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26.05.2023 - 15:13 / deadline.com
Only nine directors have ever won the Palme d’Or twice. Francis Ford Coppola did it in the ’70s with The Conversation and Apocalypse Now. Ruben Östlund joined the club last year after following The Square with Triangle of Sadness. But this year, there is a very real possibility that, at 86, Ken Loach may go above and beyond that by winning a third Palme for his new film, The Old Oak. Loach first won in 2006 with the historical Irish drama The Wind That Shakes the Barley, then doubled up in 2016 with I, Daniel Blake, a caustic study of Britain’s healthcare crisis. After that came Sorry, We Missed You, a no-less withering look at the punitive gig economy. Like the latter two films, The Old Oak is set in the North East of England and completes an unofficial trilogy, this time with a slightly more optimistic bent. Like all of Loach’s output since 1996, it was written by Paul Laverty, and the pair sat down with Damon Wise to discuss the film’s themes of humanity and social responsibility.
Ken, what persuaded you to go back into directing? Were you prepared to hang up your spurs after the last movie?
LOACH: Well, I think there was an essential story to tell. We did two films in the North East, and they were both very positive experiences, in terms of the people we worked with, their overall strength and cheerfulness and understanding of their own situation, and their warmth and humanity. But it was very clear that there were huge contradictions at work within the social pattern that had emerged over the last decades. And it was crystallized in the old coal fields of County Durham. I mean, the other old industries have gone too, like ship-building and steel. But you could see most acutely where the mines had been — the
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Owen Gleiberman Chief Film Critic Tommy Joe Ballantyne (Dave Turner), the central character in Ken Loach’s “The Old Oak,” is a middle-aged landlord and proprietor of a pub that sits near the bottom of a sloped street of working-class row houses. We’re in an unnamed village in the northeast of England, and the pub, called the Old Oak, has seen better days. So has Tommy, who’s known as TJ. Dave Turner, the very good actor who plays him, resembles a bone-weary cross between John C. Reilly and Michael Moore. There’s a sweet-souled directness to his sad prole stare, and he treats his customers, some of whom he has known since they were in grade school together, with quiet affection and respect. But the pub is falling apart, and the property values in the neighborhood have plunged. TJ is barely scraping by serving pints of bitters.
By Hanna RantalaCANNES (Reuters) - Ken Loach said on Friday he does not know if "The Old Oak," the 86-year-old British director's attempt to win the Cannes Film Festival's top prize for a third time, would be his last. "Oh, I don't know, I live day by day," said Loach, who turns 87 in June. "If you read the obituary columns and you're not in them, it's a good day.
What could well be Ken Loach’s final film has as much fire and fury as his debut Poor Cow did in 1967, if we discount his pioneering TV work in the run-up. The visual style hasn’t changed a great deal in the years since, but that’s because the British movie veteran, soon to turn 87, isn’t much fussed about surfaces, it’s the inner lives of his characters that he wants to capture. In that respect, The Old Oak would make a fitting swansong, capping the recent North-East trilogy with a vital film that is clearly the work of the team behind previous Cannes Competition hits I, Daniel Blake and Sorry We Missed You.
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Christopher Vourlias On a recent morning in Cannes, Scottish singer-songwriter Donovan sat over coffee at the Hotel Martinez and recalled a phone call he received nearly 60 years ago, not long after he’d made a splash on the British folk scene. On the other end of the line was a rising screenwriter and director called Ken Loach. “He said he was making his first feature…and would I help him with the music?” Donovan told Variety. The film, a kitchen sink drama called “Poor Cow,” based on a novel by British playwright and author Neil Dunn, tells the story of a working-class single mother leading a hard-luck life in the slums of London. It’s a movie that set the tone for the type of social drama that propelled Loach throughout a remarkable, prolific career.
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Prepare yourself for a roller coaster ride this week, y’all.