Michelle Coulter, who plays his mother, is a drug rehab counselor who also has never acted before, and Annmarie Fulton, who plays the sister Chantelle, has studied acting but never appeared in a film.īy using these inexperienced actors (as he often does in his films), Loach gets a spontaneous freshness scenes feel new because the actors have never done anything like them, and there are no barriers of style and technique between us and the characters. He has never acted before, but is effortlessly natural. Compston, who plays Liam, is a local 17-year-old discovered in auditions at his school.
The movie's performances have a simplicity and accuracy that is always convincing. And the mother can't make the break with the man she has learned to be submissive to. But the boyfriend can't permit that it would underline his own powerlessness. He dreams of establishing a home where he can live with his mother, his sister and his sister's child. Yes, he could break out somehow-but we can see that so much more easily than he can. He never quite understands how completely he is a captive of a system that has no role for him. "Sweet Sixteen" has a similar character Liam is sweet, means well, does the best he can given the values he has been raised with. Some will recall Loach's great film " Kes" (1969), about a poor English boy who finds joy in training a pet kestrel-a season of self-realization, before a lifetime as a miner down in the pits. Eventually he comes to the attention of a local crimelord, who offers him employment-but with conditions, he finds out too late, that are merciless. Liam and his best friend, Pinball ( William Ruane), have up until now raised money by selling stolen cigarettes, but now he moves up a step, stealing a drug stash from the grandfather and the boyfriend and selling it himself. He finds a house trailer on sale for 6,000 pounds, and begins raising money to buy it. He runs away, finds refuge with his 17-year-old sister Chantelle ( Annmarie Fulton), and begins to dream of supporting his mother when she is released from prison. The boy is beaten by the two older men, as punishment, and his precious telescope is smashed. He refuses: "You took the rap once for that bastard." But the mother is the emotional and physical captive of her boyfriend, and goes along with his rules and brutality. We see the three men during a visit to his mother in prison, where Liam is to smuggle drugs to her with a kiss. The movie's hero is a 15-year-old named Liam ( Martin Compston) who has already been enlisted into crime by his grandfather and his mother's boyfriend. In "Sweet Sixteen," there are no jobs, thus no wages. His "Bread and Roses" (2000) starred the future Oscar winner Adrien Brody as a union activist in Los Angeles, working to organize a group of non-union office cleaners and service employees. The director of "Sweet Sixteen," Ken Loach, is political to the soles of his shoes, and his films are often about the difficulties of finding dignity as a working person. True, and the only lesson I can learn from that is that in both countries too many young people correctly understand that society has essentially written them off. Hopes may be systematically dashed in this unforgiving world, but Loach and Laverty invest maximum humanity in Liam, and it seems scandalous that an 18 certificate for strong language prevented teenagers of Liam's age from seeing the film at the cinema.Yes, you say, but this movie is set in Scotland, not America.
He is chasing the dream of a caravan for his currently imprisoned, ex-junkie mum, and, tragically, it is through drug-dealing that he hopes to pay for it - in the process crossing local gangsters and jeopardising relationships with his older sister and joyriding best pal, Pinball. Liam, whose approaching birthday gives the film its title, is played with astonishing clarity and depth by non-professional actor Martin Compston.
Of their previous films, it most resembles My Name Is Joe, in both the Scottish setting (in this case, the port of Greenock on the Firth of Clyde) and the unflinching way it addresses the limited choices facing those at the bottom of the heap. This grim but moving slice of life is the fourth collaboration between Ken Loach and writer Paul Laverty.
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