directed by Danny Boyle, 1994
Postmodernism is all about subversion, and to begin with a wildly creative and imaginative core idea is to miss the point. As such Shallow Grave has an extremely simple plot � three flatmates gain a fourth, who dies leaving a suitcase full of money. They decide to dispose of the body and keep the cash, but the stresses of hiding the event, keeping the police at bay, being attacked by the stranger�s criminal associates plus their own deteriorating psyches tear them apart. All ripe for modern trickery; unfortunately Danny Boyle and John Hodge seem to have crafted their film directly from The Beginner�s Guide To �90s Edginess and as such the film feels garish rather than clever.
The film is full of surrealism, and the viewer frequently sees events through the hallucinatory perspectives of the characters. But there seems to be a general lack of imagination about it, and all the spinning cameras, interior monologues and strategic cultural references (one minute Alex watches the football, then the news, then a rubbish gameshow, then The Wicker Man�they listen to pounding trance, then sophisticated blues, then jazzy Nina Simone�not to mention the casting of Ken Stott, playing Detective Ken Stott) scream out at the viewer. They may be effective in a shallow way (no pun intended), but it�s all so brazen that the film feels unsophisticated. While surrealism made up part of a complete world in Trainspotting, in Shallow Grave it has the effect of dragging the viewer out of the narrative.
I�m being overly critical as at its heart this is a good film, and its flashiness doesn�t make its plot any less dynamic. Indeed on the first few viewings it�s thoroughly absorbing, with the violence potent enough to cause a reaction without being so sick that the viewer turns away. It�s engaging enough � and nothing with Ewan McGregor and Christopher Eccleston in it can stand up to the accusation of being badly acted, at least when McGregor isn�t putting on an accent. The characters aren�t in any way likeable, which can make it difficult to feel sympathy for them, but it does mean that their breakdown comes from a new angle. The only real flaw in the characterisation is Eccleston, who�s increasingly withdrawn David would work better if the character wasn�t withdrawn enough already.
Shallow Grave is basically a good film, but it isn�t as clever as it thinks it is and that takes the edge off it. As a first attempt at filmmaking it shows an obvious vibrancy and energy, but it took Boyle, MacDonald and Hodge until their second attempt before they actually managed to make a great film instead of merely a good one.
****
Back to films index
Back to main page