Tag Archives: Shane Meadows

Somers Town Part 3

Tomo and Marek

Tomo and Marek on a spree

A viewing finally allows me to return to discussion of Somers Town and its funding as well as comparing notes with Rona’s Edinburgh Festival review. On reflection, I think that the film is light in narrative terms – certainly in comparison with Shane Meadows’ earlier successful films. However, the film has the potential to work well with audiences and I think it is very interesting as a ‘text in circulation’.

I saw the film on a digital print which meant that it appeared on the larger of the two main screens at the National Media Museum. (One of the problems associated with digital prints is that they can’t be moved between screens.) A relatively small audience rattled around in the theatre, but they seemed to enjoy the film. Applying the Mark Kermode test, the film must be a genuine comedy since I laughed out loud on several occasions (Kermode admits this is rare with most mainstream comedies). This bodes well for the three events I have coming up.

I suspect that the first problem facing Meadows and scriptwriter Paul Fraser was the basis on which they would expand the initial idea from a 9 minute short to a 70 minute feature. I have no expertise as a scriptwriter, but it seems obvious to me that it isn’t just a question of lengthening scenes and adding events and sub-plots. Just as a short story is a different form to a novel, a short film is a different form to a feature film. What is apparent in Somers Town is that the Thomas Turgoose character, ‘Tomo’, has no back story. All we know is what he reveals in a cafe conversation – that there is no one for him in Nottingham. Is he running away from a violent father, from simple boredom, from a criminal past or something else entirely? Or is the line in the cafe just part of a con to get sympathy. I don’t remember any specific clues. Of course, there is no reason why he should be anything else other than an enigma, but this would be less of an issue in a short film. In a feature we expect to learn a little more about characters and Somers Town inverts our usual experience. Tomo is the enigma and Marek, the migrant ‘other’, is someone with more background. Marek is, in some ways, a typical character with a father who works hard and drinks hard and who is capable of violence when provoked. (Or perhaps I’ve just been unlucky in the few Polish films I’ve seen recently, all of which which feature heavy drinking.) The third young character, Maria, is a kind of magical/mythical creature – the perfect fantasy girlfriend. There are only two other significant characters, played by Kate Dickie and Perry Benson, both of whom are ‘helpers’.

In terms of style, the obvious references are to the 1960s and both French and British New Wave films, not least because of the black and white cinematography. Here’s Shane Meadows on eyeforfilm.co.uk:

“I went to London – I’d not really shot outside of the Midlands before. I was very excited but when I actually started taking photographs of the various locations, because there was a massive range of buildings from a massive range of times we ended up with a huge variation in colour. So I started to worry that it wasn’t going to look great. I had some of the photographs converted into black and white and suddenly it started to look like the same place rather than this mish-mash. Around St Pancras there’s so much development going on, there was any colour of plastic sheeting – it was like any image was going to be a patchwork quilt of colours – so black and white film was able to temper that design and to get the best out of the area.”

The connection to Paris suggests several potential French comparisons – perhaps to Truffaut’s slightly younger characters in 400 Blows (1959). As far as British cinema is concerned, there is a reference to The Knack (1965) in the Sight & Sound Review by Mark Sinker – prompted by the the scenes in which Tomo and Marek push Maria along in a wheelchair (in The Knack, Rita Tushingham is pushed along on a brass bedstead). I’m not sure about this, the trip down to St Pancras in 2008 from Nottingham seems a lot less of a shift of culture than coming down from the North in the mid 1960s. On the other hand, there is still a charge in the suggestion that London is a different place and as another review (can’t remember by who) put it, Somers Town is a welcome alternative to the view of English working-class life offered in a London-set film such as Adulthood. The Knack was clearly an attempt at a form of social satire (from the play by Ann Jellicoe) and 400 Blows was a powerful film about youthful alienation. Somers Town seems much lighter. Partly, this is because of the final sequence – the ‘money shot’ for Eurostar, I guess. I don’t want to spoil the film for potential viewers, so let’s just say that the ending is possibly a fantasy (which does take it back to The Knack, perhaps.)

The release pattern of Somers Town has been quite interesting. Presumably, the distributors, Optimum Releasing, thought that despite the success of This Is England in ‘breaking out’, Somers Town would struggle to find an audience beyond specialised cinemas. As a consequence, the film opened on 62 screens in the UK with a steady screen average of just under £2,000 for the opening weekend and No 13 slot in the Top 15. Week 2 saw a 37% drop and Week 3 a 43% drop, but this was mainly because the screen count dropped to 39. In retrospect, I think that the film probably exceeded the expectations of Optimum and that if they’d managed to keep it at 50+ prints in a wider range of multiplexes they might have had a bigger success. Even so, £400,000+ after 3 weeks is a good return for a low budget film. The UK Film Council is also probably feeling quite pleased since it awarded Optimum £140,000 to boost the print count to 62.

The other interesting aspect of the release was that Arts Alliance, the company which supplied digital projectors for the Digital Screen Network in the UK, funded a digital print of Paddy Considine’s Dog Altogether (17 minutes) to be shown before Somers Town on the same programme. The short was presumably available to any programmer with a digital screen (though not all seem to have taken it). Arts Alliance is also connected to the City Screen chain of cinemas, so I presume that they took it if they had a digital screen available. I’m pleased that the National Media Museum did take it as I hadn’t seen it before (it has appeared on Channel 4 and is available (to UK and Ireland PC owners – not Macs, boo!) on 4OD. The two films together make an 88 minute programme which I think is OK (I think other cinemas tried to find other suitable shorts). It’s great to see short films used in this way – they are important in introducing new directors and they need to be seen in mainstream cinemas, not just on TV or at festivals. There was only one problem with this particular combination – the certificates. Dog Altogether is a 15 Cert short (it deals with a character’s struggles with violent behaviour) but Somers Town is 12A. This must have caused a few headaches for cinema directors and front of house staff.

Dog Altogether is an appropriate partner for Somers Town in the sense that Paddy Considine is a long time collaborator with Shane Meadows (performing lead roles in A Room for Romeo Brass and Dead Man’s Shoes and he acknowledges Meadows help:

However, in tone Dog Altogether is much darker and I’ve heard of several complaints from audiences expecting a light comedy and not happy about seeing something else. This used to happen in the days of the ‘full programme with supporting feature’ when inappropriate B features would appear on the bill with A comedies – there is mileage here in research into how audience tastes have changed (i.e. audiences are perhaps now less tolerant of the unexpected – or perhaps feel that they have paid specifically to have seen the single title, whereas previously they paid for ‘a night out’.

I’m collecting clips and useful websites, more to come later:

Here’s Thomas Turgoose being interviewed about the film:


For all things Shane Meadows, the best source is http://www.shanemeadows.co.uk/

Here is the interview on ITV’s This Morning featuring Shane and Thomas Turgoose discussing how Tomo was cast for This Is England:

A couple of YouTube clips while we wait for the DVD release. The first is a Sky ‘bitesize clip’:

This one is a video package from Associated Press – a good example of the material available to TV stations and other media outlets from agencies:

These are ads directed by Shane Meadows, so Somers Town isn’t his first ‘sponsored’ film:

The official website: http://www.somers-town.com/

An article in Campaign Magazine about how the advertising agency Mother Vision started off the Somers Town project.

Co-producer on the film was Barnaby Spurrier and Tomboy Films

There are not many women in the UK who are award-winning cinematographers, so check out Natasha Braier’s website.

Check out this Finnish blog for an interesting quote linking Shane Meadows and François Truffaut!

And here is a possible Truffaut stimulus film, Les Mistons (The Mischief Makers). This is the first part of a two part short film:

I think this film shares not only a narrative idea (boys attracted to an older girl) but also a light tone.

Here is the UK Film Council chart for the week of the film’s release.

Shane Meadows and Eurostar

The restored 19th century train shed at St Pancras International, as used by Eurostar.

The restored 19th century train shed at St Pancras International, as used by Eurostar.

The release of the new Shane Meadows film Somers Town in the UK has been accompanied by an unusual amount of soul-searching and questioning re the role of investment by Eurostar. This was evident in the (very positive) review on BBC Radio 4’s Front Row last night and formed the basis of Xan Brooks’ argument in a Guardian article this morning. These are just the latest two examples – I’ve seen earlier references and I’m sure that the argument will be mentioned in several reviews on Friday. I haven’t seen the film yet but I’ve gambled on it being a useful educational resource and I’ve booked it for events this Autumn.


Somers Town began as a short film that was intended to act as a form of promo for the movement of Eurostar’s service from London’s Waterloo station to St Pancras. (See Rona’s post from the Edinburgh Film Festival screening for more on this background.) ‘Somers Town’ is the area of London situated between the railway terminii of Euston to the West and St Pancras and Kings Cross to the East – an historic location which once housed railway goods yards, hospitals and social housing. The new development (an extended station area and the restoration of the historic St Pancras station and hotel as well as the new high-speed rail link to Europe) impinges on the lives of the locals in two ways. First it has brought increased employment opportunities (and prompted the arrival of migrant workers) and second it has brought a further element of regeneration and ‘gentrification’ to the area with new services allied to the upmarket shops in the newly expanded station (following the building of the British Library and parts of University College (UCL) in Somers Town itself). Here are two potential social issues that could contribute to narratives set in the area. This is one of the parts of London that sees a juxtaposition between working class housing and Central London commercial and entertainment activities and the local community which was once very settled and close-knit is presumably seeing changes. The whole wider area of St Pancras south towards Bloomsbury and Grays Inn is to some extent unique in London and has not often appeared on screen. The most famous images of Kings Cross are probably those of the railway bridge in The Ladykillers (1955) and the skylines of Mike Leigh’s High Hopes (1988).

When Meadows began to shoot Somers Town (according to Brooks) he quickly found that he had far more material than could be contained in a 9 minute short. (He first refused the commission, then got interested again when he saw the script produced by his frequent collaborator Paul Fraser.) Eventually, he expanded the narrative to a 70 minute feature (just long enough to count as a feature in UK exhibition). The film was first seen at Berlin earlier this year and then won the major prize for a British film at Edinburgh Film Festival in June. The budget of the film is reputed to have been about £500,000, initially from Eurostar with additional funding later, including support from UK Film Council. It is now being released by Optimum.


The ‘controversy’ seems to be about whether this is a Eurostar ‘branding exercise’ and whether Meadows has ‘sold out’. Should we see this as akin to the massive product placement deals in Hollywood, is it the thin end of the wedge that will drive through UK independent filmmaking? It all seems a little silly to me, but it does help to expose the whole fraught process of how small films need promotion. Meadows, in one of the many interviews he’s given (see www.shanemeadows.co.uk/ for links), reflects that throughout the shoot, Eurostar didn’t interfere in any way apart from helping the producer with locations permissions. However, since the film’s completion, “. . . they have been brilliant at supporting it without ever trying to make into something that it isn’t” (Meadows on LastBroadcast.com).

Given the generally positive reviews and eager anticipation (it’s great to see the enthusiasm for Meadows’ work), Eurostar would be mad not to support its release, but as the coverage shows they need to do it sensitively. It’s a silly debate, however, because all films depend on financial backing which has strings attached and potential constraints for innovative filmmakers. ‘Artistic independence’ is mostly a myth and I’m sure that, for Shane Meadows, this was just a shoot like most others.

Xan Brooks does make a number of useful points in passing, I think. He mentions the legacy of filmmaking commissioned by the British Transport Commission and other public bodies in the 1950s and 1960s, including many fine documentary films about the railways such as the John Schlesinger film Terminus (1961). He also suggests that the film encourages ideas about travel to Europe and Meadows himself has said he has become more interested in what is happening in eastern Europe after his experiences directing Polish characters. There is a general argument about product placement and the ‘non-accountability’ of sponsored filmmaking (Brooks points out that sponsorship of cinema films is not subject to the Ofcom/ASA controls that face TV and print advertising), but it shouldn’t obscure debates about the funding of independent filmmaking generally.

I’ll blog what I think of the film when I see it, but as a railway fan knocked out by the restoration of St Pancras station and an advocate of Eurostar as the green way to travel across Europe, I’m already in the camp. The only sadness for me is that Eurostar is not publicly-owned or that Shane Meadows could not be commissioned from public funds by a London community arts grant.