|The POUM militia - The Workers Party of Marxist Unification.|
‘Come, join in the only battle wherein no man can fail,
Where whoso fadeth and dieth, yet his deed shall still prevail.’
To begin with, filmmakers who usually have something overly political to articulate as part of an on going participatory discourse find it virtually impossible to work in the mainstream because of market regulations - this means that iconoclasm can only exist in a designated vacuum aimed at supposedly marginalised tastes. Another mismatch when it comes to political filmmakers is that they are usually middle class. The political disconnect between someone as middle class as Loach propagating politics of the working class left to a predominately middle class audience is usually a class dialectic that critics are quick to acknowledge in an attempt to skew the argument or to throw in doubt the true intentions of the director. It might actually be more accurate to propose that if Alan Clarke understands the psychology of the working class then Loach understands the politics of such psychology. Is Ken Loach the only British filmmaker to have been able to make a film about the revolutionary militia that took up arms against the fascist takeover of a democratically elected socialist government in Spain? He might be alone in having achieved such a political feat but he has done so on his terms and with collaborator Jim Allen, the film is resolutely political in its entire being. In the context of the market and mainstream cinema, Land and Freedom proves a critical point: transformative cinema functions on the intrinsic relationship between history and politics. The historical context is Spain in the 1930s and the conflict between socialism and fascism may seem likely candidates for points of ideological discussion but Loach politicises the narrative by training his gaze on the internal power struggle that occurred within the communist party of Spain. Additionally and perhaps most importantly the film internationalises the POUM's revolutionary ideals as a Marxist class struggle. By opening and ending in Liverpool, the story of David Carr (Ian Hart) is interconnected through a working class solidarity that transcends nationality, culture and identity. Upon hearing a talk about the POUM in Liverpool, David volunteers to join the people’s army in Spain. The narrative charts David’s journey as part of the international brigades and his eventual face to face confrontation with Stalinist opposition to the militia, leading to the death of Blanca – a symbol of Marxist ideology. Ken Loach has argued that the rise of fascism was a direct result of Europe's failure to stand up to Franco. The POUM was a true Marxist group betrayed by Stalinist propaganda, thus sealing the fate of an entire generation. The final reading of a poem by William Morris titled ‘The Day is Coming’, suggests that although the POUM were unsuccessful in their revolutionary aims of collectivism, political integrity and the refusal to compromise are aspects of a dissident ideology that should be celebrated in today’s largely apolitical apathetic society.