Raining Stones

"Raining Stones" is one of those films that initially looks like it is going to be painful to watch. The despair of the blue-collar English, working hard to make ends meet, the idea that religion is a part of the family, and a proud father willing to do anything for his daughter feels more like a Mike Leigh film than a Loach drama, but Loach stands up and demonstrates his ability to produce amazing cinema. It is a scene we have seen many times before, a father down on his luck with his family and life does anything (sewage, bounce, and sheep stealing) to provide a brand new dress for his daughter's first Communion. He is determined to give his daughter a memory she will always cherish, but he is also determined to prove his worth to his entire family. This is where the drama and real humanity of all Loach's characters begin to shine.

This didn't initially seem like a film worth watching, hesitantly I worried this would be one of those over dramatic family dramas that pulled everything out of you only to leave you bored, desensitized, and counting the final minutes - within the first ten minutes of Loach's film, I knew that I was wrong. To begin, our main protagonist, completely full of flaws, but boiling over with pride, captures your attention. Our patriarch, Bob (played delicately by Bruce Jones), is immediately recognizable and relatable. Loach gives him that blue- collar, everyman appeal that isn't sugar-coated or fabricated. The instances may seem episodic at times, but what happens to Bob is real. Add to this mix his devotion to the Catholic faith, and we have a powerfully well-rounded character that leads us in and out of difficult times. With Bob is his conscious, or voice of future, the unemployed Tommy creates this very sad world, but it isn't bleak. Jobs are found, dresses are ordered, and money is used - it is the destination with this film, not the journey. Bruce Jones' ability to control each scene, whether it is getting a bitter or going door to door searching for work, he is someone that we stand proudly next to. Loach has crafted a man that screams sympathy. During every moment of this film, we root for Bob, we cheer when he finds work, and each downfall we feel as well. That is a great accomplishment as both a director and an actor if each scene can bring out such emotion.

Not only is the acting Oscar worthy, but Loach's (with Jim Allen) story is outstanding. From that opening scene, he pulls you into this world that feels real, that seems plausible, that demonstrates the struggle without being vulgar or gross. It is a normal town, these are trying times, Bob wants to provide for his family, and what he goes through to accomplish this is breathtaking. As Loach introduces religion into this story, a very vital element to this film, it seems only natural that when in trouble, when you feel like you can turn to nobody, the Church is there, God is there, your local priest is there to talk you through the trouble. It isn't overbearing, it isn't preachy, it is a way of life for these characters and Loach doesn't force this down our throats. It is again, this feeling of realism that makes "Raining Stones" stand above other films of this nature. If there were a complaint about this film, it would be the sense of timing with Bob. In one moment he has no money, in another he is suddenly debt ridden. It happens rather quickly in a 90-minute film. Also, would a man with no money to his name really spend that much on beer during the week - wouldn't he save it? Or was this Loach's commentary on the blue-collar worker? Never enough money for things that count, but plenty of time for beer and religion. An odd twist...

Overall, this was an impressive film from the beginning all the way to the final moment that put this smile on your face. It was dramatic, it was grounded, and it was passionate for all the right reasons. Loach has proved himself as a director with "Raining Stones", and this is a perfect example of a "don't judge" cover. Again, this wouldn't have been a typical film for me, but what came out of the DVD player was a cinematic dinner. Everything was in place, and you were satisfied by the end. I can only recommend this film to everyone excited about a low- budget, no CGI, drama that shows humanity at its best and worst. It will make you think, make you smile, and make you understand the struggles of life.

Watch this film!

Grade: **** 1/2 out of *****

This film I saw when it first came out in 1993. It made such an impression that I can still recall many scenes and the whole story. Ken Loach creates really believable characters who might live next door. He builds and presents the story so the viewer really becomes involved in the cast's problems. It remains my favourite Ken Loach film. An excellent film in its category.

I watched this on Channel 4 late one night a few years ago. I had had a bad day at work, and was dog-tired. On the verge of turning off the TV, I caught the beginning, and I was immediately hooked.

Ken Loach provides a hyper-realistic portrayal of life on the edge in the 1990`s. Bruce Jones (later to play the feckless Les Battersby on Coronation Street) displays a remarkable tenderness as the struggling father who desperately tries to obtain enough money to buy his daughter a communion dress. He, and Ken Loach,indicate that this poor man represents the best of the working class, only forced to crime,in order to feed and clothe his family.He is a true hero.

The grim setting and subject matter (a disintegrating council estate, and dingy pubs) are not allowed to swamp the deeply human nature of the tale, and there are a number of moments (especially provided by Ricky Tomlinson), where the mood is lightened, allowing gritty humour to emerge. The opening, where the two heroes are unsuccessfully trying to steal a sheep is hysterical.

I wouldn`t call myself a great Ken Loach fan, but this is his masterpiece. I would call it one on the best British films of all time.

Bob Williams is one of many unemployed in his area and faced with doing cash-in-hand work and odd jobs to keep his family's heads above water. Regardless of his and his wife's hardships they are both committed Catholics. His daughter is having her first communion and Bob wants her to fit in with the others – meaning a new dress and shoes which will total about £100. His attempts to raise the money mostly brings very small reward and frustration. Meanwhile his luck runs nothing but bad and his van is stolen – limiting his ability to pick up jobs and get around. As his debts rise, so do his troubles and his desperation.

The type of film that Ken Loach made his name directing, this film is a touching and natural ode to the spirit of the poor man. The plot is not so much a typical day in the life as a dramatic piece that follows the downward spiral of Bob as a representation of how life on the breadline is one challenge after another. In Bob's life an one-off expense of £100 is a major incident to be gotten through rather than the inconvenience that it is for the majority of us. The film does a very good job of portraying it – it isn't a film noir descent into crime but rather just the spirit of a man fighting to pay the bills. Most of us will have had this at some point but few of us can relate to those that get by daily on odd-jobs and going door-to-door; however the script here lays it out convincingly and naturally, easily allowing me to get into the lives before me. In this regard it is impacting because the humour and desperation of the people is convincing and their day-to-day situation dire.

The cast all take the material and run with it and there are few here that I didn't totally believe. Jones wears the character like a second skin and fits into it really well. His desperation is well complemented by Tomlinson who adds the comic spirit to the bottom classes. The rest of the cast are solid despite not having the limelight in the same way. Brown is good despite having the very occasional rare moment. Phoenix is sweet and natural and the rest of the cast feel mostly real. Loach's direction is grainy and fits the world his story is in.

I hate to use the words over and over again but this is a convincing and natural story and it is touching and engaging as a result. It does a great job of capturing the spirit of the poor, making the best of what they have – but not ever ignoring the fact that Bob et al are the type of shifty people who you wouldn't want to mess with.

Like many, I often found the accents hard to decipher. But I think it speaks to Loach's formidable talent that it's never really in question as to what's happening: we get the story in visible strokes, and we get the emotional feeling in the most minute, detailed way possible. To use a clichéd phrase, it has the drama of life, and Loach has a loving touch, even though the outer view of his work is rough and hard: he doesn't separate the funny bits from the painful bits, he lets it all run together. And despite the fact that some find him an "uncinematic" director, I think that's mostly baloney. No, he doesn't impress with his visuals, but that doesn't mean that they're uncinematic; he's working in a way that's more interested in recording emotions (and he still tells a story) and that is cinematic.

The film espouses a wonderful philosophy -- love and prayer is enough. Yet while the film is sympathetic to the emphasis the family places on communion (getting into Heaven), at times it feels like a condemnation of Catholic greed and pie-in-the-sky fantasies of those relying on God to solve their earthly troubles -- after all, He doesn't buy communion dresses. I think that's why the film works so well. It never spells out how intelligent it is, because that's not Loach's intention. Yet what he does is incredibly smart. (Likewise, you can see the politics behind the film, and that's why they work, too: they're behind it, not in your face.) The ending might seem a little too cheery (though cheery is perhaps the wrong word), but I think it works in the tradition of great humanism: things WILL be alright in the end, if you just believe. And because it's humanism, it's true: everything else might be awful, but you're alive, you have a family, you're fighting to go on: that's wonderful.

Loach makes a brilliant choice with the car crash, because it solves something and yet it makes the moral universe of the film more complex: Is he scott free now? Who is the bad guy here? And Loach of course includes the most pragmatic priest in the movies -- pray for the worthless soul as any good Christian would, but realize that he who causes fear in the hearts of good people is not a life worth wrecking yours over. Consider the car crash an act of God (which indirectly benefits God, by supporting a family of followers), rewarding he who believes yet still exists in the practical world trying to make things work (he who doesn't just lay around waiting for God to save him). THIS is Catholic cinema. I'm agnostic, and this touched my soul. It gets at the roots of what real religion does, or is supposed to do: heal, protect, love -- not preach, frighten, or intimidate. So I think even though he opts for a "faith" film (that is, he does not offer a text book on how to solve your problems), Loach's "realism" and pragmatic philosophy still suggests that the everyday is important -- keep at it. It's what leads to the faith, it's what's needed for the faith to work. 9/10