Heartless is a horror film written and directed by Philip Ridley and starring: Jim Sturgess as Jamie Morgan, Timothy Spall as George Morgan, Eddie Marsan as Weapons Man, Clmence Posy as Tia, Noel Clarke as A.J. , Luke Treadaway as Lee Morgan, Joseph Mawle as Papa B, Ruth Sheen as Marion Morgan, Bhasker Patel as Mr Mohan and Nicholas Tennant as The Inspector. Heartless is set to be released on May 21, 2010 (UK). The movie follows Jamie, a troubled young man with a birthmark on his face, which has left him feeling isolated and fearful, hiding from the world outside. He lives in the East End of London, an area notorious for its violent hooded gangs. According to news reports, the gangs are now wearing demon masks. But, one night, Jamie discovers the terrifying truth: the gangs are not wearing masks. They are real demons. And when Jamie’s mother is killed by them in a brutal attack, he realizes he can no longer hide away. Jamie vows vengeance and turns vigilante. But the world outside is more of a nightmare than he ever imagined. As Jamie himself says: “I open up the window and madness flies in.”
Jamie Morgan (Jim Sturgess) is a nice young man, although he tends to hide himself away in his mother’s flat due to a number of unsightly birthmarks, including a heart-shaped one that covers half his face. He loves photography – something he inherited from his late father (Timothy Spall) – and works in a studio with his brother Raymond (Justin Salinger). He lives in a bad part of the city, but just as his world is rocked by a horrific act of violence, a mysterious phone call leads him to “Papa B” (Joseph Mawle), who offers him good looks in return for a few small acts of chaos. Jamie accepts, and is soon makes the acquaintance of two new people: Tia (Clmence Posy), a pretty girl who had come to the studio for glamor shots but is far more comfortable dressed down, and “The Weapons Man” (Eddie Marsan), who will give him the unpleasant truth about just what he’s agreed to.
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The opening scenes of Heartless are an excellent mix of the tense and matter-of-fact, communicating both the fear generated in living in an area where violence is an all-too-frequent occurrence and the need to live an everyday life. The world seems to get darker and darker, slowly closing in on Jamie and the viewer audience until the outdoors feels more claustrophobic than the inside. Writer/director Philip Ridley wastes little time here: We are quickly able to understand the city’s malaise in purely human terms, but a supernatural element is also introduced fairly quickly. It’s a nifty combination of cinematography and effects work, too – I spent a few moments admiring how the filmmakers were making something conventional look demonic in the shadows before it jumped out as an actual demon.
Throughout the movie, Ridley finds a number of unique ways to creep the audience out. Jamie’s initial meeting with Papa B is filled with tension, and also features one of the best uses of mobile phones in a horror movie. Eddie Marsan has a blackly comic scene with Sturgess that explicitly comments on this, actually – we often see the forces of evil shun modernity, but Heartless has them fully integrated into the modern connected world. And then there’s little Nikita Mistry as a girl who, despite her connection to Papa B, seems good, but becomes quite scary even if she seems more driven by desperation than malice.
The movie lightens up in the middle, but never completely. The scenes between Sturgess and Posy are uplifting and joyful, a fantastic respite from the previous air of misery. Both are enormously charming, and the feeling of liberation that initially comes over Jamie is one that spreads to the audience. It’s a delightful, pure love, one that brightens up the screen even as it is intercut with more horrific images, and even as those two threads merge.
And merge they must – though the devil can give you everything you want, he doesn’t do it for free. The way Ridley brings his stories to a head is jarring at times, and maybe involves a trick or two that the film often seemed to be above, but it has a dark beauty as it appears on screen. The film shines that way; Ridley and company have given great attention to each piece, from the perfect lighting to the songs that Ridley co-wrote.
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