[critical] Tyrannosaur

In a popular area of Glasgow, Joseph is plagued by violent torments in the wake of the disappearance of his wife. One day, he meets Hannah. Very religious, she tries to comfort this be wild.

But behind his apparent serenity lies a heavy burden to : she was probably as much in need of him, than he of it.

Author’s Note


Release Date : April 25, 2012

Directed by Paddy Considine

Film british

With Peter Mullan, Olivia Colman, Eddie Marsan

Duration : 1h31min

Original title : Tyrannosaur

Trailer :

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This first feature film from Paddy Considine (young director, actor and screenwriter) is a must-see. Rare are the films that dare to dive with such accuracy and such sensitivity in the turmoil of the human soul. Paddy Considine is tearing our comfort of the viewer from the first scene and what he gives us to do goes well beyond what one would expect.

The story takes place in a district of bleak and poor of Glasgow. In the throes of wild and unpredictable crises, a man lagging behind in the streets and harasses the people he meets on the way.

Tyrannosaur speaks of the suffering, that that they spread and the one that suffers. For all that, the film leaves no violence explode on the screen. These are not the hits, the blood, or bites, as Considine attempts to show. Tyrannosaur sidesteps the savagery of the acts, the better to eradicate the roots. The character of Joseph, sublimely portrayed by Peter Mullan, who carries the humus of this violence.

Paddy Considine focuses on what precedes the physical shock between two people during a conflict, namely the voltage. This tension, he filmed with skill and honesty. It captures the first frissonnements, the birth, growth, flamboyant, and retired just before his end (in the fight, murder, rape etc).

At this point, the viewer has more need of him for his film. The picture emerges more clearly and acutely in his skull on the screen. Considine leaves the viewer free to imagine the way in which the characters will fight. In this sense, it re-creates in him the conditions for the emergence of the fantasy. We get to fantasize about these scenes of performance for the violence to which our eye has been private. We look back upon as dreams. They are the black box of the film, the unspeakable and the unnamable that each door at the bottom of the self.

Thus, we do not perceive the characters in the movie such as the strange beings with whom we would never have to deal with. On the contrary, we are with them, the distance is abolished, we don’t judge. And this commitment comes not from any compassion, but a movement of recognition. We also could enter, shouting, kill. What is it that keeps us from doing so ? The passage to the act is the floating part of the iceberg and it is for this reason that it can, fortunately, be avoided in most cases. That which precedes it by hand, the struggle (the struggle between two people and more importantly, the inner struggle that each of us can cross and gives to us the famous ” buzz kill “), no one escapes it.

Tyrannosaur takes us beyond good and evil to offer us a broader vision and free of our humanity.

The conflict is human nature, it is its soil. This is what the movie shows, particularly during the sequence where a character launches a projectile on the icon of Christ hanging on the wall. With this gesture, it is the ideal of unity embodied by God that he shattered. It is also a call terrible, the one that arises when we are truly ” out of us “, because we have lost control and that we would like to rely on a higher power to free himself of the responsibility for our actions.

It’s Impossible not to think here of the staging of Romeo Castellucci in his show “On the concept of the face of the son of God”, presented at the Avignon festival last summer, and which shows children bombarding with grenades, a painting of Christ’s face, taken from the table Salvator Mundi (Translation: The Saviour of the World) of Antonello di Messina.

If the violence comes from the suffering, the suffering it could, therefore, you can stay in ignorance, that is to say, in what we don’t understand, because you can’t name it. Here we return to these famous images hidden in the film. The suffering original, so strong that you can’t express it, would be the real tyrannosaurus, the one that everyone has to more or less high level in him, or in it.

Prior to brutalize those around them, abusers of the film to provide an inner war, which is much more complex to understand and to show. Considine and his actors manage to do with subtlety, while peppering the film glimmers of hope. In fact, love is presented as a form of resolution. The confidences and confessions exchanged between Joseph and Hannah (welcome the brilliant acting of Olivia Colman) allow them to relieve a little of the suffering that they have committed, and experienced.

The merit of the film is not to oppose love and violence, but of the entangled for us to hear that everything is still possible, and that no one is cursed and should not be considered as such because he is not Good in itself. Paddy Considine reminds us that we can love and destroy both. Tyrannosaur leads us, therefore, beyond good and evil to offer us a broader vision and free of our humanity.

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