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Phil Davis, who works on refugee projects in Birmingham, is as always articulate, passionate and compassionate in his assessment of how our society treats asylum seekers.
“A spokesman for Prime Minister Theresa May said:
‘Our position is that every person should have the security of a roof over their head, and tackling homelessness is a complex issue with no single solution.
But, we are determined to help the most vulnerable in our society. That’s why we are providing over £1 billion of funding to tackle homelessness and rough sleeping.’”
“Every person should have the security of a roof over their head.” Well, yes. Quite.
Here’s a thought. A genuinely helpful contribution towards achieving this clearly laudable policy objective. Stop making asylum seekers homeless and destitute immediately after an unsuccessful appeal. Keep them in a house until they either overturn the refusal in the courts or are removed. I mean, I know homelessness is ‘a complex issue’, but not turfing people onto the streets is a big step forward.
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An Easter message from Phil Davis of Hope Projects, who blogs about refugees and asylum seekers.
Happy Easter! I wake this sunny, Easter Sunday morning to a sermon from the Prime Minister. It’shere. You may not be able to get to the end, so here is a summary in quotes courtesy of the Telegraph.
The Prime Minister described Easter as “a moment to reflect and an important time for Christians and others to gather together with families and friends”.
She said: “I think of those values that we share – values that I learnt in my own childhood, growing up in a vicarage. Values of compassion, community, citizenship. The sense of obligation we have to one another.
“These are values we all hold in common – and values that are visibly lived out every day by Christians – as well as by people of other faiths or none.”
And who could argue with that? Well as it happens I live in a vicarage. And…
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We started this year’s 24 Hour Inspire with a celebration of the city of Sheffield. City of beer, art and music – and all three were on offer over the course of the event (albeit the beer only in very restrained quantities). This remarkable and moving video summed it up:
Straight into Sheffield music, from the Vivacity choir.
We crossed all sorts of boundaries – those between the academic disciplines, for a start. ‘Unweaving the rainbow’ brought together scientists exploring colour in physics and biology with a contemporary artist and with poets – and audiences could also explore an abstract virtual reality colour environment, and make their own contributions to a colour wheel.
We heard from a physicist at Durham University, talking about his family history in Poland, during the Nazi occupation, and from a physicist here at Sheffield, talking about Elizabethan/Jacobean revenge tragedy.
All in all, there were 45…
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I am bereft of words on the day our ‘divorce’ from the EU is triggered. Thankfully Gerry has found some powerful and effective words for me.
‘This is a historic moment from which there will be no turning back,’ crowed Theresa May in her completely mad speech to the Commons this lunchtime. Yet in her speech and in the Article 50 letter to Donald Tusk, she reminded us of the value of what we are losing. ‘Europe’s security is more fragile today than at any time since the end of the cold war’, she intoned; yet the whole point of European integration has been to help maintain the peace in postwar Europe.
And after informing Tusk and the assembled MPs that the UK would not seek to remain in the world’s largest single market, she went on: ‘At a time when the growth of global trade is slowing, and there are signs that protectionist instincts are on the rise in many parts of the world, Europe has a responsibility to stand up for free trade in…
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For Holocaust Memorial Day, reblogged from That’s How the Light Gets In
In the years of optimism we would read books and puzzle over why, in the heart of civilized Europe, people had happily abandoned democracy, believed fantastical lies, and stood by or enthusiastically joined in as those deemed to blame for the nation’s ills were murdered in their millions. In these dark days, and on this Holocaust Memorial Day, understanding is beginning to gnaw at our bones like an ague.
In times like these, the message of certain books I have read recently seems to illuminate a simple truth: that authoritarianism insinuates itself into peoples lives without drama, but with a kind of quotidinian ordinariness that slowly dispenses with facts.
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A while ago I was chatting to a friend about theatre and I said ‘Well, I’m not really into musicals’. As soon as those words had left my mouth, I was reminded of how not true that is.
I don’t like ALL musicals, any more than I like all opera, all detective novels, all Motown songs, all superhero movies. But to not like musicals one would have to have a problem with that central feature, the moment where everyone suddenly bursts out singing. And those moments make me laugh with delight, well up a bit, want to dance and applaud.
Obviously there are variations on the genre. To oversimplify things horrifically, in opera, all of the story is conveyed in music and song. In some musicals that is the case, but more often, there is spoken dialogue interspersed with songs. In some, the songs are diegetic (my son did A level Film Studies), i.e. the characters in the film are required by the plot to perform the songs at that moment, and all of the music is provided by the people we see on screen (no invisible orchestra). In others there’s no particular reason why this person or this street full of people should suddenly be singing and dancing, but hey, we’re in a musical so they do.
So, in complete and humble retraction of my idiotic statement, I hereby offer some of my favourite musicals and moments in musicals.
Busby Berkeley’s musicals blew me away when I first encountered them, in my early teens, I think. The visuals are stunning (though one has to acknowledge that in terms of objectification of women’s bodies, they are a tad problematic). But the dancing, the tunes – and unexpectedly in Golddiggers of 1933, social commentary, about the Depression, the men who returned from service in the First World War to find only unemployment and poverty.
From the same era, Fred and Ginger. The plots are daft. Who can even remember the plot of Top Hat, or Swing Time? But if you’ve ever seen them dancing cheek to cheek, that you won’t forget. The songs are sublime – well, of course they are, given that they were written by Gershwin, Porter, Berlin and their ilk – and the dancing is if possible sublimer. He was elegance and subtelty personified, she did everything he did in heels and backwards.
There’s ‘Cheek to Cheek’ (heaven, I’m in heaven), and there’s also this, Never Gonna Dance, from Swing Time. Beautiful.
There’s a bit of a gap in my musical repertoire, till South Pacific. 1949 for the original stage show, 1958 for the film.
You’ve got to be taughtTo hate and fear,You’ve got to be taughtFrom year to year,It’s got to be drummedIn your dear little earYou’ve got to be carefully taught.You’ve got to be taught to be afraidOf people whose eyes are oddly made,And people whose skin is a diff’rent shade,You’ve got to be carefully taught.You’ve got to be taught before it’s too late,Before you are six or seven or eight,To hate all the people your relatives hate,You’ve got to be carefully taught!
The theme of interracial relationships isn’t handled as it would be now, of course. But it’s handled. And back then, Rodgers and Hammerstein took an enormous risk in including a track which seemed to present a challenge to ‘the American way of life’. There was huge pressure to take the song out when the musical was staged, especially in the southern states. James Michener, upon whose stories South Pacific was based, recalled, “The authors replied stubbornly that this number represented why they had wanted to do this play, and that even if it meant the failure of the production, it was going to stay in.” And that song, those words, are powerful still.
And then there’s West Side Story .
Not going to mess with you, this is the best musical ever. Everything is right – Bernstein’s music, Sondheim’s lyrics, Robert Wise’s direction. The tunes, the moves, the words.
DIESEL: (As Judge) Right!
Officer Krupke, you’re really a square;
This boy don’t need a judge, he needs an analyst’s care!
It’s just his neurosis that oughta be curbed.
He’s psychologic’ly disturbed!
We’re disturbed, we’re disturbed,
We’re the most disturbed,
Like we’re psychologic’ly disturbed.
DIESEL: (Spoken, as Judge) In the opinion of this court, this child is depraved on account he ain’t had a normal home.
ACTION: (Spoken) Hey, I’m depraved on account I’m deprived.
If I try to pick my favourite moments from WSS, I end up with so many, it’s practically the whole damn film.
An oddity in the annals of the musical is a single episode from season 6 of Buffy the Vampire Slayer. An episode where a demon compels the inhabitants of Sunnydale to burst into song, and in so doing to express thoughts and feelings which they might have been trying to hide. It moves the series arc along in important ways, but it’s a glorious watch on its own, referencing more musical tropes than even the nerdiest nerd could spot. Rather than the trained singers who supplied the vocals for almost all of Natalie Wood’s songs, all of Richard Beymer’s and at least some even of Rita Moreno’s, the singing is by the regular Buffy cast members. This has been the more recent trend (see the film of Les Miz, and La La Land), and there is a vulnerability in the voices which, arguably, adds to the charm and immediacy of the music.
And so to La La Land.
The influence of Jacques Demy (especially Les Demoiselles de Rochefort) has been noted, particularly in the colour palette for the film. But the movie is, again, dense with intertextual references to films (Mia points out a window that was used in Casablanca, they visit the Griffith Observatory that was used as a location in Rebel Without a Cause, the film they try to see at the – long-closed – Rialto cinema, and which Seb quotes to Mia, and those are only the most overt references). The director has said that he wants to “to make a movie that would embrace the magic of musicals but root it in the rhythms and texture of real life”
The opening number invites us into the movie musical world:
A world where everyone dances and sings, and where a traffic jam is transformed, briefly, into a technicolour marvel until the car horns stop being part of the orchestration and become again just car horns.
Stone and Gosling dance and sing like actors who dance and sing, rather than like pros, and that works. Their story is simple and poignant and human, even when they float towards the stars.
Here’s to the ones who dream
Foolish, as they may seem
Here’s to the hearts that ache
Here’s to the mess we make
(Audition – The Fools Who Dream)
What is it that is so joyous, so life-affirming about these shows? I think there is something magical about singing and dancing, something that every society has discovered and built in to its rituals and rites of passage. Even when we can’t join in, we feel that sense of exhilaration and exaltation as the protagonists whirl and tap and their voices soar and harmonise and weave into one anothers’. The flash mobs which we’ve all seen on social media, where in a shopping precinct or a town square or a railway station one person starts to sing or play and then more, and more – if you look at the faces of the audience what you see is delight.
The unreality, the fragility of what we are seeing and hearing in the movie musical is part of its power. We know the plots are paper-thin, we know we can’t really tap dance and sing our way out of the cinema and into the taxi, we know real life ain’t like this, we know it’s darker and meaner than this. Which is why we need it.
A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or the song of Orpheus. … One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.
(Gilles Deleuze & Felix Guattari – A Thousand Plateaus)
In the dark times
Will there also be singing?
Yes, there will also be singing
About the dark times.
– Bertolt Brecht, motto to Svendborg Poems, 1939
The musicals I have selected above aren’t quite singing about the dark times. But some of them are singing as shadows gather – 1933, 1936 – shadows of which the mainly Jewish songwriters and composers must have been very conscious. There’s darkness in South Pacific despite the sunshine, there’s darkness in West Side Story as the swagger of adolescent tribalism turns to violence and rape.
We should not ask these lovely confections to carry a weight of political meaning and portent that they were never constructed to bear. That isn’t what they are for, even if they can turn aside for a moment and remind us of the forgotten man, the indoctrinated child, the humiliated woman. What they are for is to lift our hearts and our spirits, to inspire our imaginations. If we can imagine this technicolour world, where everyone sings, we can imagine other worlds too. That’s what we do, as humans, we sing and dance, and whilst we have that much in common with the non-human inhabitants of this planet, unlike them we can choose our own songs and our own steps, and we can choose to sing and dance together.
It’s not enough, but it’s vital. Whatever we face in the next few years, we won’t be any weaker or less able to face it for finding that sheer delight in a fragile love story told in song and dance, and sharing that delight with each other.
Everyone suddenly burst out singing;And I was filled with such delightAs prisoned birds must find in freedom,Winging wildly across the whiteOrchards and dark-green fields; on – on – and out of sight.Everyone’s voice was suddenly lifted;And beauty came like the setting sun:My heart was shaken with tears; and horrorDrifted away … O, but EveryoneWas a bird; and the song was wordless; the singing will never be done.(‘Everyone Sang’,by Siegfried Sassoon)
It’s been a funny old year. But focusing for a moment on the year in film, it’s been pretty damn fine. In fact, there’s so much to say that whereas normally I bundle my films of the year review in with telly and music and theatre and general musings on the previous twelve months, I’m doing a stand alone film blog, to match my books of the year extravaganza.
I’m including some things I saw on DVD which may predate 2016 (some which do so by a whole bunch of decades in fact) but I think I’ve broken my personal record in terms of films seen at the actual cinema. Most at Sheffield’s wonderful Showroom, but several at Cineworld’s IMAX for the full 3-D ginormous screen experience.
Whittling this list down to a top ten, even if I don’t attempt to put them in any kind of ranking, is pretty much impossible. However, a top 3 emerges quite clearly, of which more later…
Two of the IMAX films I enjoyed this year were from the Marvelverse. The awesome Captain America: Civil War, which augurs well for the next batch of films from the franchise – action, spectacle, politics and moral quandaries, what more could you ask? Doctor Strange was visually stunning and Cumberbatch was terrific (definitely channelling Sherlock in the early parts of the film), and I look forward to his integration in the Avengers ensemble, riffing off Thor and Cap and co. The third was Fantastic Beasts, from the Rowlingverse, which was fantastic and lovely even if the plot was stretched a little thin to allow us to gasp in wonder at the beasts (reminiscent of the first HP film and the first Star Trek movie, so perhaps this is a feature of being first in a new franchise).
At the Showroom we saw possibly the most French French film imaginable, Things to Come, with Isabelle Huppert. I imagined (but have not attempted) a lethal drinking game, involving taking a swig every time a philosopher is namechecked… It’s a thoughtful film, that eschews comfy answers and pat resolutions, in which in a sense very little happens and there’s lots of talk, but also lots of pensive silences.
Marguerite was, oddly, one of two films based on the life of Florence Foster Jenkins. I haven’t seen the Streep/Grant biopic but this was a lovely and touching fictionalised version, starring Catherine Frot.
I had high hopes of Dheepan, given the director’s track record – he made one of my favourite French films ever, The Beat my Heart Skipped, and A Prophet was also excellent. As was Dheepan, for the first couple of acts. After that it seemed to swerve into, first, a revenge thriller in which previous plot strands were left dangling, and finally into a kind of suburban idyll which surely must have been a fantasy (but why would a Tamil refugee previously living in the banlieue have such a detailed vision of the English suburbs?). Worth re-watching to see if I get a different sense of it, but I ended up baffled.
Anthropoid was a brutal depiction of the assassination of Heydrich and its bloody aftermath. Knowing the outcome increased the tension rather than dissipating it, and aside from a couple of minor Hollywood moments along the way it was gritty and clear sighted in refusing to show the protagonists as unswervingly brave and resolute heroes, but allowing us to see the panic and the doubt.
Childhood of a Leader was another film which seemed to lose its way slightly in the final act. It hadn’t quite earned the coda which was (without giving anything away) several imaginative leaps away from the previous scene – not impossible but a fair old stretch, and I think the whole would have been more persuasive had the finale been played with more subtlety and ambiguity. Having said that, along the way it was excellent, with the building sense of wrongness abetted powerfully by one of the best scores I’ve heard all year, from Scott Walker, no less.
Hunt for the Wilderpeople and Captain Fantastic were, in their different ways, delightful films about family. The former focuses on a ‘looked after child’ who is not only hunted (by the authorities – ‘no child left behind’ is not a slogan you will ever feel the same about after this film) but also hunting, for family, stability, love. It’s very funny, and very touching. Everyone leaving the cinema was smiling. Captain Fantastic was not a superhero movie at all, but the story of a family living off-grid, of a father trying to bring his children up with different values to those of their grandparents and the wider society, but then coming into conflict with those values. It was genuinely thought-provoking, as well as, like the Wilderpeople, funny and moving.
On DVD I saw two cracking Shakespeares. The first was new – Marion Cotillard and Michael Fassbender as the Macbeths. For the life of me I cannot comprehend why the early scene showing them at the burial of a child was controversial – the text is very clear that Lady M has given birth, and equally clear that there’s no offspring around now, so I’d always assumed they had a child that died, even if other productions don’t signpost this. This was possibly the best Macbeth I’ve seen – the two leads were totally compelling and chilling, and there was another terrific score, from Jed Kurzel. Then there was a wolfish Ian McKellen in Richard III, the 1995 film, also featuring Annette Bening, Robert Downey Jr and Dominic West amongst other members of a terrific cast. This is the War of the Roses transposed to the 1930s, with fascism looming and the final battle taking place at a ruined Battersea Power Station rather than Bosworth Field. It takes some liberties with the text, combining a number of characters, for example, but it’s a tremendous production of a play I know well as a text but I think I have only seen on stage once. (That was at Nottingham Playhouse in 1971, with Leonard Rossiter in the lead, and the fact that I can remember the production and especially the final battle scene so vividly after 45 years is a tribute to the performance and the staging.)
The Martian was splendid, I loved Damon’s performance and the scripting of his monologues (the phrase ‘to science the shit out of’ something is one I yearn to use), but also Sean Bean (I had a moment of anxiety that he was going to adopt a transatlantic drawl, but no, he were proper Yorkshire) and Danny Glover. Still out there in the big wide cosmos, Star Trek Beyond was fairly daft but thoroughly enjoyable, and I wish, oh I wish, that I believed we could defeat fascism by playing the Beastie Boys on max volume…
Slow West built slowly and subtly to its bloody conclusion, subverting many of the classic western tropes along the way.
Sing Street was a funny and touching evocation of the early 80s through the classic boy meets girl, wants to impress girl, so forms a band storyline. Quite possibly the storyline behind the majority of bands ever formed. The music is pastiche, but openly and appropriately so, as the motley band of musicians change their style and appearance according to whatever they’ve just heard, or whatever they’ve just been told is cool. Lovely stuff.
I was far from convinced about the worth of a live-action Jungle Book but it was very well done and technically stunning, and the peril seemed more perilous than in the cartoon version. Zootopia was contemporary Disney at its most engaging with a female lead who’s definitely not a princess. She’s a rabbit, but she’s not a princess rabbit, OK? And Finding Dory was as touching and funny as I expected, with the motif of short-term memory loss being particularly poignant as we observe it in a close family member these days. We also liked the otters.
All of which brings me to my top three. I cannot bring myself to rank them, so here they are, in alphabetical order.
Arrival was science fiction at its most philosophical and thoughtful. The theme of language is one that has always fascinated me, and I thought during this of my favourite ever Star Trek Next Gen episode, Darmok, where the crew encounter a people who communicate only through allegory, so their translations are useless because they do not know the stories that are being referred to. ‘Picard and Dathon at El-Adrel’. Amy Adams is magnificent, and the narrative has an emotional heft that I cannot explain without spoilers, only to say that I was still weeping after the credits rolled.*
I, Daniel Blake I have written about elsewhere at length so will not reprise those comments here. It’s not a perfect film, but it’s a tremendously powerful one, and aside from its political importance, the central performances are excellent.
Room is intense. It has to be, claustrophobically intense. In the novel we see everything through the eyes of the child, and of course the film can’t do that. We identify with Ma, who is so beautifully played by Brie Larson, a performance totally without vanity or showing off, where one of the most devastating moments is wordless and it’s hard even to describe how she says as much as she says. Jacob Tremblay is also outstanding and the rapport and intimacy between the two of them carries the film.
My three top films have women centre stage. Amy Adams, Brie Larson and Hayley Squires all deliver performances of great subtlety and depth. Squires is second billed but she gets almost as much screen time as Dave Johns and her side of the narrative is vital in showing the full impact of the benefit system. Each of the three is tightly focused on two key characters – Arrival on Adams’ character and Jeremy Renner’s physicist, IDB on Daniel and Katie, and Room on Ma and Jack – and so they only scrape through Bechdel. But Bechdel is not the only way of looking at women on screen and these three win as far as I am concerned by asking complicated, nuanced female characters to carry the story.
*OK, I almost always cry at the movies. Most of those mentioned above triggered a bit of a sob at some stage, but I only mention it when I have been especially overwhelmed.