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By the time Millwall come round in the Cup, this dream fixture is bleeding into Tommy's nightmares. Tommy can see the dismay at their bigotry and violence in the eyes of his war veteran grandad Bill (Sutton). In 2004, Chelsea fanzine cfcuk produced a special edition - 'cfcuk - The Football Factory' to coincide. Cardiff Chelsea drew Cardiff in FA Cup, headhunters arranged to meet Carfiff Soul Crew in West Londom for mayhem (an officers jaw smashed w Brick) 4. The film is a fictionalised account of the activities of the Chelsea Headhunters. Main Chelsea rivals are Millwall, West Ham, Portsmouth, Leeds and Cardiff 3. It is loosely based on the novel of the same name by John King. Take bitter braggart Billy Bright (Harper) or coked-up delinquent Zeberdee (Manookian). The Football Factory is a 2004 film directed by Nick Love, starring Danny Dyer and Frank Harper. Tommy's got enough grey matter intact to know his fellow Chelsea Headhunters aren't to a man the acme of self-possession. We had all of half-a-million pounds to promote this film, but we still managed to make more noise than any other release this year.Like many young men of his ilk, Tommy Johnson (Dyer) lives for leisure: 'Casual sex, watered-down lager, heavily cut drugs - and occasionally kicking the fuck out of someone.' Football fighting: it's the purest rush, a ritual and rallying cause, a source of self-expression, even a reason to live. "What sells films in England is controversy, and you have to milk it. The racist incident involving a number of Chelsea fans in Paris is just the latest in a long line of unsavoury events involving the clubs supporters. It's unfair to the backers if you won't work to promote the film," he says. I remember the Chelsea Headhunters used to leave a calling card on their victims.'You have been nominated and dealt with by the Chelsea Headhunters'.You can even buy them on e bay.:eek: Bit like in Apocalypse Now,when they leave the calling cards on the dead VC. You have to work all the way through the process. "It's no good just being a filmmaker these days, where you just make a film and leave it. With another comparatively small marketing budget behind The Football Factory, Love was determined to avoid the same fate. His debut feature, 2001's Charlie Bright, a coming-of-age tale on a council estate, barely made a dent at the British box office. There is, however, more than just bravado behind Love's approach to seeking the spotlight. He no longer uses drugs or drink and channels his now palpable energy into movie-making. At the age of 34, he's put the worst years of his life - a teenage addiction to heroin that necessitated an ongoing crime binge - well behind him. Love is unconcerned about where the weight of judgement will fall. It's a bloody tale of excess, more at ease exploring (and enjoying) the culture of the firms than the moral landscape behind it. What the film does boast is an excess of drug usage, crime and casual violence. The closest you get to an actual football ground in the film is the distant roar of the crowd while various firms manoeuvre through the streets outside, trying to ambush each other. It's got slick, like the military, and it has less and less to do with the actual football." "There was the advent of ecstasy, the use of closed-circuit cameras at grounds, and heavy court sentences.
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"It went quiet for a variety of reasons," Love (abone) explains. It also made clear that football hooliganism, which was the norm in the 1980s with riot police on the street every Saturday and numerous deaths, had resurfaced after fading in the '90s. Published in 1997, the book did for English terrace (football) culture what Irvine Welsh's Trainspotting did for Scottish junkies: gave it cachet with the mainstream media.