A stand out from this years Melbourne International Film Festival
The new British thriller The Disappearance Of Alice Creed was one of the stand out films at this year’s Melbourne International Film Festival.
Two ex-cons kidnap Alice Creed, the daughter of a wealthy businessman, and hold her for ransom in their dingy apartment. In the opening montage we see their meticulous preparations, including sound-proofing the bedroom and installing several locks on the doors. The crime is executed with brisk efficiency, but then things begin to slowly fall apart. While the two kidnappers await a response to their demands, the balance of power within the confined apartment constantly changes.
The Disappearance Of Alice Creed marks the first feature film from young British director J Blakeson, who is better known for his short films. Although seemingly shot on the smell of an oily rag, Blakeson has made an impressive debut with this sharply written thriller. He directs the material with ruthless efficiency and ratchets up the suspense.
The Disappearance Of Alice Creed is a terrifically taut, tense and claustrophobic thriller. It is very theatrical in its staging, with only three people in the cast and most of the action confined to a couple of cramped interior locations. However, it has plenty of twists and turns and a palpable air of menace that keeps the audience hooked. Like other similar stagy British thrillers that feature a small cast and claustrophobic setting, this is a sinewy beast that continually subverts the audiences’ expectations.
Blakeson is assisted wonderfully by a trio of strong performances that get inside the skin of their characters as they casually betray each other and try to gain the upper hand.
There is a compelling and menacing turn from Eddie Marsan (the driving instructor in Mike Leigh’s Happy Go Lucky), who is excellent as the reptilian and volatile Vic, who constantly seems ready to erupt into violence. Martin Compston, who made his debut as the fresh-faced protagonist in Ken Loach’s bitter Sweet Sixteen, is good as the junior partner Danny, who is naïve, nervous, trusting and clearly out of his depth. And former Bond girl Gemma Arterton (Clash Of The Titans, Prince Of Persia) makes the most of her role as the titular character, who spends much of the time bound and gagged. At first seeming like a helpless victim, she finds hidden strength and resilience to try and outwit her two captors in a compelling battle of wits.
After having put both the title character and the audience through an emotional wringer for the better part of two hours, the film ends on an unnerving but satisfying note.
