Ken Loach Wins Palm D’Or with I, Daniel Blake.
Palme D’or Triumph for the Daniel Blakes of the Whole World.
Some good news, at last.
Ken Loach has won the Palme d’or at Cannes for I, Daniel Blake.
“Daniel Blake is a 59-year-old joiner in the North-East of England who falls ill and requires state assistance for disability from the Employment and Support Allowance. While he endeavours to overcome the red tape involved in getting this assistance, he meets single mother Katie who, in order to escape a homeless persons’ hostel, must take up residence in a flat 300 miles (480 km) away.”
France 24 reports,
The 79-year-old Briton attacked the “dangerous project of austerity” as he accepted the festival’s top prize from actor Mel Gibson and Mad Max creator George Miller, who headed this year’s jury. “The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we call neo-liberalism that have brought us to near catastrophe,” Loach said, adding: “We must give a message of hope, we must say another world is possible.”
And, he continued, “Necessary”.
Le Monde’s review noted that ‘welfare reform’ forms the heart of the film. That in the UK there is a veritable ‘crusade’ against the disabled, to root out those feigning illness (“la chasse aux tire-au-flanc a pris les allures d’une croisade) in a “néo-victorienne” Britain.
Moi, Daniel Blake n’est pas une satire d’un système absurde. Ken Loach n’est pas un humoriste, c’est un homme en colère, et le parcours de l’ouvrier privé de travail et de ressources est filmé avec une rage d’autant plus impatiente qu’elle est impuissante.
I, Daniel Blake, is not a satire about an absurd system. Ken Loach is not a humourist, he’s full of anger, and the progress a worker without a job, and without assets, is filmed with an indignation that is as exasperated as it is impotent.
This Blog is not an uncritical admirer of Ken Loach. He is against austerity and for social rights, the cause of the left. But his more specific politics, which include a lengthy membership of Respect and support for the cultural Boycott of Israel, as well as no known activity against Islamist genociders, or support for the Kurdish people in their fight for dear life against ISIS, are not always the same as ours.
Nor are all of Loach’s films, for all of their skill and intensity, always as deep as they set out to be.
Of the most recent The Angels’ Share (2012) is amusing but slight tale of Scottish scamps. It is not free, for all its would-be irony, of whatever the Caledonian equivalent of Oirishness is,. The Spirit of ’45 (2013) may seem a strangely uncritical account of the post-war Labour government. Jimmy’s Hall is a fine story set in the Irish Free state. But it is straining things for this emssage to pass, ” The behaviour of the state’s police is shown and explained to be occurring at a time when Stalin was in full control of the Soviet Union and it is obvious that the state and church are fearful of forces that threaten to destroy them. It is this tension between the ideals of Christianity and the fear of the church and its natural tendency to be reactionary that is the central issue that the film explores.”
It can still be argued that the trio have strong narrative coherence, and, in the case of Jimmy’s Hall, insights into the history of republicans, and the left, in the Irish Free State, and the characters swept up in the struggle for independence, the civil war, and their fate in in the aftermath, as well as cinematique beauty.
Loach will, nevertheless, be remembered for Poor Cow, Kes, Land and Freedom, and smaller, less technically polished, but robust films such as Raining Stones, Riff Raff and the Navigators, which demonstrate that ‘social realism’ is not always worthy but unwatchable didacticism, and Bread and Roses, which shows politically engaged drama at its best.
That said by tackling head-on the effects of the ‘reform’ of the British Welfare state I, Daniel Blake, hits at a sensitive nerve, and, frankly, righteous indignation is an emotion that’s widely shared about this. Its tale of people pushed from pillar to post, has been compared to Loach’s exposee of homelessness in the 1966 television play Cathy Come Home ,
The Minister in charge of the system of oppression bearing down on Daniel Blake, Iain Duncan Smith, is now a leading Brexit campaigner.
Appropriately Loach stands on the other side of the European Referendum debate, the solution is ultimately voting to stay. “we need to “make alliances with other European left movements”.
Sivadhasan is a Tamil Tiger soldier during the last days of the Sri Lankan Civil War. After the armed conflict resolves, his side loses and he is forced to move to a refugee camp. There he decides to move to France to take a fresh chance at life. However, in order to secure political asylum, he requires a convincing cover story. He is given the passport of a dead man, Dheepan, and pairs with people he barely knows posing as his family. Along with his supposed wife, Yalini and his supposed 9-year-old daughter, Illayaal, they get on a ship bound for Paris. Upon arrival, he lands a job as a resident caretaker and starts building a new life in a housing project in Le Pré-Saint-Gervais, a northeastern suburb of Paris, which turns out to be another conflict zone for him.
I saw Dheepan only a few weeks ago.
One hopes that Loach’s picture will not take so long to get to our screens.