ALAN Bleasdale’s black comedy – originally released in 1985 to a bit of a critical panning – will be familiar to many readers but was an unexpected new treat for me.
Events centre on the decidedly grim Charleston club in Liverpool, the sort of northern club that would later inspire Peter Kay.
New manager Mike (Boys from the Blackstuff’s Michael Angelis) turns up for his first day on New Year’s Eve to find all hell about to break loose. Its gangland owner is busy torturing the ex-manager in a side room while said manager has taken his revenge by booking out the club to both the Orange Lodge and the local Catholic Church club on the same night.
It’s a scenario which descends into total farce, not least because the Catholics have turned up in fancy dress chasing a non-existent cruise prize. The leader of the Orange outing, Billy McRacken (Ray McAnally) is busy harbouring an on-the-run loyalist terrorist while he tries to fight off the violent intentions of blind Catholic hardman Paddy (James Ellis).
There’s great ‘spot-the-actor’ potential with Pete Price, Elvis Costello, Micky Starke, Vince Earl, Drew Schofield and various McGanns popping up in cameos too.
No Surrender never quite knows what it wants to be, with elements of farce, black comedy and even pure drama all taking their turn but I couldn’t help forgiving its faults and enjoying a rather glorious, colourful ‘failure’.
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Submarine (15)
SCHOOLBOY Oliver Tate (Craig Roberts) is a dreamer determined to lose his virginity to spirited classmate, Jordana (Yasmin Paige).
Needless to say, the lad is delighted when his pestering leads eventually to a nervous kiss. “Her mouth tasted of milk, Polo mints and Dunhill International,” he enthuses, guiding us through ups and down in the faltering relationship. Meanwhile, his parents Lloyd and Jill feel the strain when her first love, new age guru Graham (Paddy Considine), returns unexpectedly with a feisty partner in tow. Submarine is a hysterical coming-of-age story set in windswept Swansea and an impressive debut from director Richard Ayoade. There are some delightful touches, such as the opening sequence where the teenager fancifully imagines his own death and the outpouring of grief across Wales. Roberts is delightful as the innocent pup, who makes Jordana a mix tape and points out, “I’ve included some break-up songs, in case (the relationship) ends... which it invariably will.”
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