This is England: A History of Film & Television

This is England

With the Superhero genre and big budget blockbusters often eclipsing the entertainment sector, one would be forgiven for often overlooking the humble British film industry despite its continuously stellar efforts in film and television. However, there are so many British writers, directors and producers that strive to ensure that home grown talent finds itself in the spotlight, creating some of the most emotionally captivating entertainment in contemporary film and television.

One such talent is Staffordshire born Shane Meadows, whose fame truly blossomed with his gripping and devastating 2006 masterpiece THIS IS ENGLAND. With smaller hits such as A ROOM FOR ROMEO BRASS, ONE UPON A TIME IN THE MIDLANDS and the thrilling DEAD MANS SHOES, Meadows quickly began stamping out a trademark sense of realism while creating intense, entertaining narratives. Working with the likes of Paddy Considine, Andrew Shim, Vicky McClure, Bob Hoskins, Robert Carlyle and Toby Kebbell, Meadows became a pioneer of British talent and in 2006 he worked with some old favourites to put together THIS IS ENGLAND on a budget of £1.5 million, with the movie going on to take £5 million at the box office. 

Based loosely on Meadows’ own childhood experiences and set in 1983, THIS IS ENGLAND tells the story of twelve year old Shaun (Thomas Turgoose) and his unexpected friendship with a group of young skinheads. With his father killed in the Falklands War, Shaun finds himself stuck in a haze of school fights, pent up aggression and a search for freedom. Life is pretty bleak until he finds Woody (Joseph Gilgun), a seriously cool skinhead, who takes pity on the young lost boy and invites him to join his gang of misfits, including Woody’s girlfriend Lol (Vicky McClure), best friend Milky (Andrew Shim) and Goth-babe Smell (Rosamund Hanson). 

Shaun quickly finds himself at home among the skinheads and begins to feel truly part of the family until tensions rise as former friend Combo (Stephen Graham) arrives after a stint in prison. Combo soon boots his way back into Woody’s life, affecting the relationship Shaun has with the rest of the group as he quickly finds a mentor figure within the ex-con. When Combo begins to outstay his welcome, making Lol extremely uncomfortable and influencing the boys to join him at a white nationalist meeting, Woody decides to distance himself and the rest of the gang; leaving Shaun in the crushing hands of Combo. The brute quickly darkens Shaun’s view on Britain and encourages him to partake in various racist activities, including robbing an Indian shopkeeper’s store and threatening some young Asian children. 

When Combo confesses his true and loving feelings for Lol only to be rejected, he falls into a dangerous depression, leading him to buying weed from Milky and inviting him round for a smoke with him, Shaun and a few of the other lads. Combo and Milky begin to bond while intoxicated but Combo soon finds his temper flaring when he becomes increasingly jealous of Milky’s happy home life. With Shaun looking on horrified, Combo lashes out in a horrific violent frenzy, beating Milky to a bloody pump, leaving Shaun to run away in utter terror. 

With its incredible script, superb style and devastating story-line, the film quickly became a hit; rounding up loyal fans that fell in love with Meadow’s gritty but ambitious style of film making. Meadow’s has a brilliant talent for turning difficult subject matters into stunning cinema, while still delivering a down to Earth, British social realist style masterpiece. THIS IS ENGLAND undoubtedly showcased his very best work and in turn, helped showcase some of Britain’s finest talent. Thomas Turgoose gives a remarkable performance as young Shaun, leading him to win the very well deserved Most Promising Newcomer award at the British Independent Film Awards. Alongside him, Stephen Graham gives an Earth shattering performance as the irreversibly damaged Combo. His clever combination of white hot rage and tear inducing vulnerability enabled for the most shocking and disturbing villain in British film history.  

Film lovers across the country became utterly engrossed in this quirky family of lovable misfits and the film became an instant cult classic. Meadow’s mixture of vintage subculture, outstanding costume and impeccable visual mastery helped to bag him the likes of Alexander Korda Award for Best British Film at the 2007 BAFTA‘s and Best Film at the 2006 British Independent Film Awards; solidifying the film as an absolute triumph. 

This is England ’86

With the character’s fate still weighing heavy on fan’s minds, the film was begging for a follow up and instead of a sequel in the form of a feature, we were treated to four episode mini-series THIS IS ENGLAND ’86. Airing on Channel 4 in 2010, THIS IS ENGLAND ’86 is set three years since the original film, during the FIFA World Cup, and sees the gang begin to submerge themselves into the late eighties Mod revival scene. 

With Meadow’s teaming up with SKINS writer Jack Thorne for the script, TIE ’86 sees Lol take the real central role and Meadow’s gives Vicky McClure some seriously powerful material to sink her teeth in. Alongside side-stories of Shaun finishing his final exams, Lol’s sister Kelly (Chanel Cresswell) coming home and Combo bursting back into everyone’s lives; the series mostly revolves around the return of Lol and Kelly’s father, Mike, played by Johnny Harris. 

As we’re introduced to Lol’s absent Father, we’re immediately inclined to distrust him as Harris’ performance as the unnerving character begins will a real bang. Lol’s reaction to her Father’s return is fearful and disturbed and it soon becomes clear that their relationship is a sick and devastating one. Lol’s turmoil is solidified when she confirms that her father used to sexually abuse her as a child.  

After discovering that her Father has gone on to rape her friend, she decides to finally confront him, wielding a hammer. What follows is the series’ most disturbing and devastating scene, where Mick attempts to rape his daughter once again before she crashes the hammer into his skull, killing him. In a heartbreaking twist, Combo arrives to find Lol sobbing beside her murdered Father and begs her to let him do something good. He smears Mick’s blood over him and lays his own finger prints onto the hammer, before giving himself into the police; saving Lol from a life behind bars.

The performances from Vicky McClure, Stephen Graham and Johnny Harris are utterly outstanding. Harris plays such a hideous villain that it’s difficult not to repel in absolute disgust in the sheer details of his committed performance. His ghoulish body language, leering facial expressions and hollow, haunting voice all help create this abusive tyrant. It takes such extreme talent to pour oneself into a wholly evil character and impeccably engulf an audience in terror and tension, and Harris nails it with real ease.

While Stephen Graham continues to prove himself as one of Britain’s finest, Vicky McClure absolutely soars into a league of her own; tapping into such a raw and crippling sense of vulnerability that it throws an emotional weight on the audience that is both suffocating and comforting. Lol goes from being Woody’s girlfriend, to his almost wife, to Milky’s lover, to her father’s victim and finally Combo’s maiden. There’s a great deal of frustration as an audience member as we witness the absolute destruction of one of the most loved characters, so that when she finally grasps to a glimmer of strength in the showdown with her Father, a tidal wave of pride drowns ones heart; leading to a cripplingly emotion end to the season.

This is England ’88

Vicky McClure’s talent continues to shine bright as we’re reunited with the gang once again, this time set during the Christmas of 1998. Like walking barefoot over shattered glass, Lol desperately attempts to deal with the harrowing events that happened just two years before. Plagued by visions of her dead Father, clumsily learning to live without Woody and coming to terms with being the Mother of Milky’s child; her mental health reaches an all time low.

In the wake of Lol’s betrayal in her affair with Milky, Woody decides to exile himself from the gang and attempts to live a life of domesticated bliss with his new, homely girlfriend. It’s so troubling to see our favourite skinhead attempt to live his life without his beloved and existence without his friends takes it’s tole on his emotional well being. It’s within this that Joe Gilgun is able to spread his wings and become more than just the wise-cracking, easy going leader of the gang. His impressive performance only aids to the desperation one feels at the deconstruction of this famous family.

As Shaun’s relationship with Smell is put to the ultimate test, the rest of the gang are oblivious to the extent of Lol’s despair as she sinks further into a poisonous depression. Seeking help from both a pediatric nurse and the Church, Lol finds little solace and takes an overdose in the attempt to end her of life. Finding her lifeless in her bed, Kelly and Trev rush her to the hospital where her stomach is pumped and her life is saved. On hearing the news, Woody rushes to her bedside, learning the true fate of her Father and declares his eternal love for her. The series ends with them in arms, exactly where they’re supposed to be.

Meadow’s has never been afraid to tackle controversial and difficult subjects within his drama, especially within the series, but presents it with such a sense of responsibility that, while it’s truly disturbing, it leaves one feeling blessed to have made it through. With empathy, vulnerability, sensitivity and pure skill, Meadow’s has created such a strong group of characters that with each series one finds themselves coming home again. 

This is England ’90

So as we wait with baited breath for the return of our skinhead family to Channel 4 with THIS IS ENGLAND ’90, what can we expect from Meadow’s next installment? With glow-stick’s aplenty, the gang enter rave culture as they burst into the 90’s! Expect tears and laughter in equal measure, we’re so close to coming home.

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