THE WIND THAT SHAKES THE BARLEY

UK/Ireland, 2006, 124 minutes, Colour.
Cillian Murphy, Padraic Donnelly, Liam Cunningham, Orla Fitzgerald.
Directed by Ken Loach.

Ken Loach’s best film for a long time and winner of the Palme D’ Or in Cannes.

The setting is Ireland, near Cork, in the early 1920s, the period of the Black and Tans and the signing of the treaty with Britain in 1922. The film bears comparison with his 1995 award-winning Land of Freedom, his exploration of the Spanish Civil War. Sometimes that film was weighed down by discussion and rhetoric. This time there are strong verbal arguments but they are well worked into the drama and the action.

The title comes from a 19th century poem, a muted lament for the loss of peace as the wind blows over the golden crops of barley. The film itself is a powerful lament for lives lost in rebellion against the harsh, military occupation and its brutality in word and action, for brotherly conflicts and civil war, and the religious, social and political divisions that are still so potent today.

Collaborating again with writer Paul Laverty in a finely-hewn screenplay, Loach immerses us in a village near Cork and its surrounding countryside. He invites us to suffer with the people, to ask ourselves what we would do in similar life and death situations, to try to listen to voices of reason that would work for freedom through temporary compromise, to hear the passionate arguments of fighters for immediate freedom (who are the forebears of the IRA). Loach’s film is an anti-war war film.

By keeping us within the confines of a small group who symbolise what was happening all over the country, the film is able to offer universal insights while keeping the mind and the emotions focused on this group. The Black and Tans generally act abominably, with a verbally abusive and humiliating contempt of the Irish – which some viewers will find very hard to hear and take. British landowners inform on their workers and have no qualms about destroying those they see as peasants in ‘a priest-ridden backwater’.

Guerrilla warfare leads to reprisals and a violent spiral with consequent grief, especially for the women – and the old women who have lived through the famine and the oppressions of the later 19th century.

Then the cycle almost comes full circle as the new Irish Free State authorities don military uniform while their exploits literally mirror those of the occupying British. The same family suffers the same treatment at beginning and end of the film from each side.

In terms of communications these were primitive times, messengers on horseback or foot, young women and children delivering messages – although the signing of the Treaty in 1922 for the Free State is watched by the people in cinema newsreels.

At the centre of the film are two brothers, the older (Padraic Delaney) the leader of the rebels, the younger (Cillian Murphy) a recently graduated doctor. Ultimately, they will take different sides for and against the Treaty, which leads to a tragic ending. Their struggles embody the confusion and struggles of the whole people. Both actors have charismatic presence. Cillian Murphy is a rising star (during 2005, the transvestite hero of Breakfast on Pluto and villains in Batman Begins and Red Eye). There is also an arresting performance by Liam Cunningham as a union representative who voices freedom-fighting exhortations with vehemence.

Those who don’t know or who ignore history are condemned to relive it. This is part of the story of 20th century Ireland. This film could be the story of any occupied nation or a nation involved in civil struggles – with occupation forces, brutal treatment, acts of terrorism, attempts at stabilising provisional government and insurgents who want no compromise.

1. The work of Ken Loach over forty years, a strong career, acclaim and awards, an issues director, social realism, social concern, social issues personalised?

2. The writing of Paul Laverty, social concern, history, international perspective, war and anti-war, the Catholic church? A decade of collaboration with Ken Loach?

3. The title, the song, the poem? The sentiment and yearning? The Irish settings, around Cork, the village, the harsh countryside, remote, the houses? The town, the court? The prisons and cells? The score and the religious themes, the songs?

4. The re-creation of the 1920s, costumes and décor, the vehicles, the messages, weapons, the newsreel?

5. The prologue, the game, the rough and tumble, the fights, the referee, the bonds? A symbol of struggle and civil war? The attack by the Black and Tans, calling the match a meeting, ordinary lads and what they were subjected to?

6. The Black and Tans, the British presence in Ireland, the long history? Their physical brutality, verbal abuse, swearing, the contempt for the Irish, the humiliation? The line-up, the spurning of the young men, the interrogation and questions, each of them identifying himself and his work? Michael and his only saying his name in Gaelic? His being taken, tortured, his death? The men retreating back to their trucks? The later explanation that these men had suffered on the Somme – a reason for their own brutality towards the Irish? The barracks, the men’s attack, taking the weapons? The ambushes, the hand grenade? The taking of the guns? The Black and Tans arresting the Irish? The interrogation, Teddy and his nails being pulled? Vicious aspects? The train and the station, the driver refusing to take them? Bashing the man managing the station? The memories of the Black and Tans’ presence in decades afterwards?

7. The Irish, the subjugation to the British, the poverty, the famine of the 1850s? The mass migrations? The remnant in Ireland? The film’s focus on the group? The line-up outside the house? The generations of women? The interrogation, the humiliation? Michael and his Irish name, his death? Sinead and her grief? The impact of these events? The parallel at the end, the Irish coming in the uniforms, the same line-up, against the same walls? The search for arms, in uniform, shouting, the shooting and Dan’s death? The women’s reaction – having helped the men during the Troubles? The dramatic paralleling and the comment on civil war? On the oppressed becoming oppressors?

8. Ted, his leadership, the other members of the group, their forming a squad? Damien the younger brother, his education, as a doctor, the decision to go to London, the accusations of his being a coward? The incident at the train, the bashings, his looking after the wounded man, his not going to London, taking his oath of loyalty? The training in the hills, the awkwardness of the group, going up the hill, being seen, the fact that they would all be dead, the cigarette box and the shot illustrating the need for cover? Orders from the city? The raid on the barracks, the taking of the guns?

9. The British reaction, Sir John Hamilton, his informing on his farmhands? The maid getting Reilly, from the stables, milking the cows? The questioning, his giving the information? The British attacking the hideout, the man in the tree, the arrests? Imprisonment, asking for Ted Donnelly, Damien identifying himself? Ted going out, the questions, the brutality of the interrogator, the vivid drawing of the nails? Ted not giving information? The young Black and Tan soldier from Donegal, freeing the group, going with them? The three who were left behind, their being tortured and executed?

10. The reprisals on the part of the Irish? The discovery of the letter in the office, going to Sir John Hamilton’s, making him read the letter? Taking him, his own last letters? Their taking Reilly? Sir John and his spurning the group at the end, the priest-ridden backwater? Being shot? Reilly, his fear, youth, not wanting to be buried in the same grave, in the chapel, Damien putting the flowers and the cross? Not writing any letters because his mother couldn’t read? Damien deciding to do the shooting? His telling Sinead about telling the mother, the six-hour walk, the mother never wanting to see him again? The deep effect of this on Damien?

11. The picturing of the women, the old woman and her memories of the 1850s? The next generation? Sinead’s mother? Sinead and her grief for Michael, giving Damien the St Christopher medal? Love with him? The possibilities of a life? The burning down of the house, the old woman wanting to live in the barn, Sinead having her hair cut and her being wounded? Her grief and her wanting to leave?

12. The incident at the station, Dan as the driver, the union man, the station master and his being bashed? Dan and his joining the group, sharing prison, the cell with Damien, explaining his education, Blake’s poem, the effect of learning? His later being present at the court scene, the crucial nature of this scene – the interaction, the man wanting his five hundred per cent interest from the old lady and his being an arms dealer for the rebels? The judge, the Irish court, her demanding that they obey the court? Teddy and his refusal? Dan and his upholding the nature of the court? The contrast with Dan and Teddy and their later stances after the treaty?

13. The messages, people riding on horses, walking, the boy losing the note? The treaty itself, the newsreel images, the reality – and the conditions?

14. The meaning of the treaty, the British threat of war, the compromise, subject to Britain and the king? Teddy and his agreeing to the treaty, following Michael Collins? The critique of Michael Collins being corrupted by the British? The wearing of the uniforms, working for freedom through compromise? The discussion sequence, the arguments for working through government and orderly and political change for freedom? The contrary argument? Damien and his stance for instant freedom? The origins of the IRA? Dan and his strong speech? The setting up of the two sides?

15. Rory, the hothead and the other hotheads, the holding up of the truck, shooting one of the Irish? Teddy and his decisions about the treaty?

16. The priest, giving the sermon, his strong words, his command? His explaining all who approved the treaty including the Catholic bishops and the leaders of the other churches? Damien’s answer in the church, accusing the church of siding with the rich and powerful? The demands of the priest for obedience? Ordering those who disagreed to be excommunicated and leave the church?

17. Damien and his decision? Going into action, caught with the group, arrested? Teddy and his plea to Damien to reveal where the arms were? Dan’s death? Its effect on Damien? His explaining that he could not betray – and the fact that he had shot Reilly for the betrayal?

18. The preparation for the execution, his writing his letters, the letter to Sinead? The St Christopher medal? His being taken out, tied to the post, breathing hard, Ted and his decision to give the order, Damien’s death, Ted’s grief? His going to see Sinead, explaining what had happened, her never wanting to see him again?

19. The background to the rise of the IRA? The partition of Ireland, the consequences? How well did the film give the pros and cons?

20. The anti-war tone of the film? The need for compromise and working through peaceful means or the taking up of arms? The consequences of arms, attacks, deaths, reprisals?

21. The universal message of the film – for any group learning from history, terrorists, rebels, interim governments, insurgents? The relevance of the film at the beginning of the 21st century?