Ken Loach made his name making social realist films about real people, but in recent years he's also shown he can make these films accessible without holding back his themes and meanings. Jimmy's Hall, said to be his last film, brings him back to Ireland after The Wind that Shakes the Barley (for which Jimmy's Hall would be a good companion piece). Jimmy's Hall manages social realism and accessibility well – and it is a good film for Loach to go out on, but it does have its problems and Loach fans will be disappointed if this is the film he goes out on.
Father Sheridan (Jim Norton) represents the traditional church and stands for just about everything that the left-wing Jimmy is fighting against. The two are on a collision course and, while there’s no hint of the more recent scandals, the church is portrayed as repressive and intolerant, expecting to be obeyed without question, even when its tactics are heavy-handed, to say the least. When the hall re-opens, Father Sheridan compiles a list of everybody attending: that in itself is bad enough, but he takes it even further by reading it out from the pulpit to humiliate all those involved. It leads to one teenage girl being beaten by her father. But it doesn’t stop her going to the hall.
This is one of Loach’s more optimistic films, with a softer, if not romantic, view of the world. This shows especially in its portrayal of Jimmy, whose politics by today’s standards would be seen as idealistic and left-wing. For 1930s Ireland and, indeed, earlier, it’s Communism, pure and simple, which gives the joint forces of the church, landowners and the law opposing him the perfect excuse to expel him from the country.
The issue of Oonagh and Jimmy’s unrequited love story is also problematic. I’m no historian, but I am not so sure that in 1932 rural Ireland married women with children were quite so free to hang out, often alone, with their unmarried ex-boyfriends. So, despite the history lesson that Loach has imparted here, we feel that we have missed out on watching the real stories of these very real and fascinating people.
Jimmy’s Hall has its heart in the right place. Loach expresses his utterly classic filmmaking ability. No frills, no extras, just the story in sincerity and passion told. The film is a social drama through and through and developed primarily by its subtlety and silent strength. Loach fans will want to see him go out on a high and, while this is by no means the worst thing he’s done, it’s sadly not his best either.