British film director born in Nuneaton, Warwickshire (England), June 17, 1936.
He was born in a humble family. Your first means of expression was the theatre, activity that took contact at Oxford while studying law, and there would be President of the Experimental Theatre Club. After graduating he served two years as a typist in the Royal Air Force and, after a brief period to exercise the legal profession, he joined a theatre company.
In 1960 he began working for the BBC and earned a reputation as director of series. Together with producer Tony Garnett, it created The Wednesday Play, an anthology of "docudramas" which would give that talk about its Socialist orientation. He already began to emerge in his work a hyper-realist style which moved shortly after to the screen in his first film, Poor Cow (1967), which recounted the wife of a convicted sexual dalliances with an own script. I would also write the screenplay for Kes (1969), his next job, as under the auspices of the film company Kestrel Films, founded this year with Garnett. The majority of the cast made up of non-professional actors, Loach however ensured that his film is not lacked quality. Chris Menges will be your camera to tell the story of a boy of fourteen, insecure, lack of affection, who one day finds a Hawk and decides to train. Of course the story does not pass in a friendly way - rather than Loach flees constantly - and before or after the protagonist will have to deal with a reality always miserable.
(1972) family life inherits many of Kes guidelines in regards to family relationships and returns - this time through a young woman as protagonist-to claim the rights and needs of the individual against the social pressures or the family. It is the adaptation of In Two Minds, David Mercer, that Loach had already directed for television with this same title in 1966. Own novelist would rewrite the story for the film. After dealing with the screenplay for Black Jack (1979), Loach decided to adapt consecutively two novels of Barry Hines. The first resulted in The Gamekeeper (1980), a fable in which resumed the taste for life in contact with nature; and the second, by Looks and Smiles (1981), shot in black and white and that Loach gave the Young Cinema Award at the Festival de Cannes. Three teenagers who have left the school are facing unemployment. Will not be the first time that Loach addressed this problem, but here, perhaps by the age of the characters, their lives remain still some idyllic. In 1984 he Loach directed Which Side Are You On?, and also dealt with the production. This double effort provided the OCIC award at the Berlin Festival in 1985.
Fatherland (1986) would be the last film of Loach as unknown director, as hidden Agenda (1990) marked the launch of his career. The film quite approached a conspiracy theory (information contained in a tape implicates the CIA with the British intelligence and the conservative party for dishonoring the Conservative Prime Minister, Edward Heath). Treatment which gave Loach theme was realistic, reminiscent of his experience in the documentary, but the greatest merit resided in the fact that, although Loach and screenwriter Jim Allen were Republican, presented the facts in an honest way. Director won the jury prize at Cannes.
Riff Raff (1991) would take up vigorously the political discourse of Loach. The working class in England's Margaret Thatcher is portrayed in this film through dialects, of the difference between bosses and employees, male and female, have and have not. Robert Carlyle suffers the cynicism of despots and soon the public get used to their presence. International critics awarded film in Cannes and the Felix recognized it as the best of the year. The proletariat will be henceforth Loach film constant.
With raining stones (1993), Loach returns to the themes of Riff-Raff, the lack of hope for the working class. The stark vision of the director leaves out all the poetry that might have daily events; leave the sentimentality by the characters to give the feeling of the facts exposed - in this case the determination of a parent for buying his daughter a dress of communion that can not afford - actually, they occur is not part of a film.
Without a doubt the most heartbreaking story of the director is Ladybird, Ladybird (1994). From a real event - the experience of a mother who looks gradually dispossessed of all his children, Loach applies documentary treatment to a history with harrowing details and with the explicit intention to educate the viewer with a less privileged class problems. The director won the OCIC award at the Festival of Berlin and Crissy Rock, the silver bear for best actress. A year later, Loach was raised to co-produce a film about the Spanish Civil war with Spain and Germany. Land and liberty the militia of the POUM, mainly composed of members of the CNT, are shaft. The base is the novel by Orwell homage to Catalonia. The Spanish Division was represented by Icíar Bollaín and Rosana Pastor among others, and in Spain the movie was found with an unusual advertising provided by Santiago Carrillo and his article "Fascism, forgotten". But portray this episode of the Civil War was not the only claim of Loach. The film--which begins and ends in the current England - lashes out against conservatism, something that the director was already doing from hidden Agenda. In the international scene, Tierra y Libertad, it was recognized with the César and the European Film Award for best foreign film. In Spain, Rosana Pastor won the Goya for best actress revelation.
The song of Carla (1996) brought back to Loach and actor Robert Carlyle. Unfinished rid of political discourse - this time applied to Scotland, and Nicaragua, the director introduces thriller and romance as part of the relationship of two characters from opposite worlds. Into their problems, Loach collaborated with Paul Laverty, who spent the last years of the 1980's in Nicaragua, and here was premiered as a scriptwriter. Laverty would accompany Loach at the Venice Festival in 1996, when was imposed on the director the Gold Medal of the President of the Italian Senate.
After a documentary co-produced with France in 1997 entitled The Flickering Flame, Loach directs my name is Joe (1998), the story of two thirty-somethings, an alcoholic and a social worker, who initiated a stormy romance. Unemployment returns to be the ghost of history, but also the insorteable way that life is primed with the weakest, the poorest. My name is Joe illustrates masterfully the ups and downs, the actual bodies - and not the deified by the screen-, the difficulties of love when other basic needs — physical or psychological — are not covered and is also a master class by two almost unknown actors: Peter Mullan and Louise Goodall. The film won the Golden Spike at the Valladolid festival.
Bread and Roses (2000) British director introduced in the class struggle to denounce the exploitation of Mexican illegal immigrants in the city of Los Angeles. He presented his following work, Sweet sixteen (2002), at the 55th Edition of the Cannes Festival, where he managed a best screenplay award. The film, an approximation of Loach to the complexity of adolescence in a working area of Scotland, reported the British filmmaker the second Golden Spike of his career. Photography of the film was also honored at the Seminci 2002.
Loach, parallel film and television career, has used the same principles for both media. Cathy Come Home (1965, TV) launched debate on the street, from the recovery of the interest in the "homeless". But his action was not always positive impact. In the early eighties he made four documentaries for television which were sabotaged by attacking the Government of Margaret Thatcher.
In 2006, he premiered The wind that shakes the barley (the wind that shakes the barley), a film about the conflict of the independence of Ireland in which recounts harsh repression of the English troops and that he was awarded the Palme d'Or at the Cannes Film Festival.
1967: Poor cow (and screenplay). 1969: Kes (and screenplay). 1972: familia.1979 life: Black Jack (and screenplay). 1981: Looks and Smiles.1986: Fatherland (Singing the blues in Red). 1990: Agenda Oculta.1991: Riff-Raff. 1993: Raining Stones.1994: Ladybird, Ladybird.1995: Earth and Libertad.1996. Carla.1997 song: The Flickering Flame (documentary). 1998: my name is Joe.2000: bread and rosas.2001: the cuadrilla.2002: Sweet sixteen.2004: just a beso.2005: Tickets; McLibel.2006: The wind that shakes the barley. 2007: In a world open. 2009: looking for Eric. 2010: Route Irish. 2012: The side of the angels.
Works for television
1964: Catherine; "Profit by their example", "A Straight deal", "The whole truth" (episodes of Z CARS); "Survival", "Marriage", "Life" (episodes of Diary of a Young Man). 1965: Up the Junction; The End of Arthur completo Marriage; The Coming Out Party; Three Clear Sundays; A Tap on the Shoulder; Wear A Very big Hat.1966: Cathy eats Home.1967: In Two Minds.1969: The Golden Vision; The Big Flame.1971: After a Lifetime; The Rank and the File.1973: A Misfortune.1975: "Joining Up", "General Strike" (episodes of Days of Hope). 1977: "Meet the People", "Back to Reality" (The Price of Coal episodes). 1980: The Gamekeeper; Auditions.1981: A Question of Leadership.1983: The Red and the Blue.1985: Which Side Are You On? (and producer). 1989: Time to go; The View from the Woodpile.1991: The Arthur Legend.
Petley, j.: Ken Loach. The radical look, Valladolid: Seminci, 1992.