years before the rights to the movie were available to him again. He then re-made the film and it was released theatrically to much critical acclaim, and a eventual cult following. I’ve not seen the original film which uses most of the same actors, but differs with the more harrowing and profane elements (violence, rape, suicide, language) of the theatrical toned down or cut out.
(When I was growing up in my home country of New Zealand the movie ratings were: G, GY, GA, R13, R16, R18, and R20. For example Jaws was a GA, The Fog was an R13, Halloween an R16, Dressed to Kill an R18, and a small handful of movies were R20, such as A Clockwork Orange and Last Tango in Paris. Then there was the rather odd exception of two movies that received an R21 rating; one was Stanley Kubrick’s Lolita and the other was Scum.)
I first saw Scum on VHS back in the day before all the videos were taken off the shelves and given ratings. Strange to think there was a period of a few years where any young kid could walk into a video store and hire out a movie that in the cinemas was rated R16, R18 or R20. My mates and I organised a few movie sessions that involved “adult” movies when we were barely teenagers; movies like Alien (R16), The Deer Hunter (R18), Dressed to Kill, and Scum. The Deer Hunter packed a punch, but Scum knocked us for six.
It follows the plight of three young criminal offenders as new arrivals at the Borstal and their subsequent nightmarish existence within The System. Carlin (played brilliantly by a young Ray Winstone in his movie debut) is the central character, and the movie follows his rise from newbie to Big Daddy (top dog). Along the way he and others receive beatings and humiliation from fellow offenders and Borstal staff alike.
Borstal life was a very brutal regime which made no substantial attempt to reform or improve the attitude of its inmates and actively encouraged a power struggle between new inmates and the older hands. That system effectively ended in the early 80s (to be replaced by the Young Offenders Institutions). Clarke’s theatrical movie, although more obviously button-pushing than the original made-for-TV version, still has the power to shock and disturb. Roy Minton’s screenplay is savage and insightful with many memorable lines; “Where’s ya tool?”, “What fucking tool?” Thump! Wallop! “This fucking tool!"
There are numerous scenes which are deeply troubling. Two particularly nasty incidents stick out: the victimisation of one fragile inmate which includes a prolonged anal rape (much to the delight of a voyeur Borstal officer) and his subsequent suicide. The other infamous scene has tough Carlin seizing the moment, stuffs several snooker balls into a sock and then bashes one of the bullies (Phil Daniels) across the head. Shot in one take, it leaves the viewer reeling from its ferocity and apparent realism (there is actually a clever off-camera exchange to a sock full of ping pong balls). Carlin then heads off to confront Banks (John Blundell), the top dog, in the bathroom, ramming his face into the faucets and beating the living daylights out of him then spitting, “Right Banks, you bastard, I’m the Daddy now, next time I’ll fucking kill ya!”
The whole tone and mood of Scum is oppressive and full of despair, made all the more resonant and powerful by the lack of a music score, and the uniformly superb acting and unpretentious direction. Mick Ford, who plays dis-establishmentarian Archer, is a welcome “comic” relief, but it’s comedy laced with irony and sorrow. Julian Firth, who plays tragic young Davis, is another stand-out.
The film’s final image of the inmates standing in rows in the cold outside with their heads bowed following the reprimand from an uprising lingers long after the movie ends. It’s a fitting closure to a movie which in its un-glorified, grim minimalism damns a system which fails its purpose. It’s a vicious circle, with little hope. Scum, along with John Hillcoat’s Ghosts … of the Civil Dead (1988), is definitely one of the most gut-wrenching and powerful prison movies ever made.
Here's an original trailer (Warning! Not work safe!):
Here's the complete "Daddy" sequence (Warning! Not work safe!):
Director Alan Clarke had to wait two years before the rights to the movie were available to him again. He then re-made the film and it was released theatrically to much critical acclaim, and a eventual cult following. I’ve not seen the original film which uses most of the same actors, but differs with the more harrowing and profane elements (violence, rape, suicide, language) of the theatrical toned down or cut out.
(When I was growing up in my home country of New Zealand the movie ratings were: G, GY, GA, R13, R16, R18, and R20. For example Jaws was a GA, The Fog was an R13, Halloween an R16, Dressed to Kill an R18, and a small handful of movies were R20, such as A Clockwork Orange and Last Tango in Paris. Then there was the rather odd exception of two movies that received an R21 rating; one was Stanley Kubrick’s Lolita and the other was Scum.)
I first saw Scum on VHS back in the day before all the videos were taken off the shelves and given ratings. Strange to think there was a period of a few years where any young kid could walk into a video store and hire out a movie that in the cinemas was rated R16, R18 or R20. My mates and I organised a few movie sessions that involved “adult” movies when we were barely teenagers; movies like Alien (R16), The Deer Hunter (R18), Dressed to Kill, and Scum. The Deer Hunter packed a punch, but Scum knocked us for six.
It follows the plight of three young criminal offenders as new arrivals at the Borstal and their subsequent nightmarish existence within The System. Carlin (played brilliantly by a young Ray Winstone in his movie debut) is the central character, and the movie follows his rise from newbie to Big Daddy (top dog). Along the way he and others receive beatings and humiliation from fellow offenders and Borstal staff alike.
Borstal life was a very brutal regime which made no substantial attempt to reform or improve the attitude of its inmates and actively encouraged a power struggle between new inmates and the older hands. That system effectively ended in the early 80s (to be replaced by the Young Offenders Institutions). Clarke’s theatrical movie, although more obviously button-pushing than the original made-for-TV version, still has the power to shock and disturb. Roy Minton’s screenplay is savage and insightful with many memorable lines; “Where’s ya tool?”, “What fucking tool?” Thump! Wallop! “This fucking tool!"
There are numerous scenes which are deeply troubling. Two particularly nasty incidents stick out: the victimisation of one fragile inmate which includes a prolonged anal rape (much to the delight of a voyeur Borstal officer) and his subsequent suicide. The other infamous scene has tough Carlin seizing the moment, stuffs several snooker balls into a sock and then bashes one of the bullies (Phil Daniels) across the head. Shot in one take, it leaves the viewer reeling from its ferocity and apparent realism (there is actually a clever off-camera exchange to a sock full of ping pong balls). Carlin then heads off to confront Banks (John Blundell), the top dog, in the bathroom, ramming his face into the faucets and beating the living daylights out of him then spitting, “Right Banks, you bastard, I’m the Daddy now, next time I’ll fucking kill ya!”
The whole tone and mood of Scum is oppressive and full of despair, made all the more resonant and powerful by the lack of a music score, and the uniformly superb acting and unpretentious direction. Mick Ford, who plays dis-establishmentarian Archer, is a welcome “comic” relief, but it’s comedy laced with irony and sorrow. Julian Firth, who plays tragic young Davis, is another stand-out.
The film’s final image of the inmates standing in rows in the cold outside with their heads bowed following the reprimand from an uprising lingers long after the movie ends. It’s a fitting closure to a movie which in its un-glorified, grim minimalism damns a system which fails its purpose. It’s a vicious circle, with little hope. Scum, along with John Hillcoat’s Ghosts … of the Civil Dead (1988), is definitely one of the most gut-wrenching and powerful prison movies ever made.
Here's an original trailer (Warning! Not work safe!):
Here's the complete "Daddy" sequence (Warning! Not work safe!):
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Comment by Damo
For the Sake of Argument
My Apologetics
That is so British.
Comment by Cibbuano
20/20 Filmsight
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Fat Cult
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Comment by Bryn
Horrorphile
Cibby, The first in my Extremus Atrox selection ....
Comment by Mountain Fog
Infognito
I wish people who scream for blood in our justice sytems would understand that brutality does not work, it just makes the situation worse, the perpetrators more psychopathic, and brings us all back to an earlier time, which we like to reflect upon in classrooms, as unenlightened, ignorant and sadistic.
Regrettably, too many people of today see brutality as the panacea, and not as a device of continuing suffering for all.
cheers
I will check it out soon!
fog
Comment by Bryn
Horrorphile
Comment by Mountain Fog
Infognito
thanks for that Bryn,
so is it available here in Oz do you know? Or is the more recent theatrical version the only one available?
fog
Comment by JohnDoe
Film & TV on DVD
This is possibly more powerful as an adult than when I first saw it as a teen. The performances are scarily authentic and the volatile script and direction make for an unblinking viewing experience. Astounding how Ray Winstone seems to always carry that luminous threat around him, even in this early role.
When they released on R4 DVD a few years back I did a little song and dance.
Comment by Bryn
Horrorphile
Comment by Bryn
Horrorphile
Comment by Mike Wheeler
Cinema Rat
Extreme Critic
Comment by Bryn
Horrorphile