Appearances deceive, however, and Looking for Eric is a far cry from Loach's characteristic social-realist dramas: key scenes involve Bishop's hashish-induced hallucinations of his idol, former Manchester United footballer Eric Cantona (above right, with Evets), emerging from the posters on his wall to offer philosophical nuggets of wisdom. Even more unusual is the film's upward trajectory towards a bright future: beyond the anguish of the first reel, Bishop's lot only gets better, as Cantona's appearance re-energises him and reshapes the film into heartening, feelgood fun.

Yes, Looking for Eric is a very funny film, brimming with comical moments that should make it easily the most accessible piece Loach has done in ages. Objections may certainly be raised at the director's near-simplistic optimism towards the brotherly bonds of the working class, but the characters are engaging enough to paper over the cracks.

Evets is remarkable, the erstwhile jobbing musician-actor playing out Bishop's vulnerability to the fullest as a struggling worker and a two-time divorcee, attracting only antipathy from his ex-wife Lily (Stephanie Bishop), grown-up daughter Sam (Lucy-Jo Hudson) and unruly stepsons - with the eldest, Ryan (Gerard Kearns), mixing with an unsavoury crowd.

It's here that Cantona comes into play: with his hilariously obscure sayings ('He who is afraid to throw the dice,' goes one, 'will never throw a six'). The Big Eric slowly instils self-confidence in the little Eric, which comes in handy in the film's final bravura moments, as Bishop rallies his friends (who go by names such as Meatballs, Spleen, Judge and Smug) to help rescue Ryan from being framed by a gangster, and finally regains the fiery young man he once was (hence the film's title).

Beyond the laughs, Looking for Eric boasts a message that's vintage Loach: in a world of cynical capitalism (the lads complain about tycoons buying football clubs as playthings, and much emphasis is placed on Ryan's tormentor watching matches from a corporate box), it's up to the exploited masses to unite to fight their overlords. It's all very admirable, but Looking for Eric actually makes it a fantasy: Bishop's strategy in defeating the gangster, for instance, offers a closure that's stirring but also terribly naive.

In one of the opening scenes, the postmen are trying to cheer themselves up by learning how to laugh which, they read in a book, represents 'the best medicine' for depression. Bishop finds it hard to do so, and can only emit croaking noises.

Somehow it resembles Looking for Eric's flaw: having spent so many years delivering gritty fare, Loach and his screenwriter, Paul Laverty, seem to find their abilities stretched in making comedy convincing. Then again, maybe it's their idealism working overtime, and their hearts are definitely in there. Despite its slight failings, Looking for Eric remains a gem.

Looking for Eric opens today