Hush Your Mouth

Watching Hush your mouth just once certainly isn't enough. The film has a foundation of several individual stories which, intertwined together, cause the final result. Each of the individual stories have subtle touches that connect them to the others that keeps you guessing the outcome right up till it displays itself at the end. This had us thinking and discussing different points long after it had finished. I think knowing the outcome definitely requires a second viewing, if only to be able to pick up on the detail throughout the film to get a thorough understanding. The camera-work made it feel more real life, more 'documentary' style which transported you to feel more present during the film and ultimately more realistic.

I found this to be a highly lyrical piece of story telling. The director obviously has both an affinity and sense of compassion for his characters and actors.

The subject matter is not easy--and I have seen many approaches to same that do not work--this one does. The writer/director gives his central and ancillary characters true form and believable dialogue, a trick often missed when writers try to be 'urban' and end up ringing entirely false.

It is also interesting to follow the other work of the principal actors. They went on to work in other films of similar genre (apart from 'The Kite Runner')--but it is my opinion they did their best original work here.

I recommend giving this film more than one viewing, I have watched it three times and found something new each time--many layers and textures to be explored.

This film has great intentions but unfortunately misses the opportunity to deliver. And I really wanted to like this film!

The story starts well but loses it's way, slowing and getting lost down pointless cul-de-sacs that do nothing for plot or character development. It is the cinematic equivalent of speaking to someone with dementia - possibly a hammy old stage actor who has lost his noggin - the result is multiple repetition of core themes, with added train-of-thought irrelevances that leave the listener unsettled..

Light relief comes from a token black fella, dressed like middle England pastiche of how the impoverished black youth dress, you know, like a backing dancer from step up 2 with jaunty baseball cap hiding dreads. Also watch out for a comedy policemans moustache, possibly on free loan from the life on mars set, a slug relic from the 1970's that cheerily turns up to brighten some of the slower sequences.

I hope that the poor outcome doesn't put off the producer from continuing along urban dramas, London needs more of these !

Sometimes you see film, that stands out from the norm. This is one of them.

The film looks at a group of young Londoners from a rough neighbourhood struggling to make sense of the death of one of their group. - Darren Collins.

At the centre of the story are white working class teenager Leo (Jason Maza) Darren's brother and Leo's black friend Isaiah (Costhi Dowden). While Leo tries to find out the truth behind his brother's death Isaiah accused of the murder is rejected by the community.

I can't say too much about the plot - The story takes us on many intriguing twists and turns and it is the kind of film that if you stick with it will reward you. It has a surprisingly upbeat ending which is full of hope.

I really liked this film. It is intelligently written and superbly acted by the young cast. It is fresh and different.

There is much to recommend in this film about the aftermath of the murder of a teenager in a rough London neighbourhood.

HUSH YOUR MOUTH doesn't go for an easy revenge plot, but takes a subtle multi-layered approach, focusing on the psychological upset and emotional impact such an event has on the family and community. And so the narrative moves about a bit. The focus of the story shifts back and forth from our main character - Leo the brother of the murder victim, to the police dealing with the crime, then to the main suspect Isaiah, and back to the family. This creates a sense of time passing and the builds up a deep three dimensional world. Although this structure doesn't make for a relaxed easy watch, it has the ultimate effect of big rewards for the viewer - making you feel that you've been on journey rich with interest and delivering a satisfying and moving denouement.

Casting is good. With it's urban setting, I was pleased not to see a bunch of London - street stereotypes. The acting from a largely young and up-and-coming cast felt subtle and authentic. Having worked with young people - to me these young actors appeared to be the real deal. There is a standout performance from Coshti Dowden who is very sympathetic as prime suspect.

The look of the film is unusual as well. Tyrwhitt has done wonders on a tiny budget - he apparently had a documentary sized crew - working light and fast, but this has not diminished the visuals. He has created a claustrophobic and gritty look using long lenses and a cold blue grey palette, which not only suits the urban setting well but adds to a feeling of fragmentation and desolation that the characters going through. As the story develops and this heavy feeling lifts, this is mirrored in the look of the film - the colours get warmer and the camera pulls away and opens up.

The way that music is used in the film is also very effective - haunting and melancholy, underpinning the emotion, without manipulating us. It would have been easy to stick a thumping drum and bass or grime soundtrack on it. Instead the score is lead by a lilting female vocal from singer songwriter Sukie Smith and produced by director Tom Tyrwhitt. It weaves in and out and blends well with the great sound design.

There is a lot in this film and it definitely deserves a second look.