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Updated 29-11-03

British film-making showed much of its potential in this marvelous production chronicling the boyhood experiences of Billy, whose expectations lead no further than following his father into the pits when he reaches manhood.

Everything changes however, when he finds Kes, a newly hatched Kestrel he steals from a nest high in a derelict tower. Their relationship becomes symbolic of a doomed attempt to escape the drudgery of the industrial North.

Kes is an incredible, moving and compassionate film, so realistic that it is often funny. Directed by Ken Loach, the most politically committed of British film-makers, Kes is an astute authentic analysis of society at large.

FILM CREDITS

Woodfall Films
A Kestrel Films production from the book ‘Kestrel For A Knave’ - Adapted by Barry Hines, Kenneth Loach, Tony Garnett

Produced: Tony Garnett Directed: Ken Loach Written: Ken Loach, Tony Garnett, Barry Hines Based on the book ‘A Kestrel for a knave’ By Barry Hines Photography: Chris Menges Edited: Roy Watts Music: John Cameron Art direction: William McCrow

CAST

David Bradley - Billy Casper Freddie Fletcher - Jud Casper Lynne Perrie - Mrs Casper Colin Welland - Mr Farthing, English Teacher Brian Glover - Mr Sugden, Games Teacher Bob Bowes - Mr Gryce, Headmaster Bernard Atha - Youth Employment Officer Robert Naylor - MacDowell Joey Kaye - Comedian Harry Markham - Newsagent Duggie Brown - Milkman Zoe Sunderland - Librarian Joe Miller - Reg, Mrs Casper's chap Bill Dean - Fish and Chip Shop man

Ken Loach
June 17, Nuneaton, Warwickshire, England
(1936 - )
Biography from Baseline

Socially conscious director whose films generally deal with the British socio-economic order and the problems of the working class. A member of the British “Free Cinema” movement of the 1950s and 60s, Loach helped develop the docudrama genre. He is well-known for his political outspokenness, feisty integrity, and the compassion with which he treats his subject matter. An uncompromising maverick, Loach was a role model for the second generation of BBC-TV directors like Stephen Frears, Mike Leigh and Roland Joffe.
Loach was a revue performer who gravitated to TV direction in the 1960s, notably with the popular BBC police series, “Z-Cars.” Loach’s debut feature, POOR COW (1967), incorporated the cinéma vérité techniques and leftist principles that had informed some of his TV work (particularly the controversial “Wednesday Play” series) to paint a sordid picture of English working-class life. Together with producer Tony Garnett, Loach went on to turn out a number of stark, socially conscious films, often featuring non-professional actors; he enjoyed critical and commercial success with KES (1969), a poignant study of a neglected Yorkshire schoolboy’s love for his pet Kestrel and his rebellion against his restrictive school system.
Loach was not very active in features for most of the 70s, with eight years passing between his psychodrama FAMILY LIFE (1971) and his somewhat atypical historical adventure BLACK JACK (1979). In the 80s Loach’s work included the well-received drama, LOOKS AND SMILES (1981) about a young man’s bleak search for work; the understated political thriller, SINGIN’ THE BLUES IN RED (1986) and HIDDEN AGENDA (1990), a political drama about a widespread conspiracy that is unearthed by an investigation into the murder of a civil rights worker in Northern Ireland.
The 90s were one of Loach’s busiest periods in terms of feature film output. In RIFF RAFF (1991) he explored the ramifications of Thatcherism through the events in the lives of ordinary working people, and in the well-received RAINING STONES (1993), Loach traced the effects of poverty by following an unemployed man as he tried to scrape together enough to buy his daughter’s Communion dress. The plight of a single mother trying to maintain custody of her large brood against England’s stringent social service system in LADYBIRD, LADYBIRD (1993), meanwhile, provided actress newcomer Crissy Rock with a role that garnered her a Silver Bear at the Berlin Film Festival.

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Ae Fond Kiss - 2003

DIR:Ken Loach

Sweet Sixteen - 2002

Martin Compston, William Ruane, Annmarie Fulton, Michelle Abercromby, Michelle Coulter

PROD:Ulrich Felsberg, Gerando Herrer, Rebecca O'Brien - DIR:Ken Loach

The Navigators - 2001

Tom Criag, Joe Duttine, Steve Huison, Andy Swallow, Dean Andrews

PROD:Rebecca O'Brien - DIR:Ken Loach

Bread and Roses - 2000

Benico Del Toro, Pilar Padilla, Adrien Brody, Elpidia Carrillo, George Lopez

PROD:Rebecca O'Brien - DIR:Ken Loach

My Name Is Joe - 1998
Peter Mullan, Louise Goodall, David McKay, Annemarie Kennedy, David Hayman
PROD:Rebecca O’Brian - DIR:Ken Loach - SW:Paul Laverty - ED:Jonathan Morris
PH:Barry Ackroyd - M:George Fenton

Carlas Song - 1996
Scott Glenn, Robert Carlyle, Gary Lewis
PROD:Sally Hibbin - DIR:Ken Loach - SW:Paul Laverty - ED:Jonathan Morris
M:George Fenton

Land and Freedom - 1996
Ian Hart, Rosana Pastor, Iciar Bollain, Tom Gilroy, Marc Martinez, Fred Pierrot
PROD:Rebecca O’Brian - DIR:Ken Loach - SW:Jim Allen - ED:Roger Smith
PH:Barry Ackroyd - M:George Fenton

Raining Stones - 1993
Bruce Jones, Julie Brown, Gemma Phoenix, Ricky Tomlinson, Tom Hickney
PROD:Sally Hibbin - DIR:Ken Loach - SW:Jim Allen - ED:Jonathan Morris
PH:Barry Ackroyd - M:Stewart Copeland

Ladybird, Ladybird - 1993
Chrissy Rock, Vladmir Vega, Sandie Lavelle, Mauricio Venegas, Ray Winstone
PROD:Sally Hibbin - DIR:Ken Loach - SW:Rona Munro - ED:Jonathan Morris
PH:Barry Ackroyd - M:George Fenton

Riff Raff - 1991
Robert Carlyle, Ermer McCourt, Jimmy Coleman, George Moss, Ricky Tomlinson
PROD:Sally Hibbin - DIR:Ken Loach - SW:Bill Jesse - ED:Jonathan Morris
PH:Barry Ackroyd - M:Stewart Copeland

Hidden Agenda - 1990
Frances McDormand, Brian Cox, Brad Dourif, Mai Zetterling
PROD:Eric Fellner - DIR:Ken Loach - SW:Jim Allen - ED:Jonathan Morris
PH:Clive Tickner - M:Stewart Copeland

Singing the Blues in Red - 1986
DIR:Ken Loach

Looks and Smiles - 1981
Phil Askham, Pam Darrel, Graham Green, Tracy Goodlad
PROD:Irving Teiltelbaum - DIR:Ken Loach - SW:Barry Hines - ED:Steven Singleton
PH:Chris Menges - M:Mark Wilkinson, Richard & The Taxmen

The Gamekeeper - 1980
Phil Askham, Rita May, Andrew Grubb, Peter Steels, Micheal Hunchcliffe
DIR:Ken Loach - SW:Ken Loach, Barry Hines (BOHN) - ED:Roger James
PH:Chris Menges, Charles Stewart

Family Life - AKA Wednesday’s Child - 1971
Sandy Ratcliff

DIR:Ken Loach

Poor Cow - 1967
Carol White, Terence Stamp, John Bindon, Kate Williams, Queenie Watts
PROD:Joseph Jann - DIR:Ken Loach - SW:Ken Loach, Nell Dunn (BOHN)
ED:Roy Watts - PH:Brian Probyn - M:John Cameron

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FOOTBALL MATCH

Whenever people talk about the film ‘Kes’ it is usually the school football match that seems to crop up the most. It is a marvellous part of the film and it has very memorable scenes within it particularly the way the games teacher, Mr. Sugden, played by Brian Glover, dives in the box to gain a penalty. Not even the Italians dive so blatantly.
Another scene within this section that has me in stitches every time is the foul by Sugden on the pupil Tibbet. After Tibbet stands and is unable to contain his anger he screams at Sugden “Ya fat twat!” an outburst for which he gets sent for an early bath.

POST FOOTBALL MATCH

After the football match Billy tries to escape the showers only to be caught on his way out by sugden. He asks Billy whether or not he’s had a shower. Billy lies that he has and then receives one of the hardest, genuine head slaps ever committed to celluloid.

OPENING CREDITS

The opening scene of the film where Billy sits up in bed by the window always makes me shiver for some reason, especially when John Cameron's beautiful flute music begins to play. No one but no one can create atmosphere like Mr. Kenneth Loach.

CANED FOR SMOKING

This site is aimed mainly at people in the 30+ age range. We remember when the cane was legally used in schools and its wrath it demonstrated beautifully in this scene. In a recent interview with David Bradley (now Dai Bradley) he revealed that the caning part of this scene was not in the script, a tact that would acquire a more natural reaction from the young actors. This is so obviously true when you see the genuine tears welling in the eyes of the youngest pupil.

A NIGHT OUT

This scene always makes me smile, the kind of pub you don't get anymore. The band, the comedian and the old dancing lady. Beautiful.

A' DON'T READ DIRTY BOOKS!

No matter how many times I watch this film (couldn’t even hazard a guess how many times) I never fail to laugh out loud here. The part that cracks me up most is when Billy claims he is 21yrs old, the Liberian then says “You’re not over 21.” to which Billy replies wide eyed “Aaah, but a-a vote”

GOT ANY SCRAPS MISSUS?

The fish and chip scene. I have no particular reason for liking this scene, I
just do.

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N.B. To any genuine Yorkshire people viewing this site, please forgive any mispronunciation/spelling errors in the following dialogue. 

NOT WORKIN’ DARN PITT!
Billy - “Am not gonna work darn pitt!”
Jud - “No. ‘An do ‘av to tell you why? For one thing you’ve to be able to read and write ‘fore they’ll set you on, and for another they wouldn't ‘av a weedy little twat like thee!”

THE MILK FLOAT
Milkman - “Ay’up young un’ ‘ow thee goin on?”
Billy - “Not so bad.”
Mm - “Why don’t ya get one of these though? This is better than walkin.”
B - “Aah, only just. ‘A could go faster on a kids scooter.”
Mm - “What? Well tha knows what I always say?”
B - “What?”
Mm - “Third class ridings better than first class walking anyday.”
B - “Ya call that third class riding in that ransack?”
Mm - “What d’ya mean ransack? This is one o’ best models dairy's got. Cheeky young un’ See thee tomorrow.”
B - “It can only go twenty miles an ‘our as it is!”

THE SCHOOL REGISTER
Form Teacher - “Casper?”
Billy - “Sir!”
Ft - “Clegg?”
Clegg - “Sir!”
Ft - “Fisher?”
Billy - “German bite...”
(Pupils sniggering)
Ft - “Did you say something?”
B - “Yes sir. ‘A didn't mean......”
Ft - “Stand up! What did you say?”
B - “German bite sir.”
Ft - “German bite...”
Other pupils - “E’s daft sir, e’s mad sir.”
Ft - “Is this your idea of a joke?”
B - “No sir.”
Ft - “Well what is the idea then?”
B - “Well when you said Fisher sir...”
Ft - “Well, what about it?”
B - “Just come out. Fisher, German bite, shippin’ forecast sir. Fisher, German bite, Cromertee. A’ like...’a like to hear it every night sir, a’ like names.”
Ft - “So you thought you’d enlighten me and the rest of the class with your idiotic information?....”
B - “No sir.”
Ft - “......Blurting out and messing up my register.”
B - “It just come out sir.”
Ft - “And so did you Casper, just come out from under a stone.”
(Pupils laughing)

DIRTY BOOKS

(Billy tries to walk past library desk)
Liberian - “Eh! Are you a member?”
Billy - “Wha...what ya mean?”
L - “Are you a member of the library?”
B - “Dont know about that. I only want a book on falconry, thats all.”
L - “Well you have to be a member to take a book out.”
B - “A.a.a only want one.”
L - “Well have you filled one of these forms in?”
(Billy stares long and hard at the form)
B - “No.”
L - “Well you’re not a member then. You’ll have to take one of these home first for you’re father to sign.”
B - “Me dads away.”
L - “Well you can wait till he comes back home can’t ya?”
B - “A’ don’t mean that, a’ mean e’s left ‘ome.”
L - “Ooh I see. Well in that case your mother will have to sign it for you.”
B - “Aye but she’s at work an’ she’ll not be home till tea-time, an it’s Sunday tomorrow.”
L - “There’s no rush is there?”
B - “Av’ never broke a book ya know, I ‘ant tore it or.....”
L - “Well look at your hands, they’re absolutely filthy. We’ll end up with dirty books that way.”
B - “A’ don’t read dirty books!”
L - (looking embarrassed) “A’ should hope you don’t read dirty books, ya not old enough to read dirty books.”
B - “Me mam knows one of people that works ‘ere ya know. That’ll help wint it?”
L - “No. That doesn't help at all. You still have to have the back signed. To be a member you have to have someone over twenty one who’s on the borough electoral role to sign it for you.”
B - “Aah well, am over twenty one.”
L - “You’re not over twenty one!”
B - “Aaah but a vote.”
L - “You don’t vote, you’re not old enough to vote.”
B - “A do, a’ vote for me mam, she dont like votin’ so I do it.”

MANCHESTER UNITED 1 SPURS 2

(Games teacher Sugden running back to centre spot after scoring a penalty)
Sugden - “An’ that boys is ‘ow to take a penalty. Look one way kick it the other. Right, come on Tibbet lad.” (to himself) “And Bobby Charlton has equalized for Manchester United. The score is one goal each.”

A BLATANT FOUL

(Sugden tackles pupil Tibbet knocking him hard to the ground)
Tibbet - “YA FAT TWAT!.... E’ wants bleedin milkin....tha big fat get!”
Sugden - “What did you say?”...What did you say?”
T - “Nowt sir.”
S - “Right! Get off!..In that changing room, get off!”
T - “A’ didn't say nowt sir!”
S - “Off! I wont tolerate that on a football pitch.”
Other pupil - “That’s not fair sir. E’s our captain.”
S - “I dont care who he is. We play this game like gentlemen.”

DEATH OF A KESTRAL

(Billy’s mum and Jud are sat eating their tea when Billy walks in)

Billy - (to Jud) “Where is it? What’s tha done with it?”
Billy’s mam - “Where’ve you been till this time? Ya tea’s goin cold ‘ere.”
B - (Almost in tears) “A’ said where is it?”
Jud - “What’s THA starin’ at?
B - “Thee, ya little pig!”
(Jud throws his half eaten biscuit at Billy)
J - “DON’T CALL ME A LITTLE PIG OR I’LL BREAK YA JAW!” (Throws Billy to the ground)
Bm - “EH! EH! JUD, WHATS ALL THE BLOODY PUSHIN AND SHOVIN?”
B - “ASK IM’ E KNOWS.”
J - “YEAH AN’ THINE AN KNOWN IT IF I’D OF GOT HOLD OF YA THIS AFTERNOON!”
B - “AAH GET LOST!”
Bm - “Knows what? Whats goin on? whats up wi ‘ im?” What ya been doin to im?”
J - “IF E’D A PUT THAT BET ON HORSES LIKE E’ WAS TOLD TO DO THIS MORIN’ THERE’D A BIN’ NONE O’ THIS!”
Bm - “Well e’s put it on ant’ e?”
J - “AS HE BLOODY ‘ELL!”
Bm - “Well a’ told im to, I asked you not to forget before I went to work this mornin.”
J - “E DID’NT FORGET. E’S SPENT MONEY!”
Bm - “Ow d’ya know?”
J - “Coz e ‘as!”
Bm - “Well what ya gettin so damned upset for? Av’ they won or sommat?”
J - “AVE’ THEY WON! ‘AD ‘AV ‘AD SIXTEEN QUID TO DRAW IF ‘E’D KEPT ‘IS THEIVING LITTLE ‘ANDS TO ‘IMSELF!”
Bm - (to Billy) “Now look what you’ve done!”
B - “WELL YA SHOULD A DONE IT YA SEN SHUNT YA?”
(Jud grabs Billy by the scruff of the kneck and throws him to the ground again)
J - “A COULD ‘AV ‘AD A WEEK OFF WORK WI’ THAT!”
B - “GET LOST YA BIG PIG!”
Bm - (to Jud) “EH! Well whats he gettin upset for?”

B - “COZ E’S KILLED ME ‘AWK INSTEAD THATS WHY!”
Bm - “E never as.”
B - “E as, A know e as, coz e couldn't catch me.”
Bm - “Jud! You have not killed this kids hawk?”
J - “So I ‘av, what ya gonna do about it?”
(Billy screams out in tears and buries his head in the couch)
Bm “I’LL BLOODY KILL YA MESELF IF THATS WHAT YA WANT!”
J - “It were its own fault, a was only gonna let it go. Kept lashin out wi’ it’s claws. I ‘ad to kill it, what else could ‘a do?”
B - (in tears) “YAR A BIG BASTARD, A BIG BASTARD!”
J - “DONT CALL ME A BASTARD! YA’LL BE NEXT TO GET IT!”
B - “YAR A BIG BASTARD!”
J - “AM WARNIN YA!”
Bm - (Slaps Billy across the arse) “THATS ENOUGH OF THAT LANGUAGE IN ‘ERE! YOU AN ALL!”
J - SIXTEEN QUID. Could ‘av ‘ad a week off work wi’ that!”
Bm - “What ya done wi’ damn bird anyway ?”
J - “Its in bin where it belongs”
(Billy gets up and leaves the room)
Bm “You want puttin in bin, look what you done to ‘im now!”
J - (Undecifable dialogue here)
Bm - “Ooh yes you, thats just about your barra, killin a bloody bird.”
J - “Shut ya face will ya!”
Bm - “And you shut your face, dont talk to me like that or I’ll shut it for ya!”
J - (Undecifable dialogue again)
Bm - “Dont temp me too much Jud coz ‘am sick of it now!”
J - “Aah shud up!”
Bm - “And you. Fed up of bein bloody ‘ouse!”
J - “Fed up o’ seein ya in!”
Bm - “Upsettin kid like that.....bloody pig ya’ are.”
(Outside Billy takes his kestrel from the bin, holds it to his cheek and runs back into the house)
B - (to his mum) “Look what e’s done mam, look at it!”
Bm - (to Jud) “That were a rotten trick anyway weren't it?”
J - “It were a rotten trick what ‘e did to me weren't it?”
B - “There were no need to take it out on bird, ya could a took it out a me.”
Bm - “Ya know what a lot ‘e thought about it.” (pushing Billy away) “Take it away from table anyway Billy!”
B - “Aah but what ya gonna do to ‘im?”
Bm - “What d’ya want me to do to ‘im?”
B - (Shoves his mum towards Jud) “GIVE ‘IM A GOOD ‘IDING!”
Bm - (slapping Billy for shoving her) “AM FED UP WI’ THE PAIR O’ YA, TALKIN ABOUT THE DAMN THING. IT’S ONLY A BIRD. YA CAN GET ANOTHER CAN’T YA?”
J - (Undecifable dialogue. Something about the bird being Billy’s only friend)
(Billy runs at Jud swinging the dead bird in his face. Jud chases him out of the room)

END SEQUENCE

Billy lovingly buries his kestrel in the garden.

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WATCHING THE KESTREL FLY FROM POST TO TOWER | WATCHING THE KESTREL FLY FROM POST TO TOWER 2 | OUT TO FEED THE BIRD | GIVING A SCHOOL 'TALK' ON KES | SHOWING TEACHER KES | SHOOTING SPARROW | PAPER ROUND | GETTING A BOOK FROM LIBRARY | SCHOOL FIGHT | SCHOOL FIGHT 2 | CAREERS TEACHER | AVOIDING JUD | FIGHT WITH JUD | SHOWING TEACHER KES 2 | BILLY AND SUGDEN | CAUGHT IN THE STAIRWELL | A BEAUTIFUL CREATURE | CHEWING STRAW | SHOOTING SPARROW 2 | STANDING AT THE GOALPOSTS | HOLDING KES | HOLDING KES 2 | HOLDING KES 3 | FOREIGN MOVIE POSTER? 

UK MOVIE POSTER | KEN LOACH | DAVID/DAI BRADLEY (BILLY CASPER) NOW

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The star of Kes talks about the journey from panto to Kes, training falcons - and the delights of having balls chucked at him by Brian Glover

Jonathan: The movie's back out on the big screen. What are your strongest memories of making the film?

David Bradley: I think it was just such an enormous chance in the lifetime for someone at the age of 14. I came from a typical working class background. My prospects were pretty mediocre, so to have the opportunity of being involved in making a feature film in Barnsley was unbelievable.


J: How did they choose you?


D: I started out at school in Christmas pantos which were terrifically successful. In fact, more successful than the local town panto and suddenly we heard a rumour that Ken Loach and Tony Garnett and Barry Hines were thinking about making a movie and then they came and auditioned about forty kids from our school and thankfully they chose me.


J: Did you read the book beforehand?


D: They gave me the script, which was 15 pages short - so I didn't know how the story ended and they asked me to promise that I wouldn't read the book, so I didn't know the story until after we'd finished the film.

J: Your performance was very naturalistic. It had a documentary feel to it - how does he do that?


D: Ken is a genius, there's no doubt about it. He's a very gentle man even in his most infuriating moments, he never raises his voice. He's able to pass on his feelings to the people he's not particularly pleased with, so you desperately want to do the best for him. He enables you to improvise, so long as he knows where it's going.


J: What do you remember about Brian Glover and the others?

D: Brian was a character - something enormous. He was a pop-up character - great fun. The sequence where he hits me with the ball just before the showers, he would actually come with one of those really heavy leather balls and just throw it at me in the face. Just to see how I'd react. We worked together after Kes in a play at the Cottesloe Theatre at the National Theatre where he played God and I played Adam, which was a perfect set up because he could easily be God. He's a wonderful man.


J: What about Lynne Perrie? We know her from Coronation Street and here she is as a younger actress.


D: That's right. At the time, Lynne was a cabaret artist. She hadn't got the part in Coronation Street and the wonderful thing about making Kes was that everybody was part of a family. I remember the times I wasn't actually shooting, I was the number three assistant to the camera crew, so I would carry cases around and I used to be number two assistant to sound. I'd hold the boom when they were doing shots that were not on film. It was just an enormous and wonderful experience for all of us.


J: It must have been quite an arduous shoot.


D: It was, and in the caning scene, the boys who got the cane went on strike. We were told that we wouldn't get the cane and they'd shoot it from behind us. We wore thick leather gloves and when we got the cane, we were so upset that we decided that we weren't going to do it again. But, unfortunately, they needed different angles and Ken and Tony went away and discussed the matter and came back and said we'll raise your wages by 50p a caning. So we made £4.50 extra that day!


J: They used more than one bird in the movie?


D: Yes, we called them Freeman Hardy and Willis. I trained Hardy, Barry trained Freeman, and Willis was trained by Barry's brother, Richard. We only used two birds in the film - Freeman and Hardy because Willis was quite neurotic and we eventually had to let Willis go.


J: It's a very powerful and important film - what was the affect on you, did it touch you?


D: Yes. As a fourteen year old I wasn't aware of the impact it would have, socially or politically. I remember one particular headline in a magazine which said good teachers will love it, bad teachers will hate it. I think in retrospect that attitude has changed. Most people recognize that it has something to contribute to today's society. Even 30 years on from the point of being made, the values and the things that it was trying to highlight with regard to the education system are still valid.


J: Do you still get recognized from Kes today?


D:Yes, quite a lot actually. I was doing a promotional shoot only a couple of days ago in the local park near where I Iive, and there was a little lady who recognized me and said, 'you were the little boy in Kes weren't you?' I was so pleased that she enjoyed the movie. It appeals to anyone who's had difficult kind of upbringing.


J: What's it like today looking at yourself on screen back then?


D: Today, I can look back on it with great fondness and wonderful memories. But I remember the first time that I saw myself on screen, it was rather like losing my virginity. My heart was just going like 50 to the dozen. I was 15 and a half, and suddenly the whole publicity band wagon started to roll and I found myself in the position of a door being opened to becoming an actor. I was entirely grateful to Ken Loach for giving me that opportunity.


J: A marvellous performance that continues to delight us. Thank you so much, lovely to meet you.

http://www.bbc.co.uk/films/film2001/interviews/film99/david_bradley.shtml

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Tuesday September 28, 1999

Sudden fame often has drawbacks. For David Bradley, it meant losing his name. When the teenage star of Kes applied for equity membership shortly after his big break, he discovered a namesake was already on its books. So Bradley phoned the man, an aspiring theatre actor a few years older, with a proposition. Listen, he argued, why don't you change your name? I played Billy Casper, that little kid in Kes. David Bradley is my name and people will always remember me. If you don't change your name, they'll think you did the part.