Land and Freedom

It's one of my favorite movies. The director made an outstanding job representing this glorious and terrible part of the Civil War. It's a movie with a low budget, a good historical representation and a great job from the actors. Iciar Bollain is great. They told me (when I saw it back in 1995) the actors, even many extras, played roles according to their political ideas. I'm thankful for the individuals foreigners who came to my country Spain, from all parts of Europe, USA, etc, to fight against the arise of the fascism in Europe. So I'm thankful for this movie. You'll love the guys of the POUM. You'll also understand why the good guys can't win. Please notice that the Spanish Civil War ended in April 1939, and that the Second World War started in July 1939. 4 more months and instead of the history saying that the 2WW started in Poland, it would say that started in Spain. Well, this is the only movie I know about the Spanish Civil War.

I also love this film.

It's a wonderful, intense, realistic and insightful look at the Spanish Civil War with the highly naturalistic cinematography and committed performances characteristic of Loach.

The reviews and debate concentrate on the action in Spain, which, for me, is only half the story that Loach is telling. I grew up in Liverpool in the 50's and 60's and knew quite a few David Carrs. Men then in their own fifties and sixties, often alone, keeping themselves to themselves in quiet corners of pubs and working men's clubs. They never told their own stories, never wanted credit, never wanted to relive their experiences in the Battle of the Atlantic, on the Baltic convoys, in North Africa. Someone who knew them would sometimes say "he was torpedoed four times" or "he was two years in Spain fighting Franco" and that would be that.

So I am delighted that David Carr, played by the incomparable Ian Hart, and this movie is such a fabulous testament to all of them. I love the way his life expands onto the screen, from the small remainder in a Liverpool council flat, from the letters uncovered by his death, into the light and air of Spain, enabling us to share in his buried idealism, its betrayal, then to witness the love of his life and the loss of it. Incredibly beautiful and truly heartbreaking. Unsuspected by all but his best mates and his newly enlightened granddaughter, David is surely off to Valhalla to be reunited with Blanca and his warrior friends of the past. I cannot think of anything in film so unsentimental yet so poignantly moving as her last salute.

This isn't Don Quixote, though. Nor is it Orwell, who is magnificent in an entirely different way, nor is it Hemingway's brash heroism or Saving Private Ryan's gung-ho bullet-for-bullet style of "historical verisimilitude".

It doesn't matter at all whether the events are being portrayed with strict accuracy or not. This is the authentic texture of twentieth century history in perfect context, portrayed through the lens of one man's experience.

And there is hardly anything else like it on film.

A true masterpiece of the art which deserves a much bigger reputation and a place in the British Movie Pantheon alongside the very best.

It is, perhaps, surprising that more films about the Spanish Civil War haven't been made. The Spanish landscape, the sheer ruthlessness of any civil war, and the perceived Spanish emotions all combine to make what would appear to be an attractive proposition for a film-maker. The names of Picasso and Lorca will forever have an association with the war, yet where are the artists representing cinema? All the more surprising then that it should have been British director Ken Loach who took up the cudgels. Loach is probably best known for his gritty portrayals of the British working class (and under-class), something that has, perhaps, made him more approachable outside his own country.

In tackling the Spanish Civil War any writer is faced with the overwhelming complexities that underlie the events. The regionalism (think only of the Catalan and Basque regions, let alone Galicia and Andalusia), the monarchy, the Catholic Church, landowners, trade unions, anarchists plus the leaderships of the Nationalist and Republican movements all combined to create a very tangled web. Add to that outside involvement, principally from Mussolini and Stalin, the vacillation of Britain and France and, of course, the omnipresence of Hitler, and anyone might wonder where to start.

Loach and Allen take their approach through the eyes of an unemployed Liverpudlian, David Carr (admirably played by Ian Hart) who, as a card-carrying member of the Communist Party, answers the call to fight for the Republic. We follow his exploits through a number of episodes, involving battles, falling in love, injury and, ultimately, a degree of disillusion as the reality of Stalin's views eventually come to dominate, and eventually destroy, his cause. The film is supremely well-made, highlighting the horrors, the camaraderie, and the political divisions. In particular, the debate amongst the militia about collectivisation after they have taken a small town takes no sides, but simply allows a number of valid arguments to be exposed within the context of the shifting sands of the war.

There is still ample material for the industry to go on to make more films on this important period in history. But Loach has set the benchmark.

Anarchists have remained almost invisible in mass media films. Worse, when they have appeared, it is generally some bourgeois stereotype of anarchists as violent or some socialist stereotype of anarchists as infantile. Here they are shown more accurately as organized and committed to the nitty-gritty basics of the revolution of everyday life.

British director Ken Loach made a film that finally attempts an anarchist's view of anarchists in Spain during the civil war against the fascists. The victors write history, so as losers of that war, their history has for too long remained untold. But this 1995 film, "Land & Freedom" shows what they were fighting for and what they were fighting against. One of the best aspects here is that the film also shows how the communists aggressively destroyed the anarchists more than their supposed common enemy. This I take as a lesson for today's left:

The melancholy hopelessness of our own 21st century is a consequence of that tragic defeat by the fascists -- largely because the Left fragmented and was brutally dominated by Leninist dictators. Historical progress is now merely spinning its wheels in futility, recycling every old thing again as a farce. The only solution is land and freedom.

P.S. Another sympathetic film based on these events is "For Whom the Bell Tolls" (1943) based on the Hemingway novel, starring Gary Cooper and Ingrid Bergman. This one is less politically aware however, so it focuses more on the romance. See info at http://www.imdb.com/title/tt0035896/combined

The picture begins in recent times when a granddaughter looking for papers aware her grandfather fought in Spanish War Civil (1936-1939) that is the subject matter of the movie. Then happens a long flashback where are developed the facts about David (Ian Hart), a working-class and unemployed young . He's an English communist who leaves Liverpool and comes to join the Republicans troops against the General Franco army . He joined the P.O.U.M. (Partido Obrero Unificacion Marxista) of Trosky ideology, for that reason are called Troskists. There he meets women fighters ( Rosana Pastor, Iciar Bollain) and the International brigades (Tom Gilroy). David befriends the militia people and fights in the trenches of the battles of Teruel and Ebro. David is wounded and while he's in Barcelona occurs confrontation between FAI, CNT anarchists followers of the leader Durruti (who gave name to the Column Durruti), regular troops of the Republican government, Stalinists and Troskists. Then David decides to return to his previous militia.

This interesting historical story is a passionate retelling and a touching warlike drama. The film originated an intense discussion in Spain about its principal theme , the Spanish Civil War . However the intense debate about ownership of lands proceeded in pseudo-documentary style is overlong and dull. Adequate cinematography by Barry Ackroyd , Ken Loach's usual . Perceptible and sensible musical score by George Fenton. ¨Land and freedom ¨ was a Spanish- British co-production and obtained much success in the Spain box-office . The film belongs a splendid trilogy by Ken Loach, developing historical deeds from a thoughtful point of sight , such as ¨Hidden agenda¨ and ¨The wind that shakes the barley¨.

The motion picture is professionally directed by Ken Loach. In the 90s he directed a series of award-winning movies firmly establishing him as one of the best European filmmakers with ¨Riff-Raff¨, ¨Raining stones¨ and ¨My name is Joe¨ winning several prizes in Cannes, and of course ¨Land and freedom¨ which achieved the Ecumenical Prize and the International critics Prize at the 1995 Cannes Film Festival. In the 2000s, Loach went on his special landmark about socialist realism with ¨Bread and Roses¨, ¨The Navigators¨, ¨Sweet sixteen¨, ¨Just a kiss¨, and ¨It's free world¨. This rich human drama appeal to Ken Loach enthusiasts and history buffs.