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Grow Your Own | |||
R E V I E W B Y R I C H C L I N E |
dir Richard Laxton scr Frank Cottrell Boyce, Carl Hunter with Benedict Wong, Eddie Marsan, Omid Djalili, Alan Williams, Philip Jackson, Roland Manookian, Sarah Hadland, Olivia Colman, Joanna Scanlan, Diveen Henry, John Henshaw, Pearce Quigley release UK 15.Jun.07 07/UK Pathé 1h41 Nice shirt: Marsan and Colman
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This charming British comedy addresses an extremely serious issue with emotion and sentiment. It's thoroughly engaging, but also a bit superficial.
To help them recover from their horrific ordeals, a group of refugees in Liverpool are given gardening allotments. Kung-sang (Wong) is a shell-shocked Chinese man with two precocious kids; Miriam (Henry) is a strong-willed Angolan with a teen son; Ali (Djalili) is a doctor who's not qualified to practice in Britain. But the English occupants of the neighbouring allotments aren't happy with the interlopers, and plot to get them kicked out, including making a deal with mobile phone reps (Manookian and Hadland) who want to erect a mast on the site. What begins as an astute, gentle comedy about English gardening obsessions quickly turns very nasty, as deep-seated racism becomes increasingly apparent. What follows isn't good-natured rivalry; it's a clear depiction of the vile bigotry that taints British society. But the filmmakers never really deal with this. Rather, they opt for a more simplistic message about how foreigners actually make very good neighbours, contribute to society and are more compassionate and resilient than some natives. Yes, this is a good message to convey, and the film's tone is bright and lively--filmed with skill and performed impeccably by the superb cast. Wong is especially good as a man who's seriously haunted by his experiences. Marsan is terrific, as always, as a puppy-eyed guy wearing loud shirts in the hopes of attracting Miriam's attention, and conflicted by the fact that his xenophobic father (Jackson) is organising the campaign against the immigrants. Another standout is Williams, as a rascally old coot who refuses to go along with the status quo. But the film never seems sure whether it's a realistic look at an ugly side of English culture or a heart-warming tale of bonding between people from different backgrounds. And as a result, it feels like an entertaining bit of fluff with a very sour aftertaste. Frankly, it's odd that this sweet comedy centres on the most shameful side of British nationalism. Because it makes the heavily emotionalised final series of events feel rather hollow and cheap.
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© 2007 by Rich Cline, Shadows on the Wall
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