Winstanley

Kevin Brownlow and Andrew Mollo's minor classic – a sort of pastoral Spartacus that develops into a chilly Mosquito Coast – regards the 17th century reformist-activist leader Gerrard Winstanley, and it really puts the period in period drama. Made for tuppence, it memorably recreates a time and place too often the reserve of buttoned-up aristocrats. Here it is the domain of the common digger, eking the living on God's land. Problem is, General Lord Fairfax reckons the land belongs to him.

You just have to zip over to IMDb and click on each cast member to get a taste of what an achievement this film is. Other than Jerome Willis (Fairfax himself), you're hard-pushed to find another professional actor among the cast. So yes, some of the performances are amateurish by default. But others are remarkable: aside from Miles Halliwell's titular visionary (whose brow is the very definition of furrowed), David Bramley's Parson Platt in particular stands out as a model of eerie poise and stern implacability.

But it's the photography that really brings the film to life. In sharp monochrome, all the colour of rural England seems to breathe. The faces of the ex-soldiers, scarred like land masses, look like they're filmed in 3D. And then there is the constant mood of inventiveness, with the editor (Sarah Ellis, hacking the frame with Schoonmaker-esquire skill and savagery) unafraid to lurch from extreme close-up to echoing long shot, and the directors even shifting focus to a first-person perspective during one of the many attacks on the diggers' settlement.

With its timeless themes of the stricken many versus "the covetous few", Winstanley is as relevant now as ever (not least when one offscreen character compares Winstanley's celebrity prophet to a certain Muhammad). Its unique atmosphere, striking visuals and strong plotting elevate it to essential viewing.

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!!!

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.

With all the fanfare surrounding this low-budget indie, I guess I was expecting a bit more than a series of disjointed scenes and poorly exposed cinematography. The film opens with great promise showing a well-executed battle scene interspersed with text explaining the political landscape of the mid-1600 but then rapidly goes downhill with below average technical production. There's no drama or tension to speak of. I've seen much better historical "documentaries" when I was in grammar school. A valiant effort but it doesn't hold a candle against other indie films of the period. A '4' in my book, and that's being generous.

I first watched this film in an Early Modern European history course and it blew me away. As a film buff it's interesting. It's a lot like a silent film (i.e. Griffith) with all the narrative frames in between each scene. As a socialist I find this film invaluable as a gateway to Winstanley's writings. He was truly a man ahead of his time.