Based on: Vanity Fair by William Makepeace Thackeray
Executive producer(s): Damien Timmer,
Tom Mullens, Gwyneth Hughes, James Strong
Directed by: James Strong
Starring: Olivia Cooke, Claudia Jessie, Tom Bateman, Johnny Flynn, Charlie Rowe, Simon Russell Beale, Anthony Head, Martin Clunes, Frances de la Tour, Michael Palin
Composer(s): Isobel Waller-Bridge
Distributor: ITV, Amazon Studios
**MAY CONTAIN SPOILERS**
It’s an interesting anomaly in my later years that having previously boycotted period dramas which illustrate the lives of the wealthy and privileged, I now find myself being less partisan and actually watching more. This change doesn’t derive from a mellowing of my socialist working class roots but more an intelligent inquisitiveness as ignorant dismissal of the genre, be they on television or film, means one is possibly missing out on some fine drama or comedy. Indeed, many historical periods’ works of literature or theatre are in fact satirising or damning the upper classes.
Dickens for example dealt with the lower, middle and upper classes, shining a critical light at the many degradations of the era. Likewise, William Makepeace Thackeray also critiqued the folly of war, greed and narcissistic pursuits of the privileged. Stanley Kubrick demonstrated this brilliantly in his classic adaptation of Barry Lyndon (1975); while in ITV’s most recent adaptation Vanity Fair (2018), Thackeray’s adroit study of ambition and upward mobility shows the strengths, weaknesses and foibles of the women and men at the time of the Napoleonic wars.
Vanity Fair is widely considered a classic and considered the founder of the Victorian domestic drama. Originally serialised between 1847 and 1848 it was at the time a massive hit and one could argue the equivalent of what we would call a soap opera today. There have been, since the novel’s release, a plethora of screen, radio and television adaptations. Did we need another one? Probably not; but over seven compelling episodes Gwyneth Hughes’ screenplay does great justice to bring to life an army of: well-to-dos, country lords and ladies, soldiers, clergy, businessmen, plus the sparkling scheming of anti-heroine Rebecca or Becky Sharp.
Indeed, the effervescent, nuanced and outstanding performance of Olivia Cooke as Becky drives the narrative forward with absolute purpose. Cooke owns every scene as Becky attempts, from lowly beginnings, to rise through the ranks of society. It is both her strength of character and confidence which is her biggest asset and greatest enemy, because, always pushing for more, she doesn’t quit when she’s ahead. In stark reflection to Becky, Claudia Jessie as Amelia, is characterised as a romantic and desirous not of wealth or position, but rather love and romance. She is a pure spirit and her personality contrasts perfectly with Becky’s. While we admire Becky’s ambitious drive we remain suspicious of her motives, yet Amelia we warm to due to her big and gracious heart.
The men in the piece are a mixture of romantics, noble soldiers, treacherous or haphazard patriarchs, foppish fools, gamblers or all of the above. Tom Bateman gives a solid performance as Rawdon Crawley, Becky’s gambling military husband, as does Charlie Rowe as the more conflicted romantic, George Osborne. Furthermore, the adaptation contains sterling support from the cream of English character acting royalty including: Martin Clunes, Frances De La Tour, Claire Skinner, Anthony Head and Simon Russell Beale to name a few. However, the standout performance for me was Johnny Flynn as William Dobbin. This is such an empathetic and selfless character that, while holding a torch for Amelia, was prepared to sacrifice his love to make everyone happy. Potentially seen as a weakness, this for me was a real strength in a story which was full of selfish narcissists out for what they could get.
Aside from slightly dodgy green-screen CGI for the later scenes in India this was beautifully shot and lit, with the vistas of the English and French countryside wonderfully rendered. The interiors were eloquently designed as the stately and city homes of the characters, likewise the colourful costumes, were expertly brought to life. James Strong is a prolific television director and he gets brilliant performances and marshals the pace and machinations of the narrative precisely. With Olivia Cooke and Johnny Flynn delivering star turns in their roles I was consistently surprised by this adaptation of Thackeray’s masterpiece. Ultimately, I’ve learned that whether something is a period drama or not one must give it a chance as it could have qualities which continue to stand the test of time.
DOCTOR WHO – S11 – EP. 6 REVIEW – DEMONS OF THE PUNJAB (2018)
Directed by: Jamie Childs
Written by: Vinay Patel
Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Leena Dhingra, Amita Suman, Shane Zaza, Hamza Jeetooa etc.
Produced by: Alex Mercer
Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle
Composer: Segun Akinola
**MAY CONTAIN SPOILERS**
This season of Doctor Who is now settling into a strong mix of diversity, narrative simplicity and emotional resonance. I’ve read some negative comments bemoaning the quality of the writing and weakness of the stories in general, however, as Sunday night teatime entertainment goes the show is a success in my view. Indeed, the latest episode, Demons of the Punjab was another involving and fascinating watch.
This week it was Yaz’ character which took centre stage as her curiosity about her grandmother, Umbreen, found the Doctor breaking time-travel protocol. If you’ve seen the Doctor Who episode Father’s Day and film classic Back to the Future (1985) we all know how dangerous it can be for anyone to cross their own timeline. Indeed, while the Doctor has actually crossed her own timeline before many times she should really know better!
Thus, Team TARDIS travelled back to 1947 as the Partition of India took place. Here Yaz gets to meet her own family members as her grandmother is about to marry. Of course the path of true love and time travel rarely goes smoothly and the course of history is threatened by Yaz’ presence and her and the Doctor must attempt to not interfere with events. Of course, it would not be a Doctor Who episode without some kind of alien threat and this is provided by the Vajarians; a mystical race who appear where chaos is ensuing across the universe. Their presence adds an air of mystery to the episode, but ultimately they are an emotional subplot to the main conflict relating to how the Partition of India affects Yaz’ family.
Overall, Demons of the Punjab successfully combined political, historical, romance and drama in amidst the usual science fiction concepts. It was especially strong from an emotional perspective. By the end as a family is torn apart by the situation I felt a real sadness in my heart. The division of India by the British Empire was an event which divided people based on their religion and ethnic background and created a huge schism between families, colleagues and friends. Doctor Who merely skims the surface of the impact it would have and the lives affected by the subsequent conflict. Yet, what the episode teaches us is that while we may not be able to change history we must learn from it. We must learn that division and conflict can only lead to heartache and pain.
CONTRASTING DREAMS ON PAGE AND SCREEN: REVIEWING THE WORK OF PHILIP K. DICK
“Today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups… So I ask, in my writing, what is real? I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.”
― Philip K. Dick
For a writer who wrote extensively about artificial intelligence and technology, Philip K. Dick himself was in fact a certifiable writing machine, publishing over 44 novels, a further 120-odd short stories, plus a whole vision of manuscripts, essays and other literary paraphernalia. His death at the relatively young age of 53 took an incredible genius away from us; however, you’re never too far away from his work either on TV, computer or at the cinema.
The latest cinema release inspired by Dick’s vision was the beautifully directed space epic Blade Runner 2049 (2017). Here Denis Villeneuve picked up the baton from Ridley Scott’s Blade Runner (1982); an adaptation of K. Dick’s seminal novel Do Android’s Dream of Electric Sheep (1968). But of course his stories have also given us film adaptations including: Minority Report (2002), Total Recall (1990 & 2012), The Adjustment Bureau (2011), Next (2007), Paycheck (2003), A Scanner Darkly (2006) etc. Moreover, Amazon has recently adapted his classic 1962 alternate history novel The Man in the High Castle (2015) to positive acclaim.
With Charlie Brooker’s Black Mirror jumping ship to Netflix, Channel Four UK (Sony / Amazon in the U.S.A) and various other production companies) must have felt there was a “futuristic anthology show” hole in their schedule. Thus, they obtained the rights to Philip K. Dick’s back catalogue and produced a show called Electric Dreams – shown in two halves in 2017 and 2018. The production values were very high and some extremely talented actors, producers, writers and directors were brought in to bring ten Dickian short stories to the TV screen. Such creative luminaries included: Janelle Monae, Dee Rees, Ronald Moore, Juno Temple, Bryan Cranston, David Farr, Matthew Graham, Timothy Spall, Jack Thorne, Steve Buscemi, Anna Paquin, Terrence Howard, Travis Beacham, Richard Madden, Vera Farmiga and many more.
I have immersed myself in the novels, cinema and TV work inspired by Philip K. Dick recently. I was fascinated by the themes and narratives represented and comparisons between the literary and screen works. How did they compare to Dick’s original vision and how do they differ?
NIGHTMARE THEMES IN ELECTRIC DREAMS
Of late I have read his novels Do Android’s Dream of Electric Sheep (1968), Ubik (1969) and the collection of short stories – collated in conjunction with the Channel 4 series – Electric Dreams. Moreover, I have seen most of his works adapted for cinema. His narratives are often hallucinatory and dream-like with simple yet devastating prose. They deal in reality, alternative reality and beyond reality. You’re often in a place where you are unsure as to what is occurring is in the real world or some imagined or manufactured nightmare. Technology, disease and war are more than often a threat. The biggest threat though is humanity and its seeming endless proclivity for inventing weapons, machines and viruses with which to kill. Paranoia and doubt infect Dick’s work making you feel as trapped as his characters. Further, mutated strands of humanity are a staple trope where telepaths and empaths inhabit his oeuvre; along with classic science fiction aliens and monsters from outer space too.
The narratives, while possessing an otherworldly and futuristic feel, paradoxically feel realistic because his characters are everyday people. They are rarely action heroes or soldiers or scientists but rather administrators or office staff, factory or transport workers. They are family people trying to make their way through life and the horrors the world throws at them. Given Dick was writing during the 1950s onwards it’s not surprising that the threat of nuclear war hung heavy within his words. Furthermore, the rapid technological breakthroughs which, while offering hope for humanity, brought with it a movement to the loss of free will and a possible future governed by machines. Big corporations, banks, governments and computers all erode and destroy the very fabric of being in Dick’s world rendering human identity and existence obsolete. His universe is brimming with people under threat, humans desiring to escape and a questioning of what it means to be human.
CONTEXTUALISING THE NIGHTMARES
**CONTAINS FILM AND LITERARY SPOILERS**
Adapting Dick’s work can be complex because what works on the page as a concept can be difficult to transfer to a visual medium. Conversely, his work is often altered beyond recognition with fragments of the initial idea remaining while others stay true to the original. The original and subsequent sequel of Bladerunner (1982) are very faithful to the structure and futuristic vision of Dick’s original novel; retaining the ‘hunting of replicants’ plot and the existential question of whether an android can be considered human. In Electric Dreams the adaptation of the short story Human Is. . . . poses a similar question. In this story a wife faces the choice as to whether her husband, whose body has been invaded by an alien, is in fact more human because he is an improvement and displaying idealised human traits such as kindness and love. The flipside of this occurs in the film adaptation of Imposter (2002), and the short story adaptation The Father Thing, where nefarious aliens hell-bent on invasion take over the humans in order to divide and conquer. Human Is… both the short story and television adaptation are particularly convincing as many people have all been trapped in dying relationships where we wish we could change our partner. Dick’s story takes this idea and makes it real and emotionally very powerful.
Certain filmmakers, when adapting Dick’s work, will mould their style to his vision. For example, in the Steven Spielberg directed thriller Minority Report (2002), Dick’s pre-crime conspiracy model was presented as an action pursuit film with Tom Cruise going on the run for a crime he may or may not have committed. Spielberg retains the initial idea and concepts relating to pre-cognitive telepathy and empathic mutation but renders it a more fast-paced and spectacular cinematic experience. Similarly, telepathy and mutants feature heavily in Matthew Graham’s pretty faithful adaptation of The Hoodmaker. Like Minority Report telepaths are exploited by the government and law to do their bidding, only for the system to be corrupted and used for death by those in power.
Dick’s story We Can Remember it For You Wholesale, has been adapted on two occasions as Total Recall (1990 and 2012). Paul Verhoeven’s earlier version about warring government agents and colonies on Mars is an absolute blast. Dick’s concepts relating to alternative realities and implanted memories are fused with an explosive Arnold Schwarzenegger action film. Yet, what is retained amidst the shoot-outs and spectacular set-pieces is the main protagonists’ life dissatisfaction and desire to escape their everyday existence for something more exciting. This is a common theme in Dick’s work and can also be found in the Electric Dreams’ stories Impossible Planet and The Commuter. In the latter a Station clerk finds a hitherto lost “town” which offers a means of escape from his seemingly humdrum life but it comes at a cost. While Total Recall raises the pace and stakes within an interplanetary setting, The Commuter is more ordinary and emotional in its cerebral representation.
Political, social and technological corruption is present in many of Dick’s other works too. In Richard Linklater’s adaptation of A Scanner Darkly (2006), an undercover cop battles to conceal his identity while struggling with drug addiction. While in Electric Dreams, Dee Rees’ rendition of Dick’s short story The Hanging Man, takes an allegorical story about social unrest and fascistic hangings, turning it into a thought-provoking, paranoiac nightmare scenario. Rees calls her story Kill All Others, where we find Mel Rodriguez’s factory worker driven by fake news and political manipulation during an election. This eerily reflects much of the social and media saturation seen during Donald Trump’s U.S. election win. Likewise the adaptation of Foster, Your Dead became the very impactful Safe and Sound; and examined the deadly possibilities of technology firms manipulating youth within the context of the war on terror.
Arguably not as successful, however, was the Tony Grisoni adaptation called Crazy Diamond. This episode completely altered Dick’s story Sales Pitch, which told of a relentless Sales-Bot who won’t take no for an answer. In fact I had no idea what Crazy Diamond was trying to say and perhaps the writer should have stuck to Dick’s intriguing techo-nightmare premise. Indeed, threat of technology and the inevitable doom progress represents is also presented in the excellent episode called Autofac. Dick wrote this story in 1955 and set it after an apocalyptic world war has devastated Earth’s civilizations. All that remains is a network of hardened robot “Autofacs” supplying goods to the human survivors. However, these drones and bots are in fact hindering survival and the idea is incredibly prescient. Indeed with the rise of Amazon and Google and Apple industries our society is becoming more dependent on such technology to the extent we could be classed as helpless without it.
Lastly, what Electric Dreams demonstrates, along with the many film adaptations of his work, is that Dick’s concepts are just as relevant, if not more so than at the time of writing. Moreover, what this thematic and genre contextualisation of Dick’s work illustrates is that universal themes such as: the desire to escape; what it means to be human; media manipulation; fear of technology and war; oppressive government regimes; and all round insidious paranoia about a very dark future are inescapable and will always be part of society and the human condition.
Produced by: Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas
Written by: Anthony McCarten
Starring: Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ben Mendelsohn
What makes human beings want to go to war? What is it that determines thoughts and actions which will lead to the death of another human being? Is it: a genetic trait; a tribal desire; a psychological defect; financial gain; jealousy; boredom; passion; political chicanery; religion; greed; anger; revenge; or quite simply madness. Taking a life is something I have never understood. I mean, unless you are forced to defend yourself against a foe hell-bent on your destruction why would you wish to harm anyone else?
So, Adolf Hitler has a lot to answer for because, even accepting the political and social reasons for the rise of the Nazi party and his desire to repair national pride after the first World War, what the hell gives a nation the right to invade and conquer other countries. If you choose to go down that road you are signing the death certificate of a generation men and women and children. It’s not just Germany either. The British Empire, Roman Empire, Vikings, Mongols, United States of America, France and many more have waged war against humanity down the years. Will it ever stop? Sadly, I doubt it.
In times of war what is needed is obviously bravery, steel, fight, intelligence and more than a little luck. You need hearty human beings to stand and be counted and to die on the battlefields and in the air and in the sea. You also need leaders; figureheads who can rally the troops and galvanise that last ounce of fight in order to repel the enemy. During World War II, with the country on its knees and backs to the walls we had many leaders, but Winston Churchill, above all else, became synonymous with victory.
As portrayed in Joe Wright’s beautifully shot microcosmic epic, Darkest Hour, Churchill is presented as a flawed-pink-pyjama’d-cigar-chuffing-blustering-iconoclastic-functioning-alcholic prone to fits of rage, melancholy and depression. He also happens to be devilishly intelligent, full of energy, with a wicked tongue and talent for brilliant oration. Much of the plaudits must go to Gary Oldman, and his make-up team, for creating such a wonderfully human portrait. Indeed, Oldman owns the screen with his damned-near perfect impression.
Anthony McCarten’s fine script centres on a finite number of days during World War II when Churchill became Prime Minister. Aside from one emotionally effective yet historically grating symbolic scene on the London underground, is it well written with fantastic one-liners and Churchill’s greatest verbal ‘hits’. Joe Wright is a talented director (the mis-guided Pan (2015) aside) and he evocatively conveys the shadow of looming defeat. Wright traps Churchill and ensemble in cars, lifts and in underground chambers. Shafts of light also pin the characters to the corners of the screen; pushing them toward the darkness. But through the spirit of Churchill’s never-say-die attitude we fought back against the Nazis and eventually stole victory from the jaws of defeat. War is hell. War is madness. But sometimes it is unfortunately a necessity to prevent the bullies from winning.
HEARING STORIES: SOME THOUGHTS AND REVIEWS ON AUDIO-BOOKS
Six months ago I was reading a physical book of Joseph Heller’s Catch 22 and I was just not feeling it. Not the actual book as it is a classic novel of our time but the actual activity of reading itself. I just did not want to read anymore. Of course, I can do it but my mind just didn’t have the desire or energy. What did this mean?
Had I been dumbed down and rendered attention deficient by virtue of the constant viewing of films, TV and the barrage of internet viewing. Perhaps my brain had been become punch-drunk and distorted my mind, like an over-the-hill boxer who’d just had one too many fights. It was confusing. I’ve always loved reading and did not want to stop.
So, I thought why not try out the Audio-book route? What’s the worst that could happen? I could LISTEN to someone reading the book to me and experience the literature from an aural perspective. I have to be honest – I’m glad I did! Because I have been listening to a number of audio-book productions and they have been very rewarding from all manner of dramatic, artistic, comical and emotional directions. Moreover, I listen to these books while walking and at the gym so my “reading” has become a very pleasing mobile pursuit.
Anyhow, here are some reviews of the books I have been listening to over the past months. If you also listen to audiobooks please feel free to suggest any good “reads” or narrations.
BACK STORY – DAVID MITCHELL (narrated by David Mitchell)
Comedian, actor, panel-show humourist and writer David Mitchell takes us on a literal walk of London landmarks and streets, while also wandering down his own personal memory lanes and avenues. Pedantic, neurotic, angry and insightful in equal measures this is an entertaining and intelligent journey full of hilarious rants and stories relating to Mitchell’s life; one which is blighted, not by personal tragedy, but rather a very painful bad back. His narration too is very funny and listening to him speak is like having your very own personal version of the brilliant comedy show Peep Show in your head. I especially, from a creative point-of-view, enjoyed his analysis of comedy past, present and the actualities of writing sketches, jokes and performing too.
CATCH 22 – JOSEPH HELLER (narrated by Trevor White)
The novel which began my whole diversification into the audiobook territories is a startling anti-war character drama full of tragedy and black comedy, highlighting the folly of humanity during conflict. I was both laughing out loud and crying inside as Heller’s seminal work crashes us into the heart of madness during World War II. Featuring any number of crazed pilots either being killed or trying not to be killed while flying over Italy, this novel expertly takes you up and down and up and down. Heller does this with a meticulously acute writing style and via characters such as the wonderfully named: Yossarian, Milo Minderbinder, Doc Daneeka, Snowden, Nately, Nurse Cramer, Captain Aardvark, Colonel Cathcart and many more lunatics. This is a sprawling insane war-set epic which satirizes and laments the folly and destructive behaviour of mankind, and is all the more relevant today because we still can’t fucking learn to stop killing each other over ridiculous things like money, land, God and love.
DO ANDROIDS DREAM OF ELECTRIC SHEEP – PHILIP K. DICK (narrated by Scott Brick)
Dick’s classic science-fiction novel is better known now as Blade Runner and the film versions are incredibly stylish and powerful genre works. Yet, Scott Brick’s narration of Dick’s source novel is absolutely perfect in its rendition, creating a haunting pathos beyond that featured in the film. The story covers one day in the life of Rick Deckard – an “Andy” or android bounty hunter who must track down a series of superior robots of the Nexus Six variety. The original Blade Runner (1982) film did well to distil and simplify the narrative but it only touched the sides where the complex themes are concerned. The novel is far more involved with subtext relating to: simulations; animal husbandry; Artificial Intelligence; Virtual-reality religious fervour; and the existential pain or humans and robots, being explored within the rotting dystopic, Earth setting.
GAME OF THRONES – GEORGE R.R. MARTIN (narrated by Roy Dotrice)
George R. R. Martin’s North-versus-South-Westerosian fantasy epic has provided hours of entertainment via HBO’s massive hit TV adaptation. The original source novel is a literary monster of a book with an over 33 hours running time, so kudos to the talented, yet ageing actor, Roy Dotrice for staying alive during the recording and finding the energy to narrate it. If you don’t know the Game of Thrones TV show, it has become an iconic narrative of Starks versus Lannister’s versus Targaryen’s versus zombies versus dragons and all manner of: lords, ladies, monsters, whores, hordes, henchmen, sorcerers, warriors, Kings, Queens and peasant scum; all fighting and spitting hate at each other for a baying public’s bloodthirsty satisfaction.
The book, of which Game of Thrones is based, is an intricately plotted, brilliantly characterised and action-packed joy. Not for the faint-hearted it is explicit from a violence and erotic perspective and Martin’s writing is believable unbelievability of the highest order. While it may be fantastic in regard to many of the concepts it is grounded in a raw and human reality as the flawed characters conflict with each other in all manner of familial jousting, hearty battling and political chicanery. The book has all the greatest qualities of the television show and much more besides and well worth the many hours it took me to “read”.
HOW NOT TO BE A BOY – ROBERT WEBB (narrated by Robert Webb)
The other half of the Mitchell and Webb double-act, Robert, narrates his own story with an adept sarcasm, intelligence and over-riding sense of grief throughout. As a big fan of Peepshow, his brilliance as an actor is playing unlikeable-selfish-man-boys with devilish charisma. He’s obviously very funny too and his anecdotes and memories of growing up in a Lincolnshire town and overcoming family heartache before joining the so-called Cambridge academic elite are very honest and personable. I would have liked a bit more detail about his creative process but reading between the lines I felt that it all came very naturally and unpretentiously to Webb. Overall, this is a terrific listen, full of funny and tragic moments; plus given I’m the same age as Webb, his references to televisual, pop, film and comedy culture were immediately recognisable to me, only adding to the book’s enjoyment.
I, PARTRIDGE: WE NEED TO TALK ABOUT ALAN – ALAN PARTRIDGE (read by Alan Partridge)
Steve Coogan’s genius comedy creation Alan Partridge has been part of my life since the 1990s when I first saw him on the brilliant satire show The Day Today. There he presented the sports and would subsequently go on to a kind of greatness as a chat show host on Knowing Me, Knowing You and starring in one of the best sitcoms of all time, I’m Alan Partridge. It is a testament to the acting ability, quality of writing and sheer stamina of Coogan that he continues to mine comedy gold from the hills of Partridge, as it were. Coogan narrates (in the glorious character of Partridge) a fictional autobiography from actual cradle to career grave. It also hilariously covers how he bounced back from the precipice of a chocolate-driven-frenzied-nervous-breakdown-suicide-attempt in Dundee. I have never laughed so much as six hours of comedic gold entered my brain and left me in stitches throughout. This is one of the funniest things I have had the pleasure to listen too; full of bitter rants, vengeful asides, over-elaborate similes and a litany of what I can only call Partridgeisms! Is that a word: well it is now!
Firstly, the evacuation of Dunkirk, France, during World War II was simply put one of the most incredible acts of survival and escape achieved. From the historical articles and documentaries I have read and seen the Allies were on the ropes and pinned back by the German army causing 400,000 beaten, starving and bedraggled human beings to be trapped on the beach waiting desperately for rescue. It’s no spoiler to state that many brave people enabled that rescue creating that well-known phrase “Dunkirk spirit” to enter our vocabulary.
Put yourself in that position for even just a minute and the fear drains one cold and feeling so lucky that I will never have to feel that threatened. These are people, young soldiers fighting against a fascistic foe who are backed into a corner and whose lives are about to be extinguished. So, think about that when you wake up in the morning because Christopher Nolan’s epic film, as do many other films, books and television shows about the war, give your life meaning about how lucky we are to not have to live through that. Count your blessings you’re not in a war and the life we live has relative freedom.
These and many more emotions flashed through my being while experiencing the incredible epic that master director Nolan and team have delivered via Dunkirk. Throwing us immediately into the action we are shown the hell of war from three perspectives: land, sea and air. Nolan works from a simpler focus and premise compared to his other works and this makes it all the more powerful an experience. Where films such as Inception (2010), Interstellar (2014) and Memento (2000) had complex, shifting narratives relying on heavy exposition, grand concepts and plot twists, Dunkirk deals with one simple sterling idea: survival!
I found the whole experience immersive and pulsating from a cinematic perspective. Christopher Nolan, and his production team, have in the: editing, cinematography, composition, colour, acting, framing, sound, score and movement created pure and poetic cinema. From the safety of my comfy seat I felt real danger, peril and claustrophobia. The narratives’ drive comes from fragmented moments of fear and blasts of explosive danger. The impressionistic style was full of scenes containing quiet doom as well as noisy, confusing and fiery terror. Even the smallest situation such as the locking of a cabin door takes on great significance, sending a chill down the spine. As the enemy closes in from above and below and water fills the screen and lungs of our heroes, then death moves in for the kill.
Nolan eschews the solid build-up of traditional characterisation to create emotion through the visual form with a chopping style which serves to heighten the panic. There are so many haunting images as men and boys are stuck behind doors and ships and in boats and underwater and in the air and on moles and piers, compressed, suffocating and unable to breath as bullets, torpedoes and bombs pepper their souls. The coruscating soundscape, montage and hypnotic score from Hans Zimmer only add to the dread within the non-stop action. The dialogue is spare and at times muffled as character development is also sacrificed due to the compressed timeline. Yet, for me, empathy was garnered through verisimilitude, form and style rather than a conventional storytelling and a simplistic three-act transformational arc.
The characters are archetypes but serve the story very well. Kenneth Branagh’s noble sea Commander brings gravitas while Mark Rylance brings a naturalistic humility to the stalwart and duty bound Mr Dawson. Aneurin Barnard’s silent soldier allows his haunting eyes to dominate, while the pathos emitting from Barry Keoghan’s young George is incredibly powerful. Fionn Whitehead and Harry Styles, while inexperienced actors, represent the palpable fear any young man would exhibit when faced with certain death. Tom Hardy adds star quality in his role of RAF pilot, Farrier, and the image at the end of his plane burning in the sunset is indelibly etched in my mind.
But, overall the film belongs to the masterful direction of Christopher Nolan who, in delivering 106 minutes of pure dramatic exhilaration demonstrates he is more than just a genre filmmaker but a cinematic artist echoing the works of Sergei Eisenstein, Martin Scorsese and Stanley Kubrick within this war and disaster film masterpiece. Dunkirk was a savage defeat for the Allies but it rallied the nation against the enemy and Nolan has produced a film that stands as a worthy tribute to those who lost their lives and those brave people who survived.
With a General Election coming up I thought I’d diversify my post and continue my Ten Things I Hate About You series which to date includes reasons why I hate: Zach Snyder, the Cinema, Found Footage films and Movie Hair!? So I thought why not write a slightly more serious one about politics.
I don’t propose to be an expert on these things so most of these thoughts are emotional and scattered blasts at the system. It’s just a rant more than anything so please don’t take it too seriously. What with another General Election coming up I feel saturated with all things political and the massive changes to come with the cluster-fuck of BREXIT! So this is just me letting off steam.
In the U.K. we have two main political parties – Labour and the Conservatives – who fight and bitch each other and switch places every four years or so and end up undoing the work the previous party had done. I realise it is a bloody tough thing to run a country but just wonder whether this the best system we have?
I mean why can’t we join together and work as a collective rather than in constant conflict. Can we not put aside our differences to work toward a common goal? The current system pits us AGAINST each other – left versus right and up versus down and black versus white and green versus blue! Divide and rule seems to be the favoured system to maintain the status quo! Could this change or am I just dreaming!?
Politicians are liars!
This isn’t a simple criticism – this is almost a necessity for survival. Imagine if you had to run the country you have to lie because if you told the truth then you’d probably create wholesale panic across the country. Politics seems to thrive on fear but not hysteria thus lies and manipulations are fed via the politicians and the media to arguably control the populace. What does drive me nuts though is the hypocrisy that ordinary people must live their lives to a certain standard while those in power lie and cheat and get away with it.
I mean, how many crimes and lies have been committed by politicians and either covered up or, aside from the odd scapegoat, avoided legal incarceration. How many campaign lies have been told in order to gain power? Perhaps they aren’t lies in the first place but naïve beliefs they can change things for the better? Maybe politicians are just all honest and never fiddle their taxes or expenses? Oh, hang on a fleet of pigs just flew by my desk as I type this?
Politics as a necessary evil!
The biggest anxiety I have quite often is that we may have to accept that this is the best system we have! I mean my life is very good. I have food, a roof over my head and my family are doing okay so I have little to complain about. However, political decisions the world over are doing severe damage to the environment, the poor and the society as a whole. However, there are many good things certain governments achieve such as in the UK. Over time we have achieved a general standard of living which, for the majority is good. Plus, while crime and corruption occur regularly we’re not in the Wild West or back in the Dark Ages. So, the scariest thing could be that politics and democracy do work to some extent. Even with the food banks, austerity, overseas conflicts and Brexit on the horizon maybe this is as good as it gets! Gulp!
Politics is Big Business!
The system we have seems to favour big business over the working person. But it’s always been like that I guess. This thing called capitalism is a survival-of-the-fittest-driven-by-greed ideology. Politics is fed by the banks and corporations and vice versa the banks and corporations feed the politicians at one massive trough! Moreover, politics itself is a big industry. Labour and Conservative Parties employ many people and elections create many employment opportunities. But they also receive hefty donations from corporations and Trade Unions. So, is it really an impartial and democratic system? Besides, even the most basic history books will show our society is grounded within a feudal system where peasants tend the land and keep of the Lords and Ladies in the high castles. Thus, politics essentially is global gangsterism and run by the big bosses.
Power corrupts absolutely!
Well, where do you start!? Okay, so mostly I think there are many politicians who try to do good but many do not go into it to represent the people. They go into it to represent their own best interests. Because, I believe, the edict that power corrupts and absolute power corrupts absolutely to be true! Hitler is probably the most horrific example of this. So, while I am far from being a fan of politicians I also feel that the system itself is flawed. Of course the democratic system we have has been in place for centuries and even when you change it as the Russians did circa 1919 the idealism and hope the change ultimately gave way to Stalin’s dictatorial regime. So, perhaps it is humanity which is flawed and not simply politics; power is an addiction and as such must be handled very carefully.
Politicians are Evil!
Whether they set out to be or became that way the likes of: Thatcher, Hitler, Stalin, Bush, Blair, Franco, Mao Zedong, Mugabe, Saddam Hussain, Mussolini, Gaddafi etc. have in their own way made decisions that have caused the death of many, many lives and communities over the years. How they have been able to live with themselves is beyond me as I feel bad if I accidentally step on a bug. My theory is that some politicians and leaders must have the psychopathic tendencies of serial killers, because how they sleep at night is beyond me.
Politics = War!
How many wars does politics cause? Well, along with religion, loads of them! Be it fighting the rise of fascism; attempting to defeat communism; conflict over territory and resources; and the current war against terror are just a fraction of the kind of conflicts we have had in the last century or so. The worst excuse we’ve had lately is when the powers-that-be argue that the war is necessary for humanitarian reasons. We’re constantly fed a diet of misinformation by the puppet-masters and even rallying against it gets ignored; as seen when Blair’s Labour government disregarded over one million protestors to take us into another war in Iraq. What a liberty! Oh, no – it wasn’t liberty but more death and destruction!
Oh my God what with Brexit and now the General Election hovering like a giant eagle about to lay a big brown rotten egg over the nation I’ve kind of already had my fill of politicians asking for my vote. Elections are just a big pantomime of lies and big clowns telling us how they’re going to make things better when really we know running a country is all about damage limitation. I guess we have to have the illusion of democracy as the alternative is anarchy and a possible ‘Mad Max’ future where everyone is fighting over oil and gasoline. Hold on that’s just like now!! Aaarrggghhh!! I just want the election to be over!
What really annoys me is when Politicians get defeated at elections or retire and then go on to become celebrities or reality TV stars!! Because a plethora of insipid excuses for human beings have used their once political power to carve out careers on the television e.g. Ed Balls, Anne Widdicombe, Michael Portillo to name a few have now humanized themselves as reality stars or travelogue celebrities and it sickens me. It actually worked the other way round with Donald Trump, the billionaire reality TV show businessman has, god help us, somehow become United States President. Stop the world I want to get off!
Douche and Turd Politics!
South Park has it right all along – all we have when we vote is a choice between a Douche and Turd – so why vote? Because I am stupid and human I am still optimistic on occasions and maybe I can actually make a difference?! So I will vote as people lost their lives for the vote and democratic change! But who will it be this year: the Giant Douche or the Turd Sandwich? What a choice?! I guess overall we’re lucky we still have a choice.