This is a thoroughly entertaining film. It’s scabrous, perverse, surreal and offensive but nonetheless engaging. You need to know that is an adaptation of an Irvine Welsh novel and that therefore there will be sex, drugs, violence and various obscenities. Nothing is to be taken seriously. In strict Aristotelean terms this is possibly a tragedy rather than a comedy – but even then the ending is ambiguous.
I haven’t read the Welsh novel, but a glance at Wikipedia’s page suggests that the adaptation has changed several aspects of the narrative and this may be a problem for Welsh fans. Non-Brits should be aware that ‘Filth’ is a slang term for both the police (‘Polis’ in Scotland) and for pornography as well as more properly for ‘dirt’. The anti-hero of Filth is a Detective Sergeant in the Edinburgh CID, Bruce Robertson, played by James McAvoy. Robertson is put in charge of a murder case which he must solve in order to gain promotion – and win back his wife and child who have left him. But this is a policeman who has a serious mental health problem and who is declining rapidly under a regime of cocaine, alcohol and obsessive sex. He is haunted by a childhood memory that begins to haunt him after he becomes involved in a street incident. Ironically this incident offers Robertson a possibility of some form of redemption but he is already set on a path of destruction which will damage all his colleagues.
Director John S. Baird is not an innovator matching the Danny Boyle of Trainspotting and there is nothing too surprising in the aesthetics of the film, but those of Welsh’s ideas that have made it into the film adaptation added to the array of fine performances by a truly stellar cast carry the film through: Baird keeps the pace going at a fair lick. It’s perhaps invidious to pick out only one or two actors and many of Scotland’s finest are here including Gary Lewis, Kate Dickie, Shirley Henderson, Martin Compston and John Sessions. You can’t really go wrong with talent like that, especially when you throw in the English stars like Eddie Marsan, Jamie Bell, Jim Broadbent and Imogen Poots. But above all there is James McAvoy. I’ve previously questioned his casting in action roles but here he is unassailable, generating viciousness, self-loathing and gleeful pleasure in tricking his colleagues.
This production is a good case study for an investigation of ‘British independent’ production in 2013. Despite the the Irvine Welsh connection (or perhaps because of it – two other adaptations after Trainspotting failed) and the excellent cast, money was hard to come by and the producers appear to have been in that classic position of paying the actors out of their own pockets at one point. Once again Europe comes to the rescue with public funding from Film i väst in Sweden and various funds in Germany and Belgium. This explains the insertion of a trip to Hamburg in the narrative. It looks like an injection of cash from Trudie Styler’s company topped off a £3 million budget. That’s about twice the size of a ‘domestic’ UK movie budget these days but it does appear that the money has been well spent on cast and effects plus music. Clint Mansell is in charge of music and though I have no real knowledge of the tracks used in the film, I think that they work pretty well. I’m sure that eventually there will be a fan community analysis of the music.
After three weekends on release (the first only in Scotland) Lionsgate are probably fairly pleased with the box office returns, especially given the ’18’ certificate in the UK and distribution to certain overseas territories has been finalised. Censorship will keep it out of India and North America might be a problem but in Northern Europe I think it will play well. So far the UK total is just over $4 million with only a 25% drop in Week 3.
It’s been a good couple of weeks for Scottish films with Sunshine on Leith and the specialised offering For Those in Peril. Here’s the shortest of many official trailers for Filth: