The Wind That Shakes The Barley: Revisiting a Contemporary Classic

So I couldn't sleep and was perusing the Instants for something to watch that I'd already seen and didn't have to really pay attention to and have the sandman sleep me away. Boy did I make a mistake. I had seen The Wind That Shakes the Barley (2006) when it first came out, was very impressed and then sort of forgot about it. Big mistake. It's one of those quiet lightning films. Very much a historical epic, and told so matter-of-factly and with such bravado, directed by the absolutely brilliant Ken Loach, The Wind is up to par with cinematic classics like Schindler's List (1993). 

Director Ken Loach on set. 

Ken Loach could very well be the best English filmmaker of our time. And I say this with great difficulty because I am a huuuuuuuuge Mike Leigh aficionado, I can't sing his praises enough, and yet Loach always seems to have that subdued fire that elevates a film from interesting to unforgettable. Here's the irony. It's a film about Ireland's struggle for independence and it's directed by a British guy. Not Neil Jordan, not Jim Sheridan, a dyed in the wool Brit, and it couldn't be more visceral and more honest. That being said, Loach has been around for quite a while, slowly permeating his cinematic style. They should have a makeshift word called 'Loachesque' because his aesthetic is as unique to a filmmaker as someone like Fellini. British directors like Steve McQueen are trying to somehow imitate it, but nothing can quite compare to the rawness and the guts that Loach brings to his cinema. 

The birth of the IRA

Back to the film. It's 1920, and the Irish uprising is boiling under the surface, particularly in the small provincial towns where men and women are terrorized constantly by the Black and Tans. A 17 year old kid is brutally beaten to death because he wouldn't say his name in English only in Gaelic, which ignites a guerilla spirit in the towns people including two brothers Teddy and Damien O'Donovan (Pádraic Delaney and Cillian Murphy respectively). They decide to become militant and now there's no turning back. It's full on guerilla warfare, and it's absolutely brutal. Now you might think you know about the struggles in Ireland because you listened to a Cranberries CD and watched that Michael Collins film back in the day, but Ken Loach shows you how it ALL went down, and he leaves no stone unturned. There are scenes that are downright painful to watch, and you know what? They should be. It's a piece of history that needs dramatization, and no film does it better. 

There are many films about the IRA, none quite so honestly reflect its infancy and the dedication it took for these Davids to defeat the Goliath of the British Empire to win the Republic back for themselves. 

There is literally no break for the audience, which I usually hate, because Lars Von Trier does that and I tend to find that selfish. If you make a film like Dancer in the Dark (2001) at the end of which every audience member is contemplating different ways to kill themselves then you didn't make the film for your audience did ya? But I find the relentlessness of this film to serve a greater purpose. It brings the violence, the pathos, and the eventual redemption to that much higher of a cinematic plane. Basically it makes it stick. And though the film is sans happy ending (I mean why should it have one?) It's about the IRA not Norma Rae (hey that rhymed), there is a sense of relief the audience receives in the end because they all now feel that they've lived through a painstaking two-hour history lesson and now they actually know some shit. 

Damien (Murphy) faces the firing squad while his brother who has betrayed him, Teddy (Delaney) pleads with him to give up names of his resistance movement which he ultimately refuses to do. 

Some films are meant to entertain, and some are meant to educate usually the latter we group into the documentary pile. But with Ken Loach's guidance and his cinematic realism the likes of which we haven't seen since probably Rossellini, there seems to be very little difference between what actually happened in the hills of Cork, Ireland almost a century ago and how we see it dramatized for filmic purposes. There is absolutely no suspension of disbelief here, and that is very much intentional. It won the Palme d'Or at Cannes in 2006, it deserved it, it's on Instant it's been there forever, if you haven't seen it, first of all, shame on you, second of all go do it! 

Trailer below: 

Downton Abbey Changes Name to Sluts 'R Us and Saves the Estate

Lady Rose McClare have a gay ol' time.

We finally got the long awaited premiere of Season 4 of Downton Abbey here in the states after the shocking, and I mean seriously what the hell were you thinking Julian Fellows, shocking death of Cousin Matthew Crawley (Dan Stevens). For those playing the home game you know that the reason for this was because Dan Stevens is an idiot and asked to be written out of his goldmine of a contract so that he could pursue films which are likely to flop and let's face it Downton Abbey is the biggest thing to come out of the UK since Sarah Ferguson. You don't just ask to be written out of it. That's like marrying George Clooney and then asking for a divorce because you think you can 'do better', but you fucking can't so good riddance.
The incredible disappearring Michelle Dockery returns in her role as the now widowed single mum to their baby Master George (no doubt, named after the Royal Baby) and looks pastier, and ghostlier than ever. If I saw her at the top of the stairs I'd run in the opposite direction because that is a succubus daemon about to entrap itself in my head. But hey, we all have our ways of dealing with grief, apparently Cousin Mary's is bulimia and being dead behind the eyes. 

Spunky, posh, and blonde, she could easily pass for one of Prince Harry's girlfriends.

But nevermind that, there have been some new shall we say 'loose' additions to Downton Abbey, beginning with slut-in-training and general Zelda Fitzgerald wannabe, Rose MacClare (Lily James) the devil-may-care bouncy blonde who's come from the large Scottish estate we visited in the last season to live with the Granthams because her own family can't handle her anymore, and can you blame them? She's this close to having lovers crawl up to her bedroom via her long blonde locks. And there's no shortage of them, because this twenty something is always in the mood to go out and have a good time, she actually sounds like someone I'd latch unto if I was at Downton because she could save me from the constant and unwavering want to shoot myself in the foot just so I can see some color boredom. 

Lady Edith kisses her love in public. We must alert the church elders.

Another lady coming out of her shell this season, might I add, dull, predictable, whiny shell is Lady Edith (Laura Carmichael) surprisingly enough. Without the other two sisters to steal her thunder, she's taken the reigns of the feminine respite in Downton and is continuing to date her (still married) publisher in London, going with him to 'smart restaurants' and finally 'putting some effort' into how she dresses, and you know what peeps? She cleans up nice. I mean I'd hit that now that she's wearing lipstick and strapless gowns. But she soon might follow her love to Germany where he can get a legal divorce considering his current wife is in an asylum, long story...but you know what that means, she's not going to be very comfortable in the next decade. 

Edna Braithwaite, the new O'Brien. I smell trouble...and lemonface.

Another addition to the slut squad is Edna Braithwaite (MyAnna Buring) who as you recall was fired from Downton in the last season for hitting on the still grieving Branson....classy. This time she circumvented Mrs. Hughes AND Carson (not an easy feat) and went straight through to Lady Grantham (Elizabeth McGovern) who was in a frantic state to replace her lady's maid when O'Brien up and left suddenly (good riddance, did she ask to be written out of her contract too? Good luck, lemonface). Anyway, now she's back and there's nothing they can do about it downstairs, because she's lady's maid to the lady of the house. She's kind of above everyone, and she's made an important alliance with Thomas (Rob-James Collier) because let's face it, without O'Brien he's just not evil enough anymore. And who knows who she's got her squinty eyes on this time, I bet you she's going to try it on with Lord Grantham (Hugh Bonneville) who you know has a tendency to wander especially among his maid staff. 

On a side note, James the model/footman (Ed Speleers) keeps hitting on Ivy the plain Jane kitchen maid (Clara Theobold) and it's unclear whether its for sport or because he loves to see her doting around him and gets her blind drunk one night. Times are a changin' all over the place, and I can only hope that this season of Downton Abbey is saucier than every, I mean we are in the Roaring Twenties after all. Spice things up a bit Julian!

All the Ladies Love Corcoran: Copper Premieres on BBC America Finally.

There's a lot of sex on this show. It's as simple as that.

BBC America has always had to compete with The States in terms of risque programming. Let's face it, next to shows like Mad Men (2007 - ), Hung (2009 - 2011), Queer as Folk (2000 - 2005), and reality fluff like Strange Sex and Jersey Shore, The BBC might as well be filmed in a convent. But they hit a home run last night with a Hell on Wheels type show about the reformation period in the United States called Copper (2012 - ). Cast with mostly unknowns...and Franka Potente from The Bourne Films and Run Lola Run (1999) fame, this is quite a gritty period drama. Most of it takes place in a brothel, so that should give you some sense of what goes down, no pun intended. A tough-as-nails reformed cop with a heart of gold who is brought from Ireland to keep peace in the Five Points struggles to maintain his integrity while having lots and lots of period corset sex with his madame girlfriend. 

I had no idea prostitutes had showers in their brothels back in the 1860's.

Also, I just have to add, I love how prostitutes from the 1800's are always portrayed as cleaner than say a contemporary prostitute...ok that sounded wrong; modern-day prostitute. Contemporary prostitute sounds like part of a master's thesis, moving on! 

But seriously, I'm sure they didn't have quite as many teeth as Franka Potente, and she still somehow manages to look like she just came straight to set from a Beverly Hills spa, ready to whore it up with the tortured, filthy, but sexy as balls Irishman. Yeah where's that set, sign me up, I'll bring the coffee, I'll gofur, I don't care. 

Corcoran's weapon of choice.

It looks like BBC America has finally started to catch up sex-wise and riding that psychotic horse to its burning stable (bad analogy, I know) but I was thinking 'burning loins' and that's where that came from. Again, off track. 

In the pilot we learn, that Copper (a.k.a Kevin Corcoran) played by super-super-super hot actor Tom Weston-Jones (who? I know, I don't know either) has a past. He's in the big apple (not sure they called it that in 1860 but whateves) searching for the man who killed his wife and daughter, or something like that, I was REALLY distracted by all the sex. Therefore, he's got this soft spot, you know, when a little girl gets brutally murdered and her corpse defiled...yes that kind of thing is on the show too. I realized I might not be selling this all that well any more, but I will say this, it's aesthetically pleasing and has plenty of potential, and it's only been one episode. So if BBC America is on your cable box, then perhaps you can start getting your jollies from a channel other than AMC. Hope you like it!

Below, the promo.