Talking Movies

May 15, 2020

Any Other Business: Part LIII

As the title suggests, so forth.

SAVE BBC FOUR!

It was alarming to hear yesterday that Lucy Worsley and Janina Ramirez were starting a campaign to try and save BBC FOUR, after word leaked that the BBC was planning to let it disappear at the end of 2020 to save money. The BBC doesn’t need to save said money of course, it’s just the Tories maliciously toying with them in the way US Republicans toy with the US Postal Service. They object to it in principle and then set arbitrary and impossible targets to justify eliminating it in practice. Rather akin to Bogie in The Big Sleep complaining a goon will knock his teeth out and then gut-punch him for mumbling. And the real kicker is that losing BBC FOUR in 2021 means losing BBC FOUR from 2013 to 2020 too. Having lost JFK, Apocalypse Now, Die Hard, The Dark Knight and season 1 of Person of Interest to the difference between RTE 2 and RTE2 I know that all my recordings of the channel will disappear with it. And that’s a lot of recordings… To watch any of these recordings is to time-travel back to watching them with Dad since 2013.  Andrew Graham Dixon’s Art of China, several series and specials by Michael Scott on Ancient Greece, Hew Strachan’s The First World War, Robin Lane Fox’s special on the archaeological origins of Greek myths, the Dave Brubeck Quartet’s appearance on Jazz 625 in the 1960s, and a colossal amount of recordings from the BBC Proms including performances of Prokofiev’s 5th Symphony, Rachmaninov’s Symphonic Dances and Isle of the Dead, Beethoven’s Triple Concerto, Mark Simpson playing Nielsen’s Clarinet Concerto, Jeremy Denk playing Bartok’s 2nd Piano Concerto, and Yo-Yo Ma playing all six Bach Cello Suites. To watch any of these recordings is to remember watching them with my Dad and also to recall the well nigh parodic amounts of workplace conversations I have been part of that began with somebody saying “I was watching BBC FOUR the other night, and there was this programme on—” I struggle to think of a greater act of wilful capricious cultural vandalism and intellectual hamstringing that could be perpetrated by a British government than the shuttering of BBC FOUR as a broadcast station. How has it offended? Telling the truth about the world, informing people? Boris ‘Bullsh-t and Bluster’ Johnson is of the party that has had enough of experts; it seems that the mere existence of objective truth now offends him, and must be plucked out. BBC FOUR exists largely because BBC 2 has abdicated its original mission. Coverage of the Proms, as Clemency Burton-Hill rightly lamented, is now largely a BBC FOUR affair. Even the venerable Royal Institution Christmas Lectures for children have been booted to BBC FOUR. If you deride and discard expertise, you end up with buffoonery bungling a plague.

That joke isn’t funny anymore

The Engineer, just before Christmas, muttered that some day he would watch The West Wing. Just probably not while Trump was President, as that would amount to self-inflicted torture… I opined that it might be better to watch it sooner rather than later, Trump or no Trump, because it took its cues from the world as it was at the peak of human civilisation in 1999 in a way that was becoming increasingly unrecognisable. Deals being made in Congress. Deals?! Deals being made across party lines? People being friends across party lines?! Conservative Democrats and Liberal Republicans? This was soon all going to be every bit as far-fetched as the need for three corroborating sources before publication in All the President’s Men. And then as I cycled again thru TG4’s re-runs I hit the ‘Stirred’ episode of season three. Oh boy… There had been a potentially a radioactive spill in a tunnel in Idaho. Bartlet jokes to Leo before taking a phone call from Boise that the Governor of Idaho wants to know what the radiation levels are, and he’ll say that he’ll tell him – but first give me all your electoral votes in the fall. Well, that joke doesn’t seem farfetched anymore given that Trump is deliberately sending more ventilators and PPE per capita to states with Republican governors that need them less than states with Democratic governors, boasting about ordering VP Pence not to call ‘the woman in Michigan’ and then lying about his own boast, and making it plain that unless governors flatter his insatiable ego they will not get the materiel they need to stop their citizens dying. Trump Delenda Est.

Objectivity for … some students!

Well, now. So Fine Gael having happily presided over the degradation of the Junior Cert on the arbitrary assertion of Ruari Quinn, a complaint hereabouts over the last four years, is abruptly unwilling to stand over the same procedure being applied to the Leaving Cert. Odd that. Remember the cutesy animation that ran in cinemas explaining why Ruari Quinn’s nonsense ‘reforms’ of the Junior Cert could only be opposed by heartless monsters equally opposed to learning and out of touch with the real world? It takes mere seconds to articulate the counter-argument against Ruari Quinn’s pet project. If you and your teacher are engaged in a profoundly active balance of terror do you really want that person marking all your work for three years, or would you prefer that your work be in the final analysis independently judged by somebody else, anonymously, and far away from the grudges of your school? Quinn’s folly was based on the syllogism that the Junior Cert needed reform, this was a reform, therefore it needed this reform; without ever articulating why the Junior Cert needed reform. Now it seems Fine Gael has belatedly realised predictive grading for the Leaving Cert would replace a system of blind meritocracy with an all too personal one obviously open to abuse, from both sides; teachers and parents. What finally made the penny drop? The threat of lawsuits from well-connected students expecting places in medicine and law? Or was it the many comedy sketches about vindictive teachers victimising their most unruly pupils? And so we have students promised exams that will be marked objectively.

Gaslighting and Masks

Well. I don’t know quite what to make of this. According to Beauregarde Hinkelmeister-Schmitt, a source usually as reliable as his name is not, it is an open secret among certain journalists that the Government ordered 100,000,000 cotton face masks some time ago and is waiting for them to arrive, hence their glacial progress towards officially admitting face masks are useful. The logic apparently being there’s no point demanding people wear them before we have enough – there’d only be panic and irritation as the shops emptied out. Also, they’re probably more useful as we relax the lockdown. However, the experience of face masks elsewhere suggests they’re useful from the very beginning. Hinkelmeister-Schmitt has perhaps been spinning a party line, in finding all sorts of ways to disparage the example of every country using masks in that fashion; the connecting logic being a fatuous —It wouldn’t work here. Well, cotton masks aren’t N95 PPE. Any old paisley bandanna will do the job. For all of Status Burgundy I wrapped a merino scarf around my face before I went on the dreaded late night shopping sortie. What makes me doubt that this can be true is that I just find incredible the idea that the ‘experts’ would denigrate mask wearing for 2 months and more, and then turn around and say — actually they are da bomb, and there’s one for everyone in the audience. Actually there’re 20 for everyone in the audience. Why would anyone ever again believe anything from the mouths of people who lied to them consistently while planning all the while to do the opposite of what they were saying? How you could possibly impose a second lockdown for a second wave in the autumn after such a breach of trust? I don’t think gaslighting the nation can ever be in the interest of the nation.

September 8, 2015

El Dschihad

My sometime co-scriptwriter Emmet Ryan has, in an unusual move, taken time out from reviewing beer and customised burgers to catch a play in Berlin. From Ballhaus Naunynstrasse he sends this review of El Dschihad:

size=708x398

German-Iraqi actress/writer/director Claudia Basrawi takes 70 minutes of her audience’s lives and throws them into a story built around facts but delivered with aggressive and compelling storytelling. The story of El Dschihad is built around interviews Basrawi conducted to get an understanding of Germany’s historical role in the current problems in the Middle East. Basrawi, whose youth brought her to Iraq, Lebanon, and Syria, tells the story of Kaiser Wilhelm II’s efforts to get Muslim subjects of the British Empire to rise up against their colonial masters during the First World War. Germany’s ill-fated plan was to use an insurrection in Arab states to divide the attention of British forces.

The piece jumps between discussions of contemporary efforts to battle terrorism and the historical follies of the Kaiser. Despite its documentary format this is very much a drama, albeit a deliberately disjointed one. Despite being the effective lead, Basrawi deliberately takes a back seat instead essentially letting her cast, playing a multitude of roles, take their lead from her cues.

No-one makes greater use of this than Rahel Savoldelli, who is brutally intimidating in multiple formats. Savoldelli’s appearances in the multimedia elements of the performance are nothing less than an attack on the audience. Opening with her interview as a psychiatric patient of Mario Mentrup, acted live in a corner off-stage but broadcast on a larger screen, Savoldelli is aggressive in her deliberate attempts to confuse Mentrup’s supposed straight man. Mentrup does an excellent job in playing the foils to those opposite him, most notably in his primary role as Mr S, a composite character of multiple interviewees of Basrawi, where his character is more direct with his emotions in order to make the cold reality of Elmira Bahrami’s Ms K stand out.

One isn’t meant to like Ms K; she’s got too many right answers, and most of them are ugly; but her calm delivery is arguably as tough on the senses as the intensity of Savoldelli’s pre-recorded piece, reading notes on the plan to convert British POWs into agents of insurgence against the Crown. In this brief but effective monologue, Savoldelli’s head appears like Big Brother albeit with the odd harsh cut to rouse the audience as she details the plans to use Mohammedans against the British Empire.

The mixture of multimedia elements, including an opening that shows contemporary damage to an unnamed city in the Middle East, forces the audience to shift focus but not at the expense of the message. Basrawi is trying to comment on a complex issue from afar, but one that is close to her heart, and does so in a way that doesn’t play as excessively preachy. It’s a tough balance but one delivered well.

4/5

Blog at WordPress.com.