Essex Boys

Directed by Terry Winsor in 2000.

Released on the 14th of July, 2000, the film is based loosely around events in December 1995 that culminated in the

murders of two top drug barons and their driver in Essex.

Following Billy Reynolds, played by Charlie Creed-Miles, an is the narrator.

And Jason Locke, Sean Bean, the character is recently out of prison and seeking revenge.

https://www.youtube.com/watch?v=BQ05xM4bhB0

“Unflinching in its dialogue and depiction, Essex Boys is a brilliantly acted portrayal of the lives of a disparate group of villains who form the

underbelly of Essex society.” - Heather Williams.

Introducing Billy & JasonThe audience are first introduced to Billy, in this dark and dismally bleak claustrophobic garage. The dust and

cobwebs all implying this threatening under-world and villainous setting, filled with decay, which Billy is becoming part of. This immediately conforms to the conventions of a

thriller!Billy’s introductory narrative allows the audience to be

positioned with him, following Billy as the lead.The easy acceptance of driving Jason around categorises

him as a neophyte cabby and someone who doesn’t appear to be directly involved with it all.

During Billy’s narrative, he talks about Jason: “Now round ‘ere where I live, everybody’s heard of Jason Locke.” Speaking about him like he’s a celebrity of the area, someone that’s well-known

for their work.The audience recognise how Jason Locke is a disaster waiting to

happen; half-psychotic with a volcanic temper, he kills and disfigures without a second thought.

He conforms to the generic archetype of the ‘thug’- just out of a five year prison sentence and immediately going to seek revenge, a morally bankrupt character. We first see Jason in a medium

close up point of view shot, through the dirty windscreen. This indicates how detached he is emotionally, this already anticipates his psychotic behaviour in the fish packing factory. The way he is seen through this filthy windscreen, suggests this idea of

his dark and troubled past. The reveal of his character immediately suggests his psychotic behaviour, the audience being able to recognise

this by the way he first dramatically appears.The use of the point of view shot also means we see Jason for the first time the same way Billy sees

him. This threatening, yet superior character, with a sense of pure determination about him.

Camera ShotsAs the audience are first introduced to Billy, who appears to be a normal man, someone who is consequently dragged into Jason’s world, a lot of the camera angle are from his point of view. This allows the audience to see it from Billy’s eyes, making the scene more engrossing and

reflecting in the horror of Jason’s actions.

Shot Revers Shot is used when Billy is driving Jason the man shut in the back, to the secluded marshes. While Billy is focusing on driving, in

silence, Jason looks over at him. This is when shot reverse shot occurs. The audience realise how Jason is almost accepting of Billy, like he would have expected him to try and escape involvement with the crime, but is instead complying to Jason’s demands. How Billy is now a part of Jason’s

world.This could reflect to the audience how they’re driving into the crime, the

confined space of the tunnel creates the typical thriller claustrophobic feel, reflecting how both characters are now involved with the crime and there’s

no way they can now escape that.The tracking shot could also reflect how there are people trying to follow

them, maybe bringing the idea of the police tracking them down, and that they’re constantly trying to escape that possibility of Jason being put back

in jail again.Jason often appears with a slight low angle shot the audience recognise how you look up

to him. Connotations of this are Jason is a superior, dominant and more authoritative figure who isn’t to be questioned or stopped in his motives.

A tracking shot is used when Billy and Jason are driving into the tunnel.

CostumeWhen introduced to Jason; the shot of seeing him, lighting and persona he gives off is one of a psychotic man with a dark past that has shaped him. Something else that allows the audience to gain knowledge of him, is his costume. This loud shirt draws attention to him The colours of this golden

yellow and contrasting black, reminds the audience of a warning; similar to a wasp or snake. He purposely gives off this impression he’s dangerous and

intimidating, that people should be careful around him.It also indicates his confidence and brashness. He’s not afraid of everyone

being able to see and recognise him. It goes against his working class roots, now being driven around to get revenge. Adding to the cultural signifier of

his Essex accent.The white van in which Billy drives Jason and his victim to the marshes in, creates a generic and anonymous feel. That type of van is a common and

rather normal thing to see, making it relatable to the audience. With this idea of a thriller being about “Normal people being in extraordinary situations.”

Billy appears to be just a normal man being dragged into this murky criminal underworld. The white van has connotations in Essex of possible wrong-doing and the risk of not knowing who’s inside. Representing the possible fear of the audience, being show in this way. The association between this white van and

Jason’s actions.Jason’s use of a baseball bat and acid isn’t the most common weapon usually seen in film. However, the use of the baseball bat does connote the raw strength and how blinded he is by revenge. Sheer determination to hurt his target, mean he is

able to do enough damage with just the bat. Throwing acid over the mans face is also gruesome, with the audience being taken

aback by the truly psychotic behaviour of Jason. His crazed behaviour could be seen as an outlet of the five years he spent locked away in prison. He wants the

man who snitched to have the consequences he faced in jail

Lighting

Sound

This very basic chiaroscuro lighting shines just behind Jason, from the point of view of Billy. This could connote how Billy

doesn’t necessarily want to be part of this criminal world, but the involvement with Jason means he’s been dragged into it. The

simple white light representing the ‘ordinary’ life which he may have led, but Jason stands in between that

Establishing and conforming to the thriller genre. The lighting also connotes mystery and reinforces the sense of isolation

about Jason.When Billy is driving through the tunnel on the way to the fish factory, Jason in the backseat. The reflections of the light in the

tunnel create this barred affect across the windscreen. They resemble the bars of prison cell. Reflecting Jason’s ex-prisoner

and possibly suggesting to the future Billy has allowed for himself. The audience may see how it is being suggested Billy’s fate, of

being a criminal and following the consequences Jason, is sealed. His involvement in Jason’s revenge is enough to get him into the

criminal underworld.

The use of diegetic sound in the opening scene adds to the realism of the situation: the creaking of the car bonnet and slamming of the doors, echoing in the still silence add to the anticipation that

something is about to occur. The lead up of all this basic sound, only with the non-diegetic sound of Billy’s narrative over the top, creates a very claustrophobic feel and adds emphasis and focus on Billy

until we see Jason through the dusty windscreen.The use of non-diegetic sound; with Billy’s narrative, we immediately gain knowledge of him as a

character, due to more information being given in his narrative. The use of a soundtrack when Billy and Jason drive into the tunnel creates this crime thriller feel, anticipating the next scene of Jason

attacking his target.

LocationThe wet, grimy streets are a classic characteristic of the thriller genre. With a tracking shot from behind the car, the audience follow Billy and Jason into the tunnel. Like Billy is driving into Jason’s world; a life of deviance and criminal

activity.

A vanishing point is created, the mystery to the audience; asking themselves ‘What’s at the end?’ The natural fear of the unknown.

The tunnel connotes the image of a barrel of a gun, an enclosed a claustrophobic space - a typical thriller convention.

In the fish packing factory or market-space, Jason’s target clearly stands out. The rest of the workers in white uniforms, matching the white crates the fish is stored in. The man in the suit can be clearly distinguishable to the audience; Terry Winsor may have chosen to

create this idea of everyone being uniform apart from the target, so we see the event how Jason does. This man snitched him to the

Police, Jason is blinded by revenge and therefore his victim sticks out from the crowd.

The prime-evil landscape of the marshes is a contrast to only a few scenes before at the busy, people filled, fish packing factory as well as the claustrophobic derelict garage. Visually, they are

opposites. The marshes are a secluded, featureless and barren landscape.

These Essex marshes are where Jason dumps his victim to be carried away by the next tide.

There are no boundaries; representative of Jason and how nothing would stop his psychotic revenge-seeking nature.

The desolate and dangerous area metaphorically reflects Jason’s moral stance and how he’s a predator and top of the food chain in this predatory surrounding, where there is nowhere to hide from

Jason.

This unglamorous location highlights the negative representation of Essex and the crime focus of the area.

Intertextual ReferencesThere is the very strongly recognisable Essex accent, a big cultural signifier.

The use of this immediately appeals to the audiences previous knowledge of Essex, which can be seen to be negative with the idea of the areas crime focus. The significance of this with the films title ‘Essex Boys’ with the association with gangs; the ‘Rettendon murders’ and the three drug

dealers who were found shot dead in a car in Essex. The link of the films plot being based on real-life events makes the film appear more relatable and realistic, the audience being more engrossed

in the content. The audience link the idea of this crime focused negativity being applied to the representation of Essex.

The use of Billy’s linear narrative structure in ‘Essex Boys’ allows the film to continue in a chronological order, allowing the audience to avoid any confusion with possible flashbacks or having to piece together events for themselves. Making it an easier

viewing experience.In comparison, ‘Once Upon A Time In America’ has a complexly structured narrative. With scenes moving between real time and past events. The flashbacks are signalled

with sound-bridges, anticipating the next scene, to try and make it clearer for the audience to follow.

I think the audience can identify most with a linear narrative, however, to build a convincing plot line, complex narratives allow that suspense to be built.

Chiaroscuro lighting is used at the beginning of both ‘Essex Boys’ and ‘The Third Man’. The connotations of the style allow the thriller genre to immediately be established; the lighting separates the good from the bad. Shadows created and controlled light being

shone onto certain characters. ‘The Third Man’ characters emerging from the shadows, the idea of the darkness being metaphoric for the criminal underworld. In ‘Essex Boys’; Jason, a deceiving and deviant character, emerges from the darkness. Connotations of

their past being dark and mysterious, allows the audience to recognise the generic archetypes.At the beginning of thrillers; the director often choses to establish the location clearly.Often a claustrophobic, grimy area reflecting the characters motives.

‘Essex Boys’ begins in a dirty garage, allowing characters to be presented in a way to reflect their personalities; Jason shown through the filthy

windscreen. In ‘LA Confidential’ - 1997 - shows one perspective of LA. Establishing how in some people’s eyes, it’s paradise and the dream place

to live.