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88 Minutes
A wannabe film director sets out to make "a visual poem" with a bunch of disabled kids in this hugely endearing British comedy-drama
Special People stars Dominic Coleman as the platitudinous Jasper who sees himself as "a filter for reality" in spite of being completely detached from the real world. It is a delicious turn marked by blatant social ineptness and, at the same time, an admirable fighting spirit. Essentially, Coleman plays Jasper like the David Brent of the British indie film scene with the vital exception that he is definitely not on a mission to entertain people. His class of three paraplegic teens are, like, so not amused. They're virtual hostages in a community outreach programme, slumped listlessly in their wheelchairs as Jasper waffles on about dramatic intent and shows them clips from his own kitchen-sink short laden with awful cliches about life on a council estate. It is an uncertain start, not just for Jasper, but for real-life writer-director Justin Edgar (this is his second feature). Like his onscreen counterpart, he opts for a naturally-lit, kitchen sink style and there is no obvious cutting for comedy effect so, for a short while, you wonder whether this is actually supposed to be funny. However, as we become more acquainted with the class, there is less of that unease. Edgar really hits his stride when Jasper and his unlikely crew arrive in the countryside to make their film. Holding the sound boom is Dave (Maza) who, after being involved in a car accident, has a chip on his shoulder about being stuck in a chair. He denies his attraction to fellow "cripple" Anais (Hardway) even though she has defected from dance class (mostly hand-jiving) to be with him. In front of the camera is Jess (Frampton), a sullen girl who lies about being in foster care to satisfy Jasper's need for authentic misery. While she concentrates on wheeling herself up a mountain - as a metaphor for her struggle! - geeky Scott (Proud) puts his energy into a behind-the-scenes documentary. One of the funniest moments comes after Jess literally breaks a leg during filming and Jasper reasons that she "wasn't using it" anyway. Bearing witness to the various indignities suffered by disabled children at the hands of this so-called grown-up might sound like a discomfiting experience, except that it's Jasper who is the butt of all jokes. At every turn his efforts to capture the grinding hardship of their lives is sharply exposed as a lot of sentimental hooey. Looking through Edgar's lens, the biggest blight on the kids' existence is the po-faced, patronising attitude that disabled people encounter everyday and which Jasper perfectly embodies. By casting teens who are disabled, Edgar drives the message home. Of course there is a sharp edge to the comedy, but it isn't cruel in any way. Even Jasper comes out of it relatively unscathed. For all his outrageous behaviour (like allowing his ex-fianc??e to believe the kids are terminally ill to secure her country cottage for use as a production office), he is obviously well-meaning. And while the shoot doesn't go according to plan, in the end, Jasper isn't a complete failure either. There is no touchy-feely finale in spite of his sheepish reference to Dead Poets Society because that, as Jasper himself might concede, would be fake. Instead, we're left with a poignant reminder that 'real life' is an ongoing lesson, even for a teacher. Verdict Edgar gets a gold star for this cheeky send-up of the champagne socialists who make miserable films about (supposedly) miserable people. |
