Looking for Eric


Don’t believe a word of the hype.  Looking for Eric is not a Ken Loach comedy.  It is, in several places, a very funny film indeed.  But it is not a comedy.  At a far fetched push you might call it a rom-com or a social satire.  Me?  I just think it’s another brilliant Loachian movie. (Can you believe he’s been at it for 45, yes 45, years since he wriote three episodes for z cars)?

It’s so sad, so desperate in places and then, yes, so funny.

And then there’s Eric (Cantona).  Ooh ah!

And his goals.  Ooh la la!

And his cod (sorry sardine) philosophising. Oops ah!

The Cantona character is inspired, as it is so self-deprecating- not a quality one associates with the French.

I loved this film; so did Mrs G (I love the Cameo too, where we saw it – although the seats in Cameo 2 were so uncomfortable that I was considering asking for a refund).

God, there I go again.  Moan, moan, moan.

Why is it so good?  I think it’s the way Loach makes his characters so utterly believable and, particularly in this movie, sympathetic.  And as I always, always say it’s because of the writing which is nailed on by long time collaborator Paul Laverty).

One of the back stories, about the elder stepson of Eric the postman (our hero played to perfection by Steve Evets in, I think, his first Loach movie) is really the backbone of the film.  The eldest stepson (Gerard Kearns of Shameless fame) gets embroiled in some nasty business with a local gangland thug and threatens to destabilise Eric’s whole fragile existance.  But what doesn’t kill you makes you stronger and that is certainly proved here.

It’s a gem.  A true Brit movie classic with a wee bit of the Auld Alliance thrown in.

J’adore  Eric Cantona!


Holywood studios are concerned about the effects of piracy and for some reason, I’m not up on the technical side of things, are pushing forward with the digitalisation of cinemas.  The cost of this is approximately £50k per screen and the multinationals (owned by the studios in reality) can afford to take it on the chin.

However if, like me, you prefer to buy your films in independent cinemas (in Edinburgh that means The Cameo, Filmhouse and Dominion) you may be in for a shock.  These types of cinemas simply do not have £50k a pop to do this.

The result.

Out of business.

Predictions are that 300 of the UK’s 400 independent screens will go bust.  Surely this is a one off case for government intervention.  400 x £50k is a mere £2 million pounds.

If they can sink 500 squillion into the banking network it must be worth a mere £2 million to save a way of life.

Should we start a petition?  I’m up for it.