★★★★ / ★★★★
Billy (Dai Bradley), a fifteen-year-old with a history of theft, wakes up at six o’clock every morning and delivers newspapers before heading to school. Once there, however, he does not exhibit much interest. Within a few months, he knows he will have to get a job though his interests lack range and focus. Most of his energy is directed toward surviving bullies, often kids who are older than him, and adults on a power trip. His life at home is not any better. His mother, Mrs. Casper (Lynne Perrie), and his brother, Jud (Freddie Fletcher), are on each other’s throats constantly. When he ends up at a neighboring farm one afternoon and notices birds hovering about, something about them, perhaps their freedom, captures his interest. He hopes to have a kestrel that he can train.
It is convenient to label “Kes,” based on the book “A Kestrel for a Knave” by Barry Hines, as another film about a young person who learns the importance of taking responsibility after having and relating to an animal, but the picture is far deeper than a familiar template. Propelled by naturalistic performances, the story gathers power, first slowly and then suddenly, through the events of every day, from the mundane to the memorable and life-changing. At its best, it is feverish poetry, so relatable to those aware of the seed from which one’s passion in life has sprouted.
Billy looking for a book about falconry that details how to take care of the animal and train it, reminded me of the time when I was about seven years of age and stumbled upon a green Biology textbook in a dilapidated house with mountains of sand inside. The way the camera lingers on Billy being so transfixed on that book is a sure signal that he is not a hopeless case, despite his tiresome environment and people who treat him as if he were of little value.
Not one picture or word is shown on the book he deeply covets so I turned to my own memory, to try to imagine how it must be like for him. Maybe he struggles to make sense of certain words as I did when I read alien language in my precious book like “osmosis,” “ependyma,” and “neuroglia.” Maybe he is mesmerized by the pictures of falcons or how a trainer should hold one’s arm when summoning the bird as I did when I stared at an image of a worm’s internal anatomy. I felt him thinking, absorbing, and trying to make sense of things that may not quite match up.
Billy has a lot of anger simmering below the surface. The picture places captures human behavior with accuracy and efficiency. This is a young man so used to taking without earning. He takes the bird from its nest. He takes the book from the store. He takes money that does not belong to him. He is not surrounded by people who strive to lead by example. Many of the adults are also in the habit of taking: taking jabs in the form punishment as well as taking a private shame and letting others have it in order to experience an evanescent feeling of superiority. Notice how a hilarious football game led by the mercurial gym teacher (Brian Glover) is turned into a portrait of maddening cruelty in the locker room.
The next two memorable scenes contrast each other. Several kids are sent to Mr. Gryce’s office, the headmaster played by Bob Bowes, for being caught smoking. A tiny boy, not part of the group that has been caught, is sent by his teacher with a message for the headmaster. Mr. Gryce mistakes the boy’s purpose in being there so he, too, gets a lecture and the stick, ordered to shut his mouth every time he starts to explain. Though this boy gets only one scene, I related to him completely. I have been in a similar situation when I was a kid and it is the kind of thing I will carry with me, the anger within for being punished despite not doing anything wrong, for the rest of my life. In Mr. Farthing’s class, on the other hand, emphasis is placed on being allowed to speak, which is so important, so much more meaningful than simply telling students what to do or by censuring them. This leads to a most moving scene involving Billy and his newfound passion.
Once in a while a movie comes along, grabs you, and does not let go. “Kes,” directed by Ken Loach, is a perfect example for it demands not just to be seen but to be experienced and thought about afterwards. Many will see this and consider it old-fashioned, from the discipline imposed by authority figures to what the bird symbolizes, which may hold some weight given the right set of arguments, but what it offers transcends what is right and what is wrong by focusing on what is and its consequences.