Oranges and Sunshine

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.

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.

I caught this film as part of the Glasgow Film Festival and I'm glad that I did. Knowing very little of the story about the the organised deportation of children in care from the United Kingdom to Australia, I found much of this film was shocking and upsetting. This film concentrates on Margaret Humphrys, the social worker who uncovers this scandal. Under her own steam and then with the support of her employer, Margaret discovers that more than just a few children were deported. She makes it her mission to help those deportees who wish to find out about the families they were forced to leave behind. This proves to be no easy task as the British government stonewall her and provide no help with the details of the deportees or their families. No deliberate attempt is made to overplay the injustice or high emotions running through the story; it is told in a simple, straightforward and affecting manner and it is all the more powerful for that. Take some time out and go and see this film as it's one that deserves a wide audience and stay to the end as that's when the viewer finds out when an apology for this very sad situation was given.

It is always a jolt when a bit of buried history surfaces and makes us realize that the world is not all that sane as we would like to believe: the Chaos Factor raises its ugly head as in this screen adaptation by Rona Munro of Margaret Humphreys' true story book 'Empty Cradles'. This is a very powerful film, all the more so because of the quality of acting and direction by Jim Loach who never lets the film run out of control despite the unveiling tragedy.

The story is set in the 1980s where Nottingham, social worker Margaret Humphreys (Emily Watson) is a social worker who encounters a middle aged woman who has traveled form Australia to find her birth parents. Margaret at first doesn't want to increase her workload with a wild tale of children having been deported form England by ship to be placed in orphanage work camps in Australia, but with the aid of her supportive husband Merv (Richard Dillane) she begins to investigate the uncovered secret, ultimately traveling to Australia where she meets the 'unwanted children' as adults each longing to return to the UK to meet their families. The children when deported were as young as four to thirteen years old and had been told their parents either were dead or didn't want them and the representatives from the government promised them a safe home with 'oranges and sunshine' in Australia. There are several 'victims' as played by Hugo Weaving, David Wenham, Russell Dykstra and others who help personalize the unspoken crime until Margaret progresses to the point where she can hold the British government accountable for child migration schemes and reunite the children involved -- now adults living mostly in Australia -- with their parents in Britain. Though the deportations occurred from the 1940's through the 1970's it was only after Margaret Humphrey's 1994 book and then much later after when February 2010 Great Britain's Prime Minister Gordon Brown finally issued a full apology to those deported children and their families.

The supporting cast is uniformly excellent but it is the glowing performance by Emily Watson that makes this revelation of a film remain in the mind long after the credits explain how the solution played out in reality. This is a tough film but an important one and deserves a much larger audience than it has found.

Grady Harp

Sarah's Key was critically lauded for its reliable method of evoking raw anguish in its audience by depicting the trauma of a savage injustice from a child's perspective. In the same year, Jim Loach's feature drama handles the similar material of an scandal that's just about on par with the Vel d'Hiv roundup, but the film's subjects are all well into adulthood by the time we are meeting them. The fact that the victims are always shown as adults (in physical form at least) has given the achievement of pulling off this excellent film a higher degree of difficulty, seeing as the actors and screenplay writers are required to work extra hard to win the audience's sympathy, rather than having the simple forgivable innocence of an actual child on screen doing the job. However, this is not to say that Sarah's Key was mere emotional pornography: it found excellent ways of challenging itself in other aspects which gave it a greater level of sophistication, but in terms of expressing the heartbreak, the feat of Oranges and Sunshine is much more remarkable.

Among the topics being explored here is the very complicated issue of adoption. The burdensome puzzle of how a child in an unstable family situation or an unhealthy state of living should receive professional help – whether such interference is truly protecting their best interests or inflicting deep psychological harm by depriving them of family – has long been troubling child protection authorities. In mid- twentieth-century England, the popular solution settled on was the organised deportation of these children to Australia. Told that they were orphans, with no living relatives to care for them, they would be sent over in large numbers and, once there, sold into slavery for a respected church organisation commonly refferrred to as "The Brothers".

Several decades later, a determined social worker from Nottingham has begun to single-handedly reunite the victims of the outrage with their family back in England. As they relate to her their heartwrenching stories, each with their own despicable atrocities on top of what has already been mentioned, the irreparable damage of being raised without a proper family becomes apparent, and they are reduced to miserable, vulnerable, homesick little children. Its frequent mentioning of mothers, its claim that the wound of lost parents will never truly heal, and the fact that most of the victims shown are boys creates very distinct allusions to Peter Pan, even before that similarity is actually mentioned by one of the people. An additional noticeable parallel between this film and another classic story is the idea of a child suffering lonesomely at the hands of a cruel organisation under the sneaky pretense that they are an orphan, which is reminiscent of Oliver Twist.

However, it would be grossly unfair to just cynically dissect this film using only comparisons: it displays a very impressive divergence from the typical conspiracy drama. Its most prominent asset is the fully- fledged characterisation of its activist hero and the equal attention spent on showing her suffering as well that of her clients. The delightful Emily Watson obviously does a great deal to bring her to life, playing her so brilliantly that she comes across as both perfectly likable and humanly multi-faceted. Hearing such painful stories is incredibly taxing, and the growing unpopularity she is gaining as she stirs the government and the press results in some truly terrifying personal attacks while she is staying in Australia, but as the authorities are refusing to assist her, she knows that she must not allows herself to withdraw from her mission as no one else will be willing to pick it up. She does, of course, also become estranged from her family as the task begins to consume her, but thankfully not instantly, allowing the satisfying realism to remain intact.

Also a relief is that a handful of the people she is helping are actually showing genuine gratitude and returning the favour by giving her personal assistance. The friendships she forms with these people are truly touching, and effectively lighten the situation for both the hero (Margaret) and the audience.

With a very capable supporting cast, featuring David Wenham, Hugo Weaving and Tara Morice (Strictly Ballroom), in the roles of the victims and Margaret's family, this is a highly commendable and worthwhile piece of filmmaking, let down only by the rather repetitive nature of the script, if anything.