--- title: "Kes" year: 1970 kind: "film" canonical: "https://film.one/film/kes" fi1m_id: "kes" imdb_id: "tt0064541" tmdb_id: 13384 wikidata_id: "Q1500326" fi1m_score: 88 critics_score: 83 critics_reviews: 14 published: "2026-09-12" updated: "2026-09-18T08:37:41.023876+00:00" region: "AU" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Kes (1970) Directed by Ken Loach · 1h 51m · ACB PG · Drama ## Identity Kes - **Canonical:** https://film.one/film/kes - **Type:** Film - **Fi1m ID:** kes - **IMDb ID:** tt0064541 - **TMDB ID:** 13384 - **Wikidata ID:** Q1500326 - **Same entity:** https://www.imdb.com/title/tt0064541/, https://www.themoviedb.org/movie/13384, https://www.wikidata.org/wiki/Q1500326 **Fi1m score: 88** · Critics 83 from 14 reviews *In a sentence:* The bird gets a devoted keeper; the boy could do with one himself > Ken Loach’s drama about a boy and his kestrel is funny, bruising and unusually attentive to what interests a child. The rough edges occasionally distract, but David Bradley gives us a boy worth listening to. ## Synopsis Billy is a working-class boy in Barnsley, growing up in a town where industry and countryside lie close together. Home and school offer little encouragement, but training a kestrel gives him something he wants to learn about and care for. His interest in the bird sits uneasily beside the expectations of the adults around him. Ken Loach directs David Bradley as Billy, with Freddie Fletcher as Jud, Lynne Perrie as Mrs Casper, Colin Welland as Mr Farthing and Brian Glover as Mr Sugden. ## Review Ken Loach’s *Kes* earns our recommendation by giving a working-class boy the sustained attention he seldom receives from the people around him. Billy’s bond with a kestrel supplies the story, but the interest is in what caring for it allows him to do: learn, concentrate and take responsibility. Loach finds humour in this harsh upbringing without asking us to enjoy Billy’s humiliation. The film is moving because it lets us see how much there is to him before insisting on how badly he is treated. The danger with a part like Billy is that the performer spends the entire film asking to be pitied. David Bradley makes him too absorbed in the bird for that: the pleasure is in watching someone have a subject he wants to understand. We were moved by the care he gives the kestrel, because it shows a patience and appetite for learning that his treatment at school scarcely acknowledges. His interest gives us something to share with him beyond sympathy. Chris Menges’s cinematography makes the countryside around Barnsley important without turning it into an advertisement for escape. The town’s industrial surroundings remain part of our understanding of Billy’s life, even when the boy and bird have our attention. Menges gives their time outdoors enough space for us to watch the relationship, rather than merely register that nature is good for him. Those passages are beautiful because there is something happening in them that matters to Billy. Roy Watts’s editing is valuable for the time it gives that interest to become ours. The unhurried stretches with the kestrel allow us to settle into Billy’s concentration, and the film’s occasional ungainliness is easier to forgive there than elsewhere. John Cameron’s music supports the tenderness without becoming the main reason to feel it. We would credit Bradley and the time he is given ahead of the score; the boy’s attention is already enough to hold ours. The performances around Bradley have a welcome variety of manner and speech, and Loach does not require everyone to sound equally polished. The use of non-professional performers helps, although naturalness alone would not make these people interesting. He listens to the local dialect without treating it as a novelty, and allows humour to exist alongside the grimness of home and school. That matters in a film about deprivation: Billy has to inhabit a recognisable community, with its own ways of speaking, for our concern to extend beyond the demands of the plot. Our reservation is with Loach’s insistence on how thoroughly that community fails him. Some of the surrounding characters are drawn so broadly that their hostility becomes predictable, and the contrast with Billy’s absorption in the bird needs less emphasis than it receives. The rough joins can also pull us out of the story, particularly when the acting styles sit awkwardly together. Bradley keeps the boy particular even when the adults seem overdrawn. A social drama can become so busy explaining what is wrong that it leaves its people little to do except suffer. *Kes* gives Billy the absorbing work of training the kestrel, and that makes the anger about his schooling easier to share. At 111 minutes, it asks for patience through some less assured passages. Give it that time, and do not mistake its U certificate for a promise of an undemanding family evening. *Fi1m score 88, published 12 September 2026.* ## What the critics say Kes is admired almost without exception. Thirteen of fourteen reviews are positive, and the praise gathers in the same places: David Bradley’s performance as Billy, the bullied boy who trains a kestrel, and Loach’s handling of a cast of non-professionals, which most critics credit for the film’s documentary feel. The scenes of boy and bird on the moors are singled out repeatedly, as is Chris Menges’ photography of the Yorkshire town and its interiors, which The Times says the restoration shows to advantage. Several reviewers also find more humour and warmth than the subject suggests. The spread is narrow and the reservations small. Variety and Sight and Sound admire the cast but call the style rough, and the latter finds the film thinner in autobiographical detail than comparable work. The one mixed notice is The New York Times, which calls the film honourable and decent but never quite as interesting as the people in it, while conceding Loach’s gift with actors. ## Straight answers **Is Kes worth watching?** *Kes* is worth watching for anyone with patience for a slow, plainly made drama about a neglected boy, and we scored it 88. David Bradley's Billy is absorbing to watch as he trains his kestrel, and Ken Loach finds humour in a hard upbringing without mocking him. Some of the adults are drawn broadly, and the rough joins occasionally show. **How long is Kes, and what is it rated?** *Kes* runs 1h 51m and is rated PG by the ACB in Australia. It is a drama film. **Where can I watch Kes in Australia?** *Kes* is streaming on Amazon Prime Video in Australia, and it is also available to rent from Amazon Prime Video from A$4.99. Availability is checked daily; the links above go straight to each service. **How does Kes compare to The 400 Blows?** *Kes* and [*The 400 Blows*](https://film.one/film/the-400-blows) both follow a boy whose unhappiness the adults around him have no patience for, and we recommend them together. Truffaut's film is the more assured of the two and Jean-Pierre Léaud the more mischievous lead, though its music presses harder for sympathy. Loach's is rougher and funnier, and gives its boy something to do besides suffer. **Is Kes based on a true story or a book?** *Kes* is based on a novel by Barry Hines, not directly on a true story, though its Barnsley setting and use of local speech give it a documentary feel. Our review does not weigh how closely Ken Loach follows the book. Knowing the source is not needed; the film explains itself through Billy's work with the bird. **What should I watch after Kes?** After *Kes*, try [*The 400 Blows*](https://film.one/film/the-400-blows) (1959, Fi1m 91): Another boy discovers how little patience adults have for his unhappiness. Then [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive) (1973, Fi1m 87): A child’s private fascination makes adult silences feel strange and threatening; and [*The Selfish Giant*](https://film.one/film/the-selfish-giant) (2013, Fi1m 88): Working-class boys seek a place in a Yorkshire economy that exploits them. ### Reviews we read (14) - **The Times**, Kate Muir (★★★★★): The critic highlights the authentic performance by David Bradley as the bullied mining-town boy who finds solace training a kestrel, and celebrates the digital restoration that reveals the beauty of the Yorkshire landscapes and interiors shot by Chris Menges. [Read](https://www.thetimes.com/life-style/article/classic-film-of-the-week-kes-1969-750vqtv2f) - **Empire**, Neil Jeffries (90/100, inferred): Loach's debut feature remains a landmark of British cinema for its quasi-documentary realism and natural performances from non-professionals. The simple beauty of the story about a boy and his kestrel shines through in this re-release. [Read](https://www.empireonline.com/movies/reviews/kes-review/) - **Evening Standard** (90/100, inferred): The respect paid to the entire cast stands out in this reissued Loach film. Jaunty, sad and poetic, it is so humane it makes you tremble. [Read](https://www.standard.co.uk/culture/film/kes-review-7426604.html) - **Film Comment**, Chris Darke (90/100, inferred): The critic calls Kes an English classic and praises its portrayal of a working-class boy's bond with a kestrel amid harsh circumstances. Loach's naturalism and the nonprofessional lead performance are singled out as deeply affecting. [Read](https://www.filmcomment.com/article/encore-kes/) - **Little White Lies**, David Jenkins (90/100, inferred): Kes remains Loach’s most elegiac and powerful portrait of working-class struggles, transcending time through its poetic allegory and lyrical falconry scenes. It stands out as one of his rare forays beyond blunt didacticism into something more timeless and humane. [Read](https://lwlies.com/home-ents/kes-still-ken-loachs-best-film) - **RogerEbert.com**, Roger Ebert (90/100, inferred): Loach is at his best with this warm, moving story of a misfit boy in a harsh class-biased system who finds purpose training a kestrel. The film has heartbreaking humanity and reaches emotional peaks in its handling of the boy and his bird. [Read](https://www.rogerebert.com/reviews/kes-1973) - **Slant Magazine**, Chris Cabin (90/100, inferred): The critic calls Kes a masterpiece of British cinema that endures across audiences. They single out Loach’s observational aesthetic, use of nonprofessional actors, and sincere handling of dialect and character for praise, noting how tragedy lands without sentimentality. [Read](https://www.slantmagazine.com/film/kes/) - **The Guardian** (90/100, inferred): The critic praises the film's humanity, realism, and humour despite some technical imperfections and unconventional style. They single out the authentic non-professional performances, especially David Bradley as Billy, and the central relationship with the kestrel as a powerful image of freedom and survival amid a spirit-crushing system. [Read](https://www.theguardian.com/film/2019/nov/20/kes-drawing-the-curtains-on-barnsley-ken-loach-1969) - **The New Yorker**, Michael Sragow (85/100, inferred): Sragow describes the film as fierce and heartbreaking, praising its conveyance of the restorative power of wild things through beautiful cinematography of the boy and his kestrel. He singles out the emotional climax in the English class and Bradley's tremendous performance. [Read](https://www.newyorker.com/goings-on-about-town/movies/kes) - **Sight and Sound**, Jack Ibberson (70/100, inferred): The film captures the gritty quality of Northern life and the mix of rural and industrial elements in Barnsley. Loach succeeds with his young players and non-professional cast, though it lacks some autobiographical depth compared to similar films. [Read](http://old.bfi.org.uk/sightandsound/reviews/releases/kes.php) - **Time Out**, Dave Calhoun (70/100, inferred): Kes marked a new maturity and stillness in Loach’s work while retaining energy, humour and compassion. The film is astute about education and what excites children to learn, with tender scenes of Billy and his kestrel standing out. [Read](https://www.timeout.com/movies/kes) - **Variety**, Variety Staff (**): The filmmakers vividly capture the drab Yorkshire background and the boy's life through local non-actors, highlighting the grim side of education and home. Performances are strong, especially the lead, with dedicated direction and superb moorland footage despite a rough style. [Read](https://variety.com/1969/film/reviews/kes-1200422198/) - **The New York Times**, Vincent Canby (50/100, inferred): Kes is an honorable, decent sort of movie that is never quite as interesting as the people within it. Director Kenneth Loach has a remarkable talent for handling actors and obtaining memorable performances from nonprofessionals. [Read](https://www.nytimes.com/1970/09/21/archives/kes-a-british-movie-opens-at-little-carnegie.html) - **Eye for Film**, David Graham (85/100, inferred): The critic calls Kes a true classic and milestone of British cinema, a deeply personal and humble film that blends socio-political commentary with emotional human drama. They single out the authentic, compelling performances (many by non-actors) and the contrast between the boy's stifling town life and his liberating connection to nature and the kestrel for praise. [Read](https://www.eyeforfilm.co.uk/review/kes-film-review-by-david-graham) ## Details - **Director:** Ken Loach - **Director:** Ken Loach - **Screenplay:** Tony Garnett, Ken Loach - **Novel:** Barry Hines - **Cinematography:** Chris Menges - **Editor:** Roy Watts - **Music:** John Cameron - **Producer:** Tony Garnett - **Cast:** Dai Bradley as Billy; Freddie Fletcher as Jud; Lynne Perrie as Mrs. Casper; Colin Welland as Mr. Farthing; Brian Glover as Mr. Sugden; Bob Bowes as Mr. Gryce; Bernard Atha as Youth Employment Officer; Laurence Bould - **Runtime:** 1h 51m - **Certificate (ACB):** PG - **Release (Australia):** 18 June 1971 - **Genres:** Drama - **Also in:** [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1970) - **Trailer:** https://www.youtube.com/watch?v=Q2BMFtefUag ## Where to watch in Australia - Amazon Prime Video: streaming - Amazon Prime Video: rent A$4.99, hd - Amazon Prime Video: buy A$14.99, hd *Checked 2026-09-12.* Also available in: AT, AU, BE, BG, CA, CH, CL, CO, CZ, DE, ES, FR, GB, HK, HU, IE, IT, LT, MY, NL, NO, NZ, RO, RS, SG, TH, TR, US, VN. Add `?region=XX` to this URL for another country. ## Awards - Crystal Globe 1970: Crystal Globe (won) ## If you liked this - *The 400 Blows* (1959), Fi1m 91: Another boy discovers how little patience adults have for his unhappiness. — [Fi1m page](https://film.one/film/the-400-blows.md) - *The Spirit of the Beehive* (1973), Fi1m 87: A child’s private fascination makes adult silences feel strange and threatening. — [Fi1m page](https://film.one/film/the-spirit-of-the-beehive.md) - *Where Is the Friend's House?* (1987): A child’s simple task reveals how poorly the adults are listening. - *The Selfish Giant* (2013), Fi1m 88: Working-class boys seek a place in a Yorkshire economy that exploits them. — [Fi1m page](https://film.one/film/the-selfish-giant.md) - *The Quiet Girl* (2022), Fi1m 84: Quiet attention to a neglected child, with kindness given its proper weight. — [Fi1m page](https://film.one/film/the-quiet-girl.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/kes