Awaydays was one of those books that became a huge cult hit in the late 90s, primarily via word of mouth and through people who don't usually read (if you know what I mean). The movie version (by all accounts) has been in the offing more or less since the book launched, but didn't really get the go-ahead until Control made its mark at the box office. So was it worth the wait? Well, yes it was, with one or two reservations.
if you haven't read the book (why not?), Awaydays isn't the 'footie thug fiction' you might be expecting. Yes, football violence is at the centre of Awaydays' universe, but it's about much more than that. Set in the pivotal year of 1979 (the year of the Conservatives return to power, the tail-end of punk, the dawn of post punk, the arrival of the mod revival, the arrival of the casual etc etc), it covers football, gang culture, music, relationships and quite simply, growing up in a working class town, specifically on Merseyside - and specifically focusing on a young lad called (Paul) Carty.
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Some time back, someone threatened to send me a copy of Clubbed. It never appeared and to be honest, I wasn't that bothered. But with so little available to rent right now, I decided to pick it up. Well, if nothing else it has a decent soundtrack.
I would review it properly, but if the PR firm don't seem bothered, why should I? So instead, I'll give you the brief highlights and a general opinion. Which is Liverpool, early 80s, a divorced bloke has self-esteem issues, not least because he's had a kicking in the local in front of his kids by the muscle of the local gangster. He falls into boxing, joins a small gym which is run by a bouncing firm, gets in with them and gets involved in the fallout from their fall out with said gangster.
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The length I have to go to "sell" a film to my girlfriend is an acid test of how much I'm prepared to like the film for the wrong reasons. It wasn't easy explaining what Viva was about when booking tickets for the Curzon Soho Q&A screening last week without using the terms soft-core "Carry On", spoof 60s schlock, or Russ Meyers style titty-fest.
Writing about the film now I can describe Viva as a funny, lovingly veracious, modern day celebration of 60s and 70s sexploitation films. The film colourfully grandstands a carnival of characters, kitsch sets, period garb, and party catering!
Viva is the masterwork of feminist Anna Biller, who is obviously as talented as she is endowed and can not only claim credits for starring role, writer and director, but she also had a hand in the set design too.
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