Ken Loach, one of the great masters of British social realism, offers with The Last Pub a narrative that combines the filmmaker’s unmistakable style with deeply relevant themes. However, the approach, this time, is somewhat didactic and predictable, which dilutes part of the emotional impact that Loach seeks to achieve.
Set in a decaying village in the northeast of England, the film follows TJ Ballantyne (Dave Turner), the owner of a pub that is the last refuge of a community devastated by the closure of the coal mines. The arrival of Syrian refugees, including the young Yara (Ebla Mari), shakes up the local routine and exposes the prejudices and tensions latent in the population.
The script by Paul Laverty, a frequent collaborator of Loach, does not shy away from acid humor, but is predominantly serious and thoughtful. Laverty conveys his messages in a clear and direct, almost didactic way, making the film’s themes conveyed without intermediaries. This, however, ends up creating a feeling that we are being led through a narrative with a predefined purpose, leaving little room for subtlety.
Dave Turner brings a grounded and melancholic performance to TJ, conveying the essence of a man torn between his commitment to the pub’s regular customers, many with xenophobic views, and his desire to help the refugees. Ebla Mari, on the other hand, embodies Yara with a quiet strength and determination, despite some overly expository lines.
The film does not shy away from its intentions. When TJ talks about injustice and how we often blame those below us in the social hierarchy, or when Yara explains her exile in a didactic way.
The supporting characters, such as Charlie (Trevor Fox), the bigoted local, and Tania (Debbie Honeywood), the village idealist, help to populate the setting with credible figures, who reflect the naturalistic realism that Loach always sought. This strong performance by the cast, along with Robbie Ryan’s naturalistic photography, which viscerally captures the harshness of life in the village, contrasts with the simplicity of the script.
“It takes strength to make something beautiful.”
The film’s structure, however, tends to follow predictable paths, with deaths and interactions supposedly designed to draw tears. These narrative mechanisms, although effective in provoking emotional reactions, do not feel genuine, giving the audience the feeling that their emotions are being manipulated.
The Last Pub is, without a doubt, a work full of good intentions and important messages, especially in a global context where migration flows and prejudices have become constant issues. Even so, the explicit preaching and lack of nuances in the narrative may alienate some audiences who seek a more authentic emotional connection and a less directed cinematic experience.
“This is not charity, it is solidarity.”
Ken Loach, in his supposed last film, offers a toast to his legacy of social realism, but perhaps a toast that leaves a somewhat bittersweet taste in the mouth. The Last Pub reminds us of the power of small kindnesses and solidarity in times of crisis, but does so in a way that sometimes sacrifices authenticity in favor of didacticism.
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