Blood's A Rover is the story of Detective Chief Inspector David Boyd who leads a murder inquiry into the death of Frankie Morrison, and as the case develops, Boyd faces a new mystery: was Frankie connected to the murder of his father five years ago? Eileen Ballantyne, married to millionaire landowner Henry Ballantyne, is well-liked in her community as a kind and generous woman doing charity work for worthy causes. A turn of events forces her to confront a secret from her past that she doesn't want anyone to know about. Psychiatrist Alan Torrance has been leading a good life too, until the death of a patient in his street draws him into a murder investigation. Blair Eadie's a loner who falls in love with Eileen's daughter Kerri but he too is haunted by his past...
Style & Inspiration
The inspiration for our film came from three sources:
The first inspiration is the sprawling narratives of American crime novels by Raymond Chandler and James Ellroy such as The High Window and American Tabloid; Writer and Director Tim Fraser-Granados has a passion for murder mysteries, and wanted to set a crime narrative with multiple storylines in Edinburgh.
The second is film noirs like Out of the Past, Touch of Evil, and The T Men. Film Noir (i.e. "black film") is a style coined by French critics who noticed the bleakness and dark cinematography in many US crime and detective films released in French cinemas following WWII. Fear, mistrust, despair and paranoia are staples of noir.
The style of film noir was characterised by low-key lighting, stark light/dark contrasts, shadows of Venetian blinds cast upon an actor, and faces that are partially or wholly obscured by darkness. Noir is also known for its use of low angle, wide angle and skewed shots, or images of people reflected in one or more mirrors, shots through curved or frosted glass or other distorting objects. Blood's A Rover is a neo noir (following on from Shock Corridor, Point Blank, Night Moves, The Grifters and Mulholland Drive) meaning it has a modern setting and story while seeking to emulate the noirs of the 40s and 50s.
The third inspiration is three strip Technicolor. The look of classic Technicolor films like Black Narcissus, The Red Shoes and Leave Her To Heaven was hugely influential on Tim.
The title is specifically derived from the closing lines in the English poet Alfred Housman's poem "Reveille" about English soldiers going to war. A rover is a traveller, drifter or roamer in Old English.
Clay lies still, but blood’s a rover;
Breath’s a ware that will not keep.
Up, lad: when the journey’s over
There’ll be time enough to sleep.
About the Film
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