After things really seemed to be getting somewhere with episodes 2 and 3, last night (the first time I have watched The Shadow Line as scheduled, 9pm BBC 2) things once again became a blend of baffling plot lines and bad dialogue, punctuated by the odd superb scene. This is one of those programmes so determined to keep us guessing that no sooner are we given a clutch of answers, a bucket full of more questions is splashed into our bemused faces.
The answers come in the form of customs officer Robert Beatty, who was the guy sultry sidekick Honey had a fight with last time. He’s one of these deep cover types working beyond the police, doing things they can’t like he doesn’t give a shit. It turns out that the drugs murdered Harvey Wratten used to get his rare Royal Pardon were already his. Beatty also reveals there was a second requirement for the Pardon; saving the life of a cop. In this case information was given to save him and his family from a car bomb. But it quickly emerges that the bomb was probably planted by Wratten too. So Wratten arranged a get out of jail free card for himself. Well mostly free, just minus millions of pounds worth of drugs.
Obviously Gabriel thinks this is getting somewhere with the case, that he’s been given three extra weeks to save. But it’s difficult to say where this breakthrough leads or what it means and his boss has a problem with that. Even though they’ve got a blurry picture of Gatehouse on CCTV too AND they’ve linked him to a big drug deal, where Gatehouse appeared to be acting on behalf of the vanished but ever present Glickman, who was in turn acting for Wratten because he was banged up. Confused much?
And that’s just the professional side of the police case. We haven’t even mentioned Gabriel’s personal problems. He didn’t have any agonising moments staring at that inexplicable briefcase full of cash this week but the mother of his secret child told him to tell his wife of their existence, who is finally pregnant. This is the cue for just one of many terrible lines in this episode. Gabriel, clearly in a sticky situation, blankly says “I’m in hell” only for the mother of his child to hit back with “No, we’re in limbo”. She then says she won’t have her son growing up in the shadows, which is far too forced a reference to the show’s title.
On the criminal side of the case, Bob Harris is sweating his hairy backside off because one of his supply lines has been compromised by customs, which is how the police know about Glickman getting the drugs for Wratten. How do I know he has a hairy backside you ask? I don’t for sure but I’m judging by the rest of his portly, sagging, ageing body. We’re treated to a scene with Harris and a gay lover, with Harris sporting a pair of very tight pants and awkwardly resting on his side like a beached whale, and the lover wearing nothing at all. He is sprung from a police station by an anonymous benefactor at the beginning of the episode and ever since has been stuck in camp seductive mode. He also gets some terrible lines and provides Harris with the information that apparently Jay Wratten is responsible for the busting of his line.
Jay of course, has been told by Andy Dixon the driver, that Harris killed Harvey. So he has a reason to piss him off. But Christopher Eccleston’s Joseph Bede interrogates Jay and he insists he didn’t do anything. We see very little of Bede this week, apart from when he’s questioning Jay and Glickman’s girlfriend, but Jay does get to pay another over the top, intimidating visit to Glickman’s son. And this is where we see the mysterious, deadly Gatehouse again.
Perched atop a mountain of office furniture, Gatehouse is across the street from Glickman’s son with some very fancy tech for listening to phone conversations etc. Eventually he decides to pop round to the home of Glickman’s son and play the kindly old fashioned gentleman card. Glickman’s sceptical daughter-in-law is won over by his harmless demeanour and Gatehouse gains access to the downstairs loo. After opening and closing the window briefly, he lets himself out. After calling her husband about the visitor, the wife goes upstairs to check on the wailing baby, prompted by the baby monitor. Their little girl is not there.
I was glad when Gatehouse showed up eventually last night because the rest of the episode had been poor. With Gatehouse though you know things are going to be suspenseful and tense and that something is going to happen, even without him doing very much. Here he’d magically whisked the baby outside, simply by opening and shutting a window in the toilet. Surely he must have had help? After dashing about the house absolutely distraught, she finds her baby and then Gatehouse, who chillingly tells her to call her husband “NOW” via the baby monitor. Glickman is then told Gatehouse wants to hear from him.
This episode has time for one more confusing but majestic scene. The journalist, otherwise known as that bloke from Casino Royale, who has been investigating police corruption throughout the series, features strongly in this episode asking people questions without really getting anywhere. Then he’s given the job of city editor at his paper, along with a far from feasible pay rise. Prior to this Gatehouse calls him up for an anonymous meeting but does nothing; not even speaking to him. Instead he gets hold of his home address pretending to be a deliveryman. Then comes the outstanding scene.
McGovern (name of said journalist) rides out of the city in his leathers and into the countryside towards home and his wife, where he can tell her the good news of his promotion. The tension slowly builds as it’s evident something will happen. Then we see a car in the distance on a straight road, with McGovern heading towards it. Both vehicles, bike and automobile, disappear into a dip in the middle of the road. We hear a screech and only the car emerges on the other side. The episode ends with a close up of our fallen journalist, in the middle of a sun drenched road, blood dripping in vivid drops from his helmet against a background of bright blue sky.
Scenes like that are the reason I continue to watch The Shadow Line. Some of them use too much style but most are refreshingly well executed, subtle and classy. This episode was full of irritating performances, including McGovern/Casino Royale man’s intonation that made everything sound like a question, hardly a subtle portrayal of an investigative journalist. It also had some of the worst dialogue so far and perhaps more of it. And the plot development became frustratingly unsatisfying too. But occasionally I am still gobsmacked, even in this mostly bad episode, and I am still intrigued.
With some questions answered new ones arise. Why kill the pestering journalist when he appeared to know very little? More interesting still, why did Gatehouse kill him, when he was investigating police corruption? Do Gabriel and Gatehouse know each other? Perhaps Gabriel simply can’t remember with that bullet inconveniencing his brain. And how exactly did it get there? Was Gabriel responsible for the death of partner Delaney? Can Chiwetel Ejiofor put in a good performance despite increasingly ludicrous plot twists for his character and sledgehammer emotional dialogue? Will Bede and Glickman’s girlfriend get together? Will next week be more enjoyable and make more sense? Will I get to see Bob Harris completely naked?
I’ll keep watching for the answers.
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Tagged 1, 2, 2011, 4, 7, 9pm, acting, April, awful, baby, bad, baffling, bag, BBC, Beatty, bed, Bede, Blick, blog, Blood, Bob, British, Brydon, Business, camerawork, Casino, catch up, champagne, character, children, Chiwetel, Christopher, City, conception, confusing, continue, corruption, crash, criminals, Dan, dealing, dialogue, Doctor, downstairs, drama, drugs, dual life, Eccleston, editor, Ejiofor, episode, event, family, favourite, filmmaking, florist, Forced, four, funny, Gabriel, Gatehouse, gay, Glickman, Harris, HBO, Honey, Hugo, husband, invesitgation, iplayer, IVF, Jonah, Joseph, journalist, kidnap, line, loo, lover, Martin, May, McGovern, Millionaire, mixed, Money, motorbike, Much Ado About Nothing, muddled, murder, naked, narrative, news, Newsnight, newspaper, Nicholson, One, opinion, original, over the top, pants, Part, pay, performances, plot, police, portrayal, Prime, Rea, Rebecca, rent boy, Review, rise, Rob, Royale, salary, scene, screenplay, script, secrets, Series, sex, shadow, shot, sledgehammer, Stephen, story, story arc, storytelling, stress, style, subtle, summary, symbolism, television, The, The Guardian, The Review Show, Thursdays, time, toilet, tv, Two, vivid, watch, Who, wife, witty
Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.
Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.
Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.
Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.
Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.
In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.
Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.
Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).
However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.
The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.
Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.
I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.
Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.
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Tagged 50s, acting, action, Adjustment, aftermath, applaud, Aristotle, authentic, award, bad, ballerina, ballet, bar, believable, Blade Runner, blockbuster, blog, blunt, Bourne, Bradbury, Bureau, Business, cameos, chance, charming, chat, cheesy, chemistry, chewing, choice, cliche, Cold War, Collinson, Comedy, compelling, contemporary, convincing, cool, corporation, cute, Daily Show, Damon, dance, darkness, David, debated, debut, decisions, destiny, determinism, dialogue, dick, dicking around, different, Do Androids Dream Electric Sheep?, doors, drive, embarassing, Emily, ethics, exciting, fashion, fate, faults, feature, fight, film, first, Flickering, focus, framework, free will, funny, Gary, George, god, goo, good, Guardian, gum, hard, hats, holes, Hollywood, Hume, ideas, image, incident, Jason, John, Jon Stewart, K, Kant, leads, Leibniz, Liam, liberty, line, losing, love, luck, Mad Men, manhattan, masticated, mate, Matt, meaning, method, Minority Report, mix, Money, movie, musings, myth, narrative, new, New York, Nolfi, Norris, novel, pacing, path, performances, perhaps, Phillip, philosophy, Ping, plot, points, policy, Politics, postwar, praise, Ray, resonant, Review, romance, route, sci-fi, screenplay, script, Senator, set, sex, sight, sisters, skyscrapers, Slattery, soul, speech, Stamp, statue, story, Street, stunts, style, suits, superb, symbol, talking, technique, teleport, Terrence, The, The Man in the High Castle, thinking, thriller, ties, toilets, top, Trim, turning, tv, twists, UK, Ultimatum, up, valid, Verdict, water, Webb, winning, worthwhile, writing
At Waterloo station the other day I finally succumbed to curiosity. I found myself staring blankly at a WH Smiths emblazoned with a small red letter “i”. In just one moment, demoralised and waiting for a train, all the hype and advertising culminated for me. It was only 20p, let’s see what all the fuss is about. I lugged my stuff over to the store, handed over my solitary coin and headed for a drink to dissect the nation’s latest news phenomenon.
Or is such a big deal? I sit here with two copies, having purchased a second for the purposes of writing this piece. And from the outside it doesn’t look so extraordinary. Sure I’m familiar with the concept, the image they’re trying to sell. It’s a concise compilation of news and opinion, an intelligent but manageable information snack to be devoured by your busy city type. It ought not to appeal so greatly here in my rural setting, and yet the first two local shops I tried were sold out yesterday. Not just a paper for commuters rushing through London terminals and underground stations then? Perhaps it does have some foundations of longevity; having said that, it could simply be the novelty buy of the moment.
If you’re reading this and saying to yourself “what on earth is i?” I am frankly astounded. I don’t believe you can have avoided the marketing blitz accompanying its release. It adorns the side of London buses, plasters newspaper stands and rules the ad breaks at times. The strap-line at the top of the front page reads: “As seen on TV: Britain’s concise quality paper”. They’re fully aware of the exposure i is getting and I’m guessing the idea is to hook regular readers early. The dirt cheap price will be crucial to the appeal, as will the two key selling points; concise and quality. It’s broadsheet meat in tasty tabloid nuggets.
Essentially it’s a bite-size version of The Independent. The fact that it’s The Independent launching the i does bode well in many respects; The Independent is the newest established national paper in this country. Launched in the eighties it knew how to exploit gaps in the market with price, design, image and politics. Nicknamed the Indy, it used the slogan “It is. Are you?” at its birth in 1986. Such lines show that even back then this was a paper that knew how to bag itself a target market of aspiring intelligent types looking to distinguish themselves from The Guardian or The Times. It would be simultaneously liberal and opinionated, and respected and trusted. In 2003 it took on a tabloid format, which begs the question, why the need for the i?
The clue is in the name. The i is unashamedly jumping onto the Apple bandwagon. We arrive in a new decade, the teenies or whatever follows the noughties, grappling with the coming of the iPad. The iPad seems to herald a new media age in a lot of ways. Countless commentators and reviews argue over its purpose, with many concluding it does not have a particularly functional one. In technology the iPad is halfway between a laptop or netbook and a smartphone or iPod. It fails to do certain things these old staples do so well, whilst also doing some new things no one is quite sure whether we want yet. Most reviews also conclude that the iPad is so much fun, it scarcely matters what it’s for. It’s an inexplicable indulgence, until the content starts to catch up.
But unavoidably the ethos around the iPad is the direction of travel, the way things are going. People want everything they do, everything they consume, to be aesthetically dazzling and finely crafted. They want to look cool when they read the news and they want to feel cool. They want it to be easy but still be well informed afterwards. They want colour and images. The i is the newspaper equivalent of the iPad; it’s well designed and bright and fun, but it hovers in a new uncertain territory between purposes. Is it broadsheet or tabloid? Paper or magazine? Light or heavy news?
At first I was reading the i trying to work out whether it lived up to its brief of “concise quality” sufficiently, and even if it did, whether it was good enough to warrant such a category of publication. I mean can’t even the busiest person simply selectively scan their favourite paper? I was judging each article to decide whether it had the depth of broadsheet and snappy digestibility of tabloid. The selection of topics for articles is certainly suitably intelligent, with nothing too light or smutty about cheap celebrities creeping in. On the snappy front the opening double page has a “news matrix” with summaries of the day’s top stories, so the reader has at least an overview of everything. This does seem surprisingly handy.
In fairness to most of the articles about serious stories, they do an admirable job of cutting right to the point without being patronising or watering the issue down. But unavoidably there is an unsatisfying lack of depth. Everyday there is a fairly substantial opinion piece however, which can’t be accused of cutting corners. Indeed the opinion section of the paper is a good example of successful fusion between manageable and satisfying content. An “opinion matrix” summarises views from other publications, a bold and genuinely informative move in keeping with The Independent tradition, adjacent to an article from one of their writers. I really like that it quotes other papers, and I imagine the average commuter without the time to buy and read a range, does too. There is only the one opinion piece per day though.
This week the content of the i has been somewhat heavy on anti-Murdoch sentiment, what with the ongoing hacking story and the takeover of Sky forever raging, which I found tiresome. It’s of course admirable to expose such stories, under reported in other papers, but it compromises the potential for other news and comment in such a small paper, and also The Independent tradition of staying above the fray (despite an undoubtedly left-wing reputation).
The television schedule is well designed, split as it is into categories with key programmes, and a smaller list with the all junk underneath. Ideal for those that work all day. There’s also a section called “iq” which seems to be dedicated to the likes of style and recipes and again has a good balance between brevity and depth. The arts area of the paper seems somewhat recycled each day, with film and theatre listings and descriptions; no reviews. Not being a businessman I wouldn’t know if the business section was adequate, but it has its own “news matrix” which seems a good, broad introduction to all the main action of the day. The sports pages are really quite short but do touch on all the main issues; football transfer gossip, Six Nations, Andy Murray.
After all this analysis though I remembered how crucial the comparison with the iPad is to understanding the i. Frequently I toy with it in those cavernous Apple stores, knowing full well I haven’t the funds for such an extravagance or even if I would use it at all, should I win the lottery or rob a bank. But every time I go in for a discrete fondle of the touch screen, that indescribable feeling Apple manufactures so well washes over me. That feeling of being at the forefront; the vanguard of technological advancement. As if I’m in an incredibly cool sci-fi film, not my mundane life. That feeling of childish play, somehow fused with the realisation you’ve arrived as an adult with the James Bond gadget to prove your maturity and success. Look at the tech they let me unleash! Behold the luxuries that make up my exciting everyday existence!
Like the iPad, the i is a symbol of a life style choice, a lot more than just a paper. Now it might be the case that your choice of paper has always been a significant indicator of outlook and ambition, but the i is a heightened version, harnessing the 21st century Apple fever. It popularises that choice and makes it available to the masses as a statement of intent. “Look at me, I am intelligent but too busy to stop, I’ve arrived!”
Even if you don’t consciously think this, the colourful design and appeal of the i put it on that similarly luxurious plain to the iPad. It really is well designed, easy to read and pretty to look at on some pages. And why shouldn’t intelligent news be a pleasure to look at? Why does it have to be bunched in dense text and an excruciating eyesore? Especially when you’re jammed in like sardines on the tube. The colour coded pages help you swiftly find what you’re looking for and the multitude of colour photographs let you feel the news, experience the world, rather than simply read about it. Like the touch screen of the iPad, the i feels interactive at times and immersive despite its concision.
One thing that really baffles me is the continually shabby state of The Independent website following the launch of the i. To truly capitalise on the stylish Apple-like aesthetic they’re cultivating with the i, they would lure people to their equally swish website. But for ages The Independent’s website has been the drabbest online newspaper around. Some would simply call it functional, with its white background and lack of trimmings. But a hideous mustardy brown colour is used across the top and the font is squat and awkward to read. It’s a real shame, because it’s so bad it often puts me off delving into the regularly insightful, impressive content, which has real depth that goes beyond the snippets in the prettier i.
I would do well not to push the comparison with the iPad too far. The i lacks the level of interactivity and excitement cutting edge technology like the iPad can provide. It is, at the end of the day, a slimmed down newspaper. But its design and marketing reflect a cultural trend. There’s nothing wrong with what the i is trying to achieve, and it’s admirable in fact to see something try and keep print publications fresh and competitive. The threats of the iPad and the internet could jeopardise journalism and courageous solutions are needed. The i does the right thing by embracing the challenge of our new aesthetically obsessed, Apple stuffed world, rather than denying it. With its colour, cool and seamless advertising spaces and refreshingly un-patronising news, the i has the potential to be more than an early 2011 fad. Crucially, at 20p, you may as well give this stylish “essential daily briefing” a whirl, before properly digesting your preferred daily in the evening.
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Tagged 1986, 2011, 20p, 21st century, ability, advert, aesthetic, app, Apple, article, arts, Bethnal Green, bite-size, bold, Bond, branch, breadth, brevity, brief, briefing, broadsheet, bus, Business, busy, cheap, childish, choice, chunks, circulation, City, colour coded, colourful, commuter, concise, content, controversy, cool, crafted, cultural, culture, Daily, decade, depth, design, drab, eighties, essential, exciting, experience, fad, fashion, feel, fever, fine, flop, font, format, fray, fresh, gadget, gamble, global, hacking, headline, heavy, i, immersive, Independent, Indy, info, information, intent, interactive, internet, iPad, ipod, iq, James, jobs, journalism, Liberal, lifestyle, light, listings, Liverpool Street, London, longevity, magazine, marketing, matrix, media, MI6, multitude, Murdoch, needed, new, news, news matrix, News of the World, newspaper, noughties, nuggets, of, off, online, opinion, opinionated, paper, patronising, phase, photographs, photos, piece, play, point, pointless, political, popular, pretty, print, publications, purpose, Q, quality, quotes, read, refreshing, respected, revenue, revolution, risk, Rupert, rural, shabby, SIS, Sky, snappy, Society, sport, stale, statement, Steve, stylish, Sunday, tabloid, takeover, tech, teenies, terminals, territory, The, The Evening Standard, The Guardian, The Mirror, The Star, The Sun, The Telegraph, The Times, trend, trusted, tube, tv, type, typography, uncertain, underground, urban, varied, Waterloo, web, website, World
It has been one of those weeks in politics. As well as dull but incredibly important legislative procedure on issues like voting reform and the EMA, there have been the scandalous, newsworthy, headline-grabbing stories which get everyone interested and have the potential to set the tone of debate for the foreseeable future. On Friday the big story was supposed to be the once charismatic, fallen and tainted PM Tony Blair giving evidence for a second time at a historic war inquiry. Instead both of the major parties faced employment crises that sent morale on an undulating, yo-yoing rollercoaster ride.
At the end of that ride it seems Labour, against the odds, have emerged with their heads held high and full of hope. The resignation of David Cameron’s long-term spin doctor Andy Coulson proves them right on a point they’ve been making in Opposition for months. With little policy of their own to use as ammunition against Coalition cuts, Labour have relished the niggling issue of Coulson’s shady past at the News of the World. By finally quitting Coulson has reinforced Labour’s attempts to expose the “new” politics of the coalition as the same old dishonest, elitist governance of old. Coulson may have tried to serve his employer well one last time with the timing of his announcement, shrouded as it was in theory by the gargantuan story of a Labour frontbench reshuffle so soon after the selection of the original line-up. But for the moment at least it’s Labour that are buoyed by events and the Tories feeling somewhat dejected.
Back in October I aired my views on this blog about the announcement of Ed Miliband’s first Shadow Cabinet. To me the appointment of Alan Johnson was a mistake, and far be it from me to blow my own trumpet, but events have proved my initial musings correct. Johnson went from gaffe to gaffe, showing a worrying lack of knowledge for his brief. Labour continually failed to land palpable hits on economic issues, despite a plethora of targets laid bare by Con-Dem cuts. Meanwhile Ed Balls, after a dynamic and impressive leadership campaign, languished largely unnoticed as Shadow Home Secretary. No one seemed to be pro-active enough to take the fight to the Conservatives on damaging policies in a noticeable way. Balls’ wife, Yvette Cooper, also wasted away shadowing the foreign office brief, despite widespread backing in the party and the potential for public support. The only Labour frontbencher scoring economic points was Shadow Business Secretary John Denham, and even he has left glaring gaps in his arguments and been error prone.
Alan Johnson’s sudden resignation due to personal issues so soon into his new, vital job may be a blessing in disguise for Labour and everyone wishing to see credible Opposition to Coalition cuts. Despite the mistakes, Johnson has once again proved in his short tenure his capacity to be likeable and approachable to ordinary voters. The revelation that it was in fact his wife having an affair, not him, ensures the prospect of return to the Labour frontbench in a smaller, popular role in the future. With Johnson’s static, timid fiscal presence brushed aside though, Labour can at last forge a bold new and distinctive direction on all things economic.
I praised Ed Balls during his leadership campaign for going a long way to reshape his bullyboy image. More than any other candidate, Balls looked as if he’d give Labour a truly individual position on policy. Continually described as Labour’s “attack dog” Balls will now have much greater freedom to bite at the heels of the Coalition. As Shadow Chancellor he’ll have to respond to hot, topical issues like tuition fees and bankers’ bonuses; fresh and emotive in the public consciousness. He’ll also have to start winning the argument on growth and investment vs. spending cuts.
Already though he has shown signs of defending Labour’s past record more effectively, explaining his decision to now back the plan he once opposed to halve the deficit within four years, by citing better figures driven by Labour’s spending whilst in government. He’s also been wise to already criticise the government, not for risking a double-dip recession, which looks unlikely, but for wasting an opportunity for greater growth and wider prosperity because of ideological decisions. And growth, Balls will emphasise, is the swiftest, most sustainable route to deficit reduction.
There are still those warning against the potential problems of two Eds at the top though. The primary fear is a return to the Blair-Brown standoff that came to define and overshadow New Labour. This concern adds the extra interest of a helping of recent political history to the mix of this story. Will Labour repeat past mistakes, despite Miliband’s proclamation of a new generation? Even if the new team propels Labour back to government, the same old potentially lethal questions will hang ominously over the partnership between the leader and the treasury.
However I think the doubters are at the very least premature to suspect Balls of wanting to derail Miliband’s revival of the party. Despite the fact he ran for leader, it’s no secret that the job Balls has always wanted is Chancellor. Finally in a position to seize his goal, he is unlikely to turn his fire on his own party. Much more likely is that Balls will electrify the chamber, as one Labour source believes he will, and unleash an avalanche of devastating balls of criticism at the government. He’ll add much needed guts and yes, “Balls”, to Labour’s Opposition. He’s already proved his aptitude for Opposition politics during his leadership campaign.
Balls’ wife will also have greater opportunity to play a key role, replacing her husband as Shadow Home Secretary. She’ll no doubt start picking apart government policing plans. But once again Ed Miliband showed a disappointing lack of courage with his emergency reshuffle. Already he’s failed to take climate change seriously or offer serious backing to voting reform or a graduate tax. And by handing Balls Johnson’s old job, not his wife, he once again missed an opportunity to make his generation truly a new one.
Failing with his initial selection of a cabinet though meant he simply had to give the role to Balls. Who will, I believe, do a genuinely excellent job and accelerate Labour’s journey back to power. The two Eds plan to have adjacent offices and the fears of a Blair-Brown fallout seem unfounded to me. Nevertheless they will not disappear and had Miliband boldly plumped for the equally qualified Cooper, he would have avoided the shadow of New Labour he is so desperate to escape.
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