Ken Loach goes easy on the grit, promotes the inspirational side of this dramatic fairy tale in which Scottish whisky plays a central role.
Director of Photography:
Running time: 100 minutes
Ken Loach is not exactly known for the flippant nature of his films. He has, together with fellow British director Mike Leigh, carved out the gritty social realist niche of his country’s film industry and has done so methodically over more than four decades since one of his first films, Kes, burst onto the screen in 1969.
His primary focus on the working class and his obviously sincere attempts to capture their toil and struggles, and represent them by actors in a fictional film, has gained him a large following of filmgoers who perceive the cinema as a tool to bring such naturalism to people’s attention.
In The Angels’ Share, he still follows that line, though the territory he stakes out is a bit more obviously cinematic than one would have expected from him. Nonetheless, the film’s best bits are all firmly tied to the central, slightly contrived, thrust of the narrative, and oddly enough the bits of social drama we would have guessed to be Loach’s strong suit come across as little more than an afterthought.
Set in Glasgow, the film opens with a gorgeous introductory sequence in juvenile court, where many young boys and girls are mostly sentenced to community service for their various crimes. One of the boys is a young man called Robbie (Paul Brannigan), who has a scar across his face, which he got, we soon learn, one night when he was walking the streets while coked up and decided it would be a good idea to kick a random stranger to within an inch of his life.
We never see the rest of Robbie’s family, and he spends most of his evenings on a mattress at a friend’s apartment. He has just become a father, but his girlfriend’s family has no intention of allowing him to associate with his new-born son. There are other young men, too, who threaten to beat him up if they see him around, and the fear he has for his well-being is as warranted as it is constant.
These threats manifest themselves in a few small scenes of mild violence, but Robbie doesn’t seem to live in any fear and refuses to let the young hoodlums get to him. This storyline doesn’t always come across as coherently as it should, as Robbie’s girlfriend appears and disappears for the sake of a narrative that seems to pretend it has powerful domestic questions to resolve, but actually this is just padding for the other storyline.
This other part of the film is much more interesting, though it is by no means exceptional. It has to do with Robbie’s friendship with Harry (John Henshaw), the father-like guard on duty during the community service hours, from whom he learns all about whisky and discovers he has a natural talent for appreciating this malt spirit. He is noticed by a whisky collector, Thaddeus (Roger Allam), who is impressed by Robbie’s knowledge and feeling for the drink. And the time Robbie has spent in jail comes in handy enough when he recognises the potential money to be made from the whisky industry.
Like magic dust on the grim, directionless lives of the main characters, most of them involved in community service projects after run-ins with the law, the “angels’ share” in the title refers to the small fraction of whisky that disappears over time while it is kept in the oak barrels. It evaporates, and is therefore handed to the angels, as it were. The film’s intention is to make whisky a kind of golden elixir that gives Robbie a new lease on life, or perhaps a new life altogether, pulling him up into the ranks of honest work, and for this purpose the drink is well-chosen.
Like the work of fellow countryman Leigh, Loach draws very credible performances from his actors, many of whom, including lead actor Brannigan, had never starred in a film before. There is very little in the film that feels acted or staged, with the exception of Robbie’s girlfriend, who sometimes delivers her lines with visibly less poise than her fellow cast members.
The Angels’ Share is performed in a very strong Glaswegian accent that is not always easy to follow, though the actions and the general ambience of the film are put onscreen very well and allow viewers outside Glasgow to follow the storyline and easily empathise with these characters. While issues of drugs and poverty are touched on, the film has an optimistic approach to the representation of this working-class segment of the population and seeks to inspire the viewer.
This inspirational approach produces something a bit like a fairy tale that may not be credible to everyone, but it makes for a film well worth watching.