Dom is a young lad growing up on the Ferrier Estate and looking for a way out, for excitement. To that end, Love, who also co-wrote the script, has taken a minor character from the Clarke original and made him the centre of the piece. The obvious criticism, that Love is revisiting the terrain of football-related violence that he covered in The Football Factory, is belied by the fact that this is a very different beast: "Basically, in my earlier films the antiheroes all get away with it - but in this one I wanted to show the consequences, I wanted to show a kid getting a serious wake-up call." In fact, it's a very good film - and easily Love's most accomplished yet. In an era when the British film industry haemorrhages talent across the pond - something Love bemoans - even those who don't like his work cannot help but acknowledge his achievement: The Firm is a British film, about ordinary British people, that will be opening in 250 multiplexes nationwide this weekend. At once puckish and impetuous, gentle and thoughtful, he sees himself as the heir to the social-realist film-making of Alan Clarke (who made the original version of The Firm for TV) and Ken Loach, as much as to the bloody cinematic poetry of Sam Peckinpah, another director he reveres. Excoriated by the usual suspects for what they see as the "glorification" of violence in his films, Love is about as far from being a tabloid bogeyman as it's possible to imagine. There was more to it than that, of course - much more. New West End Company BRANDPOST | PAID CONTENT.Tej Kohli & Ruit Foundation BRANDPOST | PAID CONTENT.
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