Terra e libertà

... When it is not even acknowledged?

A left-wing lad goes to Spain, joins the otherwise totally obscure Marxist POUM militia, and experiences at first hand serious political differences with the Communists and their competing militia. Well, the lad does not actually get wounded in the throat during the course of the movie, but otherwise this is the biography of Eric Blair (George Orwell), as described in his book "Homage to Catalonia".

In spite of the single source cribbing, I did like this film in general since films about Spain in English, other than Canadian ones with Donald Sutherland as Dr. Norman Bethune, are few and far between.

It was wonderful to see a priest being shot in this film -- I don't mean it that way! -- since anti-clericalism was an important element both in the Spanish Civil War and in the French Revolution although it rarely seems to be mentioned much in the English-speaking world. The people in both countries felt the burden of traditional, oppressive, hypocritical Catholicism, just like the kind we had here in the Province of Quebec before the Quiet Revolution of the 1960's. At the other end of the political scale, the poor treatment of priests in Spain was a motivating force for Fascists in France to join the Charlemagne division of the Waffen SS to defend the cause of Christianity, or so The Sorrow and the Pity attests.

The Spanish war was about liberation from autocracy amidst a blizzard of competing, doctrinaire, left political philosophies. That was a really exciting time to be politically active, and there is a great scene of grassroots socialism in action at a town meeting.

The film has a rough-hewn, half-finished look characteristic of Ken Loach, but don't let that put you off. Anyone who can get worked up about the sometimes microscopic, casuistical differences between the Grits and the Tories, or the Democrats and the GOP, or New Labour and those other Tories, or Labor and National, or the SDP and the CDU, etc. should really love a movie, and a conflict, where the political spectrum is so broad for a change. Political animals of whatever bent should get a kick out of it.

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

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.

Land and Freedom is Ken Loach and Jim Allen's tribute to the ordinary volunteers that risked their lives for a better world in the fight against fascism. Unfortunately as Allen argues instead of building socialism those volunteers were betrayed by the Stalinists who preferred instead the fascist regime of Francisco Franco. The Spanish Civil War was a subject Allen had long wanted to pursue. The fight against fascism; volunteers from many lands; a people's army; collectives and workers' co-operatives; in fact socialism in action. These were his abiding passions, according to Loach who wrote Allen's obituary for the Guardian in June 1999. All these sentiments drive the story of the film.

The movie pins the defeat of idealism represented in the Civil War on Stalin's perfidy. That was the selling out the POUM in the hope of gaining recognition from the `respectable' world. This simplistic argument ignores the deeper problems that beset the Republic and Stalin from the beginning. It is fair to point to Stalinist inspired deceit and to an extent the debate on securing the support of the West against Fascism was a salient factor uppermost in Stalin's mind in the late 1930s. But has history vindicated his actions? Without such tactics might the Soviet Union have faced the Nazi onslaught earlier and in an isolated position risked military defeat? Maybe so and the discussions on the issue goes on. But the film has attracted criticism because of its restricted view of events too. Veterans like Bill Alexander, a British commander in the (Communist) International Brigades, complained that the focus on the participants in the POUM undermined the role of those that fought in those Brigades. In other words the film suggests that it was merely the POUM that was betrayed and other volunteers were not equally as idealistic nor courageous in their defence of the Republic.

Of equal significance in any appraisal of the demise of the Republic/Idealism must be the reaction of the `respectable' Western Powers to the war. The treachery and cowardice for example of the British, French and American governments' provide a wider and clearer picture of the situation. While claiming to be officially neutral all the Western Powers ultimately aided Franco. By exploiting their majority on the absurdly named Non Intervention Committee established to police the International crises, Britain and France rendered the body a mere Fascist poodle by meekly kow-towing to German and Italian demands. Shallow British Conservative Party commitments to democracy were matched by the fragility of the French in their support of the Republic. Covert British Naval support, underpinned by the Higher Ranks fear of `Red' insurgency, was another negative factor. Moreover, Roosevelt's willingness to sell the Franco regime oil was also invaluable to a mechanised army.

After that brief explanation of the International situation now to the film. The basic structure Land and Freedom is as follows. A left-wing young Scouse communist goes to Spain, joins the Marxist POUM militia, and experiences at first hand serious political differences with the Communists and their competing militia. The story is based on the story of Eric Blair (George Orwell) described in his book Homage to Catalonia. There are also elements of Walter Gregory's book, Shallow Grave, in the tale too. While in the POUM this young man becomes further convinced of the right of their cause by the courage, ingenuity, generosity and radical nature of the armed struggle.

There is also a neat combination of different nationalities in the POUM ranks. Recruits come from America, Ireland (ex IRA inevitably), Italy, Germany, France, Scotland and of course Spain. These accurately although not perfectly reveal the Internationalist composition of the forces arrayed against Franco. However it is also worth bearing in mind that the Fascist enemy had an international flavour too. As well as Spaniards there were Moroccan Riffs in the Army of Africa along with Italians, Germans, Portuguese and British. Franco also received political assistance in America from Irish/American lobby groups concerned at the flagrant disregard of the Catholic Church in Republican areas. These were assisted by Joseph P Kennedy the father of JFK an enthusiastic American/Irish catholic and also a nazi sympathiser.

The movie stays faithful to this rather anti-clerical nature and to the situation in the country during the 1930s. A summary execution of a village priest symbolises the hatred felt by the working class toward such a conservative institution. Many peasants and industrial workers were deeply disillusioned with the Catholic Church's message of self-sacrifice for the masses while the Church continued to amass power and wealth for itself. These deep-seated feelings of anger go some way to explain why only 20% of the population in Spain attended mass. A figure inflated to an extent by the higher attendance of those at the top end of the social ladder. But it was not merely Republicans that killed priests. Nationalists murdered priests in the Basque country because they backed local autonomy from Madrid.

Feminist independence is also addressed as during the first half of the film women serve equally with men at the front in the POUM. They are just as brave as the men and in an early scene it is a woman who refuses to drill during training regarding it unnecessary. But once the Stalinist counter-revolution is successful the women are once again reduced to a subordinate position in the ranks. Their new duties become more traditional such as driving, cooking and nursing the wounded. Consequently the real social revolution is lost and the forces of reaction have indeed won the day. Later when the Stalinist forces, wearing orthodox uniforms and driven in military trucks, attempt to disarm and disband the POUM it is the killing of the woman that indicates the death of idealism.

To address the fundamental political idealism that initially attracted volunteers to the colours and to highlight the essential potential conflicts between them. Loach attempts definitively to define what he means by his emotive linking of two basic concepts of Land and Freedom. At about the half way point in the movie a debate amongst villagers, peasants and POUM militia is meticulously presented that seeks to find an agreed policy for the newly captured territory. One villager wants the transfer of land ownership to pass into individual hands while a woman argues alternatively for collectivisation. A classic Bakuninist position. The American militia member (later to defect to the Communist/Stalinist forces) argues for a more moderate accommodation that allows individuals to own land/property. He points out that only modest land reform can benefit the anti-Fascist Front because by radically altering property rights it will only alienate countries whose assistance the Republic needed to be successful. This takes the Stalinist line of reconciliation with the West rather than the Trotskist argument of International revolution/socialism. Other militia members offer variations of Marxism, which fits neatly into their reasons for participation in the war while after a vote is taken (symbolising peasant democracy) the radical collectivisation policy is endorsed. Naturally when the Stalinists force the POUM into the Internationalist Brigades and the moderate America is with them it can be assumed that such radical ideas are to be consigned to the dustbin.

Having said all that the film is still very good. Movies about the very important war in Spain are a rarity especially since the 1940s. Thus a plus point immediately. On a moral level the tale of betrayal and lost hope is excellent even if the issues are rather shallow. As for the anti-Stalinist line it is irrefutable that Stalin wanted to appease the Nazi's in the period. Stalin was also concerned with the attitude of other Western Governments' and keen to appear `respectable' to them. For the same basic reason, that is a fear of Fascist militarism and what the consequences were for the identified Nazi enemy, the Soviet Union. This better explains the line taken in Spain by the communists than simply a desire to destroy the revolution, as the movie implies. As for the implication of stolen idealism and treachery forced only onto restricted units that fought Franco. Loach in making a film cannot be expected to include all the different kinds of military elements that made up the anti-Fascist alliance. By concentrating on a single entity the unit that Orwell fought and was wounded in, the film stays loyal to its principle source and concentrates focus not constrains it. It might not be perfect but it happens to be by far the best we have on such an important topic.