Film Review: The Football Factory

Nick Love’s ‘The Football Factory’ conveys an explicit exploration of a sub culture, which so heavily surrounds English football. Hooliganism. Shot in a documentary style the film contains a sense of gritty realism, which adds to the authenticity of the film and subsequently subject matter. It is a typical British made film, evident through the voice-over, close ups, trendy

Britpop soundtrack and of course a blatant defiance of social conformity.

Recently there has been a plethora of British films tackling social issues; Football Factory holds great likeness to Danny Boyle’s Trainspotting. Football Factory was criticised for its portrayal of violence while Trainspotting was criticised for its promotion of heroin use by critics.
However both the films success was crucial to the rejuvenation of the beleaguered British film industry. Unlike the glossy films produced by America, Football Factory and Trainspotting alike, are gritty, depressing and realistic portrayals of social realism.

Football Factory is an example of the ‘new wave’, which conveys innovative and refreshing portrayals of social issues. The film captures its audience through its explicit subject matter, humorous plot line and neo-expressionist aesthetic. It acts to re-work expectations, conveying a fresh look at a sub-culture which has surrounded football for an extensive period and become entwined in deep social issues concerning drug and drink cultures rife in society today.

Coined the ‘English disease’ hooliganism has caused mass moral panic thus leading to a shake up of the game; new legislations have been put in place, rival supporters are now segregated and intense safety measures have been generated. Ian Taylor saw hooliganism as “a reaction by supporters who wanted to reclaim their game in the face of the increased commercialisation of soccer.”1

The issue, which generated in the 1960s, came under heavy fire in the 1980s and caused much debate and criticism, with some arguing that, “understanding was less the aim than condemnation.”2 Therefore Football Factory was released in the mist of this discussion giving voice to the culprits and not only dramatises the topic but personalises it by giving the audience an insight into the mind frame of the men whom find a rush from hooliganism.

The film dramatises the 1996 complex and cult novel by John King, who was interested in how men affirm their masculinity through football, it raises “issues of class, race, tribal allegiance and the masculine capacity for violence.” 3 The Director, Nick Love, utilises the context of football as a base for these issues to unravel, while addressing them he does not openly condemn them. Instead Football Factory is merely a representation of hooliganism, which leaves the audience to make their own conclusion over the morality of the characters. The story centres on that of Tommy, and is told through his eyes; therefore no ethical judgements are made.

Through Love not making any clear moral judgements within Football Factory the film has been greeted by ambivalent responses. Released ahead of Euro 96, many branded the film as irresponsible and slated it as bringing attention to such a controversial issue at the wrong time, with Wendy Ide of The Times declaring “this would have been a far less provocative film if Love had taken a moral stance, he does come dangerously close to making it all look like fun.”4 It seems the film has divided audiences, with Neil Smith of the BBC feeling no compassion for the anti-hero Tommy, as he states, “[Tommy is] a young hoodlum who has dedicated his life to "thieving, fucking and fighting". And that just about sums up Nick Love's forceful but ultimately self-defeating wallow in the worst excesses of male working-class culture.”5

These criticisms were deepened through Love’s decision to use ‘real’ football hooligans in an effort to add authenticity. However the fight scenes have thus gained a visceral quality. This element can be lacking in hyper-real American productions, as they force audiences to suspend their beliefs due to their fantastical elements. Nevertheless it seems that due to the films provocative subject it was unlikely that it would not be hit by negative comments.

In contrast to these critical views Neil Daniels declares “The Football Factory tries to dismantle the football hooligan's mentality and formulate reasons why supporters take their interests to extremes, being more than mere fans but obsessive idolisers who form violent brethrens in support of their favourite strips.”6 In addition to this it is arguable that the brutal cinematography subconsciously contributes to the audiences’ impression and thus conveys a bleak depiction of the disenfranchised sub-culture without having to openly question it.

Furthermore throughout the film Tommy is overtaken by vivid nightmares and so begins to reconsider his path in life highlighting the dangers of such a lifestyle. Also Tommy’s grandfather acts as a moral balance who voices the views of morality in retrospect to Billy Bright who is full of bitterness and thuggery. While the older generation in the film view war negatively the younger ones glorify it experiencing a rush, through this clash of views Love perhaps implicitly highlights the negativity of such acts of violence. This is heightened in the funeral scene, in which the two generations share their only scene.

Football Factory was released during a time of social unrest and political upheaval that was rife in the 1990s and indeed today. Football was in a transition of its own with a move towards a more middle class support. Its appeal lies in its ability to address an array of issues through linking them with football, it does not merely act as a football film but a social and cultural look at British and predominantly male culture, creating a picture of working class lives through the mis-en-scene and cinematography. Love successfully presents the audience with an important issue within contemporary life; depicting its victims as sometimes tragic, often hilarious, 3- dimensional people who perhaps don't form typical characters that might elicit sympathy from the viewer but are instead realistic and believable. Its bleak subject matter is littered with humour making it more accessible.

Within the DVD extras Love encourages the audience to embrace the film as a take on male bonding, within the ‘making of’ segment he states, “I’m obsessed with male friendship.” The film gains accessibility through its global messages within and the worldwide popularity of football. It is a common language, which can in theory be used to break down barriers and merge different nationalities and ages.
“What else you gonna do on a Saturday?”

1/ 2 Hill, J (2002) Sport, Leisure and Culture in Twentieth Century Britain- State and Politics in Sport and Leisure. Palgrave.
3 http://www.futuremovies.co.uk/review.asp?ID=200
4 http://www.timesonline.co.uk/article/0,,7943-1107558,00.html
5 http://www.bbc.co.uk/films/2004/05/10/football_factory_2004_review.shtml
6 http://www.musicomh.com/films2/football-factory.htm