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Loach’s main characters are never content to wallow in the trough of despair. Leigh-is never looking for laughs, and he certainly never gets any. Loach’s gallery of protagonists makes Mike Leigh’s assemblage of pétit-bourgeois grotesques look overprivileged by comparison. There isn’t a director I know who goes so regularly into the lower depths of society. Loach once again reaffirms his honored position as one of the world’s most passionate and compassionate filmmakers, a champion of the poor, the depressed and the oppressed for close to 40 years. Nonetheless, the dramatic power of Sweet Sixteen renders it beyond such satiric gibes at its “foreign film” artiness. I remain obdurate, however, not only in force-feeding my students all-talky-in-French Eric Rohmer films, but also in continuing to insist that all movies should be subtitled-too many actors have sacrificed audibility for what they perceive as a mumbling authenticity. It’s bad enough when the film is set in a foreign country, but to need subtitles for characters in an English-language setting strikes many as the height of absurdity. Lockhorn, neatly summed it up after coming out of an “art house” theater: “I knew we were in trouble when the coming attractions were in subtitles.” Even some of my students-scholars of film-complain that reading subtitles distracts them from a serious contemplation of the visual images. One of my favorite comic-strip Philistines, Mr. Laverty for offering translation for the almost incomprehensible Greenock and Port Glasgow dialect spoken by a cast made up mostly of virtual amateurs.įor a great many people, the prospect of watching a film with subtitles leads to one’s face crinkling up in distaste. Ken Loach’s Sweet Sixteen, from a screenplay by Paul Laverty, could be disparagingly described as an English-language film about the Scottish working class with English subtitles.