Word: loach
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...troubles" that began in Ireland almost a hundred years ago, did not end with the response to the Free State election, even though the revolutionary answer to it was rather quickly put down. They have persisted into our own times and Loach's film is permeated with an unspoken acknowledgment of that fact. Nor can we ignore that other insurgencies, engendered largely by the stupidity and arrogance of imperialist powers, are everywhere present in our own world - though, again, Loach allows our thoughts to drift in that direction without guidance from him. Loach may not be a sockeroo filmmaker...
...purest form of the social weepie is usually a European art film. And Ken Loach's The Wind That Shakes the Barley--which won the top prize at Cannes last year, has played at film festivals on four continents and is now in U.S. theaters--is an ideal Exhibit...
...locals fight for their independence from Britain, then split into rival factions. Two brothers personify the division: Teddy (Padraic Delaney), who's open to political compromise, and Damien (Cillian Murphy), who won't renounce the purity of his socialist ideals and joins the revolutionary arm of the i.r.a. Loach's approach, though, is anything but evenhanded. The British soldiers are cartoonishly brutal, insulting old ladies, bayoneting men, pulling out a suspect's fingernails with rusty pliers. It's easy to see which of the brothers is to have your sympathy. Murphy, with his sensitive, sensuous features, completely outglams Delaney...
...makers of political weepies is to bring as much art, intelligence and passion to them as to any other film. Your challenge as a viewer is to make up your own mind and heart. And if you remain unmoved by all the Irish mist in a Ken Loach film, don't think you've hardened into a Darth Vader. Saying no to a weepie, of any wing, is nothing to cry about...
...Tierra y Libertad” depicts the struggles of an English Communist, David, who joins in the fight against Franco’s Fascism, only to confront the massive infighting occurring amongst the anti-Franco’s forces, the Republican anarchists, and the communists.Directed by Ken Loach, the film conveys a clear political message and agenda, falling heavily on the side of the Republicans. Within that camp, the film sympathizes with the local militias and anarchists. The film does simplify the nuances of each warring side: fascists are often childlike, hiding behind women and children, while the Republicans, proud...