This is an impressive feature film debut from director Nick Roland and writer Joe Murtagh (based on a Colin Barrett story of the same name). It features a low level gang in the west of Ireland who blight the lives of all they touch, including themselves. It is the not-very-bright protagonist, Arm (brilliantly played by Cosmo Jarvis who was in Lady Macbeth, UK, 2016), with whom we are invited to sympathise with the most despite the violence he metes out at the beginning of the film. Just before this he voiceovers, a technique not used in the rest of the film, that we shouldn’t think that men of violence like to be violent. It is an unnecessary statement because it soon becomes clear that that’s what the film’s about; in addition, Jarvis’ ‘hard man’ stare clearly conceals a deep vulnerability.
Arm is an ex-boxer who leaves the ring after killing a man during a bout and is recruited by the nascent leader of the Dever family, superbly played by Barry Keoghan, as his enforcer. There’s something of an Iago about Keoghan’s character, whispering into Arm’s ear about how his ex-partner is trying to blackmail him for money for his autistic son. You can almost see the conflict boiling beneath Arm’s battered face as he struggles with his loyalties. In the way it is pronounced, the ‘Dever family’ sounds like the ‘Devil family’ and the moniker is not far wrong.
Cinematographyer Piers McGrail manages to drain the stunning landscapes of western Ireland of their grandeur, giving a suitably gritty look that is far from the tourist ‘Kerrygold’ imagery. Most of the people, too, who populate the film are miles away from the whimsical friendliness of the Emerald Isle. Instead we see desperate people in desperate circumstances. There is some hope, though, through the mother of Arm’s child, played by Niamh Algar, who is striving to do the best for her difficult son; and Anthony Welsh has a small role as a BAME student from the north of England researching the use of horses in therapy and he punctures the insularity of the narrative world. Maybe in the original story the horses are more central; here they are peripheral.
It’s an impressive film that, although offering a sort of redemption, avoids any sentimentality in its ending. I’m looking forward to this talented crews’ next offerings. It’s due for release in the UK next March.
The quotidian, the everyday, has little purchase in narrative for most of us live it and many, when watching films, want to escape it. Thus narratives that are about love emphasise the extraordinary and ecstasy in romance; however, as is this film shows, everyday love can also be extraordinary. Theorists state that narratives require a disruption to the situation which the text will resolve at the climax and this is true, for the mainstream at least. In Ordinary Love, Joan and Tom’s retired routine is broken by the diagnosis of breast cancer and the film follows their relationship during the treatment. Cancer touches most people, as even people who are fortunate enough to avoid it are likely to know those who are unfortunate. So in this sense the disruption in this film’s narrative is eminently relatable to for all adults though the older you are the more likely you are to identify with the protagonists; their sixtysomethingness also makes it a film about heading toward the twilight of life.
Clearly this narrative is character based and the leads, Lesley Manville and Liam Neeson, are both superb; though extra plaudits to Manville for her bravery in displaying her aged body. Age is often treated with disgust, particularly by those who are younger; it is an Other that few desire but, as I used to point out to pupils who claimed they never want to get old, the alternative is worse. Neeson’s casting is potent as he’s best known these days for EuroCorp’s international thrillers, such as Taken series (2008-14, France-US-Spain), where he plays a male ego ideal who will solve problems with his ‘particular skillset’. In Ordinary Love he is ordinary and so emphasises the powerlessness partners can only feel in the face of such an illness.
Of course as a melodrama the film must use exaggeration for dramatic effect but it does so in a limited way. The use of emblems (symbols) is also restrained (a tropical fish and digging up a path amongst them) and such restraint is appropriate to the ordinariness of the narrative. It was written by Owen McCafferty, his first film, and directed by Lisa Barros D’Sa and Glenn Leyburn who made the excellent Good Vibrations (UK-Ireland, 2012) which was set in Belfast. Ordinary Love, too, is set in Ireland though it could happen anywhere.
Another thing I liked about the film was the listing of extras: everyone of them and they fill the screen at the end credits. Credit to everyone on the film.
The programming on Talking Pictures TV coupled with the availability of Ealing Studios titles in Network’s ‘Rarities’ DVD series now makes it more possible to trace the rapid changes in approaches to British propaganda films during the early part of the Second World War. It’s a very long time since I’ve seen The Foreman Went to France and I’m very grateful for this recent broadcast.
Ealing boss Michael Balcon had a distinctive attitude towards supporting the war effort, represented visually by the end credits of Ealing films in 1942 which proclaimed their national identity against a full screen image of a fluttering Union Jack. Balcon did take into Ealing two of the most significant members of the 1930s documentary movement, Alberto Cavalcanti and Harry Watt, but the others went to Pinewood. Up to 1942, the Ealing films that attempted to be supportive of the war effort were still imbued with the 1930s middle-class, ‘West End theatre’ ethos (with the exception of Pen Tennyson’s The Proud Valley (1940) or conversely with the comedies featuring first George Formby and then Will Hay. Cavalcanti’s first input was to the transitionary film The Big Blockade (1942) directed by Charles Frend in his first directorial role after ten years as an editor on a string of important films, The Big Blockade was a move in the right direction but is still an uncomfortable film to watch. It deserves a post of its own on the blog. Frend followed it up with The Foreman Went to France. It was from this point that realist elements began to figure more prominently in Ealing’s output. Cavalcanti was ‘Associate Producer’ with an onscreen credit. Also notable about the production was the editing of Robert Hamer, Wilkie Cooper’s camerawork and music by William Walton.
The Foreman Went to France is inspired by a ‘real’ character, Melbourne Johns. The film begins in 1942 with an onscreen date (the release date was April 1942) and a munitions factory about to experience an air raid. While the workers are sent to the shelter, the shopfloor foreman (‘Fred Carrick’ played by Clifford Evans) decides to go up to the roof and watch the raid. When the searchlights reveal that a German raider has been downed by a British nightfighter he comments to the fire watchers that it was likely that the cannon shells came from the factory below. The rest of the narrative is then one long flashback to June 1940 when the foreman, as he then was, went to France largely under his own initiative to bring back three new machines for manufacturing shells that the company had lent to the French.
Evans had been a theatre actor in the 1930s and had appeared in several major films, headlining with Deborah Kerr in Love on the Dole (1941) and Penn of Pennsylvania (1942). He’d made just one Ealing film before, The Proud Valley. In 1943 he disappears from film credits. I believe he was a conscientious objector and perhaps he joined the Non-Combatant Corps? He returned to the screen in 1947. He didn’t seem to mind using a gun in this film and I thought he was very good in the role, marking the Ealing shift to more ‘capable’ men (in this case Welsh) rather than the effete officer class of the earlier war films. Fred has to use his wit and charm to find the factory in Northern France and then to find a means of transporting the equipment to the coast. He finds an American woman still in the factory after its evacuation by the French in the face of the German advance. This is Anne, played by Constance Cummings who had been in the UK since 1934. Anne speaks French and knows what’s what. Fred also discovers a pair of squaddies from the RASC (Royal Army Service Corps) clearly lost with a lorry and a consignment of curry powder. These two are played by the Cockney comedian Tommy Trinder (an Ealing contract player and the ostensible star of the film) and a young scot (Gordon Jackson in his first credited film role – he would go on to become an Ealing regular). Before this quartet can get to know each other they have to skedaddle as local French fascists led by the mayor (Robert Morley) are also after the machines.
The rest of the narrative follows the quartet as they try to reach the coast. In their way are large numbers of refugees blocking the roads, more ‘Fifth Columnists’/local fascists, the remnants of the French Army and the Germans. It was the journey that I remembered from viewings forty years ago. I thought the quartet worked well together. The presence of Gordon Jackson and the developing relationship between ‘Foreman Fred’ and the American woman summon up the successful later film about munitions factories, Millions Like Us (1943) with Eric Portman as the foreman and Anne Crawford as the upper middle-class factory worker. Jackson plays a young airman who marries Patricia Roc, the lower middle-class factory girl. JB Priestley, the Bradford novelist wrote both original stories so perhaps it’s not a surprise. Trinder stands out against the other three in The Foreman went to France and Charles Barr in his book Ealing Studios comes down on Trinder and isn’t that impressed with Evans either. Trinder does have a different register, but it worked for me and I’ve already praised Evans. It’s also worth noting that Diana Morgan had a supporting role on the script and this was partly an inspiration for the recent under-rated Their Finest (2016) with Gemma Arterton as a wartime screenwriter.
The film was mostly shot in Cornwall doubling for the terrain of Western France and the credits acknowledge the help of the Free French Forces. The attacks by German fighters and dive bombers on the refugees on the road remain the most impressive scenes for me and the increasing realism of the major sequences is carried through in the succeeding two films of the loose trilogy of hard-hitting ‘warning films’ about loose talk and Fifth Columnists, Next of Kin and Went the Day Well.
Here are two short clips of the quartet (uploaded as two scenes with Constance Cummings smoking!):
I, Daniel Blake told it how it is in Tory Britain; as does Sorry We Missed You. Tory Britain is a place of exploitation, discrimination and a callous, uncaring state that treats working people as an underclass. MP Rees-Mogg’s recent remarks about the Grenfell disaster (the victims didn’t show common sense) is emblematic of how the Conservatives are unfit to rule. There’s only one way that compassionate people who vote Tory will perceive this film: they won’t believe it. That, of course, is a mistake as scriptwriter Paul Laverty does the research and everything in this film has a ‘truth’ which is moulded into a melodrama.
Director Ken Loach is most famous for Cathy Come Home, a 1966 BBC TV drama that led to the creation of the charity Shelter for homeless people. In those days of three television channels a significant proportion of the population watched the same programme at the same time and roughly 12 million people saw the drama (about 25% of the UK population at the time). Nowadays it’s virtually impossible to make anywhere near the same impact. That said, both of Loach’s last two films should have led to the same outrage of 50 years ago.
Sorry We Missed You dramatises the ‘flexible workforce’ beloved of Tory businesses because it reduces their costs and increases profitability (and reduces prices for consumers). However, the human cost to the workers and their families is hidden, except in the liberal press and some Twitter circles; occasionally a tragedy reaches the BBC. For the first half hour of the film I felt I was watching a documentary (the content not the form of the film) as I learned nothing but once I became emotionally engaged with the family’s predicament the film turned into a heartbreaking melodrama (incidentally, once again used as a term of abuse in Mark Kermode’s otherwise reasonable review). The only false note in the film was the under-developed character of the ‘rebellious son’; he veered too much between surly and caring and there was no back story explaining his political awareness.
Typically for Loach’s films the mise en scene is a fairly ugly long lensed affair; he uses telephoto lenses that flatten the scene (so it looked like people were always about to be run over by passing vans in the depot) as a way of getting authentic performances. Moments of humour and lyricism are few but that’s not entirely inappropriate in a film that portrays what nine years of Tory government have done to the country.