Premature is rough around the edges, but its sincerity and thematic observations are easy to admire. It’s not always funny, and it’s not always novel, but it is confident and largely entertaining, especially once it gets past the initial growing pains and finds its feet within its chosen genre.
As both a film critic and a TV runner, releasing your first feature to national audiences must be daunting, whatever the circumstances. Making a film on such a constrained budget probably amplifies that anxiety even more. Kevin Walls’ Glasgow-based romcom, Premature, was made with just £16,000, funded and produced independently, with essentially a skeleton crew behind the camera. That’s a tiny amount, even compared to Indie success stories like Rocky or Obsession. While this small budget shows on screen, there’s also fun and sanguinity to be found in this amiable, light-hearted romp.
The premise is simple: we practically open on the inciting incident as failed artist-turned-barista Eilidh (Elle Watson) discovers she is pregnant. The father is her flatmate, Cameron (James Rottger), an ambitious, workaholic accountant. The pregnancy stems from a drunk one-night stand between the pair, leaving both of their futures suddenly uncertain. So career-driven is Cameron that the idea of an abortion suits him just fine. But when Eilidh decides to keep the baby, the duo commit to preparing for its arrival, and a genuine romance slowly but surely blossoms between them as career paths and parenthood butt heads.
It’s undeniably impressive that the team behind Premature secured screenings in mainstream cinemas across Scotland, yet its humble origins are hard to miss. The blocking is excessively centred, with the character of focus often directly in the middle of the frame, or close to it. The film relies too heavily on shot-reverse-shot techniques, and when paired with this centre framing, it creates a picture that feels distinctly beginner in style. A small budget limits possibilities, in fairness, but there could’ve been more variation in the direction, editing or cinematography.
Physical locations across Glasgow make up much of the scenery, including a notable sequence at Kelvingrove Museum. As a proud Glaswegian, it always warms the heart to see the city on the big screen. Wells, both writer and director, also served as the DoP. He captures the city’s vibrant idiosyncrasies through bright colour palettes and rough environments, the two contrasts forming an uneasy harmony, much like Cameron and Eilidh themselves. However, because the cast list is so limited, many of these sequences and settings feel strangely empty, with only the necessary characters in sight. A forlorn scene in the third act is set in a London street, but only Cameron, and maybe a half dozen extras at most, occupy the screen. Supporting artists are an understandable place to cut, but it adds to the film’s minimalist-to-a-fault approach. For better or worse, one can tell this is a feature debut.
And yet, with all that said, the film has a palpable charm that gradually grows on you as you watch. Underneath its rugged craft is a universal story of taking life as it comes and breaking free of hegemonic work-life cycles. The comedy is hit-and-miss, ranging from a chucklesome moment where the pair kick out their flat’s freeloader Gavin (Terry Nelson) to a surreal extended sequence of breaking into someone’s house. But the drama, and the sentimentality behind it, is consistently solid, delivering tender observations on the pressures of social conformity and the freedom that comes with staying true to yourself and others.
Playful performances and characters are the soul of this picture. Wells’ script thrusts us into the chaos almost immediately. While the dialogue can be on the nose to a fault, it nonetheless gradually peels back the characters’ layers. Eilidh’s juvenile demeanour, opposite Cameron’s tight-arsed tendencies, makes for a good comedic contrast, but also leaves room for both to grow under the influence of the other. They play into their assigned archetypes, but not at the expense of deeper vulnerabilities, as failed dreams and fears for the future play into the conflict as much as their rambunctious natures.
Watson and Rottger have affable chemistry that only strengthens as the film finds its stride. Rottger conveys exasperation with colourful eloquence, while Watson’s more eccentric delivery is underscored by the deceptive weight of her quieter scenes of strife. Both are fully game for this project, constraints and all, which makes for a delightful on-screen duo.
What this creates is a film that, whatever its execution, is comfortable in its own skin and wears its heart on its sleeve. The plot points and conflicts from act to act are not especially surprising to those well-versed in romantic comedy tropes, and one does wonder if it could have gone deeper with certain dynamics or dilemmas. Finances don’t seem to be a problem for these two despite the fiscal demands of any pregnancy, and their relationships with their parents, while solid enough, could’ve perhaps influenced the story and character arcs more. But there’s a creative earnestness that makes these characters, their journeys, and the resulting outrageousness infectiously likeable. Even the production’s economical nature gradually becomes part of its appeal. In many ways, the finished film reflects its Glaswegian locations – the appearance of crudeness but a persevering tenacity and enormous heart underneath.
Premature is rough around the edges, but its sincerity and thematic observations are easy to admire. It’s not always funny, and it’s not always novel, but it is confident and largely entertaining, especially once it gets past the initial growing pains and finds its feet within its chosen genre. Two fun lead performances and a tangible enthusiasm for its Glaswegian locations and setpieces only strengthen its convictions. Wells and team make the most of what’s available to them and, all things considered, deliver an endearing and occasionally humorous caper that will be sure to find a dedicated audience. Hopefully this is the springboard for bigger things for all involved.
Premature is now showing in selected cinemas.
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