I Swear

Year: 2025
Director: Kirk Jones

I had been looking forward to this film since seeing the trailer. The trailer made this film look very good indeed and I had a little bit of a concern that, in the way of many a modern film, the trailers had all the best bits. They didn’t.

I Swear charts the life of John Davidson, who developed Tourette’s syndrome in his early teens. It moves from the 1980’s through to present day set, mainly, in Galashiels.

It is a brilliant piece of cinema combining an exemplary cast (I would not be shocked at Oscar nominations and the BAFTA’s will be a busy night for many involved). Maxine Peake, Peter Mullen and Shirley Henderson are all terrific. Robert Aramayo is stunningly good as an adult John Davidson portraying warmth and kindness as well as the despair of his personality being interrupted by the compulsions of Tourette’s. A word also for Scott Ellis Watson who played the young John Davidson developing his Tourette’s fantastically well.

Making a film about Tourette’s could have been either too comedic or too dark and challenging. The film walks this line perfectly – summed up by John Davidson explaining Tourette’s to some school children that he is compelled to say the most shocking things that even he will find funny. It’s a tough watch at times. But it never feels manipulative or voyeuristic. There is also a deep humour in the film – not just the the inappropriate swearing (although that is used to great effective to lighten the dark on several occasions). The script has lovely little moments in it that are funny without the swearing including one where you will learn why Tourette’s sufferers make lousy drug dealers

I came away thinking that I had seen a film that should be seen by everyone. Firstly, it is that good – it really is. All of it – the script, the acting, the direction and cinematography are are pitch perfect. Secondly, because most people will come away from watching it with a different perspective – not just about Tourette’s but also about the impact of it on the sufferers and their families. And why it isn’t hopeless.

It does also have a canny, Afterword friendly soundtrack which includes New Order, Primal Scream and James amongst others. I suspect it has (and is likely to remain) the best use of an Oasis song in a film ever.

It’s a film that’s firmly in my top 10 now. Watch it now whilst it’s still in the cinema. You won’t regret it.

Might appeal to people who enjoyed:

It shares a bit of a dark comedy vibe with Trainspotting but it is played straighter – more like an edgier Full Monty with a more defined message.

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