Throughout, Loach lets his screenplay lapse into lazy speechifying and characterizes most of the government workers his hero is up against as not only part of an inept, unfair system, but each individually intent on perpetuating it.Įnglish stand-up comedian Dave Johns brings the sort of spontaneous energy to his eponymous character that’s consistently made Loach’s films worth keeping up with few filmmakers are as good at workshopping a character, essentially just preferring actors to play themselves, and convincingly so, in a fictional setting.
Likewise, I, Daniel Blake may be “controversial” to a certain swath of the British populace, but it’s still a big slab of red meat for its intended audience.
Pock marked professional#
The partnership has had a great effect on Loach’s recognition: After spending over a decade, much of it during the Margaret Thatcher years, trying and failing to get projects made, it was Laverty-scripted films like 1998’s My Name Is Joe and 2002’s Sweet Sixteen that helped Loach find an audience again.īut at the same time, the core of social realism in Loach’s work, especially over the last decade, has gradually been chipped away, making room for more commercially viable decisions (for instance, the casting of professional footballer Eric Cantona, as himself, in 2009’s Looking for Eric). I, Daniel Blake is another collaboration between Loach and screenwriter Paul Laverty, the Glasgowian law student who effectively took over writing for Loach from former miner and socialist playwright Jim Allen in the mid-1990s. But it should also come as not much of a surprise, sadly, that the filmmaker’s latest is pockmarked by a lot of the same conservative dramatic conventions and broad political emotional gestures that have marred much of his work over the years, but particularly his recent output.
It should surprise no one, then, that the Palm d’Or-winning I, Daniel Blake, which heralds Loach’s return from the briefest of retirements, is a staunch antagonism of bureaucratic institutions that prevent blue-collar Brits from earning the livable wages they deserve. But the following year, Loach watched as the Conservative Party took power and the lifelong Labour supporter went back to work. cut in 1/2 inch cubes (I used soft)ġ/3 c.Ken Loach’s Jimmy’s Hall, the story of Irish communist leader James Gralton, was rumored to be the socialist-leaning filmmaker’s swan song. It arrived at the table fresh, fragrant, and so spicy hot, or la, that it actually caused sweat to break out."ġ block of tofu, 14 oz. You ordered by weight, so many grams of bean curd and so many grams of meat, and your serving would be weighed out and cooked as you watched. Chiang's Szechwan Cookbook: "Eugene Wu, the Librarian of the Harvard Yenching Library, grew up in Chengtu and claims that as a schoolboy he used to eat Pock-Marked Ma's Bean Curd or mapo doufu, at a restaurant run by the original Pock-Marked Ma herself. Another less widely accepted explanation stems from an alternate definition of 麻, meaning "numb": the Szechuan peppercorns used in the dish numb the diner's mouth.Īccording to Mrs. Although the rich merchants could afford to stay within the numerous inns of the prosperous city while waiting for their goods to sell, poor farmers would stay in cheaper inns scattered along the sides of roads on the outskirts of the ancient city. By coincidence, it was near a road where traders often passed.
Due to her condition, her home was placed on the outskirts of the city. Legend says that the pock-marked old woman (má pó) was a widow who lived in the Chinese city of Chengdu. It is thus sometimes translated as "Pockmarked-Face Lady's Tofu". Hence, Ma Po is an old woman whose face was pockmarked. Po (Chinese 婆) translates as "old woman". Ma stands for "mazi" (Pinyin: mázi Traditional Chinese 麻子,) which means a person disfigured by pockmarks. I normally don't like to use canned foods, but I will make an exception for canned mushrooms because they are pretty convenient.
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