Following the success of Lock, Stock… (1998) and Snatch (2000) many cockney crime films have strayed into clichéd terrain in terms of dialogue, setting and plot. Creating fresh variations while retaining the themes that define them can be difficult, but throwing comedy into the mix often tends to work wonders.
From the golden age of Ealing to Shifty (2008), the humorous slang banter often lends itself wonderfully to the grimy world of double-dealings and wrong-doing. Even when transferred to Spain, Jonathan Glazer created a near classic with Sexy Beast (2000). Now in a similar vein we have Dom Hemingway: an anarchic twist on the conventional cockney crime comedy combining inventive direction with colourful characters and dialogue, melding Tarantino with Derek and Clive.
Jude Law is Dom: a fresh out of jail safe cracker with a score to settle and a hope to make some quick cash then retire. Dom links up with old partner Dickie (Richard E. Grant) and begins his search for that one final job whilst trying to come to terms with the world after twelve years away and bonding with his bitter teenage daughter. The concept is simple and old hat but Dom Hemingway is executed with a unique vision, enriched with hilarious performances and wonderfully delivered, if not occasionally adolescent, comedy and drama.
Law’s Dom is both damaged yet endearing due to his inner conflict rising from a need to do what is right while securing finances the only way he knows how. Grant’s Dickie is flamboyant and morose. The comedy is raucous (the opening scene alone is eye-wateringly hilarious) and despite the almost obligatory violence it is integral and cartoon-like. A fantastically captured car crash is as equally humorous as it is surreal.
The story strays massively in the flimsily-structured second act yet comes together for a noble resolution while retaining enough humour and tragedy to ensure a highly enjoyable and stimulating caper. Director Richard Shepard expertly blends the best bits of the subgenre with some fantastic surreal imagery and the film is let down only by the occasional stale stereotype and a second half wilt.
Daniel has awarded Dom Hemingway three Torches of Truth
