At first glance Lee Sales’ debut feature Turnout, developed through improvisation with actors Francis Pope (Frani) and lead actor George Russo (George) from an original short script, is in danger of seeming little more than Shifty-lite. George is increasingly compromised in his relationship with aspirational Canary Wharf employee Sophie (rising star Ophelia Lovibond) and his extended circle of ne’er do well Hoxton- bred, but non-Shoreditch Twat, mates.
Sophie’s world, drenched in saturated shades of red and gold and replete with arty overhead shots, contrasts sharply with the grey reality of Georges’ East End skies, uninviting fast- food outlets and dole offices. As the camera pans down from their intimate pillow talk to the possible Mc Guffin of a box under the bed, we know all will not be well in the House of Love. And so it proves when the shoebox filled with Sophie’s holiday cash for their long-awaited trip to Barbados is gradually gambled away by George on a drug-dealing quick buck scheme. To prove himself capable of paying his own way, George incrementally jeopardizes his friendships, relationship and personal safety. So far, so British Indie low stakes.
Initially I lacked sympathy for beautifully 60’s-styled Sophie and her desire for a conventional, secure relationship. And having her work (somewhat unrealistically) in the City doesn’t help. But it’s a testament to an excellent, nuanced performance by Lovibond (and the hilarious idiocy of George’s chancer mates) that I ended up genuinely rooting for her, and them as a couple. This is where the success of the film lies. George may not be running for his life from vicious gangsters- one of the joys of the film is the mix of humour and menace from the Mr. Big drug dealers, and George’s friends, notably Neil Maskell from Kill List as Scott and Neil Large (Neil) but his dilemmas are all too real.
The moments of violence are powerfully orchestrated and the humour, clearly created through extensive improvisation and executed brilliantly by a superb cast (some of whom are friends of Russo in reality), keep the enjoyment factor and tension high as we watch Georges’ good nature gradually being exploited and eroded in his desire to do the right thing by both girlfriend and peer group. The scenes between Sophie and her best friend veer towards cliché by comparison, and we don’t really need the St.
Paul’s/Gherkin shots to ram home the difference in the couples’ lifestyles, but these are a small negatives when held against the perfectly formed central character of loveable, struggling and ultimately well- meaning George. Actor and co-writer George Russo is superb in creating the tensions within his character and the very ordinariness of his plight and surroundings make this a fresh, original love story, which deserves a happy, truthful ending. Sophie and George’s plight ends up not about money at all, but enduring love. And some say that’s all you need to grow.
Beautifully shot by DP James Friend, this is a great debut for Sales. It showcases a sparkling array of original music which contrasts Georges’ urban drug world with Sophie’s’ Morcheeba-ish wine bar scene, is filled with genuinely engaging characters, including underused Diana Kent and Tilly Vosburgh as the respective everymothers, and is also notable for Dorian Simpson’s heartbreakingly vulnerable performance as Danny and a brilliantly terrifying cameo from Ben Drew (Mr. Plan B, to you).
A highly enjoyable, well-paced, funny ride.
4 Stars
Caroline Burns Cooke
carolinecooke@blueyonder.co.uk