Midlands Review of Tommy
midlandsmovies • April 16, 2020
Midlands Review of Tommy
Tommy
Directed by Liam Driscoll
2020
Cinectar Studios
Tommy is a new World War 2 drama from Midlands director Liam Driscoll that looks at one of the most important days in the conflict.
We open on 6th June 1944 D-Day and a brief title explains how after the successful Normandy beach landing, many paratroopers found themselves alone in enemy territory after bad weather hindered their drop.
To the sound of gunfire, we open on a soldier (Jack Kemp) awaking on the ground and looking up to see his parachute stuck in a tree. Not only that, the man is also tending to a bloodied and wounded leg.
Struggling to stand in his forest surroundings, he eventually stumbles across a farmer and passes out, only to come round in the stranger’s lodgings.
The film is shot naturalistically, handheld at times but luckily not like shaky mobile phone footage. Its influence seems to be Saving Private Ryan’s middle section with a dash of David Ayer’s Fury (2014) thrown in and the shots are suitably cinematic. Aerial shots in expansive wheat fields give a fantastic sense of scale as the soldier appears tiny against a large canvas of countryside.
A slightly questionable French accent from the farmer almost hinders the illusion but he’s portrayed sensitively by a committed Duncan Hess. And I’m not sure if it was the wardrobe or props, but at times the film seemed more “modern” than the 1940s – certainly within the farmhouse location.
Moving on however, the dramatic tension increases as farmer tells our soldier about his son before the arrival of Germans means he hides the British soldier away.
A violent confrontation ensues, and the film takes a sympathetic look at men from different countries helping each other out during a terrible era of battle.
Tommy’s highlights outweigh its anachronistic flaws and the short finishes with an open-end of sorts as another British soldier arrives on the scene who we hope doesn’t misjudge the bloody scene he arrives to witness.
In conclusion, Liam Driscoll has used the Midlands well as a location to recreate a brief, serious drama about the tragedies of war. Tommy shows the sacrifices many gave from all countries with a hint that there’s more to tell in the ambiguous fight of warfare.
Michael Sales
On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester. A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region. You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2 And please also check out our great awards partner Chrome Video Best Actress in a Leading Role Karendip Phull for Family Kate Bracken for The Lace Rachel Baker for Throwing Fruit Chloe Wade for How Long Sophie Bullock for Ma Prison Best Animated Film Of All the Things by Steff Lee Big Red by James Pyle Statue in the Garden by Qianhui Yu Butterfly by Jacob Christie Best Director Luke Worrall for The Waterline Lily Portman for Quiet Jack Richardson for Daniel’s Room Jonathan Hawes for Sorry We’re Closed Sophia Dall'Aglio for Man from Mars Best Documentary Nothing's Impossible by Jacob Thomas McClean A Birmingham Symphony by Jemma Saunders We Bring Light: Leicester's Diwali Legacy by Kieran Vyas The Sunshine Café by Jill Lampert Through the Viewfinder by William North Best Sound (Editing or Mixing) Neil Evans & his team for Artificial Insanity Alasdair Gretton for Dead on Distribution Deepanjali Patel for Earworm David Hamilton-Smith for The Pause Heidi Wilson for Of All The Things Best Actor in a Supporting Role Devon Junior for Lazar Tim Sparrow for Safety Net Shaiek Ahmed Rana for Family Luke Rollason for Quiet Peter Willoughby for A Story of Spring Best Visual & Special Effects Jake Wesley-Worrall for Soul Trader Steve Askey & team for The Correction Unit Nick Willett, Matt Burkey & Jayne Hyman for Black Goat JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour Jacob Christie for Countenance Best Cinematography Gary Rogers for The Pause Laurence Mason-Guetta for Sorry We’re Closed Ian Snape for Soul Trader Ash Connaughton for Daniel’s Room Duane Adamoli for Surfing (nominations continue below...)
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