Submarine

The coming-of-age comedy-drama is a well-worn genre with little room for manoeuvre. Popular enough to be parodied over and over again, it has enjoyed something of a renaissance in the last few years after its 70s/80s/90s heyday. Recent films such as Adventureland and The Wackness are, in my opinion, just as good as classics such as Breaking Away and Dazed and Confused. And now, hot on their heels comes Submarine, Richard Ayoade’s heinously-assured directorial debut; a film that somehow manages to find something fresh to say about adolescence in such a clearly defined and populated medium. It is an outstanding piece of filmmaking.

I have to admit to being a shameless fan of the coming-of-age drama, having grown up with a diet of it and N64; nonetheless I would wager everyone would find something to love about this film. Many people will (sadly) know Richard Ayoade as Moss from the I.T. Crowd: an old-fashioned, largely unfunny sitcom. But he first came to my attention as Dean Lerner in Garth Marenghi’s Darkplace, an incredibly judged and realized spoof of 80s horror/hospital TV, which he also co-wrote and directed. In many ways it is the antithesis of the I.T. Crowd’s canned-laughter shtick, showcasing Ayoade’s unique brand of deadpan humour and love of genre. If you haven’t already seen it – find it; it’s genius. The former President of the Cambridge Footlights is also a music video director of repute, making some idiosyncratic gems for the Arctic Monkeys and Vampire Weekend. It was in these videos that Ayoade’s love of French cinema and Wes Anderson-esque mise en scène was first displayed.

And these influences are clearly felt in Submarine, adapted from the novel of the same name by Joe Dunthorne. In it, hopeless romantic and intellectual teen Oliver Tate (brilliantly played by Craig Roberts) tries to win the heart of classmate Jordanna  (a sterling Yasmin Paige), whilst simultaneously trying to save his parents’ ailing marriage, which is being threatened by the father’s depression and a former flame of the mother (a mulleted Paddy Considin). The parents are wonderfully played by the omnipresent and excellent Sally Hawkins and a glum-looking, bearded and no less good Noah Taylor.

Richard Ayoade on set

The simple enough and familiar story is imbued with real style and verve by the use of nouvelle vague-like techniques such as zoom outs, freeze-frames, jump cuts and more. Far from being tricksy and unnecessary, they add to the rye way that both the protagonist and director see the world. Inevitably, the script crackles with intelligence and humour, too. Like all good coming-of-age films, Submarine makes you hanker after youth and falling in love, taking you through the gamut of human emotions – with added wanking gags.

What is so refreshing about the movie is that the obvious inspirations are converted and used for something more, making the film very much a Richard Ayoade picture. The acting, often a stumbling block for some lower budget Brit flicks, is uniquely perfect as well. Where Ayoade goes from here – an instant classic, the way I see it – is anyone’s guess. I just hope his next film is half as good. Go and see it. Now.