Two flicks look at British society
By Christopher Kelly | May 8, 1996The Film Society presents tonight two films, "High Hopes" and "Ladybird, Ladybird" by perhaps the only two politically-minded, socially-conscious directors still working today in England -- Mike Leigh and Ken Loach. Leigh's "High Hopes" is, as its title suggests, a lovely and sad comedy about people who still have hope even when they have no reason to do so and when nothing around them gives them any real sense of security. Cyril (Philip Davis) and Shirl (Ruth Sheen) lie at the center of the picture, portraying a working-class couple in recent times who are struggling to reconcile their Marxist ideals with the Thatcherite consumerism that has taken over England. Davis and Sheen are the points of optimism in a decidedly hopeless universe, and the humor and warmth they bring to their roles (and to each other) makes "High Hopes" an emotional and powerful film. Loach's "Ladybird, Ladybird" is a tough haul, and if one is looking for anything resembling the (decidedly bleak) optimism of "High Hopes," he or she might as well stay home. Loach's film appraises the British social services and welfare system. Loosely basing the film on a true story, the central question of the film is seems to be whether a not-necessarily mentally competent mother who loves her children passionately be allowed to raise them? The film is difficult, mainly because its main character is so difficult, and part of the pain of watching it is how wrenching it becomes. It is wrenching to watch Maggie's children being taken away from her and doubly wrenching to consider the possibility that maybe they should be taken away.