Looking for Eric

Director: Ken Loach
Cast: Steve Evets, Eric Cantona, Stephanie Bishop, Gerard Kearns, Stefan Gumbs and John Henshaw
DVD release: 3 February 2010
Rated: MA 15+

Loach cuts inside off the left wing

When I noted that Looking for Eric was the latest film from veteran red-ragger Ken Loach, I thought ‘here we go again’. The director of films like Land and Freedom, My Name is Joe and The Wind that Shakes the Barley has made his name with those ever-so-serious dramas about little people put upon by ‘the Man’ in various guises. You know the kind of thing – everyone is depressed and angry, looking for hope in hopeless situations and generally making the audience feel miserable.

I was expecting more of the same, and for the first 20 minutes or so, I thought I might be right. But then Loach did something completely unexpected – he introduced elements of whimsy, comedy, even fantasy and proceeded to make a thoroughly enjoyable film that will actually have you smiling as you walk out of the cinema.

You see the ‘Eric’ of the title involves two major characters in the film; the fictional Eric Bishop played by actor Steve Evets and real-life footballer turned actor Eric Cantona. For the uninitiated, Cantona was one of the most prodigiously talented footballers of the 1990s, and the Frenchman became (and still is) a legend among the faithful fans of Manchester United, with whom he won several major trophies. But Cantona was the archetypal enigma; with his talent on the field matched only by the foolishness of his antics off it. His heat-of-the-moment ‘karate kick’ on a rival fan typified both his volatile nature and his sometimes appalling lack of judgment.

Early on in the film, we learn that Eric Bishop, a postman whose life is unravelling before him, is a fan not only of Manchester United but of Cantona in particular. When things become particularly stressful, Cantona actually appears in his room and they begin to speak about a wide range of things – football, of course, but also life, love and lessons learned. So we then have the rather bizarre situation of a fictional character playing off a real person who is, in the world of the film, basically a figment of his imagination. So if you’ve gotten your head around that, you’re ready to see this film.

Admittedly, Loach doesn’t stray too far from his bread-and-butter topics of earlier films – the effects of divorce, changing societal mores, the lack of social services for the most disadvantaged and the resulting attraction of crime for those people. What has changed here is his approach. Instead of the preachiness of his earlier films (which was frankly unbearable at times), Loach opts for a quirky take on the script from his long-time collaborator Paul Laverty. The stodgy homilies are replaced by a joie de vivre rarely seen in his work. The climactic scene, for example, is both hilarious and totally satisfying. Note however that there are still some pretty strong themes and language in the film, hence its MA 15+ rating.

The whole thing is cleverly edited, with footage of Cantona in full flight inter-cut into the main action. The contrast between the downtrodden working class environs inhabited by Eric Bishop and the slightly surreal world of top-flight football is well handled; as are two crucial scenes that have a definite shock value.

Steve Evets brings a real humanity and morality to Eric, a guy who’s basically just trying to do the right thing in difficult circumstances. That makes his Eric a brilliant counterpoint to the flamboyant and philosophical Cantona. Although he’s playing himself, Cantona brings a deal of self-deprecation to the part. His comical rendering of the Marseillaise on the trumpet, and his consciously self-important pronouncement “I am not a man – I am Cantona!”, emphasise the fact that he’s having fun with the material. Solid support comes from the young Gerard Kearns and Stefan Gumbs as Eric’s stepsons; Stephanie Bishop as his ex-wife Lily and John Henshaw, who’s priceless as his workmate Meatballs.

While I can see some Loach devotees being rather dismayed by Looking for Eric, for the average film watcher, this is like a breath of fresh air for the director. Perhaps it’s not as ‘important’ as some of his other works; but it’s great to see that he can have a bit of fun. Quite apart from that, Looking for Eric is also a well-made, very funny and ultimately rewarding film experience.

David Edwards