Essex Boys

A Film By Terry Windsor

Genre: Neo noir crime thriller Director: Terry Windsor The only film written and directed by Terry Windsor in 2000 and released on the 14th July 2000. The film is based around a bleak, dark wet night in December, 1995 with the murders of three menacing drug dealers in Rettendon, Essex, UK. Craig Rolfe, Patrick Tate and Tony Tucker, who had previous history with the police, were killed violently with a shotgun while sitting in their Range Rover in Workhouse Lane Rettendon.

The three men conned into believing that they were about to secure a lucrative drugs deal, but their bodies were discovered the following morning on 7 December 1995.

The film follows Billy, who has just scored a position with the local crime cartel. His first job is to mind Jason, a newly released thug with a vicious temper. When an ecstasy deal goes bad, Jason vows revenge on the boss, while Billy looks to take out Jason.

This film received a score of 6/10 on IMDb and was described as ‘an extremely well-made crime drama’ and ‘a spectacular chase’

‘So often with this new rash of Brit gangster flicks, the structure is a bit wobbly, and so the film bounces between clever twists and convolution. Moreover, Terry Winsor just doesn't know how to end it.’ BBC Films Review

Introduction

The Use of the Noir Genre

The establishing shot of Jason in the dusty, forgotten garage is known as a point of view shot looking through a dirty window. Through the murky, thick dust, appears an intimidating, dominant man standing above Billy and staring intensely towards him. The combination of the setting, chiaroscuro lighting and the seemingly decades of dust in the dark gloomy garage suggests that Windsor felt that this was a powerful way to introduce the murky gritty underworld that the two characters inhabited. Jason’s menacing demeanor, along with his silent, staring eyes further embed the idea that this is a dark gritty crime story. Through a dusty car windscreen, his character is revealed, with part of his face hidden in the shadows implying that there may be sinister and possibly psychopathic characteristics hidden away from plain sight. The point of view shot (see image) showing the dirt on the windscreen could represent the murky nature of his character suggesting a corrupt background or dark disgusting past. The window-wipers could further suggest that Jason is turning over a new leaf or wiping away the dirt and the corrupt nature, becoming a new man almost. However, given the narration and following events it is more likely that the wipers are suggesting something darker, possibly that Jason locke is uncovering his dark past and unleashing the rage he has built up over the past 5 years in prison. We then learn that his character is very involved with crime and has only been out of prison for 24 hours. All this inaugurates his character as dirty, corrupt and sinister. Meaning that this neo-noir film has taken on another generic noir feature: the ‘Anti-Hero’. The Anti-hero is a character that is popular in all crime based film noirs. This character can be seen in movies such as Robert de Niro's character in Martin Scorsese's ‘Taxi Driver’ or in the more modern neo-noir film ‘Fight Club’.It is suggested that Locke known for his ‘archetypal British psychopathic criminal’ by the initial narration ‘Round here where I live, everyone knows Jason Locke.’

Characters - Jason

Characters - BillyIn the opening sequence, Billy’s softer character is juxtaposed against Jason’s more menacing character. Billy is portrayed as an stereotypical essex wide boy who is largely motivated by money. His strong Essex accent is a classic cultural signifier as an archetypal young ‘wheeler dealer’. Most aspects of the character suggests that he has adapted himself to his surroundings and every part of him is like that so he can blend in. He’s a man willing to do anything for a decent pay, and this is shown by his first narrative line:‘I’ll try anything once, me’. Unlike Billy, Jason was more interested in gaining revenge than money. Billy is subordinate and seems happy to fulfil other peoples wishes, so long as he gets paid. This is confirmed in the narrative:“Mr Dean knew him before and asked me to drive him about a bit.” The next shot shows the car on the wet streets in Essex.

In the following scenes, Billy and Jason are seen to dump their old friend who betrayed Jason by informing the police about their armed robbery. Billy is not affected by the fact that Jason has thrown acid into his ‘old friend’s’ face:“Job done. Jason needed a new shirt. The geezer needed a new face.”

Jason seems to enjoy the violence of the scene by publically assaulting the man in a fish market and then throwing acid in his face, whereas Billy stays in the car and waits until he finishes. This suggests that Billy sees this as merely a job that needs finishing. Detached from any emotions, Billy merely watches as his ‘old friend’ is beaten and attacked. The two characters are contrasting in their physical actions, but their emotions are similar with neither of them having any reaction to what has just happened. Most of the shots of Billy are medium close ups of him sitting in the car (see image) and looking through the windscreen, not even acknowledging the horrific events around him.

CinematographyIn the first few minutes the cinematography is used to foreshadow the events in the film as well as develop their characters. This can be seen in the medium close up of Billy through the window when they are driving. The framing in this shot shows bars of lights across the window possibly representing prison bars further suggesting that Billy may end up in prison, this shot may also represent Jasons ex-prisoner status. The reflection also suggests that they are reflecting on what he has done in the past, linking in with the representation of reformation within the shot of the medium close up of Jason through the window.All of the eye-level shots in the van show both characters level (especially the two-shot on the right) implying that they are equals.The tracking shot of the two characters going into the tunnel has another generic Noir feature: the vanishing point. The vanishing point may represent that they are literally and emotionally travelling into a dark deep hole of which they cannot return.

Mise-en-scene Pt.1

Costume

Jason wants to be noticed and stand out by wearing a brightly coloured shirt. He is not ashamed of what he is about to do as he confidently walks through the fish market and attacks Jason’s ‘old friend.’ He wants people to know that he means business and people should be afraid.

In contrast, Billy looks dark and mysterious. Although he is not the dominating character, he looks like he is as he is wearing a dark suit and black top. He looks more professional, suggesting that he is not always the less dominant one. His dark clothing blends into the dark, murky scene, suggesting that he doesn’t want to be noticed.

Setting

When the two characters need to dump their victim, they go to an estuary. This setting is the location equivalent to Jason Locke: bleak and empty. The tunnel also could represent the barrell of the gun, meaning they are the bullets. Additionally, this could mean that they are going to hurt the people around them. Bullets are also a thing that you can only use once then you get another, suggesting that the characters are dispensable and this will be their first and last go and that they might die or be left useless after the events in the movie.

Props

The props used for Jason Locke are unusual and more personal: the bat and acid. These two weapons are an unlikely choice for a thug but it also is more personal suggesting he wanted to see this person upfront in agony, implying that he does not comply well with traitors or the other man did something worse than first thought. It also suggests that Jason wants to make an impression, proving to everyone that if you get on the wrong side of him you will regret it.

LightingIn the opening sequence the Noir chiaroscuro lighting plays a key role in the visuals giving the characters a dark introduction. The single street light causing part of his face to be hidden in the shadows implying that there may be sinister and possibly psychopathic characteristics hidden away from plain sight. This light and it being a PoV shot suggests Billy does not see all there is to jason as well as the cartel and he doesn't what hes getting himself into and therefore foreshadows the terrible events that he will soon lead himself to.

Sound

Most of the sound is diegetic and naturalistic, creating a gritty, realistic feel. The silence in the scene adds to a hidden tension with the echoes and door creaks. Then the non-diegetic narration from Billy comes in, this dialog shows the audience that this film will be from his perspective. This scene also a soundtrack in the background adds to the thrill of the scene and shows us this is not going to be your typical noir and it will have a more modern thriller twist to it. The fish market scene has lots of ambient-sound of fishmongers calling out to resemble a busy market. This adds to the realism and further enhances the character’s boldness in attacking someone in broad daylight.

Mise-en-scene Pt.2

IntertextualityThe cultural signifiers of Billy’s voice and the location allow people familiar with these things to relate to the people. This cultural signifier can also be seen as slight discrimination, having two horrible people/ characters representing a whole county. However, these characters, the real places and the true story are all adding to the realism of the film and getting the audience to relate to this realism will then create a more impactful gritty film which seems to be what Windsor is going for.

We can also see intertextuality within the impact ‘The Third Man’ has had on this film. The Third Man also has a voice over in the title sequence, this brings the viewers closer to the action because you see from their point of view. The voice over in Essex Boys positions the audience with Billy, like the voice over in The Third Man follows Holly. Thus we join them on their dangerous journey which increasing suspense and relatability.

Another link can be seen within the chiaroscuro lighting, this lighting immediately establishes the genre as well as creating more prominent shadows suggesting that people like Jason and Harry live in the shadows, unknown and unseen from the outside world.

The chiaroscuro lighting can also link to the opening scene in Once Upon a Time in America where the femme fatale is lighted by a single lamp. This suggests that the director is hinting that Billy will be the ‘Eve’ equivalent in this film, further hinting at Billys prominent death.

The chronological, linear narrative of Essex Boys differs from that of ‘Once Upon a Time in America’ which uses a flashback-driven narrative. This linear structure strengthens the realism and simplicity that allows it to appeal to the wider audience where as Sergio Leone uses a complex narrative enhances the emotions and relationships between characters.