Ed Miliband may have found a way to shake off the label “Red Ed”. Unfortunately for him it could simply be replaced by the even more damaging nickname “Robot Ed”.
It’s hard to believe that just last September Miliband’s acceptance speech as leader of the Labour party was greeted by a chorus of relief. The wooden and cold Gordon Brown had been replaced by a youthful, honest, reasonable and approachable man, not afraid to at least attempt a joke and flash a bumbling but genuine smile. Now though Miliband’s PR machine is working so hard to preserve this flattering initial image of reason and humanity, that they have forgotten to let him be natural at any moment, even between highly choreographed press conferences or interviews.
I am always keen to write about the policy as opposed to the personalities of politics. The culture of spin and press manipulation too often overshadows the important debates about what Britain needs or what would be a better way of doing things. There are so many pressing challenges to thrash out swift but credible and long term solutions to, that it is plain irresponsible and arrogant to get bogged down in ideological or personal differences. Miliband’s shadow cabinet have been far too slow to produce viable and inspiring policy ideas.
However as the shocking revelations of the past week have shown, dishonesty and deceit are facts of life on a national scale. Rightly or wrongly the public digests the truths, half truths, lies and simplifications of the press every day. And for the average voter that mysterious quality of “likeability” will always prove crucial to which party they back at the polls.
Ed Miliband’s team are clearly aware of this, as anyone working in politics must be. But rather than supporting the key work on policy behind the scenes, the Labour leader’s media experts have meddled to such an obvious and unsubtle extent, that the overwhelming impression of Miliband amongst the public of late has been one of fakery and artificiality. The most embarrassing incident for Miliband has been the exposure of this interview about the planned strike of teachers across the country: http://www.youtube.com/watch?v=PZtVm8wtyFI
It makes for excruciating viewing. The journalist conducting the interview has written and spoken about his frustration. And it really is the sort of snippet behind the curtain of political life at the grim reality of it all that makes you doubt the truth of anything any MP ever says. Miliband delivers the same answer, reordered a little each time, to ensure a carefully crafted soundbite makes the news. His delivery, seen in context, is terrifyingly robotic. At no point is there even a glimmer of the man himself or a hint of his own opinion.
Ironically Miliband is now speaking out boldly against such negative elements of the press because of the ever growing scandal engulfing News International, forcing the closure of the News of the World. Cynical onlookers will criticise Miliband for yet another case of opportunism. But whatever his political motives, it’s clear that Miliband is putting himself in the firing line of an extremely powerful Murdoch empire in a way that no politician has previously done, to first and foremost, do the right thing. He has defended press freedom throughout and simply called for the proper investigations to go ahead.
In the midst of the phone hacking turmoil, an interview with former Prime Minister Tony Blair has been buried, in which he openly criticised Gordon Brown’s betrayal of New Labour. He stressed the importance of occupying the centre ground to win elections. Miliband responded in an interview with Andrew Marr by saying that he believed the centre ground had moved, presumably to the left.
Another factor Miliband must consider as he takes the initiative on phone hacking, is avoiding categorization as a popular leader of the “politics of protest” Blair warns against, which might count against his credibility as a potential Prime Minister. In other words, the fallout from the News of the World crisis might win Miliband supporters as a leader of the opposition, but ultimately not convince them that he has what it takes to lead the country.
This may be the crisis that establishes Miliband’s credentials as an opposition leader with influence. Then again Miliband may have sowed the seeds of his downfall by angering Murdoch and perhaps even more dangerously, leaving himself open to charges of hypocrisy. His PR team need to dramatically alter their strategy and have more confidence in Miliband’s ability to be himself and to speak through policy. Otherwise the correct case he is making about the BSkyB takeover and the immorality of hacking the phones of Milly Dowler and others, will be undermined and defeated.
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Whatever happened to traditional ghost stories set in creepy old houses? Modern horror has become a competition between filmmakers to outdo each other’s gore or to find the latest and cheapest gimmicky trick (think Paranormal Activity). Rarely do we get creaky doors teasingly opening wide into dusty rooms frozen in troubled times. Rarely are the scares psychological, preying on childhood fears of monsters under the bed and the empty house that sighs forlornly from somewhere in its darkened depths at the end of the street. Rarely do bold, genius storytellers emerge from the ranks of horror directors these days.
Director Gustavo Hernandez is certainly brave. His chiller, The Silent House, is based upon an unsolved murder case in 1940s Uruguay. It is set within a seemingly picturesque, isolated and derelict house in secluded woodland. It is also filmed in one continuous take.
The effects of this are engrossing. The ambitious and meticulous technique works especially well for horror and has a surprising versatility. The camera essentially becomes a character. At first we feel like main character Laura’s imaginary friend, bobbing along behind her as she looks round the outside of the pretty house and listening in absentmindedly on the conversation between her father and the owner of the house, Nestor. Then later on, whilst still feeling tethered to Laura’s experience, we take up different positions and hiding places. Consequently we see things she cannot. And she sees, and does, things that we miss altogether.
Laura and her father are supposed to be clearing up the messy house filled with accumulated junk. They decide to sleep in the living room on armchairs and make a start in the morning. The owner Nestor has promised to return with food at some point. Laura does not drift off however. She is too distracted by the pounding noises from upstairs. She eventually convinces her father to investigate and then the nightmare begins.
Light and sound are always integral to successful horror. Here the atmospheric lighting is achieved through candles and electric lanterns mostly. One scene however, in which Laura picks up a camera when the lights go out, is comprised of glimpses of the horror via the flashes of the Polaroid. This was impressive, immersive and shocking. The sound effects are vital to the endless suspense, with the score also eerily winding up the tension to unbearable levels.
The Silent House is an amalgamation of old fashioned scares and modern frights. The setting is full of strange objects, antiques and family heirlooms cluttering the rooms. Multiple doorways leave hiding places everywhere. Later in the story though the scares become nastier, more brutal and unsettling, resembling the darker trend of recent horror flicks. The dialogue is minimal, so we never learn much about Laura. We simply share some of her experience. The shocks and surprises catch you off guard and the twist at the end comes out of the blue.
For cynical viewers, there are of course the usual annoyances of the genre. Why does Laura choose the moments after a vicious attack to become fascinated by bits of junk? Why does she minutely examine paintings and photos when she knows someone is lurking beyond the door? Why does she return to the house after escaping in a wave of fear? Why does no one contact the authorities?
The incredible suspense and the plots holes in this film really got me thinking about the ordeal of the psychopath perpetrating the horror, as well as the victims. At one point (minor spoiler) a body is moved to be propped up in a chair with a doll. How embarrassing would it be to be caught moving the body? The attackers in these films, who are determined to taunt their victims, must be as nervous and jumpy as the audience as they set up their disturbing scenarios in the shadows.
The genuine ambush of the twist at the end explains a lot of these holes and weaknesses, which would be left glaringly and irritatingly untouched by your average horror. The Silent House is far from average though. It is rightly hailed as a “technical tour de force” by The Guardian and its trailers can justifiably claim to offer “real fear in real time”. By avoiding the sometimes messy and often over the top cuts of most modern fright fests, and adopting a refreshing perspective on events, this film really drops you right into the action.
The Silent House is out on DVD and Blu-Ray on the 1st of August. Go for the Blu-Ray version if you really want to appreciate the achievements of the filmmakers, in particular the lighting effects. Also keep an eye out for the Hollywood remake, as the rights have already been snapped up.
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Prior to watching Another Year I was not in awe of Mike Leigh’s track record, but rather shamefully ignorant. I was keen to watch the film though because of some glowing reviews last year, promising trailers and that wonderful artwork and logo. I remember seeing said tree sprawling massively across an Odeon in London’s West End way back in the halcyon days of 2010, and thinking that was the type of thoughtful British picture I wanted to see.
The central idea behind the story, which Leigh scripted as well as directed, is tender, realistic and probably true to life. Happily married couple, Tom (Jim Broadbent) and Gerri (Ruth Sheen) are lucky and they know it. The people in their lives, who seem far less blessed, gravitate towards them for kindness and warmth. Their son Joe (Oliver Maltman) is taking his time to find love as his friends get hitched left, right and centre, Gerri’s co-worker Mary’s (Lesley Manville) bubbly energy conceals her loneliness and Tom’s childhood friend Ken (Peter Wight) is trapped in Hull watching his precious roots wither away. The narrative plays out with a chunk from each of the year’s four seasons.
The opening scene was just what I had been hoping for and what Leigh’s reputation guaranteed. Imelda Staunton plays an insomniac pressing her GP for sleeping pills but understandably her doctor seeks out the true, underlying causes. Staunton’s character is clearly completely miserable; crestfallen at her lot in life and the realisation that this is all she’s likely to get. The scene lasts a full five minutes, uninterrupted; Leigh really lets it breathe and grow. For most of the scene we don’t see the GP’s face, helping us truly inhabit Staunton’s excellent performance. We’ve all felt like that at the doctors, like you’re just another appointment to be checked off by a faceless health drone.
The GP refers our dejected and menopausal patient to a counsellor. It turns out that Gerri is a counsellor. And this is where the problems begin with Another Year. Gerri continues to be a counsellor for the duration of the story, always behaving as though maintaining professional standards, even alone in bed with soul mate Tom. Ruth Sheen’s tone of voice never varies more than a fraction, making her seem either mildly interested or not that bothered. Whilst Broadbent’s range of reactions to the various problems of friends are different and human, Gerri deals with each situation on dull auto-pilot. Sheen’s performance genuinely seemed mechanical and totally robotic, which was a real shock after all the talk of quality acting.
The passing of the seasons is beautifully shot and there are moments of heart warming dialogue that is convincingly ordinary and recognisable from everyday life. Do I really want to watch a film with conversations startlingly similar to the small talk I run away from in reality though? It all gets rather dreary, with next to no drama in the first two seasons and not a pinch of escapism. Leigh’s script also has some awful expositional dialogue, particularly for Lesley Manville’s character Mary, Tom and Gerri’s desperately clingy friend. I cringed at the clumsy manner her myriad but dull problems were introduced and grimaced later at Manville’s caricatured portrayal of an overzealous eccentric going off the rails. Her drunkenness at BBQs is amateurish.
Or is it? I honestly don’t know if I fell into the trap of mistaking the annoying traits of a character for bad acting and storytelling. This is because the last two seasons, autumn and winter, went a long way to redeeming the failures of the first couple. As Mary reaches rock bottom her character becomes far more bearable and Manville’s performance finally makes you empathise and feel pity, sympathy, and even sadness. David Bradley puts in a fabulous performance as Tom’s grieving brother who is a man of few words. Some of his scenes with Broadbent, and an extended one with Manville, are superb.
I don’t want to mimic the idiotic readers of the X-Factor age who throw away a book they’re reading in disgust because the characters are not “likeable”. Novels and films are not about providing you with brief friendship. But Another Year is hard to get into. As I’ve said I was really surprised by how irritating I found the performances of Ruth Sheen and Lesley Manville. In Manville’s case I think I judged her too quickly and her character was simply a vibrant pain in the neck, well realised. However I maintain that Sheen was simply two dimensional, which is disappointing given the importance of actors to such an ensemble piece. By the time Another Year ended I was starting to enjoy it but there’s no doubt that this is a film with the potential to frustrate as well as reward.
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