Family Life is Ken Loach's 1971 film adaptation of his early Wednesday Play 'In Two Minds', with both the original television play and the film written by David Mercer and produced by Tony Garnett. 'In Two Minds' was effective but slightly flawed; Loach and Mercer learn from that to make a much more consistent and powerful piece of drama for the cinema, albeit one as predictably depressing.
For this version, the Winter family becomes the Baildon family, but the basic plot remains the same, with the story following a troubled young woman as her mental health deteriorates over the course of the film and she ends up in a psychiatric hospital with little hope of ever getting out. Like 'In Two Minds', the focus is on how she gets to that point and the key crucial feature is retained, which is the implication that Mrs Baildon's stern disapproval of her daughter and the pressure she placed her under to have an abortion is the cause of Kate's mental illness, reflecting the theory published by Scottish psychiatrist R. D. Laing, which heavily influenced Mercer's story. Mr Baildon is less understanding in this version, and Janice is forced to see a psychiatrist by both her parents, who simply don't understand and can't empathise with her behaviour or feelings. Her mother repeatedly tells her that there must be something wrong with her.
The toxicity of Janice's home life presumably informs the change of title from 'In Two Minds' (which implies that the problem lies with the protagonist) to Family Life (which implies that her home life is instrumental in her problems). It's certainly a topic more directly and openly addressed in the film version, with psychiatrist Dr Donaldson putting it to Mrs Baildon that she is responsible for Janice's mental health problems due to her preoccupation with control. He openly challenges her views and attitudes. There's a quite lengthy scene added to the film, in which Janice's older sister - who is married and has moved out - comes round for dinner and has a blazing row with her parents, blaming them for her sister's mental health problems. A scene of the conservative Mrs Baildon talking to the psychiatrist about morality and traditional Christian values segues into a scene of long-haired youngsters sitting in a circle whilst one of them plays a Neil Young song on a guitar, emphasising the clash of generations and views that underscores the film.
The move to the psychiatric hospital comes earlier than in the television version, and has more of an emphasis on the conditions and other patients, reminiscent of One Flew Over the Cuckoo's Nest. As in the original, it eventually invokes that film in depicting psychiatric hospitals as terrifying, dehumanising places with unsympathetic staff, although they are more human than in 'In Two Minds'. There is also more emphasis on the innovative and experimental nature of Dr Donaldson's work, notably during the scene in which his registrar term at the hospital is not renewed, marking a change in Janice's fortunes as she is subjected to electroconvulsive therapy.
Sandy Ratcliff stars as Janice Baildon and Malcolm Tierney plays her boyfriend Tim (a new addition for the film version), but in early indication of Loach's fondness for casting unknowns, the mother was played by a suburban housewife Grace Cave and the Dr Donaldson by real psychiatrist Michael Riddall. Ratcliff is excellent, but the non-professionals are a revelation, with both Cave and Riddall proving utterly convincing. In keeping with the aesthetic of Loach's television work, cinematographer Charles Stewart helps bring the same docu-drama look and feel to the production as many of the director's television plays. As usual for Loach, the extensive location filming helps with the air of realism.
Like 'In Two Minds', Family Life ends on a depressing note, with Janice being sectioned (effectively, if not technically) at her mother's behest. And, like the television play, it ends with a lecture being delivered to a group of students about her case, with Janice actually placed on display at the front of the lecture theatre. The end result paints of bleak picture both of Janice's repressive home life and mental health care at the time; it's more nuanced and more satisfying than 'In Two Minds' and remains one of Loach's finest films.
For this version, the Winter family becomes the Baildon family, but the basic plot remains the same, with the story following a troubled young woman as her mental health deteriorates over the course of the film and she ends up in a psychiatric hospital with little hope of ever getting out. Like 'In Two Minds', the focus is on how she gets to that point and the key crucial feature is retained, which is the implication that Mrs Baildon's stern disapproval of her daughter and the pressure she placed her under to have an abortion is the cause of Kate's mental illness, reflecting the theory published by Scottish psychiatrist R. D. Laing, which heavily influenced Mercer's story. Mr Baildon is less understanding in this version, and Janice is forced to see a psychiatrist by both her parents, who simply don't understand and can't empathise with her behaviour or feelings. Her mother repeatedly tells her that there must be something wrong with her.
The toxicity of Janice's home life presumably informs the change of title from 'In Two Minds' (which implies that the problem lies with the protagonist) to Family Life (which implies that her home life is instrumental in her problems). It's certainly a topic more directly and openly addressed in the film version, with psychiatrist Dr Donaldson putting it to Mrs Baildon that she is responsible for Janice's mental health problems due to her preoccupation with control. He openly challenges her views and attitudes. There's a quite lengthy scene added to the film, in which Janice's older sister - who is married and has moved out - comes round for dinner and has a blazing row with her parents, blaming them for her sister's mental health problems. A scene of the conservative Mrs Baildon talking to the psychiatrist about morality and traditional Christian values segues into a scene of long-haired youngsters sitting in a circle whilst one of them plays a Neil Young song on a guitar, emphasising the clash of generations and views that underscores the film.
The move to the psychiatric hospital comes earlier than in the television version, and has more of an emphasis on the conditions and other patients, reminiscent of One Flew Over the Cuckoo's Nest. As in the original, it eventually invokes that film in depicting psychiatric hospitals as terrifying, dehumanising places with unsympathetic staff, although they are more human than in 'In Two Minds'. There is also more emphasis on the innovative and experimental nature of Dr Donaldson's work, notably during the scene in which his registrar term at the hospital is not renewed, marking a change in Janice's fortunes as she is subjected to electroconvulsive therapy.
Sandy Ratcliff stars as Janice Baildon and Malcolm Tierney plays her boyfriend Tim (a new addition for the film version), but in early indication of Loach's fondness for casting unknowns, the mother was played by a suburban housewife Grace Cave and the Dr Donaldson by real psychiatrist Michael Riddall. Ratcliff is excellent, but the non-professionals are a revelation, with both Cave and Riddall proving utterly convincing. In keeping with the aesthetic of Loach's television work, cinematographer Charles Stewart helps bring the same docu-drama look and feel to the production as many of the director's television plays. As usual for Loach, the extensive location filming helps with the air of realism.
Like 'In Two Minds', Family Life ends on a depressing note, with Janice being sectioned (effectively, if not technically) at her mother's behest. And, like the television play, it ends with a lecture being delivered to a group of students about her case, with Janice actually placed on display at the front of the lecture theatre. The end result paints of bleak picture both of Janice's repressive home life and mental health care at the time; it's more nuanced and more satisfying than 'In Two Minds' and remains one of Loach's finest films.