(Ruth Sims - aka "Gran") image copyright of Angry Boys
Politically incorrect, crude and brash. Australian comedian Chris Lilley has done it again, this time with his 12-episode ‘mockumentary,’ Angry Boys, the first of which aired on the ABC last Wednesday.
If you are not fond of swearing, racism and stereotypical portrayals, then this show probably is not for you. Nonetheless, Chris Lilley has followed up from his two previous television series We Can be Heroes (2006) and Summer Heights High (2007), in groundbreaking style. If you have liked either of those, then stay tuned.
TV ratings listed the first episode of the show as number three on the night with 1.4 million viewers tuning in, the highest rating show on the ABC this year, following behind Australia’s Got Talent and Masterchef.
Chris Lilley’s new hit show not only shot the ratings to pieces for the ABC, but also became a hot topic on Twitter, with some praising his satirical genius, and others frowning on his political incorrectness and swearing, some choosing to watch other programming.
Not a heavily publicised Australian television figure, Chris Lilley is put simply, a genius. A man who writes, produces and composes much of the score on the grand piano for this series is outstanding in itself – but yet again we forget he acts, starring as six intriguing and very controversial characters. Do they fit the stereotypes? I’ll let you decide.
The episode which only aired for half an hour, showcased only half of the shows’ characters, which began with the two characters Daniel and Nathan Sims, who shocked audiences in Lilley’s first production We Can Be Heroes.
These two boys who we are first introduced to as an audience are confronting, the typical bogan and country folk stereotype with potty mouths, some of Lilley’s political incorrectness shining through. Daniel pokes fun at his deaf brother Nathan at every opportunity who he donated an ear drum to, is a self-proclaimed surfer who lounges around the farm and does “doughies” and “mainies” in various forms throughout his town. Nathan, his mentally unstable brother, on the other hand, is an avid skater who is constantly oppressed by Daniel, doing the majority of his communication with his middle finger.
Ruth Sims aka Gran, pictured above, is the grandmother of the two Sims’ boys who we meet in the opening, is definitely by far the best of Lilley’s inceptions into the story to date. Gran works at a local juvenile detention facility looking after “bad boys.” Her job description on paper is an officer, but also a sports coach, a chef, a games coordinator, a psychiatrist, a surrogate family, a mum and a grandma in her lengthy account of her role.
Despite her racism and abuse, as one of the most controversial of the characters, she acts as comfort for many of the detainees who have nowhere left to go, and a supporter of her two grandsons over Skype. Labelling black people “coco pops,” and aboriginals as “petrol sniffers” are a few of the many risqué satirical labels Lilley utilises at his disposal.
The real life shaky camera shots in conjunction with still shots add to the realism of the story, as you cannot help but feel you become immersed within the story, and connected to many of the characters by the conclusion.
Lilley’s first edition of this 12-episode production is definitely crossing the line for many people. Although, if you are willing to give it a shot and put aside the coarse nature and language of the characters that are stereotyped, you will certainly find it a good way to spend a Wednesday night, at least for me anyway.
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