Film: Kes
Director: Ken Loach
Country: UK
Released: November 1969
Runtime: 112 minutes
Genre: Drama
Studio: Woodfall / United Artists
Influenced: Mike Leigh, Lynne Ramsay, Andrea Arnold, Dardennes, Shane Meadows, Clio Barnard
Based on the 1968 novel A Kestrel for a Knave by Barry Hines, who co-wrote the screenplay with Loach, Kes follows the life of Billy Casper, a 15-year-old boy living in the economically depressed mining town of Barnsley, South Yorkshire. Billy, portrayed with incredible charm by David Bradley in his first major film role, is struggling both at home and at school. He has a troubled relationship with his older half-brother, Jud, who works in the local coal mine and bullies Billy regularly. His mother neglects him, and at school, he is either ignored or chastised. This personal story was a platform for Loach to highlight various social issues in post-industrial Britain, particularly in the North, where the decline of traditional industries like mining and manufacturing was felt by communities most acutely.
In the strong Woodfall tradition, Kes was at the heart of a new wave of social realist films that emerged in the UK in the 60s and 70s, often referred to as kitchen sink dramas, and in it Billy comes to represent the limited opportunities available to young kids from working-class backgrounds. One day, Billy discovers a fledgling kestrel, which he decides to care for and train. Billy finds solace and a sense of achievement in training the kestrel, which he names Kes. The bird becomes a symbol of freedom for him, and through Kes, Billy develops a newfound confidence, demonstrating a sensitivity and understanding that surprise his peers and teachers.
However, the film takes a tragic turn when Jud, in retaliation for Billy failing to place a winning bet for him, kills Kes. The poignant climax shows a devastated Billy burying his beloved pet, a poignant scene that epitomises his loss of innocence and the end of his brief respite from his bleak existence. The film resonated with audiences because it humanised the struggles faced by working class kids, during a time of economic and social uncertainty. Loach also highlighted the failure of social systems to support people from disadvantaged backgrounds, a theme still relevant in the UK and many countries today.
Kes also works so well because of its humour, offering occasional light relief to the sombre mood of the film. One of my favourite scenes is the football match, in which Brian Glover plays Mr Sugden, the pompous, childish and often absurd PE teacher who dreams of football glory. In the scene, Sugden stages a school football match, in which he casts himself as the star player, emulating his idol, Bobby Charlton. He dominates the game, giving himself the best passes, taking free kicks and penalties, and constantly changing the rules to his advantage. It's hilarious but also a clever critique of petty authoritarianism.
In making the film, Loach was deeply influenced by the Italian neorealist tradition, most obviously in the use of non-professional actors in major roles, adding a layer of authenticity to the film. The film also used the local Yorkshire dialect extensively, further grounding the narrative in its specific regional context. On top of that, Loach's direction focused on the mundane and the ordinary, shedding light on the gritty realism of post-industrial life, a departure from the more stylised depictions of the UK often seen in cinema. Kes launched Loach's career as one of Britain's most respected directors, known for his commitment to social issues, and it is now widely considered one of the greatest British film of the 20th century.
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