Ken Loach's ninth Wednesday Play (1964-70) combines behind-the-scenes
documentary coverage of Everton FC with comedy-drama in which fictional
supporters negotiate such inconveniences as births, marriages and deaths to
follow their team. Like Loach's later Looking for Eric (2009), 'The Golden
Vision' is family-centred, warm and humorous with moments of fantasy, and partly
explores fans' affection for a real-life icon: centre-forward Alex Young, whose
nickname provides the title.
The play is partly drawn from the experiences of Liverpool-born Neville
Smith, who had acted in several Loach dramas. This was Smith's television
writing debut, so producer Tony Garnett recommended an experienced collaborator.
Loach chose Gordon Honeycombe - a former fellow student actor at Oxford, now
known as a newscaster - after reading in Private Eye about the BBC rejecting
Honeycombe's football play only to then launch the identically-titled football
serial United! (1965-67). According to Loach biographer Anthony Hayward,
Honeycombe's contribution was to bring structure, but he had minimal input after the writers fell out.
As in 'Cathy Come Home' (The Wednesday Play, tx. 16/11/1966), Loach
treats fictional characters in the same ways as real people: Young, manager Harry Catterick and others are interviewed to-camera and
in audio over footage of Everton training and playing, but then supporters' testimony accompanies footage of their fictional workplaces.
Characters appear among real spectators, until the play's dream-like wish-fulfilment ending further erodes the boundaries. These
techniques parallel supporters and footballers as workers, though a later biographer, John Hill, notes that this approach was
undermined by cuts demanded by Everton, including excising players' criticisms of working conditions. For Hill,
the play hints that football plays a depoliticising role (its politically-active character remembers his, dying, generation).
The play's comic set pieces (including a best man whose rush to attend a match renders him a blur in wedding photos) and the
banter of its sparkling cast demonstrate a key Loach technique: for the first time, he cast club entertainers
in leading roles. He found soon-to-be regulars such as Liverpool stand-up Bill Dean, and his continuing pursuit
of spontaneous and 'truthful' performances would build on these methods.
'The Golden Vision' was uncontroversial, even though it employed the same blurring of 'fact' and 'fiction' techniques that had outraged
some critics of earlier Wednesday Plays. That its humorous, football-based subject seemed to immunise it from a similar backlash suggests
that the real objection to drama documentary was less the form itself than the political content.
Dave Rolinson
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