33 reviews
British filmmakers can and very often do lampoon their country's class system and its internecine struggles, amusing and entertaining us. Or they can, as in "Liam," starkly and powerfully bring to the screen a slice of 1930s, Depression-struck Liverpool and through a family show in microcosm the near self-destruction of a society (thank goodness for World War II).
England then (and now) is largely populated in working class industrial areas by Irish immigrants or their first-generation offspring. An uneasy peace between native-born working class families and Irish immigrants periodically erupts into dissension when times are bad. They were very bad in the early Thirties when a doctrine-bound Catholic church struggled to maintain a spiritual hold on dissatisfied and nearly penniless parishioners while Sir Oswald Mosely's British Union of Fascists took to the street offering a secular religion of bigotry and violence.
"Liam" is a little boy by that name who suffers from an inability to get words out when questioned or pressed but who can speak clearly in a sing-song voice when alone or at ease. He adores his older sister, Teresa, and basks in her returned love. "Dad" and "Mum" aren't given names, an effect that creates a sense of "Everyman(woman)". Dad is a proud laborer, at first suspicious of the church and latterly angry at its exactions of the small amount of money unemployed and underpaid workers have. Mom is just what you'd expect - an equally proud but pragmatic woman who strives every waking minute to manage her family. A son who leans far to the left politically is the constant irritant to dad's pride of place and certainty of values.
Dad loses his job and Teresa goes to work as a maid for the man who closed the factory where dad worked. Actually she is hired by his wife. At first unsuspectingly and then unwillingly she becomes a confidant and accomplice of the adulteress woman of the house. As we would say today, Teresa has "issues."
Meanwhile, back at the church and elementary school Liam and the children are besieged by priest and female teacher with an endless stream of horror stories about hell and exaltations to embrace doctrine unquestioningly. The strap is never out of employment for long. Not for a second do the older pair reveal the slightest comprehension of the brewing economic and social storm that the children face day in and day out.
Anti-Semitism has never been in short supply in England and in the 1930s its worst manifestations, fueled by the growing Nazi and Fascist movements, were acted out. Dad develops from a relatively benign reflexive anti-Semitism to full-fledged Jew hatred. Director Stephen Frears risked but avoided stereotyping by making his Jewish landlord, Jewish pawnbroker and affluent Jewish family hated simply because of who they were rather than by any grotesque manipulation of what they did in Liverpool. While several reviewers decry that the characters who were viewed as oppressors are all Jews, the reality is that this was one instance when both Irish Catholics and threatened by competition and unemployment English did unite against the visible and unfairly blamed Jews of Liverpool.
The cast is largely unknown here but their acting is superb. Anthony Borrows as Liam can't be overlooked. This little boy lives his complex role. I was drawn into their circle by the strength of the acting. Dad's family slides into a brush with true poverty realistically. Their pain and enveloping helplessness escapes the screen.
This film isn't anti-Catholic. It chronicles a church some few remember that did what it was trained to do, leaving for future generations the demand for reform and insight into the realities of family and community life. As obtuse as the priest and school teacher are, they probably imbued enough people with an unquestioning belief in the church to keep them immune from the blandishments of radicals on the left and fascists on the right. That's no small accomplishment.
8/10.
England then (and now) is largely populated in working class industrial areas by Irish immigrants or their first-generation offspring. An uneasy peace between native-born working class families and Irish immigrants periodically erupts into dissension when times are bad. They were very bad in the early Thirties when a doctrine-bound Catholic church struggled to maintain a spiritual hold on dissatisfied and nearly penniless parishioners while Sir Oswald Mosely's British Union of Fascists took to the street offering a secular religion of bigotry and violence.
"Liam" is a little boy by that name who suffers from an inability to get words out when questioned or pressed but who can speak clearly in a sing-song voice when alone or at ease. He adores his older sister, Teresa, and basks in her returned love. "Dad" and "Mum" aren't given names, an effect that creates a sense of "Everyman(woman)". Dad is a proud laborer, at first suspicious of the church and latterly angry at its exactions of the small amount of money unemployed and underpaid workers have. Mom is just what you'd expect - an equally proud but pragmatic woman who strives every waking minute to manage her family. A son who leans far to the left politically is the constant irritant to dad's pride of place and certainty of values.
Dad loses his job and Teresa goes to work as a maid for the man who closed the factory where dad worked. Actually she is hired by his wife. At first unsuspectingly and then unwillingly she becomes a confidant and accomplice of the adulteress woman of the house. As we would say today, Teresa has "issues."
Meanwhile, back at the church and elementary school Liam and the children are besieged by priest and female teacher with an endless stream of horror stories about hell and exaltations to embrace doctrine unquestioningly. The strap is never out of employment for long. Not for a second do the older pair reveal the slightest comprehension of the brewing economic and social storm that the children face day in and day out.
Anti-Semitism has never been in short supply in England and in the 1930s its worst manifestations, fueled by the growing Nazi and Fascist movements, were acted out. Dad develops from a relatively benign reflexive anti-Semitism to full-fledged Jew hatred. Director Stephen Frears risked but avoided stereotyping by making his Jewish landlord, Jewish pawnbroker and affluent Jewish family hated simply because of who they were rather than by any grotesque manipulation of what they did in Liverpool. While several reviewers decry that the characters who were viewed as oppressors are all Jews, the reality is that this was one instance when both Irish Catholics and threatened by competition and unemployment English did unite against the visible and unfairly blamed Jews of Liverpool.
The cast is largely unknown here but their acting is superb. Anthony Borrows as Liam can't be overlooked. This little boy lives his complex role. I was drawn into their circle by the strength of the acting. Dad's family slides into a brush with true poverty realistically. Their pain and enveloping helplessness escapes the screen.
This film isn't anti-Catholic. It chronicles a church some few remember that did what it was trained to do, leaving for future generations the demand for reform and insight into the realities of family and community life. As obtuse as the priest and school teacher are, they probably imbued enough people with an unquestioning belief in the church to keep them immune from the blandishments of radicals on the left and fascists on the right. That's no small accomplishment.
8/10.
Having seen the (in my opinion excellent) "Dirty Pretty Things" before, I knew pretty well what to expect from Stephen Frears. I expected to see a socially engaged drama and that's exactly what I got. This time however, the movie is situated during the time of the Depression and not at the present day. But being very interested in that time period, that was just another fine reason to watch this movie.
It tells the story of two young children in Liverpool during the Depression, called Liam and Teresa. When their dad loses his job at the ship yard, their family is facing very difficult times. Blaming the cheap Irish labor and the rich Jewish owners, their dad joins the fascists. In the mean time Liam is about to make his first Holy Communion, which makes it even more difficult for the poor family, because it will cost them too much money on new clothes. Their father, too proud and stubborn to ask for help, hating the church for their immoral behavior (monthly asking for more money, while they already have so much and the family hasn't got anything left) and hating all people who aren't 'English' he decides to go for drastic measures. But just as his hatred reaches its top, it will all explode into his own face...
When you aren't able to face criticism on the Catholic church, you better don't even think about watching this movie. You'll find plenty of it from the beginning until the end and I know that not too many people like that or are able to cope with it, believing that it is not true or perhaps exaggerated. But it has to be said that it isn't wrong. Despite what many of you might believe, this was really the way how it all went at that time (My mother told me several times that even in the fifties and sixties this was still common practice). However, when you are able to cope with that anti-religious 'fanatism', you'll see that this is a very good and relevant social drama. The story does a very good job in showing the poverty, the rise of fascism, the desperation and the tough grip that the Catholic church had on the ordinary man and woman. Of course, this story would have been nothing if it hadn't been supported by a fine cast. Especially the young Anthony Borrows did a very nice job, but the other actors like Ian Hart, Claire Hackett, Megan Burns,... sure deserve to be mentioned as well.
Overall this is a very nice movie with a very good story, some fine acting and a sober, but powerful message. I really liked what I saw and I consider this as the second hit for Stephen Frears. I give it a 7.5/10.
It tells the story of two young children in Liverpool during the Depression, called Liam and Teresa. When their dad loses his job at the ship yard, their family is facing very difficult times. Blaming the cheap Irish labor and the rich Jewish owners, their dad joins the fascists. In the mean time Liam is about to make his first Holy Communion, which makes it even more difficult for the poor family, because it will cost them too much money on new clothes. Their father, too proud and stubborn to ask for help, hating the church for their immoral behavior (monthly asking for more money, while they already have so much and the family hasn't got anything left) and hating all people who aren't 'English' he decides to go for drastic measures. But just as his hatred reaches its top, it will all explode into his own face...
When you aren't able to face criticism on the Catholic church, you better don't even think about watching this movie. You'll find plenty of it from the beginning until the end and I know that not too many people like that or are able to cope with it, believing that it is not true or perhaps exaggerated. But it has to be said that it isn't wrong. Despite what many of you might believe, this was really the way how it all went at that time (My mother told me several times that even in the fifties and sixties this was still common practice). However, when you are able to cope with that anti-religious 'fanatism', you'll see that this is a very good and relevant social drama. The story does a very good job in showing the poverty, the rise of fascism, the desperation and the tough grip that the Catholic church had on the ordinary man and woman. Of course, this story would have been nothing if it hadn't been supported by a fine cast. Especially the young Anthony Borrows did a very nice job, but the other actors like Ian Hart, Claire Hackett, Megan Burns,... sure deserve to be mentioned as well.
Overall this is a very nice movie with a very good story, some fine acting and a sober, but powerful message. I really liked what I saw and I consider this as the second hit for Stephen Frears. I give it a 7.5/10.
- philip_vanderveken
- Jul 10, 2005
- Permalink
Move a Dickens story up into the time of the Depression. Add elements of Steinbeck's "Grapes of Wrath." Add the blackshirt Fascists from "1900." Add a little boy whose father and brother are involved in desperate economic problems complete with unions and favoritism, as in "Billy Elliot."
Make it very dark, and very drear. Let the camera see drearily, smokily, darkly, unclearly.
Let the characters speak in their own, natural way, without regard to an American audience having difficulty understanding them.
This is "Liam." It is an indictment of religion, the undeniable caste system of the UK, and of government in general. It is a film that was difficult to watch, although never did I say anything like "this is bad." It was just difficult to watch.
Everything rang true, and it was heartbreaking, with a few uplifting moments...but very few. This is an excellent film, a very well-acted film, well-directed and with an excellent screenplay. But difficult to watch, in spots.
Make it very dark, and very drear. Let the camera see drearily, smokily, darkly, unclearly.
Let the characters speak in their own, natural way, without regard to an American audience having difficulty understanding them.
This is "Liam." It is an indictment of religion, the undeniable caste system of the UK, and of government in general. It is a film that was difficult to watch, although never did I say anything like "this is bad." It was just difficult to watch.
Everything rang true, and it was heartbreaking, with a few uplifting moments...but very few. This is an excellent film, a very well-acted film, well-directed and with an excellent screenplay. But difficult to watch, in spots.
I was surprised to see so many negative comments, mainly from the U.S This is an utterly engrossing film, not a minute of it's content is superfluous and I was engrossed throughout the whole 90 minutes. The acting was superb from all and Liam will break your heart! the plot may have been a little far-fetched, but everything else was absolutely spot on,the religious aspect in particular sent chills through me, it was so real believe me!. This is another wonderful piece from Jimmy McGovern and I recommend it whole heartedly.
While the character young actor, Anthony Borrows, plays in this movie is apparently seven years old, Borrows himself seems to be no older than five or six. That's what--kindergarten age? As in "Ponette", I can hardly believe that these youngsters are "acting". I can't "catch" them acting! They are completely believable and their hearts and minds flash in fully-translated expression across their faces.
Even animals in movies show their training. These child-actors do not!
You should consider seeing this movie, if only to witness the amazing performance given by young Borrows!
Even animals in movies show their training. These child-actors do not!
You should consider seeing this movie, if only to witness the amazing performance given by young Borrows!
- cineaste-4
- Jun 4, 2001
- Permalink
I found this a very well-rounded film. Fabulous performances given by all and in particular the young boy playing Liam. Not overly indulged with the writers opinions and not given so much information that the audience couldn't think for themselves. Nice visual touches and only 90 minutes long!
LIAM is a child growing up in London during the great Depression of the '30s, attending a Catholic school where the fear of God dominates every utterance from his teacher and his priest, watching the intense family quarrels that erupt out of the poverty he witnesses when his father loses his job and is unable to get another one.
The religious aspects of the harsh Catholic teachings rings true in every scene and the behavior of the schoolboys in Liam's class is about as natural and real as you can ever expect to see on screen. In fact, the entire cast never misses a beat in being true to form, so moving are all the performances.
It's a dark tale, almost Dickensian in tone as it deals with the harsh realities of life in an impoverished family. It also deals with the class conflicts in the caste system, the animosity of the Irish father toward the Jews and the Fascists who seemed to be taking over the country, finally driving him to commit an act of desperation that backfires when his own daughter is horribly burned.
Well directed by Stephen Frears, the biggest handicap are the accents which I had to overcome by using the caption feature on my TV remote. Only then, did I catch every word spoken by the little boy, ANTHONY BORROWS, the solemn and earnest tyke who manages to steal every scene that he's in with his wide-eyed gaze and natural acting abilities. He's an amazing member of an excellent cast.
The religious aspects of the harsh Catholic teachings rings true in every scene and the behavior of the schoolboys in Liam's class is about as natural and real as you can ever expect to see on screen. In fact, the entire cast never misses a beat in being true to form, so moving are all the performances.
It's a dark tale, almost Dickensian in tone as it deals with the harsh realities of life in an impoverished family. It also deals with the class conflicts in the caste system, the animosity of the Irish father toward the Jews and the Fascists who seemed to be taking over the country, finally driving him to commit an act of desperation that backfires when his own daughter is horribly burned.
Well directed by Stephen Frears, the biggest handicap are the accents which I had to overcome by using the caption feature on my TV remote. Only then, did I catch every word spoken by the little boy, ANTHONY BORROWS, the solemn and earnest tyke who manages to steal every scene that he's in with his wide-eyed gaze and natural acting abilities. He's an amazing member of an excellent cast.
When little Liam's father loses his job during the Depression, the family struggles to hold things together. As the world around them comes apart, we see how everyone in the family deals with the stress in their own way. Liam's dad joins the fascists, his brother attends secret meetings of the socialists, his sister goes to work as a housekeeper for a wealthy Jewish family, and Liam searches for answers in Catholicism, under the strict guidance of his haggard mum, his teacher, and the local priest.
As life becomes increasing more insecure, people begin to turn more desperately to their own belief system for answers. Religious, ideological, class and family ties all compete for primacy. We see Protestant versus Catholic, gentile versus Jew, fascist versus socialist, neighbor versus neighbor and father versus son. Unfortunately, life is not so simple as that, and each family member finds themselves torn between their loyalty to their loved ones, and their own pride and perception of righteousness. The tragic climax leaves no doubt as to the director's own perspective.
The young actor who plays Liam is perfectly cast as an innocent child forced to deal with the harsh realities of life. Although reminiscent of some recent films, this one is more raw than "Life is Beautiful" and more genuine than "Billy Elliot." This is not a movie for anyone who is merely seeking an escape, as it demands an intellectual commitment from the viewer. And while it makes some profound points beautifully, it ultimately leaves you with more questions than answers.
As life becomes increasing more insecure, people begin to turn more desperately to their own belief system for answers. Religious, ideological, class and family ties all compete for primacy. We see Protestant versus Catholic, gentile versus Jew, fascist versus socialist, neighbor versus neighbor and father versus son. Unfortunately, life is not so simple as that, and each family member finds themselves torn between their loyalty to their loved ones, and their own pride and perception of righteousness. The tragic climax leaves no doubt as to the director's own perspective.
The young actor who plays Liam is perfectly cast as an innocent child forced to deal with the harsh realities of life. Although reminiscent of some recent films, this one is more raw than "Life is Beautiful" and more genuine than "Billy Elliot." This is not a movie for anyone who is merely seeking an escape, as it demands an intellectual commitment from the viewer. And while it makes some profound points beautifully, it ultimately leaves you with more questions than answers.
- princesss_buttercup3
- Jun 18, 2008
- Permalink
Jimmy McGovern is never afraid of using a sledgehammer to crack a walnut, but at least he's found Stephen Frears to wrap his ranting against the Catholic church and right-wingers in a touching family drama. Small and impudent - much like it's titular hero.
I thought it was a very moving film, really got the viewer involved. Showed understanding and made you feel apart. It has it's good sense of humour, seriousness and reality. The characters were brilliant,I especially enjoyed the little boy who played Liam, (Antony Burrows) and I thought the Jewish Family (The Samuel's) were very good in particular. My favourite and best part of the film, I have to say was at the end, when the daughter at the Jewish House, Jane Samuels (Gema Loveday) takes on her dramatic scene. Overall, I highly recommend 'Liam' and congratulate all those which took part, thank you.
There is nothing in this film that I haven't seen before. If, perchance, you don't know that poverty and anti-Semitism are bad, or that chronic unemployment can lead otherwise decent people to become embittered, or that pre-Vatican II Catholic schools were rigid and doctrinaire and tried to scare the daylights out of little children with terrifying depictions of hell, or that pre-pubescent boys are curious about sex, especially about what women look like naked, then this is just the film for you. If, in addition, you like ludicrously improbable and melodramatic endings intended to get your tear ducts flowing, then rush to see this film. Otherwise, stay home.
- wjfickling
- May 21, 2003
- Permalink
I had to write a review for this movie after watching it in its entirety just to see what was up with the mixed reviews for this movie. This movie is a must-see movie in my humble opinion. I cannot understand the reviews that state that this movie is everything from boring to something that shouldn't have been made. I suspect that some reviewers had ulterior motives in giving this movie negative reviews. Religious people may find this movie offensive as it portrays Catholics as hypocrites and heartless. First of all, this movie has a story that is quite frankly disturbing in some sense. It does not sugar-coat the facts of the times in industrial Depression-era Britain of circa 1930's. The struggle is portrayed quite well by the actors especially the boy and the girl. Yes, it is indeed a story seen through the eyes of a boy primarily but it is also shown throughout the characters who did a fantastic job. It does what a movie is supposed to do, entertain. But this one also makes one think to the deepest of one's soul. The rich tapestry of the story is quite endearing. The moral of this story is can be seen in the result of how religion can create conflicts that do not have to take place. Yes, religion has its place in our history. But for all the good that religion does it also rears its ugly head in the way religious people and clerics use it to defend their own agendas. The bible is often referred to in order to justify injustices against a group of people be they Jews or gays. It is interesting to see how it can ultimately destroy not only the victims but also the offenders in this story. In this case the radicals in this movie committed a crime against the Jews only to hurt a member of their own people. I just wanted to bring up an article I had read today in the newspaper before I watched the movie because it was quite relevant to the story. In this article, seen in the Honolulu Star-Advertiser, June 17, 2010, Gay Marriage Ban Framed as War. The anti-civil union group's defender, Charles J. Cooper, is quoted as saying, "The marital relation is fundamental to the existence and survival of the race...Without the marital relationship, society would come to an end." In this day and age of society you would think that we would have learned from our mistakes but that hasn't happened. We continue to spew out hatred and bigotry in order to further our own agenda be they personal or religious to the cost of a segment of society who suffer from inequality. This is the United States but yet here we have the religious sector deciding who and who should not receive the benefits bestowed on a certain group of people. All you have to do is change the Jews in this movie to gays and you have a similar experience that is current. I will only say that we have the power to speak up and I have. I have volunteered in the cause against discrimination and this is the same kind of discrimination that goes on today. Watch this movie and you will be moved by the issues as they are in fact relevant today.
- johnhonoluluhawaii
- Jun 16, 2010
- Permalink
LIAM is directed by Stephan Frears & that was the main reason I watched it, I viewed a very bleak, sad tale of a dysfunctional family in Liverpool during the 1930`s. The title character is 6 year old lad who has a speech impediment.Ian Hart is the father of Liam, a teen age daughter & an older son. The actress who plays his wife is a very hard woman to figure out,She seems to show no love for her family, BUT she does love them in here own way. This is also a tale of the Catholic Church & how the priests & teachers brainwashed the childem. These scenes came accross as anti-catholic in my eyes. The acting & direction are first rate, BUT this is such a sad bleak tale I find it hard to recommend.
My rating is mainly for the acting & settings, music & other production values.
*** 85 points/100 IMDb 7
My rating is mainly for the acting & settings, music & other production values.
*** 85 points/100 IMDb 7
My first question after seeing this film was, "Why is the title LIAM?" If the intent was to tell a story from the boy's perspective, it was not carried out well. Of course there was the formulaic use of camera angles in the boy's scenes, but much of the crucial action took place outside of his field of view. Having a "main" character unable to speak (obviously suggesting the mute, powerless position of a child) makes it difficult to give that character much depth.
Melodrama is defined as: "dramatic or other literary work characterized by the use of stereotyped characters, exaggerated emotions and language, simplistic morality, and conflict" LIAM fits this definition to a T. The viewer is hit over the head with the typical stereotypes of the fire and brimstone Catholic Church in the stern school marm and the well-fed priest squeezing money from parishioners. (A stereotype which is becoming very tiresome.) What's more--the Jewish characters are money lenders and factory owners!
Much of the film was predictable...Who didn't think that we'd see Theresa scrubbing the toilet after her mother had told her "No daughter of mine will scrub another woman's toilet!" I'm a fan of British realism if it's done well. In my opinion, LIAM is not.
Melodrama is defined as: "dramatic or other literary work characterized by the use of stereotyped characters, exaggerated emotions and language, simplistic morality, and conflict" LIAM fits this definition to a T. The viewer is hit over the head with the typical stereotypes of the fire and brimstone Catholic Church in the stern school marm and the well-fed priest squeezing money from parishioners. (A stereotype which is becoming very tiresome.) What's more--the Jewish characters are money lenders and factory owners!
Much of the film was predictable...Who didn't think that we'd see Theresa scrubbing the toilet after her mother had told her "No daughter of mine will scrub another woman's toilet!" I'm a fan of British realism if it's done well. In my opinion, LIAM is not.
It is surprising to read some of the reviews obviously from the young and wealthy. Life, even 50 years ago, was like this in the north of England. A Hovis advert maybe but a totally brilliant film, beautifully observed, with all the settings and trimmings of the era.
How many others can remember this kind of school, the hard life in the home, the metal bath - usually in front of the fire. The film was faultless. The children superb and the adults just as I remembered them. 10 out of 10
How many others can remember this kind of school, the hard life in the home, the metal bath - usually in front of the fire. The film was faultless. The children superb and the adults just as I remembered them. 10 out of 10
- curtin_optom
- Sep 17, 2001
- Permalink
This is yet another British movie which needs subtitles for us poor Americans to understand the dialogue. Shaw was right when he said that the US and the UK were two countries separated by a common language.
That said, this was a fairly intriguing and involving story, beautifully photographed and starring a tremendously cute kid who can also act.
That said, this was a fairly intriguing and involving story, beautifully photographed and starring a tremendously cute kid who can also act.
Dont expect this movie to surprise you. Its a movie on a family that faces poverty and starvation, how each member deals with this new situation, and the consequences that separate actions bring to the group. The little boy is endearing and keeps you involved as a viewer. The whole society/school/religion/prejudice and its permanent effects on peoples lives is there well dealt with, albeit on a predictable fashion.
Just regular.
Just regular.
violence begets violence. The father by projecting hate and prejudice lost the respect and love of his family. It shows how your situation cannot be better by unlawful acts and deeds. From being a sympathic character to one that lost everything, the father stands out in these troubled times as a symbol of what wrong actions can produce.
This small gem of a film aims at depicting a case of classic poverty in the Great Depression. It shows how a family who would otherwise had led a fruitful and happy life is thrown into abject misery after the father and sole breadwinner loses his job. It also shows what misery does to people and the fateful mistakes that it makes them commit, as they are struggling to retain their dignity in impossible circumstances.
The sociological analysis implicit throughout the film never gets in the way, however, thanks in large part to the superlative cast. Of particular note : Ian Hart, as LiamÕs father, who proves once more that he is one of the important British actors of his generation, and the 7-year old Anthony Borrows whose naturalness in taking directions (one can hardly talk of acting at that age!) is stupendous.
LIAM is a film demanding of its audience. For one, it is essentially visual as it means to show the adult world as seen by a young boy - Liam - whose soul is full of ideas, impressions and desires, but who is prevented from expressing them in words because of a serious speech impediment. As a result, and while there is a rich and subtle dialogue, much of the filmÕs substance is, in fact, conveyed in pictures requiring constant attention. LIAM is a film that rewards repeated viewings.
LIAM is also demanding because, dealing with a particular time and place - the slums of Liverpool where, about a decade later, the future Beatles would be born -, it presupposes that the viewer will be more familiar with the local circumstances than is actually the case with most of us. I picked up a few topical references, but I am sure that I missed many others. Of particular importance to make sense of a key scene is the knowledge of the fact that stammerers are fluent when they sing.
Finally, some will find it hard to watch such a sad story. Sad, it certainly is, but not relentlessly so. To begin with, Frears has a keen sense of the small pleasures of life and there are a number of scenes (e.g. the afternoon at the movies and its joyful aftermath) where he celebrates them. More importantly, there is the intelligence and inner strength that emanate from LiamÕs eyes, and, while watching him in the final scene, earnestly combing his sisterÕs hair, one gets a sense that, somehow, in spite of the cards stacked against him, the brave little boy will not only survive but thrive and live to tell his story - perhaps as a film director.
As Mrs.Cooper used to say in THE NIGHT OF THE HUNTER, Òchildren are strong, they abide and they endureÓ and they are the hope of the world, points magnificently driven home in LIAM.
Having said this, LIAM could also be a better film.
As is, it suffers from two main weaknesses.
Firstly, the screen-play lays it a bit thick on the Catholic Church, traditional Irish style. Undisputably, all that you see and hear is a true testimony on the stern messages that that Church used to preach to its flock, complete with terroristic sermons meant to make the faithful feel personally responsible for the sufferings of Christ on the cross and frightening metaphors of the everlastingness of the eternal punishment that awaits sinners in hell. The point is well taken, and perhaps could bear some limited repetition, to give us a sense of how such notions were unceasingly hammered into the Irish mind, but by the seventh or eight time around, the critical view has turned into an all-out attack which has turned into a caricature. Now, a caricature is an object of fun and ridicule, and, with Anne Reid and Russell Dixon hamming it up as the schoolmistress and the priest like a pair of merry buffoons, we are in for some famous entertainment! Admittedly, the story is gloomy enough that we may have use for some comic relief. At the same time, however, the most precious qualities of the film, its seriousness and its objectivity, the NON-JUDGEMENTAL value of its examination of the human condition, are badly compromised.
Secondly, the filmÕs approach of the issue of antisemitism is curiously problematic. LiamÕs dad becomes a fascist because he is convinced that Òthe JewsÓ own the world and run everything in it - therefore, they must be responsible for his misery. I am sure that Frears and McGovern disagree with that view, and yet it so happens that, in their film, ALL of the characters who own property and thus hold the key to the economic survival of the others are Jewish - as if to confirm the contentions of fascism! Truly there was not need to make the landowner a Jew in addition to the pawnbroker and the industrialist, or to make the latter the owner of the selfsame factory where LiamÕs dad was laid off. Also, generally speaking, and in spite of some nice touches, the Jewish characters remain sketchy and abstract, except for the pawnbroker, whose distress at the sight of his shop burned down by the black shirts is sure to break your heart - a fine piece of body-language acting on the part of Arnold Brown.
The sociological analysis implicit throughout the film never gets in the way, however, thanks in large part to the superlative cast. Of particular note : Ian Hart, as LiamÕs father, who proves once more that he is one of the important British actors of his generation, and the 7-year old Anthony Borrows whose naturalness in taking directions (one can hardly talk of acting at that age!) is stupendous.
LIAM is a film demanding of its audience. For one, it is essentially visual as it means to show the adult world as seen by a young boy - Liam - whose soul is full of ideas, impressions and desires, but who is prevented from expressing them in words because of a serious speech impediment. As a result, and while there is a rich and subtle dialogue, much of the filmÕs substance is, in fact, conveyed in pictures requiring constant attention. LIAM is a film that rewards repeated viewings.
LIAM is also demanding because, dealing with a particular time and place - the slums of Liverpool where, about a decade later, the future Beatles would be born -, it presupposes that the viewer will be more familiar with the local circumstances than is actually the case with most of us. I picked up a few topical references, but I am sure that I missed many others. Of particular importance to make sense of a key scene is the knowledge of the fact that stammerers are fluent when they sing.
Finally, some will find it hard to watch such a sad story. Sad, it certainly is, but not relentlessly so. To begin with, Frears has a keen sense of the small pleasures of life and there are a number of scenes (e.g. the afternoon at the movies and its joyful aftermath) where he celebrates them. More importantly, there is the intelligence and inner strength that emanate from LiamÕs eyes, and, while watching him in the final scene, earnestly combing his sisterÕs hair, one gets a sense that, somehow, in spite of the cards stacked against him, the brave little boy will not only survive but thrive and live to tell his story - perhaps as a film director.
As Mrs.Cooper used to say in THE NIGHT OF THE HUNTER, Òchildren are strong, they abide and they endureÓ and they are the hope of the world, points magnificently driven home in LIAM.
Having said this, LIAM could also be a better film.
As is, it suffers from two main weaknesses.
Firstly, the screen-play lays it a bit thick on the Catholic Church, traditional Irish style. Undisputably, all that you see and hear is a true testimony on the stern messages that that Church used to preach to its flock, complete with terroristic sermons meant to make the faithful feel personally responsible for the sufferings of Christ on the cross and frightening metaphors of the everlastingness of the eternal punishment that awaits sinners in hell. The point is well taken, and perhaps could bear some limited repetition, to give us a sense of how such notions were unceasingly hammered into the Irish mind, but by the seventh or eight time around, the critical view has turned into an all-out attack which has turned into a caricature. Now, a caricature is an object of fun and ridicule, and, with Anne Reid and Russell Dixon hamming it up as the schoolmistress and the priest like a pair of merry buffoons, we are in for some famous entertainment! Admittedly, the story is gloomy enough that we may have use for some comic relief. At the same time, however, the most precious qualities of the film, its seriousness and its objectivity, the NON-JUDGEMENTAL value of its examination of the human condition, are badly compromised.
Secondly, the filmÕs approach of the issue of antisemitism is curiously problematic. LiamÕs dad becomes a fascist because he is convinced that Òthe JewsÓ own the world and run everything in it - therefore, they must be responsible for his misery. I am sure that Frears and McGovern disagree with that view, and yet it so happens that, in their film, ALL of the characters who own property and thus hold the key to the economic survival of the others are Jewish - as if to confirm the contentions of fascism! Truly there was not need to make the landowner a Jew in addition to the pawnbroker and the industrialist, or to make the latter the owner of the selfsame factory where LiamÕs dad was laid off. Also, generally speaking, and in spite of some nice touches, the Jewish characters remain sketchy and abstract, except for the pawnbroker, whose distress at the sight of his shop burned down by the black shirts is sure to break your heart - a fine piece of body-language acting on the part of Arnold Brown.
The film was produced well. The actors were all very good especially the little boy Liam. I did fell that the film was more antisemitic than i thought it would be. Overall i would give it a 9.5/10. It is a film i would recommend more to the older generation rather than younger people.
This film is perfectly cast, perfectly performed, perfectly directed, and is a truly engaging and wonderful story. THIS is what film making is ALL about! Thank you Stephen Frears!!!!
Stephen Phrears needed to say that he hated church, So he took a very "in the rules" movie(with cliches i mean) and a very nice boy to make a monstrous movie! Acting the script looses focus, the actors try to handle it but... I don't blame him but this movie has NOOOO prurpose, we seen it again and again!
- billy_loomis1
- Jul 20, 2001
- Permalink
this movie told a story that was hard to tell and they did it well. the last couple of years as had many up lifting and happy ending british films that have done well in the US, but LIAM breaks that and has a sad story with a sad ending that leaves us with little up for this family that has been torn this way and that way.
has a 6 year old character ever been cuter? his lack of speaking skills was the perfect handicap for this boy in this movie. it makes you melt inside when he tries to tell the priest he saw his mother naked.
beautiful.
beautiful.
- the_romeo_error
- Apr 27, 2003
- Permalink
I don't recommend this movie and let me tell you why...
This movie has sentiment but it is exaggerated. The characters become monsters for the viewer to hate them and distance him/herself from them. This is an everyday family in a difficult period for England. I don't know if people that could connect with the specific period could see something I didn't. However, the story is too instructional and stereotypical. The whole movie seems to shout:
"The Catholics miseducate their children" "Fascism is hatred that can be self-destructive"
Other stereotypical comments are there, which concern guilt, love and hate, money, pride etc. Frankly, I prefer being in class and preached with outrageous religious beliefs (which I detest), than being treated like a kid that should buy what it sees... I graded it with a 5/10 although I might have overestimated it.
This movie has sentiment but it is exaggerated. The characters become monsters for the viewer to hate them and distance him/herself from them. This is an everyday family in a difficult period for England. I don't know if people that could connect with the specific period could see something I didn't. However, the story is too instructional and stereotypical. The whole movie seems to shout:
"The Catholics miseducate their children" "Fascism is hatred that can be self-destructive"
Other stereotypical comments are there, which concern guilt, love and hate, money, pride etc. Frankly, I prefer being in class and preached with outrageous religious beliefs (which I detest), than being treated like a kid that should buy what it sees... I graded it with a 5/10 although I might have overestimated it.