I Daniel Blake

Shine

16/05/19

Traverse Theatre, Edinburgh

Actor/rapper Kema Sikazwe is perhaps best known for his role as China in Ken Loach’s, I, Daniel Blake. But the young artiste is busy forging a name for himself in his own right too, first with his music, and now with this autobiographical piece of gig theatre.

Sikazwe is an engaging performer with an appealing vulnerability. This apparent openness lends the work a stark authenticity, and it’s impossible not to feel for the troubled youth in this tale.

Through music and spoken word, Sikazwe takes us through his childhood: his emigration, aged three, from Zambia to the UK; his struggles to adapt to the Geordie accent in Newcastle Upon Tyne; his sense of being an outsider, of never fitting in; the emotional cost of being isolated at home and at school; the discovery of music as a cathartic outlet.

It’s a compelling story, and the music especially is arresting, performed with easy confidence, Sikazwe singing live over a lushly recorded and multilayered backing. It’s not a perfect piece: the script needs tightening up in places – too much repetition, banal phraseology – and, perhaps a rather predictable linear route through the narrative, as Sikazwe struggles to overcome his demons before ultimately finding redemption through the healing power of music.

Nevertheless, it’s a powerful tale, told with real heart, and one which would almost certainly resonate even more with a school-age audience. A schools’ tour might not be where Sikazwe sees this piece going, but it could have a huge impact there.

3.5 stars

Susan Singfield

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Film Bouquets 2016

 

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It was an interesting year for film. Here, in order of release, rather than stature – and with the benefit of hindsight – are our favourite movies of 2016.

Room

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This superb adaptation of Emma Donoghue’s novel got 2016 off to a cracking start. There were powerful performances from Brie Larson and young Jacob Tremblay as the central characters in a tragic yet oddly inspirational story.

The Revenant

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Alejandro Gonzalez Inaritu delivered another dazzling movie, this one as savage and untamed as the grizzly bear that mauled Leonardo Di Caprio half to death – but made up for it by helping him win his first Oscar.

Anomalisa

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Writer/director Charlie Kaufman gave us a quirky (and deeply disturbing) animation that was a Kafkaesque meditation on identity and the bleak nature of the human condition.

Dheepan

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Jacques Audiard’s fascinating study of the lives of refugees never fell into cliche. There was violence here, but it felt horribly real and totally devastating. There were affecting performances from a cast of newcomers.

Victoria

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Sebastian Schipper’s film really shouldn’t have worked. Delivered in one continuous take, the fact that it hooked us in so brilliantly was just the icing on the cake – a real ensemble piece but plaudits must go to Laia Costa as the eponymous heroine.

Sing Street

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John Carney may have only one plot but when it was delivered as beautifully as it was in Sing Street, we were happy to indulge him. This was a beautiful, heartwarming film with appeal to anybody who has ever dreamed about pop stardom.

The Neon Demon

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The fashion industry as seen by Nicolas Winding Refn is a hell hole and here, Elle Fanning as Jesse, was the latest recruit. A weird mash-up of sex, violence and extreme voyeurism, this was the director’s most assured effort yet.

Hunt for the Wilderpeople

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New Zealand director Taika Waititi offered up this delightfully quirky story about a troubled teenager (Julian Dennison) and his friendship with crusty curmudgeon, Hec (Sam Neill). This film reeled us in and kept us hooked to the end credits.

The Girl with all the Gifts

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Just when we thought the zombie movie had stumbled as far as it could go, Colm McCarthy’s film gave the genre a hefty kick up the backside – and there was a star-making performance from young Senna Nanua in the lead role.

Under the Shadow

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Babek Abvari’s film had all the tropes of the contemporary horror movie and a powerful political message as well. Set in post war Tehran, young mother Shideh (Narges Rashidi) struggled to keep her daughter safe from the forces of darkness.

I, Daniel Blake

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Ken Loach’s return to the screen resulted in one of the most powerful and affecting films of the year – a searing look at ‘benefits Britain’ that would have the most stony-hearted viewer in floods of tears. Should be required viewing for Tory politicians.

Train to Busan

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Another day, another zombie movie – but what a zombie movie! Korean director Sang ho Yeon gave us a galloping ‘zombies on a train’ thriller that nearly left us breathless. There were some incredible set pieces here and a nerve-shredding conclusion.

Paterson

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Jim Jarmusch presented a charming and quirky tale about a would-be poet living in a town that had the same name as him. Not very much happened, but it didn’t happen in an entirely watchable way. A delightful celebration of the creative spirit.

Life, Animated

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This compelling documentary squeaked in right at the end of the year – the true life tale of Owen Suskind, an autistic boy, initially unable to speak a word, but rescued by his love of Disney movies. It was funny, uplifting and educational – and our final pick of 2016.

I, Daniel Blake

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21/10/16

If everything had gone to plan, this film wouldn’t have seen the light of day. Ken Loach’s previous movie, Jimmy’s Hall, was intended to be his swan song. And though that was a decent enough film, it was hardly up there with his finest work.But clearly, a look around ‘Benefits Britain’  – as engendered by the Tory party’s heartless policies – has stirred the veteran director out of retirement. I, Daniel Blake is not so much a film as a protracted howl of anger – and it’s one of the finest polemics I’ve seen on the cinema screen.

Dan (stand-up comedian, Dave Johns) is a carpenter who has recently suffered a serious heart attack. Told by his doctor that he’s not fit to go back to work, he signs on, but soon discovers that  the ‘decision-maker’ has deemed him ‘fit for work.’ Of course, he has no income, so if he wants money, he’ll have to apply for Jobseeker’s Allowance. This obliges him to trudge around Newcastle looking for jobs that he isn’t fit enough to accept even in the unlikely event that he gets them. During one trip to the Job Centre, he encounters Katie (Hayley Squires) a young single mother with two kids to look after. She’s recently been relocated from London to Newcastle and is desperately trying to find work. Dan befriends her, and becomes a kind of surrogate grandfather to the two children.

All the familiar Loach tropes are here – non actors, giving every scene a shot of verité, semi-improvised dialogue and a story that meanders from incident to incident with little in the way of a traditional story arc. But what there is in abundance is a sense of simmering anger, an incomprehension that life in this green and pleasant land could have come to this sorry state of affairs. There are scenes here that would move the most implacable viewer to tears (a scene set in a food bank is particularly affecting). If this should prove to be Loach’s final film, it’s a hell of a leaving card.

This should be required viewing for every politician in the land.

5 stars

Philip Caveney