why do the english want to live by the sea . last resort . ( silence ) it never as good a they think it will be . saw this last evening at the local art cinema in newcastle . and what a magnificent british art film this be while ex time out film critic christopher petit and spur by the twin influence of the road movie of wim wenders ( co producer ) and the incipient post punk scene . there be scene and glimmer and furrow which sometimes only late come through to haunt the mind while the whole stand a a brilliantly pace and sustain aesthetic reflection of decay and despondency . the britain of 1979 be often simultaneously beguile and deaden while great symbolic tower block on the way out of london and desolate countryside head west . so much that you feel could give root to extensive and restlessly ruminative iain sinclair or paul morley annotation . this film be indeed about more than plot and though it hang on the path of a man who be show go about his typical and elliptical life in london and where he seem to be a hole up dj for some obscure station . his how be jarringly show playing in an industrial work set while presumably to those who can not hear be this use of music perhaps not so far from the choric alan price in o lucky man . after a time and he begin a car journey to bristol in search of answer regard the unexplained death of his brother while which be possibly and though never definitively and link with a pornographic movie racket report in radio news bulletin in the west country . i could make few spoiler that would seem significant and though point do jab out at you while particularly in the sense that expect explanation or fruition occasionally seem on the card . but and hauntingly and we be leave to puzzle thing out ourselves while which may well be a pointless task if one be to think in usual and lateral pattern . the main actor do a wonderfully minimal job and as be best with this sort of project while a face that move only a certain amount and and when need while above all and a face that reveal itself a the blank canvas mask that we alone can choose or otherwise to feel the emotion through . he be a guide and but rightfully not one we be encourage to easily identify with while though at time and i certainly can . the landscape and the lyrically still and gently move camera and the haunting and wouldehumanized pop strain of bowie and lovich and kraftwerk while these phenomenon bring out our response . or rather the cumulative effect do . it be only perhaps break by the unnecessary interlude with sting and which show the man with a good deal of smugness and even back then and within this film . this be unfortunate consider it follow relatively soon after the slow jukebox tableau and the camera taper around the pub for the whole duration of a wreckless eric song on the jukebox . so little happens that the mere act of one figure hitherto seat get up and leave the establishment take on implausibly move dimension . surely it be not just me who be move impossibly by the sudden move to a hauntingly wistful bucolic scene . this fairly brief shot be lit and frame magisterially and contrast with the previous beckettian suicide comedy on the cliff top and with kraftwerk ohm sweet ohm spiral on to height of tinpot music box melancholia . this film mark out an approach that sadly be not take up in british film make more widely while it take it time to get precisely nowhere and and yet everywhere and in comparison with so many thing we call film .