There's nothing like a little Oedipal obsession to lighten the mood. No, really. In the hands of director David Mackenzie and, particularly, via the performance of Jamie Bell, the bizarre tale of Hallam Foe somehow manages to be deeply twisted and life-affirming — even as it skirts the Odeipus issue, flirts with obsession and throws in some extreme voyeurism.
Bell leaves any Billy Elliot residue well and truly behind in the title role, a deeply troubled young Scot who spies on his neighbours and point blank accuses his new stepmother (Forlani) of murdering his beloved mum in order to get to the Foe family fortune and his dad ( Hinds). When his sister leaves home, it's the end of Hallam's obvious family tie and as a result of that — and an unexpected fumble with said stepmum — he flees the family estate and winds up in Edinburgh where, wouldn't you know it, he runs into Kate (Myles). And Kate bears an uncanny resemblance to the late Mrs Foe. Thus begins a strange tale of hotel work, rooftop voyeurism and romantic comedy. No. Really.
To call Hallam Foe unique or unusual is to barely scratch the surface. It's a very bold attempt at something enormously different and, for the most part, it carries it off with some style, wit and poignancy. It perhaps falls down a little on the cod psychology but, the fact that it pulls it all around to finish in such wonderfully uplifiting style is a remarkable achievement. And most of that is down to Bell, who manages to make this strange, potentially creepy character so bloody likeable. It's a stunning performance which, combined with Mackenzie's sympathetic direction and a kick arse soundtrack, should see Hallam Foe take its well-deserved place on most Top Tens for 2007. It's certainly on mine.
EXTRAS ** A director's commentary, deleted scenes and interviews with cast and crew.