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 30, 2019

Politik: Part X

As the title suggests, so forth.

That’s my story and I’m sticking to it

Having watched both episodes of The Cameron Years on BBC 1, which somehow forgot the referendum on PR in which he took out the legs from under the Liberal Democrats, I was left thinking not about Cameron and Lord North; whom Paxman scathingly shelved him aside in the pantheon of catastrophic Prime Ministers; but about Cameron and Robert S McNamara. McNamara in The Fog of War, more than 40 years later, was still insisting that Ike had let a missile gap develop. He had not. Everyone knew it. But RSM still couldn’t admit it. He had his lie from 1960, and by God he was going to stick to it to his dying day. Cameron has his lie, Labour blew up the British economy with their frivolous spending (on the undeserving poor) and poor old Call-Me-Dave had to fix the mess with a decade of biting austerity; which will somehow now magically end because Boris needs to throw money about to hide the economic consequences of Brexit. It’s a good story, it’s just a pity it’s not true. In 2005 the UK current budget deficit was less than £20 billion. The budget deficit somehow got to £50 billion in 2009 and £103 billion in 2010. Austerity had got the deficit by March 2019 to just, wait, oh actually there was now a budget surplus of £19 billion. Wow, that was some enthusiastic deficit reduction. But Labour, what monsters of frivolity! To balloon spending so much so needlessly in 2009 and 2010; almost as if they were reacting to some incredible economic shock that threatened the entire system. Check out the very revealing graphs here: https://www.ukpublicspending.co.uk/uk_national_deficit_analysis

October 21, 2016

I, Daniel Blake

Ken Loach returns from his Sinatraesque retirement with a film that leads you to question not Tory policy but the line between art and propaganda.

i-daniel-blake-3

Geordie carpenter Daniel Blake (Dave Johns) is unwell. He had a heart attack, nearly fell off a scaffold, and is waiting for doctors to clear him for work. The Kafkaesque welfare system deems him fit for work, however, so his benefits are stopped. Trying to appeal is impossible until a phone call from the ‘Decision Maker’, which should though have preceded the letter cutting off his benefits. Dan is forced onto the dole, where he must prove to a veritable Eichmann of the Welfare Office, Sheila (Sharon Percy), that he is indeed actively looking for work he is physically unable to perform. Humiliated Dan befriends another victim, Londoner Katie (Hayley Squires), who has been moved up North with her children Daisy (Briana Shann) and Dylan (Dylan McKiernan), by Tory plans to gentrify London by cleansing it of such benefits scroungers.

Watching I, Daniel Blake is like being trapped in an empty carriage with Jeremy Corbyn on a slow train from London to Newcastle, it’s like being bludgeoned on the head repeatedly with Michael Foot’s 1983 election manifesto, it’s like having John McDonnell endlessly throw Mao’s little red book in your face from an infinite supply. Screenwriter Paul Laverty artistically stacks the deck, loads the dice, and magnetises the roulette wheel, so comprehensively does he put his agit-prop puppets (poorly disguised as characters) thru the wringer in a plot so unrelentingly grim and ploddingly signposted that its ‘moving’ finale becomes unintentionally funny. My mind wandered so much I wondered whether Laverty and Loach tackling Free-born John Lilburne might have forced them to make actual art, rather than blatant propaganda, by dint of having to use allegory for their contemporary political points.

Daniel is told some employers want video CVs recorded on schmartphones. Loach might have been better served uploading a short screed decrying the Tories, because futility hangs over this. WH Auden said his verse didn’t save a single Jew from the Nazis, but Loach did force change once – with Cathy Come Home, in 1966; before the fragmentation of Britain’s TV audience. But who is he talking to now? I, Daniel Blake is absent from Savoy, Dundrum, IMC Tallaght, and has but 2 shows tomorrow in Cineworld where Jack Reacher has 8, on considerably larger screens. Loach is making clarion calls for the working-class, which will be viewed as art-house fare by some of the middle-class; champagne socialists perhaps. Watching this clumsy tub-thumping film, complete with Hollywood’s clichéd ‘precocious young girl’, is like having a screw slowly hammered into your head…

The only rational response to I, Daniel Blake is to fall asleep in the cinema or undo Loach’s work with the liberal application of screwdrivers at the nearest bar.

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