This film is about a 59-year-old carpenter who suffers a heart attack and so is no longer able to work. He is judged not sufficiently incapacitated to receive Disability Allowance, so has to go through the demeaning pretence of looking f0r non-existent jobs. He makes friends with a young single mother who has been sent a long way from London because it is cheaper than housing her family there and who has her benefits sanctioned because she got on the wrong bus in a strange town and arrived late for an interview.
I have to admit that I did cry during the film, though not as much as the two women sitting next to me, and it wasn’t all because of the I want to go home feeling. They got the Newcastle accent right, and also the way people speak to each other, which is a different thing. When the dialogue and actions were allowed to proceed from the characters and their actions it was actually very moving. There were some shots of Newcastle in the rain, YESS!!
The essay that Loach was determined to write was probably quite correct at a factual level, but it didn’t really mesh with these characters. In particular, what Daniel needed was clearly some advocacy from the CAB, a Welfare Rights group, or even Age UK. Now he might not have known that, but after spending two years in a homeless hostel in London Katie certainly would have. I approve of making ordinary people the central figures of films and plays, but depriving them of agency isn’t the way to do it. And I was irritated that St Daniel had to be burdened with demonstrating appropriate attitudes to black people, gays and people with mental illness. Then I start asking myself what kind of a joiner he had been. If he was employed, he should have been eligible for sick pay. If he was self-employed, it’s hard to see how he could have managed to remain totally incapable in the face of modern technology.
Did he call the gay black training-shoe entrepreneur the ‘tycoon of Byker’ or similar? That didn’t look like Byker to me…But the Evening Chronicle has helpfully published a map of the locations.
It is to the credit of director Ken Loach and scriptwriter Paul Laverty that havingstupidly decided to include a scene of archetypal Dostoevskian degradation they clearly had no idea what they were talking about–there are some things you just have to be a bad man to get right.