Nada como un “gran hermano” provisto con las mejores armas disuasorias, para que el súbdito sumiso y mantenedor sufrido de la bonanza sin límites de unos pocos se ponga manos a la obra, cuando retintinea en exceso alguna voz discordante en contra del discurso oficial.
El tándem formado
por el director Ken Loach
y el guionista Paul Laverty
nos traslada a una Irlanda rural de principios del siglo XX. Allí la opresión
ejercida por las autoridades eclesiásticas atenazan insoportablemente las
ansias vitales de unos jóvenes cuyas actitudes no se atienen en forma alguna a
lo que la moral católica dictamina como el único y auténtico credo que deben
seguir.
Jimmy´s
Hall
es un alegato contra toda forma de poder sustentada en la mordaza, en
“aleccionar” al pueblo con consignas atribuladas, faltas de poder ilusionante y
a la vez tan ilusorias como la voz que las proclama. Una pandemia clerical que
intenta ahogar a manos del padre Sheridan (Jim Norton), en sus propias aguas, a los feligreses que
como Jimmy (Barry
Ward) retan a tan veneradas instituciones
(esta vez no a capa y espada), sino con
modernos discos de jazz, con los bailes que estos provocan y con las actitudes
tildadas de afrentas gravísimas que a ojos de la iglesia en el local tienen lugar.
El ambiente
opresivo que Loach imprime en este pueblecito irlandés, tanto en lo geográfico
como en materia política, da pie para que se puedan dar las condiciones idóneas
que la rebeldía necesita para
instaurarse en la localidad en la forma que más le ha gustado a lo largo
de la historia: esta es en forma de juventud impregnada de ansias por cometer
ese tan deleznable pecado denominado vivir.
Carlos Pérez
“Jimmy´s Hall”
The persistent challenge of a pound and tight establishment
power, as a result of interests created, apostilled with creeds of moral
stagnation and paid with the wild whip of the threat of that hell's afterlife,
or for the more skeptical or nihilistic people, simply from the tangible and
earthly whip that opens with relish the redemptive sore; it has been on so many
occasions throughout history, the model of life of which the members of this or
that community, should show until the end of their days.
Nothing like a "big brother" provided with the best weapons of deterrence, to maintain an obedient subject and maintainer patient from the boom without limits of some people to start working, when rings in excess any discordant voice against the official discourse.
The tandem formed by director Ken Loach and screenwriter Paul Laverty takes us back to an early 20th century rural Ireland. There the oppression exercised by the ecclesiastical authorities, unbearably grips the vital eagerness of some young people whose attitudes do not conform in any way to what Catholic morality dictates as the unique and authentic creed that should be followed.
"Jimmy´s Hall" is a statement against all forms of power based on
the gag, in "lecture" the people with troubled, exciting power
failures and slogans at the same time as illusory as the voice which proclaims
them. A clerical pandemic that tries to drown at the hands of Father Sheridan (Jim Norton), in its own waters to parishioners as Jimmy (Barry Ward) challenges such revered institutions (this time not
to swashbuckling), but with modern jazz records, with dances that they cause
and attitudes branded of serious affronts that take place in the eyes of the
local church.
The oppressive atmosphere that Loach prints in this
Irish village, both geographically as in the political field, it gives rise so
can be the right conditions needed for rebellion to set up in the town in the
way that most liked throughout history: this is as a youth steeped in longing
for that so despicable sin so-called life.
Carlos Pérez
Review Pilar Colomo
