Carla's Song

Ken Loach is a remarkable storyteller. Notice how subtly Carlyle's George changes from a loveable lout to noble lover; now find a recent Hollywood film that accomplishes something even close. Moving dramatically from the grey grime of Glasgow to the green pandemonium of Nicaragua in 1987, this film charts a remarkable story of how international politics becomes an international dance of love becomes international politics.

The reviewer who argues that the film glorifies the Sandinistas has it all wrong (except perhaps in the world of doublespeak where simply to treat the Sandinistas with sympathy is to glorify them . . .) Loach rather glorifies the kind of loving devotion that leads George to make a remarkable self-abnegating gesture at the end of the film. Even as I believe that the film is primarily about the love between Carla and George, I am happy for the legions of viewers in the U.S. who, upon watching this film, might be inspired to investigate what the U.s. was up to in Nicaragua in the 1980's. As Noam Chomsky so calmly puts it, U.S. involvement in sponsoring terrorism against the Sandinista government is a completely "non-controversial" issue (underlying strong, though naturally unenforceable acts of censure against the U.S. from both the World Court and U.N.). In the film, Scott Glenn has a few nice moments articulating this position. Very worthwhile. And when we finally hear Carla's song, it is moving indeed.

George Lennox is a bus driver in Glasgow who tries to go about his business in a cheerful, helpful and understanding way. When a ticket inspector takes issue with a young woman over as little as 40p, George helps her out and lets her get away. Later, the Nicaraguan exile finds George and gives him a gift to say thanks, but doesn't stay around any longer than that. George is both concerned for her and attracted to her and keeps pushing, but she withdraws more and more. Messing up her lodgings, George gets Carla a new place and tries to get to know her, unaware of where his relationship with her will take him.

A hard sell back in 1996 when it was released, not many people paid to see this and in a way it is still a hard sell now, perhaps appealing most to those who will always make the effort to see Ken Loach's work. The reason that it perhaps failed to grab an audience is that the film itself isn't sure what it is trying to do – and as a result is a bit fragmented and split. The film opens in a faltering way and it didn't convince me in how quickly it brought along George and Carla in the first stages. After this their relationship is a bit more convincing as it is brought on naturally as trust grows. At this stage Nicaragua is part of her character rather than the whole story. Gradually then suddenly the film becomes more about Nicaragua and George & Carla's relationship becomes the device to get him (the audience's eyes) into the country to learn all about it. I felt a bit like my interest in the people had been thrown out the window, and the vague attempt to make it about them towards the end didn't convince me. Loach directs with earnestness but he cannot make this work as either a political education or a character piece; varying wildly between being preachy and being touching.

The cast try hard to find this middle ground and to their credit they do pretty well. Carlyle does well to bring out a real person in George, covering up the question marks early on. He is left a bit high and dry in the second half but does his best. The same could be said of Carla, who is a person in the first half and a journey in the second. Cabezas delivers the role as well as she can and is natural and convincing throughout. Glenn has an obvious role but he is a good presence. The rest of the support cast is solid enough but the problems is with the material, not with any of the cast.

Overall then a fairly mixed affair that is as affecting as it is preachy. Easy to see why it failed to get much of an audience as it makes for an uneasy mix of ideas that don't really come off – failing to educate much more than on a superficial level and failing to produce a real character piece (that would have been better).

I am Nicaraguan by birth, but stayed away from politics while I lived in that country, although my family and myself experienced the anxiety, and sometimes the horror, of living under a totalitarian regime, even one supported by the US, such as the Somoza dynasty. Although I left for the USA three years before the final triumph of the Sandinista revolution, I visited the country many times during the Sandinistas' 10-year rule, and saw first-hand the good and bad sides of the revolution, as well as the economic hardships caused by President Reagan's (though Olly North and the CIA) support of the counter-revolutionary thugs called "contras", who decimated a whole generation of young people in that unfortunate country.

I watched this movie last night and was impressed by how true to life Ken Loach managed to keep it. Although to some people it might appear as propaganda, my own experience tells me that everything that was depicted in the film (as far as the situation in Nicaragua in 1987 is concerned) was very realistic. The enthusiasm, especially among the poor and young for the revolution was true, I saw it with my own eyes. The fervor of the literacy campaign volunteers was admirable, even though some of them were targeted as "strategic" targets by the contra forces. Also targeted for destruction were health centers (which had never before existed in many remote villages), grain silos, tobacco sheds, etc., in the areas bordering Honduras, which is where Carla's family lives. The nighttime contra raid was very realistic, I must say, even though I myself never had to live through one. But I knew people who did. The cruelty of the contras depicted in the movie was well documented by American and other media at the time.

Oyanka Cabezas' portrayal of the young woman is remarkable, and Robert Carlyle's young bus driver is spot-on. The role of Scott Glen as a reformed CIA agent, although good, is the only one I could find fault with for being a little political and perhaps preachy, but I think his comments were based on facts.

In summary, I enjoyed the film very much. You don't have to be political to appreciate injustice, poverty, love and human decency. These human vices and virtues are all very well portrayed in this story. Kudos to all involved in its making.

I saw this first at the Watershed in Bristol, a celebration of that city's twinning arrangement with the Nicaraguan town of Puerto Morazan. The town had just been devastated by Hurricane Mitch and the ensuing floods, yet the resourceful people of Morazan had emerged from the disaster without loss of life, and yet again they got on with their lives. They are used to this, after generations of bouncing back from flood, volcano, earthquake, military dictatorship and the hegemony of the global megacorporations backed by the US government. And their representatives tell us that Ken Loach's film gives their small voice a hearing.

This is my favourite amongst Loach's films. It combines its political message - an important one - with comedy and a touching love story. It should be better known.

In CARLA'S SONG, Ken Loach focuses his brand of UK social realism on The Contras and Sandinistas. The film recounts the story of a Scottish bus driver, played by Robert Carlyle, who falls in love with a beautiful woman from Nicaragua. She has been physically and psychically wounded in the revolutionary conflict of that country, and they both journey to Nicaragua in an attempt put her life back together. At face value, this seems like a weak or far fetched premise for a film, yet CARLA'S SONG demonstrates a very real and intense chemistry between the two lovers. Robert Carlyle is most convincing with his extemporaneous ad libs and off-hand comments, and they really added a sincere warmth to his character. However, subtitles were desperately needed for the Spanish speaking parts of the film, and a large chunk of the Scottish dialog was nearly uninterpretable. Overall, CARLA'S SONG renders an accurate portrait of 1980's working poor in Scotland, and a realistic view of the Sandinista Freedom Fighters as seen through the prism of a world class love affair.