Woodyanders Tough and surly young thug Carlin (Ray Winstone in his outstanding film debut) runs afoul of vicious top con Banks (well played with growly menace by John Blundell), but still manages to usurp Banks's status as the new "daddy" at a harsh borstal for juvenile offenders.Director Alan Clarke does a masterful job of crafting an uncompromisingly gritty tone and pervasively bleak atmosphere of frightening complete brutality, with the prison staff coming across as every bit as savage and predatory as the inmates and life behind bars depicted as a grim and dehumanizing ordeal for both parties. Roy Minton's hard-hitting script tackles such edgy issues as racism, corruption, homosexuality, and abuse of authority head on. The fine acting by the able cast qualifies as another significant asset, with especially praiseworthy contributions from Martin Phillips as the timid Davis, Davidson Knight as persecuted black inmate Angel, David Threlfall as insolent intellectual anarchist Archer, and Phil Daniels as loudmouth braggart Richards. John Wyatt's stark cinematography adds to the overall scrappy authenticity. Pretty strong stuff.

mdm-11 This film was to show the horrors of a typical British Reform School, complete with regular beatings, humiliations, and even a rape scene. Sadistic staff and a team of violent and intimidating "daddys" terrorize the weak and timid members of the roughly 100 detainees. Racism and hypocrisy are in full gear. This is the Jr. Version of "Glass House", only even more graphic.This film is very difficult to watch and was actually banned by the BBC to ever be broadcast due to the extreme violence and shocking situations. Although I watched to the end, I just don't quite see the value (especuially for entertainment) in this fictional nightmare. Perhaps as a "Scared Straight" project it could deter at-risk children from a life of crime. Otherwise any slasher movie will do less emotional damage to an impressionable mind. I do not recommend this film

Theo Robertson I'll try not to comment on the controversy of this television drama . Everyone knows it was banned by the BBC prior to being shown on its PLAY FOR TODAY slot in 1977 and it wasn't until the early 1990s that the BBC relented by showing it with little fanfare . Over all I thought the film version was better . Structure wise Roy Minton's script is more or less the same as the movie version with one added strand here where Carling is allowed to have a " wife " , in reality one of the younger prisoners , as a perk for being a daddy , a story strand that doesn't really work in my opinion . Director Alan Clarke would later re-employ nearly the entire cast for the movie version with the exception of Archer , and I couldn't thinking while watching the movie that Archer was written as a type of hippy . Here David Throfall plays Archer as .... A hippy . I don't want to criticise Mick Ford's performance in the movie but here we see the role played as it was written and is the superior version , but this is the only aspect where the original teleplay out scores the movieI think because the movie version can get away with so much more than a television drama ( At least one made in the 1970s ) this version isn't so gritty and compelling . The film includes extreme language in every scene which adds to the realism and as has been mentioned the infamous rape scene isn't as shocking and depressing as the one in the movie version so compared to the 1979 cinema release the original television drama might be something of a disappointment leading the viewer to ask what was the controversy about in the first place ?

Matt Smith Scum is a fabulously gritty borstal drama revolving around troublemaker Carlin (Winstone) and his campaign to do his time quietly. The menacing staff and inmates of the Borstal (young offenders prison) are frighteningly realistic and the whole film has the feel of a fly-on-the-wall documentary. Sporadic violence comes with no warning and the rape scene in the greenhouse is one of the most harrowing I have seen on film (may be cut in some versions). Full marks to Alan Clarke and Ray Minton for this beauty.