Psycho's Movie Reviews #156: Franklyn (2008)

Franklyn is a 2008 British science fantasy film written and directed by Gerald McMorrow as his debut feature. Produced by Jeremy Thomas, it stars Ryan Phillippe, Eva Green and Sam Riley. Shooting took place in London in the fourth quarter of 2007. Franklyn held its world premiere at the 52nd London Film Festival on 16 October 2008. The film was released in the United Kingdom on 27 February 2009.

Plot

Split between the parallel realities of contemporary London and the otherworldly metropolis of Meanwhile City, Franklyn follows the tales of four characters. Jonathan Preest (Ryan Phillippe) is a masked vigilante who will not rest until he finds his nemesis, "the Individual". Emilia (Eva Green) is a troubled young art student whose rebellion may turn out to be deadly. Milo (Sam Riley) is a heartbroken thirty something yearning for the purity of first love. Peter (Bernard Hill) is a man steeped in religion, searching desperately for his missing son amongst London's homeless.

Production

Writer-director Gerald McMorrow wrote the original science fiction script Franklyn as his feature debut. It depicts a similar dystopia to his 2002 short Thespian X. In October 2006, actor Ewan McGregor was cast as the lead in the film, which was slated to begin production in summer 2007. However, McGregor broke his leg in a biking accident in February 2007 during the second series of Long Way Round and was forced to leave the project. Actors Ryan Phillippe, Eva Green, and newcomer Sam Riley were cast in Franklyn in September 2007. Phillippe was the last to be cast in what McMorrow termed a 'now or never' situation, saying of their first meeting: "You have preconceptions about people... You expect the bleach-blond Californian kid and what you got was an incredibly erudite, brought-up-the-wrong-side-of-the-tracks Philadelphia actor. When I met him we did not stop talking all afternoon."

McMorrow's visual inspiration for Meanwhile City came from the religious iconography he saw in Mexico City shopping malls. He later explained: "The idea was that if you're going to have a capital city based on religion, you've got somewhere like Florence or Rome and send somewhere like that three miles into the sky... Part of Preest's delirium and fantasies are based on the religion surrounding him and comics he read and films he saw. He sort of pieces together a jigsaw of his own delusions." Preest's mask was primarily influenced by Claude Rains' film of H. G. Wells' novel The Invisible Man. Preest also bears a resemblance to the character Rorschach in Watchmen, not only in terms of clothing but in terms of character.

Franklyn had a budget of £6 million, of which £1 million was provided by the UK Film Council through its Premiere Fund. Production began on 24 September 2007 in and around London, and was completed by December 2007. Major locations included an East End bar and Greenwich Naval College, where many of the CGI sequences were shot. McMorrow described his approach, "I used an atypical and off-kilter background, and told a story that wouldn't normally be told. The film was set around some tricky locations but we managed to shoot it." The film entered post-production by April 2008.

Reception/Box Office

Franklyn opened to mixed reviews, receiving a 57% Fresh rating on Rotten Tomatoes. Rights to Franklyn were purchased from sales and financier HanWay Films by Contender Films for the United Kingdom, and Seville Pictures for Canada, with both distributors operating under their parent company Entertainment One. Franklyn premiered at the 52nd London Film Festival on 16 October 2008. The film was released theatrically in the United Kingdom on 27 February 2009.

Dave Calhoun of Time Out opined: "Produced by British industry veteran Jeremy Thomas, McMorrow’s admirable if not entirely coherent debut follows the lives of four people in and around London who are attempting to cope with various crises in their lives, from a relationship break-up and the search for a missing son to the psychological after-effects of military service. The film treads a fine line between realism and fantasy, occasionally dipping out of the world as we know it to visit a seductively strange vision of the capital that appears part-futuristic and part-medieval (and which gives the film its name). Riley follows Control by leaning heavily on middle-distance stares and up-turned collars, while Green is a troubled art student with a good line in haute couture, and Philippe is a troubled ex-soldier. The main problem is that by the time this tricksy film finally plays its hand, many viewers may already have been lost at the wayside."

Derek Elley of Variety thought the premise better suited to a novella rather than a feature film, believing that Franklyn lacked an emotional payoff. Elley criticized the script for not developing the ideas it introduced and for lacking background on the characters. The critic also considered Phillippe and Riley to be poor casting in their roles, while Green could not present her dual roles dramatically. Jason Solomons of The Observer reviewed the film, "The visual style is impressive but the storylines are thin and the characters all extremely irritating." Fionnuala Halligan of Screen International weighed in: "It's unusual in the current film-making climate to see an independent director making such an ambitious debut as Gerald McMorrow's Franklyn. He aims high, visually and conceptually, but a more experienced director would have trouble finding the right tone to pull this intricate plot off. Notices should be at least encouraging: McMorrow has pulled off a very handsome look on a limited budget."

Budget £6 million

Box Office $1,279,576

My Review

If you like dark, Gothic movies with both style & intelligence, this one's for you. First-time director/writer Gerald McMorrow makes a great debut with "Franklyn", a cryptic fantasy-thriller about 4 lost souls in different times & places, bound together by a mystery that slowly unravels to a brilliant climax.

The story is told in fragments, and if you're not paying attention you might easily get lost. But that's what makes it so rewarding when you start to figure it out, and you realize what these people have in common.

Most of the action happens in a nightmarish, dystopian world called "Meanwhile City". These scenes are reminiscent of the haunting works of Alex Proyas ("The Crow", "Dark City") with bits of Frank Miller's comic book style ("Sin City", "The Spirit"). There are also some refreshing, humorous nods toward Terry Gilliam ("Brazil", "12 Monkeys"). But what sets this apart from those dark, shadowy films is the juxtaposition of contemporary London, bright & crisp, like something you'd see by the German master Tom Tykwer ("Run Lola Run", "Heaven", "Perfume").

If you don't recognize all those names, don't worry. The point I'm making is that McMorrow's directorial debut has elements of many great directors tied together in a fresh, original way.

There's not as much action in this film as in most fantasy-thrillers. Depending on how you like your movies, that's either a good thing or a bad thing. I thought it was perfect because it lets the story breathe, and it gives us the chance to digest the slowly-unravelling mystery. There are interwoven themes touching on religion, individuality, family, fate, love & hate. And psychosis, which always makes things fun.

And even though it may be light on action & explosions, there's tons of nice eye candy to keep you riveted. Speaking as a hetero male, by "eye candy" I mean Eva Green and her sexy goth wardrobe! (If I weren't such a hetero guy, I'd be tempted to become a cross dresser.) The 2 leading men are quite the lookers, too, both suave & classy in their own way. And if that's not enough eye candy, you can't miss the enormous sets & wide angle shots: breath-taking.

If you're a fan of any of the directors/films I mentioned above, don't hesitate to check this out.

I've seen a few movies similar to this, using sci-fi/fantasy imagery to portray an internal state of mind. Too intellectual for some I guess, and it definitely goes beyond 'what you see is what you get'.

This movie worked for me. Some have been critical that the characters in the film were not interesting enough. I on the other hand think the director/writer Gerald McMorrow successfully walked the thin line of saying just enough, enabling the actors to fill in the gaps and create personas rather than cookie cut-outs. The characters were memorable and real, responding to slightly surreal situations in two worlds that were both out of kilter with our own. The movie's alternate realities drew me in and kept me interested, and the eventual juxtaposition of both did so even more.

This is a smartly made movie - with very convincing CGI for the fantasy world combined with an almost indie sense of the intimate and human in the alternate world closer to our own.

If you appreciate strong acting, and an imaginative script, I don't think you will be disappointed. 7/10