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Bread and Roses film review
BREAD AND ROSES
Running time: 110 mins
Starring: Pilar Padilla, Adrien Brody, Elpidia Carillo, George Lopez, Jack McGee, Alonso Chavez
Until now director Ken Loach has resisted the lure of Hollywood. Despite the fact that his staunchly political films like Carla's Song< and Land And Freedom have lacked commercial appeal, he nevertheless still managed to find himself occasionally courted by the studio sirens. But it wasn't their call or the promise of untold riches that finally tempted Loach, but the opportunity to make a film about the 1999 janitors' strike in Los Angeles. Quite how he managed to get in there before the likes of Spielberg, Michael Bay or Ridley Scott made their own versions is amazing.
Despite the more exotic location, Bread And Roses is typical Loach as he once again immerses himself in the championing of the oppressed and downtrodden. This time his chosen crusade is the struggle of the non-union janitor workers of LA as they fought for justice, a decent wage and health benefits during their strike in 1999. He tells the story through the plight of Maya (Pilar Padilla) as she first arrives illegally from Mexico to join her older sister Rosa (Elpidia Carillo) in Los Angeles.
Determined and feisty, Maya cajoles Rosa into finding her work alongside her sister as a janitor at the Angel cleaning company run by the ruthless Perez (George Lopez). Perez harbours nothing but disdain for his charges, many of who, like Maya, are illegal immigrants who have no choice but to put up with him and the deplorable conditions and exploitation. Once installed, Maya encounters Sam (Adrien Brody) who is a militant activist and the leading organsier of the 'Justice For Janitors' campaign. From the outset it’s unclear whether Maya's interest is more with Sam's cause or Sam.
Sam alerts the workers to the unfair conditions Angel have imposed on them, pointing out the benefits enjoyed by their unionised colleagues, but fearful of the reprisals Perez would inflict if he found out what they were plotting, many, including Rosa who has a diabetic husband and two children to support, are less enthusiastic than Maya to take militant action.
In his conviction that it's the story and the people that are important, Loach makes no concessions to the visual harmony of his films with the result that Bread And Roses looks at times like a cheap student movie. Cinematographer Barry Ackroyd does little more than point his camera, with clearly little thought to lighting or focus. It's almost as though Loach is fearful any attempt to influence the image would somehow diminish his credibility. It's perhaps the same reason his films are so void of humour, an element that rather than detract from the film's message could actually enhance it. The rare excursions into levity screenwriter Paul Laverty does make seem stilted and forced.
Once Perez discovers their plans, his retaliation prompts Maya and the others to overcome their fears and take to the streets to promote their cause. As the stakes for the various workers become focused with their militant action, the film heads for its bittersweet climax. He may be in Hollywood, but you can guarantee they'll be no Hollywood ending for Loach.
The performances in Bread And Roses elevate the plodding story, maintaining our involvement with the characters more than the script deserves. In particular Elpidia Carillo as the defiant Rosa is effecting.
Loach has always sought out noble causes, doing his utmost to make the screen as much a form of education as entertainment. However too often, as here with Bread And Roses, his concern for the former is at the expense of the latter. And while I’m hesitant to suggest that when in Hollywood he should do as Hollywood does, I can't help feeling that he should have allowed a little more sunlight to fall on the unrelenting gloom.
