Which key events of the Roaring 20s are likely to happen again in the next decade? 1. A General Strike: possible but unlikely. 2. Stock Market Crash: very likely, but hopefully on a smaller scale. 3. Silly dancing trends, fashion and slang adopted: certain. 4. Republicans win 3 presidential elections as US retreats into isolationism: sadly seems very plausible. 5. Italy descends into fascism: I hope not! 6. Brits triumph at Olympics after running in slow motion to Vangelis music on a beach: er… 7. The Queen and Sir David Attenborough are born. Unlikely. In fact, probably quite the opposite? Happy New Decade readers!
With the General Election just ten days away, around 300 people chose to brave the cold December Monday evening air to see four of the six candidates competing to be Exeter’s next MP answer a selection of selected questions submitted by the general public inside Exeter Cathedral.
Two of the candidates were absent: Former pantomime star Daniel Page who is running as an independent and the Brexit Party candidate, Leslie Willis did not attend.
The Liberal Democrats (who performed very poorly in the 2015 and 2017 elections in Exeter) also did not attend as they are not fielding a candidate in this election. The party agreed to step aside to the give the pro-Remain Green Party candidate Joe Levy, a clear run. The Labour candidate, Mr. Bradshaw is also very pro-EU. However, Labour’s overall position is seen as less unambiguously pro-Remain than the Greens. (This paragraph has been amended as of 8th December 2019).
None of the candidates are women: the first time this has been the case in Exeter since 1987.
After some initial sound problems, proceedings began. Although each candidate answered each question individually, I’ll deal with each candidate, one at a time:
Ben Bradshaw (Labour)
This is the seventh election in Exeter for Labour’s Bradshaw and as he won his biggest ever victory in 2017 with 62% of the vote, it must be assumed he is the favourite to win again his time. He performed strongly on questions ranging from climate change, homelessness, transport, Brexit and the party leadership. He lamented the fact that Labour’s successful record on reducing homelessness had been completely undone by the Tories since 2010 and complained that environmental targets would be threatened by us leaving the EU.
He resisted attacking the Labour leadership or predicting a heavy Tory win nationwide as he did in 2017 and provided a convincing defence of Labour’s proposed nationalisation programme. He criticised the First Past the Post system which he campaigned to reform in the 2011 referendum. He argued that the best way to stop Brexit was by electing as many Labour MPs as possible and followed Green candidate Joe Levy’s lead in deriding the notion that a Tory win would mean a quick and easy end to Brexit as a nonsense. He also asked voters to judge him on his record as MP for Exeter since 1997.
John Gray (Conservative)
The Conservative candidate began with an interesting question. How many of the audience had actually read the Conservative manifesto? Very few hands were raised. This would doubtless have produced a similar response if he had asked about the other party manifestos too. But it was a welcome piece of audience participation in an evening which generally did not involve much audience response, aside from clapping and occasional grumbling. Perhaps it would have been a different story if the pantomime man had turned up?
Elsewhere, Mr Gray gave decent, worthy answers, some of which were undermined by the government’s record. He was predictably negative about nationalisation, although not very specific on why and gave good answers on the environment. He argued, as the UKIP candidate did, that the 2016 Brexit vote represented the will of the people. His claim that an overall majority for Boris Johnson’s Tories would lead to a quick and easy end to Brexit was derided by Joe Levy and Ben Bradshaw. His portrait of a Labour government torn apart by coalitions and confusion was similar to the ‘coalition of chaos’ arguments deployed by Tories in 2015. Some in the audience might have reflected that the decade since 2010 has been spent almost entirely under Tory rule and yet has been almost entirely spent in coalition or/and hung parliaments. The last three years particularly have seen more political chaos than anyone can remember.
Later, he was laughed at by many in the audience after he asserted that “a vote for Labour is a vote for Jeremy Corbyn, while a vote for me, is a vote for a Conservative government.” Bradshaw and others were quick to note his failure to mention Boris Johnson at this point. Later, he attempted to endorse Boris Johnson again. It did not seem entirely convincing. However, in general, Mr. Gray performed well.
Joe Levy (Green Party)
As in the 2017 campaign, Joe Levy, though still in his twenties stood out as one of the most impressive figures in the debate, making a convincing case for such concepts as the introduction of a universal basic income and, of course, the urgency of the need to combat climate change.
He drew particular applause for his passionate advocacy of EU membership, arguing his grandparents had supported it for the simple primary reason that they remembered the Second World War.
He also made a mockery of the general Conservative claim that a Tory win will automatically lead to a simple straightforward Brexit. Mr Bradshaw, picked up on this, agreeing that it was one of the biggest and most persistent lies of the Tory campaign.
Duncan Odgers (UKIP)
Arriving slightly late, Mr Odgers annoyed many in the audience, by asserting early on that contrary to popular belief immigration is a major problem in Exeter, in fact, largely explaining why house prices are high. Elsewhere, he performed well on other issues, even acknowledging climate change exists. He argued against nationalisation and argued Exeter (which voted 55 to 45 to remain in the EU) should respect the will of the nation as a whole on Brexit even if the city mostly did not support it itself. He spoke of Brexit as if it was something destined never to happen now and called Jeremy Corbyn’s position of neutrality on the issue, “a disgrace”. Occasionally, he rambled slightly. He blamed overpopulation for many of our environmental problems, but did not say what could be done about it.
A persistent charge, which many would agree with, was that many people today have lost faith in the current crop of politicians. A wider issue which wasn’t addressed was whether the upper ranks of UKIP who have included the likes of Nigel Farage and Paul Nuttall in the past are really any more trustworthy.
Chris Hallam has written A-Z of Exeter: People, Places, History and co-wrote the book, Secret Exeter with Tim Isaac. Both are published by Amberley and are available now
On October 21st 1966, after a period of heavy rain, 30,000 cubic yards of coal sludge collapsed on 19 houses and a primary school in Aberfan with predictably devastating results. Episode 3 of The Crown focuses on he disaster and its aftermath. The Queen herself reacts slowly to the tragedy, forcing her to confront her own apparent tendency to react with the traditional stoicism and reserve to such events, rather than the public show of emotion which might be expected or even needed by the watching public in the media age. The monarch would, of course, fall foul of similar issues following the death of Diana, 31 years’ later.
The Crown is back. We rejoin proceedings at the dawn of a new era.
For after two glorious seasons with the marvelous Claire Foy playing the Princess and young Queen in her twenties and thirties, we now give way to the new age of Olivia Colman. The transition is neatly symbolised by a tactful discussion of a new Royal portrait for a new range of postage stamps. It is 1964 and the monarch is in her late thirties, what might normally be seen as her “middle years.”
“A great many changes. But there we are,” Colman’s Queen remarks. “Age is rarely kind to anyone. Nothing one can do about it. One just has to get on with it.”
Other changes are afoot too. Then, as now, a general election is in progress, resulting in the election of the first Labour Prime Minister of the Queen’s reign, Harold Wilson. Jason Watkins captures Wilson’s manner perfectly, although not yet his wit. In time, we now know Wilson would become the favourite of the Queen’s Prime Ministers. At this stage, however, both figures are wary of each other: the working class Wilson seems socially insecure and chippy while the Queen has heard an unfounded rumour from Prince Philip (Tobias Menzies – a good likeness) that Wilson is a KGB agent.
Elsewhere, another age comes to an end as the elderly Churchill breathes his last. In a rare piece of casting continuity, John Lithgow briefly resumes his role.
Suspicion also surrounds Surveyor of the Queen’s Pictures, Anthony Blunt. Although not exactly a dead ringer for the art historian and Soviet spy, Samuel West is well cast as Blunt. West is a fine actor anyway but his lineage here is impeccable. His mother, Prunella Scales played the Queen in the Alan Bennett drama, A Question of Attribution, which was about Blunt and which parts of this episode strongly resemble. Blunt then was played by James Fox, whose brother Edward, incidentally played Churchill in The Audience, the Peter Morgan play which inspired this series. West also played the Queen’s father George VI in the (not very good) film, Hyde Park on the Hudson. His wife, the future Queen Mother was played by one Olivia Colman. West’s father, Timothy, of course, famously played George VI’s grandfather, Edward VII (and also played Churchill, several times), while Colman won an Oscar for playing the Queen’s ancestor, Queen Anne in The Favourite, earlier this year.
Fellow Oscar winner, Helena Bonham Carter is, of course, now cast as the Queen’s glamorous but troubled sister, Princess Margaret here, replacing the excellent Vanessa Kirby. The makers clearly feel obliged to feature Margaret frequently in this episode, presumably because of Bonham Carter’s star status, but aside from much drinking, rudeness, singing and fretting about her wayward photographer husband Armstrong-Jones (Ben Daniels), who is pictured motorbiking about a lot, she does little of interest.
The next episode promises to be much more Margaret-orientated…
Book review: Why We Get The Wrong Politicians, by Isabel Hardman. Published by: Atlantic Books.
As British voters prepare to go to the polls for the fourth time this decade, it is well worth bearing in mind: the way we select our politicians is awful.
You don’t actually have to be rich to become an MP, but as Isabel Hardman’s book highlights, the process of standing for parliament is so expensive, time consuming and arduous, it’s a wonder anyone ever does it in the first place. Most candidates in the current general election campaign will never become MPs. And even if they do, the labyrinthine world of Westminster offers so little support to new members, that many of them will find themselves falling victim to alcoholism or marital breakdown. Of course, many also often find themselves subject to personal abuse, on Twitter, on nastier versions of blogs like this or in what is sometimes referred to as “the real world”.
Hardman (the Deputy Editor of The Spectator) admits to some well-intentioned sleight of hand here. Despite the book’s title, she is not actually attacking politicians as a class. She does not pander to the popular stereotype that all or even most MPs are lazy, out of touch or corrupt. Although she does not shy away from recounting examples of abuse, she reminds us that the vast majority of MPs are hardworking, dedicated people. Attending regular surgeries and hearing constituents’ problems arguably puts them more in touch with ordinary people’s problems than the average person.
Hardman’s argument is that the current system is deeply flawed, often resulting in unsatisfactory laws.
It is an excellent book and a difficult argument to refute.
Book review: Where Power Stops: The Making and Unmaking of Presidents and Prime Ministers, by David Runciman. Published by: Profile Books.
The premise is simple enough. David Runciman takes a look at some of the most interesting recent British and American leaders and sees what we can learn from their experiences of leadership. His choice of subjects is in itself fascinating.
Lyndon B. Johnson: a huge, cajoling, powerful figure, the choice of LBJ nevertheless seems slightly odd, simply because his tenure (1963-69) was so much earlier than everyone else included here. Runciman also inevitably relies on Robert Caro’s masterful biography of the 36th US president. Still unfinished, Caro’s magnum opus has barely touched on Johnson’s years in the White House yet. Let’s hope he gets to finish it.
Runciman has a talent for shedding new light on potentially over-familiar topics. All manner of leader is included here. Amongst others, the list includes: exceptional men who fell slightly short of the high hopes they raised on the campaign trail (Barack Obama), good leaders who trashed their own reputations on leaving office (Tony Blair), the highly intelligent and flawed (Bill Clinton and Gordon Brown), the decent but narrow (Theresa May) and the ultimate narcissist, the abominable showman (Donald Trump). The last of these should never have got close to power in the first place. Unhappily, he is the only one included here who is still there.
The fascinating story of the implosion of John Edwards’ 2008 presidential campaign will doubtless make a great film one day. As he never made it to the presidency, however, it doesn’t really belong here. But, overall, Runciman does an excellent job. The book is manna for political geeks like myself.
Payton Hobart really wants to be president. He really, really wants it, in fact. He seems to have planned out every detail of his two terms in the White House already. And he is only seventeen years old. He seems to the living example of why anyone who wants to be president enough to successfully go through the process of being successfully elected is probably precisely the wrong person to be doing the job.
Netflix’s new comedy drama begins with Peyton (Ben Platt) launching his campaign for election to the position of student body president of his Santa Barbara high school. This proves to be a surprisingly big deal fought with almost all of the intensity of the actual presidential elections, Hobart imagines one day fighting himself. Indeed, that’s the plan for the series too: future seasons of The Politician aim to focus on different political campaigns occurring throughout Peyton’s life. The brilliant opening title sequence (which uses the excellent 2005 song, Chicago, by Sufjan Stevens) depicts Peyton the politician being created by a Frankenstein-like process of alchemy, before offering his hand to greet the viewer.
The opening episodes of Ryan Murphy’s series are very twisty and bubble over with exciting story possibilities. Imagine Tracy Flick (Reece Witherspoon) in 1999’s film Election magnified by ten. Peyton is slick and like Kennedy, Bush and Trump before him has been born rich. He seems to inspire a phenomenal amount of loyalty in both his girlfriend Alice (Julia Schlaepfer) and his campaign team (played by Laura Dreyfuss and Theo Germaine). But he also seems erratic and clearly has skeletons in his cupboard. What is his exact relationship with his handsome rival, River (David Corenswet)? Are they gay or bisexual? In fact, this probably isn’t a problem: everyone seems to be bisexual here. The whole thing is a bit like a 1980s Bret Easton Ellis novel at times.
There are other intriguing elements notably potential running mate, Infinity Jackson (Zoey Deutch: daughter of Back to the Future’s Lea Thompson), an apparently sweet-natured character dominated by her horrendous, gold-digging grandmother (an excellent Jessica Lange). Peyton himself is dominated by his own bohemian Lady MacBeth-like mother (another Oscar winner, like Lange and also great here). River’s girlfriend, Astrid Sloan (Lucy Boynton) also seems like a potentially interesting character, at least at first. The fine actor Bob Balaban also gets a high billing here as Peyton’s step-dad, but is barely in it.
Sadly, like a morally bankrupt politician, the series does not live up to its early promise. Perhaps that’s the problem with planning several seasons in advance like this: the creators seem to have lost interest in this story and started setting up the next series a few episodes before the end. The election story-line fizzles out. The mid-season episode, ‘The Voter’ depicts an apathetic student totally ignoring the election day events occurring around him. This is an interesting idea which might have provided a fresh new perspective on events: not everyone at Peyton’s school (or in society generally) is obsessed with politics, after all. But the voter (played by Russell Posner) is clearly anything but typical. He is far more drug-obsessed, girl-obsessed (a point over emphasised with far too many shots of him checking girls out) and violent than anyone around him. The episode is a complete dud.
Despite these flaws and too many irrelevant musical interludes from the talented Platt, however, The Politician is still well-acted and compelling enough to make it worth viewing. But as Peyton himself is once cruelly described, this is more Gerald Ford than Barack Obama.
For 2,000 years, the Devon city of Exeter has played a small
but vital role in our nation’s history. There have been highs and lows. For
centuries, it was one of the top cities in the land, elevated into a golden age
of prosperity. But the city has also suffered countless incursions from a wide
range of invaders both foreign and English. It came close to defeating William
the Conqueror, remained defiant in the face of German bombing, fought on both
sides in the English Civil War and has battled fires, plagues, sieges and
pretenders to the throne.
This is Exeter’s story, told
for the first time in alphabetical order.
Chapter headings include:
The Civil War
The Exeter Blitz
The Great Theatre Fire
Witches on trial
Chris Hallam was born in Peterborough
and settled in Exeter in 2005 where he now lives with his wife. He has written
for a large number of local and national magazines including DVD Monthly, Yours
Retro, Infinity, Geeky Monkey and Best of British. He also wrote The Smurfs
annual 2014 and co-wrote the book, Secret Exeter in 2018.
I am writing this in a time of acute political crisis. It is easy to lose all sense of perspective when assessing a situation while it’s still happening. Even so, the year 2019 is unlikely to be viewed as a happy one for nation when we remember it in forty years time.
Despite this, the fifth volume in Dominic Sandbrook’s history of Britain since Suez, reminds us, the period, 1979-82 was very eventful indeed.
To briefly recap:
In 1979, Margaret Thatcher became the first woman prime minister in British history.
By 1980, she was already hugely unpopular as unemployment and inflation rocketed. There would probably have been a recession around this time anyway, but Thatcher’s dogged commitment to monetarism made things worse. Not for the last time, Labour blow the opportunity to replace the Tories in power by electing the decent but unelectable Michael Foot as leader.
1981: The SDP breakaway from Labour and are soon way ahead of both the Tories (blamed for unemployment, rioting and recession) and Labour (harmed by Foot’s unpopularity and the antics of Tony Benn).
1982: The Falklands War transforms the political landslide. Thatcher becomes hugely popular again. There were signs of a Tory recovery before the Argentine invasion and it is doubtful ,Labour would ever have won the 1983 election anyway. But the Falklands Factor removed all doubt.
Sandbrook’s brilliant at these sort of books giving both a thorough insight into the politics of the period but almost all aspects of British life.
There are plenty of useful nuggets of info here. The book opens with an account of the live broadcast of the SAS break-up of the April 1980 Iranian embassy siege. The Alan Ahlberg book Peepo! is discussed as is Raymond Briggs’ incredibly harrowing graphic novel, When The Wind Blows. The rise of Ian Botham and Steve Davis are examined as is the fall of Joy Division and the rise of the New Romantics.
I was born in 1976 and so for the first time, like Sandbrook himself (who is about two years older than me) find myself encountering things here which I just about remember. I enjoyed the references to Peepo! (a book my baby brother liked) and was particularly interested in the portrait of my home town of Peterborough. I would dispute the claim made by an employee of the bishop of the time (and apparently endorsed by Sandbrook) that “Race relations are not a problem in Peterborough.” There were no riots in Peterborough as there were in Brixton in 1981 and although I went to school with a large number of children of Pakistani, Indian and Italian, I am white myself and cannot speak for them. But I know this for a fact: there were definitely racial tensions. There still are.
Reading the book, I was surprised to learn just how racist many people were back then. The extent of racism in the police force seems to have been appalling.
Sandbrook has started writing for the Daily Mail in recent years and though he strives for balance, his conservative tendencies occasionally show. Polly Toynbee of The Guardian, then an early SDP champion, is at one point described as a “future saint.” Who regards her as a saint, you might ask? No one in the real world, that’s who. Certainly not Guardian readers. The term is only ever used in reference to Toynbee sarcastically by envious columnists on the Right. I was also surprised to see Sandbrook resurrecting the discredited claim that Michael Foot was in the pay of the KGB. Foot retained strong pro-democratic tendencies throughout his life and won a libel case against the Murdoch press when tbey made the same claim. Were he not dead, I’m sure Foot would be suing again. And I’m sure he would win.
So Thatcher generally comes out of this well, Sandbrook agreeing with Charles Moore, in the face of virtually all evidence that the Iron Lady had a sense of humour. Little credence is given to the notion that anyone might have found the somewhat jingoistic aftermath of the Falklands conflict distasteful. Tony Benn comes out of this badly. After an effective chapter about the fear of nuclear war experienced by many at this time, Sandbrook then seems to go out of his way to argue unconvincingly that nobody was ever seriously worried about it after all.
But ultimately, this is another literally superb addition to Sandbrook’s account of Britain since 1956. What next? Greed is Good? No Turning Back? Nice Little Earner? I eagerly await Sandbrook’s next volume.
As a chronicler of post-war Britain, Sandbrook is only seriously rivalled by David Kynaston and Alwyn W. Turner.
Reproduced, with thanks, from Bingebox magazine (2016):
It seems like a familiar sight. A lone sultry and very famous singer delivers a seductive performance of “happy birthday” to the birthday boy, actually her secret lover, who also happens to be her leader. But as she reaches the third line, something jars. The words change and things take a chilling turn. “Happy birthday…Mein Fuhrer,” are the star’s next words. For while this is Marilyn Monroe, she is not singing to President Kennedy, the charismatic young American president but to … someone else entirely.
So, begins the trailer for the second season of Amazon Prime’s, The Man In The High Castle. And as if we didn’t know already, this is a world in which history has taken a very different turn from our own. And not for the better.
THE REICH STUFF
of The Man In The High Castle stems from the endlessly fascinating question;
what would the world be like, had Nazi Germany and imperial Japan triumphed at
the end of the Second World War instead of the Allies, (that is the United
States, Soviet Union, British Empire and others)?
It was a
question which once haunted the feverish, troubled but hugely imaginative mind
of author Philip K Dick. The man whose writing ultimately inspired many of the
greatest science fiction films of all time including Blade Runner, Total
Recall, Minority Report and The Adjustment Bureau, Dick been just too young to
fight for the US in World War II himself but nevertheless realised what a close
thing the outcome of the war had been. Over fifty years’ ago, inspired by
another novel which convincingly imagined a victory for the slavery supporting
Confederacy in the 1860s American Civil War, he set to work producing a book
depicting a similar alternative ending to World War II.
Prone to hallucinations and sudden bouts of paranoia, Dick had a relatively short turbulent life, dying in 1982, aged just 63 without seeing most of his work reach the screen. But he enjoyed probably more success The Man in High Castle than with any other book during his lifetime.
WELCOME TO AMERICA: 1962
season of The Man In The High Castle in 2015 brought the book’s chilling vision
vividly to the screen. The United States of America we know from this period
(portrayed in the early series of Mad Men, amongst other things) was confident,
victorious and powerful poised on the verge of huge successes such as in the space
race, but also riven by racial division and on the brink of disaster both in
the Cuban Missile Crisis and in the growing war in Vietnam. But the America portrayed
here is very different: it is no longer in fact, even the “United States” at
all. We soon learn that the west coast of the former USA is now under the
control of the victorious Japanese while the eastern bit is under Nazi German rule.
The Rocky Mountains meanwhile are a neutral buffer zone between the two sides,
this being where the mysterious “man in the high castle” is said to reside.
Tantalising hints as to what has befallen the
Allies are scattered liberally throughout both the series and the book. One
character suggests the great war leader President Franklin D. Roosevelt was
assassinated long before the war started in this reality, perhaps explaining
why the US did not win. Another suggests that the war dragged on until 1947 instead
of 1945 here, only ending when Nazi Germany dropped an atomic bomb on Washington
land then and few of the characters we meet are not facing a conflict of the
loyalty of some sort or another. With the first season still on Amazon Prime
some might want to steer clear now. But for everyone else, here’s a quick
Francisco resident Juliana Crane (Alexa Davalos) for example, an expert in
aikido appears happy living under Japanese rule at the start of Season 1. That’s
until her half-sister Trudy who turns out to have been a member of the
anti-government Resistance, is unexpectedly killed. Juliana finds herself drawn
herself into the work of the Resistance as she attempts to complete Trudy’s
last job: delivering a tape entitled The Grasshopper Lies Heavy to the mythical
man in the High Castle. Intriguingly, the tape depicts an alternative version
of history in which the US and the Allies defeated Germany and Japan!
Essentially, the world in the tape is very like our own.
aided and abetted by her boyfriend Frank Frink (Rupert Evans) a man enjoying
some creative success but who has a dark secret which pushes him closer and closer
to full blown rebellion: he is Jewish. Joe Blake (Luke Kleintank) meanwhile
faces conflict of a different sort. Although supposedly a member of the
Resistance he is in fact a secret agent in the employ of SS Obergruppenfuhrer
John Smith (Rufus Sewell). Although very clearly a baddie, Smith is far from
the typical stereotypical black and white Nazi villain. As his name suggests,
he is an American-born participant in the new regime. A family man living a
comfortable suburban life, it is suggested he has been drawn to Nazism by the
apparent failure of the old American system in the Great Depression of the
Thirties. Trade minister Nobusuke Tagomi (Cary-Hiroyuki Tagawa) is yet another
character who finds himself torn between conflicting loyalties. The new series
also sees Chief Inspector Kido (Joel de la Fuente) begins to take more interest
in the Man in the High Castle.
Juliana, increasingly unsure what to do about the treacherous Joe, Joe doubting
his own continued commitment to the Third Reich, Smith increasingly doubtful
about the Nazi philosophy after the illness of one of his children, more revelations
from The Grasshopoper Lies Heavy tapes and mounting tensions between Germany
and Japan, the ten hour long episodes of Season Two of The Man In The High
Castle promise to be just as compelling and as full of intrigue as the first.
At the root
of the series’ success however is its authentic portrayal of a chilling but
plausible alternative version of American history that though perhaps a touch more
plausible in the wake of Donald Trump’s recent election victory, has mercifully
WHO’S IN IT?
starring role of Juliana Crain, French-born Alexa has appeared in a good range
of TV (Angel, Mob City) and films (notably The Chronicles of Riddick and Clash
of the Titans).
With a key role
in Ewan MacGregor’s recently released directorial debut American Pastoral,
British actor Evans who plays Frank Frink has been in plays, TV and film
aplenty, notably offbeat superhero flick Hellboy.
Instantly recognisable as the older man love interest Lord Melbourne in the recent ITV Victoria, Sewell, also British, has been playing sexy villains for years in A Knight’s Tale, The Legend of Zorro and other films and TV.
The answer lies within Chris Mullin’s excellent 1982 novel, A Very British Coup. Written in the dark days of early Thatcherism, Mullin envisaged a future (the late 1980s), in which Perkins, a working-class hero and onetime Sheffield steelworker leads the Labour Party to an unexpected General Election victory on a manifesto not dissimilar to the one Labour lost on in 1983. Perkins’ Labour Party is thoroughly socialist and the new government quickly embarks on fulfilling the radical agenda it has been elected on: dismantling Britain’s nuclear deterrent and leaving NATO, breaking up the newspaper monopolies, redistributing wealth and more.
Needless to say, the establishment: the civil service, the media and the security services are horrified. They immediately begin conspiring with the US (who, viewing things through a Cold War prism, see Britain as having “gone over to the other side”) in a bid to thwart the programme of the democratically elected government. It is a great read.
Mullin was writing at a very volatile political time. In 1980, the new Thatcher government was already proving to be such a complete disaster that it seemed hopelessly doomed. For much of 1981, the SDP, not Labour, seemed set to replace them. By the post-Falklands summer of 1982, the resurgent Tories again seemed unbeatable, as indeed, proved the case, the Iron Lady having staged her own very British coup in the South Atlantic. We are in very volatile times again now. The future in the Brexit era is very hard to foresee.
In this long-awaited sequel, Chris Mullin (now a former Labour MP himself) creates a convincing near future which cleverly not only seems sadly only too plausible but which also makes sense in the context of what has happened in the earlier book.
It is the 2020s. With Brexit having proven a miserable failure, serious consideration is being given to a humiliated Britain going crawling cap in hand and applying to rejoin the EU. Trump has left office, but has left the international situation thoroughly de-stablised. Today’s leaders have left the political stage. A King is on the throne, as he was in the earlier novel. Labour seemingly locked in perpetual opposition under an ineffectual woman leader seems poised for a takeover by the former aide of the recently deceased former Prime Minister, Harry Perkins, Fred Thompson (Mullin isn’t much of a one for glamorous character names). As so often happens, Perkins, the scourge of the status quo in life is now hailed by left and right alike as a great leader of the past, now he is safely dead. Thompson was played by Keith Allen in the acclaimed 1980s TV version of the book is still middle aged (Mullin admits to some authorial sleight of hand here: only ten years have passed since the events of the first book, not thirty or forty).
But can Fred Thompson succeed in leading Labour back to power and restoring Britain to it’s former glory? Will his family difficulties or a rising tide of violence threatening to engulf British politics get in the way?
The Daily Telegraph describes this book “preposterous.” Presumably, they mean “preposterous” in the sense that it doesn’t mindlessly back Brexit or shamelessly back Boris Johnson’s leadership bid as that newspaper did.
This is perhaps – like Thompson himself -not quite the equal of its illustrious predecessor. But it is a fine sequel and an excellent, short-ish read.
There is now not a single person on the entire planet who was alive at the same time as Queen Victoria.
She was born two hundred years ago in May 1819. It was a
different world then. Napoleon Bonaparte
and Beethoven were both still alive. The Peterloo massacre occurred in
Manchester that summer.
Victoria died in January 1901. By that time her funeral
procession was able to be filmed and thus seen by more people than any who had
witnessed the funerals of all previous English kings and queens combined. There
were 1.6 billion people alive on the Earth then. Every one of them has since
died, the last of which probably in 2017. 7.7 billion others have now replaced
Princess Alexandrina Victoria was born in the last year of
the reign of her grandfather, George III, who despite being incapacitated by
madness by that point, was the longest reigning king in English history.
Victoria would herself exceed his record of sixty years on the throne by the
end of the century. Some of her subjects such as the composer Arthur Sullivan
(of Gilbert and Sullivan), Treasure Island author Robert Louis Stephenson and the
playwright Oscar Wilde lived their lives entirely within her reign. In 1819,
however, her own succession looked uncertain.
With fourteen grown-up children, George III’s legacy should have been secure. But following the sudden death of his granddaughter, the Prince Regent’s daughter, Princess Charlotte in 1817, it became apparent not one of his children had produced a legitimate heir to succeed them. Victoria, the daughter of Edward, Duke of Kent, was the result of the subsequent “baby race.” She was fifth in line to the throne at the time of her birth, but by 1837, when her uncle William IV died, Victoria became Queen at the age of eighteen.
Perceptions of the Victorian era have changed steadily as society
has gradually transformed in the years since 1901. Arguably, little really changed until 1914, but the
trauma of the First World War did much to undermine the Empire and accelerate
social change. One day in January 1924, the King, George V wrote in his diary. “Today
23 years ago dear Grandmama died,” he wrote. “I wonder what she would have
thought of a Labour Government”. By the 1920s, women could vote, and motor cars
were becoming more prevalent. In 1926, the General Strike occurred. Old
traditions persisted, however. George V enjoyed a warm public response to his
Silver Jubilee in 1935, an event that doubtless evoked nostalgic memories of
Victoria’s Golden and Diamond Jubilee celebrations in anyone then older than
their forties or fifties and thus able to remember them. Victoria, herself, had
in fact, not celebrated her own Silver Jubilee, there being no tradition of
celebrating them in 1862. She had at any rate been grief-stricken following the
death of her beloved Prince Albert in December 1861.
November 1936 saw the destruction by fire of the Crystal Palace
constructed for the Great Exhibition in 1851. The timing seemed apt: the
monarchy was now in its most serious crisis of the post-Victorian era. George V
had died in January, his son Edward VIII abdicated in December: a major trauma
for the Royal Family, the wounds of which would not heal for decades.
1937 was thus a coronation year with the reluctant George VI being crowned, a century after his great-grandmother had started her long reign. The line of succession now strongly suggested, Britain would have a new Queen one day. That was assuming the King’s wife, Queen Elizabeth didn’t now give birth to a son. This was quite possible: she was only 36 at the time of the coronation and until the 21st century, a son always overtook a daughter (in this case, Princesses Elizabeth and Margaret) in the line of succession. But this didn’t happen.
Incidentally, the year 1937 also saw the release of Victoria
the Great starring Anna Neagle. Although very reverent in its portrayal of the
monarch’s early years, the Lord Chamberlain initially banned the play it was
based upon as it used a member of the Royal Family for its subject matter.
The years ahead would see more change. Although the war,
reinforced notions of patriotism and led to a rise in support for the monarchy,
by the half way point of the century with the empire fast unravelling,
Britain’s Victorian heritage was increasing looking like a thing of the past,
perhaps unsurprisingly fifty years after Queen Victoria’s death.
But then in 1952, her great-great granddaughter succeeded to
the throne, accompanied by her husband, himself one of Victoria’s great-great-grandsons.
Elizabeth II was only the sixth ruling female monarch in English history. Any
Briton in his fifties or over would have seen five new kings or queens come to
the throne in the previous fifty years. As we know, this has not happened again
in the nearly seventy years since. At the start of the Queen’s reign, both the
Prime Minister and Opposition leaders, Churchill and Attlee had been young men
at the time of Victoria’s death.
Harold Macmillan who was Prime Minister at the start of the sixties, was the last PM to be born during Victoria’s reign. The Sixties, more than any other decade, for good or ill, would see much of the residual spirit of the Victorian age vanish forever.
Probably, it was inevitable. Even by the early Sixties, only
people of retirement age could remember the closing years of Victoria’s reign
at all. Even then, these memories were likely to have been eclipsed by memories
of bigger events since, such as the two World Wars and Great Depression. But even allowing for that, with the rise of
tower blocks, the Beatles, free love, the contraceptive pill, decolonisation
and the liberalisation of laws on divorce, and homosexuality – the pace of
change was too great for any Victorian sensibility to survive.
Today, we view the Victorian age with mixed feelings: a
golden age of literature and change undoubtedly although our other opinions
might well be determined by our political outlook, However, what cannot be
denied is that it was a decisive, transformative and crucial period in British
People all over the land have been thrilling to the antics of the huge lumbering giant BFJ, otherwise known as Boris Fucking Johnson.
“I love how he uses funny long words which nobody understands, ” says Colin, 66, from Kent. “Like ‘rambunctious’ and ‘flibbertigibbet’. I also like how he travels to lots of different countries all around the world, really fast.”
Miranda, 44, from Chelsea, also enjoys Boris Fucking Johnson’s adventures. “He’s always saying the wrong thing!” she laughs. “He blows dreams into people’s ears. Mainly dreams about the UK benefiting economically by leaving the European Union.”
Boris Fucking Johnson has definitely NOT been seen enticing young women out of their windows as some have claimed.
Other, less popular recent characters from the same stable include Danny Alexander: Champion of the World, James Brokenshire and the Giant Speech, George Osborne’s Marvellous Economic Medicine and The Fantastic Dr. Liam Fox.
Preview, gratefully reproduced from Bingebox magazine (2016).
It is sometimes described as one great soap opera: the longest running drama in British history. So why not make a big TV drama based around the Royal family? Indeed, why not make one based in the life of Queen Elizabeth II herself, a person whose image adorns either a stamp, coin or banknote on the person of nearly everyone reading this? Well, Left Bank Pictures have produced just such a series, a ten-part epic available on Netflix since November 4th 2016. Indeed, they have big plans. The first series covers the period from the young Princess’s marriage in 1947 to the first few years of her reign following her ascension to the throne in 1952. But five more series are planned. If all goes well, in a few years’ time we should have sixty hours of drama covering the Queen’s sixty or seventy years on the throne.
REIGN OF THRONES
Dramas about the royals are, of course, nothing new – Victoria, Henry V, The Madness of King George are just three examples of historical monarchs who have seen their lives dramatised. But until Stephen Frears’ 2006 film The Queen, scripted by Peter Morgan, which focused on the potential public relations disaster which almost engulfed the monarchy following Princess Diana’s death in 1997, dramas about the current monarch were almost unheard of. The King’s Speech, which features the future Queen as a young girl, was another successful Oscar-winning stab at comparatively recent royal history. But it is Morgan – the author of The Queen as well as the play The Audience which also starred Helen Mirren as the Queen who has brought his formidable writing powers to The Crown. Stephen Daldry, famed for Billy Elliott and The Hours directs.
The Crown’s credentials are impeccable. The casting was always going to be controversial, however. Few are likely to gripe about Claire Foy in the role of HRH but as with Victoria which saw former Doctor Who companion Jenna-Louise Coleman cast in the main role, the producers have turned to the Tardis for the role of Prince Philip. Recent Doctor Who Matt Smith is not an obvious choice for the role, but then who is? James Cromwell and David Threlfall have both played the Duke of Edinburgh before but as a much older man. Smith is a fine actor and delivers a first-class performance. However, time will inevitably become an issue. Both he and Foy are in their thirties and are likely to be replaced at least once if the show is to cover the Queen’s entire reign.
The choice of American ‘Third Rock From The Sun’ actor, John Lithgow to play Churchill, the Queen’s first Prime Minister might also raise a few eyebrows in some quarters. Yet Lithgow is an accomplished actor experienced way beyond the realm of comedy and thanks in part to some due some modifications to alter his appearance (Lithgow is nearly a foot taller and slimmer than Winnie was) he is great in this. And Churchill was half-American anyway. What’s the problem?
MONARCHY IN THE UK
“I have seen three great monarchies brought down through
their failure to separate personal indulgences from duty,” says Eileen Atkins’
Queen Mary at one point, warning her granddaughter Elizabeth, “you must not
allow yourself to make similar mistakes. The Crown must win.”
Rather like Maggie Smith’s character in Downton Abbey, The Crown’s Queen Mary seems to specialise in saying controversial and sometimes prophetic things in this. Presumably, the three monarchies she means are Victoria (who arguably indulged herself by grieving over Prince Albert’s death excessively), Edward VII (who basically drank, ate and womanised his way to death) and her own son Edward VIII, who abdicated. Although as a heavy drinker and smoker, Elizabeth’s father George VI (also Mary’s son) was hardly free of personal indulgence either.
The excellent Alex Jennings incidentally crops up as the Duke of Windsor, whose abdication in 1936 (as Edward VIII) ensured Elizabeth would be Queen. Jennings also played Prince Charles in the film The Queen.
As with any good drama, there is the potential for
controversy. Though the Queen no longer has the power to put people who annoy
her in the Tower, there will still be a desire not to cause offence.
If The Crown proves a success, five more series could be in the offing. The opening episode which begins in 1947, clearly lays out the framework for what is to come. The King (Jared Harris, son of the late Richard Harris and perhaps best known for his role as the token Brit in Mad Men) has a bad cough and is clearly not long for this world. His daughter Princess Elizabeth is about to marry Prince Philip and though the couple are happy, there are hints of awkwardness to come. Philip is giving up a lot for “the greatest prize on Earth” including his love of smoking and Greek nationality. “Not a single person supported the match,” warns Queen Mary.
The action then jumps forward four years to 1951 during which time, the King’s health has deteriorated further and Elizabeth and Philip’s marriage has yielded two children, Charles and Anne. There are also allusions to trouble brewing with Elizabeth’s younger sister Margaret (Vanessa Kirby), notably the strong suggestion of an affair with dashing equerry Group Captain Peter Townsend (Ben Miles), a married man. With a title sequence, reminiscent of Game of Thrones, there are also political manoeuvrings afoot. Returning Prime Minister Winston Churchill soon knows more about the true state of the King’s health than the monarch does himself. And Foreign Secretary Sir Anthony Eden (Jeremy Northam) is already assessing the great war leader’s vulnerabilities: as Tory heir apparent in effect, he is clearly eyeing up the elderly Churchill’s job.
Ultimately The Crown is essential viewing. It is as much
about how Britain has changed in the last seventy years as the monarchy has.
There is certainly plenty of material.
AND WHAT DO YOU DO…?
Three stars of The Crown…
Claire Foy as Princess Elizabeth, later Queen Elizabeth II
Foy has played royalty before and was the ill-fated mother
of the Queen’s Tudor namesake (Elizabeth I) Anne Boleyn in Wolf Hall. She sprung to fame in the title role in the
BBC’s Little Dorrit in 2008.
Matt Smith as Prince
Best known for playing the last Doctor Who but one, the
thirty-four -year-old Smith plays the young Duke of Edinburgh, a man struggling
in the traditionally feminine role of partner to the monarch.
John Lithgow as Winston Churchill
Although often associated with comedy roles such as Bigfoot
and the Hendersons and Dick in the sitcom Third Rock From The Sun, veteran US
star Lithgow is an acclaimed and prolific dramatic actor.
Prime Minister, David Cameron today gave his strongest hint yet that he intends to step down as Prime Minister within two years of winning the forthcoming General Election. Speculation has been mounting that Mr. Cameron is close to announcing the date of the next election as May 22nd. This would coincide neatly with the forthcoming elections to the European Parliament.
The last General Election in May 2015, resulted in a surprise overall majority of 12 for the Conservatives. This has since fallen as a result of recent by-elections although Mr. Cameron has resisted calls to strike any sort of deal with either Tim Farron’s Liberal Democrats or the similarly-sized Democratic Unionist Party.
Having entered Downing Street in June 2010, Mr Cameron is now the third longest serving Prime Minister since 1945, after Margaret Thatcher and Tony Blair. At 52, he remains younger than Mrs Thatcher when she became Britain’s first (and to date, only) woman prime minister in 1979.
According to a report in the London Evening Standard, Mr Cameron’s cabinet colleagues, George Osborne, Boris Johnson, Theresa May and Michael Gove are expected to join the race to succeed him.
Labour’s Jo Cox has been amongst those urging unity in her own party, ahead of the expected election announcement. UKIP has, meanwhile, renewed calls for a referendum on continued UK membership of the European Union. Opinion polls currently indicate support for a UK exit from the EU, but also that it is low on the list of voter priorities at this time, ranking way below concerns over the NHS and education.
Opponents of a vote suggest it would be a colossal waste of time, money and energy, inviting economic uncertainty, political uncertainty and disunity at a time of growing prosperity.
Meanwhile, in New York, maverick billionaire and 2016 Republican Party nominee, Donald J. Trump has announced plans to challenge President Hillary Clinton for the White House in 2020. Trump, who will be 74 by the time of next year’s election has made repeated claims of foul play surrounding his 2016 defeat although no evidence has thus far emerged.
In 2017, Trump resumed his role on the US version of TV’s ‘The Apprentice’.
The first ever US Academy Awards are held. First World War-based thriller Wings wins the first ever Best Picture Oscar.
In a scene reminiscent of the early scenes of the 2001 comedy film Zoolander, comedian Will Rogers opens the Best Director envelope and says, “Come and get It Frank!” Unfortunately, there were two directors called Frank nominated in that year. Frank Capra was half way to the podium before Rogers clarified that it was Frank Lloyd, director of Cavalcade who had won, not Capra. Happily, Frank Capra later won for Mr Deeds Goes To Town in 1936. In future years, the awards are always announced in a heavily scripted way, in the hope of preventing such an embarrassing error ever happening again.
Hattie McDaniel becomes the first black woman to win an acting Oscar (Best Supporting Actress: Gone With The Wind). Having been barred from the film’s Atlanta premiere due to the state’s racial laws, she is made to sit at a segregated table during the Oscar ceremony. She is only allowed to attend at all due to the Ambassador Hotel making an exception to its usual strict ‘no blacks’ policy. Her white agent sat with her at the ceremony.
How Green Is My Valley beats Citizen Kane for Best Picture. Citizen Kane subsequently became the most critically acclaimed film of all time.
Sidney Poitier (Lillies Of The Field) becomes the first black actor to win an Oscar.
A very rare occurrence: A tie in the Best Actress category.
Barbara Streisand wins for Funny Girl. Katharine Hepburn also wins for The Lion
In Winter (her third). As most Oscars are determined by votes from several
thousand Academy members, a tie is a frequent possibility.
George C. Scott wins Best Actor for Patton. He chooses not
to attend and instead stays home and watches a ball game on the other channel.
Native American Sacheen Littlefeather surprises viewers by
attending to reject Marlon Brando’s second Oscar won for The Godfather on his
behalf. t “He very regretfully cannot accept this very generous award. And
the reasons for this being are the treatment of American Indians today by the
film industry,” she says. She is actually not a political activist herself but
a small-time actress who later appears in Playboy magazine.
In a famously impromptu remark, host David Niven comments on
a streaker who disrupts the ceremony: “Isn’t
it fascinating to think that probably the only laugh that man will ever get in
his life is by stripping off and showing his shortcomings?
Robert De Niro wins his first Oscar playing Vito Corleone in
The Godfather Part II. Marlon Brando played the same character in 1972’s The
Godfather. It is the only time two actors have won Oscars for playing the same
Tatum O’Neal becomes the youngest ever person to win a competitive
Academy Award (Best Supporting Actress – Paper Moon). She is ten (she turned
nine during filming).
Annie Hall beats Star Wars for Best Picture. Director and star Woody Allen begins a long tradition of not attending the Oscars (choosing to perform jazz music elsewhere on Oscar Night instead). He finally attends in 2002.
British actress Vanessa Redgrave (Best Supporting Actress: Julia) is audibly booed after she attacks opponents of her documentary film, The Palestinian as “Zionist hoodlums”. She also attacks former President Nixon.
Jane Fonda (Best Actress: Coming Home) uses sign language during her acceptance speech to highlight awareness of deafness. It is her second Oscar: she also won for Klute in 1972.
Robert De Niro wins his second Oscar for Martin Scorsese’s
Raging Bull. The timing is awkward as the new President, former actor, Ronald Reagan
has just been shot and wounded in an assassination attempt. His attempted
assassin John Hinckley was reportedly inspired by Scorsese and De Niro’s 1976
film Taxi Driver and a desire to “impress” his teenaged co-star Jodie Foster
(she is not impressed).
Katharine Hepburn wins her fourth and final Oscar for On
Golden Pond. No other actor, male or female, has ever won four Oscars. Cate
Blanchett later wins one for playing Hepburn herself in The Aviator in 2004.
Hepburn’s co-star Henry Fonda becomes easily the oldest ever
Best Actor winner at 76. Too ill to attend the ceremony, his daughter and
co-star, Jane Fonda collects the award on his behalf (he dies a few months
Screenwriter Colin Welland shouts “The British are coming!”
following the success of Chariots of Fire this year. In fact, the next decade will
prove a very lean one for British cinema, although Gandhi does win Best Picture
Sally Field wins her second Oscar for Places In My Heart. “I haven’t had an orthodox career, and I’ve wanted more than anything to have your respect,” she says. “The first time I didn’t feel it, but this time I feel it, and I can’t deny the fact that you like me, right now, you like me!” Seen my many as overly sentimental, Field’s speech is often misquoted as: “You like me, you really like me!”
Whoopi Goldberg (Ghost) becomes only the second black actress to win Best Supporting Actress.
Silence of the Lambs wins in all of the “Big Five”
categories: Best Film, Actor (Anthony Hopkins),
Actress (Jodie Foster), Director (Jonathan Demme) and Adapted
Screenplay. This is the only the third time this has ever happened (the previous
films were 1932’S It Happened One Night and 1975’s One Flew Over The Cuckoo’s
Rumours abound that Jack Palance read out the wrong name
during his announcement of the Best Supporting Actress winner Marisa Tomei (My
Cousin Vinnie) In fact, though a surprise result, Tomei undoubtedly won. That
said, Palance did seem to be in a somewhat “tired and emotional” state as he
announced the award.
Couple Tim Robbins and Susan Sarandon use the Best Film Editing category as a political opportunity urging the government to let HIV-positive Haitians being held at Guantanamo into the US.
“Oh, wow. This is the best drink of water after the longest
drought of my life.” Steven Spielberg (Best Director: Schindler’s List) finally
wins. Schindler’s List is the first black and white film to win Best Picture
since The Apartment (1960).
Tom Hanks wins two Best Actor Oscars in consecutive years for
Philadelphia and Forrest Gump, a feat not achieved since Spencer Tracey in the
1930s, He delivers highly emotional acceptance speeches both times, inadvertently
“outing” a high school teacher as gay in the first (a moment which later
inspired the Kevin Kline film In and Out) and in the second stating “I feel
like I’m standing on magic legs.”
Samuel L. Jackson (Pulp Fiction) loses the Best Supporting
Actor Oscar to Martin Landau (Ed Wood). Lipreaders can see Jackson clearly says
“shit” on hearing the announcement from 12 year old, Anna Paquin. Jackson is
unrepentant afterwards, arguing he deserved to win.
George Clooney, Nick Nolte, Ed Harris and many other actors refuse to stand or applaud Elia Kazan’s Lifetime Achievement Oscar. The On The Waterfront director testified to the notorious House Committee on Un-American Activities in 1952
Halle Berry (Monster’s Ball) becomes the first black winner of the Best Actress Oscar.
Filmmaker Michael Moore (Best Documentary: Bowling For
Columbine) provokes a mixed reaction with an attack on President George W.
Bush: “We live in the time where we have fictitious election results that
elects a fictitious President. We live in a time where we have a man sending us
to war for fictitious reasons…Shame on you, Mr. Bush, shame on you. And any
time you’ve got the Pope and the Dixie Chicks against you, your time is up.”
Adrien Brody (Best Actor: The Pianist) kisses actress Halle
Berry on receiving his award.
The Lord of the Rings: The Return of the King becomes the
third film to win eleven Oscars. The others are Ben-Hur (1959) and Titanic
(1997). All About Eve (1950) and Titanic remain the most nominated films (14
each). The Return of the King is the only fantasy film to win Best Picture (no
sci-fi film has ever won it) and only the second sequel (the first was The
Godfather Pt II in 1974).
Martin Scorsese finally wins (Director: The Departed) after years of being overlooked. “Could you double check the envelope?” he quips.
A showdown between Kathryn Bigelow’s The Hurt Locker and
James Cameron’s Avatar. The Hurt Locker wins Best Picture. Bigelow becomes the
first woman to win Best Director (she and Cameron were married between 1989 and
The Artist is the first black and white film to win Best
Picture since 1993’s Schindler’s List. Contrary to popular belief, it is not technically
a silent film. Wings, the very first Best Picture winner, remains the only
silent winner in this category.
Christopher Plummer (Best Supporting Actor: Beginners)
becomes the oldest ever performer to win a competitive actor Oscar. He is 82.
Meryl Streep wins her 17th nomination (and her third win)
for The Iron Lady joking: “When they called my name, I had this feeling I could
hear half of America going, ‘Oh no. Come on… Her, again?’ You know. But,
whatever.” No actor has ever been nominated as many times as Streep has:
Katharine Hepburn won four times but was only nominated a still impressive 12
times. In 2018, Streep received her 21st nomination for The Post. Her other two
wins were for Kramer Vs Kramer and Sophie’s Choice.
Daniel Day Lewis wins his third acting Oscar for Lincoln.
Only five other actors have achieved three Oscar wins: Katharine Hepburn (who,
as previously mentioned, won four), Meryl Streep, Jack Nicholson, Walter
Brennan and Ingrid Bergman.
John Travolta messes up his introduction to a performance
from Frozen by Idina Menzel: “Please welcome the wickedly talented, one
and only Adele Dazeem,” he says.
The Oscars are widely criticised for a lack of racial diversity in the nominations.
Leonardo DiCaprio finally wins Best Actor for The Revenant.
In an embarrassing cock up, La La Land is briefly announced
as Best Picture, instead of the actual winner, Moonlight. The mistake – which
seems to have resulted from veteran actor Warren Beatty being given the card
revealing La La Land actress Emma Stone’s Best Actress Oscar in error, and
Beatty and Faye Dunaway’s understandably confused reaction – is only corrected
after two minutes (“There’s a mistake. Moonlight, you guys won best
picture…This is not a joke. Moonlight has won best picture”) by which time the
La La Land team are midway through their acceptance speech.
Casey Affleck wins for Manchester by the Sea despite
widespread controversy over sexual harassment allegations. Actress Brie Larson,
an advocate of sexual assault victims, presents the award to Affleck, but seems
unhappy with the result.
Comedian Kevin Hart steps down as host of the Oscars after controversy emerges over a slew of allegedly homophobic tweets he sent in the past. It is decided the Oscars will not have an official host for the first time since 1989.
Director: Adam McKay Starring: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry
The office of US Vice President was for a long time commonly overlooked. The position was deemed “not worth a pitcher of warm spit” by Franklin D. Roosevelt’s first Vice President, John Nance Garner while as Lynne Cheney (Amy Adams) points out here, the job is essentially based around the principle of doing nothing other than waiting for the president to die.
Dick Cheney was a different sort of Vice President, however. Whereas some leaders, such as the late George H.W. Bush have been fully aware of the potential opportunities afforded by the position, (Bush had, after all, spent two terms as Veep himself) and have thus deliberately picked non-threatening buffoons like Dan Quayle as their Number 2, Bush’s own son (played here by Sam Rockwell) recognised he was hopelessly out of his depth and thus when his turn came in 2000, delegated unprecedented power to an older man, much more experienced than himself. Cheney seized this opportunity head-on and exploited it to the full.
Richard Dreyfuss has already played Cheney in Oliver Stone’s W (2008). Now Adam McKay – a director once known for comedies such as the rather good Anchorman and the rather less good Talladega Nights and Anchorman 2, turns his focus onto the last US Vice President but one.
We first meet Cheney (Bale) at a low point. As a drunken hell-raiser in the 1960s, he is encouraged out of his decline only by the words of his strong-willed wife Lynne (Amy Adams, excellent). We then cut to the extremely dramatic aftermath of the September 11th attacks of 2001. Whisked away to a “secure location”, the Vice President turns this terrible occurrence into a golden opportunity for him and his ilk. Using the new atmosphere to test the limits of his power to the limit, Cheney, aided and abetted by the conservative cheerleaders of Fox News conspire to make war against Iraq, a country which had nothing to do with the attacks whatsoever.
Gruff and lacking in charisma, the real Cheney, 78 in 2019, has never been an obvious candidate for dramatic portrayal. Despite this and the fact he bears no real physical resemblance to the man himself, Christian Bale aided by prosthetics which increasingly make him resemble a modern-day Chevy Chase as he ages from his twenties to his seventies, is brilliant as the heart-attack prone Cheney. As with Sir Anthony Hopkins in Oliver Stone’s Nixon (1995), it has taken a Welsh actor to most perfectly capture a pillar of modern American conservatism.
Steve Carell, who in McKay’s Anchorman played the idiotic weatherman Brick Tamland, (a man who we were told later “served in a senior role in the Bush administration”) is also great here as Bush’s defence secretary and Cheney’s long-time friend and rival, Donald Rumsfeld (he of the “known unknowns).
As in The Big Short which explained the reasons for the last recession in easy language, McKay deploys numerous clever tactics here – a scene performed in iambic pentameter, a false ending, a mystery narrator. Some of these work better than others: a sequence in which Alfred Molina’s waiter offers Bush’s cronies a “menu” of legal options in a restaurant, for example, just seems weird.
But, overall, this is a compelling, well-acted insight into the banality of evil.
The Cold War: From the Iron Curtain to the Collapse of Communism. Published by: Carlton Books.
Nothing about the Cold War is simple. When, for example, did it start? Most people would say after the Second World War but a case could be made for saying it started as soon as Russia turned towards Bolshevism (that is, Communism) in 1917. Certainly the West was hostile to the new state from the outset, numerous powers attempting to crush it with a series of military interventions during the post-revolutionary Russian Civil War. But as the USSR was on the Allied side during the war with Hitler, most people view the Cold War as starting in the late 1940s, particularly after the USSR obtained nuclear weapons in 1949. This book does the same.
When did it end then? With the news of the fall of the Berlin Wall in 1989? (it was in fact demolished later). With the collapse of the USSR in 1991? Were there, in fact, two Cold Wars, the first ending with the Cuban Missile Crisis in 1962, the second starting with the sharp decline in East-West relations following the Soviet invasion of Afghanistan in 1979?
Indeed, with China, North Korea, Vietnam and Laos still Communist, could a case even be made for saying the Cold War is still on? Certainly, plenty of spying and intrigue still goes on and the world is hardly free of international tension particularly since the succession of President Trump in 2017. US defence spending is now far higher than it ever was during the official Cold War. This is essentially madness.
This thorough nicely illustrated and accessible account wisely restricts itself the key period, however, chronicling events from the botched aftermath of the Second World War, through to the Berlin Airlift, Marshall Plan, Korean War, nuclear confrontation, the space race, Detente and ultimately a largely peaceful resolution, mostly attributable to Soviet leader, Mikhail Gorbachev. It is well worth reading.
Starring: George Clooney, Ewan McGregor, Jeff Bridges, Kevin Spacey, Robert Patrick. Directed By: Grant Heslov
Fox Mulder was right. The truth really was out there, all along. But, as Jon Ronson’s excellent 2004 non-fiction book demonstrated, the reality of what certain elements of the US military and government were up to in the 70s and 80s, was far stranger than anything in The X-Files.
There’s the army general, for example, who became so convinced that he could will his body to pass through solid objects that he actually physically ran into his office wall. He failed to go through it. He just crashed into it.
Then, there are the military operatives who, taking their cue from an earlier science fiction franchise, named themselves “Jedi warriors”. And then there are the men who stare at goats themselves: a crack division who become convinced that they could actually kill animals merely by deploying their ‘psychic’ powers while staring at them, causing their hearts to explode. Goats are judged to be the perfect test subjects for these experiments, it is revealed. While many soldiers felt uncomfortable staring at dogs, it is apparently much harder to forge an emotional bond with a goat.
Yet while the book was by turns hilarious and fascinating, there are causes for concern here. For one thing, this isn’t a documentary. Director Heslov has gone down the route of dramatising a non-fiction book – a feat attempted before by Richard Linklater on his version of Eric Schlosser’s ‘Fast Food Nation’. The result then was a failure. Ewan McGregor is also cast unconvincingly as a fictional American journo (presumably based on the book’s author Ronson, which is odd as both men are British anyway) partly, it is presumed, so the ‘Star Wars’ star can make play of the story’s Jedi references.
The film also makes little attempt to confront the darker aspects of the book. The bohemian freethinking of the First Earth Battalion ultimately led to some of the torture methods used in the War on Terror, but this is only alluded to here.
Despite everything, this still manages to be a consistently entertaining, compelling and amusing film. It doesn’t hurt that a bit of effort has been made on the extras, although neither the commentary from director Heslov or from the book’s author Ronson are as exciting as they could have been. Other featurettes, however, give added weight to a narrative that is always difficult to fully believe.
This is, however, fascinating enough to overcome most of its flaws. And yes, in case you’re wondering, one goat did die during the many goat staring experiments. It may well have been just a coincidence, but for safety’s sake, perhaps don’t try it out on your hamster at home. Just in case.
Goats Declassified: The Real Men of the First Earth Battalion Featurette
Project Hollywood: A Classified Report From The Set Featurette
Audio Commentary with Director Grant Heslov
Audio Commentary with Author Jon Ronson
Rating: 4 out of 5
Undeniably a bit of a mess, but the story is bizarre and fascinating enough to win the day.
Cast: Christopher Plummer, Helen Mirren, James McAvoy, Anne-Marie Duff, Paul Giamatti, Kerry Condon, John Sessions
Running time: 107 minutes
Russia: 1910. With the First World War and the Russian Revolution still a few years off, ageing War and Peace author Leo Tolstoy (Plummer) might be expected to be enjoying a peaceful retirement. In fact, torn between the conflicting demands of his strong willed wife Countess Sofya (Mirren) and those of his increasingly zealous Tolstoyan followers, the author’s life is barely less turbulent than the events of one of his great novels.
The Last Station is less about Tolstoy himself than the plethora of characters surrounding him. The most sympathetic is perhaps young Valentin Bulgarov (McAvoy), a brainy but self conscious acolyte of the author. Arriving at the Tolstoy Estate as the author’s new private secretary, Valentin soon finds his loyalties divided. Should he side with the clique effectively led by his boss Vladimir Chertkov (Giamatti), in attempting to build a personality cult around the author or with the more reasonable wishes of Tolstoy’s undeniably unstable wife?
For a film dealing with such weighty issues, the first half of The Last Station is remarkably cheery stuff. Perhaps wary of scaring off his audience, director Hoffman devotes much screen time to the sneezing and reticent McAvoy’s tentative relationship with ballsy proto-feminist Masha (Condon). Only in the second half, does the film’s mood darken to a suitably more sombre state, yet the change is so dramatic (McAvoy’s character also transforming overnight) that it unbalances the film.
The film is beautifully acted, however, Plummer almost looking like an American (okay, Canadian) reincarnation of Tolstoy at times and Mirren equally great as his long-suffering spouse, a woman clearly prone to emotional volatility, expressed through occasional gun-play and chicken impression, but who nevertheless has good reason to feel aggrieved.
The accompanying commentary and interviews give some insight into a project which was apparently in the pipeline for around twenty years. But ultimately it’s a problem of tone. Too lightweight in the first half, while too melancholy (and despite dramatic events, frankly, dull) in the second, somehow The Last Station never quite scales the epic heights it threatens to achieve. Overall Verdict: Great performances elevate a film which falls just short of Tolstoyan brilliance itself.