Not many filmmakers can attest to pioneering an entire style of storytelling almost entirely on their own, which is the appeal of Ken Loach and his truly impressive career, which has stretched from the very start of the kitchen-sink realism movement, which he helped develop with films like Kes and Poor Cow, to the present day where he remains as active and dedicated to his craft as ever, showing the same fiery anger and fervent dedication to the trials and tribulations of the working class and other marginalized groups shunned to the side by the elites that he has spent decades attempting to combat through his films. However, while he is mostly known for subtle, nuanced explorations of the human condition that are usually quite simple and unfurnished in both style and narrative, he has sometimes taken on films that are slightly more embellished, at least in terms of subject matter and how they approach certain ideas. We find this is the case in The Wind That Shakes the Barley, one of his signature films and what many consider to be a peak in his illustrious career. Set in Ireland in the 1920s as the country was facing a number of crises relating to their desire for emancipation from the British crown, the film follows the exploits of two brothers who are radicalized into fighting for their country in the Irish War of Independence, but gradually find themselves drifting apart as they discover their ideologies are starkly different, as are their intentions for fighting in a war that has already seen so much devastation to their country and its people, and which ultimately leads to the brothers fighting on opposing sides. An intense and daring exploration of a truly dark moment in European history, handcrafted by a director whose attention to detail and willingness to have the more difficult conversations without needing to be anything other than direct in his underlying intentions, The Wind That Shakes the Barley is a very powerful film, and a major achievement in Loach’s already exceptional oeuvre, which has already been consolidated as one of the most important in the development of British cinema.

At a cursory glance, The Wind That Shakes the Barley seems like a relatively conventional war drama. Set in the past and following the experiences of a small group of characters as they face a number of intimidating challenges, the film offers some extraordinary insights into the psychology of war, and the process of growing from a mere observer to a radical participant in the continuous effort towards civil rights and social justice, which is essentially what Loach is attempting to explore with this film. His interest is not in the mechanics of war, and even less about attempting to glorify it as some admirable, courageous pursuit. If anything, Loach takes a firm stance towards pacifism – he shows how destructive war can be to the human soul, and even those who show themselves more than willing to sacrifice themselves for their country are viewed as somewhat recklessly throwing away the potential to make an actual change in the world through pursuing a path that is more constructive and not designed to bring about further devastation. Loach is a filmmaker whose opinion is always very clear, even if the underlying message may question his beliefs. He refuses to glamourize war or view these people as heroes but rather looks at the Irish War of Independence as a major moment in 20th-century history, one that was inevitable based on the political and cultural climate, where issues such as religion, identity and freedom were called into question. Through telling a story that is centred around these events, the director makes some keen observations that are quiet, intense and utterly beautiful, even if they are deeply disturbing and carry a sense of bleakness that is quite difficult to overcome when viewed through such an intense and profoundly unsettling lens, which was the entire purpose of the film and the primary reason it leaves such a profound impression and avoids hackneyed tropes usually associated with the genre.

As part of its effort to avoid becoming overly conventional, The Wind That Shakes the Barley follows Loach’s very distinct style of realism, which is about the human element more than it is the spectacle, and which employs raw, unfiltered filmmaking that refuses to be anything other than wholeheartedly genuine in terms of both the story and the approach taken to realize these ideas. The story itself is extremely simple, and it is told through a decidedly more unfurnished style, which not only aligns with the director’s refusal to portray war as anything even vaguely entertaining or grandiose (or something to be celebrated, which is sometimes used as the foundation for similarly-themed films) but also fits in perfectly with the kinds of films that he usually has made throughout his career. The film employs a bare-boned, undeniably subtle approach, which gives it a sense of both urgency and authenticity – Loach is not one to express himself in a manner that is even vaguely bombastic, and instead veers towards a very quiet, meditative style. This doesn’t indicate that the film avoids vivid depictions of war – there are some genuinely disturbing moments scattered throughout the film, but the violence punctuates scenes rather than guiding them, emerging at unexpected intervals and representing something much deeper when it comes to how it portrays the horrors of war and the challenges faced by those who endeavour to enter into conflict, particularly the moment in which they make two broad realizations: war is far more brutal than they could have ever imagined, and once ingrained in combat, it is almost impossible to turn back. These are ultimately the central themes that guide this narrative and which give The Wind That Shakes the Barley a sense of structure and allow Loach the space to develop certain concepts without betraying the deeply compassionate, earnest style of filmmaking for which he was mostly known, and which he easily brings to this film and its many poignant ideas.

The human element has always been the prime priority for Loach as a filmmaker, and The Wind That Shakes the Barley does not waver from his firm commitment to focusing on this aspect, despite its slightly more ambitious subject matter. The film is essentially the story of two brothers who grow apart as a result of small differences of opinion that eventually flourish into intense hostility for one another since they both prove to be more focused on putting their country ahead of any personal relationships. Characterization was extremely important to this film since while it is well-made and features some beautiful sequences, it is through the actors that the message is most effectively conveyed. It’s a simple premise, but it is rendered as being expansive and complex through the exceptional work done by Cillian Murphy and Pádraic Delaney, who portray the two brothers who grow apart as a result of their different beliefs, and which ultimately leads to their relationship entirely falling apart in one of the most harrowing and disturbing conclusions to a film from this era, where their refusal to waver from their position bringing a tragic end to their brotherly connection. Murphy has always been one of Ireland’s most impactful actors, and every emotion is filtered through his incredible expressivity, which conveys the entire breadth of this film. Delaney is not too far behind, being slightly secondary to Murphy, but still delivering a spellbinding and heartfelt performance that expertly navigates the ambigious space between internal conflict and outright villainy, the relationship between the two is integral to the development of his character, especially about Murphy’s performance. The supporting cast has many highlights as well – Liam Cunningham is excellent as the firebrand revolutionary who essentially radicalizes Murphy’s character, while Roger Allam is a perfect embodiment of the landed gentry and how it tends to be the epitome of excess. Orla Fitzgerald has a small but substantial role as a woman doing her part for the revolution through small acts of subversion, and she is perhaps the most tragic character in the film, at least in terms of all she witnesses, which ties the entire film together.

The Wind That Shakes the Barley is a challenging, unnerving and difficult film to watch, which seems to be the entire purpose behind Loach’s choosing to explore this subject matter, which he does with honesty and dedication to a complex subject that proves to be quite a departure from his usual narrative interests. It isn’t often that we are given such raw, honest depictions of war – usually, we find that they tend to overlook the sheer brutality, not necessarily in terms of the violence but rather the psychological element. It takes a lot of bravery to enter into combat, but this doesn’t necessarily warrant celebrating. Loach doesn’t diminish the courage of those who fight for their country, but he equally refuses to make it seem like a decision that should be taken lightly. We see the director’s distinctive opposition to the elite and their control over the lives of people who are under their service scattered throughout the film, which is as much about the Irish War of Independence as it is a stark realist tale of the extent to which politics can divide families, to the point where one is willing to sacrifice their brother due to their beliefs, and the extent to which political extremism can get in the way of human connections that are far more valuable than any wartime victory, especially when one realizes that they are not always fighting for the right cause or under the most accurate of assumptions in many instances. Harsh and unsettling, but also beautifully poetic in certain moments, The Wind That Shakes the Barley is a powerful film that pays tribute to the brave souls who fought for liberation while showing the more insidious side of war, and the extent of its destruction, both physical and psychological, and how it leaves scars that can never be entirely healed.