'Always Look On The Sour Side of Life'

How Ken Loach Renders Reality on Film

Reviewing  'I, Daniel Blake' & the impact of 'Social Realism'

by Brian Bamford

Reverend David Grey, a former friar, at Ashton Jobcentre

THE film Ken Loach's 'I, Daniel Blake' had the biggest domestic opening of its director's career with receipts of more than £2 million after its first three weeks.  Audiences predictably have been massive in Newcastle where the film is staged.  But also on social media, where the hashtag #iamdanielblake took off.   It is to be released in the USA on December 23^rd.

The Euro-septic MP, Iain Duncan Smith at one point complained that the film was unkind to the staff at the job-centres and benefit offices, who were enforcing the sanctions which is central to the film's message.

As things turned out audiences in this country have been flocking to see the film, which portrays the difficulties experienced by a Newcastle joiner with an heart condition trying to make sense of the British benefit's system. 

Working class culture has a rich tradition in many post-war British films.  In 1996 I interviewed Jim Allen, one of Ken Loach's screen-writers and a former building site worker, who had just collaborated with Loach on the film 'Land & Freedom' about the Spanish Civil War, and had previously worked with him on 'Raining Stones' (1993). 

At that time in an essay entitled 'Rendering Reality on Film: art and the emotion racket' (The Raven, Spring 1996), I wrote:   

'... in Raining Stones in 1993 (based on a council estate in Middleton, Greater Manchester), they are  concerned with the problems of survival on the dole in Britain today.  How to get by on a council estate amid the loan sharks and drug pushers.  Making out and leading a decent family life, in the aftermath of an era of social blight and desperation for the poor that shows  no sign of ending in the near future.'

Loach himself is uneasy about being identified with 'social realism' because he thinks it pigeon-holes his films puts off the public, he has said:  'It's a way for critics to isolate someone's work... As a film-maker you just want people to come with an open mind.'

Some doubt the accuracy and truth of the events in the film, although Mr Iain Duncan Smith has given a radio interview in which he said:that the film showed 'the very worst of anything that could happen'.

The benefit agencies and jobcentres have long been held responsible for inflicting suffering upon people at the bottom of society's pile.  Only last week the National Audit Office which found that  the Government spent £147 million more on administering the system than was saved through sanctions.  In my capacity as a Trade Union Council Secretary in Tameside, Manchester, I recently wrote to Mark Serwotka, General Secretary of the PCS union that represents jobcentre workers:

'...  the protests at Ashton Jobcentre are now in their second year...  During the last two-years, staff working at Ashton Jobcentre, have made numerous complaints that they have felt threatened by protests taking place outside Ashton Jobcentre.  While this has often led to police intervention, no protestor has ever been arrested, cautioned, or rebuked in anyway.  The police have often considered these complaints, as time-wasting or baseless...  You may be interested to know that on one occasion, the Reverend David Grey, a former friar from Gorton Monastery, entered Ashton Jobcentre dressed in clerical vestments (see picture) to offer staff spiritual guidance and counselling..  We were later told that the Jobcentre had summoned the police on the pretext that staff felt threatened and intimidated by this man of God.'

This kind of corny confrontation between the British benefit bureaucracy and the claimants has been going on for as long as I can remember.  It's an authentic long-running farce played out daily up and down the country.  Towards the end of the film, Daniel Blake asks to sign-off as a claimant saying that applying for work with a heart condition like his was just wasting everyone's time and only served to humiliate him as a claimant.   The film critic Antonia Quirke has written:  'Very few people can hit you in the thoracic cavity like Loach.  Of course I cried, as I always do...'.

This is what my mother would have called a 'tear jerker' or Bertold Brecht the 'emotion racket', but while social realism may scare some off the cinema Danny Leigh in the Financial Times suggests:

'That is the essence of modern social realism – a place on the screen for people often seen as statistics'.

The film has already won the Palm d'Or at this year's Cannes Film Festival, and has scored as  a hit at the British box office. 

Richard Griffin reply to Chris Draper's critique

Jez.  I don't know where to start in respect of what you have written about me - 'a useful idiot'!  This is your answer to the FACT that my writing on the subjects I did for Freedom (and The Raven for that matter) undermines your whole argument that the paper closed off non class war contributors. You really think the collective used me as a cloak to mask its evil intent!?  I wasn't the only person to write on non class issues. 

I love the idea of you slagging me off for issues I didn't raise or was even asked to address (like a critique of AF).  I am not going to bore people with detailed responses to this rubbish other than this one.  You have a go at me for not offering an analysis of why Freedom failed.  Well you know what I wrote one and you know who for?  Jonathan Simcock and Anarchist Voices. 

I knew responding to you would be a mistake.  You are not interested in honest, constructive debate just twisting confirmation bias.  I thought anarchists were better than that. 

Sorry to anyone else whose inbox this nonsense is cluttering.  I wont respond again. 

Who Killed Freedom?: an unauthorised history 2.

Horny Handed Son of Mum & Dad

Unlike Toby, Simon Saunders had no track record of Marxism, in fact he had no track record of anything:  'I had no idea what I was doing…bear in mind my politics, whilst veering towards class-based, were very much those of a left-liberal at this point. I had read Kropotkin, and some of the Anarchist FAQ, but I had only a vague idea of what I wanted to see happen in society.  Days before I started, when a guy commented about a bunch of SolFed pamphlets I was handing out “You’re a syndicalist then?”, I’d had to shamefacedly admit I had no idea what they were talking about'

What Saunders lacked in knowledge and experience was more than made up for in middle class confidence, for the kids of the affluent middle class expect to inherit whatever section of the earth they fancy, whether Parliament, the City, charities, the media or editorship of FREEDOM.  Ignorance was no check on Simon’s ambition or opinions and, as editor, he was soon dismissing the ideas of seasoned anarchists with arrogant aplomb.

Financed by mum and dad ('one parent a Liberal, one a Tory') FREEDOM provided a valuable internship for Simon who, just out of college, fancied a career in journalism and was duly enabled to gain an NUJ card. FREEDOM was less fortunate, under his regime the paper exhorted readers to revolt whilst its editor hid behind the fantasy name 'Rob Ray'.  Simon’s adolescent obsession with computer games, especially, 'Dracula in London', shaped his politics.  Whilst his avatar 'Rob Ray' fearlessly roamed the world proclaiming violent revolution on screen and throughout the pages of FREEDOM, in real life he was the mild mannered Simon Saunders un-associated with anarchism lest it limit his career prospects ('I keep my real name off such things…as it becomes immensely easy for a prospective employer to keep me out of a job').  Before Toby Crowe, editors of FREEDOM had the courage of their convictions, after 2004 anonymity and aliases became commonplace at FREEDOM.  Anonymity might be essential in the immediate period before revolutionary overthrow, but has no proper role in our everyday political task of 'pre-figuratively' modelling a better, more anarchist society.

Under 'Rob Ray’s' editorship examples of self-help and mutual aid so meticulously identified, described and promoted by FREEDOM anarchists from Kropotkin to Colin Ward were notably absent as the paper echoed the politics of other 'class-struggle' publications.

Anarchists who weren’t yet entirely alienated by the paper’s content continued to be discouraged by the offhand treatment they received as prospective contributors. Cumbrian anarchist Martin Gilbert was first asked to submit a collection of articles on 'Anarchists in Social Work' for publication by FREEDOM as an edition of its journal the RAVEN but when this was closed down by Toby, Martin financed publication out of his own pocket. FREEDOM under Simon first agreed to review the book but then didn’t.  Martin Gilbert subsequently asked me to review the book and this review was duly submitted to the collective.  Determined to force FREEDOM to belatedly acknowledge the value of Martin’s work I persevered until Simon eventually published my review but it is illustrative to read the accompanying admission (reproduced verbatim): 

'There has been a catalogue of errors and let downs regarding both the book and this review.  In the case of the book, the manuscript was originally intended for the Raven, but this journal ceased publication before his hard work could appear.   He then, as Chris mentioned, printed it himself and got Chris to review it for him.  The review was then lost, found, lost again, re-found and finally disappeared completely.  Following his letter in the last issue, we had it re-sent to us, and have now finally printed it here.'

At least as an authoritarian Toby was efficient; under Saunders’ editorship, 'Correspondence went missing or unanswered, features were lost and former disagreements and feuds went unnoticed, only to resurface months down the line as the group struggled to cope…Freedom’s organisation began to unravel.'

Having belatedly learnt the meaning of 'Syndicalism' Saunders joined the 'Solidarity Federation'  (SolFed) and as FREEDOM’s editor continued to pursue Toby’s failed strategy of appealing to 'class-struggle anarchist organisations' to support and sell FREEDOM with a similar lack of success.  In 2009 Saunders resigned his editorship (but remained part of the editorial collective) to spend more time writing articles for the newspaper of the British Communist Party.

Perks for the Privileged

By 2009, little remained of the paper’s former politics and sales continued to nosedive yet FREEDOM provided perks for a privileged few.  For A.F. and SolFed FREEDOM supplied free advertising, an enhanced profile and a convenient central London location for meetings.  For student radicals it offered informal political experience and credibility that led on to other fields, professional journalism for Saunders and editorship of libcom website for others (collective members Jim Clarke and Steven Johns for example).  FREEDOM’s book publishing business offered another invaluable opportunity that the collective were soon to exploit with disastrous consequences.

In tomorrow's exiciting installment of 'Who Killed Freedom...' we get another star turn of anarcho-syndicalism with Dean Talent of the Solidarity Federation and the Copywrite Kid!