Political Film Review #420

THE COMPANY YOU KEEP IS ABOUT COMPANY LOST TRACK OF

In the 1960s, some members of Students for a Democratic Society decided to take direct action methods. Known as the Weather Underground, they placed bombs in various locations and were high on the FBI “Most Wanted” list. Based on the novel The Company You Keep (2003) by Neil Gordon and a screenplay directed by Robert Redford, the FBI has suddenly found Sharon Solarz (played by Susan Sarandon), who allegedly committed offenses a half-century ago even though she took on a new identity. When the New York Times runs an article about her arrest near Albany, New York, the editor of the local newspaper in Albany assigns Ben Shepard (played by Shia LaBoeuf) to dig up more. What he finds and publishes leads the FBI on a manhunt for Nick Sloan aka Jim Grant (played by Robert Redford), who is charged with murder. Sloan, in turn, tracks down former colleagues to ascertain who was on the scene at a bank robbery when someone was killed, and he then embarks on a womanhunt for Mimi Lurie (played by Julie Christie), the only one who can clear him. But why would she, an unrepentant radical, give herself up for a prison sentence or even death so that he could avoid serving time? Sloan tries to persuade Mimi that the life of his daughter would presumably be ruined if he went to prison for an offense that he did not commit. The film provides some nostalgia for the radical movements of the 1960s, the actions of the Weather Underground, and how most of them have gone straight to enjoy family and professional life despite the fact that they agree that the plutocracy they protested still exists. During the 2008 presidential campaign, Barack Obama was attacked for “the company he keeps” by consorting with William Ayers, a former member of the Weather Underground, so someone must have read the novel. Accordingly, Redford has succeeded in refuting the aspersion then cast on Obama.  MH

KEN LOACH DEPICTS REDEMPTION IN THE ANGELS’ SHARE

Director Ken Loach, long noted for social problem films, begins The Angels’ Share with an inebriated Scotsman who is among several in the next scene pleading guilty to receive the mercy of a Glasgow court, namely, hundreds of hours of “community payback.” One in particular, Robbie (played by Paul Brannigan), viciously assaulted two men in the past but now his public defender pleads that he is a changed man because his girlfriend Leonie (played by Siobhan Reilly) is pregnant, and he is eager to be a good father. It turns out that he and one of his attackers have been carrying on a feud that started with their fathers while schoolmates. Robbie has served time before, never has had a job, and Leonie’s father does not want his daughter to partner with such an ill-bred person. However, Harry (played by John Henshaw), the court-appointed probation official who supervises those committed to community service, has a soft heart for Robbie, especially after those whom he assaulted beat him up and Robbie prefers not to press charges. Harry has a hobby—fine whisky. He treats his favorite four probationers (and filmviewers) to a brewery tour, where they learn about the “angels’ share,” namely, that 2 percent of each barrel somehow evaporates. Then Harry takes his probation crew to attend a whisky tasting event. Robbie volunteers to do a blind taste test and nearly guesses the exact brew, impressing one of the longtime whisky connoisseurs. The event’s host informs those in attendance that a special event will be held soon—an auction of a recently found barrel of an extraordinary brew. Robbie displays genius, hatching a plot, reminiscent of The Sting (1973), to secretly steal some of the elixir, which will not be missed because of the “angel’s breath” phenomenon, and then sell the purloined bottles to the connoisseur for a princely sum that may not only lift him and his three probationer friends out of poverty but may also land him a job. With lots of hearty laughs, the plot of The Angels’ Share then proceeds, and Ken Loach has made a truly classic film.  MH

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