Heartless: Film Review

In line with my reviews of little noted, but certainly worthy releases from recent years, Heartless is yet another genre splitting gem that had eluded me frustratingly.

Phillip Ridley's first film for 14 years, the all ranging artist writes and directs this horror/psychological thriller/drama amalgamation that's heavy on symbolism and metaphor as well as genuine shocks, thrills and emotional poignancy.

Jamie (rising star Jim Sturgess) is a young photographer, left cripplingly shy by a series of oversized 'port wine stain' birthmarks, the most prominent of them a heart shaped mark over his left eye. Hidden behind his hood and left to live a lonely existence in London with his religuous mother (Ruth Sheen), Jamie wanders the city streets at night, set in a belief that he will never be granted a happy ending, or the beautiful family he craves.

Things change, however, when he begins seeing demons ransacking back alleys and abandoned buildings, drawn to molotov cocktails and screeching unintelligible cries, seemingly unnoticed by anyone else. Disturbed by these sightings, Jim is left with little outlet to express his concerns, even when the demons themselves begin attacking citizens in seemingly random, horrific killings, which are attributed to a local gang leader. Despite making friends with new neighbour AJ (Noel Clarke), an amiable and openly friendly but ambiguous figure, and having the complete trust of his brother and fellow snapper Ray (Justin Sallinger), Jamie becomes more insular and tortured.

The turning point is reached when a personal tragedy at the hands of the monsters leaves Jamie emotionally destroyed and ultimately vengeful. After escaping the attack relatively unscathed, he buys a gun from local shopkeeper Vinnie (Fraser Ayres), and seeks mortal retribution, overcoming suicidal urges and haunted by the memory of his deceased, loving father George (Timothy Spall). Any plans he has are turned upside down when he is approached by the source of the chaotic goings on, 'Papa B' (Joseph Mawle), a Satanic figure living inside a burnt out tenement flat. He is offered a faustian bargain: Papa B will remove the birthmarks that have ruined Jamie's life, and in exchange Jamie will be required to perform a small service on occasion (in this case, blasphemous vandalism). The offer is accepted, and Jamie is transformed by self immolation.

With a new lease of life, Jamie is able to find a new confidence in himself, and even romance and fall in love with a beautiful model, Tia (Clemence Poesy). His happiness is brought to an end, however, by the arrival of Papa B's consigliere, Weapons Man (Eddie Marsan), where it becomes clear that Jamie has naively stumbled into a trap, and now owes his dark master a human heart.

In a dream like haze, Jamie is torn from one side to the other as he ponders his long awaited happiness and contentment against the sin of murder and the loss of his soul. As the darkness and violence escalates, he is brought further towards the truth and final realisations which draw a question mark over everything that has occured.

The most distinctive thing about Heartless is it's setting and the aptmosphere it builds, creating well defined parables and turning London into a miserable, hopeless hell threatening to eat up Jamie and his loved ones. Mainly seen at night, and lit in unearthly fashion by street lights and free flames, there is a double faced edge which becomes oppresive and perfectly representative of the young hero's environment.

The hints towards the dark and sinister underbelly are made clear from the start. The film opens with the random shout of "You're gonna fucking die!", a line of some significance by the film's stunning and brain freezing climax. Characters speak of the hell in which they live, with a hard ingrained weariness at the freak violence around them, youth crime boiling over the edge of the pan. This is backed by a morose, tingling soundtrack from the deeply underrated David Julyan (Memento, The Prestige), and some wonderful cinematography.

Jim Sturgess, accelerated towards the big time by his superb performance in Peter Weir's The Way Back, delivers a perfect turn as the tortured hero, tapping into dark areas which trigger both empathy and sympathy before his nearly understandable bloodlust is roused and perfectly represented. He is ably supported by the supporting cast, Noel Clarke and Timothy Spall particularly impressive in small but significant roles. The real grabber of attention and praise, though, is veteran character actor Eddie Marsan's single scene, a dynamic display as the terrifying yet hilarious Weapon's Man, an inspired series of monologues and verbal wordplay.

The story twists and turns, and the rivetting and upsetting conclusion leaves much ambiguity over horrendous events, and takes on an almost Buddhist end to a riddle we were barely aware of. In that vain, there are many visual and spoken metaphors to be decoded with some ease, a form of self justification in explaining away seemingly inexplicable acts of violence with actions of the realm of Hell, all part of a plan to create a balance when harmony threatens. The final scene may bring a tear to your eye, without you even being sure why.

Overall, Heartless is an emotionally draining, intellectually challenging film heavy with subtext that ultimately revolves around suffering within rather than without, and is backed by a superb set up and great performances sure to stay with you for some time. The real mystery for me, once more, is how such a well made and assembled piece was allowed to slip under the radar.

8/10