Click to Skip Ad
Closing in...
Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) Troubled Western 'Jane Got a Gun' Rescued as Relativity Files for Bankruptcy (Updated) 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Toronto Film Festival Lineup: What Did They Get? Toronto Film Festival Lineup: What Did They Get? Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Congrats to Monica Bellucci: She's Making History Congrats to Monica Bellucci: She's Making History Broad Green Dates 'Knight of Cups' and Two More Releases Broad Green Dates 'Knight of Cups' and Two More Releases Watch: The Secret Ingredient to David Lynch's Disorienting Cinema Watch: The Secret Ingredient to David Lynch's Disorienting Cinema First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal Is 'The Revenant' the Most Hellish Shoot of All Time? Is 'The Revenant' the Most Hellish Shoot of All Time? Gabriel García Márquez Documentary Coming Soon (Trailer) Gabriel García Márquez Documentary Coming Soon (Trailer) Why I Can't Wait to See 'Crimson Peak,' Guillermo del Toro's Sumptuous Period Thriller (VIDEO) Why I Can't Wait to See 'Crimson Peak,' Guillermo del Toro's Sumptuous Period Thriller (VIDEO) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991 Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991

Cannes: 'Jimmy's Hall' a Fitting Swansong but Ken Loach Isn't Done Yet

Photo of Matt Mueller By Matt Mueller | Thompson on Hollywood May 22, 2014 at 7:28PM

If "Jimmy's Hall" was to be Ken Loach's final narrative feature, as he suggested a few months ago, the activist-minded British filmmaker could go out with his chin held high.
0
Ken Loach in Cannes
Ken Loach in Cannes

If "Jimmy's Hall" was to be Ken Loach's final narrative feature, as he suggested a few months ago, the activist-minded British filmmaker could go out with his head held high. But at this morning's Cannes press conference, Loach admitted he'd declared his retirement prematurely, "at a moment of maximum pressure" during the making of "Jimmy's Hall," and that he feels differently now he's come out the other end. "It's a hard job to give up," Loach said with a wry smile.

As long as this quiet revolutionary continues making films, there will always be a place for him in Cannes. This festival adores him, and for good reason. He first came here in 1969 with "Kes," and won the Palme D'Or eight years ago for his Irish revolutionary drama "The Wind That Shakes The Barley." "Jimmy's Hall" is set in a similar milieu and thematic terrain to "Barley" but it looks unlikely to repeat that film's prize-taking feat. When lined up beside "Mr. Turner," "Two Days, One Night" and even "Timbuktu" and "Mommy," it can't help but feel a more minor work.

Nevertheless, it's a typically big-hearted, attractive, lovingly told effort from the 77-year-old director, covering an embarrassing episode in Ireland's history. The only Irish citizen to ever be deported from his country without due process of law, Jimmy Gralton's (Barry Ward) crime was to be an ideological threat to the powers that be. When he imports the Roaring 20s to 1932 Ireland by opening a community dancehall in County Leitrim following a decade's exile in America, Gralton scares the bejesus out of both the Catholic Church and local landowners, concerned what dance, drawing and poetry classes might be doing to the minds (and, more importantly, hopes) of the rural poor and bored youth. Needless to say, they make it their mission to rid themselves of this "antichrist" in their midst.

Loach's passion for the story and its characters shine through, even if his gentle approach can't help feeling underpowered at times. He makes his moral outrage at Gralton's persecution subtle rather than ferocious. One or two key performances are overly muted, although that's not a problem Ward suffers from. Whether teaching dance steps he learned in a Harlem jazz club to sneaking into a confession box for a castigating ideological takedown of the choleric parish priest (Jim Norton), the actor, in his first high-profile leading role, impresses as a man of noble idealism willing to sacrifice himself in order to breathe life into his oppressed, war-scarred corner of Ireland. There's also a tragic love story thrown into the mix in the shape of Gralton's first sweetheart Oonagh (Simone Kirby), who is now married with children.

While religion and capitalist oppression receive their usual didactic bruising at Loach's hand, he admitted in Thursday's press conference that he doesn't truly believe his films make a huge difference in changing people's minds, but hopes merely that they add to the public discourse, "the chatter." "We have to hope films don't have a huge effect," he added. "Otherwise we'd all see America as the defender of peace and democracy."

This article is related to: Ken Loach, Festivals, Cannes Film Festival, Cannes, Reviews


E-Mail Updates








Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.