One of the underdogs of the London Film Festival, SNOW IN PARADISE may have gone unnoticed by many in attendance – though it isn’t for lack of merit. Based on a true story, the film tells the tale of a former criminal who finds Islam and turns away from his old life, but not before being pushed to breaking point by the events and people which surround him.

Newcomer Frederick Schmidt steals the show with an intense and powerful central performance as the renamed ‘Dave’. Set against the London backdrop, Dave’s journey from petty criminal is engrossing as he moves up the criminal ladder and becomes gradually more unhinged, thanks to his ability to convey the many hidden depths of the character. He is strong and intimidating, loyal and eager to please. You both fear for him and care desperately, wanting him to find a new path. It is that quest that keeps the story going.

Chatting with co-writer and actor Martin Askew, who also happens to be the inspiration behind SNOW IN PARADISE

Seasoned film editor Andrew Hulme has more than proven his directorial abilities here, with a debut feature that could so very easily have descended into gangster stereotype. He has assembled an impressive team too, both behind and in front of the camera. His characters have depth, his story has pace and the score by relative newcomer Kevin Pollard is both subtle and extremely powerful, much like the film’s star. The music builds, sometimes drowning out the dialogue entirely – a technique which works brilliantly here. Some moments are so tense, so violent and so charged with energy that you almost need the music to remind you to take a deep breath.

The film is quite clearly a male-led project but there is so much to connect with that it doesn’t alienate the female viewers. After all, though SNOW IN PARADISE is about a criminal who finds Islam, the message of the film transcends the specifics. Ultimately, it’s a story about someone on a pre-destined path who found something he believed in and changed as a result.

It’s a powerful and impressive film, full of bold performances and an emotional journey with which anyone can connect.

Lead actor Frederick Schmidt with composer Kevin Pollard

After the screening, there was a chance to talk to those involved and find out a little more about the project which, it seems, has been a long time in the making.

Hulme told me he had absolutely been bitten by the directing bug but he doesn’t plan on giving up his editing work just yet (he has worked previously on a number of films, including LUCKY NUMBER SLEVIN and THE IMPOSTER). He looked relieved, after all the work that went into getting the film made, to finally have it out in the world. Though he did add that, had the film not actually been made, he might be looking at things a little differently as it might just have taken his sanity into the archives of unmade films right along with it.

Martin Askew, the inspiration behind the story, co-wrote the project and also stars in the film as the menacing Uncle Jimmy, the man who has such a strong hold on Dave. Yet speaking to him wasn’t nearly as nervewracking as one might expect. A fascinating man, who speaks unreservedly about his life before converting to Islam, Askew described the process of writing the film as ‘cathartic’.

Frederick Schmidt, the actor who gave such a strong, powerful performance in the film, is a relaxed, unassuming man, evidently proud to have been part of this film. He spoke very highly of the cast and crew and also somehow gave me a rare reason to be grateful for smokers – he was discovered for the film by a woman and her clipboard whilst outside his job having a cigarette break!

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