Plus there’s a worrying trend in some accounts of (and commentary on) soccer violence to paint the perpetrators as working-class heroes asserting a proud rebellious streak.Īdded to that is the fact that Love is, for the first time, doing a remake – of one of the most powerful and critically-acclaimed television films of all time, directed by the legendary Alan Clarke ( Scum, Made In Britain et al) and starring a young Gary Oldman in one of his breakthrough roles. The problem of recreating the visceral adrenalin rush of any violence, and mob violence in particular, without making it seem glamorous and exciting, is an age-old one and many directors have fallen into the trap. His last film, Outlaw, received decidedly mixed reviews, with some critics accusing it of glorifying vigilantism. While undoubtedly a gifted cinematic storyteller, Love has sometimes been guilty of buying into the ‘geezer chic’ lifestyle he depicts (most notably in his calling card movie The Business). I’ll admit to coming to this film with some trepidation. ![]() ![]() The grim images of crowd violence at the recent Carling Cup tie between West Ham and Millwall were a reminder that social ills like football hooliganism are far from dead and buried – and make the release of Love’s take on the darkest days of Saturday afternoon ‘meets’ sadly timely.
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