Directed by local man Helier Bissell-Thomas at the tender age of 19, the movie manages to retain all the hallmarks of a gangster film (including moody interactions, threats of violence and young men ruining their lives) but without all the clichés and tired stereotypes that typified Guy Ritchie’s Lock, Stock and Two Smoking Barrels, the 1998 film which inspired so many poor imitations.
By going back to the genre’s film noir roots, Kaufman’s Game isn’t scared of adopting a much slower pace than most modern-day gangster films. If you’re expecting quick edits and snappy loud dialogue set against a constant backdrop of beautiful women, guns and fast cars, Kaufman’s Game will come as a (pleasant) surprise.
The dialogue and movements of the characters are intentionally ponderous – an obvious departure from the ‘no nonsense’ scripts favoured by Mr Ritchie and co.
In fact, Kaufman’s Game completely turns the dialogue on its head, with some scenes more closely resembling Samuel Beckett’s Endgame than the dark underbelly of London.
‘A good scare is worth more to a man than good advice,’ says Kaufman (Tor Andreas Fagerland), the mysterious figure of the title. He takes an interest in amateur boxer Stanley (a moody Jye Frasca) and plots to bring him into his criminal organisation for reasons Stanley could never imagine, which are only revealed at the very end of the film. The young man dreams of becoming a successful boxer but finds himself ensnared in a sinister underworld of drugs and violence.
Kaufman’s game, staying true to the film noir genre, is a morality tale which follows Stanley and explores what happens when good men give in to the temptation of crime and money.
The movie opens with Stanley riding an elevator, deep in thought, before confronting three suited men on the rooftop of a London high-rise in a tense and brooding stand-off. It is a deceptive opener, considering the subsequent scenes in the first half move at a considerably slower pace.
Dominated by blue hues and dark shadows, the film at time feels just like a classic film noir B-movie, while the cinematography cleverly resembles a mainstream gangster film. Combining the two styles is an effective move by Bissell-Thomas, with his debut film coming across as unique and different.
Watching this film, I found it hard to believe that the young writer and director was only 19 at when he created it.
The film is a refreshing take on the British gangster genre which far surpasses its small budget.
Mr Bissell-Thomas is one to watch.
