Screening On 11th June – 6.45 PM : On 12th June – 3.30 PM : Wednesday 15th June 8.50 p.m.
This new biopic comes out at a propitious time. Ken Loach has won his second Palme’ d’Or at the Cannes Film Festival for I, Daniel Blake. He joins an elect group of filmmakers, Bille August, Emir Kusterica and Shohei Imamura, who have also won this prestigious award twice since its inception in the current form in 1975. The award confirms Loach’s status as one of the most important of contemporary European filmmakers: though one who has been honoured more on the continent than in his home territory.
The documentary has been produced by Loach regular Rebecca O’Brien, scripted by his colleague Paul Laverty, and directed by Louise Osmond. It also includes many of the people who have worked with Loach, including Tony Garnett, whose output at the BBC is also seminal. My main reservation is that Osmond’s previous film, Dark Horse (2015), was made like a typical television documentary and utilised archive and found footage of rather low quality. But its focus was ordinary working people who are the recurring centre of Loach’s own films.
It was shot in 2.35:1 and that ratio does allow some striking shots by cinematographer Roger Chapman. But it also means that the extracts from Loach’s own films have been re-framed to fit this format. This does not do them any favours, in some frames heads are cut off. The footage of Loach working on I, Daniel Blake is in the same ratio. Some of this is interesting, but often it feels like a ‘making of ….’ treatment.
Where the films scores are the interviews with Ken Loach and Tony Garnett. Loach is unassuming but rigorous in his comments. And Tony Garnett is both intelligent and stimulating. We also get a brief interveiw with Nell Dunn [Up the Junction] and recordings of Jim Allen. The latter was an important collaborator and influence on Loach. And there is an excellent comment by Gabriel Byrne on the suppression of the production of Perdition. It would have been good to have more from other important collaborators like Rebecca O’Brien and Paul Laverty.
The documentary is also strong on the frequently myopic and predjudiced treatment of Loach’s film among British critics. As Derek Malcom remarks, he is much more honoured on the continent. Whilst he has won many awards at the Cannes Film Festival, The Berlin Film Festival and even a French César. None of his films has ever been awarded a BAFTA!
Certainly Loach’s film and television output has deserved this. From the pioneering work in the 1960s, notably Cathy Come Home, made for the BBC with Tony Garnett, to the recent series of annual film releases, his work has been among the best and most interesting produced in the UK. And this film does pay due attention to his early work for the BBC. Whatever its limitations this documentary is worth seeing as a deserved retrospective of his contribution.