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Jamie (Jeremy Northam) is charged by the head of his firm with removing a mysterious group from some property he wants to produce. This `tribe’ is a sort of cult, which barricades itself inside a gated mansion in a seedy piece of London. Local, would-be hooligans are terrified of this group for no particular reason, especially considering the group is comprised of primitive, malnourished models. To salvage a living, the Tribe sells electronic gadgetry on the street. How they accumulate the gadgetry in the first status is a bit of a secret, though the group suspects it involves an exchange for sex between a desperate Japanese businessman and their leader, Emily (Joely Richardson) . All of this is peripheral to the steady crux of the group, which is free savor. Jamie penetrates the group (quite literally) in the name of procuring the land that houses the group’s fortress, though he finds himself increasingly both enamored of the Tribe’s charm and disillusioned by his career ambitions. Made for the Beeb, there are certainly some amusing moments, such as several scenes of the group strutting down the street or over meadows in their dusky robes, or barging into the compound of a competing sect and trying to design an alliance. Nonetheless, this film certainly provides enough mystery and allure to own one’s interest for most of its runtime. I initially wanted to inspect it for Kate Isitt (of `Coupling’ fame), though her role is very, very miniature. Not to fret, Northam and Richardson indicate to be charming attractions. Anna Friel, however, practically steals the exhibit as the wayward and free-spirited (read: loose) Lizzie. Fans of Jonathan Rhys Meyers probably will not be disappointed to net him fully nude in a couple scenes as well. There is also a series of this point to, though I am not familiar with it. The DVD is presented in widescreen and the transfer looks large, though it lacks in all other departments; no subtitles or extras of any sort. This is not rated by the MPAA since it was made for TV, though it is the equivalent of an `R’ rating due to pudgy frontal nudity, profanity and a wee bit of violence.
Like many, I first became aware of this made-for-TV movie due to all the hype over Anna Friel’s nude scene. And if that’s what you want to gaze it for, well, you’ll glean what you want, and very delicate it is too. But after that, there’s actually a very exciting myth.
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*Slight Spoilers Ahead*
The gist of the narrative is that Jamie (Jeremy Northam) is tasked by his overbearing boss with driving out the legitimate tenants of a building that the boss wishes to redevelop. The tenants appear to be some sort of cult: they scamper around as a group in black-trenchcoat style (remember, this was released a year before The Matrix), are feared by the local ruffians, and obtain their living selling top-of-the-range electronic goods at criminally cheap prices. Jamie sets out to stare their secret: are they indeed criminals, are they a religious cult, are they into drugs, or what? And the secret is – that there is no secret. The movie is essentially about the gently charismatic and well-intentioned Emily (Joely Richardson) who sets up a community with a different blueprint of life. There are no drugs; the goods are obtained legitimately from a Japanese businessman who has a crush (either romantic or ideological) on Emily; and while there is a determined sexual freedom (that gives Ms Friel the opportunity for her legendary scene), it is by no means a sex cult.
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What the community offers its members more than anything else is safety; safety built on an illusion maintained by Emily. When this illusion starts to crack, so does the community – and so, to some extent, does Emily herself. Astute at puncturing the image of a rival ‘cult’ leader, she fails to realise when she is about to do the same to herself. It is left to Jamie to try and net something of the utopia he thinks he’s found.
More than anything else, this movie reminded me of The Beach; although very different in tone and setting, it comes across as a perceive of an alternative community combating the alienation and insecurities of unusual urban life. More importantly, it describes the key people in the community, and their reactions to the pressures both of ‘the loyal world’ and of human nature. It drew me in not by unexpected region twists, but by unexpectedly avoiding region twists; although the account is curious, it’s more a portrait movie than plot-driven, and many loose ends and back-stories are left deliberately untied and unfilled without detracting from the overall pleasure of it.
There’s nothing spectacular about the acting, directing, or camera-work; it’s all subtle, understated and simply allows the legend to unfold. Rather like a Greek tragedy, only the central character has any tremendous depth, and Joely Richardson does a kindly job of bringing her to life.
I enjoyed this movie noteworthy more than I expected; it’s a big pity it has level-headed only been released in Status 1 (US) and not in its native UK. It’s current, it’s thought-provoking, and I thoroughly recommend it.
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