Pleasure Island is an interesting example of a film from an almost invisible sector of British filmmaking, producing films that don’t often get a theatrical profile. IMDB suggests that Pleasure Island had a budget of around £800,000 – which is in line with the bulk of British films that now often cost less to produce than high-end TV drama (defined as costing over £1 million per hour). Many UK films are actually micro-budget productions below £500,000. It’s only the Hollywood co-productions and those films backed by BBC/BFI/Channel 4 that manage a higher budget and a significant UK cinema release. Pleasure Island, independently produced by Achilles Entertainment (the company set up by the lead actor and his producer-partner), achieved a screening slot at the East End Film Festival in London in July 2015. It had already been picked up for distribution by Metrodome, one of the leading independent UK distributors, and it showed for a couple of weeks on a single cinema screen in August. The first week included a ‘local premiere’ at the Parkway Cinema in the seaside town of Cleethorpes where the story is set and the film was shot. Out on DVD and VOD at more or less the same time, the film did generate reviews in the UK press and online. Whether this will have helped the video sales is a moot point, but it shows that the current distribution model can just about accommodate films of this kind.
The film’s title refers to a local amusement park in Cleethorpes on the Lincolnshire coast. Dean (Ian Sharp) returns to his home town after serving in Iraq and Afghanistan (though the details of his service are kept sketchy). He gets a less than enthusiastic reception from his singleton father (mother isn’t mentioned) and an initial brush-off from the young woman he seeks out – Jess (Gina Bramhill). Later we realise that Dean’s best mate Adam has been killed in Afghanistan and that Dean needs to tell Jess and her small son what happened to him. Dean’s only support appears to be another old mate, Nathan, who runs an amusement arcade. Both Dean’s father and Jess seem to be involved in some way with a local crime operation involving drugs and the sex trade. It seems inevitable that Dean is going to have to attempt to extricate them in some way.
The mainstream critics such as Leslie Felperin in the Guardian and Hannah McGill in Sight & Sound were negative in their responses but the online reviewers were more positive – which perhaps says more about the tastes and interests of the two sets of reviewers than it does about the film itself. I found the film quite difficult to place. It starts as an almost social realist drama, strives at times for an expressive use of landscape and eventually morphs into a more generic crime fiction story. I don’t mean to suggest that it is incoherent. In fact it’s well put together, technically accomplished and the performances are strong. It could be tightened up in the editing and the female roles are limited – which is especially sad since Gina Bramhill obviously has the potential to offer much more.
The strength of the film is the setting and this comes across in the DVD extras which are unusually useful in explaining the background. Many of the creative team and the lead actors are from the region. They found shooting in Grimsby and Cleethorpes, towns not often used in UK film and TV, very straightforward and there is a genuine sense of this being a ‘local film’ despite director Mike Doxford having come up from London. The last film I remember that shot in Grimsby was Shane Meadows’ This Is England (2006) with its debutant young star Thomas Turgoose as Grimsby’s new celebrity. The Shane Meadows connection prompts two observations. This Is England‘s story was set in the outskirts of Nottingham but scenes were shot in Grimsby to qualify for funding from Screen Yorkshire. I wonder why Achilles Entertainment didn’t seek regional public funding? Perhaps they did but didn’t get it for some reason? Pleasure Island also has some similarities with another Meadows film, Dead Man’s Shoes (2004) with Paddy Considine as an ex-serviceman returning and dispensing ‘justice’. I think the seaside setting makes enough ‘difference’ in relation to the generic tropes of returning soldier etc. and it’s remarkable how similar some of the elements of Pleasure Island are to Pawel Pawlikowski’s Last Resort (UK 2000). Cleethorpes and ‘Pleasure Island’ instead of Margate and ‘Dreamland’, young mother and son, involvement with the sex trade, the amusement arcade as a focus etc. The two films are actually very different but Doxford does capture something of the sadness of seaside towns in modern Britain. The director is himself a cinematographer and one of the production decisions was to use a number of helicopter shots to show the coastline. This reminded me of Peter Chelsom’s Funny Bones (1995) with its aerial views of Blackpool. On relatively low-budget films these occasional aerial shots can literally ‘lift’ the visual style and bring vitality to the narrative.
There has been an interest in crime narratives and seaside settings in British films since at least Brighton Rock (1949) and they were revived considerably by scenes from Mona Lisa (1986). Seaside settings also turn up in several horror and mystery films. I think that perhaps the problem with Pleasure Island is that the settings aren’t used enough and that the narrative possibilities offered by the coastal community and its characters are similarly not exploited enough. For instance Grimsby Docks features at one point, offering a location with great potential and while the East European connections to the sex trade are mentioned, again the potential for intrigue is not followed up. The final action sequence could really have taken place anywhere. The distribution company emphasises the violence in the film (see the trailer below) but the narrative is much more than that. It’s a difficult task to create a British independent genre feature. Everyone involved in Pleasure Island has put the effort in to make this feature but in the end I think the story needed another element. (The rather eccentric mode of smuggling drugs into the country is apparently based on a real incident – it is a nice touch but overall the film still falls just short.)