Adapted from the 1979 play written by Long Good Friday scribe Barrie Keefe, this film presents a worst-case scenario for the Sus law, which permitted the police to stop and search and even arrest anyone they chose, purely on the basis of suspicion (‘sus’), as a crime-prevention tactic. It was the alleged abuse of this law that led to many ethnic minority communities to feel targeted, resulting in its eventual abolishment in 1980.
Set on Election Night in 1979, the entire film takes place, apart from a few meagre flashbacks, in a police interview room. Delroy’s (Dyer) pregnant wife has been found dead in a pool of blood and he is brought in as the chief suspect, interrogated by DS Karn (Brown), a cruel racist, and his borderline psychotic sidekick DC Wilby (Spall), who both eagerly anticipate a Conservative landslide victory and attempt to lead Delroy into a quick confession so that they can see the election results.
What follows is a barrage of humiliation and abuse, both mental and physical, for Delroy as he struggles to maintain his innocence while coming to terms with the news that his wife has died, which he hears for the first time from these taunting, corrupt police officers.
This gritty adaptation makes no attempt to break free from its theatrical roots; the one-location setting providing a simple stage for three powerhouse performances by its leading actors. While this applies a suitable claustrophobia to the tension-building drama that unfolds, it also renders the film more stifling than is intended.
Director Robert Heath attempts to maintain interest by keeping the camera in motion, exploring every corner of the interrogation room, but the film still feels too trapped within its own constraints. Considering that the sus law is a national issue, an opportunity to expand the themes of prejudice beyond the four walls presented here is sadly wasted.
That said, the impact of the film rests squarely with the actors here and, in this respect, it works on every level. Rafe Spall plays his DC Wilby with an almost child-like eagerness to be cruel; a layer of psychosis bubbling under an animated demeanour that works in stark contrast to his partner’s more methodical approach.
Ralph Brown, best known for his comedic roles in Withnail & I and Wayne’s World 2, channels a sadistic Jim Broadbent in his portrayal of DS Karn, using a measured tone to push Delroy’s buttons and a calculated ruthlessness to wear down his defences. It is he who is in control throughout and, as Delroy’s mischievous banter quickly turns into lamentation as he learns about his wife’s demise, DS Karn never relents in his considered mistreatment.
The most outstanding performance, however, comes from Clint Dyer. Cocky and cynical to start but later crushed and without hope, Dyer portrays this descent with complete conviction. With the camera often capturing Delroy’s tragedy up close, with his grief-stricken face filling the screen, Dyer is perfect in his depiction of a man broken.
Overall, Sus makes for arduous viewing and, while the script and setting do not fully serve a cinematic format, the themes explored teach an important lesson, particularly relevant at a time when Stop and Search policies are regaining attention in the public eye. It cannot escape anyone’s notice that, with its heavy political overtones, this film’s release is timely, coinciding with the General Election and appearing in cinemas a year after Conservative Leader David Cameron announced that he would, if elected, seek to return similar powers to the police. This film is certainly likely to make voters think twice before giving such policies their support.
Trailer
