RIP Jimmy Perry, creator and co-writer (with the late David Croft) of Dad’s Army.
In honour of Jimmy Perry’s greatest creation, we reproduce here the late Alan Coren’s brilliant Times review:
Dad’s Army, BBC1, by Alan Coren
They belong to the oldest regiment in the world, the men of Dad’s Army. The Sidewinder may replace the siege-engine and the Armalite the longbow, but the nature and composition of the King’s Own 17th/21st Incompetents change not at all. I watched them all troop on again last night, out of step, ragged, potty, insubordinate, inept, and who are Arthur Lowe and Clive Dunn and John Le Mesurier, I said to myself, but Bardolph and Nym and Ancient Pistol? Or, come to that, Schweik and Yossarian and Stan Laurel and Miles Gloriosus; and, though memory, not to say erudition, escapes me, I will just bet that the literatures of Sanscrit, old High Gothic and Xhosa are packed to their various margins with stories of soldiers who right-wheeled into the wall, fell over their side-arms, and shot the regimental ferret in error.
I suppose the monumental madness of war can be made tolerable only by this kind of miniaturisation; there is a wider lunacy beyond the script in the fact that Clive Dunn might well, in theory at least, have been the only thing standing between us and Dachau, and the alternative to allowing that thought to send the shrapnel shrieking round the brain is to watch him fire his Lewis gun into the ceiling of the church hall while we all fall about gasping on hilarity instead of on gas.
So much for today’s Sobering Thought. What must now be said is that these particular khaki fools do no discredit to the great tradition; the timing of their disasters is impeccable, the individuation of their character has been splendidly fleshed out so that each identity is total, and their personal conflicts are soundly based in those differences. The essential quality of mock-heroic is always sustained by the parody of Brit-in-arms (there was a superb moment last night when Arthur Lowe restrained his enfeebled warriors with a terse: “Steady! We’re not savages”), and behind the daftness there lies a certain valuable poignancy which is not altogether explained by nostalgia. I suppose what I mean is that they would have died, too, if the greater folly had demanded it.
I’ve refrained from commenting on Trapped until now because I’m biased: it’s jointly written by a friend and comrade, Clive Bradley. But I think I can muster enough objectivety to now confidently assert that this is top class stuff even by the high standards of the Nordic noir dramas that have been shown to such acclaim on UK TV ever since The Killing hit our screens in 2011.
As it’s still possible to catch up with the first eight episodes on BBC iPlayer (you have until 13 March to see the first two) I won’t go into any detail about the plot. Suffice to say it has several of the usual features – a flawed but sympathetic cop attempting to solve some gruesome murders while simultaneously having to deal with less than competent and/or hostile colleagues and a tortured private life. In addition, there’s one sub-plot involving the captain of a Danish car-ferry and two trafficked Nigerian sisters, plus a second involving local politics and a land deal with a Chinese consortium.
And it’s all set in a remote Icelandic fishing village cut off by a blizzard. As Les Hearn notes in his review in Solidarity, “a dominant character in the drama, sometimes it seems, the dominant character, is nature.” I’ve felt it necessary to keep warm with a bottle of Whyte & MacKay’s finest while watching the first eight episodes, and will ensure a bottle is to hand for the final episode on BBC4 this coming Saturday at 9pm. I recommend you do the same.
I didn’t see the interview JC gave on the Marr show yesterday (but I’ve found it on Youtube and posted it above). I now see that JC came out with an interesting and potentially workable “third way” on Trident, proposed penalising companies that don’t pay the living wage, and committed to repealing Tory legislation outlawing secondary strikes – excellent!
More worrying is what he had to say on foreign affairs – that a diplomatic channels should be opened with Islamic State and that they have “strong points”: as a result hashtag #ISISstrongpoints is trending at this very moment.
In the same interview JC shamefully equivocated on the Falkland Islanders’ right to self-determination (what Marr called a “veto”).
I know JC is routinely traduced and misrepresented in the media, by Cameron and – perhaps worst of all – by the Blairites and the old Labour right. But fucking stupid statements like these (and I’ve now watched the Youtube clip, and he did indeed, make them), really play into the hands of the Tories and the Blairites – confirming the view that JC is blind to the threat posed by, and in denial as to the nature of, Islamist fascism, and is something of an “anti-imperialist” idiot.
I wasn’t going to bother with The Last Kingdom. Saxons vs Danes isn’t a period of history I’m much interested in. However Tom Holland, who is researching the Heptarchy was on Twitter saying that the portrait of Alfred was very good, so I scrolled through Episode 2 till he turned up, and he is good (played by David Dawson). A melancholy intellectual, visionary yet shrewd. Fragile, delicate and only an adequate warrior whereas the Danes thoroughly enjoy the whole business of close combat sword and shield play. His intellectualism takes the form as it would in his time, of theological debate, his politics are cool and ruthless.
“Most prudent, far-seeing in wisdom, and hard to overcome in any crisis’ – Æthelwold on King Alfred & his heirs. “ (stolen from Tom Holland).
So I went back to episode 1 and followed the fortunes of Uhtred (Alexander Dreymon) a handsome young man who was born a Saxon and brought up a Dane. We get shots of him bathing – not just for a sight of his nice body but to reassure the audience that our ancestors weren’t the epitome of stench that so repels us now. (They did the same thing for Liam Neeson’s Rob Roy).
Uhtred – quite clean you know
He does choose odd times of the year to bathe though. It has been winter for 5 episodes. Once there was a clump of daffodils suggesting it might be at least be late March then it got back to winter. I was hopeful that we would have changed seasons in episode 5 when Uhtred’s missus was bathing with a pregnant belly, showing time would have passed since their arranged marriage but evidently she conceived in about May, since it was winter again. This is Wessex, the West Country (though it it was shot in Hungary and Wales) and that part of England has early springs and hot summers. This series won’t have done the tourist trade any good.
Uhtred is supposed to be avenging the death of his adoptive father, a Dane, and is also trying to get back the kingdom of Northumbria, to which he is the rightful heir. He has plenty of adventures but he is a dull character not a patch on Alfred. His girlfriend, Brida (Emily Cox), is an early version of the Girl with the Dragon Tattoo, foul mouthed and playfully cruel which couldn’t be allowed to Uhtred, supposed to be the hero after all. His other companion is Leofric (Adrian Bower) the classic sergeant major rough diamond, obscene-speaking and straight-talking, the kind of part that would normally be played by Sean Bean.
The series is propaganda for paganism. The Danes are buoyant and colourful. They wear wonderful animal skins (though no-one ever scratches for fleas), are finely tattooed, have wild hair, and love a fight, followed by massacre, torture and rape. The biggest, and baddest of them, Ubba (Rene Tempe), has finally been laid low and he really did have the presence of a manic head of a motorcycle gang – The Marauding Mob or the Plundering Pack. Meanwhile the poor Saxons frump about in long drab gowns, go to Church and eat gruel and apples because it is always Lent. And on that kind of diet they have to fight these evil brutes with their ultra cool ships.
The manic Ubba
Some genuine suspense has built up. Uhtred, tired of being pissed over by Alfred, is going rogue and is setting to do a little plundering of his own. With 3 more episodes to go I’m fairly sure Uhtred will be reconciled with Alfred and get Northumbria back. The Danes will be expelled and converted to Christianity. So far when they come up against a priest or devout king they have Richard Dawkins style objections to the faith. The nature of conversion is something that the script-writers in our agnostic age can’t handle.
This is supposed to be the British Game of Thrones which I don’t watch as it has too much explicit torture for me to stomach. Here the violence is knockabout and doesn’t make me wince. It looks good, it’s lively and there’s always the chance of seeing Alfred dragged away from discussing scripture for yet another wretched battle, glumly putting on the chain mail helmet while the Danish roaring boys, in the ninth century equivalent of revving their Harley Davidsons, knock up yet another painted shield wall.
Alfred at yet another sodding battle
The usually witty host of the US Daily Show, Jon Stewart says “no jokes” in the aftermath of the Charleston killings:
“I have nothing other than sadness that once again we have to peer into the abyss of the depraved violence that we do to each other and the nexus of a just gaping racial wound that will not heal but we pretend doesn’t exist … I’m confident, though, that by acknowledging it, by staring into that and seeing it for what it is, we still won’t do jack shit.”
A powerful and moving statement, well worth watching:
H/t: Jon-Erik Kellso
Largely written by Comrade Matt C, edited by JD:
A number of prominent individuals from the British film and arts world have signed a letter, published in yesterday’s Guardian, calling on cinemas to boycott the London Israeli Film and Television Festival:
The festival is co-sponsored by the Israeli government via the Israeli embassy in London, creating a direct link between these cinemas, the festival screenings and Israeli policies. By benefiting from money from the Israeli state, the cinemas become silent accomplices to the violence inflicted on the Palestinian people. Such collaboration and cooperation is unacceptable. It normalises, even if unintentionally, the Israeli government’s violent, systematic and illegal oppression of the Palestinians.
The signatories – some of whom are Jewish – include Peter Kosminsky, Mike Leigh, John Pilger, Ken Loach and Miriam Margolyes.
The festival’s organisers reply:
“Our festival is a showcase for the many voices throughout Israel, including Arab Israelis and Palestinians, as well as religious and secular groups. These are highly talented film-makers and actors, working together successfully, to provide entertainment and insight for film and television lovers internationally.
“Freedom of expression in the arts is something that the British have worked so hard to defend. An attempt to block the sharing of creative pursuits and the genuine exchange of ideas and values is a disappointing reaction to a festival that sets out to open up lines of communication and understanding.”
There are, I would suggest, two problems with the boycott call. First, it is based on confusion between the Israeli government and the Israeli state. Clearly, the two are not entirely separate but a distinction can be made between the government (that is the policy making executive) and the state more generally. The state obviously includes some institutions that socialists would wholeheartedly oppose: the military (as we do that of any other state, including our own), Mossad and institutions that reflect religious particularlism.
The Israeli state prioritises the rights of Jewish Israelis over Arab Israelis (and many other states, including Britain, have racist biases), but there are many things that the Israeli state does that are not directly linked to this, such as arts funding. To a degree, arts funding reflects the character of the state which is often not good (and this includes the British state). Nonetheless, many of those on the list are happy to take funding from the British state. So looking down the list: Mike Leigh for many years made dramas for the state-funded and ultimately stated-controlled BBC, and currently has a production of The Pirates of the Penzance running of the English National Opera (state funded through the Art Council); John Brissenden works for the state (Bournemouth University) and presumably accepts its funding for his PhD; Gareth Evans works curates at the Whitechapel Gallery which receives state funding, again via the Arts Council. I am sure the similar points could be made about most of the signatories.
No doubt the boycotters would reply that they are not “silent accomplices” of the state (as those participating in the London Israeli Film and Television festival are styled in this letter), and their work is not a form of “collaboration” with it. They would argue, I guess, their work is not compromised by this funding, or at least that they fight against the states restrictions: is a reasonable defence. The arts and academic research frequently rely on a degree of support from the state, and this is in many ways preferable to the being reliant on the free market. But it would appear that the boycotters are not prepared to extend the same arguments to Israeli film makers whose work would be unlikely to be seen in this country without the sponsorship of the Israeli arts establishment (which means state support). The boycotters accept the sponsorship of their own (racist, militarist etc.) state but do not think that others (or uniquely, those in Israel) have the right to do the same.
The second question is: what are these people boycotting? The point is not whether anyone who opposes the policies of the Israeli state in Gaza and the West Bank would agree with all of the films being offered here. A socialist and consistent democrat should never be a left-wing censor allowing only views that they endorse to be aired. The only possible grounds for a supporter of free speech to oppose a cultural festival such as this is that it constitutes propaganda that is the cultural front of oppression (and even then, calling for it to be boycotted would be questionable approach). Looking at the brochure for the festival it is clearly not such a form of propaganda – even Fauda, a drama about Israeli undercover commandoes targeting a Hamas militant, runs with the current fashion of moral ambiguity rather than being a gung-ho adventure.
Other items on the programme more obviously address the human dimension of the Israeli-Palestine conflict (Dancing with Arabs, East Jerusalem/West Jerusalem) and the influence of religion on aspects of Israeli life, although many other offerings are more mainstream films and TV dramas.
It is certainly possible to criticise both the selection of material to be shown at the festival and the Israeli media industry behind it since there are no films, as far as I can see, made by Arab-Israeli film makers. But this is hardly the point. Rather, those who call for a boycott demand (it would seem, uniquely) that film makers from Israel should only be allowed to show their productions in Britain if they do so without any association with the state in which they live. Given the nature of cultural production and its reliance on state support, this is a call for a boycott of all but the most independent of film and TV producers and, in reality, amounts to a total boycott of all Israeli films and art. It is a ridiculous, reactionary stance that will do the Palestinian cause no practical good whatsoever, while alienating mainstream Jewish opinion in Britain and fuelling an insidious form of anti-Semitism that is becoming more and more “acceptable” in British liberal-left Guardianista circles. In truth, this boycott call (like the entire BDS campaign) only makes political sense if you wish for the ‘delegitimisation’ and, indeed, destruction, of the Israeli state: something that most of the signatories would, I’m pretty sure, deny they advocate.
The playwright and TV script-writer Dennis Potter would have been 80 today. As it is, he died aged 59, on 7th June 1994. Less than three months earlier, he’d given this extraordinary interview to Melvyn Bragg on Channel 4.
By then Potter was diagnosed with inoperable, terminal cancer and spent the interview swigging from a hip flask of morphine (possibly laced with whisky). He called his cancer ‘Rupert’, as in Murdoch: “I’d shoot the bugger if I could”.
I still cherish a 2007 pamphlet published by the Guardian, which contains a slightly edited and tidied-up transcription of the interview.
The pamphlet starts with a wonderful Foreword by the Graun‘s veteran TV critic Nancy Banks-Smith (who once worked with Potter on the old Daily Herald). It’s no surprise that Potter was an agnostic who tended to the atheistic end of the agnostic scale; nor that he was a (utopian, I’d say) socialist.
Those of us who saw the interview when it went out on Channel 4 on April 5 1994 will never forget it. For those of you who didn’t, here’s a taste (and you can watch part of it here):
“I grieve for my family and friends who know me closest, obviously, and that they’re going through it in a sense more than I am. But I discover also what you always know to be true, but you never know it till you know it, if you follow (sorry, I’ve got…my voice is echoing in my head for some reason).
“We all, we’re the one animal that knows that we’re going to die, and yet we carry on paying our mortgages, doing our jobs, moving about, behaving as though there’s an eternity in a sense. And we forget or tend to forget that life can only be defined in the present tense; it is is, and it is now only. I mean, as much as we would like to call back yesterday and indeed yearn to, and ache to sometimes, we can’t. It’s in us, but we can’t actually; it’s not not there in front of us. However predictable tomorrow is, and unfortunately for most people, most of the time, it’s too predictable, they’re locked into whatever situation they’re locked into…Even so, no matter how predictable it is, there’s the element of the unpredictable, of you don’t know. The only thing you know for sure is the present tense, and that nowness becomes so vivid that, almost in a perverse sort of way, I’m almost serene. You know, I can celebrate life.
“Below my window in Ross, when I’m working in Ross, for example, there at this season, the blossom is out in full now, there in the west early. It’s a plum tree, it looks like apple blossom but it’s white, and looking at it, instead of saying ‘Oh that’s nice blossom’…last week looking at it through the window when I’m writing, I see it as the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever were, and more important than they ever were, and the difference between the trivial and the important doesn’t seem to matter. But the nowness of everything is absolutely wondrous, and if people could see that, you know. There’s no way of telling you: you have to experience it, but the glory of it, if you like, the comfort of it, the reassurance…not that I’m interested in reassuring people – bugger that. The fact is, if you see the present tense, boy do you see it! And boy can you celebrate it”.
Especially appropriate on International Women’s Day:
By Marisa Kabas
Rima Karaki is a Lebanese TV host who isn’t afraid of a fight.
Things got heated Monday when Karaki was interviewing Hani Al-Seba’i about the phenomenon of Christians joining Islamic groups like ISIS. Al-Seba’i is a Sunni scholar who fled to London after he was sentenced in an Egyptian court to 15 years in prison for being a part of the Egyptian Islamic Jihad. The United Nations considers the group to be an affiliate of al Qaeda.
But despite Al-Seba’i’s extreme ties, Karaki didn’t back down when he disrespected her on Al-Jadeed TV after she politely tried to redirect his historical tangent. Instead of taking his guff, she cut off his microphone when she decided she’d had enough.
The video was shared by MEMRI, a Middle East media watchdog [sometimes accused of being unreliable because of its pro-Israeli stance – JD].
To give you some context, here is a comment Al-Siba’i made on Al Jazeera TV in the wake of Osama Bin Laden’s death.
“Let me tell you: I love Sheikh Osama bin Laden as a Muslim. I am not glorifying or extolling anything. I am simply telling it as it is – Sheikh Osama is loved by millions of Muslims. Sheikh Osama is a hymn in the hearts of the downtrodden – from Jakarta to the Hindu Kush Mountains, to the villages and rural areas of Egypt… Ask those downtrodden and poor people, and they will tell you that they are grieving for Sheikh Osama bin Laden.
Sheikh Osama bin Laden fought occupation forces. He never killed civilians, and he never said he did. On the contrary, he extended his hand in peace to Europe and the West, and they were the ones who rejected it.”
Karaki, for her part, is a strong female figure in a country where women’s rights are still commonly ignored. Human Rights Watch released a 114-page report in January called “Women’s Rights under Lebanese Personal Status Laws” that found that women were not considered equals, especially when it came to divorce.
“Not only are Lebanese citizens of various religions treated unequally under the law, but women are treated unfairly across the board, and their rights and security go unprotected. Passage of an optional civil marriage code, alongside badly needed reforms to existing personal status laws and religious courts, are long overdue.”
-Nadim Houry, deputy Middle East and North Africa director
It’s quite surprising that Karaki is not more of a household name. Before she made it in TV, she held a successful position at Lebanon’s central bank. In a recent interview with Fit’n Style magazine, she said her family considered her move to media “an irrational act.”
Her ethos seems to be one of power and strength, as demonstrated in the Al-Seba’i interview.
Some accuse me of being “disrespectful,” since I was the only one to omit my guests’ titles and address them with their first names no matter who they were; I see it as more respectful in fact because we don’t need all the poetry to introduce them.
Others say that I have no limits in my questions; I see this as an added value. Some say that I am not objective; I call it honesty. For those who describe me as “Not being loyal to or not following any political group,” I see it as cleanness.
Karaki is setting an example not only for Lebanese women, but for everyone in the media who could use a refresher on practicing what they preach.
H/T Reddit | Screengrab via MEMRITVVideos/YouTube
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