Mindhorn – first look review | Little White Lies

Festivals

Mind­horn – first look review

10 Oct 2016

Words by David Jenkins

A man wearing an eye patch and a turtleneck jumper, set against a blurred green background.
A man wearing an eye patch and a turtleneck jumper, set against a blurred green background.
All hail Julian Bar­ratt, star of this excep­tion­al – and excep­tion­al­ly sil­ly – British char­ac­ter comedy.

How many times do you think peo­ple walk up to the actor Julian Bar­ratt in the street and say, Oh hey, you’re Howard Moon!’ or, Are you Howard Moon?’ or, Do Howard Moon!’ or vari­a­tions of the above? Prob­a­bly rather a few. To quote Bart Simp­son quot­ing George Burns, show busi­ness is a hideous bitch god­dess,” and Mind­horn feels like Barratt’s wry riposte to all those loi­ter­ing Howard Moon superfans.

Yet instead of dig­ging up the des­ic­cat­ed corpse of The Mighty Boosh, he returns tri­umphant­ly with Simon Farn­a­by as a co-writer and the­atre direc­tor Sean Foley behind the cam­era to deliv­er a parochial and nos­tal­gic fea­ture com­e­dy which asks ques­tions about what it means to trade on age-old fame. It’s a film which harks back to a vin­tage era of British TV com­e­dy, par­tic­u­lar­ly those shows con­cern­ing the lives of small-mind­ed male has-beens like I’m Alan Par­tridge, Bot­tom, The Office and Garth Marenghi’s Dark­place. But it also offers a play­ful com­men­tary on the cur­rent yen for res­ur­rect­ing the sit­com titans of yore for an inevitable big screen cash-in. This is like a spin-off, but where the orig­i­nal prop­er­ty doesn’t actu­al­ly exist. And it’s all the bet­ter for it.

The title refers to an apoc­ryphal shlock 80s TV ser­i­al in the vein of Berg­er­ac or Shoe­string which is set in the leafy toy town that is the Isle of Man. Barratt’s paunchy, unre­con­struct­ed thesp, Richard Thorn­croft, stars as a tan-jack­et­ed, Capoeira-wield­ing gumshoe who, with the help of a sur­gi­cal­ly-implant­ed reti­nal implant, is able to lit­er­al­ly see the truth”. The film dives straight into a typ­i­cal shoot­ing set-up, with the cow­ard­ly Mind­horn brush­ing aside his chip­per stunt man (Farn­a­by, hilar­i­ous­ly play­ing a Dutch man for no rea­son) to lock lips with his female co-star and para­mour, Patri­cia DeV­ille (Essie Davies). It’s typ­i­cal high-con­cept macho guff, but recre­at­ed with such straight-arrow fond­ness that it’s clear the film is more than a kitsch par­o­dy. The anti­quat­ed atti­tudes and crude gen­der pol­i­tics are sub­tly nes­tled in the dia­logue rather than parad­ed about with self-sat­is­fied abandon.

A ser­i­al killer is on the loose and he’ll only deal with Mind­horn, and so the local Manx con­stab­u­lary put a call through to Thorncroft’s dingy flat in Waltham­stow. He decides to take a break from shilling orthopaedic socks to step once more into the plas­tic shoes of the one char­ac­ter he tru­ly loved, but aban­doned for the false promise of Hol­ly­wood rich­es. Through­out the film, Thorn­croft falls in and out of love with his icon­ic cre­ation, stoop­ing low­er than ever before before being spurred on to res­ur­rect his for­tunes. The plot is sil­ly and con­trived, but it works con­sid­er­ing the type of low-grade, strict­ly for­mu­la­ic shows it ref­er­ences. It’s also pret­ty fun­ny that Mindhorn’s exot­ic super­pow­er is nev­er used nor men­tioned dur­ing the entire film, show­ing it up as the zero-val­ue cool” detail that it is.

The film works because you get the impres­sion that Bar­ratt and Farn­a­by sunk a lot of time into get­ting the details right. Still, the female char­ac­ters are giv­en short shrift – Jes­si­ca Bar­den and Andrea Rise­bor­ough sad­ly have very lit­tle to do and no good lines. And the film ends rather sud­den­ly, as if the mon­ey sud­den­ly ran out. But con­sid­er­ing the hokey nature of the source mate­r­i­al, even the ragged edges work in the film’s favour.

The final word, how­ev­er, must go to Bar­ratt who deliv­ers a pan­theon-lev­el com­ic per­for­mance – it’s astound­ing just the sheer num­ber of fun­ny lines he nails, as well as the amount of dry expo­si­tion he’s able to fun­ny up. And it nev­er feels like he’s push­ing too hard for effect or debas­ing him­self for the require­ments of the sto­ry. The flounc­ing, pre­ten­tious ghost of jazz war­rior Howard Moon is present, but Thorn­croft is a grotesque who you final­ly come to empathise with – there’s a hard earned human­i­ty at his core. Fin­gers crossed that Mind­horn is embraced with the long-haul fan­boy fer­vour that some­thing like Shaun of the Dead received.

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