They claim when they are fighting European firms at the forthcoming tournament, they will be doing so in memory of their dead leader. The closing scene depicts the surviving ICC members in a pub, honouring Bexy as a hero.
In his last moments, Bexy expresses astonishment and disbelief that Yeti has a gun, and says 'Oh, come on!' before Yeti pulls the trigger. Bexy beats up Yeti during the ICC's clash with the Buccaneers.
Bexy is relishing the chance to defeat Yeti. The ICC survive violent clashes with the other gangs but must still defeat the Buccaneers. Everyone thinks of him as a joke, she says, but because they fear his violent nature, few are willing to point out to him that he is not the working class hero he thinks he is. These young men think of themselves as important, respected figures in their local community, but Bexy's wife tells him that the truth is somewhat different. Bexy used his natural leadership qualities to cajole and encourage his peers, and uses intimidation to cement his position as leader of the ICC. The rival firms then agree to fight each other in order to determine who will lead the new, amalgamated firm into Europe.īex and his fellow hooligans only possess any kind of social status amongst their own groups, and Bex relishes being looked up to and admired by the younger men in his own firm. The other gangs like the idea but do not like the idea of Bexy being top boy. Bexy meets leaders from other firms in the Tower Hotel in London, including the Buccaneers. With an imminent international football tournament in Holland, Bexy wants to form a 'National Firm' - comprising several rival gangs - big enough to take on the well organised and large international hooligan groups. Bexy's nemesis and leader of the Buccaneers, Yeti, then drives a white Volkswagen Golf GTi cabriolet across the football pitch. The film begins with a rival gang called "The Buccaneers" vandalising Bexy's Ford Sierra XR4x4 and spraying graffiti in a football dressing room while Bexy and his mates are playing football. However, he feels that Bex and his friends have gone soft because they now use weapons and worry too much about strategy, instead of just getting on with fighting rival mobs. Conversely, Bexy's father shows acceptance of his son's lifestyle, happily taking a group photograph of the 'tooled up' gang and boasting of similar activities in his own era. Even when his baby son injures himself with a craft knife Bexy has carelessly left lying around, he is unwilling to give up violence as he admits it gives him a "buzz". His wife no longer approves of his activities as a football hooligan, which contrast to his respectable job as an estate agent. He is the leader of a hooligan firm known as the ICC (Inter City Crew). Therefore, this is less a soundtrack about football than it is a compilation of hits from the general era.Clive Bissel (nicknamed "Bex", or "Bexy") is a married man with a baby son. There are also a couple of pop and rock-oriented tracks for balance in Soft Cell’s "Tainted Love" (of course), the Jam’s "A Town Called Malice," and Nik Kershaw’s "Riddle." The music doesn’t necessarily fit the time period, and there is nary a football chant in the soundtrack. Almost everything here is post-disco soul and funk: Rick James’ "Super Freak," Jermaine Jackson’s "Let’s Get Serious," the Fatback Band’s "I Found Lovin’," and edited versions of Donna Summer’s "I Feel Love," Yarbrough & Peoples’ "Don’t Stop the Music," Cameo’s "Word Up!," Zapp & Roger’s "Computer Love," etc. While Love claims that the music he chose was right from the streets during 1984, it seems that it was chosen instead right from the charts in the late '70s and early ‘80s. The soundtrack chosen is an interesting one. Love’s remake has taken the politics from the film and focused instead on the notion of the issues facing young men, peer pressure to belong, and comes at the original script from the personal rather than the political.
The firm 2009 film movie#
Nick Love’s film The Firm is actually a remake of an excellent 1980s British television movie that uses the metaphor of football hooliganism as a meditation on the economics and mentality of Margaret Thatcher’s tenure as Britain’s Prime Minister.
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