Hot off the brain-cell-killing press, the Sun has reported that the 2011 Stone Roses reunion is to be accompanied by a movie made by Shane Meadows. It’s all looking good according to the newspaper that never ever lies.
At first, I read this feeling pessimistic as to what sort of value a rockumentary reunion movie would actually offer your average movie fan, or Stone Roses fan, or like me, movie and Stone Roses fan. I’ve been to an Ian Brown solo gig, and, still today, the only bits that people care about are Waterfall and I am the Resurrection. I skeptically await any descent new material. So all this can really be is another money-milking pump on the sore-nippled cow that rock reunions have become, no?
No. I have every faith in Shane Meadows. Obviously he’s perfect for this working class, gruff sort of ‘elizabeth-my-dear’ stuff. I mean, of course they wouldn’t get Disney Pixar to do it. This could be quite exciting.
More importantly, the Meadows/Considine synergy that keeps churning out such awesome kitchen sink dramas is the British film industry’s most exciting working relationship today, and by default, I find myself watching one film of theirs and reestablishing my appreciation of them both relatively.
Paddy Considine’s directorial debut in Tyrannosaur is astounding. He reportedly kept in close contact with Meadows, friend and collaborator, throughout the making of the film. It’s been a while since I last left a film theatre so dumbstruck. Of course, it’s nasty and full of cruelty and violence and poverty and it’s hard to watch; but the real bits that make you want to wail and insanely embrace the nearest human being are moments of heart-breaking kindness in the face of resistance. This is symbolised through the protagonists’ relationship - Joseph (Peter Mullan, an actor who never struggles to play a part at the bottom of the council tax band) and Hannah (Olivia Colman).
Aw aye, that’s that bird fae Peepshow, eh?
She is absolutely perfect, horrifyingly so. I want to run round to her house right now and make sure that she isn’t actually a real-life victim of domestic torment. Dialogue never falls below spot-on. She is so utterly convincing and real.
It was this real-ness that kept us fixed while Considine’s enraged character sought bloody revenge in Meadows’ Dead Man’s Shoes, and instilled endearment in Meadows’ This is England, and, in a break from tradition, caused a smirk at Considine as rapper twat in Meadows’ Le Donk and Scor-zay-zee.
With any luck, Meadows’ take on the Stone Roses won’t give the band members the same laughable qualities as the mock-rockstars in Le Donk. But who knows - maybe Mani’s dug will end up mauling Brown on a council estate between gigs.
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