I've never been a fan of short films for their 'art-school' and 'experimental' qualities. Simply being a product of those two is not enough. They are almost always too personal, too opaque, and too much obviously serving as 'stepping-stones'.

I was therefore happy to see Lynne Ramsay's short films as the chrysalis for her superb feature films. I was also impressed to learn that she won the Cannes short-film prize, *twice*. And now I can see what others saw in her, for _Gasman_ is the best short film I have ever seen.

Available on the Criterion DVD with _Small Deaths_ and the less good _Kill the Day_, _Gasman_ is a fully-fledged, visionary film that translates directly into the skill and grace of _Ratcatcher_.

_Gasman_ moves directly from the first piece of _Short Deaths_, with the distant father and Lynne Ramsay Jr. again taking centre screen. But _Gasman_ comes to a kind a fruition--a full story with many of the same themes and techniques of _Ratcatcher_: closely observed yet elliptical human behaviour, housing projects, slum-beauty, children's natures, a jumbled impressionistic world caught in partial body closeups and shots from behind people.

The film 'tells' nothing, but the story is dead clear and builds slowly to an emotional pitch that is almost unbearable.

This is a film of jaw-dropping beauty. Sounds trite, but that's how I feel. When the Da and two kids walk on the tracks, the camera is set to a partially closed iris which intensifies the available light and colour in an otherworldly sheen--one that is gone when they return on the same tracks at night, in disappointment. Beauty in service of story is the key.

This *is* the best short film I have ever seen.

One of the most difficult problems to solve is the people relationships.

The father has two families, which means the four little children have blood relations. However, maybe of course, they do not know that.

In the Christmas party the main character girl is coming to feel uncomfortable about the other girl who is her half sister indeed. In the last scene, when they are coming back home, the order of the people especially the girls mentions the very touchy feelings of them. The girl is so confused but does not know the truth. This is a very interesting film and is questioning us about what to do with such a problem.

It's grim up north the old saying goes; Gasman by Lynne Ramsey won't change that stereotype but it does illustrate the talent of this director. This short film shares similarities with the both work of Mike Leigh and social realist 'kitchen sink' films of the sixties, in showing a slice of life story from the lower classes. Read; bleak setting and diegetic sound.

Set in an undisclosed Scottish city at Christmas, the story concerns a day in the life of lower class father (James Ramsey),daughter Lynne (Lynne Ramsey Jr) and son Steven (Martin Anderson) as they walk the tracks. En route, they mysteriously pick up more children from a woman (Jackie Quinn),Lisa (Lisa Taylor) and Robert (Robert McEwan).

Gasman is a powerful piece, due in no small part to the performance by Lynne Ramsey Jr. It is a powerful portrait of a working class young girl and the confusion she faces. When pretending to be Dorothy from the Wizard of Oz, you really believe that 'There's no place like home.' The supporting cast are also suitably bedraggled for their characters to be believable. There are some fine visual flourishes in this short piece; the close shots of people getting ready for their day out give the film a very intimate feel, as if you are really looking into their family life. There is appropriate use of light and dark contrast, in particular as they are in wide shot walking up the tracks. Also, the working club Christmas party is visual delight, with child POV shots, slow motion and chopped up editing.

At times the Scottish dialect is quite hard to follow with the sound quality being quite raw. My main issue with the film would be that Gasman doesn't have anything original to say. Gasman is suitably bleak according to genre convention but its essential message being that it's challenging growing up in a lower class environment has been a mainstay of social realist cinema since before Kes. Still grim it would seem.