Winstanley

Today the term "indie film" is a bloated cliché, misapplied to any movie with a budget under $50 million and not too much CGI, regardless of how conventional and hackneyed the film is. To see really independent cinema you have to go back to the 60s and 70s, when revolutions in the technology allowed eccentrics and visionaries, working totally outside the industry and with virtually no money, to make truly unique movies. Folks like Warhol and Waters and Anger in the US, Herzog in Germany, and the team of Brownlow and Mollo in the UK. All very different from one another (and everyone else), which is part of what makes them authentic independents. Starting when they were just 18, Brownlow and Mollo made two extraordinary history-based films. First they spent eight years (and something like 20,000 pounds, minuscule even in 1970s currency) making "It Happened Here," a what-if fantasy about England occupied by the Nazis during World War II that looks so realistic you could be fooled it's a documentary if you're history-challenged. Then, with an equally tiny budget and fierce attention to detail, they made the true-to-history "Winstanley," about the proto-democracy (and proto-Quaker, and proto-hippie) revolt of the Diggers, Levellers and Ranters in 17th-century England. Again it looks so real it's like a documentary somehow shot in the 1640s, but it's also beautiful, poetic and philosophical in a kind of Herzogian way. They're both remarkable little films, unlike anything else, that should be remedial must-see's for anyone who likes or is involved in what's called indie film nowadays.

Wonderful film. Cinematogaphy is brilliant. Story is one long overdue in telling (few people knew of the diggers prior to this film, outside of a small alternative community). Memorable scenes, such as the crossroads confrontation between the Puritan parson and Winstanley. The battle scenes at the start are artfully, sparingly, and convincingly drawn.

Winstanley himself may come off as a bit saintly, but he's nonetheless compelling, and a good choice for the role (he was a schoolteacher by trade and amateur actor). The attention to historical detail borders on the fanatical, and is well worth watching. And much of the dialogue is drawn from actual writings of Winstanley himself.

Here's the synopsis bit: in the political and social ferment following the English Civil War a pamphlet called The New Law of Righteousness, was published by Gerrard Winstanley advocating a form of Christian Communism. He set up a self-sufficient commune of "Diggers" to claim back common land for the poor and dispossessed. Which didn't please the loutish locals, or the rich landlords, and especially not pious parson Platt. Cue yobbish raids on the peace-abiding commune; the humble diggers frequently beaten up, their simple settlement smashed, their small straw-bale houses burnt down.

The film was made over a period of 6/7 years on a shoe-string with mostly amateur actors picked more on authentic look (i.e bad teeth) than credible acting ability. I've noticed that the best way to direct a non- professional cast seems to be to not give them much dialogue to say or complicated feelings to emote; just get them accentuating how they normally look and ordinarily are – which in this case meant lots of dirty plaintive faces suffering misery-inducing hardship, while wearing dopey hobbit hats.

Winstanley is played by Mike Halliwell – a teacher – who, when sermonising to his illiterate peasant flock, sounded like he was tutoring posh kids at a public school; he's earnest enough (brow is set firmly to furrowed) but not entirely convincing; too nice and polite, too 20th century well-mannered – to cut it as a rough hewn 17th century charismatic visionary.

Another 20th century incursion – altho this one seemed deliberate – was the involvement of real life "diggers": Sid Rawle's bunch of anarchic 70′s squatters recast as 17th century hippy Ranters; they monkey mad- eyed and butt-naked around the camp. Winstanley's sober (True) Levellers seemed by comparison, tame – not free-spirited, but merely meekly subservient – passively yoking themselves to yet another compliant form of pious Bible puritanism.

Considering this film was more or less made for nothing it looks great; the black and white cinematography seems to crisply authenticate all the mud and misery; rain dripped off bare branches, dripping onto blank faces, squalling over sodden pixie hovels (why did they build their dwellings so small i wonder); the sooty smoke and crackle of the campfire so tangible i was warming my hands on the laptop screen.

This film – along with Bill Douglas's Comrades – would agitate any aspiring lefty activists. I felt leftily activated enough to check out Winstanley, Sid Rawle, The Ranters, The Levellers, etc on Google. I didn't go as far as Christian Communism though. That looked a bit too back breakingly dull for me.

A great piece of independent filmmaking!Intelligent,well directed and acted.These two filmmakers had a ton of talent .Too bad they only made two films,but luckily they are both classics.This film is very much like an early Kubrick film i.e. 'The Killing'.The locations and the fact that the were lensed on a monochrome made me feel the landscapes, situations and the plight of the people.A must see for any film lover!!!

During the 17th century, Gerrard Winstanley, a bankrupt English merchant and social reformer, organizes one of the first communes to be established in the Western world along with a small band of followers known as the Diggers. Filmed in black and white, and using a cast made up mainly of amateurs, including real life activist Sid Rawle who plays a Ranter (English Revolution period anarchist-type group). it is based on the 1961 David Caute novel Comrade Jacob, and the armour used was actual armour from the 1640s, borrowed from the Tower of London. An influential film that has inspired modern day films such as A Field in England.