Joseph (Peter Mullen) is an unemployed man who is overruled
by his own anger and and volatile temperament, he lives on a council estate
where he bears witness to a child being bullied by his own parents and forms a
loving friendship with Hannah (Olivia Colman), a Christian woman who runs the
local charity shop.
Hannah is married to a man with a well paid job, she works
in a charity shop and appears to have the perfect life at the beginning of the
film – as the film progresses, we see past the happy wedding photograph and see
a woman in a desperate state – abused by her husband she puts on a brave face
daily and endures personal hardship (in contrast to the financial hardship that
Joseph faces).
As the film progresses, a strong bond is felt between the
individuals – without giving away too much of the narrative, we see a
relationship blossom through the twists and turns of the lives of both
characters, both singularly and as a ‘couple’.
The story is powerful - the concept of the narrative is
carried by talented actors who make the film feel real. Arguably, the audience
is made to feel compassion towards characters that in reality would perhaps not
have our compassion. With a gripping story that could so easily be applied to
individuals in wider society rather than identifying differences between social
classes, it sets out to identify the similarities and in essence celebrates the
similarities thus bridging the gap between working class and middle class
people.
Tyrannosaur could be perceived as a romanticised dystopia –
like Ken Loach, Paddy Considine has represented a version of reality in an
artistic manner. From an outsider looking in, the audience is encapsulated in a
powerful wave of on-screen emotion – a hybrid of redemption, violence and
social realism tied up with a bow of elegance.
If you enjoy drama, give Tyrannosaur a try – it will leave
you wanting more.