Ryan McNeil
I find that my taste in art lends itself to minimalism. Indeed I can be moved by the largest orchestras playing the fullest symphonies…but I’m often even more affected by a one voice/one guitar simplicity. Where film is concerned, this is difficult of course, since the medium leans heavily on a certain level of expanse. However, elegance in minimalism is possible in film as THE DISAPPEARANCE OF ALICE CREED demonstrates.
And indeed, it is wickedly successful in its minimalist approach.
I found that what made my experience of this film so wonderful was knowing so little about it. So allow me to just say this:
Alice Creed (Gemma Arteton) has been kidnapped.
Danny and Vic (Martin Compston and Eddie Marsan) are the kidnappers.
They want £2M for her return.
They are keeping her in a meticulously thought-out, soundproof place with no phone which cannot be exited without a key.
On the surface, the gimmick of this film seems like it would wear thin after forty five minutes. After all, how far can a mere three cast members carry a film. However, as we learn the details of this kidnapping plot, it continually affects the dynamic of these three actors and how they relate to one-another. What this does, is hold our focus in a much better fashion than a formulaic kidnapping film.
The formula is likewise sidestepped by J Blakeson’s intricate vision on display in this film. Through both photography and editing, he accomplishes two things. For starters, he takes menial tasks and gives them a wonderful melody. In the hands of many people, seeing two men shop for hardware supplies and reno a bedroom would seem like tedium. Blakeson manages to give such a scene real life and beauty.
The other thing he manages to do, is heighten our sense of dread. On more than one instance in the film, moments play out that have us muttering to ourselves “This is a very bad idea”. Blakeson takes that very feeling and pushes it further and further down an avenue of dread by cutting here and there around the scene…almost echoing a silently ticking time bomb. It’s a great technique, and sign of great promise in a first-time director.
Suffice it to say, the parameters of the kidnapping in this plot get altered once or twice (as they often do). Ordinarily this just plays as a plot twist to further the story, but in ALICE CREED it’s every deviation from the formula has a heavy ripple effect since it alters the way these three characters relate to one another – and such changes can be monumental when dealing with a plan like this.
Every shift in the plot radically digs into Alice’s fear of her kidnappers. It causes her to fear and interact with Danny and Vic in very different ways from scene to scene. Every shift also changes the dynamic between Danny and Vic – two criminals who “are in it together” as they say. Honour amoung thieves is tantamount in this sort of plot, since Alice might not know a whole lot about her kidnappers, but her kidnappers could write the book on each other, and of course hand that book over to the authorities. Thus, it’s compelling to hear them continually declare themselves partners, and likewise to watch their tells as the make their declaration.
THE DISAPPEARANCE OF ALICE CREED succeeds by way of its cleverness, and its refusal to adhere to formula. As the abduction takes place, it’s very easy for the audience to fear that they have signed up to watch some sort of disturbing fetishized ballad. However, it’s not long after that the film seems to hold up it’s hand and say “Hold on folks – There’s more”. And indeed it offers a story that is nuanced and creates a three-character tapestry that we don’t expect.