The term “national treasure” is often bandied around a bit loosely these days. But make no mistake: at eighty, the actress Miriam’ Margolyes is undeniably worthy of the title. As this audiobook version of her autobiography confirms, she is a funny, sensitive and intelligent woman who has led a rich, eventful and rewarding life.
What is she actually most famous for? Well, as she herself admits, when the final curtain eventually falls, many tributes will begin by mentioning that she played Professor of Herbology, Pomora Sprout in two of the Harry Potter films. It is a small role in a star-studded saga which only came to Miriam as she entered her sixties, but such is the nature of the hugely successful franchise that virtually everyone who appeared in them, be they Alan Rickman, Maggie Smith or Robbie Coltrane, is automatically more famous for that than for anything else almost regardless of how busy or successful their career may otherwise have been. As she is not a fan of the series (she has not read any of the books nor seen any of the films, including either of the ones she is in herself) and does not like science fiction or fantasy, she admits this slightly grudgingly although she remains grateful as ever for the work and for being a small part of a story that means so much to so many people and will doubtless continue to be watched for many decades to come.
She has been astonishingly prolific though working consistently on stage, radio, TV and film since she left Cambridge University nearly sixty years’ ago. The Internet Movie Database credits her with 188 roles and while many of these were bit parts or voice only roles but this doesn’t even touch on the numerous radio, theatre and voiceover performances she has delivered and she discusses many of them here. This is a long book but even she cannot mention everything. In 2006, for example, she appeared as Mrs. Midge In one episode of the French and Saunders sitcom, Jam & Jerusalem and provided voices for the characters, Mrs Ashtrakhan and Rita’s Grandma in the high-profile animated films Happy Feet and Flushed Away. But I don’t think any of these roles are mentioned in this autobiography.
She had a run of 1990s Hollywood success. She was the nurse in Baz Luhmann’s Romeo + Juliet, probably the most successful Shakespeare film adaptation ever made. Oddly, one of her abiding memories of this is how smelly the young star, Leonardo DiCaprio was. She was the voice of Fly, the female sheepdog in both the Babe films. She won a BAFTA for her role as Mrs. Mingott in Martin Scorsese’s Age of Innocence.
We have all probably seen and heard her in far more things than we realise. She was one of the most high-profile voiceover actresses of the 1980s. She was the voice of the sexy cartoon bunny on the Cadbury’s Caramel adverts (“Take it easy with Cadbury’s Caramel”). She vividly recreates her sexually suggestive vocal performance on one 1970s tobacco advert. She dubbed most of the female voices for the cult 1970s series, Monkey. I personally remember her first from watching the brilliant Blackadder II in which she played Edmund’s puritanical aunt, Lady Whiteadder (a character who, Margolyes relates, seems to have a curious effect on a certain breed of middle-aged man). I also once saw her on stage in a production of She Stoops To Conquer alongside an unlikely combination of Sir Donald Sinden and David Essex.
But the book’s not all about her career. Margolyes talks seriously and honestly about many things. She talks about her parents, her childhood in Oxford, her university days, her being Jewish, her lesbianism, her pain and regret about her experience of ‘coming out’ to her parents and her lifelong unhappiness with her own appearance. As the name of the book suggests, she is always very honest. She acknowledges her successes (she is especially proud of her one-woman show, Dickens’ Women in which she played a huge number of roles) but admits to her failures both major (cheating on her partner of fifty years) and minor (overreacting to a parking ticket or embarrassing herself when meeting the Queen).
Readers should perhaps be warned about her numerous sexual exploits and perhaps still more surprisingly, her eagerness to discuss them. Although a lesbian, a remarkable number of her anecdotes end with the phrase “and then I sucked him off.” This will doubtless offend some readers or listeners and amuse many more.
In fact, you could actually get very drunk playing a Miriam Margoyles Drinking Game imbibing every time the phrase “sucked off” comes up. Although too her credit, you would get drunker still if you downed a shot every time she ends a description of someone she has met during her life with some variation on the phrase “we remain friends and are still in touch to this day” or “we remained friends until they died.” She values friendship highly and has made and remained friends with many people. She says she has nearly 12,000 names in her phone book and clearly relished getting in touch with many of them to help her remember many of the events detailed in this narrative.
This, of course, suggests she is pleasant and easy to work with. It also adds credibility to her testimony against those who she does dislike who she condemns vigorously. She was treated very badly by Glenda Jackson during a union dispute during a disastrous stage production in the 1970s, singles out the late Terry Scott as a truly awful person and is venomous about the blatant sexism displayed by many of the future Goodies and Monty Pythom team at Footlights during the 1960s.
Some people still don’t like her today, of course, for a variety of reasons namely because she is a woman who talks freely about her sexuality, because she is a lesbian, because she holds left-wing views, because she holds left-wing views but has criticized Jeremy Corbyn’s support for Brexit and failure to tackle anti-Semitism in the Labour Party, because she is Jewish and yet has condemned Israel’s brutal treatment of the Palestinians, because she is Jewish full stop, because she is a woman who speaks her mind freely and honestly, because she is an old woman or simply because she is a woman.
This book is not for them. For the rest of us this is a golden opportunity to enjoy a well-told story, which is honest, moving and often very funny about a rich life lived to the full.
This ten-episode drama from 2021 makes up the third instalment in the American Crime Story series. All three have been based on real life high profile criminal cases from the recent history of the U.S.
The first of these, The People Vs OJ Simpson (2016) was thoroughly absorbing and had me completely gripped throughout. I must admit I have not seen the second story, The Assassination of Gianni Versace (2018). This one centres on the 1998 White House sex scandal which culminated in the impeachment of U.S President Bill Clinton, a scandal often rather unfairly labelled ‘the Monica Lewinsky Affair.’
And it must be said, the choice of subject matter is something of a problem from the outset. While undeniably a huge scandal, the Lewinsky Affair always rather suffered from not really having any real central crime at its core. While I would not condone Clinton’s behaviour at the time, it was not criminal in the way Nixon’s behaviour during Watergate was, or in the way the Iran-Contra affair was during the Reagan administration. It is a poor choice for an anthology titled ‘American Crime Story’: it is not entirely clear even now if any serious crimes were ever committed. This was certainly not true in the cases of either Simpson or Versace. Viewers today might find it amazing that in age before the War on Terror or the current COVID-19 pandemic, so much time, effort, money and attention was wasted on establishing the exact nature of the sexual relationship between a president and his intern. The scandal only continued because of the determination of Clinton’s enemies to blacken his name and discredit his administration. To some extent, they succeeded. But the scandal often felt needlessly voyeuristic and pointless. And seeing it all played out again here, often feels the same way.
Nobody did well out of the scandal. It is a story of victims.
Monica Lewinsky was one victim. Today, unmarried and at 48, even now still younger than Bill Clinton was when he first encountered her, she not only suffered tremendous harassment and a media furore at the time, but seems destined forever to be associated with certain sex acts in a scandal which has always been named after her, rather than the chief instigator of it, i.e. Bill Clinton. Beanie Feldstein’s central performance as her is the strongest in the entire drama.
Then there is Linda Tripp, Lewinsky’s former friend. With her dowdy, unfashionable middle-aged appearance and conservative political views, Tripp is an easy figure to demonise. And yes, she did behave very badly indeed, betraying her young ‘friend’ by tape recording their phone conversations, later publicly defending these reprehensible actions by claiming she did them out of a sense of patriotic duty, but, in practice, always with one eye on a potential lucrative book deal. But Tripp more than suffered for her sins. She saw herself impersonated by John Goodman in drag on Saturday Night Live. She died in 2020, before she would have had the chance to see herself portrayed by an unrecognisable Sarah Paulson in this. Although a good performance, Paulson has expressed regret about wearing a fat suit for the role.
Another victim? Paula Jones (Annaleigh Ashford) whose initial allegations triggered the whole scandal in the first place. With none of the financial security or familial support, Monica Lewinsky at least received, Paula came off worse than most.
Probably its stretching things to describe Bill Clinton as a victim here but both he and Hillary suffered terrible public humiliation.. British actor, Clive Owen does a fine impression of the 42nd president although as with Sarah Paulson, he has been rendered entirely unrecognisable by make-up. The always excellent Edie Falco (of The Sopranos) plays Hillary. In retrospect, the scandal may well have guaranteed her status as a future presidential candidate while simultaneously ensuring she would never actually win the presidency itself, something which continues to have disastrous consequences both for the USA and the wider world to this day.
Of course, it’s certainly going too far to suggest the assorted legion of cranks and right-wingers who kept the scandal alive could really claim ‘victim’ status either. In the short run, they failed in their objectives: had Bill Clinton been able and willing to seek a third term in the year 2000, he would probably have won it. But in the long run, his otherwise successful presidency was tarnished by an unnecessary and tawdry scandal.
Much of the casting is interesting. Colin Hanks is good as ever as agent Mike Emmick while sitcom star Cobie Smulders is suitably malevolent as conservative battle-axe Ann Coulter. Oscar-winner Mira Sorvino, whose own promising film career in the 1990s was wrecked after she resisted the advances of the abusive producer, Harvey Weinstein plays Monica Lewinsky’s well-intentioned and well-to-do mother. Jim Rash, Margo Martindale and Blair Underwood also make welcome appearances throughout the drama.
But, overall, despite some excellent performances, a few dodgy wigs and outfits too often contribute to a sense that this is almost as sleazy and unnecessary as the original scandal itself.
And while ‘impeachment’ was a popular buzzword in 2021: disgraced former US President Donald Trump had after all just been impeached for a second time, thus making him responsible for half of all presidential impeachments in 232 years of US presidential history, it was a poor choice of title in this case. The processes of Bill Clinton’s actual impeachment barely feature in the narrative at all.
During a forty year career, the fertile mind of Michael Crichton created numerous stories featuring deadly plagues, rebellious robots and resurgent dinosaurs. With a new TV version of Crichton’s Westworld striding boldly towards us this October, Geeky Monkey takes a look at the work of a man who left a huge indelible footprint on the history of science fiction…
WORDS: CHRIS HALLAM
In November 2008, with the news dominated by the election of Barack Obama, another news story could easily have slipped by unnoticed: Jurassic Park author Michael Crichton had died aged just 66.
As the man behind one of the biggest cinematic hits ever, Michael Crichton was a towering figure in every sense (he was 6ft 9). But he had a somewhat mixed record as both an author and of director of science fiction.
Michael Crichton wrote books, directed films based on his own books, directed films based on other people’s books, directed films not based on his or anyone else’s books and saw his own books adapted by other directors. Not all of the novels or directorial projects are of the type which piques Geeky Monkey’s interest: for example, neither Disclosure or Rising Sun fit into the sci-fi or fantasy bracket and so don’t expect them to be discussed much here. But whether good or bad, Crichton’s medical experience was always evident. Whether it was a version of one of his own books or one of his own original screenplays, it was as if Michael Crichton had injected himself into every frame.
The Andromeda Strain
Book (1969). Filmed: 1971, TV version: 2008
The danger that humanity may be threatened by an unstoppable outbreak of an incurable and fast spreading disease is sadly one of the more plausible apocalyptic scenarios. Crichton tackles this head on in his breakthrough novel, which centres on the aftermath of a space satellite’s return to Earth. It soon emerges that everyone in the surrounding Arizona area where the satellite has crashed down is dead, some of them having died in bizarre mysterious ways. A dispassionate scientific analysis begins: was the satellite harbouring a deadly microorganism?
Published when Crichton was still embarking on a medical career in his twenties (he apparently once overheard two senior doctors discussing his own book), The Andromeda Stain made Crichton a star. It achieves the difficult feat of being both scientifically credible and a compelling enjoyable read.
And, happily, the film wasn’t bad either. Directed by Robert Wise (the man behind the not very similar Sound of Music although he would later do the first Star Trek film), The Andromeda Strain was largely faithfully brought to the screen and was notable for its early use of special effects from 2001: A Space Odyssey wizard Douglas Trumbull. A modest box office hit, it is still very watchable and became an influence on everything from Outbreak (1995) to Contagion (2011) the last of which saw an apocalyptic plague start after Gwyneth Paltrow shook hands with a chef who hadn’t washed his hands after some bats pooed on the food he was about to serve.
Sadly, a “reimagining” of the book staring Benjamin Bratt worked less well as a TV mini-series in 2008. A very loose adaptation indeed and very unmemorable: The Amnesia Strain might have been a better title.
The Terminal Man
Book: 1969. Film: 1974
The second Crichton sci-fi book to be adapted drew direct inspiration from his medical career:
“I saw a patient in a hospital who was being treated with electrodes implanted in the brain, hooked up to a monitoring computer,” Crichton later wrote. “I thought this treatment was horrific and I was amazed that the research seemed to be going forward with no public discussion or even knowledge. I decided to write a novel to make such procedures better known.”
The experience (of a treatment which is now no longer carried out) provided the basis for The Terminal Man. The novel centres on one Harry Benson who undergoes a futuristic version of electronic brain implantation similar to that witnessed by Crichton to cure him of the epileptic seizures he has begun to experience since suffering injuries in a car accident. Benson soon becomes incredibly violent as a result. Critically well received as a book, despite receiving some criticism for linking epilepsy to violence, the film which starred George Segal is generally less well liked. Roy Pickard has argued (in the book Science Fiction At The Movies) that it is in some ways superior to anything in Mary Shelley’s Frankenstein. Despite this, Crichton was aggrieved that he lost his role as director to Mike Hodges, the man who would later direct Flash Gordon (1980). Crichton later admitted that he liked The Terminal Man less than any other books.
Sequel: Futureworld (1976)
TV series: Beyond Westworld (1980)
HBO TV series due: 2016
Imagine a holiday in which you can sample the thrill of being in ancient Rome, medieval England or the Wild West. Peopled by robots, Delos, the holiday resort in Westworld, offers all of these things and more. Our heroes (played by Josh Brolin and Richard Benjamin) are drawn to the wild west sector where an android gunslinger played by Yul Brynner (wearing the same outfit he had earlier worn in the western, The Magnificent Seven) is obligingly shot down to please the tourists every day.
But then the robots start going wrong. Previously obliging medieval serving wenches become uppity and slap their clients (“My Lord forgets himself!”) while the robots all over the three worlds suddenly go into revolt, Brynner’s gunfighter becoming especially lethal…
Hands up if you jumped to Westworld in this feature straight away? If you did, we certainly don’t blame you. Westworld is Crichton’s most fun pre-Jurassic Park creation. It was the first film ever to use CGI (on a limited scale). It was also the first to demonstrate Crichton’s talent for imagining futuristic theme parks and then have them go horribly wrong.
Indeed, there is an element of the Jurassic Park issue here – scientists have used technology which they don’t really understand leading to an ultimately deadly environment. As one Delos scientist explains: “We aren’t dealing with ordinary machines here. These are highly complicated pieces of equipment, almost as complicated as living organisms. In some cases, they’ve been designed by other computers. We don’t know exactly how they work.”
Crichton originally conceived Westworld as a novel but ended up writing it as a screenplay and directing it as a film where it soon enjoyed success. Crichton had nothing to do with the 1976 sequel Futureworld starring Peter Fonda which lazily attempted to recreate the formula of the original on a larger scale even featuring Brynner’s gunfighter only in a rather pointless dream sequence. The 1980 TV series Beyond Westworld was a flop too. Featuring a plot to use the androids of Delos to take over the world, the show was canned after only three out of five episodes had been aired.
The new HBO series Westworld due out later this year looks much more promising, however, not only in terms of cast (it features the distinguished likes of Sir Anthony Hopkins, Ed Harris, Evan Rachel Wood, James Marsden and Jeffrey Wright) but in terms of depth.
Judging by the trailer, the new series not only promises to explore the three worlds of Delos in greater detail but promises to be a dark intelligent affair featuring Blade Runner style mediations on the nature of existence. If the series lives up to the promise of the trailer, it seems likely Crichton himself would have approved.
Apes have a difficult legacy on film. For every King Kong (1933), there’s a King Kong (1976). For every Planet of the Apes (1968), there’s a Planet of the Apes (2001).
Congo sadly slips into the “awful” category thanks largely to some terrible acting performances from Tim Curry and Ghostbusters’ Ernie Hudson, but also because, in common with the aforementioned Dino de Laurentiis King Kong remake and, indeed, Greystoke: The Legend of Tarzan, Lord of the Apes (1984), it is rendered ridiculous by the use of silly looking gorilla costumes. This was just about acceptable when Planet of the Apes came out in 1968 but was already pushing it a vit, in the 70s and 80s when King Kong and Greystoke used them. By 1995, soon after the release of Crichton’s own CGI-filled Jurassic Park, it looked completely absurd.
Congo, is in truth, not one of Crichton’s better books anyway. After a series of mysterious deaths occurs in the Congo, an expedition is sent out which discovers a dangerous race of hyper-intelligent human-gorilla hybrids. Although definitely science fiction, Crichton attempted to inject some of the feel of the 19th century adventure story like H. Rider Haggard’s King Solomon’s Mines or Arthur Conan Doyle’s The Lost World (a name Crichton would consciously poach later).
Crichton actually sold the film rights in 1979 before completing the book and was optimistic about Sean Connery being cast. But the film didn’t end up being made until Crichton’s post-Jurassic boom period and Connery didn’t appear.
CGI was briefly considered but ruled out. But in truth gorilla suits are only part of the problem with Frank Marshall’s frequently ridiculous film. It would have been all over the place anyway, good special effects or not.
But against all odds, Congo didn’t flop. It was a solid commercial hit.
Perhaps the least remembered of any of Crichton’s film, some would argue that as a critical and commercial flop, Looker is best skipped over quickly. The film sees Albert Finney play a plastic surgeon who becomes suspicious after a series of already beautiful models approach him seeking minor and indeed apparently imperceptible physical alterations. He becomes even more intrigued after the models start being murdered and he finds himself under suspicion of killing them. What is going on and how are the sinister Digital Matrix research firm involved?
Though not a success, Looker deserves to be remembered for one reason at least: the film featured the first ever CGI human character. Filmsite.org’s Film Milestones in Visual and Special Effects explains:
“The visual effects in Michael Crichton’s high-tech science-fiction thriller featured the first CGI human character, model Cindy (Susan Dey of The Partridge Family fame). Her digitization was visualized by a computer-generated simulation of her body being scanned – notably the first use of shaded 3D CGI in a feature film. Polygonal models obtained by digitizing a human body were used to render the effects.”
Not bad for 1981.
It is a well-known fact that actor Tom Selleck was forced to turn down the role of Indiana Jones due to his contractual obligations to the hit TV series Magnum P.I. Selleck’s disappointment at what might have been is only to understandable and obvious: a number of subsequent films saw Selleck apparently trying to emulate Harrison Ford in Indy-type roles. Runaway, directed and written by Crichton, is quite different, however. On paper at least, Selleck seems to be emulating Ford in another film entirely: Blade Runner.
Selleck plays Sgt. Jack R. Ramsey, a police officer in a near future environment in which household robots have become commonplace. Aided by his enthusiastic young partner (played by Cynthia Rhodes), Ramsay is part of the “Runaways Unit” dealing with robots who have malfunctioned, known as “runaways”. Most of his work is quite mundane, until one day he finds himself investigating something that should be impossible: a robot who has broken his programming so dramatically that he has committed murder, having wiped out a whole family. What would Brian from Confuse.com say? It’s certainly enough to make Metal Mickey turn in his grave.
Runaway certainly isn’t terrible and perhaps the Blade Runner similarities are only superficial. In one respect, it is like Blade Runner, however: it flopped. And unlike Blade Runner, its reputation has not soared in the years since.
“An adventure 65 million years in the making” would be the tagline for the film of Crichton’s biggest success Jurassic Park. And though none of Crichton’s works actually took that long to produce (obviously), many did have a long gestation period. Crichton began writing Sphere back when he was in his twenties, seeing it as a potential companion piece to The Andromeda Strain. As it turned out, he didn’t finish it until the late 80s, having basically got stuck, the film appearing a full decade after that.
Sphere begins from an intriguing premise with the discovery of a mysterious craft bobbing along at the bottom of the beautiful briny sea. A mystery begins: is the craft from Earth? Is it an alien ship from space? Or could it even have been sent back in time from hundreds of years in the future?
The book of Sphere was actually decent and with veteran director Barry Levinson (best known for Rainman) at the helm and a cast led by Dustin Hoffman, Sharon Stone and Samuel L. Jackson (the last actor by then far more famous than he had been when he appeared in a supporting role in Jurassic Park five years before) the movie version really should have been the same.
Sadly, it was not to be: Sphere was fatally dull.
Rotten Tomatoes damned it thus: ”Sphere features an A-level cast working with B-grade material, with a story seen previously in superior science-fiction films.”
Sphere sank without trace to the bottom of the box office ocean.
As the 1980s neared their end, Crichton then in his late forties might have looked back on these years with some sense of disappointment. None of his books had been adapted into films during the decade, the three films he had directed himself during this period (Looker, Runaway and 1989’s non-science fiction Physical Evidence) were all failures and he would never direct any more films. Despite the novels Congo and Sphere, Crichton was still best known his 1970s work and he was clearly less successful than some younger emerging novelists like Stephen King and John Grisham .
But as a new decade dawned, Crichton’s life was about to change forever…
Book: 1990 Filmed: 1993
Jurassic Park: The Lost World
Book: 1995 Filmed: 1997
Steven Spielberg is famed for knowing what the public want before they even know it themselves. Whether it’s sharks, cute little aliens or heroic archaeologist cum adventurers, Spielberg has his fingers on the pulse of the film-going zeitgeist. He had known Michael Crichton since the seventies. When Crichton began talking about his latest unfinished novel about a theme park populated by resurrected dinosaurs, Spielberg was very interested. Recognising that CGI technology was at a point where it could bring Crichton’s vision brilliantly to life, he bought the rights.
The results almost speak for themselves.
As Gloria Hunniford famously put it, in Jurassic Park the special effects are so good “’you can’t tell where the fake dinosaurs end, and the real ones begin.” But the film is not just a special effects bonanza. Spielberg both took things away and added things to Crichton’s book and screenplay: a child being killed by a dinosaur early on was deemed too horrific, Attenborough’s creator Hammond is less sinister in the film than he was in the book, the famous shuddering glass of water in the first great tyrannosaurus rex scene is largely down to Spielberg’s masterful direction, not Crichton’s prose. But the book and the idea were Crichton’s and he deserved the millions he made from it.
Jurassic Park is the biggest grossing film of all time on its release worldwide and is currently the 21st on the list which is unadjusted for inflation, the only film which is over 20 years old to be in the current top 50. Jurassic World from 2015 is at number 4 (all these figures come courtesy of Box Office Mojo).
Or in other words, you have seen Jurassic Park, your dentist has seen Jurassic Park and anyone anywhere currently in your range of vision has seen Jurassic Park unless they are a baby, a dog or Audrey Hepburn in an advert on your TV.
Indeed, probably virtually everyone in your mobile phone address book has seen it. Don’t believe us? Call them now and check. Go on. We can wait. We’ll still be here when you get back.
In 1994, Crichton achieved a first. Jurassic Park was number one at the box office, E. (which he had also created) was number one on US TV and Crichton’s novel Rising Sun (also made into a film soon after) was at the top spot in the book charts. Top of the book bestsellers, the TV ratings and the box office charts. No one has ever achieved this triple whammy before or since. A very tall man anyway, Michael Crichton really did seem to stand astride the world like a colossus.
Little wonder he was soon under pressure to do a sequel. The Lost World Jurassic Park was Crichton’s first and only sequel and he made compromises: Jeff Goldblum’s Dr Ian Malcolm returns, for example, despite being killed off in the first book (but having survived the film). In truth, the sequel was far from Crichton’s best book and is probably one of Spielberg’s worst films. But it was a huge box office hit and two more films have appeared since.
Michael Crichton wrote many books in his last years, some of which (although only one more sci-fi book) were filmed. But creatively, he never scaled the heights of the Jurassic Park again.
A truly rubbish film, it seems a shame to end with Timeline, a silly adventure based on Crichton’s enjoyable sci-fi thriller about a group of modern day scientists traveling back in time to 14th century France to rescue their professor.
Crichton’s final years saw him produce more science fiction. Prey (2002) is a thriller dealing with the threat posed by the creation of artificial life and nanobot technology. The rights have been bought by 20th Century Fox although Prey has never yet been filmed. State of Fear (2004) centres on a plot to commit mass murder by a gang of eco-terrorists. By this point, Crichton, now in his sixties, had nailed his colours firmly to the mast of those who like President George W. Bush were in total denial about the existence of climate change. Many felt Crichton’s promotion of his own views on this subject rather marred the novel.
Next is er… Next(2006) which centres on the genetic experimentation on animals. It is, incidentally, nothing whatsoever to do with the Nicholas Cage sci-fi film Next of 2007 which was in fact based on a Philip K. Dick story. His final unfinished sci-fi work Micro (published posthumously in 2011) meanwhile is being planned as a film by Dreamworks.
Nearly eight years after he died, Crichton’s legacy is undeniably mixed with some huge successes and some epic failures. Some films based on his books were terrible as were some of the films he directed himself and indeed some of his own book were quite bad.
But with the Westworld and Jurassic franchises flourishing to this day, Crichton’s contribution to science fiction is undeniable. He wrote science fiction in the truest sense, using his medical expertise to inform hugely entertaining stories. And when at his best as in The Andromeda Strain, Westworld or Jurassic Park, Michael Crichton could be very entertaining indeed.
Box out: Also by Michael Crichton…
Michael Crichton didn’t just write and direct science fiction. Here are just some of the other many strings to his bow…
The young doctor?: A Harvard Medical School graduate, Crichton spent years on clinical rotation in hospitals but never formally gained a licence to practice medicine, choosing to write instead. He came to believe many patients took too little responsibility for their own health.
Weird science: He was sceptical about man-made climate change or global warming. but was interested in aura viewing and clairvoyance.
Tall stories: He wrote some early books under the pen names Jeffery Hudson and John Lange (“lange” is the German word for “long”: Crichton, as mentioned, was very tall). Michael also wrote a book with his brother Douglas under the name “Michael Douglas” in 1970. By coincidence, the now famous actor Michael Douglas (who had still largely been unknown in 1970) would later star in Coma (1978), a medical thriller directed by Michael Crichton as well as Disclosure (1994), a controversial film based on Crichton’s bestselling novel.
Twister (1996): Crichton co-wrote the screenplay for the tornado-based drama starring Bill Paxton and Helen Hunt. He was aided by his then wife Anne-Marie Martin (he married five times). The film was the second biggest grossing film of 1996 and certainly the biggest grossing film of that year which didn’t feature Will Smith repelling an alien invasion.
TV star: In 1994, Crichton created and produced the medical TV drama ER. He only wrote the first episode basing it on a script he’d first written in 1974. He effectively launched a show which would last until 2009.
Dr Who?: The name “Dr Ross” appears at least four times in Crichton’s writing. Most famous is Dr Doug Ross the role which made George Clooney’s name in ER. In Congo (1980), the main expedition to uncover the cause of the mysterious deaths is led by Dr Karen Ross (she is played by Laura Linney in the film). Both the book and film of The Terminal Man (1972/1974) feature Dr Janet Ross, Benson’s attractive psychiatrist (Joan Hackett). In Zero Cool (1969), an early Crichton book (written as John Lange), Dr Peter Ross is a radiologist and the main character.
Other big non-sci-fi successes for Crichton were The Great Train Robbery (1975) filmed by Crichton himself as The First Great Train Robbery (1979) starring Sean Connery and Rising Sun (1992) and Disclosure (1994), both later made into films, the former also starring Connery.
The 13th Warrior (1999) starring Antonio Banderas is based on Crichton’s 1976 novel Eaters of the Dead (1976). Crichton himself took over the reins as director uncredited from onetime Die Hard director John McTiernan when the film ran into trouble. But he still could not stop it from becoming one of the biggest cinematic flops ever made.
Regardless of whether he was making heist thrillers, anti-war dramas or historical epics, director Stanley Kubrick was always a force to be reckoned with. However, it was his move towards science fiction and horror in the sixties and seventies which brought out his true genius as director and saw the creation of four of his greatest films. But what was the price of Kubrick’s lifelong battle for perfection? Over the years, the director’s obsession with power and control brought him close to the brink of madness…
WORDS: Chris Hallam
It’s easy to see why some people might think director Stanley Kubrick (1928-1999) was an obsessive, controlling character. It’s there in his work. As the journalist Lewis Jones has noted; “All his films have an intensely painstaking air, an overpowering feel of perfectionism. They are all hugely ambitious… and all his films are driven by some kind of fear – fear of war (Paths of Glory, Dr Strangelove, Full Metal Jacket), of crime (A Clockwork Orange), of computers (2001), of creative failure and madness (The Shining), or sex (Lolita, Eyes Wide Shut)”.
The image of Kubrick as an obsessive telephone-fixated recluse may be an unfair stereotype. It is, after all, perfectly possible to feature certain recurrent themes in your work without necessarily exhibiting them within your own personality. There is also something of a lazy media tendency to label any celebrity who doesn’t do regular interviews “a recluse”.
Between 1963 and 1980, effectively the middle period of his career, Kubrick, already an established director, thanks to the likes of The Killing, Paths of Glory and Lolita, embarked, intentionally or not, on an exciting new journey. With the notable exception of his period piece 1975’s Barry Lyndon, Kubrick departed from real world scenarios as the subject matter for his films. Dr. Strangelove occurs against the backdrop of imminent nuclear war. 2001 and A Clockwork Orange both depict very different versions of the near future, while The Shining is set in a world in which ghosts and the supernatural exist.
It was undeniably the most creative period of his entire career. But it was also the period during which Kubrick’s own behaviour reportedly grew most eccentric. As Kubrick’s subject matter increasingly moved further and further away from real world scenarios, did his own grip on reality start to loosen too?
Dr. Strangelove (1964)
In October 1962, the Cuban Missile Crisis brought the world closer to nuclear war than ever before. To give just one example, on learning that the Soviet Union had deployed nuclear missiles on the island just 80 miles off Florida, the initial reaction of President Kennedy’s team was that the US should invade Cuba. The president’s brother Bobby talked them out of it fearing the US would come across looking like a bully. Thirty years later, it was revealed: officials on Cuba were under orders to launch a nuclear strike on the US if they had attempted to invade. That’s how close the world came to nuclear holocaust.
Clearly, then, an obvious topic for a film comedy.
Nor was Stanley Kubrick, the obvious choice to direct a comedy. Although well-established in the movie business by his thirties, Kubrick who had directed Spartacus (1960) and the controversial Lolita (among other things) was not associated with comedy at all. Indeed, despite directing Dr. Strangelove, rated in 2000 by the AFI as the third best US comedy film of all time, he still isn’t. Ask anyone to describe Kubrick in ten words: more likely than not, the words “funny” and “hilarious” will remain unused.
The film did not start out as a comedy. Kubrick was fond of adapting novels as the basis for his films, in fact, every single Kubrick film after 1955’s Killer’s Kiss was based on a book (in the case of 2001, the short story The Sentinel was expanded by its author Arthur C. Clarke during production). Dr. Strangelove Or How I Learned To Stop Worrying And Love The Bomb, to give it its full title, was based on Peter George’s 1958 novel Red Alert released as Two Hours To Doom in the UK. The novel was quite different from the eventual film in that it was deadly serious, did not feature the character Dr. Strangelove at all and had a completely different ending. Nevertheless, the essential point that a US general goes mad and attempts to launch a pre-emptive nuclear attack on the USSR, is the same as the film (neither were directly based on the Cuban missile crisis). Kubrick increasingly came to recognise the dark humour in the Cold War arms race and with the help of co-writer Terry Southern, turned it into a comedy.
He was, of course, immeasurably helped by the comedy genius of his friend, the actor Peter Sellers. Kubrick indulged Sellers somewhat and would often be rendered hysterical by Sellers’ ad-libbing on set. Sellers’ role in Lolita had been massively expanded from a very small one indeed in Nabakov’s book and had ultimately unbalanced the film. In Dr. Strangelove, Columbia Pictures insisted Sellers be cast in multiple roles as he had in Jack Arnold’s 1955 film The Mouse That Roared. This time, Sellers was given four roles including that of the missile-riding Major Kong. In the end, Sellers struggled to master the Texan accent and feigned a sprained ankle to get out of the Major Kong role. But he still did an impressive job on the other three assigned to him: the wheelchair bound ex-Nazi of the title, US president Merkin Muffley and perhaps most successfully, plucky British Group Captain Mandrake.
Madness is never far away in Kubrick’s films. In Strangelove, the whole real life scenario is as mad as the concept of Mutually Assured Destruction (M.A.D.) itself, General Jack D. Ripper’s insane fear of bodily fluids is frighteningly convincing, while general Buck Turgidson (George C. Scott) and the Doctor himself are clearly little more balanced.
Kubrick originally planned to end the film with a custard pie fight (perhaps rather like the end of Alan Parker’s Bugsy Malone) and even got to the stage of filming it it but the sequence was never used. Peter Sellers’ own life was certainly plagued by personal instability and Peter George who had written the book and helped with the screenplay committed suicide in 1966. Was Kubrick suffering with private demons of his own?
In his biography, John Baxter argues Dr. Strangelove arose from Kubrick’s fear of nuclear war:
“His fears were legitimate, but they also smacked of the paranoia that would increasingly characterise his life and work…because he so distrusted his own mental mechanism, he came to distrust machines also. His films, always preoccupied with systems that fail and plans that don’t succeed, increasingly dealt with the same problems but on a global or cosmic scale…”
He could also be a hard taskmaster putting his set designer Ken Adam through hell creating the sets for the film. But Kubrick got results. The War Room, in the film, in particular, looks amazing,
“Moscow gold could not have produced better propaganda,” wrote one conservative US newspaper about the film. But it was a hit and like many Kubrick films, it would prove initially controversial before eventually achieving classic status.
Kubrick’s eternal struggle for perfectionism had begun.
2001: A Space Odyssey (1968)
The success of Dr. Strangelove gave Kubrick the power to do pretty much anything he wanted. He thus decided to settle permanently in the UK, grow a beard, team up with science fiction author Arthur C. Clarke and make the most ambitious film ever made.
Nearly fifty years after it first appeared, 2001 has lost none of its power to both awe and baffle audiences. Even the fact, the year 2001 has long since passed hasn’t really changed this, though it must be said, for a man who predicted that the first moon landings would occur in the year 1970 as far back as 1945 (he was only one year out as they happened in 1969), Clarke managed to be some way out in his prediction of how far advanced space technology would be just 33 years hence. It is doubtful that even by 2101, we’ll be as flying to Jupiter as the film suggests. We certainly weren’t by 2001 as Clarke, though not Kubrick sadly, would live to see.
The film rather defies conventional story synopsis, but broadly speaking some apes in prehistoric times are excited by the arrival of a large black monolith. The monolith seems to have a civilising effect on them and soon they are able to demonstrate impressive examples of cinematic match cut technique. Much much later, in the year 2001, in fact, a ship is sent to investigate another such monolith which has appeared on Jupiter. The mission goes wrong when the ship’s computer HAL (voiced by Douglas Rain) malfunctions and kills most of the crew before being gradually shut down by sole survivor Dave Bowman (Keir Dullea). This surprisingly touching sequence is probably the best loved of the film. Counterculture hippies of the time, however, preferred the psychedelic lightshow precipitated by Bowman flying into the monolith. And then a giant space baby appears, something which er… obviously needs no explanation.
Not everyone liked the film at the time. Roger Ebert later wrote that: “To describe that first screening as a disaster would be wrong, for many of those who remained until the end knew they had seen one of the greatest films ever made… But not everyone remained. Rock Hudson stalked down the aisle, complaining, ‘Will someone tell me what the hell this is about?’ There were many other walkouts, and some restlessness at the film’s slow pace…” A producer’s wife threw up during a screening although that might not have been because of the film. Influential critic Pauline Kael dubbed it “monumentally unimaginative” but unlike many things from the 1960s, the film has aged well and is now considered one of the greatest ever made. Though not “full of stars” (Leonard Rossiter is about the most famous person in it), it was a big hit at the time too, ultimately inspiring an okay sequel (2010 directed by Peter Hymans in 1984), Solaris, essentially a Soviet version (remade by Steven Soderbergh in 2002) and influencing everything from Interstellar (2014) and The Martian (2015) to TV’s Red Dwarf.
The film was the making of special effects guru Douglas Trumbull but he didn’t enjoy working with Kubrick at all. In the generally sympathetic documentary, Stanley Kubrick: A Life In Pictures (2001), made by Kubrick’s brother-in-law, Trumbull says:
“After working with Stanley on 2001, I swore I’d never work for anybody again. Stanley was a hell of a taskmaster. He was difficult. He was demanding. His level of quality control was astronomically close to perfectionism…his mind was so insatiable. I saw that he lived his work 24 hours a day, seven days a week. I think he had a hard time keeping up with his own intellect.”
Demanding… perfectionist ..insatiable Turnbull would not be the last person to use these words about Stanley Kubrick.
A Clockwork Orange (1971)
Kubrick’s next film was also a science fiction film set in the near future. But it could hardly have been more different from 2001.
Based on Anthony Burgess’s 1962 novel of the same name A Clockwork Orange tells the tale of four young thugs in a violent Britain of the late 20th century. Aside from Alex DeLarge (Malcolm McDowell) who loves the music of Beethoven, the gang seem to have no interests other than drinking milk and inflicting acts of violence and rape upon the surrounding populace.
Like the book, much of the film’s dialogue is in Nadsat, a futuristic slang, derived from Russian and Yiddish, devised by Burgess. Although different in certain key respects, the film actually follows the book very closely with large sections of the text reproduced almost verbatim. Despite this, Burgess was annoyed that the substantial attention and controversy the film attracted, transformed a book which he had considered a very minor work into easily the most famous thing he had ever written.
Malcolm McDowell, the young star of Clockwork Orange had a famously complex relationship with Kubrick. On the one hand, McDowell loved playing a part he felt (perhaps rightly) he had been born to play and developed a strong friendship with Kubrick during filming. On the other hand, it was a tough shoot. McDowell suffered cracked ribs during filming and at one point was temporarily blinded when his cornea was scratched accidentally.
At one point, McDowell found the director alone in his office listening to something on his headphones. Some Beethoven perhaps? McDowell wondered, wrongly.
“Another near miss at Heathrow,” Kubrick reported. The director had a tremendous fear of flying,
Kubrick, was in turn, greatly amused when McDowell spontaneously began singing “Singin in the Rain” during one violent scene and immediately bought the rights so Gene Kelly’s most famous song could be used in the film. Kelly had previously been on friendly terms with Kubrick. He blanked him the next time he saw the director and never spoke to him again.
McDowell, then in his late twenties was himself deeply hurt by the brutality with which Kubrick severed all ties with McDowell once production was over. Some of McDowell’s interviews in the years afterwards reflect some bitterness when discussing the director, even bizarrely claiming Kubrick was very badly organised in one.
What happened next couldn’t have helped. After a year of showings, Kubrick withdrew the film from release in the UK. It would not be shown again in the UK (legally) until the year 2000, a year after Kubrick’s death.
McDowell is now in his seventies and has had a good and varied career from playing the lead in Lindsay Anderson’s public school based If..(1968) to recent performances in Amazon Prime series Mozart in the Jungle. It would be understandable, though, if he was a little aggrieved that his most iconic performance was withdrawn from public view in his homeland until he was well into his fifties.
The suppression of the film did not happen because of its lead actor though. For many years, the official line was that Kubrick had intervened due to a number of copycat attacks allegedly linked to the film. Controversy continues to reign as to whether these widely publicised attacks really had been inspired by the film anyway. But in in fact, Kubrick had made the decision on police advice after a series of death threats made towards him and his family.
Kubrick’s next effort Barry Lyndon (1975) is the odd film out here, an 18th century set period drama which flopped on release but has since received considerable critical acclaim. But it was Kubrick’s next film which would see move back away from reality and towards the horror genre and which would bring out the greatest excesses in his character.
The Shining (1980)
Author Stephen King has never liked the film of The Shining much.
Speaking earlier this year, King said:
“The character of Jack Torrance has no arc in that movie. Absolutely no arc at all. When we first see Jack Nicholson, he’s in the office of Mr Ullman, the manager of the hotel, and you know then he’s crazy as a shithouse rat. All he does is get crazier. In the book, he’s a guy who’s struggling with his sanity and finally loses it. To me, that’s a tragedy. In the movie, there’s no tragedy because there’s no real change.
“I think The Shining is a beautiful film and it looks terrific and as I’ve said before, it’s like a big, beautiful Cadillac with no engine inside it … I kept my mouth shut at the time, but I didn’t care for it much,” said King.
King has a point. Nicholson’s Torrance seems crazed even before he begins his job interview for the position at the Overlook Hotel. Whether King did keep his “mouth shut” at the time is more questionable, author Roger Luckhurst says King “conducted a press campaign” against the film at the time of its release.
What’s not in doubt is that The Shining was a tough shoot. “cast and crew… quickly tired of the relentless regime,” writes John Baxter. “Scatman Crothers (who played caretaker, Dick Halloran) had no experience of working methods like Kubrick’s and found the multiple takes gruelling…Kubrick demanded eighty five takes in the middle of which Crothers broke down and cried in frustration. “What do you want Me. Kubrick?’ he screamed.” What do you want?!”… Nobody was sure if the exhausting system bore fruit or if it didn’t simply prop up the mystique of a director who would go to any lengths to achieve his ends.”
Thanks to the Making of the Shining documentary made by Kubrick’s daughter Vivian we get an unstinting portrait of life on set. The footage is all the more remarkable bearing in mind Stanley insisted on approving it first (not an unreasonable demand in the circumstances). Kubrick insisted some scenes unflattering to him and some shots of some members of the cast doing cocaine be excised. But the sequences in which Jack Nicholson intervenes to prevent Kubrick badgering the ageing Crothers are still there as are Kubrick’s relentless haranguing of female lead, Shelley Duvall, at one point accusing her of “ruining the whole movie”. Duvall, had an especially tough time and is in the Guinness Book of Records for enduring 127 takes before one scene was completed.
There were also reportedly incidents off camera, director SK (Kubrick) not endearing him to the author SK (King) by reportedly calling him at all hours to ask him random questions.
“I think stories of the supernatural are fundamentally optimistic don’t you?” Kubrick reportedly asked King at one morning at seven. “If there are ghosts, then that means we survive death!”
“How the hell does that fit in with the picture?” King asked, perhaps not unreasonably.
“I don’t believe in hell,” the director answered.
Kubrick again, got results. The set for the Overlook Hotel hotel was then the largest ever built at Elstree up to that point and looks spectacular.
“Who wants to see evil in daylight through a wide-angled lens?” complained critic Pauline Kael, spectacularly wrong once again. “We are not frightened.”
But, of course, we were and are. The Shining is now held in higher regard than almost any other horror film. Like Coppola after Apocalypse Now, Kubrick was not quite the same afterwards.
Kubrick made fewer and fewer films over time. Four Kubrick films were released in the sixties, two in the seventies, two in the eighties (seven years apart) and Eyes Wide Shut completed at the end of the 1990s and at the end of Kubrick’s life. Kubrick regretted the fact he was not more prolific. Full Metal Jacket had a brilliant first forty-five minutes but neither it nor Eyes Wide Shut are amongst his best films, Unrealised projects included AI (2001) a sci-fi film later made by Spielberg, though a disappointment and a biopic of Napoleon. It has been argued Kubrick saw himself as a Napoleon-like figure, obsessed with power and terrified of defeat.
Kubrick’s widow Christiane Kubrick has gone to some lengths to argue that her late husband’s controlling reputation is undeserved. In an interview with journalist Lewis Jones she said:
“Yes, Stanley was a perfectionist, but not in the nerdy way that is sometimes reported. And the actors were on his side, because he wanted them to feel that there was all the time in the world.”
There is certainly some truth in this last claim. Actors such as Jack Nicholson and Malcolm McDowell who initially struggled with Kubrick, often ended up amongst his keenest champions.
Kubrick’s portrayal as a paranoid loner also does not generally fit in with the contented family man he so often seems to have been. His unparalleled decision to withdraw A Clockwork Orange from UK distribution, does seem to have occurred not as a result of megalomania but from genuine concern for the wellbeing of himself and his family.
And yet, there is evidence here too, home video footage of Kubrick bullying his children from behind the camera as if he is on a film set. Then there is the 17-page list of instructions for looking after his cats while he went on holiday. well-meant but undeniably obsessive.
Mental illness is, of course, not an issue to be treated flippantly. Just because Stanley Kubrick made films about people as unbalanced as Dr. Strangelove or as violent as Alex DeLarge or Jack Torrance, it does not follow that Kubrick was in any way like that at all. Indeed, he definitely wasn’t.
But did he have a tendency to be paranoid, bullying, obsessive and controlling? The evidence is too strong to suggest otherwise. And as this was undoubtedly essential to his method. We would not have his brilliant array of films otherwise.
Section: What exactly is science fiction anyway?
There has been plenty of discussion about exactly what science fiction is over the years. Thankfully, discussing her own book Onyx and Crake in The Guardian in 2003, Margaret Atwood sorted the matter out forever. “Science fiction has monsters and spaceships; speculative fiction could really happen,” she told the paper. “Oryx and Crake is a speculative fiction, not a science fiction proper. It contains no intergalactic space travel, no teleportation, no Martians.”
Is that all clear? No? Well, it shouldn’t be because it isn’t true. Sci-fi may contain intergalactic space travel, teleportation and Martians but these certainly are not essential ingredients for anything to qualify. The Terminator, The Time Machine, Planet of the Apes and Jurassic Park contain no one of these things. Yet all are clearly science fiction.
Intergalactic space travel, teleportation and Martians incidentally are all things which COULD exist in the future. Test tube babies didn’t exist when Huxley wrote about them in Brave New World. Cloning also didn’t exist once outside the realm of science fiction. And spaceships exist already.
In fairness, there are different definitions around. For the purposes of this feature, science fiction will be defined as any piece of fiction where the major problem has a clear scientific explanation. Clear? So The Thing is science fiction and horror as it has aliens in Apollo 13, meanwhile, is based on real events so is not.
This is tricky in the case in the case of Dr. Strangelove but thankfully film journo, Angie Errigo has already written about this:
“Dr. Strangelove is a black comedy,” he wrote. “It’s a savage, surreal political satire. It’s a cautionary Cold War tale. It’s a suspense farce. And it is also science fiction. Sci-fi is not confined to stories of space exploration, the future, or extra-terrestrial life. Science fiction is speculative fiction about human beings exploring themselves and their possibilities. Crucially — and this is the science bit — it often does this by dealing with humans dealing with technology. Technology running away with us is the basis of Dr. Strangelove.”
I would add that 2001 is clearly sci-fi as it clearly based around a high technology future. Stephen Spielberg appears to deny even this in the film Stanley Kubrick: A Life In Pictures (2001) but let’s ignore that for now. A Clockwork Orange is also set in the future and is also science fiction as are both Atwood’s A Handmaid’s Tale and Onyx and Crake whether Atwood wants them to be or not.
Which just leaves The Shining. Which has no scientific basis whatsoever. But it is definitely horror and Geeky Monkey magazine covers that. Happy now?
Alan Moore is the undisputed bearded Northampton-based God of the British comics realm. Yet he has been notoriously prickly on the subject of adaptations of his own work. He has declined to even watch any of the four major films directly based on his comics and in recent years has in recent years refused any payment. But is he right to do so? Is The Watchmen really in the same League as the Extraordinary Gentlemen? Is the film of V From Vendetta really From Hell? Chris Hallam checks it out…
In 1977, Alan Moore, then a twenty-four-year old employee of the Northampton gas board decided to quit his job and try to pursue a career as a comic writer instead. The timing, to some, might have seemed odd. Moore was not rich and was married with a baby on the way. But for Moore it was a “now or never” moment: “I knew that if I didn’t give up the job” (which he hated) “and make some sort of stab at an artistic career before the baby was born that…I knew I wouldn’t have been up for it once I had those big imploring eyes staring up at me,” he said later. “So, I quit.”
The gamble paid off. First, it was just a few cartoons in heavy metal magazines and the odd Tharg’s Futureshock for the new science fiction comic 2000AD. But then the trickle turned into a flood. Soon came V For Vendetta in Warrior, The Ballad of Halo Jones and then, amongst many other things, Watchmen, perhaps the most acclaimed graphic novel ever made. Alan Moore was perhaps the biggest name in British comics to emerge in the Eighties.
Soon inevitably people began to talk of filming his works and Moore was initially keen enough. A film, Return of the Swamp Thing (1989), based on a DC strip by Moore was filmed. But early plans for a V For Vendetta TV series and a film of Watchmen faltered. The timing was not yet right.
But by the start of the 21st century, following the success of Blade and The X-Men, filmmakers began filming every comic they could get their hands on: Road To Perdition, Ghost World, A History of Violence and TV’s The Walking Dead have all been consequences of this trend.
But the four attempts to film Alan Moore’s works in the first decade of the millennium had somewhat mixed results. And they would not make their creator happy at all.
“The idea that there is something prestigious about having your work made into a film, that is something which infuriates me because it seems to be something that everybody else in the industry absolutely believes.” Alan Moore.
A Ripping Yarn?
The comic: From Hell (1989-1996) produced with illustrator Eddie Campbell.
The film: From Hell (2001) directed by the Hughes Brothers and starring Jonny Depp, Heather Graham, Jason Flemying, Ian Holm, Robbie Coltrane, Sir Ian Richardson.
Moore’s take on the notorious Jack the Ripper case is probably one of Moore’s less accessible stories. At one point, for example, it draws a rather strange connection between the 1888 Whitechapel murders and the conception of Adolf Hitler in Austria-Hungary, two events which admittedly must have occurred at about the same time. From Hell thus seemed rather an odd choice for the big screen treatment.
The Hughes’ Brothers broke with the original story early on choosing to make the story a whodunnit (something Moore had gone out of his way to avoid doing) and by viewing it from the perspective of Inspector Abberline (Johnny Depp’s performance virtually identical to his turn as Ichabod Crane in Tim Burton’s Sleepy Hollow in 1999), rather than from the viewpoint of the Ripper himself, who in the graphic novel is identified early on as Sir William Gull (Ian Holm).
As Moore’s biographer Lance Parkin has written, Moore’s approach to his films was more one of indifference than outright hostility at this stage. He accepted payment for the film and was apparently pleased by the casting of actress Heather Graham as she had had a small part in one of his favourite TV series, Twin Peaks. But having recognized it was not going to be very similar to the original story early on, Moore distanced himself from the film and has never bothered to watch it.
“I’d be quite happy if they made Carry On Ripping. It’s not my book, it’s their film.” Moore’s verdict is correct. From Hell is a silly over the top film full of clichés and bad acting.
A League Of Their Own?
“Mr. Alan Moore, author and former circus exhibit (as ‘The What-Is-It from Borneo’), is chiefly famed for his chapbooks produced with the younger reader in mind. He astounded the Penny Dreadful world with such noted pamphlets as ‘A Child’s Garden of Venereal Horrors’ (1864), and ‘Cocaine and Rowing: The Sure way to Health’ (1872) before inheriting a Cumbrian jute mill and, in 1904, expiring of Scorn.”Author description of The League of Extraordinary Gentlemen (illustrated by Kevin O’Neill, 1999-2007).
The film: Directed by Stephen Norrington (2003) this starred Sir Sean Connery, Shane West, Jason Flemyng, Peta Wilson and Stuart Townsend.
In print: Not to be confused with the 1960 classic British movie crime caper starring Jack Hawkins or the early 21st century Royston Vasey-based dark BBC comedy series (both actually just called The League of Gentlemen), this witty Victorian pastiche was reportedly optioned before artist Kevin O’Neill had even finished drawing the first issue. Bringing together the cream of Victorian fiction – Captain Nemo, the Invisible Man, Allan Quatermain and Jekyll and Hyde amongst others – into a formidable superhero-style team, this should have been perfect for the big screen. In theory…
On screen: A commercial success, LXG (as some promotions referred to it) was an unruly disaster and probably the worst Moore adaptation yet made. Minor changes were made such as the introduction of characters Tom Sawyer and Dorian Gray to the line-up (there were also issues affecting the copyright of the Invisible Man’s character: in the end “an” rather than “the” invisible man appeared). But these seemed unimportant next to the fact the film as a whole, was a complete travesty of the original. It was also a notoriously bad shoot with Sir Sean Connery (playing King Solomon’s Mines star Quatermain) falling out with director Stephen “Blade” Norrington. According to some reports, the two men came to blows. Connery, a screen legend then in his seventies, vowed never to be in a film again. He never has. Norrington has never directed any films since either.
Moore’s view: Worse was to come as a lawsuit was brought against the film alleging it had plagiarized another script called Cast Of Characters. Moore, who had never wanted the film anyway was cross questioned for hours based on the suggestion that he had only written the comic as a front to disguise the film’s supposed unoriginality. The case was settled out of court but in the meantime Moore was understandably very annoyed indeed.
Verdict: A film already apparently guilty of the crime of ending Sean Connery’s long film career, The League of Extraordinary Gentlemen also turned Alan Moore off film versions of his comics forever. Not that he was ever exactly super keen anyway…
The comic: V For Vendetta (1982-1989), art by David Lloyd (and Tony Weare).
The film: 2006 film directed by James McTeigue, written by the Wachowskis and starring Natalie Portman, Hugo Weaving, Stephen Fry and the late John Hurt amongst others.
A chilling portrait of a futuristic Britain that has succumbed to fascism after a limited nuclear war has destroyed much of the rest of the world, the “hero” (if hero, he be) is V, a mysterious masked Jacobin vigilante prone to speaking in strange verse, nasty practical jokes and setting up impressive and time-consuming domino displays for his own amusement. But who exactly is he? And can he save young Evey Hammond from the dark forces which threaten to engulf her?
One big problem with filming V For Vendetta was the story’s obsession with the concept of November 5th. Virtually everyone outside the UK is unfamiliar with Guy Fawkes and the Gunpowder Plot and so a short sequence explaining the idea was added for the benefit of our American cousins. The nuclear war of the original is replaced by a backstory involving a devastating epidemic but generally the film is surprisingly faithful to the original. This is, after all, a film in which the hero is a terrorist who blows up underground trains which was released only a few months after the July 2005 bombings. In short, some bits don’t work that well – V’s strange rhetoric doesn’t always work on screen and the Benny Hill like sequences in the TV show seem a bit odd. Other elements such as Stephen Rea’s performance as an investigating officer and the near perfect recreation of the powerful ‘Valerie’ sequence from the comic, work brilliantly.
Moore’s view: Although artist David Lloyd enthusiastically endorsed the film, Moore disassociated himself entirely even went going so far as getting his own name removed from the credits. He also expressed anger (apparently still without having seen it) that the Wachowskis had used his story to (he argued) satirize Bush era America, rather than maintaining the Thatcher-era anti-fascist perspective of the original.
Verdict: Although not a complete triumph by any means, V For Vendetta was reasonably well received by most audiences and critics. It’s certainly interesting enough that you can’t help wishing Moore would lift-up his own self-imposed mask for a moment and take a sneaky peak at it.
The comic: Moore’s masterpiece completed with artist Dave Gibbons between 1986 and 1987.
The film was directed by Zach Snyder in 2009 starred Billy Crudup, Patrick Wilson, Matthew Goode and Jeffery Dean Morgan.
Summary: A brilliant and complex saga which transformed the world of comics forever, The Watchman incorporates superheroes, pirates, nuclear apocalypse and an all-powerful blue man who likes sitting around in space.
On screen: After a fan-pleasing, superbly made title sequence in which we get to see such sights as Dr. Manhattan meeting President Kennedy (before The Comedian, played by Jeffery Dean Morgan helps assassinate him), this does a largely faithful job of translating Moore’s vision to the big screen. It’s not perfect: Matthew Goode’s Ozymandias is a bit too obviously villainous from the outset and many other scenes seem unnecessarily violent. But some sequences– the creation of Dr. Manhattan, for example – are, like the Valerie sequence in V For Vendetta – transferred perfectly from the comic. Dean Morgan is especially well cast as the ultra-conservative Comedian, a man who despite no obvious super powers, successfully wins the Vietnam War for the US, kills JFK, and prevents the Watergate Scandal from happening. The three-and-a-half-hour DVD extended version even incorporates animated Tales of the Black Freighter sequences into the film, pirate stories which even somewhat overwhelmed the narrative in the original comic.
Some viewers might be left wondering: would deliberately unleashing a sudden massive unexplained explosion really would be the best way to defuse a Cold War superpower stand-off. They might also ask: Did Richard Nixon really look like that? Or if Dr. Manhattan is genuinely quite annoying. But hey! These are mostly failings of the comic, not the film.
Moore’s view: Terry Gilliam had originally planned to direct The Watchmen in the Eighties with Arnold Schwarzenegger tipped to play Dr. Manhattan, Robin Williams, the sinister Rorschach, Jamie Lee Curtis the Silk Specter and Richard Gere, Nite Owl. Gilliam was ultimately unhappy with Sam Hamm’s script which saw Ozymandias travelling back in time to prevent Dr. Manhattan’s creation, thus changing the course of the Cold War and ultimately saving the world. The project fell apart. Twenty years later, it was resurrected, by which time Moore was dead against it.
Verdict: Probably the best film adapted from Moore’s works. A shame he hasn’t seen it really. He’s not alone though: although not an outright flop, The Watchman disappointed at the box office.
Faith No Moore
The Watchmen did not mark the end of TV and movie versions of Alan Moore’s comic stories. We haven’t even mentioned Constantine (2005) starring Keanu Reeves and future Oscar winners Rachel Weitz and Tilda Swinton which was based on a character Moore had created for DC. The reasonably well-received film spawned a short-lived TV series starring Matt Ryan and will soon appear in animated TV form. There is talk of rebooting The League of Extraordinary Gentlemen and a TV series of The Watchmen is in development.
Perhaps most significantly The Killing Joke, an animated film version of Moore’s celebrated Batman story produced with Brian Boland in 1988 was released in 2016. Reviews were bad.
Whatever, we may think of the movie and TV versions of the works of Alan Moore, however, one thing is clear: forty years after he started to build a career in comics, he is powerless to stop other people making films of his work.
As far as the world of comics goes, Stan Lee was probably the most important person to have ever lived. Born to a Romanian-Jewish family in New York in 1922, young Stanley Lieber became involved in the world of comics early. An office boy in the 1930s, by the end of a frustrating 1950s, Lee came close to quitting the world of comics forever until his Newcastle-born British wife suggested he create a new crop of comic superheroes to challenge the near monopoly then enjoyed by Superman and Batman creators, D.C. In a remarkably short space of time, Lee created Spider-Man, The Fantastic Four, Iron Man, The X-Men and The Avengers essentially establishing Marvel as the incredibly profitable global media powerhouse that it remains to this day. Happy ever after? Well, no. Partly because, as Adrian Mackinder explains, the extent to which Lee can really claim complete credit for creating all these amazing characters remains hotly disputed. This is not a hagiography and while Lee was careful to cultivate a loveable avuncular image amongst Marvel’s armies of ‘True Believers,’ Mackinder, though clearly a big fan himself, does not shy away from exploring the less desirable elements of Lee’s character.
In short, Mackinder not only does a commendable job of detailing the highs, lows, creative explosions, fallings out and film cameos which made up Lee’s almost 96 years on Earth but also does a commendable job of explaining the cultural context in which they occurred. In addition to Lee’s life, we also learn a lot not only about the history of Marvel comics, but also get much on how vaudeville declined in the teeth of competition from radio and cinema in the 1920s and 1930s and much of interest about ALL comic adaptations on TV and film over the decades, not just the Marvel ones. It is easy to forget, despite the renaissance in comic book based films in the 21st century,, just how many flops there also were (Daredevil, Elektra, Ghost Rider, to name but a few). I must admit: I have sometimes written about the history of comics myself. But ultimately, I must put aside any feelings of professional jealousy and concede: Adrian Mackinder really has done an exceptional job here. Nuff said.
Book review: Stan Lee – How Marvel Changed The World, by Adrian Mackinder. Published by: Pen & Sword, White Owl.
Moxie is the story of how a group of teenaged girls band together to defeat the sexism endemic in their high school.
The sexism is everywhere. The school American football team are treated as all-conquering heroes, even as they slap girl’s behinds in public and send out lists of which of the female students has the “best rack” or is “most bangable.” One suspects both this behaviour and the language used – though undeniably unacceptable – is actually fairly mild compared to what actually goes on in many schools in both the US and UK.
Worse still, a serious complaint of harassment made by new girl, Lucy (Alycia Pascual-Peña) against bullying sports star, Mitchell (who, in an interesting piece of casting is played by Patrick Schwarzenegger) is not taken seriously at all by the school’s head, Principal Shelley (Marcia Gay Harden). Another girl is angry over being unfairly penalised for wearing a tank-top, others are irritated by the lack of support given to girls’ sports by the school. A trans student is also annoyed to be excluded from the school production of Little Shop of Horrors. Long-suffering liberal teacher, Mr. Davies (Ike Barinholtz) amusingly ties himself in knots by trying to retain a neutral stance amidst the rising tide of rebellion.
One student, Vivian (Hadley Robinson) has had enough. Inspired both by the defiant attitude of her new friend, Lucy and by tales of the 1990s riot grrrl activism of her mother (Parks and Recreation star, Amy Poehler, who also directs this), Vivian single-handedly conceives, devises, writes, produces and distributes MOXIE! an underground magazine designed to tackle directly the plague of male chauvinism which infects the school. She manages to keep her own role in producing the new journal entirely secret from friends and family, an element of the story, I personally didn’t find entirely believable. At times, Vivian exhibits signs of the intolerance which occasionally emerges in such movements. She also comes close to alienating her best and oldest friend, Claudia (Lauren Tsai).
Based on Jennifer Mathieu’s novel, I did not find every aspect of the film entirely convincing. The name Moxie or MOXIE! rever really works as a film title.
But as a well-acted and potentially inspiring call to arms against the evils of everyday sexism, Moxie is definitely worth watching. Moxie is available to watch on Netflix now.
He was a boy. She was a girl. Can I make it any more obvious?
Well, in fact, the answer to this question would have to be “yes,” as this is emphatically not a simple story of ordinary teenage romance. For while Eric Walker (played by Nick Robinson) is definitely a boy, a 17-year-old attending high school in Texas, the girl in question is not actually a girl at all but a grown woman. She is Claire Wilson (Kate Mara). She is married, around thirty years old and she is Eric’s new English school teacher.
And if you don’t want to know any more about this ten episode series, I would suggest you stop reading now.
Eric sees to be a fairly typical high school ‘senior.’ He is attractive, sporty and popular. Although he struggles a little academically, he is not stupid and has ambitions to be a doctor. At home, his mother is a single parent who while never neglectful has her hands full bringing up both Eric and his two younger brothers. Eric has a few friends at school, none of whom are terribly interesting.
Claire Wilson, meanwhile, is an unusually attractive young woman, something Eric and his other male classmates quickly note, although possibly using slightly different language to express it. Claire’s motivations remain a source of interest throughout. We realise she is very attracted to Eric early on but simple lust does not really explain her reasons for embarking on an affair with him, as indeed (belated spoiler alert) is what eventually happens. Such a course of action risks her job, her marriage, her reputation and even criminal prosecution. Such things do happen in real life, of course, but why on Earth does she do it?
Right from the outset, we get a few indications that there is something rotten in the state of Claire. Early on, she steals some lipstick from a shop. It is a minor misdemeanour and she boasts to her disapproving husband about it later. But there is no suggestion she needed to do it. Had she been caught, she would probably have been prosecuted. It was a reckless and unnecessary act. We later learn her early life was blighted by her father’s alcoholism. An amateur psychiatrist might speculate that her emotional development was frozen at that point. Or at the very least, that she might feel like she wants to enjoy a teenage experience which she feels she missed out on the first time round.
Claire and her husband Matt (Ashley Zukerman) are trying for a baby and their love life has become strained by the need to have sex at specified times to maximise Claire’s chances of conception. Intercourse has become more of a chore than a joy. Matt also shows signs of being preoccupied with forming a rock band with his friends, a perhaps slightly adolescent interest at a time when he should be focused on starting his and Claire’s new family. Neither of these issues seem insurmountable, however. Matt seems like a perfectly nice guy throughout. He doesn’t deserve what ends up happening to him.
Viewers are free to judge for themselves at what exactly what point Claire and Eric’s relationship crosses the line into ‘inappropriate’ territory. Is it when, having crossed each other’s paths several times, Claire offers to help Eric with his SATs revision out of school hours? This doesn’t seem inappropriate in itself, but Claire’s motives already seem suspect. Perhaps it is when Claire tells Eric there is no need to call her ‘Miss Wilson’ when they are not in school: he can call her ‘Claire?’ Maybe it’s when Claire accepts a Facebook friend request from Eric (the story is set in 2014). Or it could be when Claire takes Eric on an impromptu day trip to visit the college Eric is hoping to attend. When they run into some of Eric’s friends neither question their assumption that Claire is just a girl Eric is seeing. All these initial moves by Claire make an affair more likely. When Eric kisses Claire unexpectedly after class, she makes a show of being scandalised and disapproving. But before long, their affair begins in earnest.
For a while, the two co-exist in their fantasy world together. But soon, inevitably things fall apart as news of their dangerous liaison gets out. We are spared the full scandal which sees Claire losing her job, marriage and going to prison. The series picks up events afterwards.
The series deals nicely with the aftermath. Eric initially seems to have got off fairly light escaping to college and even gaining some superficial kudos from his friends who react in a predictable, “Woah dude, Miss Wilson? Awesome dude. She’s totally hot” type fashion. But he hasn’t got off lightly at all. He is tortured by residual confused feelings for her and a sense of unwarranted guilt over her fate. He dislikes the notoriety the aftermath of the scandal gives him and soon embarks on a self-destructive course of drinking and reckless behaviour. His career plans are derailed in the process and he still seems a mess emotionally years later.
Post-prison, Claire struggles too. She has a ‘scarlet woman’ reputation, cannot get a job and her marriage is over. She remains even at this stage a fundamentally unsympathetic character, however. Although ultimately the architect of not only her own misfortune but the downfall of several other people too, she remains in denial about her responsibility for what has happened. She has abused her power, thrown away her marriage with no regard for her husband’s feelings and emotionally traumatised a minor placed in her care. In the final scene, set ten years on (although don’t expect any ‘President Harris to attend King Charles’s coronation’ style headlines in the background), Eric and Claire meet again. Eric himself now effectively fills the role of teaching, teaching the older woman exactly what she has done wrong.
Adapted by Hannah Fidell from her little seen 2013 film of the same name, A Teacher is available on FX, Hulu and the BBC iPlayer.
She loves it from first sight, loving everything about it even before she knows what it is. Barely has she persuaded Mr. Shaibel (Bill Camp), the surly caretaker to teach her how to play it, than she is visualising alternative game scenarios on the ceiling of the bedroom at night. She doesn’t so much take to chess like a duck to water as like a fish to water. She is soon living and breathing chess. It has become part of her DNA and she lives for the opportunity to sneak down to the cellar for an illicit chess game with Mr. Shaibel, who effectively becomes her mentor. Soon Mr. Shaibel is actively teaching her basic chess openings such as the Queen’s Gambit and the Sicilian Defence: basically the techniques which mark professional chess players out from the multitude who never really think beyond their next move.
This is good news for Beth, as life isn’t going so well for her otherwise. The story begins in Kentucky in the 1950s and nine-year-old Beth (who is played as a young child by Isla Johnston) has been placed in an orphanage following the death of her mother in a car accident. The orphanage is not an overtly cruel environment but life there does seem very boring and all the children are starved of love and affection. Beth’s only real friend is Jolene (Moses Ingram) a free-spirited older girl.
Alarmingly, all the girls in the orphanage are routinely issued with tranquilisers, as was apparently standard practice at the time. These enhance Beth’s ability to visualise chess scenarios when she is not actually playing chess. On the downside, she soon becomes hopelessly addicted to the pills. As she grows into an adult (played brilliantly by Anya Taylor-Joy), we see her develop further addiction problems, notably to alcohol. Her adult sexual appetites do not seem unusual, however, and her personality as an adult does not stray too far from the conventional norms either, aside from her all-consuming obsession with chess.
In time, Beth is able to escape the orphanage, being adopted by the Wheatleys, a middle-aged and middle-class, mid-20th century, middle-American suburban couple. Although ostensibly a more stable environment, it soon emerges the Wheatleys’ marriage is in its death throes. Alma Wheatley (another excellent performance from Marjelle Heller) seems fragile, overeducated and frustrated. Her husband, Alston (Patrick Kennedy) is a selfish, unlikeable character who always acts as if he’s being distracted from something more important.
Happily, Beth’s burgeoning chess career ultimately provides an escape for both her and for her adopted mother. The stage is set for us to witness the birth of Beth Harmon’s career as a 1960s female chess legend.
Based on the 1983 novel by Walter Tevis (who also wrote the books which became the films, The Hustler, The Color of Money and The Man Who Fell To Earth), this is an endlessly watchable and compelling story of a fictional chess superstar, boosted enormously by a career-defining performance from Anya Taylor-Joy. Fidelity to the source material is not essential to a adaptation’s success. However, anyone turning to the original book after watching the series, will find the show follows the novel very closely with the exception of one major development early in the book, which was cut out of the series.
Following its October 2020 release, The Queen’s Gambit quickly became Netflix’s most watched scripted series to date. It is easy to see why.
The Impossible Has Happened: The Life and Work of Gene Roddenberry, Creator of Star Trek. Author: Lance Parkin. Aurum Press. Published: July 21st 2016.
It has been fifty years since the creation of Star Trek and the franchise is undeniably going strong. A new film and TV series are both scheduled to appear later this year.
Twenty five years after his death, the reputation of the series creator Gene Roddenberry is more uncertain. On the one hand, he has been subject to a personality cult almost as elaborate as that surrounding Scientology creator and sci-fi author, L. Ron Hubbard. On the other hand, he has been sometimes unfairly demonised as a fraud, a philanderer and a phoney. The truth, as usual, lies somewhere in between.
He was born in 1921 and served with distinction as a pilot in the Second World War. After the war, ironically he came very close to death in a Pan Am air crash which killed seven people in 1947. He served in the US police force drifting into TV writing and creating one non-Star Trek series, a police-themed one called The Lieutenant. He then created Star Trek which ran for three series between 1966 and 1968. At the time, it was neither very successful or a failure. The TV series of Mission Impossible which ran at about the same time was probably more successful. Mr Spock actor, Leonard Nimoy indeed joined the Mission Impossible cast after Star Trek ended. But unexpectedly, Star Trek became a huge success after it had ended through syndicated repeat showings. The show just grew and grew and grew.
Many of the myths surrounding Star Trek seem to come from stories Roddenberry himself, often from tales spun by him at science fiction conventions in the 1970s. Some had the commendable aim of consolidating a following for the series, but others clearly had more to do with Roddenberry’s ego. Yes, the series did end after three series but Roddenberry’s claims that it was ended unfairly by small-minded producers don’t add up. By that stage, it had no longer been profitable and the last series was significantly worse than the others. Roddenberry also subsequently exaggerated his own role as a champion of equality and civil rights claiming falsely that he fought narrow-minded studio heads over the issue In fact, though he wasn’t racist by mid-20th century standards, the 1960s series only ever featured as many other minorities as most other US TV series of the time. Nichelle Nicholls’ Uhura, for example, was barely ever given anything important to do. She was one of many women Roddenberry had affairs with and in truth, the original series really didn’t have a progressive role towards women at all.
Leonard Nimoy certainly grew to hate Roddenberry. Roddenberry would often claim sole credit for the success of the series, ignoring the contribution of many others. He had no role at all in the making of the most acclaimed film in the series, 1982’s The Wrath of Khan (which he hated) and his own increasingly drunken, ageing cocaine-addled influence partly explains why the ultimately excellent Next Generation series had such a dull start.
Author Lance Parkin provides a balanced portrait of a man who for all his many flaws took TV on a journey where no one had gone before.
In: Yes Minister and Yes Prime Minister (sitcom 1980-1984, 1986-1988)
Played by: Paul Eddington
Written by: Antony Jay, Jonathan Lynn
Indecisive, bumbling but ultimately well-intentioned. Hacker is generally thwarted at every turn as Minister of Administrative Affairs by civil servant Sir Humphrey (Nigel Hawthorne) who sees his role as to block any attempt at change or reform. Despite this, Hacker (who, unusually, is never given any party affiliation by the show’s creators) succeeds in becoming Prime Minister, largely on the back of a plan to protect the British sausage from European interference.
In: GBH (drama, 1991)
Played by: Robert Lindsay
Written by: Alan Bleasdale
The charismatic far left Labour leader of an unnamed northern city council (Derek Hatton suggested the show was about him, something which creator Alan Bleasdale denied), Murray leads an unholy war of terror against Jim Nelson (Michael Palin) a teacher who refuses to take part in Murray’s headline-grabbing “Day of Action”. Although both totally corrupt and a womaniser and prone to a nervous twitch, Murray grows more sympathetic as a character as we learn he is both the victim of a traumatic childhood prank gone tragically awry and a modern day plot by the security services to brand him a racist.
Sir Francis Urquhart
In: House of Cards, To Play The King, The Final Cut (dramas 1990, 1993, 1995)
Played by: Ian Richardson
Written by: Andrew Davies (based on Michael Dobbs’ books)
A very different kettle of fish to Kevin Spacey’s Frank Underwood of the recent US House of Cards remake, Urquhart is an apparently charming old-fashioned upper-class Tory chief whip, who begins plotting a bloody path to Downing Street after moderate new post-Thatcherite Prime Minister Henry Collingridge (David Lyon) fails to honour a promise to promote him to cabinet. As PM himself, Urquhart continues to occasionally murder his opponents and overthrows the Prince Charles-like new king after he shows signs of developing left-wing ideas.
In: A Very British Coup (drama, 1988)
Played by: Ray McAnally
Written by: Alan Plater and Mick Jackson (based on Chris Mullin’s book)
When former Sheffield steelworker turned Labour leader, Perkins leads his party to a dramatic surprise election victory, the establishment are thrown into a state of panic. Perkins is committed to re-nationalisation, nuclear disarmament and probable withdraw from NATO. The press barons, CIA and MI5 thus soon decide to ignore the people’s verdict and get rid of the new boy in Number 10.
In: The New Statesman (sitcom, 1987-1994)
Played by: Rik Mayall
Written by: Laurence Marks and Maurice Gran
A true Thatcherite to the core, Mayall’s flamboyant occasionally murderous backbench Tory MP easily lives up to his name whether engaged in blackmail, adultery or tormenting fellow backbencher Sir Piers Fletcher Dervish (Michael Troughton).
In: Our Friends In The North (drama, 1996)
Played by: Christopher Eccleston
Written by: Peter Flannery
Nicky encounters numerous politicians in this drama spanning the years 1964 to 1995 but his own bid for parliament on behalf of Labour in 1979 proves a woeful failure. Having initially been led astray in his youth by corrupt civic leader Austin Donohue (Alun Armstrong), a character based on the real life T. Dan Smith, Nicky’s campaign is sunk by press hostility, internal divisions, a right wing smear campaign and an attractive female Tory opponent. The son of a disillusioned Jarrow marcher (Peter Vaughan), Nicky rejects politics in favour of a career in photography soon after.