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LA DONK AND SCOR-ZAY-ZEE, 2009
Movie Review

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LE DONK AND SCOR-ZAY-ZEE,  MOVIE POSTERLE DONK AND SCOR-ZAY-ZEE, 2009
Movie Reviews

Directed by Shane Meadows
Starring: Olivia Colman, Paddy Considine, Richard Graham, Seamus O'Neill, Dean Palo
Review by Russell Wray


SYNOPSIS:

Rock roadie, Le Donk, has lived, loved and learned. Along the way, he's lost a classy girlfriend but gained a sidekick, Scor-zay-zee. He sets out to make Scorz a star with a little help from the Arctic Monkeys.

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REVIEW:

The clean cut stereotypical hero has been ignored by cinema goers in recent years. Audiences would rather see Batman rather than Superman. With films such as the wrestler receiving great acclaim this year, the story of a loveable broken down man which forgets his daughter’s birthday and beats up other men in the ring, it is apparent that arseholes are far more interesting to people than good guys at the moment. Le Donk is the perfect example of an arsehole.

Le Donk is the manager for his “friend” Scor-zay-zee, an aspiring rapper with talent. Le Donk has no talent and attempts to shine the spot light on to him. When Scor-zay-zee gets a small set before the Arctic Monkeys, it seems Le Donk is attempting to sabotage this because he is not getting any focus.

Shane Meadow’s does not seem to acknowledge any of the critical acclaim he has received in the past few years. His passion for great story telling of the common man is still evident. The documentary format which Meadows uses to tell the story enhances the feel of realism for the film. Having Meadows play himself as a film making in the film drives the narrative as well as being a clever tool for quick film making.

Le Donk and Scor-zay-zee is an important film because of the length of which it was made. The film was made in five days. That is five days of filming, that does not include pre and post production. Meadows pushes the limits of guerrilla film making but does the story suffer because of it? No, the characters are as vibrant as any other film and because of the small time scale which the film was made, there is a small story presented. This makes the film more relatable and does not take itself too seriously.

Meadows trademark improvisational style is usually an effective tool in his films and heightens the realism. This is a different type of improvisational style however; it is obvious to the audience that the cast are trying to search for those cringing comedy moments. Le Donk telling the Arctic Monkeys of a fumble with a hermaphrodite is an example of this as Considine attempts to dig himself into a deeper hole to make the audience laugh. This is only a small criticism but it is important as it takes away from the believability of the film slightly which Meadows’ films are built on.

When speaking of the character Le Donk it is extremely difficult to stay impartial. Paddy Considine has crafted an extremely self obsessed and stupid individual that can easily be manipulated. Considine offers a brave performance here. He makes no attempt to make the character more pleasant and relatable for the audience and the film is rare because of that. Dean Palo does a fantastic job as Scor-zay-zee, the straight man in this buddy comedy. Without Scor-zay-zee’s naivety and high tolerance the character of Le Donk would not be as interesting.

Le Donk and Scor-zay-zee is bold film making. Once again Meadows endeavours to bring real people to the screen and does this brilliantly. The film does not stick in the mind of the audience but it will move them which is something difficult to find in most modern films. Even though it is possible to see the mechanics behind the film on screen it still makes a great watch and a big step in guerrilla film making.

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