There were rumours that Jimmy's Hall would be the final film from Ken Loach, the angry old man and true socialist of British cinema. Working with his regular collaborator Paul Laverty, Loach brings us the story of Jimmy Gralton (Barry Ward), a young Irish man who returned home from America in 1932 following the economic collapse and the Great Depression. A social activist who has seen much of the world, he is fired up with new ideas. Gralton rebuilt the local community hall, which became the hub of social activity for the local farmers, who would dance and celebrate on a Saturday night and then go to Mass on Sunday morning. But it also became a hub for political activism, and it was the latter activity that raised the ire of the local church, in the form of Father Sheridan (Jim Norton), an old fashioned hell and brimstone-style priest who held sway in the village, and the authorities. This was a turbulent time in the history of Ireland, and battle lines were drawn between the local workers and the rich and powerful landowners. Eventually Gralton was arrested and deported without so much as a trial. For a while here it seems as though Loach may lightening up in mood as there is a great deal of warmth and humour to the film. But not so, as Loach still has that fire raging in his belly. By the end, Jimmy's Hall becomes a howl of outrage at a blatant miscarriage of justice, the abuse of power by both the church and state, and the continued oppression of the downtrodden and working classes. The film looks superb thanks to Robbie Ryan's widescreen lensing, and George Fenton's score mixes jazz with traditional Irish music. There is plenty of great Irish music here, but the film also offers a look at the cultural and political landscape of Ireland in the early 1930s. But the broader themes about individual liberty and institutional greed still resonate strongly today and have a contemporary relevance. The accents are a bit on the thick side at times.
27 Reviews
a howl of outrage at a blatant miscarriage of justice, the abuse of power by both the church and state
gregking422 August 2014
Warning: Spoilers
An 8, because it's important
eyeintrees17 April 2015
There are many movies made about oppression, but not nearly enough. In this story based on facts and one man's intention to give culture, song and dance to his small, impoverished community, it defies belief that this travesty of injustice occurred.
As usual, the Catholic Church, the overlords and the unjust legal system come together to destroy any chance a small community has of the vital birth-right of culture and harmony for those who need it most; an isolated county in Ireland.
As one man steps up, after having been deported once already for the grand crime of opening a hall where people can learn such basic things as song, dance, art, literature and boxing, after his ten first ten year deportation, the local youth who have nothing to look forward to in life, convince him to do so again.
This is a straightforward movie about a circumstance that defies belief, and yet it occurred. Worth the watch for anyone who understands that oppression and fascism is wrong and that normal people deserve joy, community and to fight back when their world makes no sense on account of simply wanting to life a life.
As usual, the Catholic Church, the overlords and the unjust legal system come together to destroy any chance a small community has of the vital birth-right of culture and harmony for those who need it most; an isolated county in Ireland.
As one man steps up, after having been deported once already for the grand crime of opening a hall where people can learn such basic things as song, dance, art, literature and boxing, after his ten first ten year deportation, the local youth who have nothing to look forward to in life, convince him to do so again.
This is a straightforward movie about a circumstance that defies belief, and yet it occurred. Worth the watch for anyone who understands that oppression and fascism is wrong and that normal people deserve joy, community and to fight back when their world makes no sense on account of simply wanting to life a life.
A story about Ireland in the depression, but as important today
drbits4 October 2014
This story highlights the struggle for individual respect and liberty that has been going on since the reformation. Today, people often attach words communist or socialist to the struggle of the individual. This film reminds us of the other side of the story: greed and power are the feudal and capitalist side of the story.
One flaw in the movie is that people assume the struggle between Jimmy and the priest is communism versus the church. But Jimmy was not a communist. Jimmy was a grass-roots liberal who supported his community and occasionally spoke out against the concentration of power. The church represents this concentration of power and the struggle to maintain the concentration of power.
During the 1920's, a large percentage of the world's "Wealth" was tied up in speculative investments. Corrupt politicians sided with the land holders and the "Robber barons". By 1924, economic experts started to announce that unfettered greed would lead to an economic crisis in the USA and Europe. In 1929, the US stock-market crash vaporized much of the world's wealth and centralized power among an even smaller percentage of the population.
The movie includes a lot of history that most people in the US and UK who were born before 1977 already know. However, for most of the world, the Irish history and the extent of the struggle between the rich and poor during those times is new.
This struggle continues today. Instead of hereditary land owners, we have large banks and other institutions that "influence" most of the world's "capitalist" governments. The government favors for corporations and privatization of government services that starting in the late 1970's continues to this day and is responsible for the depression of 2008.
Without government support for those who were thrown into poverty, the 2008 depression would have been as bad as the 1929 depression. I think the writers were trying to remind us about the consequences of unfettered greed.
One flaw in the movie is that people assume the struggle between Jimmy and the priest is communism versus the church. But Jimmy was not a communist. Jimmy was a grass-roots liberal who supported his community and occasionally spoke out against the concentration of power. The church represents this concentration of power and the struggle to maintain the concentration of power.
During the 1920's, a large percentage of the world's "Wealth" was tied up in speculative investments. Corrupt politicians sided with the land holders and the "Robber barons". By 1924, economic experts started to announce that unfettered greed would lead to an economic crisis in the USA and Europe. In 1929, the US stock-market crash vaporized much of the world's wealth and centralized power among an even smaller percentage of the population.
The movie includes a lot of history that most people in the US and UK who were born before 1977 already know. However, for most of the world, the Irish history and the extent of the struggle between the rich and poor during those times is new.
This struggle continues today. Instead of hereditary land owners, we have large banks and other institutions that "influence" most of the world's "capitalist" governments. The government favors for corporations and privatization of government services that starting in the late 1970's continues to this day and is responsible for the depression of 2008.
Without government support for those who were thrown into poverty, the 2008 depression would have been as bad as the 1929 depression. I think the writers were trying to remind us about the consequences of unfettered greed.
The newcomer from America and his impact
cinematic_aficionado3 June 2014
During the uncertain times of late 1920's Ireland an arrival from New York upsets the life of a small rural community.
How did he do that? He set up a dance hall, how scandalous. Whilst by and large the locals embraced it and it provided them with a focal point there was opposition. The church led the way, and some local conservatives followed. By branding them as communists provided their arguments with some supposed gravity. What went on in that hall was open for all to see, yet it met with fierce opposition.
The film puts the two worlds into focus. One view is that change is reprehensible, things ought to stay as they are. The opposing view wants change, people to be free from oppression. The newcomer brought some new ideologies as well as lots of controversy.
Both sides are unchangeable in their positions, no one is prepared to backtrack and a clash is unavoidable. Can the idealist modernist challenge the ultra powerful church orthodoxy?
A mighty tale about old and new in the battlefield of ideas.
How did he do that? He set up a dance hall, how scandalous. Whilst by and large the locals embraced it and it provided them with a focal point there was opposition. The church led the way, and some local conservatives followed. By branding them as communists provided their arguments with some supposed gravity. What went on in that hall was open for all to see, yet it met with fierce opposition.
The film puts the two worlds into focus. One view is that change is reprehensible, things ought to stay as they are. The opposing view wants change, people to be free from oppression. The newcomer brought some new ideologies as well as lots of controversy.
Both sides are unchangeable in their positions, no one is prepared to backtrack and a clash is unavoidable. Can the idealist modernist challenge the ultra powerful church orthodoxy?
A mighty tale about old and new in the battlefield of ideas.
Very cool movie about fighting for your right to party.
subxerogravity6 July 2015
Somewhere slightly better and more sophisticated than Footloose is Jimmy's Hall. Based on a true story about an Irish country man who opened what was pretty much a community Center that allowed the folks of the village to educate themselves in arts and entertainment, but the Catholic church was not fond of people taking any sort of education out of God's hands and into the hands of his children.
The movie really got my blood boiling even if it was very quiet and slow pace, but it hit some interesting marks about tolerance and freedom of expression. A condition needed by every human. I'm use to seeing rebellions in which people get violent in their protest, but this movie was very tamed, but more importantly, still got the message across.
My favorite part of the movie is the cool Irish music that was featured in the movie.
I like it a lot.
The movie really got my blood boiling even if it was very quiet and slow pace, but it hit some interesting marks about tolerance and freedom of expression. A condition needed by every human. I'm use to seeing rebellions in which people get violent in their protest, but this movie was very tamed, but more importantly, still got the message across.
My favorite part of the movie is the cool Irish music that was featured in the movie.
I like it a lot.
Educational
GManfred15 November 2016
In the States we didn't get much Irish history in our schools, particularly post-Rebellion history. Had no idea of the politics involved regarding the Socialist/Catholic Church alliance during the Depression, which is the basis of this film. We are influenced to root for the people versus this alliance, which seems to be the correct rooting interest. Jimmy comes back to his hometown after 10 years in exile, and takes up the same cause which got him deported in the first place. Once again the same forces that were against him are still in place, resulting in a duplication of events. Can't imagine how any moviegoer could fault him or his motives and the plot plays along with these sentiments.
That said, the story bogs down in the second half of the film, making the staunchest advocate fidgety and anxious for some movement. It seems longer than the 1hr 49min advertised, but does not impinge on the gorgeous photography and the marvelous acting. Barry Ward as Jimmy was good, Simone Kirby was even better and Jim Norton as Fr. Sheridan was outstanding. I recommend "Jimmy's Hall", especially if you went to school in the U.S. - I guarantee you will be enlightened.
That said, the story bogs down in the second half of the film, making the staunchest advocate fidgety and anxious for some movement. It seems longer than the 1hr 49min advertised, but does not impinge on the gorgeous photography and the marvelous acting. Barry Ward as Jimmy was good, Simone Kirby was even better and Jim Norton as Fr. Sheridan was outstanding. I recommend "Jimmy's Hall", especially if you went to school in the U.S. - I guarantee you will be enlightened.
Slow paced, but important.
LessThanPaddy20 February 2017
This certainly isn't Loach's finest film, and certainly not his best film that portrays Irish life in the 20th century. However, it is important for a number of historical reasons.
This film is naturally quite critical of the church's stranglehold on Irish life and policy. Jim Norton's role in portraying this is invaluable, after all who better to portray a controlling, traditionalist,angry priest than Bishop Brennan himself? Indeed, Jim's character in this film completely mirrors his character in Father Ted... but believe me, that is NOT a criticism.
While the movie may be slow-paced and seemingly dull at certain inter-sections, it's importance for history cannot be discounted. Not so long ago, it would have been sacrilege to watch this film due to it's unsubtle portrayal of the church's sometimes intrusive influence on Ireland, in fact some probably would still consider it to be so. It also deals with the rise of Fascism in Ireland in the early 20th century, something that is almost absent from cinema.
The movie deserves more credit and should have a larger influence than it appears to have. Give it a chance, some may call it propaganda... it's not. Give it a watch.
This film is naturally quite critical of the church's stranglehold on Irish life and policy. Jim Norton's role in portraying this is invaluable, after all who better to portray a controlling, traditionalist,angry priest than Bishop Brennan himself? Indeed, Jim's character in this film completely mirrors his character in Father Ted... but believe me, that is NOT a criticism.
While the movie may be slow-paced and seemingly dull at certain inter-sections, it's importance for history cannot be discounted. Not so long ago, it would have been sacrilege to watch this film due to it's unsubtle portrayal of the church's sometimes intrusive influence on Ireland, in fact some probably would still consider it to be so. It also deals with the rise of Fascism in Ireland in the early 20th century, something that is almost absent from cinema.
The movie deserves more credit and should have a larger influence than it appears to have. Give it a chance, some may call it propaganda... it's not. Give it a watch.
Fails to come alive with real passion
howard.schumann2 August 2015
In 1933, Jimmy Gralton (Barry Ward, "Songs for Amy") became the only Irish citizen ever to have been deported from Ireland when he was exiled to America without a trial. His crime seems to be that he was a Communist who incurred the ire of the Catholic Church and the landlords by daring to establish a dance hall where such sinful pleasures as community dances, singing lessons, poetry readings, boxing lessons, and political debates took place. Written by Paul Laverty ("The Wind That Shakes the Barley") from a play by Donal O'Kelly, Ken Loach's ("The Angel's Share") Jimmy's Hall directs our attention to a not very well known incident in Irish history that followed the Civil War of 1922-23, a war waged between two groups of Irish republicans over the Anglo-Irish Treaty.
Partially filmed in the village of Drumsna, a village only a few kilometers from Gralton's birthplace in Effrinagh, the film begins in 1932 with Jimmy's return to County Leitrim after having lived in New York for ten years. After showing historical footage of New York during the 1930s, particularly its poverty and unemployment during the great depression, we learn that Jimmy's brother has recently died and he is coming home to support his mother (Aileen Henry) in running the family farm. In a flashback to ten years ago, Jimmy is shown pleading with his then girlfriend Oonagh (Simone Kirby, "Season of the Witch") to go to New York with him, but she prefers to remain in Ireland. When he returns, he finds her married with two children, though they obviously still have feelings for each other.
When he responds "Same as ever" to her question about how he is, she tells him that "Nobody's the same after 10 years away." Now named after Patrick Pearse and James Connolly, two martyrs of the 1916 Easter uprising against British rule,Jimmy restores the boarded-up community hall that had been closed by the Catholic Church ten years earlier, stocking it with a wind-up Victrola and jazz records he brought from New York. Once again, the hall becomes a gathering place for workers and farmers and a thorn in the side of the Church. Dances are picketed and classes disrupted, but Jimmy refuses to bend. Fearful of stoking community activism, Father Sheridan (Jim Norton, "Extremely Loud and Incredibly Close") stirs up his congregation by playing the Communist card and by warning his flock about the debasement of the country's morals.
"What is this obsession with pleasure?!" he demands, and asks "Is it Christ, or is it Gralton?" Railing against "the Los Angelization of our culture," the fearful pastor says that the hall has become a place where "the sins of jazz music and the rhythms from darkest Africa with pelvic thrusts may poison the minds," and reads aloud the names of those who went to the hall the previous night. Fortunately for Gralton, neither Karl Marx nor Joseph Stalin could make it. Repercussions do not take long to occur. IRA activist Commander Dennis O'Keefe (Brian F. O'Byrne, "Queen and Country") is shown whipping his daughter because hers was one of the names read aloud, shots are fired into the hall during a dance, and the hall is set on fire and burned to the ground on Christmas Eve, 1932.
The best scenes in the film are Gralton's one-on-one conversations with Father Sheridan in which he reflects on the father's outward display of hatred towards those who are working towards the common good, defying Christ's message to love thy neighbor. While Sheridan is undoubtedly the villain, the intimate talks with Gralton ultimately make a dent in his intransigence and he tells his friends that Jimmy has more courage than any of them and should be treated with respect. Though his hint of transformation is aided by a young priest, Father Seamus (Andrew Scott), it is too little and too late to make a difference to Jimmy who is arrested and, deported to America where he will live out the rest of his life.
Jimmy's Hall, like all of Loach's work, has its heart in the right place. It is well acted and filled with enchanting Irish folk music and high spirits, yet in sacrificing subtlety and nuance to score political points, it fails to come alive with real passion. The film does have an important message that is relevant to us in the present day where the concentration of wealth in a small percentage of the population threatens our democratic heritage, yet the characters are more cuddly than fiery, more one-dimensional symbols than fully realized human beings. In spite of the timeliness of the subject matter, Jimmy's Hall does not stir the blood.
Partially filmed in the village of Drumsna, a village only a few kilometers from Gralton's birthplace in Effrinagh, the film begins in 1932 with Jimmy's return to County Leitrim after having lived in New York for ten years. After showing historical footage of New York during the 1930s, particularly its poverty and unemployment during the great depression, we learn that Jimmy's brother has recently died and he is coming home to support his mother (Aileen Henry) in running the family farm. In a flashback to ten years ago, Jimmy is shown pleading with his then girlfriend Oonagh (Simone Kirby, "Season of the Witch") to go to New York with him, but she prefers to remain in Ireland. When he returns, he finds her married with two children, though they obviously still have feelings for each other.
When he responds "Same as ever" to her question about how he is, she tells him that "Nobody's the same after 10 years away." Now named after Patrick Pearse and James Connolly, two martyrs of the 1916 Easter uprising against British rule,Jimmy restores the boarded-up community hall that had been closed by the Catholic Church ten years earlier, stocking it with a wind-up Victrola and jazz records he brought from New York. Once again, the hall becomes a gathering place for workers and farmers and a thorn in the side of the Church. Dances are picketed and classes disrupted, but Jimmy refuses to bend. Fearful of stoking community activism, Father Sheridan (Jim Norton, "Extremely Loud and Incredibly Close") stirs up his congregation by playing the Communist card and by warning his flock about the debasement of the country's morals.
"What is this obsession with pleasure?!" he demands, and asks "Is it Christ, or is it Gralton?" Railing against "the Los Angelization of our culture," the fearful pastor says that the hall has become a place where "the sins of jazz music and the rhythms from darkest Africa with pelvic thrusts may poison the minds," and reads aloud the names of those who went to the hall the previous night. Fortunately for Gralton, neither Karl Marx nor Joseph Stalin could make it. Repercussions do not take long to occur. IRA activist Commander Dennis O'Keefe (Brian F. O'Byrne, "Queen and Country") is shown whipping his daughter because hers was one of the names read aloud, shots are fired into the hall during a dance, and the hall is set on fire and burned to the ground on Christmas Eve, 1932.
The best scenes in the film are Gralton's one-on-one conversations with Father Sheridan in which he reflects on the father's outward display of hatred towards those who are working towards the common good, defying Christ's message to love thy neighbor. While Sheridan is undoubtedly the villain, the intimate talks with Gralton ultimately make a dent in his intransigence and he tells his friends that Jimmy has more courage than any of them and should be treated with respect. Though his hint of transformation is aided by a young priest, Father Seamus (Andrew Scott), it is too little and too late to make a difference to Jimmy who is arrested and, deported to America where he will live out the rest of his life.
Jimmy's Hall, like all of Loach's work, has its heart in the right place. It is well acted and filled with enchanting Irish folk music and high spirits, yet in sacrificing subtlety and nuance to score political points, it fails to come alive with real passion. The film does have an important message that is relevant to us in the present day where the concentration of wealth in a small percentage of the population threatens our democratic heritage, yet the characters are more cuddly than fiery, more one-dimensional symbols than fully realized human beings. In spite of the timeliness of the subject matter, Jimmy's Hall does not stir the blood.
Moving, engaged but even-handed
fvila9 July 2014
This movie opposes two different and opposed views of the world: that of Jimmy Gralton, who apart from wanting to open a dance hall, is also a left-wing idealist. Although Ken Loach makes not mystery of his sympathies in this movie, as usual he remains even-handed, lets the opposition have their say, and never makes the conservative side appear as ridiculous or stupid. In fact the heart of the movie is the confrontation between Jimmy Gralton and Father Sheridan, which despite the depth of conflict, is fundamentally based on a grudging mutual respect.
What, indeed, could be wrong with opening a dance hall and cultural center? Well in the thirties Ireland was recovering from years of bloody conflict, first the war for independence, followed by more years of civil war. Father Sheridan argues that now is the time for reconciliation, not for political agitation, and what he sees as communist propaganda. It is time for being Irish together, for listening to Irish music rather than "alien Jazz from deepest Africa".
Of course the Loach's sympathy (and ours) goes to the yearning of the young people who have no place to go, no prospects, no jobs, and who desperately want to find some joy, relief and self-expression. The movie may be a bit slow at times, but it is deeply moving.
What, indeed, could be wrong with opening a dance hall and cultural center? Well in the thirties Ireland was recovering from years of bloody conflict, first the war for independence, followed by more years of civil war. Father Sheridan argues that now is the time for reconciliation, not for political agitation, and what he sees as communist propaganda. It is time for being Irish together, for listening to Irish music rather than "alien Jazz from deepest Africa".
Of course the Loach's sympathy (and ours) goes to the yearning of the young people who have no place to go, no prospects, no jobs, and who desperately want to find some joy, relief and self-expression. The movie may be a bit slow at times, but it is deeply moving.
One-dimensional tale of good and bad
rubenm30 August 2014
Warning: Spoilers
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.
I wanted very much to like this, but alas...
paul-allaer23 August 2015
"Jimmy's Hall" (2014 release from Ireland/UK; 109 min.) brings the true story of what happened to Jimmy Gralton upon his return to Ireland in 1932. the movie's opening titles are accompanied by archive footage of New York in the late 20s/early 30s. As the movie opens, we are told it is "County Leitrim, Ireland, 1932", and we see Jimmy coming back to Ireland after 20 years in New York (presumably because of the Depression and related unemployment). It's not long before Jimmy and his friends decide to renovate the Pears-Connelly Hall, so as to give young people and the community a place to gather for dancing, reading, drawing, singing, etc. (we would call it a "community rec center" these days). This does not sit well with the local priest, who claims 'exclusivity' for all things that could be deemed educational, nor are the local landlords pleased. At this point we are 15 min. into the movie, but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.
Couple of comments: this is the latest movie be legendary British director Ken Loach, now a crisp 79 years young (and similar to Woody Allen in his never-ceasing output). Loach is well-known for using his films as social commentary, and "Jimmy's Hall" is no exception. For me, that is not an issue, and Loach has made a number of stunningly beautiful and captivating movies over the years. Hence I was ready to like "Jimmy's Hall" very much. Alas, it was not to be, for several reasons: first, the movie is not very helpful to let us understand why certain factions take a particular position (we are never told what beef the landlords have with Jimmy and his friends) or why the issue of the land ownership matters initially, and then a bit later on it doesn't. But the biggest disappointment I have with the film is that at no point did I become emotionally invested in any of the main characters. Yes the local priest is easy to loathe, and we all do, but we are not given a chance to really buy in to Jimmy, or his friends, or his romantic interest. It all just happens, for seemingly no reason. If this was a fictional story, I'd have walked out an hour into the movie, but since this movie is "inspired by the life and times of Jimmy Gralton" (as is announced at the beginning of the movie), I wanted to find out how it would all unfold. There are some fine performances, but I found the chemistry between Jimmy (played by Barry Ward) and his romantic interest (played by Francis Magee) completely lacking and unconvincing. Last but certainly not least, there is a very nice musical score to the movie, featuring both traditional Irish music and jazz from the 20s and 30s.
I had seen the trailer for "Jimmy's Hall" a few times and was really looking forward to this. "Jimmy's Hall" finally opened this weekend at my local art-house theater here in Cincinnati. The early evening screening where I saw this at was attended okay but not great (I counted 12 people, including myself, of which one walked out halfway through and didn't come back). As much as I like Ken Loach, this is not none of his best, I'm afraid. But I certainly encourage you to check it out, be it in the theater, on Amazon Instant Video, or eventually on DVD/Blu-ray, and draw your own conclusion about "Jimmy's Hall".
Couple of comments: this is the latest movie be legendary British director Ken Loach, now a crisp 79 years young (and similar to Woody Allen in his never-ceasing output). Loach is well-known for using his films as social commentary, and "Jimmy's Hall" is no exception. For me, that is not an issue, and Loach has made a number of stunningly beautiful and captivating movies over the years. Hence I was ready to like "Jimmy's Hall" very much. Alas, it was not to be, for several reasons: first, the movie is not very helpful to let us understand why certain factions take a particular position (we are never told what beef the landlords have with Jimmy and his friends) or why the issue of the land ownership matters initially, and then a bit later on it doesn't. But the biggest disappointment I have with the film is that at no point did I become emotionally invested in any of the main characters. Yes the local priest is easy to loathe, and we all do, but we are not given a chance to really buy in to Jimmy, or his friends, or his romantic interest. It all just happens, for seemingly no reason. If this was a fictional story, I'd have walked out an hour into the movie, but since this movie is "inspired by the life and times of Jimmy Gralton" (as is announced at the beginning of the movie), I wanted to find out how it would all unfold. There are some fine performances, but I found the chemistry between Jimmy (played by Barry Ward) and his romantic interest (played by Francis Magee) completely lacking and unconvincing. Last but certainly not least, there is a very nice musical score to the movie, featuring both traditional Irish music and jazz from the 20s and 30s.
I had seen the trailer for "Jimmy's Hall" a few times and was really looking forward to this. "Jimmy's Hall" finally opened this weekend at my local art-house theater here in Cincinnati. The early evening screening where I saw this at was attended okay but not great (I counted 12 people, including myself, of which one walked out halfway through and didn't come back). As much as I like Ken Loach, this is not none of his best, I'm afraid. But I certainly encourage you to check it out, be it in the theater, on Amazon Instant Video, or eventually on DVD/Blu-ray, and draw your own conclusion about "Jimmy's Hall".
Another superb and deeply political film from Ken Loach
MOscarbradley6 March 2016
At his best Ken Loach makes films that are as emotionally engaging as any in world cinema and while he has on occasions disappointed, every Ken Loach film is worth seeking out. "Jimmy's Hall" sees him return, in some respects, to the territory he explored in "The Wind that Shakes the Barley" and it is one of his very best films. Again we are back in Ireland but 10 years after the end of the Civil War. Old wounds haven't healed, (they still haven't healed completely to this day), and like "The Wind that Shakes the Barley" the divisions here are much more political than social and almost as violent.
It deals with the very specific conflict between those who opposed the Treaty, those who supported it and the dominating Catholic Church when one, Jimmy Gralton, returns from 10 years exile in America and reopens a community hall that was the source of all his trouble in the first place, against the express wishes of 'Holy Mother Church' and those who backed it.
As scripted by Paul Laverty it is, of course, a deeply political film but Loach is the most humanist of political film-makers; consequently it is also a deeply moving (and, at times, very funny) picture. At its centre is a magnificent performance from Barry Ward as Gralton and he is backed beautifully by Jim Norton and Andrew Scott representing the clergy as well as a host of wonderfully naturalistic Irish actors, some professional, some not. Loach may now be in this seventies but this feels as fresh and as relevant as anything he did fifty years ago. I think it's the equal to both "Land and Freedom" and "The Wind that Shakes the Barley".
It deals with the very specific conflict between those who opposed the Treaty, those who supported it and the dominating Catholic Church when one, Jimmy Gralton, returns from 10 years exile in America and reopens a community hall that was the source of all his trouble in the first place, against the express wishes of 'Holy Mother Church' and those who backed it.
As scripted by Paul Laverty it is, of course, a deeply political film but Loach is the most humanist of political film-makers; consequently it is also a deeply moving (and, at times, very funny) picture. At its centre is a magnificent performance from Barry Ward as Gralton and he is backed beautifully by Jim Norton and Andrew Scott representing the clergy as well as a host of wonderfully naturalistic Irish actors, some professional, some not. Loach may now be in this seventies but this feels as fresh and as relevant as anything he did fifty years ago. I think it's the equal to both "Land and Freedom" and "The Wind that Shakes the Barley".
Director Ken Loach's tribute to Jimmy Gralton a Leitrim (Ireland) Socialist and his attempt to build a dance/meeting hall.
graupepillard23 July 2015
Seventy-nine year old British director Ken Loach has been dealing with social issues in film since the early 1960's and JIMMY'S HALL is no exception, based on a 10 year period in the life of Jimmy Gralton, a Leitrim (County in Ireland) Socialist - the only Irishman ever deported from Ireland in 1933. The clash between the Catholic Church, intermixed with local politicians and what they considered Stalinist/Communist ideas brewing in a small village's Dance/Meeting Hall - built for the local community of farmers and laborers - teaching art, poetry, song, boxing classes, highlighting music and dance performances; a space to openly speak about landowner/working conditions.
I am a sucker for a good-looking Irishman, and Barry Ward is just that; he plays Jimmy who is expressive, passionate and a stirring advocate for basic individual freedoms. We meet him in 1932, after a forced 10 year exile in NYC, returning home to work on the family's small plot of land at a "hopeful" time, a new government has come into power. Set amidst the rolling green hills of an idyllic village, Jimmy plans to settle down and help his elderly mother, a former librarian who years earlier drove around the rural area, bringing books - catalysts for ideas - to her neighbors. Life in 1932 is and is not the same - personal relationships have changed - former love interest Oonagh who fought at his side in earlier days, having not heard from him for a long time after Gralton was forced to flee Ireland in 1921, married a "solid" man from the hamlet and bore 2 children. Despite the years gone by, their deep connection has never come untethered and the tenderness between these two intense fighters for human rights is filmed in a lovely scene where they slowly move together, swaying under the pale light of unrealized dreams; fulfillment impossible.
JIMMY'S HALL is a movie about the pervasive paranoia and corruption of Ireland's Government/Church partnership in maintaining "moral order" in a world that is absorbing new ideologies; where principles and tenets cannot be contained in ancestral and inbred receptacles. The community demonstrates an unrelenting courage and willingness to confront representatives of the power elite in their attempt to love, laugh, frolic, and examine doctrines that have been intrinsic to them - no longer isolated they dare to defy through unity thereby gathering courage. Director Ken Loach's radiant portrayal of Jimmy Gralton resurrects a fighter whose name was all but forgotten. The combat against a powerful, intransigent armed state in 1932 seemed desperately futile, but history has proved otherwise.
I am a sucker for a good-looking Irishman, and Barry Ward is just that; he plays Jimmy who is expressive, passionate and a stirring advocate for basic individual freedoms. We meet him in 1932, after a forced 10 year exile in NYC, returning home to work on the family's small plot of land at a "hopeful" time, a new government has come into power. Set amidst the rolling green hills of an idyllic village, Jimmy plans to settle down and help his elderly mother, a former librarian who years earlier drove around the rural area, bringing books - catalysts for ideas - to her neighbors. Life in 1932 is and is not the same - personal relationships have changed - former love interest Oonagh who fought at his side in earlier days, having not heard from him for a long time after Gralton was forced to flee Ireland in 1921, married a "solid" man from the hamlet and bore 2 children. Despite the years gone by, their deep connection has never come untethered and the tenderness between these two intense fighters for human rights is filmed in a lovely scene where they slowly move together, swaying under the pale light of unrealized dreams; fulfillment impossible.
JIMMY'S HALL is a movie about the pervasive paranoia and corruption of Ireland's Government/Church partnership in maintaining "moral order" in a world that is absorbing new ideologies; where principles and tenets cannot be contained in ancestral and inbred receptacles. The community demonstrates an unrelenting courage and willingness to confront representatives of the power elite in their attempt to love, laugh, frolic, and examine doctrines that have been intrinsic to them - no longer isolated they dare to defy through unity thereby gathering courage. Director Ken Loach's radiant portrayal of Jimmy Gralton resurrects a fighter whose name was all but forgotten. The combat against a powerful, intransigent armed state in 1932 seemed desperately futile, but history has proved otherwise.
Terrible Corny Film
rodolphefleury-182-12699128 June 2014
Warning: Spoilers
Except for the theme, you can't really recognize it's a Ken Loach film. It's over sentimental, well completely cheesy, horribly Manichean, it has some the most terrible and stiff acting i've seen in years.
The scene where Jimmy's old love try the dress he has given her and where they dance together is awkward and disgustingly lit, the least subtle thing in a film that walks with big heavy wooden clogs.
The end is a pastiche of Dead Poet Society's ending, some young smiling idiots are chanting for him while cycling behind the police van that is taking our failed hero back to America where he is deported, thank god for us.
For a director that has done so much for English cinema, Riff Raff, Lady Bug Lady Bug, Poor Cow ... that made the most political and original films with economy of dialogs, bright and clever scripts, to be reduced to do a ultra conventional period drama, that sometimes over explain things to us like we're complete morons and sometimes is so historically or even narratively so vague to the point where it becomes laughable more than understandable is not only a shame but a waste of talent. It's meant to be all deep and political but in the end it's just a tower of clichés and a competition of bad acting belching a compilation of debilitating dialogs.
He said he wanted to stop cinema after doing this atrocious crime against cinema, he should have stop before doing Carla's Song and save us from suffering in front of those boring films that resembles the most soporific history classes of our teenage hood, save THE WIND THAT SHAKES THE BARLEY, is only decent film in the last 20 years of his career.
To see a Director sabotaging his legacy is not only appalling but depressing.
The scene where Jimmy's old love try the dress he has given her and where they dance together is awkward and disgustingly lit, the least subtle thing in a film that walks with big heavy wooden clogs.
The end is a pastiche of Dead Poet Society's ending, some young smiling idiots are chanting for him while cycling behind the police van that is taking our failed hero back to America where he is deported, thank god for us.
For a director that has done so much for English cinema, Riff Raff, Lady Bug Lady Bug, Poor Cow ... that made the most political and original films with economy of dialogs, bright and clever scripts, to be reduced to do a ultra conventional period drama, that sometimes over explain things to us like we're complete morons and sometimes is so historically or even narratively so vague to the point where it becomes laughable more than understandable is not only a shame but a waste of talent. It's meant to be all deep and political but in the end it's just a tower of clichés and a competition of bad acting belching a compilation of debilitating dialogs.
He said he wanted to stop cinema after doing this atrocious crime against cinema, he should have stop before doing Carla's Song and save us from suffering in front of those boring films that resembles the most soporific history classes of our teenage hood, save THE WIND THAT SHAKES THE BARLEY, is only decent film in the last 20 years of his career.
To see a Director sabotaging his legacy is not only appalling but depressing.
Realistic romance about a great people's struggle for freedom.
JohnDeSando6 September 2015
Warning: Spoilers
"We need to take control of our lives again. Work for need, not for greed. And not just to survive like a dog, but to live. And to celebrate. And to dance, to sing, as free human beings." James Gralton (Barry Ward)
Jimmy's Hall depicts an Irish dance hall, Pearse-Connolly Hall, made by the people as a Depression-era testimony to their will to be free human beings. Such a spirit, embodied in true-life by James Gralton, who built the structure and suffered for it, is in almost every beautiful frame of a romantic-realist film that cries out for the common man.
Oh, yeah, it's class struggles again, as if we don't have it still in America. In Jimmy's Hall, the people have dirt on their hands and worn clothes on their backs, but they have an indomitable spirit that exists always despite major oppression from the likes of England and the Catholic Church. The dance segments and theme may evoke Kevin Bacon in Footloose, but this film goes beyond dance into metaphysical rebellion.
Only too real is the divide between the haves and the have not's, which today manifests itself in the form of the 1 percent super rich and self-centered legislators. Donald Trump would be an appropriate reference for the rich and some Southern senators for the legislators. In any case, those of us on the low side of the 99% can identify.
In this film, the rebellion is aimed squarely on the Catholic Church, embodied in the local pastor antagonist, Father Sheridan (Jim Norton), who mistakenly labels Gralton and his followers "communists," although they want only freedom and dance for everyone. It's the empowerment of the working class that endangers the absolute rule of the Catholic hierarchy, in cahoots with local power brokers, one of whom flogs his teen daughter for participating in the hall. Norton as the powerful prelate steals the picture, except that Ward as Gralton could become the coolest romantic hero in modern cinema.
Jimmy's Hall is a different kind of rebellion epic because Jimmy is not murdered, and considerable violence is reserved for the hall itself. Deportation is a sort of punishment particularly painful for a people so closely defined by their land.
So the emphasis then is on the oppression of the mind (the Depression has the corner on violence to the welfare of the common man everywhere). For the Irish, a people deeply imbued in culture and specifically music and poetry, the film draws us to their charisma and grit, a beautiful evocation of spirit.
The love between Jimmy and erstwhile sweetheart Oonagh (Simone Kirby) is as good as you'll get in any film, especially where dance plays such an erotic and symbolic part. Spoiler: They never kiss! Don't miss this beguiling and involving historical romance about a great people:
"The reason the Irish are always fighting each other is they have no other worthy opponents." Irish Proverb
Jimmy's Hall depicts an Irish dance hall, Pearse-Connolly Hall, made by the people as a Depression-era testimony to their will to be free human beings. Such a spirit, embodied in true-life by James Gralton, who built the structure and suffered for it, is in almost every beautiful frame of a romantic-realist film that cries out for the common man.
Oh, yeah, it's class struggles again, as if we don't have it still in America. In Jimmy's Hall, the people have dirt on their hands and worn clothes on their backs, but they have an indomitable spirit that exists always despite major oppression from the likes of England and the Catholic Church. The dance segments and theme may evoke Kevin Bacon in Footloose, but this film goes beyond dance into metaphysical rebellion.
Only too real is the divide between the haves and the have not's, which today manifests itself in the form of the 1 percent super rich and self-centered legislators. Donald Trump would be an appropriate reference for the rich and some Southern senators for the legislators. In any case, those of us on the low side of the 99% can identify.
In this film, the rebellion is aimed squarely on the Catholic Church, embodied in the local pastor antagonist, Father Sheridan (Jim Norton), who mistakenly labels Gralton and his followers "communists," although they want only freedom and dance for everyone. It's the empowerment of the working class that endangers the absolute rule of the Catholic hierarchy, in cahoots with local power brokers, one of whom flogs his teen daughter for participating in the hall. Norton as the powerful prelate steals the picture, except that Ward as Gralton could become the coolest romantic hero in modern cinema.
Jimmy's Hall is a different kind of rebellion epic because Jimmy is not murdered, and considerable violence is reserved for the hall itself. Deportation is a sort of punishment particularly painful for a people so closely defined by their land.
So the emphasis then is on the oppression of the mind (the Depression has the corner on violence to the welfare of the common man everywhere). For the Irish, a people deeply imbued in culture and specifically music and poetry, the film draws us to their charisma and grit, a beautiful evocation of spirit.
The love between Jimmy and erstwhile sweetheart Oonagh (Simone Kirby) is as good as you'll get in any film, especially where dance plays such an erotic and symbolic part. Spoiler: They never kiss! Don't miss this beguiling and involving historical romance about a great people:
"The reason the Irish are always fighting each other is they have no other worthy opponents." Irish Proverb
If you're interested in Irish history, or just someone standing up for what they believe in, take a peak in "Jimmy's Hall".
CleveMan6628 September 2015
There's a sub-sub genre of movies under the general heading of drama that has produced some very entertaining and even poignant films. I don't know that this narrow category of movies has a name, so I'll just call it "rebel dance films". These are movies in which people (usually teenagers) get together to dance, but under some degree of secrecy due to the disapproval of their parents, local religious leaders or even government authorities. Parents may disapprove of the kind of dancing (or what it may lead to), religious leaders may feel that the kind of dancing these young people do is immoral, or the authorities may see modern, non-traditional dancing as a form of rebellion
and a sign of more rebellion to come.
The short list of these rebel dance films range from very popular to very obscure, but they should be recognized and appreciated by dedicated movie fans, regardless of the individual's own level of proclivity to move to the music. In 1984 (and in an ill-advised remake in 2011), "Footloose" told the story of the new kid in town trying to bring a senior prom to his small, repressed southern community. 1993's "Swing Kids" showed us teenagers in pre-World War II Nazi Germany insisting on listening and dancing to swing music, even though much of it came from musicians who were Jewish! One of the "Step Up" movies, namely the 4th one, 2012's "Step Up Revolution", has teens dancing in a flash mob to disrupt a corporate developer's plans for their neighborhood. In 2014, "Desert Dancer" told the true story of Iranian young people who learned to dance in secret and planned to put on a performance in the desert. 2015's addition to rebel dance films is the British-Irish movie "Jimmy's Hall" (PG-13, 1:49).
This one is also based on a true story, but is about a lot more than dancing which some people and institutions find objectionable. Jimmy Gralton (Barry Ward) returns to his rural Irish home after ten years of living in the United States. He had been exiled for his unpopular political views, but now he wants no more than to live the life of an ordinary man and help his aging mother take care of the family farm. Unfortunately for him, he's still something of a local legend for the community center that he ran before he was forced to leave the country. Now, with the post-Irish civil war government firmly in place, the locals beg him to fix up and reopen the hall that, years earlier, meant so much to so many. He agrees and the community pitches in to bring the old place back to life. Soon, once again, Jimmy's Hall becomes a spot where everyone is welcome to take classes, learn boxing, take music lessons and, most of all, to socialize and dance. All of this brings him back into contact with a lost love (Simone Kirby) and back into conflict with Father Sheridan (Jim Norton), a powerful local priest who uses the pulpit to criticize the hall for its modern music and dancing – and the socialist ideas discussed in the hall. Most of the community supports Jimmy, and a younger priest (Andrew Scott) increasingly speaks out against Father Sheridan's handling of the situation, but strong forces are gathering to oppose Jimmy and his hall.
Then, the movie's plot takes a sharp turn – a sharp LEFT turn. Things get overtly political, as they were in Jimmy's real life. A local landowner evicts a family from their home, a very serious situation for a poor family in rural Ireland during the Great Depression. Out of empathy for this family, and out of a larger concern over what will happen to the community if these kinds of evictions continue, rival political groups band together to do something about it. There's a vigorous debate over what Jimmy's role in their plan should be. He's an important local symbol, but he knows that his direct public involvement will likely destroy any remaining possibility of him living out his life in peace and helping his mother in her old age. It's quite a dilemma. And quiet a story.
"Jimmy's Hall" depicts an interesting and little-known episode in Irish history, but isn't very compelling. People with no prior knowledge of the problems of this place at this time will have trouble relating to Jimmy's story, and the movie lacks the narrative power to overcome that obstacle. Seeing this film is an opportunity to become educated about what common folk in a different country and in a different time had to deal with, and the underlying themes of standing up for your principles and helping your neighbors should appeal to most movie fans, but it's not quite enough for me to give this film a very strong recommendation. If you're already interested in the subject matter or the setting, you should probably check out "Jimmy's Hall". If, after reading this review, you still have no more than a passing interest, and you come upon "Jimmy's Hall", you should probably pass it by without a second glance. "B"
The short list of these rebel dance films range from very popular to very obscure, but they should be recognized and appreciated by dedicated movie fans, regardless of the individual's own level of proclivity to move to the music. In 1984 (and in an ill-advised remake in 2011), "Footloose" told the story of the new kid in town trying to bring a senior prom to his small, repressed southern community. 1993's "Swing Kids" showed us teenagers in pre-World War II Nazi Germany insisting on listening and dancing to swing music, even though much of it came from musicians who were Jewish! One of the "Step Up" movies, namely the 4th one, 2012's "Step Up Revolution", has teens dancing in a flash mob to disrupt a corporate developer's plans for their neighborhood. In 2014, "Desert Dancer" told the true story of Iranian young people who learned to dance in secret and planned to put on a performance in the desert. 2015's addition to rebel dance films is the British-Irish movie "Jimmy's Hall" (PG-13, 1:49).
This one is also based on a true story, but is about a lot more than dancing which some people and institutions find objectionable. Jimmy Gralton (Barry Ward) returns to his rural Irish home after ten years of living in the United States. He had been exiled for his unpopular political views, but now he wants no more than to live the life of an ordinary man and help his aging mother take care of the family farm. Unfortunately for him, he's still something of a local legend for the community center that he ran before he was forced to leave the country. Now, with the post-Irish civil war government firmly in place, the locals beg him to fix up and reopen the hall that, years earlier, meant so much to so many. He agrees and the community pitches in to bring the old place back to life. Soon, once again, Jimmy's Hall becomes a spot where everyone is welcome to take classes, learn boxing, take music lessons and, most of all, to socialize and dance. All of this brings him back into contact with a lost love (Simone Kirby) and back into conflict with Father Sheridan (Jim Norton), a powerful local priest who uses the pulpit to criticize the hall for its modern music and dancing – and the socialist ideas discussed in the hall. Most of the community supports Jimmy, and a younger priest (Andrew Scott) increasingly speaks out against Father Sheridan's handling of the situation, but strong forces are gathering to oppose Jimmy and his hall.
Then, the movie's plot takes a sharp turn – a sharp LEFT turn. Things get overtly political, as they were in Jimmy's real life. A local landowner evicts a family from their home, a very serious situation for a poor family in rural Ireland during the Great Depression. Out of empathy for this family, and out of a larger concern over what will happen to the community if these kinds of evictions continue, rival political groups band together to do something about it. There's a vigorous debate over what Jimmy's role in their plan should be. He's an important local symbol, but he knows that his direct public involvement will likely destroy any remaining possibility of him living out his life in peace and helping his mother in her old age. It's quite a dilemma. And quiet a story.
"Jimmy's Hall" depicts an interesting and little-known episode in Irish history, but isn't very compelling. People with no prior knowledge of the problems of this place at this time will have trouble relating to Jimmy's story, and the movie lacks the narrative power to overcome that obstacle. Seeing this film is an opportunity to become educated about what common folk in a different country and in a different time had to deal with, and the underlying themes of standing up for your principles and helping your neighbors should appeal to most movie fans, but it's not quite enough for me to give this film a very strong recommendation. If you're already interested in the subject matter or the setting, you should probably check out "Jimmy's Hall". If, after reading this review, you still have no more than a passing interest, and you come upon "Jimmy's Hall", you should probably pass it by without a second glance. "B"
Handsome Design w/ Safe Story
pc951 January 2016
Warning: Spoilers
Director Ken Loach's newer "Jimmy's Hall" is cozy look back at the life and times of James Gralton, an Irish Communist living in the first half of the 20th Century. Though the production design and costuming is competent, the direction and acting at times is uneven. Worse though is the story seems sterile and too safe, without chance. Based on a real life personal history, perhaps the filmmakers wanted to stay close to the actual reported annals. The movie doesn't really catch fire though as a result needing more life, spirit ,and purpose. Still though it has some fun moments and occasional humor. Mildly Recommended for a one- time watch. 6.5/10
Starts off well, loses pace, but a good overall movie
alexf-25-2706141 September 2014
This is the first time I see a Ken Loach a movie, and I was not disappointed.
All characters deliver solid to very good performances, the scenario is both subtle and not over- complicated, and the setting is enjoyable, as it offers a unique perspective on the 30's, seen from an agrarian Ireland.
It does have its weaknesses though. The movie starts with a good rhythm, a pace it sadly does not manage to keep. The last third of the movie feels needlessly slow and long.
Another problem is the way this movie seems to deliver a very subjective view of the opposition between the working class and politics.
Still very enjoyable and highly recommended.
All characters deliver solid to very good performances, the scenario is both subtle and not over- complicated, and the setting is enjoyable, as it offers a unique perspective on the 30's, seen from an agrarian Ireland.
It does have its weaknesses though. The movie starts with a good rhythm, a pace it sadly does not manage to keep. The last third of the movie feels needlessly slow and long.
Another problem is the way this movie seems to deliver a very subjective view of the opposition between the working class and politics.
Still very enjoyable and highly recommended.
Did Ken Loach finally went for the siren's call?
hursit_host22 December 2015
Warning: Spoilers
Of course Loach is a master of directing already. And he is getting better looking, prettier movies every time. But I wonder if he is getting softer on political issues? We see a really serious political conflict is watered down to something like Footloose. So they open a dancing hall and the church opposes it, than the owner gets deported... twice. For only wanting to dance!
Well Jimmy here IS a political figure and actually he IS a communist in all his ideas except he didn't enlist in the communist party. Why else would they want him to gather the people when they want to take back the house of a poor family when it is taken by the landlord? Would that be because he own a dance hall?
People don't only dance, sing and paint in that hall. They read and discuss and politically organize there. When the church says "education" is in it's hands, it is not like they don't know it so innocently. They know that the church have a monopoly over education and culture... and they know the church is in bed with the rich folks and the British. And they are well aware they are defying it. The hall is the cultural extension of the civil war. And all the people attending it are political activists well aware of their actions. Not just fighting for their right to party.
Here goes the disgusting liberal thought that political activist and revolutionaries cannot have fun... basically; political is not fun. As if you have to choose one or another.
I don't really think all movies always have to have so deep meaning and a political stand. I also watch Ironman to pass time. But that IS what I expect of Ken Loach. When it says Ken Loach on the title, I actually expect something to shake me to my core. I am truly disappointed in him for watering down his ideals to get more mass appeal. (or whatever reason, but this reminds me of the Chumbawamba song: Love me, I'm a liberal!)
Spoiler: "we will keep on dancing Jimmy!" "Yeah, I'll send you money to throw a party..." Well it IS retiring time for Mister Loach.
Well Jimmy here IS a political figure and actually he IS a communist in all his ideas except he didn't enlist in the communist party. Why else would they want him to gather the people when they want to take back the house of a poor family when it is taken by the landlord? Would that be because he own a dance hall?
People don't only dance, sing and paint in that hall. They read and discuss and politically organize there. When the church says "education" is in it's hands, it is not like they don't know it so innocently. They know that the church have a monopoly over education and culture... and they know the church is in bed with the rich folks and the British. And they are well aware they are defying it. The hall is the cultural extension of the civil war. And all the people attending it are political activists well aware of their actions. Not just fighting for their right to party.
Here goes the disgusting liberal thought that political activist and revolutionaries cannot have fun... basically; political is not fun. As if you have to choose one or another.
I don't really think all movies always have to have so deep meaning and a political stand. I also watch Ironman to pass time. But that IS what I expect of Ken Loach. When it says Ken Loach on the title, I actually expect something to shake me to my core. I am truly disappointed in him for watering down his ideals to get more mass appeal. (or whatever reason, but this reminds me of the Chumbawamba song: Love me, I'm a liberal!)
Spoiler: "we will keep on dancing Jimmy!" "Yeah, I'll send you money to throw a party..." Well it IS retiring time for Mister Loach.
Loach's Latest is a Powerful Drama
larrys318 November 2015
For many years now, I've been a huge fan of English filmmaker Ken Loach's work. I'm glad I read recently he's reconsidering his retirement announcement. Here, with a sharp screenplay from Paul Laverty, who often collaborates with Loach, the director presents a most powerful drama, inspired by the life of Jimmy Gralton.
Set mostly during the worldwide Great Depression, Gralton is returning home to his native Ireland, after 10 years of self-imposed exile. During political unrest, and facing imminent arrest, he fled his homeland and had been living in New York City.
Although a treaty has been signed following a Civil War, in Ireland, tensions remain high between various factions in the country. Amid this turmoil, Gralton, ably portrayed by Barry Ward, wants to work his family farm in peace, in County Leitrim.
However, he's approached by a group of local youths who ask him to revitalize and re-open the hall he owns, which has been shut for years and is completely dilapidated. The hall used to be a vital community center for the locals, with music, dance, and various lessons being taught there.
With the help of friends and the local citizens, the hall is indeed restored and brought "back to life". However, it becomes the bane of the powerful local Catholic Church, led by Father Sheridan (Jim Norton), who feels it's a threat to his authority, and the playing of such music as jazz (imported from America) is disgraceful. Father Sheridan begins to go to any lengths to disparage all the locals who go there, and brands Gralton and his friends as Communists and subversives.
At the same time, powerful and rich land owners are trying to squeeze out many local farmers, by foreclosing on them without due process. The land barons, supported by the British, join with the Catholic Church and begin a campaign of violence, threats, and intimidation vs. Gralton and his many supporters.
All in all, I found this latest Loach film to be impeccably directed, well written and acted by a top notch cast. Plus, we get some wonderful Irish music and dance along the way.
Set mostly during the worldwide Great Depression, Gralton is returning home to his native Ireland, after 10 years of self-imposed exile. During political unrest, and facing imminent arrest, he fled his homeland and had been living in New York City.
Although a treaty has been signed following a Civil War, in Ireland, tensions remain high between various factions in the country. Amid this turmoil, Gralton, ably portrayed by Barry Ward, wants to work his family farm in peace, in County Leitrim.
However, he's approached by a group of local youths who ask him to revitalize and re-open the hall he owns, which has been shut for years and is completely dilapidated. The hall used to be a vital community center for the locals, with music, dance, and various lessons being taught there.
With the help of friends and the local citizens, the hall is indeed restored and brought "back to life". However, it becomes the bane of the powerful local Catholic Church, led by Father Sheridan (Jim Norton), who feels it's a threat to his authority, and the playing of such music as jazz (imported from America) is disgraceful. Father Sheridan begins to go to any lengths to disparage all the locals who go there, and brands Gralton and his friends as Communists and subversives.
At the same time, powerful and rich land owners are trying to squeeze out many local farmers, by foreclosing on them without due process. The land barons, supported by the British, join with the Catholic Church and begin a campaign of violence, threats, and intimidation vs. Gralton and his many supporters.
All in all, I found this latest Loach film to be impeccably directed, well written and acted by a top notch cast. Plus, we get some wonderful Irish music and dance along the way.
This movie's heart is in the right place, but it's not a good movie
richard-178724 November 2015
It's hard to believe that this movie was directed by a major director. It has no pacing, no sense of urgency. I kept thinking that it is the sort of movie Hollywood made very well in the 1930s with James Stewart or Gary Cooper - an individual trying to fight a corrupt establishment - but those movies held together much better than this.
Part of it is the acting. You get the impression that, with the exception of the leads, these are all just folks rather than trained actors. That makes them seem very real, certainly, but it also makes for a lot of flat moments that could have been more intense with actors who knew how to deliver dramatic lines.
On the other hand, the dialogue, much of it, seems painfully scripted and unnatural, especially during the discussions in the hall.
I couldn't get through all of this in one sitting. It just didn't hold me. Others have said that this is a story worth telling, and that is certainly true. I just wish it had been told in a more engaging fashion.
Part of it is the acting. You get the impression that, with the exception of the leads, these are all just folks rather than trained actors. That makes them seem very real, certainly, but it also makes for a lot of flat moments that could have been more intense with actors who knew how to deliver dramatic lines.
On the other hand, the dialogue, much of it, seems painfully scripted and unnatural, especially during the discussions in the hall.
I couldn't get through all of this in one sitting. It just didn't hold me. Others have said that this is a story worth telling, and that is certainly true. I just wish it had been told in a more engaging fashion.
Deep movie
saluabueno-120 June 2016
A film full of strong feelings between the characters. The main character is very well represented by Barry ward and pleases by the depth of ideas and emotions. It is interesting to see the discomfort of the elite and the church, so actual circumstances, although the date was the 1930s.
The author makes clear in subtle and forceful way how people are prevented from living and think as they wish. This interferes in all aspects of personal life, beautifully portrayed. A great historical reference as well as a great entertainment.
A beautiful movie. Photography and performances are flawless.
The author makes clear in subtle and forceful way how people are prevented from living and think as they wish. This interferes in all aspects of personal life, beautifully portrayed. A great historical reference as well as a great entertainment.
A beautiful movie. Photography and performances are flawless.
Not bad, not particularly good either though
Alba_Of_Smeg28 August 2020
Friends should stop this kind of project before they come alive
valentin_alexiss31 December 2015
Just consider the start : a horse-car stops about 50 yards from the house it as to deliver luggage. Guess what... does the car approaches the house more after leaving the impatient passenger jumping out ? No it stays there and the driver takes the big luggage out and hardly makes its way to the 50 yards house. This is bad cinema from start to end... How can such a bad thing come to reality ?... Only because it's so meaningful to the guy that believes in his story, that he completely looses focus on others interest. This is an inside bleeding story that makes its creator become sterile... This has to be an accident. This is useless. This is a waist of time.
The more things change, the more they stay the same.
wordsmiths_communication10 February 2016
For me, there are two things at work here. One is the movie itself, and the other is the message in the movie. You can have an important message present in a less than brilliant film. This film is very good, but it's message is even greater. Now, in February 2016, Bernie Sanders is campaigning for president on the platform of ending Wall Street and banking abuses. He's campaigning for a decent livable minimum wage, and for universal health care. It has always been a struggle between the haves and have-nots. Jimmy is a symbol of all who strive to survive while living in the midst of oppression by the 1%. The photography in the film is first-rate, with many scenes full of rich side-lighting reminding me of Vermeer. The cast is flawless and their daily struggles very true to life. There is no scene chewing, and most performances are quietly real and effective. It was a moving and rewarding experience. On a side note, I came away with tremendous respect for the Irish character. In the midst of hardship in Jimmy's hall, the poor celebrated their true culture, their music, poetry, and dance. It's really a human tragedy that we must play out the same struggle in America 84 years later. Only now it's the conflict between the poor who must drink poisoned water in Flint, while the "Lords" scheme to get more money and power in the Koch brothers boardroom. It will always be so.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
