All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
They beat him. They deprived him. they ridiculed him. They broke his heart but they couldn't break his spirit.
A young, English working-class boy spends his free time caring for and training his pet falcon.
Only his second feature, Kes remains one of Ken Loach's distinctive, largely because the working style we now associate with him was first set here.
Gone are some of the more mannered techniques he had used in his BBC plays in favour of a more realistic, observer style that owes its roots in the Czech cinema he was so fond of.
Also gone is the uneasy compromise he made on his first feature, Poor Cow, to include a star name in his work in the shape of Terence Stamp. From hereon in, Ken Loach films would cast non actors and amateurs, real people in lead roles and none were perhaps so distinctive as the young schoolboy David Bradley who bagged…
People's first reaction while viewing Kes will be: "What the hell are they saying?" Given the fact that there's a heavy Yorkshire accent flowing freely throughout it's run-time, some people might not feel comfortable with this one. But that's the most important aspect of it: it's realism. Kes is a film that impressively captures the British class system with meticulous detailing and, most importantly, the spirit of a young boy named Billy. Loach's use of unprofessional actors and some fine film-editing make you feel life's disappointments that Billy comes across. And that's the point. Life is not a fairy-tale. It's harsh. It's cruel. And you have to find your own place in this world. You have to find where your heart lies in otherwise you'll end up in a Coal Mine...
Considered to be one of the best British films of all times, I was really moved by the story and the basic premise of Kes. Ken Loach is a filmmaker I am mostly unfamiliar with and have heard some rather off-putting things about most of his work. Nevertheless, I have been meaning to check out this early feature of his which is widely regarded as his best work. Kes is a 1969 drama by Ken Loach which is based on the novel "A Kestrel for a Knave" by Barry Hines. A story about a boy and his bird takes such a jolting meaning. Do not expect a…
Classic British film about poverty and hopelessness in a Yorkshire mining town as seen through the eyes of a spirited young man. Abused and bullied both at home and at school, Billy leads a solitary life with little hope and a bleak future. The only thing that gives his life meaning is a kestrel that he has captured and trained. His relationship with the bird is not one of owner and pet... he knows that she is still wild, a free spirit that is a reflection of his own yearning. Shot in a straight-forward manner with real-life locations and a number of unprofessional actors, Kes is a believable and gritty film that lingers. A must-see.
A strange and almost too real portal of life. Scarily bold. Captivating and led by a charismatic child actor. An experience to watch more than an entertaining story.
I keep trying to recommend this to people, and when I try to explain that it's about a young boy's relationship with a falcon, they just give me a patronizing look. (The flute music in the trailer on YouTube doesn't help.) But this is great, an English-language 400 Blows, so unobservant and sympathetic and yet unsentimental.
I had such a great memory of it as a child. I was a bit disappointed, especially by the mise-en-scène, but I couldn't help crying during the sequence in the classroom where Billy tells everybody about his kestrel.
Like Boyhood, Kes captures childhood organically; unlike Boyhood, that's not the full extent of its merit. Loach's humble film reveals just how pedestrian Linklater's 'masterpiece' is: whereas the latter resorts to a gimmick for a faint aroma of 'realism'—yes, that's as contradictory as it reads—the former is essentially naturalistic. Being so is not this film's end, something it has to work toward; rather, it's just part and parcel of a wider aesthetic and artistic vision. That's because Loach is a director with an intuitive understanding of the medium, while Linklater is not; whereas Loach can make Image itself sing and move, Linklater can only compensate with superfluous, superficial shtick.
So, here's a film that, beyond merely showing us what boyhood…
Oh man, I wasn't ready for that so early on a Wednesday morning.
Soccer, birds, nonsense accents, long lenses, great movie.
A basically perfect observation of a time and a place and a kind of life.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 160/739