This afternoon, I watched the
squatters occupying the old BHS building be evicted by bailiffs and
police. They piled plants and
possessions onto bikes, said thanks to Subway opposite their temporary home
(for free cookies I believe) and headed off.
Seems advertising their anti-Phillip Green party to be held at the old
BHS building had encouraged the owners to push through an eviction sooner
rather than later. I got home and
listened to the Autonomads, a Manchester
ska/punk/dub/folk band who sing about security guards at the Job Centre and exposing
the systematic cyanide of signing on.
In between these events, I
went to see I, Daniel Blake.
I have loved Ken Loach
since Film Studies at York College back in t’day. At a time when I was discovering real-world
politics, his films presented real-world humans. 3-dimensional, honest, believable and human,
this form of British kitchen sink drama felt so touchable to accompany a need
to grow up swiftly to exist within my new post-school world.
The last Loach film I saw
in the cinema was Looking For Eric,
and although I enjoyed The Angel’s Share,
I can’t say either are my favourite. But
throughout Loach’s work is a real sense that working class people are good,
decent and friendly. He’s a myth-buster. From Riff-Raff
to My Name is Joe to the heavily polarised
worlds of Bread & Roses and Land & Freedom, his working class
characters are there to support one another.
Sweet Sixteen maybe is an exception,
which is why is makes that film so powerful in its sheer hopelessness (but that’s
just my reading). At least with I, Daniel Blake he could rely on his
neighbours, co-workers and the friendliness of strangers at the Library. It’s not much, but it’s something.
I Daniel Blake
is an old story now, one of benefit sanctions, ATOS and job seekers’ which still
exists, but is sliding off the agenda of the right-wing tabloids who have now
turned their sights to target refugees and immigrants in the wake of the EU referendum
result. If anything, they have shifted
the zeitgeist us vs. them mentality now (peddled by the Tories) from “scroungers”
and the disabled to “foreigners”. The
film ends with Daniel Blake declaring his is a citizen, no more, no less, and
yet Mrs May might well ask Mr Blake, were she ever to walk amongst the people
of Newcastle, “a citizen of where?”
There are a number of powerful
moments peppering the film, and I cried so many times I lost count. But one moment that has stuck with me is when
the young child, Daisy, visits Dan who is refusing her help. She insists.
She says, “If you helped us, why can’t I help you?”
With a handful of
exceptions, Loach’s films show humans helping humans. Yes, there are humans hurting humans
too. I often quote folk-punk band ONSIND,
and one song states: ♪True
hope resides in that moment where a person holds their hand out to a stranger
on the ground. ♫
There is despair,
darkness, sadness and blood in Loach’s films.
There are tears, fists and poverty that grinds into your guts. But there is also friendship, family and
community. There is solidarity between
people and therein lies the hope at the centre of Loach’s films, like glinting
treasure in the mud of an ocean floor.
And this, dear reader, is why I want to write hopeful poetry. Angry, bitter and loud. But hopeful.
And this, dear reader, is why I want to write hopeful poetry. Angry, bitter and loud. But hopeful.
♫ I
will not allow myself to be destroyed by these betrayals / I won’t ever let
these bastards grind me down. ♪
