O realizador britânico Ken Loach (n.17/6/1936), cujo filme "The Wind that Shakes the Barley" ("O Vento que Agita a Cevada") acabou de vencer a edição deste ano do Festival de Cannes, afirmou que a sua longa-metragem, passada na Irlanda em 1920, em plena guerra de independência, evoca temas de hoje, como a situação no Iraque.
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"Sempre há, em algum país, um exército de ocupação, ao qual a população resiste. Não preciso esclarecer em que lugar do mundo o Reino Unido mantém hoje, ilegalmente, um exército de ocupação", declarou o cineasta numa entrevista coletiva.
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"A guerra do Iraque foi ilegítima, contrária às convenções de Genebra e à Carta das Nações Unidas, além de baseada em mentiras. É indefensável", acrescentou.
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Denunciando a maneira como os países imperiais deformam a história, o cineasta destacou:
"Esquece-se, por exemplo, que Cristóvão Colombo combateu os índios da América".
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A respeito do império colonial britânico, Loach afirmou que é necessário romper com a história oficial e denunciar as atrocidades cometidas na Índia ou no Quênia até o final dos anos 50. "Pessoas foram enforcadas, mutiladas e existiram campos piores que Guantánamo", disse.
Recorde-se que Ken Loach é um conhecido realizador de cinema com uma vasta e qualificada obra que aborda com particular ênfase os problemas sociais numa perspectiva de dissidância social rlativamente ao neoliberalismo capitalista. Realizou "Terra e Liberdade" sobra a revolução espanhola de 1936.
Da Wikipedia reproduzimos a sua biografia:
Born Kenneth Loach in Nuneaton, England, he studied law at St Peter's College, Oxford. He started out as an actor in repertory theatre, but in the early 1960s moved into television direction and was credited in this role on early episodes of Z-Cars in 1962. Loach, though, made his greatest impact in the medium through docu-dramas, notably the socially influential Cathy Come Home (1966). In the late 1960s he started directing films, and made Kes, the story of a troubled boy and his kestrel, based on the novel A Kestrel for a Knave by Barry Hines. It remains perhaps his best known film in Britain.
The 1970s and 80s were less successful, with his films suffering from poor distribution, lack of interest and political censorship. His film The Save the Children Fund Film (1971) was commissioned by the charity, who disliked it so much they attempted to have the negative destroyed. It has yet to be shown in public. He was also commissioned by Channel 4 o make A Question of Leadership, a documentary on the UK miners' strike. However, the programme was withheld by Channel 4 for political reasons.
However, the 1990s saw Loach return to form, with the production of a series of critically acclaimed and popular films. During this period he was also three times awarded prizes at the Cannes Film Festival
In December 2003, he was awarded an honorary doctorate by the University of Birmingham.
In November 2004, he was elected to the national council of the Respect coalition.
On the 28th of May 2006, Ken won the prestigious Palme d'Or at the Cannes Film Festival for his film The Wind That Shakes the Barley, a sympathetic view of the early struggles faced by the IRA during the 1920's.
Film style
Loach is characterized by a particular view of what realism is. He likes in every area of film making to emphasize what he sees as genuine. He prefers unknown actors who have some of the life experience their characters are supposed to have had, to famous method actors. So for Bread and Roses he chose two leading actors who had experience of union organizing and life as an immigrant. To such an extent that the lead actress only learned English in order to play the part.
He tries to make sure that actors express as genuinely as possible the feelings of their characters by filming the story in order, and crucially, not giving the actors the script until a few minutes before the filming. Frequently in a scene, only some of the actors will know what is going to happen - the others will often be able to express genuine surprise shock or sadness because they really are hit with the events of the scene.
Two examples: in Kes the boy actor, discovering the dead bird at the end, believed that the director had actually killed the bird he had become quite close to during the filming (in fact he had used a dead bird found elsewhere). In Raining Stones one of the actresses visited at her house by a loan shark had no idea that he was going to force her to take off her wedding ring and give it him as part payment. There are many other examples.
Ken Loach is a strong opponent of censorship within films and and he was outraged at the certificate given to Sweet Sixteen (it was given an 18). Loach himself said; I think it was a very silly decision, such a patronising attitude as well. People are rarely hurt by swear words, yet you see scenes of violence depicted in films often with a 12 certificate. Some of these films have violence for the sake of it, try and push the certification boundaries. I think in my films that the violence is necessary to portray realism, it’s important to the narrative. And yes, it does put a smokescreen on society because it uses violence as a source of entertainment rather than its actual meaning
Filmography
Television
Z Cars (series, 1962)
Diary of a Young Man (1964
3 Clear Sundays (1965)
Up the Junction (1965)
The End of Arthur's Marriage (1965)
Coming Out Party (1965)
Cathy Come Home (1966) (as Kenneth Loach)
In Two Minds (1967)
The Golden Vision (1968)
The Big Flame (1969)
The Rank and the File (1971) - part of the Play for Today series.
After a Lifetime (1971)
A Misfortune (1973)
Days of Hope (mini-series, 1975)
The Price of Coal (1977)
Auditions (1980)
A Question of Leadership (1981)
The Red and the Blue: Impressions of Two Political Conferences - Autumn 1982 (1983)
Questions of Leadership (1983)
The View From the Woodpile (1989)
Cinema
Poor Cow (1967)
Kes (1969) (as Kenneth Loach)
The Save the Children Fund Film (1971)
Family Life (1971)
Black Jack (1979)
The Gamekeeper (1980)
Looks and Smiles (1981) (as Kenneth Loach)
Which Side Are You On? (1984)
Fatherland (1986)
Hidden Agenda (1990). Cannes Special Jury Prize.
Riff-Raff (1990). Shown with subtitles in the USA, because of British dialects.
Raining Stones (1993). Cannes Special Jury Prize.
Ladybird Ladybird (1994)
Land and Freedom(1995). FIPRESCI International Critics Prize and the Cannes Ecumenical Jury Prize.
A Contemporary Case for Common Ownership (1995)
Carla's Song (1996)
The Flickering Flame (1997)
My Name Is Joe (1998)
Bread and Roses (2000)
The Navigators (2001)
Sweet Sixteen (2002
Ae Fond Kiss... (2004)
Tickets (2005), along with Ermanno Olmi and Abbas Kiarostami
The Wind That Shakes the Barley (2006) Cannes Palme d'or
