An
energetic debut from British writer-director Sally El Hosaini, infused with a
strong cultural spirit, but its surefootedness wanes as the plot takes a few
too many detours. El Hosaini has a keen eye – she’s at her strongest when
implying, suggesting, letting our minds fill in the gaps, whether consciously
or not. Even if the richness of an apparently throwaway line of dialogue or
momentary glance is lost on a less attentive viewer, the resonance of such
details lingers, and comes to influence and explain later events. Her
directorial trickery is occasionally a bit ham-fisted, but she has a flair for
imbuing shots with a bracing vibrancy, with sensitive, unexpected framing. As
the narrative takes turn after turn, one’s confidence in the ingenuousness of the
story begins to ebb; at times, things seem plausible, and, more importantly,
apt for bringing to attention those matters of the mind which the two leads
daren’t express outwardly out of fear. At other times, El Hosaini succumbs to
melodrama, and produces plot developments which don’t serve any honest purpose.
I appreciate that some films make more sense back to front – that, if one works
from the end, one can understand why the writer had to take a specific route in
order to make their point succinctly and successfully. But My Brother the
Devil’s point has been made even before it starts connecting a few too many
dots, and also drawing a few more itself. But this is an engrossing watch
nonetheless, due in large part to the superb performances by James Floyd and
Fady Elsayed, who deliver all that is required of them and then some.
No problem at all with the detours Paddy, as each was fascinating and powerfully presented. My Brother the Devil is nearly a five-star work, but for now I’ll rule on the side of caution and go with 4.5. I do have the feeling however, that this remarkable, almost operatic gangland re-invention by the talented British-Arabic director Sally El Hosaini will resonate for a very long time. Culture collision, sexual awakening and tough life on the streets on an infamous London neighborhood showcases the country’s ethnic diversity serviced by a sharply-written screenplay with a British language derivative that almost needs subtitling, but is superb in it’s authenticity. The film is brilliantly acted and photographed.
ReplyDeleteAs always, very fine work here Paddy.
I wondered what all y'all would make of the slang. As a Brit, I had no trouble with it!
DeleteI think I approached this film from a slightly sceptical angle. I almost gave it three stars. I can easily understand how you hold it in such high regard. High hopes for Sally El Hosaini for sure.
Thanks!