Showing posts with label jim allen. Show all posts
Showing posts with label jim allen. Show all posts

Wednesday, 1 July 2026

Prime Time: Hidden Agenda (1990)

There's always reason to be wary when about to watch a film set during, or around, "The Troubles", which is all I'm going to say about the setting for Hidden Agenda here. But I was comforted when I saw the main cast for this film, and further comforted by seeing it was directed by Ken Loach. That didn't mean it would necessarily be any less difficult to watch, but everything would hopefully be handled with a sensitivity and intelligence that runs through most of Loach's filmography.

Everything begins with the death of an American human rights lawyer in Northern Ireland. There's a reason given for his shooting (by police who apparently believed he was armed and dangerous), but the messiness of the whole thing leads to an investigation headed up by Peter Kerrigan (Brian Cox). Kerrigan wants to remain impartial and fair, and he is on the side of Ingrid Jessner (Frances McDormand), a young woman who was Sullivan's assistant, and suspects foul play. Can the two upset those in power without facing some serious, and potentially deadly, repercussions?

Written by Jim Allen, who worked with Loach on stage and screen many times over the years, Hidden Agenda uses the situation at the heart of the tale to look at those who profit from manipulating things from behind the scenes. It also shows how authorities often make excuses to avoid "playing by the rules", making the most of a turbulent and scary situation to tie up any loose ends and maintain their own, as the title says, hidden agenda. Whether fighting against enemies in our own streets or on a remote battlefield, there are rules that govern such things, even if they seem ridiculous in the face of such brutality and bloodshed, and when those rules aren't adhered to then it can be terrifying to think of just how easily people can have carte blanche to reshape narratives and territories.

Loach does well to tread much more carefully than his protagonist. This isn't about being on one side or the other. It's about trying to see proper justice done in a time when many decided they could act with impunity, considering themselves above the law (whether they were part of the establishment or fighting against it).

Cox is fantastic in his role, as strong-willed and smart as ever, and it's fascinating to watch him try his best to keep his moral compass pointed the right way while so many attempts are made to spin the needle in many different directions. McDormand is also very good, able to play someone in peril without seeming like a helpless "damsel in distress". The fact that she is American helps to make her character feel slightly ill-prepared for the true depth of the waters that she has waded into. Jim Norton is equally good, playing a member of the police force who may or may not know more about the killing than he's letting on, and Maurice Roëves excels as someone with a pivotal role in a piece of evidence that could change the entire nature of the investigation, if it can be corroborated.

This may feel like a bit of a dated snapshot to some nowadays, but I would argue that a number of current events make this just as relevant as ever. You can easily connect the dots from this to the importance of keeping checks and balances on Presidential power, for example, or the many times a "battle against terrorism" has been used to strip away rights and kill huge parts of a civilian population. In many ways, the most quaint thing about this is the fact that those pulling the strings did actually try to hide their agenda. That doesn't happen so much nowadays. People just keep over-reaching, and nobody else seems able or willing to force them back into their established boundaries. 

8/10

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Monday, 11 September 2023

Mubi Monday: Raining Stones (1993)

While Raining Stones was released thirty years ago, it's yet another film with a plot that could very easily be transposed into the here and now. I wish I said that about more optimistic and happy pictures, but this is a Ken Loach film, which should let you know how far away from optimistic and happy it is. Having said that, however, there IS a silver lining or two glimpsed amidst the many grey clouds that gather above the main character.

Bruce Jones plays Bob, a poor man who just wants a chance to earn enough money to support his family. He has a loving wife, Anne (Julie Brown), and a young daughter, Coleen (Gemma Phoenix), who is in need of a nice, but certainly not cheap, dress for her upcoming First Communion. He also has a friend, Tommy (Ricky Tomlinson), who is also mired in a poverty trap that he's desperate to escape.

Having been familiar with Bruce Jones from his stint on Coronation Street, I forgot that he also starred in a number of movies. I also forgot how good he could be, delivering a brilliant performance here that makes you forget that this is his feature debut (Loach has a knack for getting those performances from his cast). Brown and Phoenix may not be the focus of the film, shown front and centre when endangered by the lengths that Bob goes to in order to get some cash ASAP, but both deliver excellent supporting turns.  Tomlinson may provide some comic relief, but he's also asked to deliver the kind of emotional punch that he has been able to deliver throughout his career, whether in dramatic or comedic roles.

Writer Jim Allen had worked with Ken Loach numerous times over the years, collaborating with him on "The Wednesday Play" TV series and a "Play For Today", and this was the second of the three feature films that they created between them (sandwiched between Hidden Agenda in 1990 and Land And Freedom in 1995, Allen's final screenplay). It also feels like the most typical "Loach-ian" of the three, considering what movies come to mind when the director's name is spoken, and this would make a perfect start to a triple-bill that would also include I, Daniel Blake and Sorry We Missed You.

The people who had their lives made so much worse by the poor economic situation of the late '80s to mid-'90s are the exact same people who are currently having their lives made so much worse by the poor economic situation right now, and that poverty is created and maintained by a social support system not fit for purpose, communities left to rot while the forgotten/hidden residents bravely struggle to keep their heads above water, and rich people getting richer by exploiting the situation to their advantage. There's not a great different between the bankers making bonuses while claiming homes from people who have fallen on hard times and a loan shark demanding ever-increasing repayment amounts as they inventory a home for any goods worth taking in lieu of cash. The tactics may differ, but the end goal is the same.

A difficult watch (again . . . the fact that it's a Ken Loach film should have already made you aware of that), especially during a horrible and hugely uncomfortable main scene in the third act, but just as moving and relevant as so many other features that make up Loach's extensive filmography.

9/10

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