Ken Loach probably intended this film to be an ode to freedom. The freedom to do whatever you like, without an oppressive authority laying out the rules. In this particular case, the oppressive authority is the catholic church in Ireland, and the people fighting for freedom are the ordinary farmers and citizens, building their own community hall where they can dance, sing, play music and organize other events.
The intention is good, but Loach delivers his message in a clumsy way. 'Jimmy's Hall' is a film without sharp edges, a one-dimensional tale of good and bad. The good guy is Jimmy, who returns to the Irish countryside after ten years in New York. The locals ask him to rebuild the old community hall, but when it is finished he has to confront the bad guy: the local priest, who considers the hall to be a threat to the power base of the catholic church. The supporters of the hall do everything they can, but in the end they can't win from such a powerful and oppressive institute.
The raw realism from some of Loach's earlier films is completely missing here. The characters are hardly realistic - Jimmy is the hero and the priest is a villain. The script is completely one- dimensional. Jimmy is so holier-than-thou that he doesn't even try to win back the love of his one-time sweetheart Oonagh, because now she is married with children. In one scene, the two dance together in the dark silent hall. Loach probably meant this as a heart-breaking scene, but failed.
The acting and the dialogue are stiff and unnatural. At one point, Jimmy's supporters discuss if they should attend a meeting in support of a homeless family. Some are against, because they think this could lead to the closing down of the hall. They politely exchange arguments, in well-formulated sentences. No shouting, no emotions, no cursing. It's like watching a stage play. And not even a good one.
Let me be clear: not everything is terrible. 'Jimmy's Hall' is beautifully filmed, and brings an unsavoury aspect of pre-war Ireland to attention. But it is definitely not one of Ken Loach's best movies.
The intention is good, but Loach delivers his message in a clumsy way. 'Jimmy's Hall' is a film without sharp edges, a one-dimensional tale of good and bad. The good guy is Jimmy, who returns to the Irish countryside after ten years in New York. The locals ask him to rebuild the old community hall, but when it is finished he has to confront the bad guy: the local priest, who considers the hall to be a threat to the power base of the catholic church. The supporters of the hall do everything they can, but in the end they can't win from such a powerful and oppressive institute.
The raw realism from some of Loach's earlier films is completely missing here. The characters are hardly realistic - Jimmy is the hero and the priest is a villain. The script is completely one- dimensional. Jimmy is so holier-than-thou that he doesn't even try to win back the love of his one-time sweetheart Oonagh, because now she is married with children. In one scene, the two dance together in the dark silent hall. Loach probably meant this as a heart-breaking scene, but failed.
The acting and the dialogue are stiff and unnatural. At one point, Jimmy's supporters discuss if they should attend a meeting in support of a homeless family. Some are against, because they think this could lead to the closing down of the hall. They politely exchange arguments, in well-formulated sentences. No shouting, no emotions, no cursing. It's like watching a stage play. And not even a good one.
Let me be clear: not everything is terrible. 'Jimmy's Hall' is beautifully filmed, and brings an unsavoury aspect of pre-war Ireland to attention. But it is definitely not one of Ken Loach's best movies.