Double bill of British dramas about football violence and hooliganism. 'The Football Factory' (2004) is based on the novel by John King. Tommy Johnson (Danny Dyer) is a bright but bored 30-year-old with a steady job and close-knit family who lives for the weekend life of casual sex, lager, drugs - and violence. Through him we meet three other males in his world: Billy Bright (Frank Harper), a right-wing fascist full of bitterness at a country that he perceives as having failed him; Zeberdee (Roland Manookian), a mouthy hooligan whose life revolves around crime and drugs; and Bill Farrell (Dudley Sutton), a 70-year-old war veteran who tries to enjoy every day to the limit. Shot in documentary style using a handheld camera, the film realistically captures the lure and potency of football violence. 'Arrivederci Millwall' (1990) follows a group of hardcore Millwall supporters as they travel to Bilbao in Spain for England's World Cup matches in 1982. Their rowdy behaviour soon leads them into trouble, and the violence escalates as Billy Jarvis (Kevin O'Donohoe) steals a gun to avenge his brother's death in the Falklands conflict.

This British crime drama set in London's East End is the cinematic debut of TV director Alex Pillai. Ashley Madekwe stars as Tia, a middle class girl from the Home Counties who becomes caught up in a world of crime when she goes to stay in the London council flat of her cousin, Davina (Anna Nightingale). Much to her cousin's displeasure, Tia becomes increasingly involved with one of her friends, Tyson (Ashley Chin). As she becomes closer to Tyson, Tia discovers that he has his own complex and very personal reasons for turning to a life of crime.

Action drama offering a gritty portrayal of the life of Carlton Leach (Ricci Harnett), football hooligan, whose innate ferocity propels him into an escalating life of serious crime. Over the course of three decades, Leach 'progresses' from attack-dog hooligan to nightclub bouncer, before becoming involved with the ever-expanding drug scene - his passport into the criminal elite.

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The author traces Dryden's theory of comedy through two main stages of development, 1663-75 and 1675-1700. In the first stage, Dryden conceives of ideal comedy as a heightened mixture of Jonsonian humor and Fletcherian love and wit. In the second stage, naturalness and satire become the key principles, and Shakespeare becomes his primary model.
Originally published in 1963.
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