Posts Tagged Marvel
I only saw two films at the cinema in 2021. It took me a while to feel confident in going back, but I’m glad I did, for the delight that was Celine Sciamma’s Petite Maman. (I subsequently saw West Side Story, see below) It seemed fitting, as well, given that the last films I saw at the cinema, in March 2020, were her Girlhood, and Portrait of a Lady on Fire. The second of those was the last film I saw at the cinema with my late husband.
There are plenty of films here, viewed on Netflix, Amazon Prime, Disney Plus and regular TV channels. It’s a different experience, certainly, less immersive (I wouldn’t check my phone during a film at the cinema whereas, I’m afraid, I can’t always help myself when at home). But it’s been invaluable, during the various phases of lockdown, and during the weeks immediately after my husband’s death when some already familiar films provided comfort and distraction.
Anyone who has read my reviews of previous years will expect, and will get, a lot of detective, crime and thriller series, a fair bit of scifi/fantasy, and some serious drama. They might not expect a flurry of reality shows – indeed, neither did I. If anyone had told me that in October/November 2021, I would be binging Married at First Sight Australia, The Bachelor (Australia), and Selling Sunset, I would have scoffed. But there, indeed, I was. They served a very useful purpose – they were ludicrous, and despite featuring ‘real’ people, seemed to have no connection to any reality that I recognised, and that was fine, because (for the most part) nothing that happened on these shows was going to break my heart into little pieces. Rather, I spent a lot of time shaking my head in disbelief…
The following list of TV programmes and films (some with commentary, some not) includes things I watched with him, things we’d watched together but which I continued on my own, things I watched with the kids in the strange weeks following his death, and programmes/films to which they introduced me.
The A Word (series 3) – excellent performances, and very touching. Not the last word on autism (it’s far too complex to be that – as they say, if you’ve met one autistic person you’ve met one autistic person) but a portrait of one autistic child and his family.
It’s A Sin – this was stunning, and devastating. Superbly played by all of the leads (special mention to Keeley Hawes, who was horrifying as Ritchie’s mother).
Elizabeth R – I rewatched this to see how something that at the time seemed like landmark television held up 50 years later. It was slow by contemporary standards, and the budget constraints were pretty obvious in the crowd scenes, processions, battles, etc, but Glenda Jackson’s performance was as powerful as I remembered it.
Peaky Blinders – My husband never fancied watching this, despite so many people saying how good it was. I started watching it, with my son, after his death – whilst it’s not what you might call comfort watching, it was something that was good in its own right and had no associations with him that might have ambushed me. It’s brilliantly done, the script, the performances, the pacing, the sets are all marvellous, even if the accents are a bit wonky…
Small Axe – What struck me most forcibly was how different each film is from the others in the series. Mangrove is, of necessity, talky, with a fair bit of declaiming in the courtroom scenes, but Lovers’ Rock has only minimal dialogue, with long sequences where we are just watching people dance and sing along to the music. Music is at the heart of all the episodes except the final one, Education where the appalling travesty of education that was all too often SEN schooling was illustrated by a teacher inflicting his rendition of ‘House of the Rising Sun’ on his class (and compounding the crime by claiming that the Animals wrote it…). These films were, individually and as a group, powerful and moving, and vital. It was hard to watch and listen to at times, but well worth doing so, whether one was generally familiar with the events and situations described or not.
Passing – Rebecca Hall’s adaptation of Nella Larson’s 1929 novel is understated, beautifully shot and full of tension. Wonderful performances from Ruth Negga and Tessa Thompson.
Petite Maman – a beautiful, magical exploration of loss. The trigger warning referred to ‘mild bereavement references’, and thankfully they were mild, poignant rather than heart wrenching.
The Dig – understated account of the excavation of the Sutton Hoo treasure, during the uneasy days just before the Second World War. Along the way it deals with class and gender prejudices, but with a very gentle touch.
The Harder They Fall – gripping and violent account of black outlaws in the wild west. Not only are most of the characters black, but women play key roles too (Regina King in particular is magnificent). The soundtrack is brilliant – gospel, rap, afrobeat…
1917 – a super-tense account of two young soldiers’ attempt to get an urgent message through to another batallion, across no-man’s land and behind enemy lines. The tension is heightened by the filming which is, for much of the film, a long continuous take
Good Vibrations – warm and funny account of the eponymous record shop in Belfast, and its role in the success of the Undertones.
The Trial of the Chicago 7 – fascinating, flawed depiction of the trial of activists for incitement of violence at the Chicago Democratic Convention in 1968. I wanted more, a lot more, about Bobby Seale, originally the eighth man, without legal representation, and at one point bound and gagged in the courtroom, but it wasn’t that film. Very talky (but how could a courtroom drama be otherwise?), and I suspect somewhat romanticised (did that final scene – the reading of the names of soldiers killed in Vietnam during the course of the trial – take place, and did junior prosecutor Richard Schultz stand, out of respect to the fallen?). The word that crops up most often in reviews is ‘portentous’ and I guess that’s fair.
Battlestar Galactica – the 2004 series, and very different to the original 1970s show. This is gritty and hard-hitting – blood, sweat and tears all in copious supply. The plot was complex and intelligent, and rarely predictable (even when one is very familiar with the genre). The political/religious threads were fascinating, and the ending didn’t tie them all up neatly, leaving viewers to decide, or to wonder.
His Dark Materials – series 2 of the Philip Pullman adaptation was even better than the first. I knew the plot, but still got goosebumps
The Last Wave – ludicrous French fantasy which failed to make any sense at all. We’d watched in hope of something more like The Returned, but it wasn’t even close.
The Mandalorian – very engaging Star Wars spin-off which I managed to comprehend despite not being entirely au fait with that world.
Agents of Shield – the last ever series, and it went out with impeccable style, lots of heart, and a final episode that eschewed high drama and tragedy for a poignant glimpse of something resembling real life.
Loki – wonderfully entertaining, and the double act between Hiddleston and Owen Wilson was a joy to watch.
Wandavision – this was outstanding television. We had no idea what was going on, for quite a while, and the darkness crept up on us. Ultimately, it’s about grief. ‘What is grief, if not love, persevering?’.
The Falcon and the Winter Soldier – more like the Avengers films than the previous two spin-offs, this marked out new territory with its recognition of race, a tough look at the realities rather than just cheering the notion of a black Captain America.
Hawkeye pairs the supposedly low-key Avenger with an Avenger wannabe, played by Hailee Steinfeld. This works extremely well – she’s desperate to be a super hero, and to be the partner of a super hero, he just wants to get home for Christmas with his kids. There are also obviously bad guys and conspiracies and some jolly good archery.
Black Widow – about bloody time. But also a bit late, in that Natasha died in Endgame. But it fills in her story very satisfyingly, with a good dash of humour and lots of fighting and exploding. Loved Florence Pugh as Yelena.
Shang Chi & the Legend of the Ten Rings – a cracking addition to the MCU, with a predominantly Asian cast, this is visually stunning, and I love the cast, particularly Awkwafina and Michelle Yeoh.
The Walking Dead – on to the final stretch now (disregarding any future spinoffs). Since the Whisperers storyline it has been back to full strength, with inventive approaches to storytelling forced on them by the pandemic.
Doctor Who – a New Year’s special and the final series for Jodie Whitaker’s Doctor.The Special was OK, the series was much better – it threw any number of elements into the mix and then stirred them up furiously, and it was genuinely exhilarating. The ‘Village of the Angels’ ep was also genuinely chilling. A couple more specials and then a new (old) showrunner and a new Doc…
Deadpool 2 – very funny, very rude
Fantastic Beasts 2 – completely baffling. Did I nod off partway through? What was all that about? And why?
Happy Deathday – a Halloween choice, and a good one. I do love a time loop.
28 Weeks Later – I saw 28 Days later years ago, but had never got round to the sequel. It may not live up to that, and there were some dodgy elements of the plot that were never explained (e.g., given that the zombies are driven by mindless rage, how does the zombified father have the mental control to stalk and pursue his children?), but it was thoroughly entertaining.
Justice League – this was long. Entertaining enough (once we’d worked out that the reason we seemed to have been pitched right into the middle of the action without any explanation as to what was going on was that we’d mistakenly selected the recording of part 2, thus pitching us right into the middle of the action). I can’t get along with this Batman though – the dark broodiness seems comical.
Kingsman – very silly, very violent, quite rude, very diverting.
Lucy – started off brilliantly, got dafter, if more visually exciting, as it went along.
The Shape of Water – beautiful, magical, strange and moving. It will also always be to me the last thing that I watched with my husband, the night before he died.
Shazam – post-bereavement fun watch
Starship Troopers – violent political satire on militaristic nationalism, based on a Heinlein novel which celebrated militaristic nationalism (and which director Verhoeven described as ‘a very bad book’ and so right wing he could not bear to read it all).
Zombieland Double Tap – not as good as the first film, but entertaining
NB – the adjective ‘grim’ crops up a number of times below. This is not necessarily a criticism, more of a warning that in this particular drama we are a long way from Midsomer, Mallorca or Paradise.
All the Sins (Finland, series 1 & 2) – grim. Lots of religious repression.
Darkness (Those That Kill) (Denmark, series 2) – serial killer series focusing on a profiler, who is so bad at her job that she sleeps with the perp (sorry if I’ve spoilered it, but actually I’ve saved you some time…)
Deutschland 89 (Germany, series 3) – a fine finale to the series, as we’ve followed Martin through the last six years of the GDR. Whereas much of the history invoked in ’83 and ’86 wasn’t too familiar to us, this one of course was, and it was fascinating to see if from such a different perspective.
DNA (Denmark) – entertaining, but plot holes aplenty
Ice Cold Murders – Rocco Schiavone (Italy) – the plots are ok, and the maverick detective is ok if a bit of a cliché, but the ‘comedic’ elements haven’t travelled very well and sit poorly with the darker elements of the plot
Monster (Norway) – grim. Lots of religious repression.
Nordic Murders (Germany) – not really Nordic, as we understand it. Set on an island that is part Polish, part German. Series 1 (I haven’t followed up subsequent series) started off well enough with the release of a former prosecutor after serving a prison sentence for murder, but then every episode seemed to feature said former prosecutor somehow getting involved in, and miraculously solving, the crimes.
Paris Police 1900 (France) – fascinating, set in the days when the Dreyfus affair was tearing France apart, and antisemitic conspiracy theories were rife.
Rebecka Martinsson (Sweden) – we watched series 1 some time ago so were slightly thrown when the eponymous detective looked entirely different in series 2 thanks to a change of actor. Having got used to that, it was entertaining, even if the lead characters were quite annoying.
Spiral (France) – our final encounter with Laure, Gilou and Josephine. They will be sorely missed.
The Twelve (Belgium) – a courtroom drama with two strands, a murder trial, and the personal lives of some of the jurors. There were some holes in the former plot line, and the second was a bit soapy, but overall it was enjoyable enough.
21 Bridges – v. enjoyable cop thriller with Chadwick Boseman in the lead.
The Valhalla Murders (Iceland) – Grim.
Bloodlands – convoluted plot, not entirely convincing. A second series is apparently in the works but I may not bother.
Inspector George Gently – I do love a period detective drama, if it’s done well and thoughtfully uses the period setting rather than just tapping into some vague nostalgia for the old days when there were bobbies on the beat. Gently is an excellent example of the genre – the 60s setting brings out, in early episodes, the fact that murderers faced the death penalty, the way in which the war was still so present in the minds of those who fought in it, and a barrier to understanding between the generations, the racism, sexism, homophobia and so on that were taken for granted…
WPC 56 – the tone of this is all over the place. Quite serious stuff about racism and sexism and heavy-handed policing, mingled with rather heavy-handed comedy/slapstick involving a bumbling spiv, or a clumsy copper. The lead character (in series 1 and 2) is also an unconvincing mixture of forthright and gutsy, with naïve and romantic (not an impossible combination, I do realise, but neither the script nor the performance is good enough to make it work).
Endeavour (season 6) – yes, this is period detective drama. But it’s so much more. The quality of the writing is consistently high, and the performances, particularly from the core team of Evans, Allam and Lesser, are subtle and convincing – and often very moving. And of course, whilst we are enjoying the 60s/70s setting, we are always conscious that this is the ‘origin story’ of Morse and there’s a fascination in seeing Evans’ portrayal, and the scripts, gradually connecting with the original series.
Grace – didn’t quite work, despite John Simm, who I really like. It’s quite a cracker of a plot (based on, though its ending departs from, Peter James’ Dead Simple) but the eponymous DI’s dabbling in the supernatural (he consults a medium, despite having nearly lost his job over doing so in a previous case) was odd – I think we were meant to believe that the medium was the real deal and his input valuable to the case, but it wasn’t very convincing.
Innocent – series 2, but with an entirely different cast and plot from series 1. The link is that both feature people who have done time but then had their convictions overturned, and focus both on the difficulty of reintegrating with their previous lives, and their desire to expose the real murderer.
Killing Eve – season 3. OK, I know it’s not quite as brilliant as the first two, but even slightly less good Killing Eve is a cut above the average.
Line of Duty – I did not share the disappointment that some felt about the big reveal which turned out not to be such a big reveal. Yes, our household did let out an incredulous shout as we realised who was being led into the interrogation suite, but it was obvious immediately that this was no criminal mastermind but someone obeying orders from much higher up, so we are still waiting for the actual Big Reveal (series 7?)
Mystery Road – gritty Australian crime series (series 2). Excellent, and featuring a significant number of indigenous Australian actors, including the lead, Aaron Pederson. He’s incredibly dour – the character was described by the Guardian’s reviewer as ‘caught between traditions, between worldviews, between laws and lores’. The history and racial politics of Australia are always present here, whether as a troubling undercurrent or in the foreground of the plot.
Shetland – the series has long since parted company with Ann Cleeves’ novels, but stands on its own two feet very well.
Too Close – a psychological drama with a number of glaring plot holes, but great performances from Emily Watson and Denise Gough.
Traces – excellent crime drama written by Val McDermid, set in Dundee, and featuring Martin Compston (Line of Duty).
Unforgotten (Season 4) – this series is always emotionally hard-hitting. The ‘reveal’ scene at the end of Season 3 still haunts me, and the focus on the way in which the impact of the crime continues to devastate long afterwards is powerfully done. This series was no exception. Apparently some viewers were cross about the ending, which I don’t really understand – I thought it was, yes, heartbreaking but handled with subtlety and humanity.
Vera (Season 10) – we do love Vera. And I have a very soft spot for her DS, especially (I may have mentioned this in previous years’ reviews) the way he kneels down to put her crime scene shoe covers on.
Tinker Tailor Soldier Spy – the 1979 series, with Alec Guinness as (surely) the definitive Smiley. I remember watching it at the time and being enthralled. The opening sequence was slow, and almost dialogue-free, but told us an awful lot regardless – subtle atmosphere building and character development. Everything was slightly sepia, as if nicotine stained. The 2011 film was excellent, but I was surprised how closely they followed the series.
Gosford Park – easy to get distracted by the star cast, but one did have to concentrate to follow the plot. Thoroughly entertaining, great script, splendid performances, no depth or nuance but that didn’t stop it being most enjoyable.
Death in Paradise/The Mallorca Files/McDonald & Dodds/Midsomer Murders – murder in a beautiful setting and/or with a slightly tongue in cheek approach, nothing too heavy or emotionally engaging. There are times when that’s just what one needs.
Brooklyn 99 – having been urged for several years to watch this by my son, I finally started to watch it, with him, in the days following Martyn’s death. Very funny, very well written.
Community (Season 6) – They got six seasons, but no sign of a movie… Continued to be super-meta and bonkers to the very end.
Good Girls – this one was my daughter’s contribution to post-bereavement watching. Whilst some (many) plot developments could be seen coming, the script and the performances make it immensely enjoyable.
Modern Family (Season 9) – it tends to re-tread the same ground repeatedly, but Phil makes me laugh such a lot that all is forgiven.
Parks & Recreation (Season 1) – I gather that Season 1 is simply an intro to when it gets really good, from Season 2 onwards. I intend to check that out soon. Meantime, we rather enjoyed Season 1.
What We Do in the Shadows – mad, silly, rude and gory
This Way Up – Aisling Bea’s comedy has so much heart. It’s full of people who aren’t horrible, just human and who make mistakes and hurt people without particularly intending to, and people who are trying really hard to cope with life. It made me laugh and cry.
Ted Lasso (Season 1) – a warm hug of a show. But not as cosy as that suggests, it doesn’t shy away from unhappiness and unkindness, and Ted isn’t a Forrest Gump, as I feared, but a very intelligent person who’s found a way of living and relating to people that merely seems simple. I loved it. And it’s about football.
Films we watched, huddled together on the sofa, in the aftermath: Bridesmaids, Hitch, Lovebirds, Murder Mystery. All enjoyable and silly, and just what we needed.
Strictly Come Dancing – I had never watched this before. I can’t imagine how I could have sold it to Martyn, TBH. But I am now so invested, having wept my way through Rose’s silent dance, and John and Johannes talking about coming out, and Rhys’s Dad and AJ’s Mum… The dancing is so joyous and life affirming, and for all the clichés about ‘journeys’ we are watching people grow and flourish in a most extraordinary way. I’m hooked.
The Great British Bake-off – another bit of joyful telly. These people are competing against one another, but they seem to care about each other too. As the final three waited for the announcement of the winner, they were all holding hands, which was rather sweet. Baking, like dancing, is something I cannot comprehend or imagine ever doing, even incompetently, so it does all feel rather like magic.
Taskmaster – it does depend a bit on who the competitors are, but generally it’s engaging, funny, and bonkers.
Get Back – this was glorious. I remember watching the Let it Be documentary, way way back, with Martyn, and the selection of material made everything seem sour, and sad. Seeing all these hours of footage, what comes across is the joy that they still found in making music, the laughter, the sweet moments, the magical process where we hear the song we know emerging from what seemed to be an aimless jam. There’s friction, sure, but ‘you know, lads, the band!’ as Paul says. And I’ve always loved that rooftop performance. Favourite moments – the ‘Get Back’ moment, John and Yoko waltzing to ‘I Me Mine’, Heather mimicking Yoko’s primal screamy vocals, Paul saying, very early on, that it would be really cool if the gig were to be interrupted by the cops. Paul mocking the idea that future generations might think the band broke up because Yoko sat on an amp. Mal. And Glyn. Everyone trying to stall the cops as they head for the roof. I know some people (probably quite a few) found its running time too long. All I can say is that it never outstayed its welcome for me. My apprenticeship was 47 years of listening to musicians jamming, trying things out, allowing tunes to emerge. Listening as it happened, and then listening to recordings of it happening… So every minute of this was tinged with sadness, that Martyn wasn’t there to watch it with me, and memories of listening to this music with him, and listening to him making his own music.
Summer of Soul (or – when the revolution could not be televised) – 2021 documentary, mixing footage from the 1969 Harlem Cultural Festival with commentary from some of the artists, and some members of the audience. It features performances from (amongst others), Mahalia Jackson, Staple Singers, Sly & the Family Stone, Nina Simone, Gladys Knight & the Pips, Stevie Wonder… An extraordinary record of an extraordinary event.
Hamilton – a real treat. The conceit (rapping about 18th century American history) is audacious, and carried off with such flair and style. As the Guardian reviewer put it, it offers us ‘history de-wigged’, it captures ‘the fervour and excitement of revolution’, and celebrates the ways in which immigrants shaped America by casting almost entirely non-white performers. Stunning, and I will be re-watching this soon.
Aretha Franklin – Amazing Grace – wonderful footage from the recording of the Amazing Grace album, Aretha paying her gospel dues. That voice, oh lord. And she sang her mash-up of ‘You’ve got a friend’ with ‘Precious Lord’.
Miles Davis: Birth of the Cool – brilliant doc on one of my absolute favourite musicians, a most remarkable and fascinating man with an extraordinary life.
Once were Brothers – another excellent doc, this one on The Band, largely through Robbie Robertson’s reminiscences, which are very articulate and thoughtful.
Delia Derbyshire: The Myths and the Legendary Tapes – a labour of love from writer/director and actor Caroline Catz, exploring the life and work of this innovator in electronic music, someone who undoubtedly should be better known.
West Side Story – Spielberg was never going to diss the original movie, so my fear was that it might be just a bit too reverential, rather than that he would ditch any of the things that are most vital about it. The music, the lyrics, the choreography, are all there, and any changes are contextual – the setting for some of the big dance numbers, who some of the songs are given to, for example. There’s additional dialogue which allows for a fleshing out of the social issues touched upon in ‘Gee Officer Krupke’, and the context of a neighbourhood that’s not only disputed territory between the rival gangs, but scheduled for demolition and future gentrification. Lovely as Natalie Wood was, I much prefer Rachel Zegler, and whilst Ariana Debose can’t eclipse Rita Moreno (who could), she matches the vibrancy of that performance and, of course, we get Moreno anyway, in an added role as Doc’s widow. She gets to sing ‘Somewhere’, which broke me, that song, in her still lovely but more fragile voice, reflecting her own attempts to find a place for her and the man she loved. I loved it, and I cried, quite a lot, as I always do, but I also smiled in sheer delight, as I always do.
Carousel/South Pacific – first time for the former, the second (my Mum’s favourite musical) I have watched many, many times. I really disliked Carousel. Most of the music didn’t really move me (apart from it’s one really big wonderful tune), and I loathed Billy Bigelow, at best a charmless yob, at worst a violent bully, and so I hated him being given another chance to show Julie that he loved her (by hitting their daughter, apparently – but it’s OK because it felt like a kiss…). This stuff is seriously toxic and that one really big wonderful tune cannot redeem it. South Pacific, on the other hand, only a couple of years later from the same team, is wonderful. Now I know they dodge the issue of racial prejudice by having lovely Joe Cable die before he can keep his promise to Liat, but that song, ‘You Have to be Carefully Taught’ is brilliant, and pretty radical. Just to have Nellie and Joe acknowledging the irrationality of their prejudices, and their feeling of helplessness in the face of those irrational responses, is pretty radical. The tunes are great, the performances are great, and the use of coloured filters (a lot more extreme than the director had intended) is still startling and strange.
A mixed bag of musical biogs on Billie, Ella, Fela Kuti and Betty Davis (this last one rather undermined by the dearth of performance footage)
It’s impossible to think back over this year without constantly labelling the memories as ‘before’ or ‘after’. There are things I’d never have watched if he’d still been here, and things it seems awful that he missed because he would have loved them (Get Back, the latest series of Endeavour, to name but two). I don’t want to get maudlin but melancholy is inevitable. We had 44 years of watching telly on the sofa together, and we shared a love for Doctor Who for the last 47 years (starting with Pertwee, ending with Whitaker – I go on alone to the next regeneration). This time next year that before/after feeling will be less acute. I will have a whole 12 months of watching on my own, with family, with friends. I’ll still wish he was here though.
As always, a couple of caveats. When I say ‘the best’, I mean the stuff I really really liked. So I’m quite comfortable with you disagreeing – if you didn’t like something I did, then probably the reverse is true, and that’s totally fine. Secondly, whilst I’ve tried to avoid spoilers in what follows, read on at your own peril if you haven’t seen the programme/film concerned.
We’ve watched crime dramas from around the world – Cardinal (Canada), Crimson Rivers, No Second Chance and Les Dames (France), Darkness (Those who Kill) and Follow the Money (Denmark), Greyzone (Denmark/Sweden), The River (Norway), Night and Day (Spain), Trapped (Iceland), The Team (Denmark/Netherlands/Germany/France), Harrow (Australia), Perception and The Sinner (USA). These are a mixed bag – not all these series are ones we will follow up if we get a chance – and you may note a significant omission. Spiral is currently airing but at the time of writing we haven’t yet watched it – it’s accumulating on the BT box and we’re saving it up as a treat once it’s complete. Those are the rules, sorry. We’re also part way through Deutschland 86 which is excellent, and so extraordinary to contemplate how the world and the mindset of the GDR were due to disintegrate so completely only three years later.
Obviously, there’s plenty of home-grown crime too. Again, they’re a mixed bag – we weren’t entirely persuaded by Cheat, The Bay, Trust Me or The Widow, although they were entertaining enough. Baptiste, Innocent and Informer all had strong plots and strong casts, and emotional heft as well. The Le Carré adaptation, The Little Drummer Girl, was excellent too.
But in their own league were:
Endeavour – this keeps on getting better. The final episode was superb, and very moving. But for my money, the writing and acting in a brief scene between Bright (Anton Lesser) and Thursday (Roger Allam) was television at its finest. They were talking about the women they loved and feared (or knew) they were losing, how they had met them – and as each of them reminisced, it was as if they were each in their own world of memory, their words interweaving in a way that was somehow operatic (whilst being very understated, as befits the two characters).
Killing Eve season 2 was widely reckoned to be not up to the first. I can see some of that. But it was still quite deranged, deliciously wicked, and wickedly delicious. Whether a third season is a good idea, I don’t know, but will give it a go – I can’t think of any other series that has delivered the utterly unexpected quite so frequently. And Jodie Comer and Sandra Oh totally deserve all of the praise they’ve received for their performances.
Line of Duty was as nail-bitingly tense as ever. The elements are familiar now but the twists and turns of the plot are still gripping, and the performances excellent. I think before the next season, whenever that lands, we will have to re-watch the whole thing from the beginning, because it’s clearly all interconnected and I’m sure all the clues as to who is H (if indeed there is an H) are there somewhere… (and no, of course it isn’t Ted. Don’t be silly).
After all that murder, we do need the occasional laugh. I’m super-critical of comedy. I’ll give a new programme a try, but if it makes me wince more than it makes me laugh it doesn’t get a second chance. These passed the test.
This year saw the last Big Bang Theory – there was a point when I thought it had exhausted the comedic possibilities of the sitch and the central (male) characters, but bringing the women into the foreground gave it a new lease of life, and the final season was funny and often touching. Young Sheldon turned out to be excellent, the Cooper family drawn and performed with real affection and warmth.
We got to Fleabag rather late in the day but it was brilliant and funny. I was starting to find the glances to camera slightly irritating, when she changed the rules again in Season 2, with the hot priest noticing and asking her about it. Weirdly, Gentleman Jack also used the same trick (no idea who was copying who).
Derry Girls was fabulous, and silly, but never let one quite forget the context. The events around the signing of the Good Friday Agreement and Bill Clinton’s visit to Derry may have been mere background as far as the teenagers were concerned, but were heavy with meaning, at a time when the GFA seemed under threat from a no-deal Brexit. (It may still be – only a fool would attempt to make predictions at present.)
And The Good Place took us into unexpected realms of moral philosophy whilst being very funny along the way. (We’ve just finished season 2.)
Of these, I’m going to pick Derry Girls as my fave. I love those girls (and boy). And Sister Michael, obvs.
Having welcomed the Thirteenth Doctor in 2018, we had just the one episode of Who to sustain us through 2019, a New Year’s Day special. But the trailer’s out now for the new series, ‘coming soon in 2020’ so will just have to be patient till then…
Agents of Shield continued to be complex and compelling drama. The latest season ended with another unexpected swerve. My only quibble – and it applies to the next programme too – is the tendency to appear to kill off a key and beloved character and then renege on death. It’s something that happens a lot in fantasy/sci fi, given that there are myriad ways in which death can be cheated or reversed, but just because you can, doesn’t mean you should… Cumulatively, it can mean that the next death doesn’t move you because you kind of know they’ll be back.
Star Trek Discovery is still excellent, even without Jason Isaacs. And the arrival of Captain Pike was most intriguing, given the tie in to original Trek as well as to the reboot movies. There are some great characters (I’m especially fond of Ensign Tilly). Too much death-reversing (see above). But thoroughly enjoyable, exciting, unexpected.
Walking Dead has come back from a real creative slump. The war with the Saviours just went on too long, and was over-reliant on our supposed fascination with Negan. But with a jump forward in time, we’ve now (in Series 10) got a really creepy and interesting new threat, which also weaponises the zombie hordes, who had come to seem almost irrelevant during the Saviour wars. The mid-season finale (or should that be semi-finale?) was a classic example of key character doing something utterly stupid that endangers nearly every other key character – but it did it well, and the other plot strands that were left as cliff-hangers were powerful too. I’m glad I didn’t give up on it.
Hard to pick one – but I’ll go with Shield.
Years and Years almost qualifies as sci-fi. This Russell T Davies near future dystopia deals extensively with tech and how it affects every detail of people’s lives. But its main focus is the rise of a cynical, populist politician, who through a mixture of public support and chicanery gains power and uses it to horrific effect. It being RTD, this is emotionally intense, often funny, always scary.
Gentleman Jack stars the wonderful Suranne Jones as the early nineteenth-century lesbian diarist Anne Lister. She’s a fascinating character, particularly when one sees her through a contemporary lens – her sexuality and determination to follow her own path in that regard, despite all of the obstacles that society places in her way on the one hand, her belief in the class system and the interests of the landowning aristocracy on the other. It’s a hugely entertaining account, which reminds us that it’s based on Anne’s encrypted diaries with her asides to camera (as noted above, very Fleabag, even to the extent of having Anne’s lover notice at one point and comment on it).
More conventional costume drama in Poldark which reached its final season, so no more lingering shots of Ross riding along the Cornish clifftops or Demelza gazing out to sea. There are more books in the Winston Graham series than have been televised, but I think they focus on the next generation, so who knows, there might be a Poldark 2 at some stage, but without Ross, Demelza, Dwight, Drake, evil George… Of course, it would still have the staggeringly beautiful north Cornish coast, and a fascinating and turbulent period in terms of national and social history to explore.
World on Fire takes two families, one working-class, one wealthy, in late 1930s Manchester, and through the various family members and an American journalist explores the build-up to and the first couple of years of the war. That it relies on coincidence to connect these individuals with so many key events of the period (the fall of Poland, Dunkirk, the sinking of the Graf Spee, the Nazi euthaniasia programme, the occupation of Paris…) is absolutely fine. It’s a dramatic device, but it works. However. I’m happy to suspend disbelief at the aforementioned coincidences, but I cannot for the life of me see how Grzegorz gets from Gdansk to Warsaw to the Soviet occupied area of Poland and then within a period of less than nine months, without false papers, crosses most of Nazi Europe to turn up at Dunkirk and blag a place on a boat. It feels like there’s a whole story there to be told, if we’re to accept it at all, but instead we just jump from Soviet Poland to the beaches at Dunkirk. I would be less hard on this if I didn’t like the series so much in every other respect, but I shouted at the telly a couple of times over this strand of the narrative and no further explanation was forthcoming. Hmmm.
Stephen Poliakoff’s Summer of Rockets explores Cold War Britain, through the family of a Russian Jewish inventor recruited by MI5. It’s a fascinating portrayal of the world into which I was born (it’s set in 1958) but which I don’t recognise at all. Keeley Hawes is as splendid as ever, amongst a strong cast. Beautifully written and filmed, it’s thoroughly intriguing and quirky.
Best of these – another hard choice but I’ll go with Years and Years.
This year the children of 7 Up turned 63. We’ve been following them for decades now – they’re our contemporaries, and have been part of our lives for so long that we feel they’re almost like distant relations, who we only see every few years, but still kind of care about. I wonder how many of them will continue with the series (some of them said that their continued participation depends on Michael Apted, who’s now 71). Not only that, but whilst we have so far weathered divorces, the loss of parents, serious illness, and the death of one of the cohort, it can only get tougher from here on in. But for as long as they continue, we will continue to check in with them. Whatever the flaws in the original conception it’s been the most extraordinarily fascinating series.
One more doc, The Yorkshire Ripper Files. The last thing I watched about the Ripper, the drama-doc, This is Personal, gave me horrific nightmares. It ostensibly focused on the investigation but dramatized at least one attempted murder, and it took me right back to the fear that we lived with in Yorkshire whilst he was out there, killing women. I used to come back from work, always hoping that Karen from next door would be on my bus, and that we would scurry back from the bus stop to our road, feeling marginally safer for being together, but not feeling fully safe until we were home and the door shut and chained. And every night, those nightmares. The Yorkshire Ripper Files focused on how the investigation was derailed not just by the hoax tape but by the conventional attitudes of the time, fixating on the fact that some early victims were sex workers, and thus discounting attacks on women who were not, even when one of those women provided a chillingly accurate description of Sutcliffe. There was much I didn’t know, despite having followed the case so closely at the time, and it was a powerful reminder of how far, in many ways, we’ve come since the 70s, even if much still needs to change.
The Big Screen (even if seen on DVD on the small screen…)
It’s been a Marvellous year in the cinema. We had the arrival of the most powerful Avenger, and then the culmination of the Avengers saga with the mighty Endgame. I can’t be doing with the auteur-led dismissal of the superhero genre – my cinematic world is broad enough to encompass enigmatic French art films where nothing happens at considerable length AND epic battles between good and evil, packed with action (also at considerable length) but also with wit and heart. I’m contemplating a lengthier defence of the genre for this blog at some stage but for now, Scorsese, et al, leave it out. As well as the two major films, there were hugely enjoyable outings for Ant Man and the Wasp, and for Spiderman (both in the form of Tom Holland and in the animated Into the Spiderverse).
Leave No Trace was a beautiful, subtle piece of film-making, full of warmth and compassion, and faith in people. So many situations where one feared the worst but where people turned out to be decent, to be doing their best, to be kind. It hurt my heart, but it soothed it too. I know not everyone is ok, but perhaps sometimes we need to be reminded that most people are.
Bad Times at the El Royale was fairly bonkers, a lot of fun, with fantastic performances from Jeff Bridges and Cynthia Erivo in particular. The body count was pretty spectacular, but again, there were instances where people turned out to be better than one might have feared, rather than worse.
Erivo turned up again in Widows, one of a number of excellent films we saw this year with predominantly black casts. A heist movie wasn’t what I would have expected from Steve McQueen after Twelve Years a Slave, but as the Empire reviewer put it, ‘with the help of a staggering ensemble cast, Steve McQueen has made an intelligent, emotional thriller that contemplates contemporary American politics as confidently as it does blowing shit up.’
Spike Lee’s BlacKKKlansman got some stick for preaching to the choir, for making the contemporary parallels too obvious, and for making the KKK too stupid to be scary. I’m not sure that I agree. The final scene in which the lead players chuckle at their victory would be far too complacent and cheesy were it not for the news footage that follows, of Charlottesville and the contemporary equivalents of those bigots, still here, still spouting their hate. Lee’s film is often very funny and yes, a lot of the laughs come at the expense of the Klan. But there’s plenty here – even without the bookending of the 1950s racist PSA and the Charlottesville fascist demos – to shock and disturb. Denzel’s son, John David Washington, and Adam Driver, are great in the leads.
We only saw Jordan Peele’s Get Out this year, but had managed to avoid having much idea of what happened, beyond the initial premise of a young black guy visiting his white girlfriend’s family for the first time. It builds brilliantly – initially things are just that bit awkward, a bit clumsy, but we could be in for social comedy at this stage. We see Chris (brilliantly played by Daniel Kaluuya) initially smiling along – his whole life he’s been encountering the many and varied forms of white racism, and he knows there’s no point in calling it out, not at first. But then it gets weirder, and wronger, and every time you think you know where we’re heading, you’re wrongfooted…
Peele’s most recent film, Us, is ‘a superb doppelganger satire of the American dream’, which, like Get Out, builds its terrors gradually and relentlessly, and pulls surprise after surprise. Its mythology is more opaque than that of Get Out, but it resonates very powerfully nonetheless, and the chills and shocks stay with you. Lupita Nyong’o is absolutely mesmerising.
Sorry to Bother You is madly satirical sci-fi. It may sound mundane: a young black telemarketer who adopts a white accent to succeed at his job. Swept into a corporate conspiracy, he must choose between profit and joining his activist friends to organise labour. But whilst there’s an absolutely dizzying swerve part way through that no one could possibly have predicted, there are elements right from the start that mark it out as not social realism.
If Beale Street could Talk is an adaptation of James Baldwin’s novel, and it’s so very beautiful. It’s even quietly optimistic and hopeful about humanity, despite everything that happens to the protagonists, because it portrays real and lasting romantic love, and real and powerful family love. The Guardian said: ‘Here is a film almost woozy with its own beauty and dignity, a film going transcendently high in the face of a racist world going low. It is a tribute of quiet passion extended to those lives fractured by injustice, and seems to serenely offer up their hard-won heroism to ward off bigotry’s corrosive evil’.
There have been fewer opportunities to watch French art-house movies of late, but we did see Agnes Varda’s final film, which gives us the delight of spending two hours in her very engaging company, through interviews and clips from her movies. Varda by Agnes should take one immediately to seeing all of her films. We also caught Non-Fiction, which is about as archetypal a French film as one could find – populated by writers, publishers, actors and their ilk, all of whom are sleeping with each other, when they’re not having intense debates about the future of literature in a digital age. It’s clever and funny and very enjoyable.
The Farewell was great too – very touching and funny, about families and about cultural differences. As it opens we see Billi, the protagonist, in New York, juggling cultures adeptly as she talks on her phone to her grandmother in China and telling her what she wants to hear. But the grandmother is diagnosed with terminal cancer, and the family follow tradition in not telling the patient of her prognosis, all gathering in China for a slightly rushed wedding in order to say their farewells without actually saying farewell…
Booksmart was a ridiculously funny and smart coming-of-age film, starring Beanie Feldstein (the best friend in Lady Bird) and Kathryn Dever. They carry the film completely – parents and potential boy or girlfriends are in a way peripheral. The Guardian review said: ‘there are sequences that will feel familiar to anyone well-versed in high school comedies, but Wilde manages to grace her film with a distinctive aura all of its own. For one, romance and sex are relatively low down on the list for the girls while friendship, feminism and the pursuit of fun are of more importance, turning them from archetypes into fully fleshed, and flawed, young women.’
If I have to pick from these, my top three films would be Avengers: Endgame, If Beale Street could Talk, and Us.
Allons-y to 2020!
These are my picks for films of 2018. As usual, I’m resisting the urge to rank these, because they’re so diverse, but there is a top 3 which I will reveal shortly.
2018 had two huge additions to the Marvel cinematic universe. Black Panther has a significance that goes way beyond its contribution to the Avengers’ narrative arc. It gives us, all of us, a cast that is overwhelmingly made up of people of colour. Good guys and bad guys and somewhere in between. And not just guys – a whole lot of magnificent, clever women too. The film had, as one might have expected, a huge impact on black audiences. It’s not that they hadn’t ever seen people who look like them on screen, or even in superhero movies, but up front and centre? All over the damn screen? But it had an impact on all of us, I think. It didn’t make a big deal of what it was doing, it just got on with it, as this review in The Daily Telegraph, of all places, points out:
The film walks into the multiplex like it’s insane that it hasn’t been allowed in there all along. And it is. For one thing, an entire subset of younger cinema-goers are only just about to experience the dizzy uplift of watching a title character in a superhero movie who looks like them under the costume. … Black Panther seems to overcome the genre’s long-standing neuroses around creating rounded, exciting roles for women by just getting on with it.
It worked on every level – there was much fighting, and things exploded, and there was moral ambiguity, and there was witty dialogue. And it was visually stunning – our first view of Wakanda was breathtaking.
And then there’s Avengers: Infinity War. Now normally I walk out of the cinema after a Marvel movie with a big daft smile on my face. Not this time. I was braced for deaths – I thought I knew what was coming and did a bit of advance grieving for my most-loved Avenger (Captain, oh, my Captain). What we got was much more confusing than that. We lost so many, but not the ones we expected to lose – in fact, many of those who we saw turn to dust were the ones we know absolutely can’t be gone. It’s fine that in fantasy death is not always the end – why bother creating a fantasy world if it has to obey all of the same rules as the real one? – but the risk is always that death loses its sting if we too often can just nod sagely to each other and say, ‘they’ll be back’. So, which of these deaths are going to stick, and which will be reversed? We have to wait until April 2019 to find out.
The Last Jedi features
a scene … that’s both revolutionary and dead simple: a circle of women, soldiers and warriors all, … handily discussing how they’re going to tackle their latest military offensive. While Star Wars has always featured strong women … Johnson’s film integrates them into all aspects of the story.
As I’ve said previously, Star Wars isn’t my thing, although I’ve very much enjoyed The Force Awakens, Rogue One and this one. But I don’t feel quite the exhilaration that the true fans feel at the resurgence of the series, nor can I understand the sense of betrayal from fans who believe that the recent films get it wrong.
Annihilation was released on Netflix so we saw it on the small screen. It’s a shame – it’s visually stunning and would have really benefited from being shown in the full cinema setting. However, it’s a superb sci-fi film, which has the courage to leave plenty of ambiguity, right to the end. And, refreshingly, the crack team that’s sent in to try to investigate the mysterious ‘Shimmer’ is made up of women – scientists and a paramedic. That’s one of the areas of ambiguity – were they chosen solely because of their specialist expertise, regardless of gender, or is their gender a factor in their selection, that the failure of successive teams of military men to emerge from the Zone is actually to do with gender?
A Quiet Place was one of the tensest ninety minutes I can recall (and I endured Forest’s last ditch Championship survival on goal difference a couple of seasons ago). It was initially a hard sell – you watch this film, you have to sign up to the discipline of no coughing, no rustling of crisp packets or sweet wrappers, no sotto voce asides to your neighbour. Silence is survival in this world, and we rapidly become part of it, as we see how this family has adapted every detail of their life to enable them to function in silence. It’s made very clear early on that the peril is real, and it gets realler. We watched this on the small screen but there was never any question of hitting pause to fetch a cuppa or go to the toilet. We sat so very still that my Fitbit thought I’d had a 90 minute sleep…
First Man was 60s science fiction become reality, portraying the build-up to the 1969 moon landing, focusing on Neil Armstrong, the first man to set foot on another world. Armstrong (as portrayed here by Ryan Gosling) was in many ways a hard man to root for, his emotional distance shown vividly in the final scene, where after his return to earth and still in quarantine, his reunion with his wife is through the barrier of a pane of glass.
A rather odd (and atypical) review in The New Yorker complained that:
there’s no sense of what Neil’s perspective might be on the Twist, the Beatles, or anything else going on in the turbulent sixties.
I can’t say I was particularly troubled by that – it is actually refreshing to reflect that probably most people in the sixties were not caught up in that cultural maelstrom. The reviewer goes on to claim that:
Chazelle openly mocks people who thought that the moon money was spent foolishly—those pesky intellectuals, blacks, and Hispanics who go on TV or into the street demanding “gimme” while the likes of Neil and his exclusively white, male colleagues uncomplainingly put their lives on the line to accomplish historic things in the interest of “mankind.”
This seems to me an extraordinary claim. Nothing in the movie suggested to me either that Armstrong’s emotional closedness was being lauded (indeed, the damage to himself and to his family was very clearly shown), or that Chazelle was pushing some kind of MAGA patriotic agenda. A much more perceptive – but not uncritical – review appeared in The Culture Vulture .
One of the most striking things about the film was the sensation of the physical reality both of the machines that transported these men into space, and of the claustrophobia of being strapped into those machines – the sheer noise, the jolting and juddering, the shots of sheets of metal held together by nuts and bolts. We’re used to space craft as bright white shiny machines, not as something that might have been built in someone’s garage. I watched that first landing on TV, having been allowed a special dispensation to stay up after normal bedtime. Back then it might as well have been sci-fi – in First Man it’s science, it’s engineering, it’s mechanics and it’s fragile human bodies making it all work.
Three Billboards featured the redoubtable Frances McDormand, who was as magnificent as one might have expected. McDormand’s Mildred wasn’t readily likeable, even when she was being admirable, and she got it horribly wrong in many ways, but she was a powerful presence.
The heart of the film was Woody Harrelson’s police chief, trying to find the best in everyone. And the moment that touched me most was when as they confront each other he is racked by a cough that spatters blood over both of them, and she says, ‘oh, baby’, as she realises how very ill he is. It’s often a brutal film, and often brutally funny.
Cold War is a musical history of postwar Europe, shot in luminous black and white, a story of doomed lovers who find and lose and find and lose and find each other, always searching, never settling. The film’s last line is “Let’s go to the other side. The view is better from there”.
The lovers’ story is told through music, from the raw rural folk that Wiktor and Irena are attempting to record, to the ‘Stalinisation’ of that tradition, the Parisian jazz and chanson that they immerse themselves in after their defection and back to the bastardised pop of Zula’s final performance. The chill referred to in the title is political and personal. Irena stands up during the first full-on Stalinised performance and walks out, never to be seen, or spoken of again. Zula admits in passing to having informed on Wiktor. Those were the realities, but they’re not underlined or over-explained. It’s beautiful and devastating.
My final pick for 2018 is Lady Bird. Saoirse Ronan is wonderful, as is Laurie Metcalf (always one of the best things about Roseanne). As a former teenage girl, and more recently as the mother of a teenage girl, I identified with both the eponymous Lady Bird (aka Christine) and with her mother Marion. This was real, and touching, and often very funny. There were scenes that I could swear were ripped from my own life:
Do you really need to use two towels?
Ah… No, I guess no.
If you need two towels you just have to say so because this affects my whole day. Because I have to do laundry before work, and I need to know if there are more towels that I need to wash.
Family life, summed up in one short exchange. And then there’s the sequence where mother and daughter attempt to choose a prom dress. I laughed and winced.
OK, so I kind of committed myself to a top 3. Black Panther, A Quiet Place, Three Billboards. Such very different films, which is why I’m not willing to rank them within that top 3. I hope the comments above explain why I’ve chosen them.
Honourable mentions to: Death of Stalin (Jason Isaacs!), the Showroom’s Bergman season of which I managed to see only Persona and Smiles of a Summer Night, and their Varda season of which I saw only Jacquot de Nantes. Both seasons whetted my appetite for more from those directors. I particularly loved the humour and warmth of Agnes Varda’s love letter to her husband, Jacques Demy. Also the first part of the new adaptation of Stephen King’s It, which was infinitely better than the previous version, and the second part of which I await eagerly.
It’s also important to recognise the old movies that I enjoyed this year. A bit of a Powell & Pressburger retrospective with Blimp, A Matter of Life & Death, and I Know Where I’m Going. Lord, those guys were brilliant. And a couple of Billy Wilders – the familiar (Some Like it Hot) and the new to me The Apartment (I’d seen the Bacharach musical based on the story but not the movie). Rewatched West Side Story as a birthday treat, and had my annual sobfest watching It’s a Wonderful Life just before Xmas.
Small screen will have to be a separate blog. Given current family pressures, it may be more of a list than a blog, but hey-ho, that’s how it goes. I also hope to look at how the Bechdel test stands up in terms of contemporary films, where it still has validity and importance and where it falls down.
Thanks to those who’ve shared these cinematic pleasures with me (Arthur, Viv, Martyn, Liz).
It was a good year for superheroes. Most specially because of Wonder Woman, not because it was the best of its genre this year necessarily but because for the first time with a superhero movie I didn’t have scroll through hundreds of images to find one where a woman was centre screen, in charge. I wrote about the film, how it made me feel, the exhilaration of seeing all the tropes I love about superhero movies but with a woman, a glorious, magnificent woman, where usually there is a man, or mainly men (quite possibly glorious and magnificent in their own right, but still).
I loved Guardians of the Galaxy 2, warming to it despite a phase when I wearied of some of the schoolboy humour, until I realised what that was telling us about these lost children, and how they were forming a strange, new family. There was plenty of daft humour too in Thor: Ragnarok, as one would expect given that Taika Waititi was directing (responsible for last year’s delightful Hunt for the Wilderpeople and for What we do in the Shadows). And it was perhaps a sign of changing times (and not a moment too soon) that Valkyrie is played as a cynical, world-weary, boozy mess who comes through when she is needed, such a male archetype. As well as obviously kicking ass in a most splendid way. Spiderman: Homecoming was charming, funny and really used the notion that Spidey is an adolescent boy, cleverly and with heart. Logan, though, of all the films that belong broadly in that genre, was the one to break your heart. With gripping valedictory performances from Jackman and Stewart, and a mesmerising and terrifying one from Dafne Keen.
Star Wars is not so much my thing. I did enjoy the first trilogy, albeit critically, but I never felt them to be mine, and I have never even seen the prequels (nor do I intend to). But I loved The Force Awakens, and I loved Rogue One, and I look forward to seeing The Last Jedi before long.
War for the Planet of the Apes was brilliant – referencing Biblical epics, Westerns, Apocalypse Now, Schindler’s List and probably other genres and specific films as well, whilst maintaining the power and emotional heft of its predecessors.
My efforts to find an image for each film in which a woman is prominent were doomed in the case of Dunkirk. That’s fair enough, given the premise, I didn’t expect women to feature other than in traditional roles – as nurses, or serving tea and jam sandwiches. There has been a more serious issue raised, that of the absence of non-white faces. I don’t honestly believe this was a deliberate whitewashing, nor do I accept that just because Farage liked the film it was a pro-Brexit parable. But it would have taken very little to ensure that there were visible representatives of the Royal Indian Army Services Corp companies, or the lascar crewmen on British merchant vessels that took part in the evacuation. They were there, and this could have been conveyed without changing the basic structure of the film and its deliberately narrow focus on a few of the rescued and rescuers. But having said that, whilst watching the film such considerations never crossed my mind. I was overwhelmed, by that intense focus, by the score which built and built the tension until it was almost unbearable (and the use of the Elgar Nimrod as the first of the little ships appeared reduced me, predictably enough, to sobs), and by the non-linear structure which forced one to concentrate, to hold those strands together even as the direction teased them apart.
The opposite for the next two movies – three women foregrounded in each of them. I wrote about Twentieth-century Women for International Women’s Day,
and Hidden Figures we missed at the cinema but caught on DVD – uplifting and inspiring even if, oddly enough, the sexism and racism they encountered was actually ramped up for the benefit of the story. Who would have thought that could ever be necessary?
Baby Driver was beautifully described by Empire as:
not a film just set to music. But a film meticulously, ambitiously laid over the bones of carefully chosen tracks. It’s as close to a car-chase opera as you’ll ever see on screen.
Even if the narrative arc (young man in debt to gangster does ‘one last job’ and finds out there’s no such thing) is traditional enough, the choreography, the seamless blend between diegetic and exegetic music, make it entirely original and massively enjoyable.
La La Land inspired me to write about musicals. It was gorgeous and delightful and poignant and much more that I wanted to say was expressed so well in a piece on the marvellous That’s How the Light Gets In blog.
And one more cinema outing, a rather lengthy but entirely captivating one, for Bertrand Tavernier’s Journey through French Cinema. It is what it says, a journey and a personal one at that, through French film from Tavernier’s first childhood moment of enchantment, on through the decades as he goes from a kid in the audience to a film maker himself. I believe there’s a follow-up in the making, bringing his journey more up to date, to which I will happily commit as many hours as it takes, as soon as it’s out.
Mind you, speaking of French cinema, I should really note that we did go to see Elle. However, my feelings about that film are so predominantly negative, that despite my overwhelming admiration for Huppert, and despite moments of brilliantly black comedy, I shall pass over it without substantial comment.
On to the smaller screen.
As always a good deal of crime fiction. The dramas noted below are not an inclusive list of what we watched. There were others that were workaday, or that strained credulity with plot craters and characters who behaved with a stupidity that was at the same time predictable and utterly inconsistent with what we already knew of them. I’m not going to name the guilty parties, just those that we were gripped by and that managed to avoid the worst clichés and pitfalls of the genre.
Sherlock: The Final Problem certainly didn’t give us genre cliché. What it all meant, and indeed, whether it meant anything at all or was just a clever game, is uncertain. The Guardian‘s reviewer was a bit cross about it, but identified two main strands in the narrative:
One was a subtle, beautifully crafted backstory about Sherlock’s childhood. The other was a fun if unfulfilling gameshow of wild hypotheticals, where everything was at stake yet it often felt as though very little was.
It was frustrating and baffling but it didn’t make me cross, I was perfectly willing to believe both that it did mean something and that it was just a fascinating puzzle that I would probably have no chance of unravelling.
Line of Duty series 4 was just superb. Thandie Newton’s Roz Huntley was absolutely compelling, and the plot twisted and turned as we were made to question everyone’s motives and integrity, at least briefly. It had the classic LoD set pieces in the interview room, plus shoot outs and chases, and a plot that at least started to weave together strands from series 1-3, whilst leaving plenty to look forward to in series 5, which cannot come around too soon for me.
The Missing had only one character in common with series 1, the grizzled detective (Tchéky Karyo) who I was very glad to spend another few hours with. Keeley Hawes and David Morrissey were both excellent, as always. The narrative begins, in a sense, at the point that one might expect it to end, with the return of their missing daughter. Of course, it’s not that simple, it’s complex and agonising, and unexpected.
Broadchurch 3 was much better than 2 (which I quite enjoyed at the time but actually struggle to recall what it was all about, really, apart from Joe’s not guilty plea). The handling of the rape case was generally excellent even if the resolution left a few dangling plot threads that didn’t quite make sense. Julie Hesmondhalgh was wonderful, as were, obviously, Tennant, Colman and Whittaker.
Strike was an excellent adaptation of the first two of Robert Galbraith (aka J K Rowling)’s Cormoran Strike novels. Tom Burke and Holliday Grainger were perfect in the lead roles, and I look forward immensely to the adaptation of the third and any future novels in the series.
I Know Who you Are was a fairly bonkers Spanish series in which most characters were pretty despicable, and one of the two genuinely sympathetic people didn’t make it out alive. The only morality that prevailed was Family and within that there was a hierarchy of loyalty – to attempt to murder one’s sister in order to protect one’s son was seen by most characters (including the intended victim) as pretty reasonable. It was all thoroughly enjoyable.
Unforgotten 2 was profoundly different, as Nicola Walker and Sanjeev Bhaskar unpicked another cold case. They are both deeply sympathetic characters and the whole thing is imbued with a kind of compassion and empathy that draws in the damaged people whose lives have been twisted in various ways by the past crime.
Rellik very cleverly subverted the way in which the detective story must follow a retrograde narrative path, starting with the crime and working backwards, by starting with the crime’s (apparent) resolution and working backwards and backwards, until in its final episode it leapt back to the beginning/end and a shocking dénoument. The structure took a bit of getting used to and never quite stopped being unsettling, but we thoroughly enjoyed the ride. It was produced by Harry and Jack Williams (The Missing) and featured, amongst other excellent performances, the wonderful Rosalind Eleazar as an early suspect.
Witnesses was the second series of the French crime drama starring Marie Dompnier. This one also stars Audrey Fleurot, who we know from Spiral, and whose return in that series we look forward to impatiently. Witnesses was compelling and baffling and ended most enigmatically (none the worse for that – I’d rather have honest to goodness open endings than ostensibly tidy endings that actually leave loose threads all over the place).
Fargo 3 brought us not one but two wonderful female cops. Gloria Burgle (Carrie Coon) and Winnie Lopez (Olivia Sandoval). And not one but two Ewan McGregors, as he plays twin brothers. One David Thewlis was more than enough, however – his villain was quite the most revolting, viscerally unpleasant character I’ve seen on screen for some time. That’s a compliment (I think) to the writing and the acting. Lord knows where this one is going next but we’ll be more than happy to go along. Fargo also introduced the wonderful phrase, ‘unfathomable pinhead-ery’ into our vocab, for which we are truly thankful.
Telly sci-fi had an altogether brilliant year.
Agents of Shield had an outstanding season with a multi-layered narrative that messed with our heads and our hearts. Beautifully played and written, and quite breathtaking.
Orphan Black reached its fifth and final season, having maintained its form throughout the four years that it has been running. The weight of the series is carried – seemingly effortlessly – by the awesome Tatiana Maslany, who plays not only various clone ‘sestras’ but at various times plays one of them masquerading as one of the others. It’s dazzlingly done. It also stars the rather wonderful Maria Doyle Kennedy as Mrs S.
We’re not far through Star Trek: Discovery yet, but from episode 3 on were hooked. Yes, OK, that coincides with the arrival of Jason Isaacs, but it’s not just because Jason Isaacs. Sonequa Martin-Green is excellent, as is Anthony Rapp, and Mary Wiseman as cadet Tilly. It’s visually brilliant, and the plot is loaded with moral ambiguity from which it does not flinch. It promises much and we look forward to it developing further.
I remain loyal to The Walking Dead even though no one could claim that it’s unproblematic. The tone and pace are extremely uneven and it depends far too often on (a) plot armour, (b) magically inexhaustible ammo and (c) people who we know are capable of good judgement behaving with unfathomable pinheadery. Nonetheless, I cannot envisage giving up on it. I have to see how this plays out – and there are episodes which grip and compel and convince.
Possibly the only one of my top TV shows which features in the critics’ lists is The Handmaid’s Tale. I also read the book for the first time, as part of my 60 books in 60 days challenge. So much has been said about the series that I don’t feel I can add anything especially insightful – it was horrifying and terrifying and brilliantly done.
And of course there’s Doctor Who. I wrote about the (to me, brilliant) news that the next Doctor will be a woman. Nonetheless, much as I look forward to seeing what Jodie Whittaker brings to the role I will need to grieve first for Peter Capaldi’s doctor, who I have loved – and for Pearl Mackie who has been a wonderful companion. PC’s final series was excellent, and the finale was heart-stopping and moving.
“I’m not trying to win. I’m not doing this because I want to beat someone, because I hate someone, or because I want to blame someone. It’s not because it’s fun. God knows it’s not because it’s easy. It’s not even because it works because it hardly ever does. I do what I do because it’s right! Because it’s decent! And above all, it’s kind! It’s just that… Just kind. If I run away today, good people will die. If I stand and fight, some of them might live. Maybe not many, maybe not for long. Hey, you know, maybe there’s no point to any of this at all. But it’s the best I can do. So I’m going to do it. And I’m going to stand here doing it until it kills me. And you’re going to die too! Some day… And how will that be? Have you thought about it? What would you die for? Who I am is where I stand. Where I stand is where I fall.” — The Doctor
Three docs worth mentioning. Suzie Klein’s Tunes for Tyrants explored 20th century music in the context of Nazi and Stalinist oppression. She’s an excellent presenter and the material – and the music – was fascinating and powerful.
Bowie’s departure from this dimension was – for me amongst others – the greatest loss of 2016, a year of losses. Bowie – the Last Five Years brought us the final phase of that extraordinary story, as he worked on his last two albums, and the stage musical Lazarus. We were reminded, as if we could forget, not only of his talent, but of his humour and intelligence, his warmth and wit. And that last body of work is not only a worthy finale to his career but imbued with a sense of mortality and the fragility of life.
Neil Brand is one of my favourite music-explainers. Charles Hazlewood and Tom Service have got that nailed in terms of classical music but for the music of stage and screen, for the popular song, Neil is your man, and The Sound of Musicals was a delight.
We loved Poldark, and not just for the scenery.
The Replacement was a bit bonkers but both Vicky McClure (see also Line of Duty) and Morven Christie (also in The A Word, series 2 of which isn’t covered here only because it’s yet to be watched) were excellent.
And another favourite of mine, Suranne Jones, was magnificent in series 2 of Doctor Foster.
We got to see Jodie Whittaker pretending to be a doctor in Trust Me. Plot holes a-plenty (unless they’re just an indication of a second series coming up?) but well done, and well played by JW – looking forward to her being a real Doctor shortly.
Homeland was on excellent form, with the dynamics between Carrie and the new female PotUS adding a new dimension to the plot.
And Spin took us back into the shadowy world of French political manouevering.
It wasn’t all screen based culture. I made several visits to Leeds Grand Theatre for Opera North productions, some of which I reviewed for The Culture Vulture (see the Reviews page of this site, which also features my review of the Sheffield Crucible’s production of Julius Caesar). I also saw at Leeds Grand a magical production of Rimsky-Korsakov’s The Snow Maiden, at the Crucible, an intense Desire Under the Elms, and in the Crucible Studio various splendid Music in the Round chamber music concerts.
So, thanks to all who’ve shared these delights with me. Liz, Viv, Arthur, Ruth, Aid, Dad, and of course him that I’ve been watching telly and going to the pictures and going to gigs and plays with for >40 years…
MASTER: Is the future going to be all girl?
DOCTOR: We can only hope.
Steve: “This war is a great big mess, and there’s not a whole lot you and I can do about that. I mean, we can get back to London and try to get to the men who can.”
Diana: “I am the man who can.”
NB What follows contains some spoilers… Caveat lector.
It mattered a great deal that Wonder Woman was, well, wonderful. I can cope with Batman v Superman being a bit meh, or the odd entry in the Avengers cycle being less than stellar. But she needed to kick it out of the damn park.
And she did.
It’s not that she’s the first or the only. She herself has been around since 1941, and there have, of course, been other women superheroes (and supervillains) in the comics and on TV and in the movies. But it’s very rare for the one who carries the whole movie, the centre and focus, the one on whom everything depends, to be a woman.
And as much as I love the current Marvel series, a lot of the time they are really quite blokey. The blokes are great – funny and noble (mostly) and gorgeous, so I’m not complaining, not really. But there’s not enough of Black Widow and Scarlet Witch to balance things out. There’s a fine tradition of women heroes – think Ripley, Sarah Connor, Katniss Everdene – human, but with outstanding courage and strength. And there’s always and forever Buffy.
Wonder Woman is different. First off, she’s a half-god. Not an alien, or an inhuman, not technically enhanced, but a straight-up, bona fide, god-almighty daughter of a god. Second, her upbringing on Themyscira sets her in a context where women are powerful, strong, brave, not exceptionally but as a norm.
The opening sequences of Amazonian women training, and then fighting on the beach made me want to weep and cheer at the same time. Don’t get me wrong, I’m a bit of a pacifist on the whole, but the simple fact that this small army was comprised of glorious women was somehow very moving.
Of course all these women are beautiful. But they’re beautiful athletes, not beautiful models. They’re magnificent in the way that Serena and Venus Williams are magnificent. Their bodies are toned and lean and powerful and they are in control of them.
Gal Gadot herself is mesmerisingly gorgeous. That Chris Pine spends much of the movie just gazing at her in awe is perfectly understandable – when she is on screen one would need a damn good reason to look elsewhere. (Of course, the men in the movie also spend a lot of time saying variants of ‘just wait here’, ‘leave it to us’ and so on, and Diana doesn’t bother to argue, she just gives them a bit of a look and then does what she has to do. The phrase ‘nevertheless she persisted‘ came inevitably to mind.)
She’s presented, in some ways, as naive. That’s justified by what we know of her origins – what she’s been told, and not told, about the world beyond Themyscira. That doesn’t diminish her – she is rocked by the realisation that things are not as straightforwardly binary as she’d believed, but she recovers from that, regroups her forces and fights on.
“I used to want to save the world. To end war and bring peace to mankind. But then, I glimpsed the darkness that lives within their light. And I learned that inside every one of them, there will always be both. A choice each must make for themselves. Something no hero will ever defeat. And now I know, that only love can truly save the world. So I stay, I fight, and I give, for the world I know can be.”
I wrote a while ago about the Marvel universe and why I love it so:
It’s the flawed and fragile beauty of humanity that the Avengers fight for:
“Humans are odd. They think order and chaos are somehow opposites and try to control what won’t be. But there is grace in their failings. … A thing isn’t beautiful because it lasts. It is a privilege to be among them.”
Echoes of the Doctor there, I think. Amongst all of the forces that see the weakness of human beings and want to destroy, some stand with us. The Doctor said that in 900 years of space and time he’d never met anyone who wasn’t important. He tells us again and again that we are in our very ordinariness extraordinary, in our bloody-minded going where angels fear to tread, our curiosity and our moments of courage.
Diana Prince, like the Doctor, like Captain America and all the other heroes, does what’s right because it’s right.
without hope, without reward, without witness
What we see in the movie is her first encounter with the world beyond Themyscira. It baffles her (to comic effect as she struggles to comprehend why a woman should tolerate clothing that hobbles and constrains her), and it troubles her as she begins to realise that the people she encounters cannot be divided simply into ‘good’ and ‘bad’. She is not yet weary as Buffy is, so often, saving the world yet again. She has not yet lost battles, has not got centuries, aeons, of attempting to protect humanity from the forces that would destroy it. But nonetheless she would understand the Doctor.
Winning? Is that what you think it’s about? I’m not trying to win. I’m not doing this because I want to beat someone, or because I hate someone, or because, because I want to blame someone. It’s not because it’s fun and God knows it’s not because it’s easy. It’s not even because it works, because it hardly ever does. I do what I do, because it’s right! Because it’s decent! And above all, it’s kind. It’s just that. Just kind. If I run away today, good people will die. If I stand and fight, some of them might live. Maybe not many, maybe not for long. Hey, you know, maybe there’s no point in any of this at all, but it’s the best I can do, so I’m going to do it. And I will stand here doing it till it kills me. You’re going to die too, some day. How will that be? Have you thought about it? What would you die for? Who I am is where I stand. Where I stand, is where I fall. Stand with me. These people are terrified. Maybe we can help, a little. Why not, just at the end, just be kind?
I was surprised at first at the choice to set Diana’s first encounter with the messy, murky world of humans in the first, rather than the second World War. But I think actually that’s right. The second is too simply a confrontation with evil, with the absolute worst that human beings could be. The first portrays more effectively the messiness and murkiness of it all – the moral questions about who started it and why, who joined in when and why are complex and still generate heated debate today (as was seen in the recent centenaries of the start of that war and of the Battle of the Somme). So the great evil that Diana confronts is not the Kaiser’s forces but war itself. Steve refers to ‘the war to end all wars’ but that description acquires layers of ambiguity, as it becomes clear that it is potentially also the war that never ends.
Interestingly, whilst the humans who represent that evil – chemical weapons scientist Isabel Maru (aka Doctor Poison), and General Ludendorff – are on the German side, the God of War himself is introduced to us as Sir Patrick Morgan, a British politician who is, it appears, attempting to negotiate an armistice. Murky, messy, or what…
We need Diana’s fierce kindness, her innocent clarity, to cut through all of this. We can’t aspire to her physical perfection, her power and strength. But we can be inspired by her moral strength. That kind of integrity is easy to dismiss as naive or po-faced – Captain America is its embodiment in the Avengers, and of course he is mocked by Iron Man, who himself embodies a more complex and troubled morality (Rick Blaine to Cap’s Victor Laszlo?).
But the simple fact that it is a woman who represents all of this – physical power, moral integrity, compassion – takes us to different places. That those men looking both for direction and guidance and for the power to follow through look to a woman still rocks our world a little bit. We’ve come a long way, baby, but not far enough, not so far that we can see the Amazons fighting on Themyscira, and Diana taking on the patriarchy and the God of War without a thrill, a shiver down the spine, a lump in the throat.
And whilst we cannot aspire to Amazonian strength, we can still draw strength from the Amazons. From Diana, Buffy, Katniss, Ripley, and all of the women who stand up when it’s right to stand up.
From now on, every girl in the world who might be a slayer will be a slayer. Every girl who could have the power will have the power … can stand up, will stand up. … Are you ready to be strong?
This was the year we threw off the shackles of paid employment. Martyn first, in March, and me at the very close of 2015. It feels terrifying and liberating all at once.
For me, this new freedom will give me more time to do the things I care most about. My PhD, which I hope I will now be able to do justice to. And Inspiration for Life, in particular the 24 Hour Inspire. Of all the things I’ve done over the years, this is what I’m proudest of.
And I hope of course to have more time to do the other things I love, more time to read, write, listen to music, go to gigs, go to the cinema/theatre, meet up with friends, travel, watch some of the box sets which are gathering dust by our DVD player…
Below are some of the cultural highlights of 2015. I’ve been lucky to have access to Ensemble 360, Opera North, Tramlines, Sheffield Jazz etc, and to have wonderful friends and family to share these experiences with.
The best of the year, without a doubt, was Timbuktu. Abderrahmane Sissako’s film is both beautiful and harrowing, a passionate cry from the heart about the threat posed by fundamentalist jihadists to the people, the culture and the music of Mali.
I won’t rank my other favourites, but they are:
Inside Out – Pixar at its very, very best. Clever, imaginative, daring, funny and moving. As the Guardian review said, ‘In the film’s wildest moment, the wanderers enter a zone of abstract thought, where they are zapped into a series of increasingly simplified geometric shapes, as they – and the film itself – dizzyingly self-deconstruct (“Oh no, we’re non-figurative!”)’.
A Girl Walks Home Alone at Night – Ana Lily Amirpour’s film has been tagged as ‘the first Iranian vampire Western’. Atmospheric and full of unexpected touches (including a skateboarding vampire), and a powerful feminist narrative. Sheila Vand has a fascinating face that can look very young and somehow ageless at different moments.
Love and Mercy – biopic of Brian Wilson, portrayed both in the Beach Boy years and in later life, by Paul Dano and John Cusack respectively. Cusack’s portrayal is fascinating – seeing the clip of the real Brian Wilson at the end of the movie, I realised just how perfectly he had captured him, despite the lack of obvious physical resemblance.
I Believe in Miracles – the story of Nottingham Forest’s astonishing European Cup success. A joy from beginning to end. And featuring a couple of brief glimpses of my kid brother who was a ball boy at one of those games, as well as glorious clips of my all-time footballing hero John Robertson at his best. And funny and poignant anecdotes from the players, and clips of Clough running rings around interviewers.
Mad Max: Fury Road – just a blast, possibly the best action movie I’ve seen, with a powerful female lead in Charlize Theron’s Furiosa (an action movie that passes the Bechdel test!), visually almost overwhelming and with an awesome soundtrack. And the Doof Warrior.
Avengers: Age of Ultron. I’ve written previously about how much I love the Marvel films. This was a joy, thanks in large part to Joss Whedon’s crackling dialogue (the script is often where costs are cut in big budget movies, but thankfully not here).
Lots of Marvel here too, with Agent Carter, Daredevil and Agents of Shield all delivering in spades. Daredevil was the darkest of the three, but the others had their moments and all had humour, well-drawn characters and moments of poignancy as well as action. In other sci-fi/fantasy telly, Tatiana Maslany continued to be astonishing in Orphan Black, The Walking Dead continued to ramp up the tension till it was almost unbearable, and left us at mid-season break with everyone we care about in mortal peril – again. The latter also spawned a prequel (Fear the Walking Dead) which showed the start of the crisis – the bit we missed as Rick Grimes was in a coma in hospital whilst society crumbled in the face of the undead onslaught. And Humans was a thought-provoking and engaging take on issues around AI and what makes us human.
As always we watched a lot of detectives. Two French series – old favourite Spiral was back (we missed you, Laure, Gilou, Tintin et al), and a new drama, Witnesses, was complex and compelling with an intriguing female lead (Marie Dompnier). River was something else – Stellan Skarsgaard’s broody Nordic cop haunted by ‘manifests’ of his dead partner amongst others. Nicola Walker was stunning in this, as was Adeel Akhtar as River’s actual living partner. Walker also caused considerable potential confusion by simultaneously leading in Unforgotten, which made one forget the implausibility of an entire police team investigating a very cold case (and nothing else, apparently) by the subtle and compassionate portrayal of the various suspects as their past actions resurfaced to disturb the lives and relationships they had built. No Offence was refreshing too (though we felt uneasy with some particular plot developments in the later part of the series) with Joanna Scanlan’s DI being startlingly rude, but also funny, forceful and warm, and a fab supporting cast.
This is England 1990
This is England deserves a much more in-depth consideration than I can give it here – one would need to re-view the whole series from the film to this final (if it is indeed that) instalment. But there’s no denying – they can be a tough watch, as brilliantly funny as they often are. It’s not just the moments of horrifying violence, I think the hardest thing would be to have to go through again with Lol her descent into despair in TiE 88. Vicky McClure’s performance was intense without any histrionics and all the more devastating for that. This final part had moments too, relating to Kelly, and to Combo, which stay in the mind. And whilst the ending was upbeat, with that long-postponed wedding and Kelly’s return to the fold, Milky’s separation from the group and the reasons for it, and the likelihood that Kelly’s recovery will not be as straightforward as all that, mean that the darkness is not far away. It’s been a hell of a series, with superb writing and direction and equally superb performances.
Raised by Wolves
When it comes to comedy I can be a hard woman to please. Not that I don’t like a laugh, GSOH, that’s me. But I’ve given up on so many sitcoms because they’ve made me cringe more than they’ve made me chuckle. However, despite feeling slightly neutral about the pilot, I did get into Raised by Wolves, and fell rather in love with the magnificent Della (Rebekah Staton) as well as with the writing, which as expected from Caitlin Moran (and sister Caroline) was rude and exuberantly funny.
We watched this back in the day (88-97) and rewatching it now is punctuated by cries of ‘OMG that’s George Clooney’, or spotting Big Bang Theory cast members (Sheldon’s mum and Lesley Winkle, with Leonard still to show). But what we also realised was how much of our approach to parenting came from this show, where family life is chaotic, temperamental, combative but always loving. And ‘our’ tradition of summoning family members to the meal table with a loud cry of ‘FOOOD’ appears to have been inspired by the Conners as well. As I recall, things went seriously off kilter in later series, but so far, so funny. Joss Whedon had a hand (probably just a fingertip in some eps) in the early series, which can’t ever be a bad thing.
French drama focusing on the activities of various Resistance groups in Occupied France – this was obviously a must-watch for me. I hadn’t expected it to be as close to real events as it was, which was a mixed blessing, as I quickly realised who was doomed and who might survive… The central female character, Lili, was a fictional construct, which seems to have annoyed some viewers, but I felt it was a valid way of providing a thread to link the early activity of the Musée de l’Homme group with the Maison de la Chimie and the Combat and Manouchian groups, taking us all the way through to the Liberation. It was a powerful, well constructed drama. And the renditions of the Marseillaise, ringing out in prison cells and in the face of firing squads, came back to us so intensely in November when that spirit of defiance was called upon once again.
If the idea of series 1 seemed in principle a bit odd, a second series was all the more so. But if anything, series 2 is even better, even madder, even wittier than the first. The film had Frances McDormand, who is always a very good thing, and series 1 had Allison Tolman, who filled those shoes admirably. In series 2 we root for her dad, Lou (we’ve gone back in time) and grandad Hank (played by Ted Danson), and her mother Betsy (I would like some time to see Cristin Milioti NOT dying of cancer, if that’s OK). And we do kind of root for Peggy too, with her passion for self-actualisation and ‘being the best me I can be’, even if it proves somewhat dangerous for those around her.
Honourable mentions to Homeland, Doctor Foster (Suranne Jones magnificent as a woman scorned), and Jonathan Strange & Mr Norrell.
And of course there was Doctor Who. This year’s Who was top notch. Capaldi really found his voice, the plots were rich and complex without being merely baffling, and the climactic episodes were powerful and moving. I will be writing more about Who in due course.
On the Crucible main stage, we saw Arthur Miller’s Playing for Time, with a stunning performance from Sian Phillips, and Romeo & Juliet, with Freddie Fox and Morfydd Clark as the lovers. The Miller play seemed stagey at times (an odd criticism, in a way, for a stage play) but the performances carried it and I reflected afterwards on the way in which the Nazi death machine was itself stagey, whether the intention was to terrify and subjugate, or to deceive. Romeo & Juliet was terrific, but reminded me of how bloody annoying those two are, and it’s no disrespect to the actors that I wanted to give them both a good slap.
Operatic outings this year included a fabulous Kiss me Kate, a powerful Jenufa, and a magnificent Flying Dutchman, all from Opera North.
I’ve written previously about the splendid Bassekou Kouyate gig at the University’s Firth Hall.
At the Crucible Studio, Ensemble 360 treated us to performances of Mendelssohn, Ives, Janacek, Watkins, Brahms, Berg, Boulez, Kurtag, Mozart and Bartok, amongst others. Such fantastic musicians, and particularly delighted to have had the chance to hear so much 20th century music this year. Same venue, different ensemble – Chris Biscoe’s Profiles of Mingus feat. Tony Kofi on sax (we’d heard him playing Mingus last year, with Arnie Somogyi’s Profiles of Mingus). More jazz, courtesy of Leeds Jazz Orchestra (feat. one Aidan Hallett) in Leeds Golden Acre Park.
And then there was Tramlines. Nothing much to add to what I said at the time, except that I can’t wait for the 2016 festival.
So, thanks to those who shared these highlights with me. I look forward to lots more in 2016.
I hope to blog more in 2016, of course. I managed a post most months in 2015, and the overall total looks more impressive thanks to eight in Refugee Week and a few reblogs from That’s How the Light Gets In and Nowt Much to Say. I blogged for Holocaust Memorial Day, wrote about the Hillsborough inquests, the 24 Hour Inspire, Marvel films, Tramlines, the phenomenon of the ‘fugueur’, the music of Mali, the ‘refugee crisis’, and the murderous attacks by Daesh in Paris and elsewhere. I also blogged for Inspiration for Life, and on the aftermath of the May General Election. Thanks to all who have read, liked, reblogged, commented, etc.
And for 2016, which may seem to hold so much threat and so little hope, I cannot do better than to quote this poem, by Sheenagh Pugh. Apparently she doesn’t rate it – scribbled it in a hurry on a card for a friend going through a tough time. I beg to differ.
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.
A people sometimes will step back from war;
elect an honest man, decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.
Sometimes our best efforts do not go
amiss, sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.
May it happen for you, may it happen for all of us.
Occasionally people seem surprised at my enthusiasm, my geeky love, for the world of Marvel on the big and small screen. I read Proust, I love enigmatic French arthouse movies where nothing happens, very stylishly, for hours on end. I have argued elsewhere that one can love Proust AND Stephen King, and I see no reason why one cannot also love Alain Resnais or Michael Hanecke’s Caché, AND Thor, or Captain America. Who would want to be limited to just one brow?
In any case, it’s an open secret that I’m a Buffy obsessive and a Whovian, so no one should really have to reach for the smelling salts when I get giddy about heading off to Cineworld to see Avengers Age of Ultron in 3D.
It seems to me that there’s a direct line from a lot of what I read during my bookworm childhood to these more recent passions. As soon as I could make the squiggles on the page into words in my head, I read everything I could reach. I read children’s classics (Nesbit, Lewis, Tolkien, Alcott, Burnett), grown-up classics (Dickens, Malory, Bronte, Shakespeare), newer children’s writers (Garner, Sutcliffe, Garfield, Treece). And in many of these I found ways into other worlds.
Tolkien and Garner both drew on Norse and Celtic mythology, one to create his own world, the other to imbue ours with magic. Lewis led his child protagonists through mundane portals into his alternative world where they became heroes and battled with evil. Malory, Sutcliffe and Garner gave me different takes on the ultimate British hero, the once and future King, a medieval knight or a celtic warlord, or a sleeper under Alderley Edge waiting for our hour of need to awake. And in Roger Lancelyn Green’s vivid retellings I got to know the tales of Greek heroes.
The notion that our everyday world can slip its mask and reveal another reality, darker or brighter, bigger and badder, invading and intervening as the gods of old always have done, is often terrifying, always compelling. That’s why my greatest fondness is for those narratives which start with the world we already know. Think of how a certain episode of Doctor Who has rendered statuary decidedly uncanny – the familiar become strange and scary. Think of how Buffy subverted the teen high school movie, so that being grounded really was potentially the end of the world. Think of how Stephen King’s It showed the adult world oblivious to the terrors that the children had to face unprotected.
Marvel movies are bigger and noisier than the above. They’re sillier, perhaps. But they’re tapping into those old, deep stories, and reinventing, representing them in bright and shiny ways, with (particularly where Joss Whedon has a hand in the script) wit and humour. They’re not scary, but they’re exciting, exhilarating. In the Avengers ensemble movies, in one glorious superhero binge, we have elements drawn from an eclectic range of sources – from myth and legend, from Robert Louis Stevenson and Mary Shelley, even an American King Arthur, woken from sleep to defend the world in its hour of need.
I’m not arguing for the Marvel movies as the most profound examinations of moral questions, or of the human psyche. But neither are they devoid of interest on those planes. They are never quite as simplistic as one might expect, with all the exploding and the fighting. The very daftness of the idea of these very disparate characters coming together is part of its charm. The humour, and sometimes poignancy too, often comes from their disparity, whether it is the cynicism of Iron Man playing against the moral uprightness of Captain America, or the straightforward warrior sensibility of Thor against the conflicted, tortured Banner/Hulk.
Thor: The gates of Hel are filled with the screams of his victims!
[Natasha glares at him while Bruce groans and puts his head in his hands]
Thor: But not the screams of the dead, of course. No, no… wounded screams… mainly whimpering, a great deal of complaining and tales of sprained deltoids and… gout.
And once one has suspended one’s disbelief and accepted the premise, that humour and poignancy makes you care about the outcome, root for the good guys, not just for their victory but for their wellbeing. Their superhumanity comes from different sources – technology, programming, divinity – but there’s always humanity there too. And it’s the flawed and fragile beauty of humanity that the Avengers fight for:
Humans are odd. They think order and chaos are somehow opposites and try to control what won’t be. But there is grace in their failings. … A thing isn’t beautiful because it lasts. It is a privilege to be among them.
Echoes of the Doctor there, I think. Amongst all of the forces that see the weakness of human beings and want to destroy, some stand with us. The Doctor said that in 900 years of space and time he’d never met anyone who wasn’t important. He tells us again and again that we are in our very ordinariness extraordinary, in our bloody-minded going where angels fear to tread, our curiosity and our moments of courage.
These stories, these new/old stories may not change the world. But stories are vital. Stories are the way we’ve always tried to make sense of the inexplicable and the unbearable, and to infuse the everyday with magical possibilities. Marvel’s gloriously epic and gloriously daft stories give us moments of startling beauty and poignancy (we are Groot), massive explosions and battles, deadpan humour and heroes we can root for. Pretty damn marvellous.
Some of the cultural highlights of my year – a year of working at home, long train journeys to long meetings which gave me more time to read, less time to go to the cinema or the theatre. However, I did manage a few outings…
- Twelfth Night at the Crucible – a real delight. I’d been disappointed that we weren’t getting a tragedy or one of the problem plays, rather than a comedy that I’d seen on stage before, but that feeling evaporated very quickly indeed. The performances were excellent, the staging imaginative and suggestive of darker undercurrents (the cast appearing at windows almost like the undead, the showers of rose petals – see also Poppeia).
- Brilliant opera at Leeds Grand – La Boheme, and The Coronation of Poppeia. And another Boheme, this time in Graves Gallery, from Opera on Location.
- Music in the Round – I’d pick out the Schubert octet, Tim Horton’s bravura performance of the Prokofiev Piano Sonata no. 7 (described by the Guardian as ‘ferocious’), Charlie Piper‘s WWI suite, The Dark Hour; works by Schulhoff & Haas, and consort of viols, Fretwork.
- Once again we celebrated Tim Richardson’s life and passion for learning and teaching with the 24 Hour Inspire – 24 hours of lectures on a host of topics, from WWI poets to insect sex, from biogeography to Mozart, from underground science to fairground history – ok, you get the picture. Once again a host of people stepped up to help, everything ran smoothly, and we were able to donate to Rotherham Hospice and Impact Young Heroes. We’ll be doing it again on 16-17 April 2015. Tim’s charity, Inspiration for Life, goes from strength to strength.
- I revisited the City Ground after far too many years, for the first home game of the season, and Stuart Pearce’s first game as manager. That was a great game. We’re in a slump at the moment, and that early euphoria has dissipated. If it was anyone but Psycho in charge I suspect the calls to sack the manager would be ringing out right now, but few Forest fans would want to deny him the chance to turn things around. I hope he can. I really, really, hope he can.
Top TV of 2014
No attempt at ranking. How could one decide on the relative merits of a gritty cop drama and a comic book fantasy? So, what do all of these shows have in common? First, excellent writing, and great performances. Essential to have both. So many big budget dramas skimp on the former and blow the budget on the latter, but even the best actors can only do so much with a script that clunks. Second, great female characters. All of these programmes basically kick the Bechdel test out of the park. It’s not just about having ‘strong’ women. Not all women are strong, and no women are strong all of the time. It’s about having women characters who are rounded human beings, fallible and flawed, but not dependent on men to make decisions or to solve problems. Some of these women do indeed kick ass, but they don’t all have to. So, to Nazanin Boniadi, Alison Brie, Yvette Nicole Brown, Amelia Bullmore, Lauren Cohan, Clare Danes, Siobhan Finneran, Danai Gurira, Keeley Hawes, Elizabeth Henstridge, Gillian Jacobs, Suranne Jones, Nimrat Kaur, Sarah Lancashire, Melissa McBride, Vicky McClure, Tatiana Maslany, Lesley Sharp, Allison Tolmin, Ming-Na Wen and the rest – cheers, and thanks for giving us images of women that are as diverse and complicated as actual real live women are.
- Fargo – I was decidedly unconvinced beforehand, but it turned out to be funny, gruesome, and touching, with one of my favourite women cops in Allison Tolmin’s Molly (not just a re-run of Frances McDormand’s marvellous Marge from the film, but a character in her own right), Billy Bob Thornton as a grimly hilarious killer and Martin Freeman as a weaselly one, and a wealth of other characters, some of whom we came to care about so much that at tense moments there was much yelling at the screen as we thought they might be in danger.
- Line of Duty – I wasn’t convinced about this one either, mainly because the first series had been superb, and I wondered if they could match it. They did, and it was Keeley Hawes’ performance that clinched it. Whilst I’d watch Vicky McClure in anything, Keeley wasn’t in that category for me, despite Ashes to Ashes. But in this she was riveting, absolutely mesmerising. The rest of the cast was superb too.
- Happy Valley was perhaps the most ironically titled programme of the year. This valley was pretty damned grim. But Sarah Lancashire as cop Catherine Cawood was wonderful, and the story was compelling and moving.
- Scott & Bailey maintained its form in series 4. The three central women (count them! three central women!) are all convincingly real, sometimes infuriatingly so.
- The Walking Dead opened series 5 with an episode so gripping that I really could neither breathe normally nor speak for quite some time. It’s maintained that tension (more or less) whilst varying the format, to focus on different subsets of the characters, and different locations. Carol has been central to this season’s episodes so far, and her character is one of those that has been allowed to develop and deepen throughout. There’s no shortage of other interesting characters, and the plot allows for philosophical, political and ethical speculation as well as for gory shocks and suspense.
- Agents of Shield got past a slightly wobbly first series and got its pace and tone just right. It fits right into the Marvelverse, but stands alone perfectly well. And it features girl-geek Simmons, a Sheffield lass, and there’s just a hint of South Yorkshire in her accent from time to time.
- Community made me laugh more than anything else this year. Just when you think it is as bonkers as it could be, it ups its game, to be even more meta, and even more daft.
- Doctor Who I have spoken of elsewhere. I have a deep love for this programme, and whilst this regeneration has been unsettling at times, uncertain in tone perhaps, I have great hopes for Capaldi and Coleman in series 9 next year.
- Homeland redeemed itself. Gripping stuff, with Clare Danes acting her socks off and getting us deeper into what makes Carrie tick.
- Orphan Black is one of the most criminally underrated programmes of this (and last) year. Tatiana Maslany inhabits each of the characters she plays so well that I forget – disbelieve almost – that there is just the one actress involved. And when she’s playing one of them pretending to be one of the others…. Cracking plot too.
Films of the year – I leave the in-depth cinematic reviews to Arthur Annabel who promises an extensive blog on this topic soon. I simply note these as films which have delighted and/or moved me, in no particular order. Worth noting that whilst the programmes on my TV list get A* on the Bechdel test, the films are considerably weaker on that front. Nonetheless, some fine performances, and Nicole Perlman was the first woman with a writing credit on a Marvel movie (Guardians of the Galaxy).
Women of the year:
Jack Monroe – for enlivening my repertoire of meals to feed the family, and campaigning about food poverty
Professor Monica Grady – for being emotionally, exuberantly passionate about science
Laura Bates – her Everyday Sexism project helped to give women a voice, to tell their stories, to shout back.
In 2014 I’ve blogged about refugees, genocide, football, W G Sebald and Michel Butor, Kazuo Ishiguro, everyday sexism, Tramlines, Josephine Butler and Doctor Who. I got a bit personal on the subject of depression, and was inspired by Caitlin Moran’s How to Build a Girl to present my manifesto – a plea to just be kind. And my blog about reading the last of the Resnick series of detective stories won the approval of the author, John Harvey, who linked to it on his own blog, and republished my jazz playlist!
Amongst the blogs I’ve followed, or at least tried to keep up with, I would particularly note Searching for Albion. This is the record of Dan Taylor’s four month cycling trip across the British Isles, talking to people he meets, by plan or by chance. A fascinating project, beautifully documented.
To all of those who’ve shared some of the above events, obsessions and enthusiasms with me, who’ve given me support when I’ve needed it, who I’ve learned from and with, thank you. I don’t know what to expect from 2015 – but see you there!