No – not a reference to the Icelandic spectre that is giving the ozone layer a brief respite from its usual stream of kerosene contrails but the BBC’s ongoing trip back to the Eighties. Gene Hunt is a god, natch, but its a shame the series is otherwise complete gibberish. Its popularity is solely due to Philip Glenister’s two fingered salute to the cult of political correctness. It endures purely because of his characterisation – the only explanation given the cobblers that is otherwise presented as a storyline. You have to feel sorry for Keeley Hawes who struggles through the pseudo-SciFi nonsense of her quest to return to the here-and-now. Amongst other continuity issues, Bolly is showing few signs of missing her daughter or any part of her former life of the future.
An attempt at menace comes in the guise of DCI Jim Keats (Daniel Mays) who has been brought in as Hunt’s nemesis. The effect falls flat and is now beyond grating. Keats hovers around, irritating the characters and the audience with his cheeky cockney creepiness. No – the popularity of the series rests with the gleeful Huntisms, political flashbacks and nostalgic product placements which endure against competition from a series of lame themes which attempt to justify the drama. Shame really but its hard to see a way to salvage the script, penned by Matthew Graham.
This is the offspring of Life on Mars by Ashley Pharoah which also had the same time-travelling tosh, was sustained by a great performance from John Simm, albeit providing a foil for Hunt’s delicious seventies’ sexist. Even then, the appeal was in Glenister’s character but the story otherwise hung together and moved along. The popularity of the genre-making series is probably what inspired similar flashbacks like Red Riding and the recently released Cemetry Junction.
Not great but still has a dwindling following, due solely to Hunt, this final series will likely fissle out with a ludicrous finale. Worth hitting the red button for Gene Hunt’s pop reel tribute after each show – a collection of Eighties gems from Top Of The Pops with an occasional pearl of wisdom from our 80′s anti-hero. Dunno who writes Hunt’s overdubs for this little treat but they are fun – imagine the Belle Stars as a “bit of posh”. Fire up the Quattro, then, and let’s head off into the nineties.
Channel 4 broadcast a documentary on the work of the RAF’s 99 Squadron in Afghanistan this evening. The production from IWC Media looked at the use of the C17 Globemaster as a flying intensive care ward, shuttling critically wounded service personnel from Afghanistan back to the UK. This is the work of CCAST – Critical Care in the Air Support Team – operating into Camp Bastion and Kandahar.
Not unexpected was the professionalism of the CCAST medics and the aircrew. It was refreshing to see the huge Globemasters employed in more humane tasks – the more familiar image is of these ‘trash haulers’ flying into RAF Lyneham with the bodies of fallen troops prior to the moving processions through the village of Wooton Bassett. The documentary touched on this, as well as the ferrying of new troops with recent surges back into hostile territory.
The pilots – often derided by their fast jet colleagues – played down their own abilities, seeing themselves as glorified bus drivers and belying the skill needed to bring a 200 ton aircraft down from 30,000 feet into hostile territory within minutes. Business Class this ain’t. There is no VIP lounge at Kandahar or Camp Bastion. There are numerous steely-eyed nutters watching for a chance to take out one of 99 Squadron’s finest.
Appropriately, the interviews concentrated on the medical teams and the soldiers cared-for by them up in the air. The team looked extremely tired at the end of each trip, knowing that their mandated 24 hour crew rest could be recinded if a mercy dash back to the warzone was needed. The effort of the loadmasters and medical teams in equipping the aircraft to care for the critically wounded was demonstrated, with a more human element to this programme. There was much comment from all focussing on the sense of loss, the obvious escalation in the violence of the work in Afghanistan (last year, CCAST carried out more than 120 medical evacuations – double that of 2008). But they commented too on their sense of cameraderie with their patients – men they may never meet again. Unusually, the patients interviewed spoke little of CCAST and more of comrades less lucky than themselves with what seemed to be survivors’ guilt.
The producers could have taken a much different tack. Unlike other Afghanistan documentaries seen and reviewed here, this was a calmer presentation. There was less overt sentimentality or drama for its own sake – despite the subject matter – and the viewer comes away informed and lifted by the work of the RAF.
Filmed, produced and directed by Paddy Wivell.
Last Monday saw the broadcast of Afghani reporter, Najibullah Quraishi’s film of his time spent with elements of the insurgency in the north of the country. It included footage of operations against local government forces, as well as frank and open interviews with Islamic units – typically members of al-Qaeda linked islamist groups, mainly Hesbi Islami. This largest group is inspired and commanded by Gulbudin Hekmatyar, a former darling of the undercover war against SOviet occupation aided by the USA and Britain.
For most of the presentation, Quraishi appeared to be granted amazingly open access to all the fighters – the only coyness observed came from the Arabic members who seem to drive the various operational insurgent groups, albeit through the command of locals. Emphasising the Wahabist influence which gave birth to these guerilla groups – mainly from the Russian occupation – these people tended to come from Saudi Arabia and Yemeni.
There were a number of points made clear by this different film. There is a gulf between the central Afghan government with its Western sponsors, and these self-styled freedom fighters. Certain insurgents stated they would lay down their arms when the “kaffir” (non believers) leave Afghanistan. Others – and one suspects these are the manipulative foreign elements from Yemen, Saudi etc. – said this was merely the place for jihad; when they won, the fight moves on to the Middle East and Europe (where the West “feels too safe” at the moment).
Scary stuff but nothing particularly consistent or new in the message. What did strike the viewer was the aquiesence – even support – from the local population. Locals may have been cowed or coerced – but Barnaby Kay’s narration suggested there was no evidence of this. Hence, the central government is deluding itself in its strategy to see the Taliban starved of indiginous support. The cameraderie within each fighting unit seemed strong, whilst the operations illustrated were not altogether professional or cohesive. These were guerillas, after all. One wonders whether, given something else to do with their lives, they might consider a different path ? Far from raving nutters, these bands of lethal and focussed fighters were seen in the film as dedicated, clear thinking and in for the long haul.
Certainly this film suggests that neither the staying or leaving of ISAF forces would make little effect to the lives of ordinary Afghans. There may be some support for the argument that our presence there reduces terrorist efforts at home – at least by keeping the hardline Arabs embedded on this battlefield. Otherwise, the film did not guve me any ideas or hope for the situation there, and the wider extremist issues facing the world. Given its point of view, it is worth a look for those interested in understanding more about the Afghan situation. Catch it on 4oD and approach with an open mind.
“If we communicate for 2 minutes only
It will be enough ….”
In a brief follow-up to my recent post on “Into Tomorrow”, comes the news that Paul is about to release a new album – Wake Up The Nation. 14 brand new tracks including collaborations with such names as Bev Bevan, and a reunion with Bruce Foxton from The Jam.
Release date yet to be announced. Check out the link above to the main Paul Weller site for details.
So to the second installment of Ross Kemp’s mission to the Middle East on Sky One and his time in Israel had a very different feel to the first programme’s trip to Gaza. Perhaps reflecting the westernised, more affluent nature of the country, this felt far less sensational and risky – more Michael Parkinson than Jeremy Bowen.
The production started poorly with limited shots from a taxi which gave no real flavour of the impact of the sites Kemp was visiting – places where terrorist ‘spectaculars’ had been perpetrated to devastating effect by suicide bombers of the ilk depicted the previous week. This was frustrating, as were the pieces with members of the Border Defense force and the Police which revealed little in terms of threats, history, politics or even progress.
The apparent religiously-driven settlers – whereby 500,000 Israelis now illegally occupy homes in territory denied to Israel by the UN and various peace accords – are perhaps the equivalent of Arab extremists elsewhere. Or so I thought until Kemp described the Ultra Jewish Orthodoxy – particularly in West Jerusalem – who consider their own Police to be Nazis and detest any secularist tendencies from their government. As Kemp points out, faced with such extremists within one’s own ‘ranks’, it is no wonder that Israel is as much threatened from within. Pity then that he chose to avoid any attempt to interview Jews on the Ultra right; restricting himself to the nutty “Queen of the Settlers”, Daniella Weiss who arrogantly and depressingly stated that “…Arabs will never have a state of their own…” because “God gave it to us”. Does this not sound strikingly similar to rhetoric of the Islamic extremists ?
The taxi driver who featured at the start – Amos Levy – was an interesting chap who lost his 17 year old daughter to such an attack in 2002. Despite the obvious pain, Levy appeared phlegmatic and almost resigned to the presence of perpetual conflict in Jerusalem. Amplified at their daughter’s grave, he felt that there will never be peace because of the endemic hatred. This segment was dominated by his ex-wife Abigail whose contributions I was about to dismiss as she was understandably distraught. However, she said something which I thought was particularly revealing: the conflict was “…not about land, it was about hate”. Whereas the earlier sections on land-grabs, settlers and UN illegalities got me thinking about action against Israel to stop these geographical injustices, her words made me realise how pointless that would be. What is really needed is what Kemp infers at the close – a community led approach which brings all parties together to speak out against the extremists on both sides.
Not much to take away from this other than a lingering sense of depression that a ‘solution’ is unlikely down the current path being followed by all parties, including the international audience. I wonder whether a new political party or movement – inclusive, which acts to bring the community together to solve problems regardless of their origin or religion – is ever possible. To achieve what was done in Northern Ireland in this part of the world would be a true miracle.
Sky One had low-keyed the build-up to Ross Kemp’s latest trip to a conflict zone – perhaps as the period prior to tonight’s first of two parts was the Christmas holidays. Regardless, I watched with low expectations that Kemp would provide much insight into the origins of the conflict or the true realities of life on the strip. The opening scenes exaggerated my impatience for some explanation into the geography and history. I became frustrated. But then Kemp got busy ……………..
Rattling off the sorry statistics of the January retaliatory attacks by Israel into Gaza, he confirmed the targetting of schools and political infrastructure in Gaza by the IDF (Israeli Defence Force) last January. Kemp amplified the view of the local UN rep that this went beyond any practical attempt to limit the elected government of nominated terrorist organisation Hamas to otherwise wage war on Israel. Whilst perhaps not exactly news, the destruction of 200 schools followed by the blockade of the territory could perhaps be seen as beyond any justification. When Ross dipped into the economic consequences, the folly of the policy becomes clear. In parallels with the short-sighted efforts in Iraq – where the triumphant coalition promptly put the world’s 4th largest standing army on the dole and released over 1 million highly trained armed men to an indistinct future – Israel’s blockade ensured the closure of an inland port responsible for 10,000 jobs. These jobs alone provided the means for support for 10,000 families suggesting a figure which is approaching 10% of the entire territory. Ignoring the death and injury, this economic pressure alone is subjugating an already poor and bewildered population.
It was difficult as a removed viewer to watch as Kemp was shown an active operation to plant an IED targetting Israeli Special Forces. I am not sure if this constitutes propoganda, journalism or immoral voyeurism but it certainly caught my attention. Kemp asked many questions of these operatives of Islamic Jihad but never a straight “Why … ?”. You might argue that the objectives of their campaign are obvious. I don’t and I feel it was the burning question and one which – in next week’s show – he will hopefully ask of the Israelis.
Kemp then interviewed a group of affected children and provided the most poignant and altogether scariest observations of the 60 minute slot. All the children were clear in their desire to die in any cause against “the Jews” for two reasons: one to avenge loved ones killed in front of them but also because they saw Paradise as infinitely better than what they were forced to live through on earth. This kind of belief – deftly illuminated by Kemp’s otherwise blunt style – demonstrates the ‘rationale’ behind the desire to martyr oneself. It is less about jihad or even faith – more about escaping the misery of their current existence. Growing within such youngsters, you could see through this programme how it would take root into adolescence and prevail amongst youths with little other reason to carry on living. Horribly informative stuff. Surely the Israelis must see the counter-productivity of their tactics ?
To end, Kemp was hurriedly invited to meet another military / terrorist faction. I would not have gone near this potential trap with an armoured tank division but Kemp characteristically dived in – and I have to concede that it was hard to discern any element of stage-managing this for the cameras. I was horrified to see Ross marshalled into a makeshift tent to witness the recording of a martyrdom video by a 24 year old Law graduate. I am sure there will be protests about this element of the documentary but it was dreadfully compelling. The viewer could look into the eyes of this devout young man as he stood there dressed in explosives and – not too convincingly – declared his commitment to die and seek the deaths of others. Again, Kemp drifted around actually asking the chap outright why he was doing this. To his credit, Kemp did attempt to elicit whether the young man saw his potential act as peace-making. No surprise that the depressing answer was of course, no.
I am still trying to make up my mind about the programme. Sensational ? Sure – but in a revealing, terrifying and deeply saddening way. Immoral ? – in my view not. There is some insight here. This is not the explanatory political documentary I have written about before as something I want to watch. Yet, the production – from Tiger Aspect / Mongoose and helmed by Olly Lambert – went so much further than I expected. Kemp himself said – rather like Jeremy Bowen’s report for BBC Panorama last year – that he had no answers to offer. Yet he did go further than Bowen in suggesting that the Israeli policies were incomprehensible and indefensible. Let’s see how he tackles the Israelis next week.
BBC Four re-ran a 2006 retrospective of the career of Paul Weller before Christmas which caught my attention. The 90 minute cycle struck chords as much for its parallels with my own life as the music and Paul’s career to date. From The Jam, into The Style Council and onto various solo adventures through various music styles, Weller’s life also picked its way through world events which influenced my life, politics and musical tastes. That is not to say we were in sync; in fact, his musical and political leanings were in perfect opposition to my own growing pains and experiences. Paul and I finally came together with the release of Wild Wood in 1993 which for me became a singular musical experience – an album I played end-to-end and over-and-over.
Stepping back, the gently biographical presentation included lengthy contributions from his Mum and Dad and reflected his warm, Woking upbringing with the family support which underpinned his success. His father was his manager through the band years of Jam and TSC and a key figure in his life (John Weller sadly died last year). Some minor resonances with the likes of Ian Curtis whose stable, polite and pleasant background belied the angry-man stage presence which diffused Joy Division and which, likewise, became the subtitle for Weller’s Jam. As a writer, Weller majors on meaning before he tackles the melodies. His lyrics come first, followed by the score, whereas I was always captured by the music before I even considered the words.
I had bought or stolen most of the vinyl that The Jam released at the end of the 70s and the start of the 80s but, strangely, I am not sure that (then) I really liked it. More a product of my fascination with the Mod resurgence at the time, I remember preferring Two Tone and the softer influences of Ska than the harsher, Tory tones of the Jam. The band was pushed into politicisation – prompted to publicly support the Conservatives at the 1979 election. I was firmly a Callaghan fan as part of my emerging political awareness at 13 years old, and virtually distraught at the coming of Thatcher. Come the Falklands and the subsequent patriotic outpourings, Weller and I swapped sides again as he closed down The Jam and whistled up The Style Council. He changed and embraced a new musical and political ethos with the TSC coming out for the Labour Party, CND and other trendy, left-wing causes – and at the same time poncing ostentatiously round Paris. Keeping to our opposing life choices, I was writing teenage treatments in praise of monetarism and despairing at the naivete of nuclear disarmament, whilst discovering the softer delights of The Eagles, ELO and Steve Winwood. The contrasts continued as he moved into romantic stability with his TSC vocalist – the wonderful Dee C Lee – at a time when my Too Much, Too Young marriage was disintegrating following the birth of my son.
Characteristic of Paul Weller is that – musically anyway – he never looks back. And me ? Of course I beg to differ. I am rediscovering The Jam and loving them. Being at school in Slough and frequently competing with the privileged kids ‘up the road’, “Eton Rifles” always resonates and “Start!” gets me pogo-ing dangerously round the living room. Even hearing the occasional Style Council track prompts a degree of comfy nostalgia. Paul’s divorce and return to writing which prompted “Wild Wood” and then “Stanley Road” finally unites us. The programme revealed this later incarnation of Weller as mature, comfortable and relieved (that he still had ‘it’). Gone is the almost pompous posing of the TSC years, as are the shy, clipped stutterings of the younger man – Paul talks confidently and calmly to camera as a man who is enjoying life and sees his journey continuing.
“Into Tomorrow” then is all about my life as seen through the career of Paul Weller. I am convinced by this documentary that Paul is my best mate …. but we’ve never met. As opposites, we would probably punch each other. As fellow travellers through the 80s and 90s, we might perhaps just kick back and get pissed down the pub – bitching about Blair, laughing at Foot or Kinnock, and bemoaning Thatcher. Of course, I would ask the usual NME crap about Jam reunions, TSC justifications and Wild Wood influences. Weller would no doubt spit back with thinly disguised disdain and wry humour at my lack of cred; before we burst out laughing.
The programme content is compelling (and not just because of its parallels and contrasts with my own life). Director Stuart Watts and Editor Duncan Hill have cut together a charming stroll through Weller’s career which lacks any lofty pretence. It stops short of Studio 150 and 22 Dreams and hence could do with an update but for those like me who hanker for reminders of the 80s, well worth catching on iPlayer.
For some time, the Murdoch / News Corp. empire has been making noise about and against Google and other media entities. The up-front objective is to protect the value of its online content but News Corp.’s tactics are so loud and aggressive, one wonders whether there is a subtext. It may be that Rupert and son, James, are simply taking advantage of political and economic distraction to further commercial aims with the full expectation that comment will be restricted to mere reporting and the risk of negativity is minimal. In short, people don’t care too much about who tells them the news and Google surely is fair game as a virtual search monopoly and the go-to supplier of internet advertising – the only real growth market within an industry that traditionally pays to fill the Murdoch coffers.
Google-eyed
There are so many articles and follow-ups on Murdoch’s “plans” to pull all News Corp content from Google. More recently, the crescendo builds with Microsoft teaming up to take that content – presumably through its MSN and Bing estates. The thing is, it all makes no sense. The Murdoch marques rely on user visits to absorb adverts. Charging for online journalism will fail spectacularly for a variety of reasons. Those sites that do survive on subscription services do so purely from a customer base centred on research, market analysis and media-watching / regulation. Paid-for or not, engines like Google bring customers to those sites and fuel the necessary page browsing engine. News Corp knows this so what is the real game ? Is this simply an exercise to force a bigger cut of ad impressions and click-through revenue or to sucker Microsoft and others into trading ad serving revenue to News Corp in return for publicity and loyalty ? Perhaps it is just altruistic concern about the monopoly power of Google ? (yes, I am laughing my arse off at this point !).
Mercy dash for Microsoft
More than surviving, Microsoft is playing the Windows 7 card well to ensure user take-up of its desktop software and to extinguish the threat posed by Apple, Linux and the Open Source community. I have often written that Microsoft’s future is not rosy. I was not fooled by the ‘Out of stock due to high demand’ bullshit appearing in PC stores around the UK. The blatant attempts to stoke up a Windows 7 hysteria to rival demand for, say, the iPhone is obvious and – if I am correct – desperate. This feeds the hypothesis that the Redmond posse need to claw back an online presence and are prey to offers of commercial mutuality which may not have any payback for them. There are some diamonds in the rough of the Redmond product set but these are so typical of Microsoft’s output – usually tech-plays which are the work of one or two gifted individuals whom the Corporation was lucky enough to retain and rally. I cite Windows NT as the key example. This operating system still forms the core of the MS OS product set and was essentially designed by a team snatched from DEC and lead by Dave Cutler. This core was launched over 16 years ago thus adding to my charge that Microsoft’s ability to innovate was – and continues to be – suspect. Microsoft remain the supplier of desktop and core server technology globally – whatever I say about their poor quality output and longevity – but they need to bolster their content and online offerings. Desperate indeed when they are now reported to be offering to pay content owners to switch from Google. So is Murdoch getting a Seattle Bung to pull from Google ?
Gelding The BBC
Cameron’s Conservatives and the Currant Bun appear to have dealt to counter the BBC’s independence. Under threat also from New Labour in terms of its funding, the BBC will no doubt have to tread carefully. In fact, the BBC is a content provider which – revenue aside – is an equal to Google, Yahoo and MSN in the worldwide online impact stakes. The UK broadcaster still retains some reputation in terms of the independence and quality of its output and despite domestic criticism from those with other agendas, continues to push digital output which is globally admired. The implicit threats from both mainstream UK political parties have gone largely unremarked. Whilst the BBC would the commentator-of-note on such stories – the commercial ITN news service is all but reduced to celebrity reporting these days – but is stymied by the obvious conflict and risks. Influencing the media is one thing; cowing it into timid observance is quite another. Labour avoided following through on their top-slicing threat to the Beeb in the recent Queen’s Speech but the Tories believe they will have the whip-hand come the next election and have perhaps kept this in the bag to ensure Auntie’s compliance. With the ITV network a lame duck, the BBC continues to challenge Murdoch’s Sky successfully for British audiences. Curbing the BBC’s steady international influence must be high on the News Corp. agenda.
The Murdochs Marshalling Their Men
Is News Corp. the global aggressor here ? With treaties and media tactics well coordinated to launch an online Blitzkrieg, could it be that they will win the day ? Winning in this scenario would be presumably mean replacing Google as the de-facto finder and distributor of content especially advertising. Attacking a variety of targets on several fronts is likely to provide a return in publicity alone. The objective after all may be to simply keep its existing territories in the face of a Google guerrilla army. If true, perhaps the BBC will be left alone but I doubt it. Amidst the distraction, maybe ITV will quietly join the Murdoch stable ?
Vivian White presented a pretty pointless report on tonight’s Panorama by taking aim at budget airline Ryanair. Seeking some sensationalism amidst chief Michael O’Leary’s business practices, White ending up throwing lemons !
With friends and family working at British Airways, I am no fan of the budget airlines which are pushing the flag carriers to the wall but not principled enough that I have avoided flying with them. A regular Easyjet punter, I did fly with Ryanair to Tallinn on business and, whilst I have vowed never to fly with them again, I can see the attraction of reliable schedules coupled with flinging around the world for a few quid. (It is actually the garish, headache-inducing yellow in the cabin that was the final straw).
White’s presentation seemed to be yearning to suggest some subterfuge, fraud or illegitimacy in Ryanair that is simply not there. The airline carries almost 70 million passengers a year on one of the most modern fleets with punctuality that would make the Japanese blush. O’Leary has bargained hard – almost to the point of blackmail in withdrawing business from airports that do not meet the slot and landing fees that he is prepared to pay. He has maneuvered the likes of Boeing and Airbus to get possibly the lowest prices ever seen in the market on his fleet. So what ? My personal business ethos is win-win – his is clearly ‘not at any cost – only at my cost’ but this does not make him a crook. Certainly White conceded that Ryanair has a excellent safety record so no corners being cut with maintenance or aircrew; no underground revelations from staff other than they have to tow a pretty tough line to even be hired permanently by the airline. Again, nothing illegal. I would not want to work for them but O’Leary wants bums on seats, not Employer of the Year awards,
White told us nothing new. We know about the extra fees for payments, insurance, baggage and food. We clearly accept the ignominy of Ryanair’s cattle class to be able to travel on the cheap. No mention of the environmental impact; only crummy, out-of-focus camera fades and shots, plus the occasional finger-wagging from marketing and brand specialists. The point on the weariness that may hit the brand was well made, however, and the story of Ryanair is more about the psychology of sales and less about business ethics. They will lose the plot, be challenged or just plain negotiate their way out of commercially viable slots. I won’t cry about Ryanair’s eventual demise if it happens – it just would have been nice if this limp piece of journalism actually had more to say.
The much-billed Barbwa and Wossy interview hit BBC1 this evening and the smooth-talker certainly had his work cut out in drawing out stories from the megastar and mega-talented Streisand as she sat in on her first British TV interview at 67. I was never much of a fan of her music – or so I thought – but loved seeing her in such films as Meet The Fockers and way back to The Way We Were.
And then the Beeb played a clip from A Star Is Born where she sings the last few bars of Evergreen with Kris Kristofferson in a studio scene from the film. It was simply beautiful – and so followed a quick trip to iTunes to snaffle the signature track along with Guilty (duetting with Barry Gibb) and Woman In Love. It made me realise how much I had enjoyed her singing without possibly knowing it. I suspect the interview generated a rush on iTunes for Barbra’s back catalogue as a number of albums were unavailable on hitting the download button. Pity.
Streisand is notoriously camera-shy and she seemed a tad quiet but otherwise relaxed as Ross strained to get her to chat about her career in film and music, plus her private life (I did not know she has been married to James Brolin for 13 years). The tunes at the end of the show were charming but not my cup of tea – moving me at least to download a few choice oldies. But….what a lovely lady !
Shappi Khorsandi : A Beginner's Guide to Acting English (Ebury Press, 2009)
Shappi Khorsandi pops up occasionally on the comedy circuit and I first saw her on Have I Got News For You on the BBC. She is a comic in touch with her Persian roots and, whilst a paid-up Anglophile (married to a Brit), her stand-up fare draws on her familial background to feed her satirical output. She always makes me giggle on TV and when I caught sight of her book, I nabbed it and read it in 3 straight sittings.
This autobiographical trawl through her childhood is a delightful (and occasionally harsh) depiction of life in Iran, contrasted with the family’s (ultimately enforced) exile to the UK. Talented family all, 4 year old Shaparak is accompanied by her father, famous Iranian writer and satirist Hadi Khorsandi, brother Peyvand and Mum Fatemeh as they get to grips with the English, the language, late 70′s racial epithets, dogs, Margaret Thatcher, fish fingers and the continuous stream of parties and callers that is Iranian society (whether home or ex-pat).
The real charm of her story is in the writing. She is almost 4 years old when the family shipped up in London and the book is written in the first person, using the child-thoughts of Shappi as she encounters England-in-the-round. It is interspersed with grown-up, almost documentary-style, narrative of life amongst her extended family back in Tehran as they struggle with the Revolution, war with Iraq and the demonising of Baba Khorsandi as a result of his comedic pops at the new Islamic regime in cartoons and writing.
This culminates in their ‘secret’ flight from Ealing to Windsor (!) to lay low, albeit for about 2 hours, after which they are joined by a risky proportion of their Iranian friends to keep them company, much to the concern of Special Branch. Dad was more outwardly relaxed about the attentions of the Iranian Security Services, but Shappi – then aged 11 – wrote directly to Khomeini asking him not to kill her father:
“… I don’t want my baba to be killed because I love him very much. I know that you are angry because he wrote some jokes about you. I wanted to tell you that my baba makes jokes up about everybody, even me ! …..
.. you seem like a very nice man even though you look quite serious.”
and then proceeds to give him their London address and phone number, with an invitation for dinner sometime. Whilst there is no evidence that the Ayatollah read the letter, it is lovely to imagine the gruff, grim Supreme Leader of modern Iran warming to the antics of the precocious, witty Khorsandi girl over a glass of chai and a few cloves of pickled garlic.
You can see the shoots of her later career in the innocent ponderings of the child in this book. I have not seen her repeat the impressions that kept her parents’ circle of friends entertained – Margaret Thatcher apparently becoming her “.. best impersonation and soon I did her all the time and hardly ever bothered with anyone else.” but maybe they still feature in her stage act ?
I really love the fact that this personal, warm and amusing regaling of an unusual family life also educates. I concentrated madly to follow the names, sporadic Farsi and descriptions of family characters. I chuckled at the various acts of English stoicism in the face of Iranian nuttiness, but was most fascinated by the descriptions of Iranian courtesy rituals (like Tarofing), food and family behaviour. Always charming to ‘meet’ new cultures, especially in such a relaxed and loving form that gently nudges aside any residual “anywhere East of the Mediterranean has no culture” prejudices that one or two of us Kharejis (Westerners) may harbour.
Loved it. Recommended.
Quirky medical drama “House” has been a minor hit since launching in 2003. Starring Hugh Laurie as rational, hard and self-centered Dr. Gregory House, this programme really gets you hooked. Week-to-week the stories vary only slightly – each episode presents a diagnostic challenge for the miserable but gifted House and his changing entourage of wannabes – but it is the endless personal interplays that are the key to the show’s addictive grip.
Hidden away until this season on Hallmark TV in the UK, Sky One has now scooped the latest series and, if anything, the heat has been turned up. Laurie’s character now has to contend with more complex personal dilemmas on the part of his colleagues, including the long-suffering Wilson (Robert Sean Leonard as Greg’s only real mate). House has 3 new recruits to intimidate and embarrass, with continuing appearances from his previous unfortunates (Jennifer Morrison, Jesse Spencer and Omar Epps). The regulars are accompanied by House’s nominal boss and the long-suffering butt (in SO many ways) of his disdain for wimmin’s lib, the charming but trapped Dr. Lisa Cuddy (Lisa Edelstein).
Laurie is a huge hit personally in the US as a result of the show, and deservedly so. He bolsters the superb scripts to flesh out the ultimate poster guy for political incorrectness, bringing his own real-life love (and aptitude) for music to the character. I suspect his appeal is as much about House being the clever but cutting red-necks’ thinking man, as it is about being hyper-intelligent and rational enough to cut through social mores. All this, whilst coping (badly) with his own afflictions.
The show is great fun- House’s nastiness has a real comical thread – and the weekly injections (forgive the pun) of genuine drama are well done without boring the viewer with medical droning. This ain’t ER, Greys Anatomy or Casualty. Yet another medical drama ? Sure, but catch an episode – I guarantee you will be back for a repeat prescription (ouch !).
Channel 5 in the UK have launched what my Sky box says is a “New Series” in Air Force Kandahar. Its a welcome return of coverage of the fight in Afghanistan and from a slightly lighter perspective than, say, Ross Kemp’s series on Sky One. Indeed, the review of the original series on this site remains the most popular post on Babble Talk.
Somewhat disappointing, then, that this ‘new’ show proves to be a repeat of “Warzone” shown in January of this year. As Five.tv failed to complete the showing of the original run, one can only hope they do so this time. More fool them for allowing their programming controllers to dress up and disguise what was already a popular documentary, which got withdrawn to make way for more US imported fare.
In this time of MP greed and Prime Ministerial ego, it is more important than ever that programme makers keep the fighting forces overseas in the minds of the public. Removing similar documentaries from the schedules for commercial reasons is short-sighted. As traffic to this site shows, we Brits remain refreshingly concerned about how the fight abroad is going – even if our self-serving politicians do not.
Kate Winslet bagged an Oscar for her performance in this film and, as one of her 2 nominations this year, I wanted to see what the fuss was all about. This is the somewhat saucy story of a young lad’s first pash with an older woman, Hanna Schmitz (Winslet). Ralph Fiennes plays the grown-up, angst ridden version. Adapted faithfully by British playwright David Hare (whose other screenwriting credits include Damage (1992) and Plenty (1985)) from the novel by Bernhard Schlink, the story gradually reveals the shameful history of the simple Hanna. Her odd coldness with the young Michael Berg (David Kross) is suggested to be as a result of her shame and simpleness. Extending into her trial for war crimes, emotion creeps into the performances and neatly illustrates why the two main characters fail to overcome their initial reserve. It is as if any emotion would collapse the protective shield holding back the terrible past (in Schmitz) which then gets transferred to the impressionable Michael, the titular Reader. The fact that this comes across in the acting is possibly the reason for the deserved nomination.
Fiennes is good as the older Berg, tackling the awkwardness of the later scenes – dealing with his failed marriage. This is signalled by the sense of unfinished business and loss in his parting from Hanna as a young man. Indeed, his early experiences desporting with the (to him) delightful Hanna seemed to rob him of both closure and the emotion needed to carry off later relationships. Not that Hanna is portrayed as a monster – more, a simple woman lacking in the intelligence to question the order of things around her. Berg must later reconcile with his daughter and proceeds to tell the whole story in the closing scenes, released from his staid, closed, quiet state by the death in prison of his former lover.
Whilst Schmitz is shown to be a victim of her own circumstances and pride, there is no attempt to make her an innocent with regards to the murders in which she played a part in the war. The film follows Schlink’s original plot well and, rarely, actually adds to its impact in the visual telling.
A simple story with some clever, albeit subtle, turns by the main players.
I’ve been looking forwards to this one for some time. A fan of Michael Sheen (check out his turn as Kenneth Williams in Fantabulosa – BBC 2006), I also wanted to understand a bit more about Richard Nixon and Watergate. I needed to see Tricky Dicky sweat when facing the stalwart Brit interviewer. Of course, Frost was certainly not that; and Nixon had faced tougher questioning long before he took a record $600K from Frost to (unintentionally) confess all for a prime-time audience.
Frank Langella was interesting as Nixon but Michael Sheen deserved the plaudits attention and Oscar nomination. Looking at footage of the real Dicky in action around that time, he was a more sprightly, active figure with determined body language than the bowed-over, old git portrayed by Langella. (Frank’s finest hour for me remains his stint as Skeletor, in Gary Goddard’s 1987 “Masters of the Universe“). Not knowing the private Nixon, I wonder whether he was as pitifully lonely, arrogant yet burning for conflict as the writer suggests (Peter Morgan, adapting his play for the big screen). I can well believe he was as grasping and venal as shown here. Frost comes across as nice-but-dim or more popularly, a playboy looking for the shortcut to a scoop. That is, until his miraculous conversion one evening where he discovers investigative journalism, graft, a little humility and gets on the stick.
I have tracked down the real interviews on YouTube and I note they are now in the shops on DVD (£5.99 in HMV !). I should perhaps have watched it before reflecting on the reality of Ron Howard’s film but I preferred to pitch my ideas first. Those curious about the impact of Nixon on world history (surely significant by any measure) should check this out. It might even be a worthy view for schoolkids looking at modern political history – Watergate being a defining moment in US and world politics. As the film says, Nixon’s lasting legacy is the -gate appendage for any remotely scandalous political furore.
So, thanks Dick ! (and Ron and Peter). Surprised not to have seen any new -gates in the British press recently.
Expense-gate, anyone ?
How about Duck-gate ?
Greed-gate ?
Suggestions please !
Meanwhile, check out Frost / Nixon. Entertaining, amusing, well played and worth a look.
Last night’s South Bank Show on UK’s ITV featured an interview with, and restrospective of, Peter Kosminsky.
Kosminsky is a documentary / film maker with a track record of focussing on difficult subjects. His particular interest is in challenging the viewer to acknowledge awkward realities about our world. As well as the Falklands War, Child Abuse, suicide bombers (the fictional “Britz”, Channel 4, 2007) and aspects of the Northern Ireland ‘Troubles’ (“Shoot to Kill” 1990), he is now working on a feature on Palestine. In his discussions with Melvyn Bragg, Kosminsky said he wanted to illustrate the history of the conflicts in the region and especially the actions of Britain in shaping the Middle East. By implication, he will no doubt wish to illustrate how our conflicted – and, at times, duplicitous – policies following both the First and Second World Wars help to create the nightmare that exists today.
This is a subject which I think a British audience is quietly interested in – we want to understand the real reasons for the ‘Middle East’ and possibly we shrink from it for 2 reasons: the news media is not interested in providing us background – just soundbites and action – and we subconsciously know that somehow we have a responsibility for it but there is already enough to feel bad about at the moment. It is almost like our imperial activities of the last 100 years have become the ‘history that dare not speak its name’. Yet, we also want desperately to understand the reasons behind the rage of Muslims towards the West. Why do they want to hurt us – we are the good guys, aren’t we ?
His work on Palestine may even help us to consider solutions but I suspect that is not Kosminsky’s aim. A historical refresher but more to shame the nation’s consciousness into understanding our responsibilities for the age of terrorism in the 70s and now. (For a light introduction, check out Christopher Catherwood’s book, “A Brief History of the Middle East” – not the sharpest writing but an excellent introduction to the political and religious history of the area and, for the uninitiated like me, presents some startling insights. It covers semi-familiar subjects like the Crusades and other perceived horrors in the collective memories of the affected peoples.)
So in tackling Palestine – and one wonders how he will approach the subject – Kosminsky selects a worthy objective and an important history lesson. Nowhere in Bragg’s interview did I detect that Kosminsky was looking to present solutions. Not even that, in forcing the viewer to confront uncomfortable realities, there might be some realisation or acceptance that would force change. No. More some arrogant delight in pulling the wings off our comfortable view of our role (Britain’s) in the world. Certainly his films represent an important first step on tricky subjects but there is a danger of his work being reduced to scab-picking. Regardless, I look forwards to the Palestine film with interest.
This is a film to which I have looked forwards for some time. Having read Albert Speer’s Inside The Third Reich and other material on the Nazis, this particular plot against Hitler (there were apparently 15 serious plots to assassinate Der Furher) is possibly the most familiar. That said, the filmmakers made much of bringing this story to an unknowing world and yet Singer is reported as saying that he wanted to make a thriller as opposed to an historical documentary. I trust I am not blowing the ending for you when I say the goodies of the “July 20″ plot failed, and most died horribly as traitors to the Third Reich.
The relatively short presentation kept me gripped all the way through. Claus von Stauffenberg (Cruise) is depicted as a dedicated patriot whose main driving force was to ensure that he avoid any legacy of shame to his children for his part in the Nazi regime. He had no time for political ass-covering and blithely pressed on with each staged objective of the plot, to the occasional annoyance and frequent fear of the conspiratorial leaders. There are some subtle touches, like the references to his religious leanings and the close relationship with his wife with whom he appeared to share everything (Nina von Stauffenberg survived the purges of the SS following the failed plot and died in 2006. Nina is played convincingly – given her limited script presence – by Carice van Houten (last seen by me in Paul Verhoeven’s WWII Dutch resistance thriller, Black Book, 2006). A warm mention should also go to Christian Berkel who played von Stauffenberg’s kindred spirit and supporter in Colonel von Quirnheim – representing the stern, courageous man who was determined to see that the remaining conspirators held up their end of the bargain and followed through on their commitments to von Stauffenberg. It is Quirnheim who puts the broom up the trouser leg of the well-meaning but timid General Albrecht (Nighy) to ensure the Reserve Army was deployed to the capital. This was to (unwittingly) assist the takeover of Germany under the internal security plan for which the film is named. (He actually failed in this at first and faked the initial order).
The main attraction for me, aside from the story, was the presence of a huge Brit contingent. I was disappointed that I could not see more of them – their screen presence reduced by the compacted script and running time, I suspect. This means you have to pay attention to their performances if you want to understand the personalities of their characters. Again, highly creditable given the limited canvas on which they had to paint, as provided by writer Christopher McQuarrie (writer of Usual Suspects (1995) and un-credited on X-Men (2000) amongst others). One graphic point – I do not know if this was intended nor whether it is historically accurate – was the contrast between how the conspirators chose to meet their fate (stoic, accepting, unrepentant) and the preparations made by Goebbels (the example shown in the film) to commit a painless, shabby suicide should he be arrested. Of course, Hitler’s henchmen almost all chose this route at the end, but I thought this an interesting comparison between those largely cowardly bullies and the mainly military or aristocratic figures who attempted to overthrow them.
As a thriller, the film still informs. My preference would be for a more detailed study of the game played by these resistors of the Nazi regime, their motives and personalities. The fact that Singer opted for a more commercial bent to his film is no discredit and should ensure that it reaches a wider audience. The fact that there was a native resistance to Hitler and his cronies at all is perhaps a surprise to many and revisiting this in a sympathetic way is a worthy objective. For all that, great entertainment and worth taking the family to, noting its 12A certificate in the UK.
Sky One has brought Ross Kemp back to Afghanistan in a follow-up to his documentary last year in the trenches on what he calls “Britain’s front line”. If you have read my reviews of A Soldier’s Story (BBC) and Warzone (Channel 5) you will know I have been a keen observer of coverage of our fights abroad. I cannot say too often how important it is for reviews, reminders and ready comment to keep us posted on the commitment made by our fighting men and women on our behalf. The media can so often assume boredom on the part of the public and drift between their shifting view of the key stories of the day.
Kemp continues with his chatting-to-the-camera style, and the obvious, digging questions to the troops from the relative calm of Camp Bastion. However, the camera quickly moved out with a platoon of Delta Division, 5 Scots Guards on operations just north of Musa Qala. Bullets and RPGs were flying within minutes of their arrival and I had to keep reminding myself this was not a Hollywood movie. Entertaining in a terrible way, “Reality TV” does not begin to describe this. Whether by luck, judgement or just great editing, the fear and confusion of being under fire came across all too well. “It’s just too damn dangerous” was one squaddie’s observation, squatting down in a hut for respite in the darkness as the platoon contemplated the Taliban’s hoped-for aversion to night time attacks.
Major Nick Calder commanding Operation Cap Fox was in the thick of it with his troops – none of the General Melchett myth of leaders esconced back at the nearest 5 star hotel. With Sergeant Danny Carter minding him and his cameraman, Kemp calmly describes their job to “draw out the Taliban” – they are the bait. Listening in to radio chatter that forewarns the goats that the lions are surrounding their prey, the professionalism of these guys is amazing. In a clear nod to the entertainment nature of Sky One programming, the episode ends there, with the Taliban poised to attack. More next week folks !
Its obvious excitement value aside, this is another education in the realities of our commitments to the major war zones of the world. In the intervening period since his last series, it seems we have captured significant ground in Afghanistan. This is an important message which we do not see on the news. Gingered up by Kemp’s references to the fallen and the mistakes of war, I hope this continues to grab an expanding audience share. Greater coverage of the war on terror is welcome. For me, I would dearly love one of the networks to commission a series which explores the reasons and objectives of these conflicts. This is not a political view – I am not suggesting there are none – just that there is another side to the covenant we have with our armed forces. That is the obligation for us at home to acknowledge and understand why our troops are there and what it is that they are sacrificing; and the duty of our elected government to inform us. Commissioning editors please take note.
To pass the time, my son and his girlfriend decided to take in a TV show today from Living TV on satellite. Another in the Jerry Springer-genre of open heart emotional surgery in front of a live audience, Steve Wilkos is the shock-jock supremo. Indeed, this presenter was apparently a former security guard on the original Jerry Springer Show. This particular episode was subtitled “I Molested My Child” and consisted of a self-confessed molester of his own children being confronted by said offspring. Words like Tragic or Deep or Opportunistic do not begin to describe this sort of material. I could not tell whether this was staged or real but it was certainly disturbing on a number of levels.
Wilkos’ approach is much more involved than his mentor. He actively confronts the miscreant and berates him, in mild contrast to Springer’s sit-back-and-let-the-fight-brew attitude. I could not work out whether he sees his particular vehicle as a healing mechanism for this chap’s unfortunate victims or merely as good entertainment. What horrified me the most were the quick camera cuts to the audience. These public onlookers were baying for blood; laughing, shouting, smiling and clapping as the tormented and tormentor squared up to each other to reveal the most horrid of family crimes. I cannot quite accuse these voyeurs of blood lust more at home in a Roman Arena, but I was fully expecting Wilkos to gesture thumb-wise up or down (almost certainly down in this case).
It is scary that this qualifies as pulp daytime TV infill. Steer clear. Deeply unpleasant.
The BBC brought back Ski Sunday to our screens in the UK this week with a welcome change in format. Relegated to a secondary show – High Altitude – are the recreational pieces that plagued mainstream coverage of the competitive skiing last year. Ed Leigh and Graham Bell continue as helmsmen but the focus is very much on the sport. This week it was the Men’s Downhill on the Lauberhorn course in Wengen, Switzerland. The Beeb has availed itself of digital options used in its Olympics coverage to provide viewers with additional coverage – this week the red button offered the Giant Slalom heats.
Its been an interesting season opener with old favourites not quite back to their 2008 form. Team America’s Bode Miller just failed to take the Downhill competition for the 3rd year in a row at Wengen, losing out to home boy Dider Defago to the obvious joy of the home crowd. Both runs were sofa-gripping stuff – Bode never fails to ski on the edge(s). Mario Sullivan of the USA took 3rd. Swiss champion and crowd favourite from last year, Dider Cuche, could only manage 10th. Back-to-form Norwegian Aksel-Lund Svindal skied the longest course on the FIS circuit to come in 15th (stated as 12th by the BBC – come on chaps ! Check out the FIS official results before pronouncing). Old favourites, the Austrians Michael Walchhofer and Hermann ‘Hermannator’ Maier jointly nabbed disappointing 26th place.
Britain’s Finlay Mickel is out this year but youngster Ed Drake represented the UK with a journeyman 55th place. It is early days and, with the World Cup coming up in February, Ed has some work to do. Based on this heat, the racing is going to be exciting. Chemy Alcott is due to be back next week in the Women’s Downhill in Cortina. Nice to see Shelly Rudman mentioned – Britain’s world class skeleton bobsleigh pilot who continues to lead the Women’s World rankings.
Ski Sunday also paid tribute to David Vine, the programme’s inaugural presenter, who died last week. Vine was a huge TV presence and a regular for most of my formative years watching snooker, tennis and skiing coverage on the BBC.
Catchy headline and a cracking name for a music album. Introduced to the UK via Jools Holland and a hit at Glastonbury, I am revealing my less-than-cool credentials by ‘discovering’ a new, old act. Seasick Steve – an unlikely name for a music star – the bearded, blues-singing wonder was on Something For The Weekend on the BBC today. Once he rattled off a section of St. Louis Slim on his knackered, old 3 string guitar – boy, could he make that thing wail – it dawns on you that he is no cloned pop-star product of the noughties. OK, such is his burgeoning bankability – he has a sexy new website and has just released his 4th album – you could be forgiven for assuming some Cowell-ite impresario has plucked the sexagenarian from some Wild West carnival. No chance. Interviewed by Emma Bunton, he came across as thoroughly real – and then he started to play. Wow. Basic, traditional, blues or just plain good tunes with a wry smile.
His appeal extends across age ranges and you can hear why. This is music and it jumps as a wonderful relief into the antiseptic and largely irrelevant charts. Youngsters may never have experienced confection this rich and must be drawn to it with curiosity and then some satisfaction. Lacking the polish of, say, Ray LaMontagne, Seasick Steve sings from the heart and unconsciously makes his guitar join in. Steve starts a UK tour shortly and tickets will have to be snaffled. Check out the samples on his website. You will understand my prattling. Yeee hah !!
Also showing on satellite in Europe, I checked out the DVD presentation of David Cronenberg’s Russian gangster epic set in London. Starring Viggo Mortensen and Naomi Watts, the story revolves around the death of a forcibly trafficked young prostitute who along with a baby, leaves a diary which incriminates the seemingly avuncular but ruthless crime boss Semyon (Armin Mueller-Stahl). London is barely a character in this movie, which could be any major western city; in contrast to Mortensen’s debut role in The Young Americans (1993) where the city figures vividly.
The action opens with an extremely graphic killing of a rival of Semyon’s son Kirill (Vincent Cassel on form as Semyon’s wayward, wastrel son) which lays the groundwork for the film’s depiction of the business and rituals of the Vory V Zakone crime syndicate. Perhaps to-be-expected given the direction of Cronenberg, the film is overly gory with graphical blood-letting that exceeds the needs of the story in my view.
Watts is wonderful as the nurse stumbling into this dim world by delivering the baby from the dead girl and nabbing her diary in the process. She encounters Semyon and quickly realises he is not all that he seems, whilst attracting an unlikely protecting angel in the guise of Nikolai (Mortensen). He is rapidly insinuating himself into the crime family with dangerous and ruthless effect. It becomes clear why he is more of a goody than on first meeting. Some great set pieces which inform and revolt but the story rapidly dwindles away to its predictable conclusion. This predictability I can appreciate, but the short presentation could have made more of the fate of Semyon and his family as the syndicate power struggle propels the calculating Nikolai to the head of the outfit. I felt a bit short-changed story-wise from the rapid ending, warmed only slightly by the happy conclusion of the babe in would-be mum Watts’ arms (supported neatly by Sinead Cusack as her own mother).
The nastiness of girl-slavery and the cynical way these girls are recruited is touchingly portrayed by the dead girl’s narration. Mortensen is believable as the committed Russian gangster/climber with an agenda yet no apparent conflict as the undercover good-guy. I liked the mix of Russian and English dialogue with realistic accents and well presented background. A great cast including Pole Jerzy Skolimowski – more normally seen behind the camera but who I remember as the KGB baddie from White Nights (1985) – as Watts’ Russian uncle. An honourable mention should also go to the tattoos – characters in their own right ! The DVD package includes some interesting background with interviews from the Director, writer Steve Knight and the cast. Overall, worth a look but not a repeat viewing. Look for the satellite broadcast on Sky or rent the DVD.
Whilst researching TV schedules for an article, I came across the online archives for the BBC. There are some delightful recordings buried away here – free to listen to online. I checked out a broadcast from 1936 from the Second Officer of the Titanic, Commander CH Lightoller. Fascinating stuff and quite revealing when compared to, say, James Cameron’s Titanic from 1997 (at least in terms of the sequence of events and what really went through the minds of the ship’s officers and crew).
The BBC Archive includes some collections covering subjects from Doctor Who and Dads’ Army through to more cerebral stuff like the transformation of the USSR and the music of Liverpool and the Mersey Beat years. Worth a look. I hope that the BBC will do more to make historical programming content available online – this site is really just a taster and there must be a wealth of wonderful radio and TV history in their vaults.
Channel 5 in the UK are airing the series Warzone which takes a look at life on Kandahar Air Base for the British and Allied forces stationed there. This is the latest in a welcome crop of documentaries following the lives of military personnel in Iraq and Afghanistan, following on from BBC’s A Soldier’s Story and Ross Kemp in Afghanistan from Sky, amongst others. This is a much lighter programme but fascinating regardless. For me, it remains crucial to keep the home audience aware of the extent of British involvement in the key conflict areas of the world and this is a great, upbeat example.
So welcome to Kandahar Air Base – home to 10,000 service personnel, a major logistical hub and the launching point for a large number of operations in Afghanistan. The amenities are basic but quite wide-ranging, including home comforts such as Burger King, Pizza Hut, an alcohol-free bar and the occasional impromptu disco. I wonder whether booze does flow a tad more freely behind the scenes but, largely, the base is strictly business. Relationships are tough with the minority women on the base forbidden from intimate contact with the men. Despite the weekly rocket attacks from the charming Taliban, the occupants of the base seem relatively relaxed and even philosophical. The RAF Regiment is responsible for base security and a new platoon was seen arriving for their tour of duty.
The series producer, Susanne Rock, for Granada has elected to follow specific individuals as their lives illustrate life on the base and, in future episodes, outside it. We have met the base commander, Harrier Pilot Hillard (a star of previous documentaries) and his maintenance crew, the RAF Regiment and the charming Kate from the Valleys, one of the base administrators. An interesting start – one to watch.
Control is a biography of Ian Curtis, the lead singer of Joy Division who committed suicide in 1980 at the age of 23. It concentrates on Curtis’ struggle with his marriage, girlfriend, health and, almost obliquely, his career. Fans of the band will not be disappointed but this is not a vehicle primarily for Joy Division. Sam Riley debuts as Curtis, supported by the wonderful Samantha Morton as Curtis’ wife Deborah. The film is based on Deborah’s book “Touching from a Distance” which I must now track down.
Most striking is that this is not a rock-and-roll movie. All the more powerful as it depicts Curtis as not-your-typical tortured rock-and-roll kind of a guy. There is none of the detached, superior London or New York tart about Curtis. He does not sneer at the rest of the world and try to be cool for appearance’s sake. He did not even seem to make a fortune from his art. An ordinary kid growing up in a nondescript home in Macclesfield, with a love of modern music. Displaying a hint of other-worldly brilliance, he married young and worked at the local Employment Exchange. Riley presents him as a guy with warmth and manners as he politely helps locals get work before jumping into a van to head off to a gig. No doubt that Curtis was looking to escape the ordinariness of his existence but he was continually torn between his love for the music and his Belgian girlfriend Annik (Alexandra Maria Lara), and his home responsibilities with the loyalty and love he owed his wife and his desire to be a good family man.
I kept looking for the sex-and-drugs grit. Not here as writer Matt Greenhalgh and director Anton Corbijn used Riley’s nascent talents to describe Ian Curtis, the man, through a series of mostly ordinary events and experiences. Yes, teenage Curtis played with pills nicked from neighbours but later resisted the increasingly complicated cocktail of prescribed drugs forced on him by his condition. The real spectre of epilepsy was what haunted Curtis most and the film suggests that a serious fit contributed to his scared and torn state of mind. It was that and his despair at the continuing loss of the titular grip on his own destiny which create the final push that provoked him to take his own life.
Difficult to actually provide a critique of this film and its DVD presentation – I was so caught up in the material that any attempt at a critical study went out of the window ! I cannot claim to be a Joy Division fan but, ironically given its focus on Curtis rather than the music, Control has made me curious. Recommended for film fans as much as musos. I must also check out 24 Hour Party People which examines the scene around Tony Wilson, Factory Records and Manchester more generally.
