Essex boys case study

1. Essex Boys
A Film By Terry Windsor

2. Genre: Neo noir crime thriller
Director: Terry Windsor
The only film written and directed by Terry Windsor in 2000 and released on the 14th July 2000.
The film is based around a bleak, dark wet night in December, 1995 with the murders of three menacing
drug dealers in Rettendon, Essex, UK. Craig Rolfe, Patrick Tate and Tony Tucker, who had previous history
with the police, were killed violently with a shotgun while sitting in their Range Rover in Workhouse Lane
Rettendon.
The three men conned into believing that they were about to secure a lucrative drugs deal, but their bodies
were discovered the following morning on 7 December 1995.
The film follows Billy, who has just scored a position with the local crime cartel. His first job is to mind
Jason, a newly released thug with a vicious temper. When an ecstasy deal goes bad, Jason vows revenge on
the boss, while Billy looks to take out Jason.
This film received a score of 6/10 on IMDb and was described as ‘an extremely well-made crime drama’
and ‘a spectacular chase’
‘So often with this new rash of Brit gangster flicks, the structure is a bit wobbly, and so the film bounces
between clever twists and convolution. Moreover, Terry Winsor just doesn't know how to end it.’ BBC Films
Review
Introduction

3. The Use of the Noir Genre

4. The establishing shot of Jason in the dusty, forgotten garage is known as a point of view shot looking through a dirty
window. Through the murky, thick dust, appears an intimidating, dominant man standing above Billy and staring
intensely towards him. The combination of the setting, chiaroscuro lighting and the seemingly decades of dust in
the dark gloomy garage suggests that Windsor felt that this was a powerful way to introduce the murky gritty
underworld that the two characters inhabited. Jason’s menacing demeanor, along with his silent, staring eyes
further embed the idea that this is a dark gritty crime story. Through a dusty car windscreen, his character is
revealed, with part of his face hidden in the shadows implying that there may be sinister and possibly psychopathic
characteristics hidden away from plain sight.
The point of view shot (see image) showing the dirt on the windscreen could represent the murky nature of his
character suggesting a corrupt background or dark disgusting past. The window-wipers could further suggest that
Jason is turning over a new leaf or wiping away the dirt and the corrupt nature, becoming a new man almost.
However, given the narration and following events it is more likely that the wipers are suggesting something
darker, possibly that Jason locke is uncovering his dark past and unleashing the rage he has built up over the past 5
years in prison. We then learn that his character is very involved with crime and has only been out of prison for 24
hours. All this inaugurates his character as dirty, corrupt and sinister. Meaning that this neo-noir film has taken on
another generic noir feature: the ‘Anti-Hero’.
The Anti-hero is a character that is popular in all crime based film noirs. This character can be seen in movies such
as Robert de Niro's character in Martin Scorsese's ‘Taxi Driver’ or in the more modern neo-noir film ‘Fight Club’.
It is suggested that Locke known for his ‘archetypal British psychopathic criminal’ by the initial narration ‘Round
here where I live, everyone knows Jason Locke.’
Characters - Jason

5. Characters - Billy
In the opening sequence, Billy’s softer character is juxtaposed against Jason’s more menacing character. Billy is
portrayed as an stereotypical essex wide boy who is largely motivated by money. His strong Essex accent is a
classic cultural signifier as an archetypal young ‘wheeler dealer’. Most aspects of the character suggests that he has
adapted himself to his surroundings and every part of him is like that so he can blend in. He’s a man willing to do
anything for a decent pay, and this is shown by his first narrative line:
‘I’ll try anything once, me’.
Unlike Billy, Jason was more interested in gaining revenge than money. Billy is subordinate and seems happy to
fulfil other peoples wishes, so long as he gets paid. This is confirmed in the narrative:
“Mr Dean knew him before and asked me to drive him about a bit.” The next shot shows the car on the wet streets
in Essex.
In the following scenes, Billy and Jason are seen to dump their old friend who betrayed Jason by informing the
police about their armed robbery. Billy is not affected by the fact that Jason has thrown acid into his ‘old friend’s’
face:
“Job done. Jason needed a new shirt. The geezer needed a new face.”
Jason seems to enjoy the violence of the scene by publically assaulting the man in a fish market and then throwing
acid in his face, whereas Billy stays in the car and waits until he finishes. This suggests that Billy sees this as merely
a job that needs finishing. Detached from any emotions, Billy merely watches as his ‘old friend’ is beaten and
attacked. The two characters are contrasting in their physical actions, but their emotions are similar with neither
of them having any reaction to what has just happened. Most of the shots of Billy are medium close ups of him
sitting in the car (see image) and looking through the windscreen, not even acknowledging the horrific events
around him.

6. Cinematography
In the first few minutes the cinematography is used to foreshadow the events in the
film as well as develop their characters. This can be seen in the medium close up of
Billy through the window when they are driving. The framing in this shot shows
bars of lights across the window possibly representing prison bars further
suggesting that Billy may end up in prison, this shot may also represent Jasons ex-
prisoner status. The reflection also suggests that they are reflecting on what he has
done in the past, linking in with the representation of reformation within the shot of
the medium close up of Jason through the window.
All of the eye-level shots in the van show both characters level (especially the two-
shot on the right) implying that they are equals.
The tracking shot of the two characters going into the tunnel has another generic
Noir feature: the vanishing point. The vanishing point may represent that they are
literally and emotionally travelling into a dark deep hole of which they cannot
return.

7. Mise-en-scene Pt.1
Costume
Jason wants to be noticed and stand out by wearing a brightly coloured shirt. He is not ashamed of what he is
about to do as he confidently walks through the fish market and attacks Jason’s ‘old friend.’ He wants people
to know that he means business and people should be afraid.
In contrast, Billy looks dark and mysterious. Although he is not the dominating character, he looks like he is
as he is wearing a dark suit and black top. He looks more professional, suggesting that he is not always the
less dominant one. His dark clothing blends into the dark, murky scene, suggesting that he doesn’t want to
be noticed.
Setting
When the two characters need to dump their victim, they go to an estuary. This setting is the location
equivalent to Jason Locke: bleak and empty. The tunnel also could represent the barrell of the gun, meaning
they are the bullets. Additionally, this could mean that they are going to hurt the people around them. Bullets
are also a thing that you can only use once then you get another, suggesting that the characters are
dispensable and this will be their first and last go and that they might die or be left useless after the events in
the movie.

8. Props
The props used for Jason Locke are unusual and more personal: the bat and acid. These two weapons are an unlikely
choice for a thug but it also is more personal suggesting he wanted to see this person upfront in agony, implying that
he does not comply well with traitors or the other man did something worse than first thought. It also suggests that
Jason wants to make an impression, proving to everyone that if you get on the wrong side of him you will regret it.
Lighting
In the opening sequence the Noir chiaroscuro lighting plays a key role in the visuals giving the characters a dark
introduction. The single street light causing part of his face to be hidden in the shadows implying that there may be
sinister and possibly psychopathic characteristics hidden away from plain sight. This light and it being a PoV shot
suggests Billy does not see all there is to jason as well as the cartel and he doesn't what hes getting himself into and
therefore foreshadows the terrible events that he will soon lead himself to.
Sound
Most of the sound is diegetic and naturalistic, creating a gritty, realistic feel. The silence in the scene adds to a hidden
tension with the echoes and door creaks. Then the non-diegetic narration from Billy comes in, this dialog shows the
audience that this film will be from his perspective. This scene also a soundtrack in the background adds to the thrill
of the scene and shows us this is not going to be your typical noir and it will have a more modern thriller twist to it.
The fish market scene has lots of ambient-sound of fishmongers calling out to resemble a busy market. This adds to
the realism and further enhances the character’s boldness in attacking someone in broad daylight.
Mise-en-scene Pt.2

9. Intertextuality
The cultural signifiers of Billy’s voice and the location allow people familiar with these things to relate to the people.
This cultural signifier can also be seen as slight discrimination, having two horrible people/ characters representing a
whole county. However, these characters, the real places and the true story are all adding to the realism of the film
and getting the audience to relate to this realism will then create a more impactful gritty film which seems to be what
Windsor is going for.
We can also see intertextuality within the impact ‘The Third Man’ has had on this film. The Third Man also has a voice
over in the title sequence, this brings the viewers closer to the action because you see from their point of view. The
voice over in Essex Boys positions the audience with Billy, like the voice over in The Third Man follows Holly. Thus we
join them on their dangerous journey which increasing suspense and relatability.
Another link can be seen within the chiaroscuro lighting, this lighting immediately establishes the genre as well as
creating more prominent shadows suggesting that people like Jason and Harry live in the shadows, unknown and
unseen from the outside world.
The chiaroscuro lighting can also link to the opening scene in Once Upon a Time in America where the femme fatale is
lighted by a single lamp. This suggests that the director is hinting that Billy will be the ‘Eve’ equivalent in this film,
further hinting at Billys prominent death.
The chronological, linear narrative of Essex Boys differs from that of ‘Once Upon a Time in America’ which uses a
flashback-driven narrative. This linear structure strengthens the realism and simplicity that allows it to appeal to the
wider audience where as Sergio Leone uses a complex narrative enhances the emotions and relationships between
characters.