Slough Cooperative Film Society Slough Cooperative Film Society

 

17th March 2020 DATCHET VILLAGE HALL

BAIT

UK 89 mins Cert. 15


Martin Ward Edwin Rowe Director Mark Jenkin
Sandra Leigh Mary Woodvine Screenplay Mark Jenkin
Steven Ward Giles King Cinematography Mark Jenkin
Tim Leigh Simon Shepherd Editor Mark Jenkin
Wenna Kowalski
Mrs Peters
Neil Ward
Billy Ward
Hugo Leigh
Katie Leigh
Sophie
Chloe Endean
Janet Thirlaway
Isaac Woodvine
Martin Ellis
Jowan Jacobs
Georgia Ellery
Molly Hawkins
Sound
Danil Thompson
This brilliantly original seaside parable has all the hallmarks of a cult classic to be.

It may look like it was made on a shoestring 50 years ago, but this abrasive seaside parable is a quietly thrilling piece of filmmaking. Using old 16mm cameras, scratchy black-and-white stock and a handful of coastal locations, Cornish writer-director Mark Jenkin has conjured up something truly arresting: a debut film rooted in local traditions, with a dark humour and an atmosphere that’s as brooding as its Atlantic backdrop.

Bait poster



Filmed mostly in unblinking close-ups, its central character is scowling Cornish fisherman Martin. He’s a fundamentally good-hearted man who nurses a bundle of unexpressed grudges over the flood of new money into his fishing village. His equally gruff brother uses their dad’s old trawler to take tourists on pleasure cruises, while the family’s quayside home has been sold to the kind of well-heeled urbanites Martin so resents. To add insult to injury, they’ve installed a porthole.

Bait is a story of gentrification and class friction that builds and builds, searching for the release that inevitably comes. But it has deeper currents too, as Jenkin explores the day-to-day slog of maintaining a generations-old way of life – you’ll learn a lot about lobster potting – and the near-spiritual pain of being prised, like a barnacle off a rock, from your place in life by forces beyond your control. He’s abetted in that by a wonderfully human performance from Rowe, all bruised pride and righteous fury.

It’s clear where Jenkin’s sympathies lie, and one or two of the middle-class characters tiptoe towards caricature, but Bait never feels polemical or didactic: it’s more of a quiet lament than a shaking fist. It feels almost like a modern-day sea shanty. Let its hypnotic rhythms wash over you.

Phil de Semlyen at www.timeout.com