7.1/10
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8 user 46 critic

The Spirit of '45 (2013)

A documentary on how the spirit of unity, which buoyed Britain during the war years, carried through to create a vision of a fairer, united society.

Director:

Ken Loach

Writer:

Ken Loach
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2 nominations. See more awards »

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Cast

Credited cast:
Winston Churchill ... Himself (archive footage)
Clement Attlee Clement Attlee ... Himself (archive footage)
Tony Benn Tony Benn ... Himself - Labour Minister
Aneurin Bevan Aneurin Bevan ... Himself - Minister of Health (archive footage)
James Meadway James Meadway ... Himself - Senior Economist, National Economists Foundation
Terry Teague Terry Teague ... Himself - Former Dock Shop Steward
George Lansbury George Lansbury ... Himself - Labour Politician (archive footage)
Dai Walters Dai Walters ... Himself - Miner
Margaret Battin Margaret Battin ... Herself - Nurse
Inky Thomson Inky Thomson ... Himself - Miner and NUM Official
Douglas Jay Douglas Jay ... Himself - Personal Assistant to the Prime Minister, 1945 (archive footage)
Harry Keen Harry Keen ... Himself - Consultant Physician (as Professor Harry Keen)
Ray Jackson Ray Jackson ... Himself - Train Driver
Dot Gibson Dot Gibson ... Herself - General Secretary, National Pensioners' Convention
Tony Nelson Tony Nelson ... Himself - Former Dock Shop Steward
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Storyline

A documentary on how the spirit of unity, which buoyed Britain during the war years, carried through to create a vision of a fairer, united society.

Plot Summary | Plot Synopsis


Certificate:

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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

UK

Language:

English

Release Date:

15 March 2013 (UK) See more »

Also Known As:

'45 Ruhu See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital
See full technical specs »

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User Reviews

 
May be seen by some as a bit one sided and self indulgent, but still admirably done
6 April 2013 | by davideo-2See all my reviews

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

Ken Loach has quite a backlog of work as a performance film maker, but his latest work, laying his unashamed socialist leanings firmly on the line, is presented in a documentary format. Loach thrusts us back in time to the immediate post war years, where with a country in ruins and millions sick and injured, there was no shortage of work and so the people had the power, coming together to re-build the country and form one huge powerful united front that let them decide their own fate, all under the thrust of a powerful Labour movement. The real main objective of the movement was not to go back to the appalling poverty of before the war, which nobody noticed and was just accepted by those who lived in it. Flash forward twenty five years or so, to the arrival of Thatcher.

The main trouble, when politics is presented as art, is that you are naturally going to spur on and impress those who agree with you and form the most spiteful critics out of those who think you don't know what you're talking about. Like the most high horsed (but probably best) Michael Moore offering, Ken Loach here bombards us with a presentation of faces, talking heads, if you will, of a mostly much older generation who vividly bring the original socialist movement back to life, and try to paint a portrait of the sort of things that originally spurned it on.

Reminding me of Moore's work a little, as it does, it's all naturally quite one sided and could even be seen as somewhat self indulgent/important, but where Loach gets it right is by managing to make the film's argument so persuasive anyway, genuinely managing to craft a scene where the poor/lower classes generally had no voice and by realizing their combined power, improved things for themselves and their families, only to have it all snatched back from them many years later.

It's obvious, and really not very subtle, the way Loach, by filming the whole thing in black and white, is aiming for an art house vibe, but it backfires, resulting in a drearier presentation, a natural result of something with no colour and light. It might have worked better if he'd interspersed the happier times with some colour and flavour, and kept the dull grey more for the beginning and end. But that's not to say it completely robs the film of any genuine artistic integrity, and it never feels pretentious in any way. It's just the work of a proud and accomplished director, maybe wearing his heart on his sleeve a little, maybe not being as subtle as he could be, but presenting something made with such insight and, well, spirit you can't help but be impressed anyway. ****


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