Laranjas e Sol

Oranges and Sunshine is directed by Jim Loach and adapted to screenplay by Rona Munro from the book "Empty Cradles", written by Margaret Humphreys. It stars Emily Watson, Hugo Weaving, David Wenham and Richard Dillane. Music is by Lisa Gerrard and cinematography by Denson Baker. The film tells the true story of Margaret Humphreys (Watson), a Nottingham social worker who in 1986 began uncovering the scandal of forced child migration from the UK to various countries of the Commonwealth. Thousands upon thousands of children who were either from poor families or orphaned, were sent to British colonies under a banner of lies. Where instead of the oranges and sunshine they were expecting, they were put to work as hard labour and suffered terrible conditions to live in as well as abuse at the hands of their carers.

Lost Children Of The Empire.

It's a story ripe for exploitation, for a bit of shock cinema, the kind that assaults you with horrific images, but Oranges and Sunshine is a rare beast, a true life horror tale that accentuates the outrage by remaining understated and steady in sombre tone. This is expert film making from Loach (son of Ken), letting the story unfold with a naturalism that makes it a deeply moving experience. No histrionic characterisations by the actors, no grandstanding speeches or attempts to paint Margaret Humphreys as an armour plated crusader risking death at every turn. It's cold, yet humane, in its telling, the pain of story etched on the faces of the lost children, now adults searching for identity and a family thread to stitch it together. The emotional uplift of the reunion scenes gladdens the heart, but never once does the film proclaim, like its wonderful protagonist, that what has been lost can be replaced. But identity is comforting, the fragmented pieces of childhoods ruined finally piecing themselves together.

Who was crucified huh? You tell me that.

Thankfully the makers resist, rightly, the urge to show flashback scenes of the children suffering. We know just by dialogue exchanges and character reactions, just what pain and misery was bestowed upon these minors. Yet the film is full of powerful scenes that really grip and hold the heart, where quite often they are just quiet conversations, a statement made or a question asked. Or even in silence for one truly potent sequence as Margaret visits Bindoon Boys Town in Western Australia, an imposing, but elegant structure on the outside, but that elegance belies the terrible crimes perpetrated by the cleric elders within. Loach and his team don't need tricks or historical tampering to make their film dramatic and worthy, the story sells itself on both counts.

Oh, baby, baby, it's a wild world.

Picture is propelled by a wonderfully restrained performance by Watson. A perfect bit of casting, Watson never screams for our sympathies, she hits the right emotional notes required, but never strains to get there, she plays Margaret as a bastion of decency. She deftly blends stoicism with vulnerability as Margaret juggles the emotional strains of the search with that of the safe haven of her family home that she is away from for long periods. Watson is surrounded by three damn fine male performances. Weaving and Wenham as the "lost boys" underpin the story, they perfectly embody the crushing of the childhood spirit, a two pronged acting show that says so much for the thousands of children who were cruel victims of the child migration schemes. Dillane scores high as Margaret's husband, he perfectly understands the tone of the movie and turns in a respectful and appropriate performance as Margaret's loving crutch.

It's not all perfect, Margaret is met with some resistance and finds herself in a couple of tricky situations, but the evil nature of the wrong-doers never fully surfaces to give her a formidable foe to respond too. Nor is anyone made accountable for their heinous crimes, something which leaves a frustrating taste in the mouth. However, the point of the movie, the attention brought to the story it's about and the skill with which said story is told, ensures that these are just minor quibbles in one of the best movies of the year. 9/10

I saw this truly extraordinary film last night ... and know now that it will be with me for a long time to come. The story is totally compelling and the acting is superb! Emily Watson is always a wonder to watch and she does some of her finest work here -- perhaps her best performance ever. The supporting players are, without exception, highly gifted and each finds his or her character to the point where you feel, at times, that you are watching a documentary, so fine are their portrayals. Based on the true experiences of social worker Margaret Humphreys (that will leave you with your mouth agape often)and with a beautifully written script that moves briskly ... and, at many turns, into frightening territory, with terrific direction, this is a must-see! Put it on your list! If there is any justice, this one will figure when the awards are handed out!

Should anyone ever question the value of the film industry then the innocently titled "Oranges and Sunshine" is a film that, on its own, could quite easily justify its existence.

Whilst the acting, production and direction are superb, the film's dark subject matter overshadows all, and its disturbing revelations require no dramatisation. As the psychological damage caused to a whole generation of "stolen" children becomes clear, it is difficult to comprehend the sheer immensity of the systematic betrayal of trust suffered by a staggering number of British families, and perpetrated by those in authority who should have known better.

"Oranges and Sunshine" covers a mere handful of tragic stories in various ways, all very effective. These stories expose a truly shameful episode in British history, and the way in which those affected adapted to their fate - with varying degrees of success. What is clear though is that for better or worse, this childhood experience has indelibly marked them for the rest of their lives.

Although the children who were torn away from their mothers may not have been marshalled roughly onto rail wagons, on a one way trip to oblivion, a very clear parallel can be drawn between the ghastly regime in Nazi Germany, and the ghastly regimes that allowed this despicable scheme to continue, and which do not appear, from the facts as depicted in this film, to have been brought to account.

The parallel is that when good men and women fall silent, and no-one challenges the systemic abuse of power by those in authority, then the arrogant, the incompetent, the weak-willed, the lazy and, indeed, the downright evil, triumph.

To me that is the enduring message of this brilliant yet incredibly sad film. It is a repeated lesson we seem incapable of learning, no matter how many times emotionally evocative films like this attempt to remind us.

Oranges and Sunshine – CATCH IT (B+) The film tells the story of Margaret Humphreys, a social worker from Nottingham who uncovered the scandal of "home children", a scheme of forcibly relocating poor children from the UK to Australia and Canada. Margaret reunites estranged families and brings worldwide attention to the cause. Deported children were promised oranges and sunshine but they got hard labor and life of misery and sexual abuse in institutions such as Keaney College in Bindoon, Western Australia. (Wiki) Oranges and Sunshine is a sensitive subject matter which defiantly put Britain in Shame when Margaret Humphreys broke out the story in 80s. Emily Watson's portrayal of Margaret Humphreys' trouble to help the transported kids all the way to Australia is heart wrenching. The emotional turmoil she goes to work for them while managing her family is something really inspiring. Emily Watson is a great actress and no doubt she brings her emotional range to the real life role model. In supporting cast Hugo Weaving & David Wenhem did a fine job. Overall, it's a sensitive movie about a sensitive issue. Keep in mind its tear jerker, so keep a box of tissue.

Carronas' review could not be more wrong! She could not even get the directors name right. It's JIM not LEN Loach, and the rest of the review is just as inaccurate. I had no trouble following the story line even without any prior knowledge of the events. I had no trouble understanding where each scene was set, be it UK or Oz, it was perfectly clear which was which. The film stock helped to give that dated feel of the 1980's and this was further enhanced by the vehicles, furniture and fashions. The lack of dialogue in certain scenes (meeting the Brothers) added tension where words would have added nothing. This was an excellent film, well filmed and well acted. See it and enjoy.