Shadows on the Wall

I Swear

dir-scr Kirk Jones
prd Georgia Bayliff, Kirk Jones, Piers Tempest
with Robert Aramayo, Scott Ellis Watson, Maxine Peake, Shirley Henderson, Peter Mullan, Francesco Piacentini-Smith, David Carlyle, Jamie Marie Leary, Steven Cree, Andrea Bisset, Adam McNamara, Paul Donnelly
release UK 10.Oct.25
25/UK StudioCanal 2h01

TORONTO FILM FEST

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Based on a true story, this is the inspirational story of John Davidson, who rose above his life circumstances to become a beacon of hope for others like him. While writer-director Kirk Jones pushes the emotions rather forcefully, the story is made wonderfully spicy simply because of the subject matter. This injects earthy humour and honest grit into the narrative, augmented by beautiful performances from an excellent cast.

In 1983 Scotland, 14-year-old John (Watson) is a rising-star goalkeeper when he first experiences symptoms of Tourette syndrome. Classmates bully him, teachers harshly discipline him and his father (Cree) walks out, leaving his mother (Henderson) to do her best with a child she can't understand. Years later, John (now Aramayo) reconnects with classmate Murray (Piacentini-Smith), whose mental health nurse mother Dorrie (Peake) helps him find work with Tommy (Mullan) in a community centre. With people who see him rather than his tics, John begins to understand how he can help parents, teachers and police officers.

There are several powerfully moving moments in this story, such as when John creates a camp for kids with Tourette's and tells them that in this place they are the majority, and no one will make fun of them. John's outbursts are outrageously profane, but they're also often very funny, and the film makes it immediately apparent that the problems lie in ignorant reactions rather than whatever John does or says. So scenes with short-tempered teachers, police, judges and bullies are hard to watch.

Both Aramayo the newcomer Watson are remarkable as John, never overplaying his sudden flourishes while always finding his sharp personality. This makes sure that the audience can see the charming, brightly observant young man through his layers of anxiety and pressure. Both actors also develop strong connections with the always compelling Henderson. And Peake and Mullan shine as curious people who step in to make a pivotal difference in this young man's life.

Of course the film has simplified John's narrative, but it skilfully makes the most of its key point: that Dottie and Tommy simply offered support and compassion to a disruptive guy who was continually getting in trouble with people who were frightened of him. Their tenacity allowed John to realise his own potential to help lead significant changes in the society that couldn't be bothered to understand him. It's a properly involving film that reminds us to see the people around us without prejudice.

themes, language, violence 9.Jul.25

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