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NIL BY MOUTH (1997)
‘Nil By Mouth’ is a harrowing illustration of domestic violence and the many scars, both physical and mental, which are left behind because of it. Gary Oldman, in his directorial debut, canvasses his own childhood, channelling his personal feelings and emotions to depict a life of deprivation, aggression and sorrow.
Selected to compete for the coveted Palme d’Or at the world famous Cannes Film Festival, this small independent picture, its director and unique assemblage of actors have managed to produce a film, albeit of a demoralising subject matter, of extremely high standards.
Raymond (Ray Winstone) lives in a poverty stricken superb of South London. He spends his days drinking with his mates discussing how they are neglected by society and that it’s the faults of others as to why they find themselves in their individual predicaments.
Whilst this might sound familiar to most the difference here is that after a belly full of beer Raymond tends to turn his vocal aggression into violence. Whether it’s his wife Valerie (Kathy Burke), her drug-addicted brother Billy (Charlie Creed-Miles) or someone in the street he happens to cross, he’ll stop at nothing to use this vehemence as an outlet for his rage against the fore-mentioned characters.
As the beatings continue Oldman successfully manages to show Valerie’s ever growing determination to break free of this life under the humiliation and horror she has to deal with on a day-to-day basis. Raymond loves his wife and daughter but is unable to control the very temperament that could see him lose the only thing he has in life, his family.
With stunning performances from Winstone and Burke, who subsequently took the Best Actress award at Cannes, Oldman’s semi-autobiographical account hits home. If it leaves you feeling somewhat distressed by the whole affair then it has succeeded in its purpose, which is to open our eyes to a subject that has existed through time but is widely ignored by people not directly involved with it.
‘Nil By Mouth’ should be praised, not for its ability to portray violence effectively but because of its ability to project realism of the devastation and mortification forced upon both the victim and the punisher. Imprinted on your mind, after watching this picture, are explicit scenes educating those privileged not to have witnessed at first hand the wrath of domestic violence.
Stuart Evans
‘Nil By Mouth’ is a harrowing illustration of domestic violence and the many scars, both physical and mental, which are left behind because of it. Gary Oldman, in his directorial debut, canvasses his own childhood, channelling his personal feelings and emotions to depict a life of deprivation, aggression and sorrow.
Selected to compete for the coveted Palme d’Or at the world famous Cannes Film Festival, this small independent picture, its director and unique assemblage of actors have managed to produce a film, albeit of a demoralising subject matter, of extremely high standards.
Raymond (Ray Winstone) lives in a poverty stricken superb of South London. He spends his days drinking with his mates discussing how they are neglected by society and that it’s the faults of others as to why they find themselves in their individual predicaments.
Whilst this might sound familiar to most the difference here is that after a belly full of beer Raymond tends to turn his vocal aggression into violence. Whether it’s his wife Valerie (Kathy Burke), her drug-addicted brother Billy (Charlie Creed-Miles) or someone in the street he happens to cross, he’ll stop at nothing to use this vehemence as an outlet for his rage against the fore-mentioned characters.
As the beatings continue Oldman successfully manages to show Valerie’s ever growing determination to break free of this life under the humiliation and horror she has to deal with on a day-to-day basis. Raymond loves his wife and daughter but is unable to control the very temperament that could see him lose the only thing he has in life, his family.
With stunning performances from Winstone and Burke, who subsequently took the Best Actress award at Cannes, Oldman’s semi-autobiographical account hits home. If it leaves you feeling somewhat distressed by the whole affair then it has succeeded in its purpose, which is to open our eyes to a subject that has existed through time but is widely ignored by people not directly involved with it.
‘Nil By Mouth’ should be praised, not for its ability to portray violence effectively but because of its ability to project realism of the devastation and mortification forced upon both the victim and the punisher. Imprinted on your mind, after watching this picture, are explicit scenes educating those privileged not to have witnessed at first hand the wrath of domestic violence.
Stuart Evans
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