A group of youngsters talk about love, life, and relationships during a house party in Jack McLoughlin’s ‘The Death Of The House Party’.
Imagine a darker version of “American Pie” set in Liverpool with a cast of young Scousers navigating the ups and downs of adolescence. The most famous “American Pie” scene would most likely involve a bowl of Scouse and another lad trying to impress a girl with a rendition of “You’ll Never Walk Alone” but thankfully the 19-minute short, ‘The Death Of The House Party’ stays away from the absurd and gives us a more serious approach to growing up. Despite the more light-hearted, American teenage franchise coming to mind, it is nihilism, pessimism, drink, drugs, and sex that are looked at more in ‘The Death Of The House Party’ with occasional bits of humour thrown in to punctuate the bleakness.
There has been a huge influx of great Scouse productions over the past few years the ones that come to mind are Time, The Responder and the ITV sitcom G’wed. All of these shows have emerged as a breath of fresh air on the British TV landscape, with each one offering a candid and relatable portrayal of life in Liverpool and around the north-west; providing us with authentic characters, sharp wit, and insightful commentary on modern life from teenage adolescence upwards, garnering praise from both critics and audiences alike.
Writer and director of ‘Death Of The House Party’, Jack McLoughlin has played a big part in this influx himself working on a number of Scouse productions alongside Huyton-born director Philip Barantini & actor Stephen Graham on Boiling Point and then adding to it with his own short films and debut feature film Kate and Jake, all set in and around Liverpool. He also collaborates on this film with Thomas Elliot Griffiths as his 2nd unit director. Griffiths is also from Merseyside and a recent recipient of a 5-star Screen Critix review as a director himself, with their cast of locals including newcomers and some familiar TV, faces all mixed together.
As director McLoughlin uses a number of techniques in ‘The Death Of The House Party’ to try and mirror the confused and often anxious nature of his teenage protagonists, some of the scenes use camera shots that create a sense of immediacy and authenticity, while others capture the raw energy and spontaneity of the characters’ experiences. There are a few quick cuts and a bit of dynamic editing that enhance the film’s pace, but it is mainly mid-shots and medium close-ups on show reflecting the whirlwind of emotions and events that shape the characters’ lives. With it being a party, the lighting is often bright and cheerful but this contrasts with the darker themes and challenges faced by the teenagers. This juxtaposition helps to create a sense of hope and optimism, despite the sense of dread a lot of the kids have about growing up and entering the real world. Being a local, McLoughlin’s script allows his characters to speak in their natural dialogue and thanks to strong performances it all feels genuinely true to life. While the relatable struggles they talk about, make it easy for an audience to connect with the characters on a personal level. This complete sense of realism helps to avoid cliché and challenges preconceived notions about young people.
While ‘The Death Of The House Party’ may not be a ground-breaking film in terms of its narrative structure or themes, its authenticity makes it a standout addition to the current Liverpudlian boom. McLoughlin and his crew’s ability to capture the essence of teenage life with such honesty and insight, is a testament to their talent and creativity.
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