Battle of the Bonds: Michael Fassbender vs. Daniel Craig

Ok so I know technically Michael Fassbender isn’t a Bond but there was no way I was calling this anything else. If you’ve seen the new X-Men film you’ll know Fassbender essentially gives a super powered performance of our favourite suave secret agent. My review points out as much here.

Critics up and down this green and pleasant land are saying they’d like to see Fassbender play Bond in future. Some are even calling for the head of Daniel Craig now, just two films after Craig successfully rebooted cinema’s longest running franchise to acclaim from commentators and audiences alike. But the problem is Casino Royale was almost six years ago. Since then we’ve had the action packed disappointment of Quantum of Solace, in which Craig was still good but hampered and limited by a mostly naff script. We’ve also had the crisis of MGM delaying the release of Bond 23. All the while Craig has been ageing, the poor thing.

I am a huge fan of Craig’s interpretation of Bond but even I have to admit that he’ll be under pressure if Bond 23 doesn’t vastly improve on Marc Forster’s Quantum of Solace. Sam Mendes is at the helm and the signs are good but then most of us Bond fans were saying that on the web about the last one. Forster was supposedly a director who could tell a story but we were left with some decent action at the start, which felt like it was still part of Casino Royale, followed by a disappointing story with flashes of average action that was an unsatisfying epilogue to the reboot at best.

Because of the delays then, as well as the unstoppable onslaught of human decay, Fassbender has the edge on youth. His career is also shifting into a top gear; at a time when Craig’s is also attracting big enough projects that could tempt him away from Bond should the 23^rd instalment prove be a sinking ship.

 Enough build up. Let’s compare a few necessary requirements for an actor playing a 00 agent. Bonds do battle.

FILMOGRAPHIES

Fassbender:
                                                                                                       
300 (2006)
Eden Lake (2008)
Hunger (2008)
Town Creek (2009)
Fish Tank (2009)
Inglorious Basterds (2009)
Centurion (2010)
Jonah Hex (2010)
X-Men: First Class (2011)
Jane Eyre (2011)

Craig:

Casino Royale (2006)
The Invasion (2007)
The Golden Compass (2007)
Flashbacks of a Fool (2008)
Quantum of Solace (2008)
Defiance (2008)
Cowboys and Aliens (2011)
Dream House (2011)
The Adventures of Tintin: The Secret of the Unicorn (2011)
The Girl with the Dragon Tattoo (2011)

Round 1 – Acting Chops

Going from both men’s biggest hits and breakthroughs to the mainstream in 2006 (300 and Casino Royale) to the present day, it’s probably Fassbender with the more impressive list. There were meaty roles for him in Hunger, Fish Tank and the upcoming Jane Eyre. Hunger in particular alerted directors everywhere to his talent. The film carries a 90% rating on Rotten Tomatoes and is “anchored” by Fassbender’s performance, according to Empire Magazine. Working with Quentin Tarantino is no bad thing for a CV either.

Craig on the other hand followed up his cold and commanding debut as Bond with the critically panned The Invasion with Nicole Kidman and average kids film The Golden Compass, which was supposed to launch an all conquering series to rival Harry Potter. Flashbacks of a Fool was a favour to directing friend Baillie Walsh, in which he gave a performances as a washed up actor fallen from grace. It was good but not the main role in the film, as the rest was told in flashbacks to childhood and in any case it wasn’t a big hit. He pulled off an impressive accent in Edward Zwick’s Defiance and generally convinced as a leader. Only recently has Craig got some really appetising projects on the go though, working with the likes of Spielberg for Tintin, David Fincher for Dragon Tattoo and Harrison Ford and Jon Favreau for Cowboys and Aliens.

Verdict: Even with that lull for Craig, it’s difficult to separate the abilities of these two.

Round 2 – Sex Appeal

I am definitely the wrong person to ask about this. But there’s no doubt that Bond has to be able to inspire a certain longing in the ladies, with a mere gesture or flirtatious glance. Both actors have charisma and cool credentials. Fassbender dresses up smart in the latest X-Men, as well as donning casual hard man leather jackets and camp superhero costume, cape and all. In Fish Tank his character’s raw masculinity was irresistible to mother and daughter alike. Inglorious Basterds saw him with slick and precise hair and a uniform. After starring as Mr Rochester as Jane Eyre later this year, further legions of women will join the ranks of his swooning admirers, with the earliest recruits hooked by the sight of his muscular and barely clothed physique in 300.

From what I’m told Craig is not a bad catch either. Certainly upon news of his casting as Bond and following the first viewings of those notorious blue Speedos, the females in my social circles could talk of nothing else in fits of giggles for days. Perhaps they’ll like the sight of him in a Cowboy hat.

Verdict: I really don’t know, they both seem to be handsome chaps and I imagine it comes down to personal preference. However if I had to make a decision, I’d say that Fassbender’s mixed Irish/German heritage makes him more exotic. Plus he seems taller. I hear that’s good.

Round 3 – Who would win in a fight?

Fassbender fought like a lion on speed in 300. And as I’ve said he had very little on. That’s impressive and a Spartan warrior takes some beating. However Bond doesn’t fight with swords, well not very often. He’s got to be able to beat a man to death with his fists, win shootouts and take out bad guys in witty ways. Fassbender did a lot of grunting and killing in 300 but where were the one liners? And in Inglorious Basterds he got shot almost immediately after some lengthy chit chat. Bullets are meant to swerve to avoid 007.

Or in Craig’s case, merely puncture his huge pecs. Craig has proven himself already as Bond, especially physically. His stunts and fight scenes have brought the series up to date. Some have criticised the mimicking of Bourne-esque action, which is valid for Quantum of Solace but off the mark for Casino Royale. In the past Craig has blown up enemies of Israel in Munich and taken on the Nazis in Defiance. Judging by the trailers he’s going to kick some Cowboy/Alien ass this summer too.

Verdict: Fassbender needs more time to learn the ropes but unless he’s got his metal moving powers still, looks like Craig will knock him out.

Round 4 – Staying true to Ian Fleming’s original

In X-Men: First Class Fassbender proves he can speak menacingly in Spanish, French and German. He is ruthless and suave and all action. He has a taste for the ladies and strong principles which he stands by. He is loyal. All of these qualities and more that Fassbender displays as the young Magneto, travelling the globe conducting his own private espionage, are those of Ian Fleming’s original spy. If Bond producers Barbara Broccoli and Michael G. Wilson were ever bold enough to take Bond back in time, Fassbender would be perfect for another reboot. His British officer look in Inglorious Basterds, combined with his Magneto, creates a pretty cool version of James Bond licence to kill.

It’s unlikely the producers will ever take Bond into the past and a Cold War world again because they feel that would tarnish the earlier films which covered that ground already. Bond needs to find a way to carry on in the modern world whilst retaining the best elements of the original. And Daniel Craig’s version of the character found that path with Casino Royale. His more human and more brutal portrayal took Bond back to his literary roots with tremendous results.

Verdict: Impossible to split. Fassbender has the potential to be a classic Bond as Fleming imagined him but Craig has already proven himself as a Bond inspired by the books as well as the films.

So at the end of that battle we know nothing new. It’s a draw on points. Basically Fassbender might be a good Bond when Craig steps aside but for now he’s doing a good job. What happens next all rests on Bond 23.

What do you think? Would Fassbender make a better Bond than Craig?

An EPQ Comparitive Essay: Part 2 – Dick and the Illusory War: Focusing on the Cold War, how does the work of Aldous Huxley and Phillip K. Dick challenge dominant historical perceptions of America?

The final part of my Cold War/sci-fi/American history essay. I was especially pleased with some of the analysis of Dick’s characterisation in The Man in the High Castle but disappointed that I had to rush Do Androids Dream Electric sheep due to word limit constraints:

 

DICK AND THE ILLUSORY WAR

 

“In his 1955 talk Pessimism in Science Fiction Dick argued that the collapse of belief in progress had led to an unavoidable preoccupation with doom. Hence the science fiction writer was “absoluted, obliged” to “act out the Cassandra role” of giving early warnings of the grim times to come[i].”

Huxley was not alone in believing that science fiction could act as cautionary prophecy. He was also not the only one to recognise the stagnation of genuine progress during the Cold War period. Here we see that in 1955, in the midst of the Cold War, Phillip K. Dick also asserted that ordinary people’s cosy everyday realities were menaced by “grim times to come”. He felt “obliged” as a writer to highlight what he saw as the main threats.

            For Dick the most important threat seemed to be the manipulation of reality. The “doom” that fascinated him was not simply nuclear destruction but the exposure of reality as a fabrication. Again and again his enormous body of work deals with the idea of life not being what it seems and conspiracies maintaining the status quo. Often his protagonists uncover seemingly pointless and elaborate fabrications that lead them to question their own sanity. “The paranoid theme manifests itself in Dick’s novels through the discovery of institutional conspiracies to promote versions of reality for often ultimate purposes often left unspecified[ii].”In The Penultimate Truth (1964), Dick raises the idea of a ruling elite maintaining the illusion of a long since ended war, in order to maintain their positions of power. The unsuspecting public is imprisoned underground, believing a nuclear war to be raging on the surface. They are kept busy producing lead robots to fight the fake war. The illusion is maintained through state controlled media and the speeches of the “Protector”, a President-like figure “who legitimates the regime by casting the administration as selfless guardians willing to brave the dangers of radioactivity for the public good[iii].”Clearly Dick is drawing a parallel with the ideological conflict sold to the American people at this time. It’s no wonder writers like Dick questioned the Cold War, as by its nature the conflict rarely went “hot” and provided concrete evidence of fighting and if skirmishes did occur they were in far away lands. Dick would also explore the theme of illusion extensively in other novels such as The Man in the High Castle and Do Androids Dream of Electric Sheep?, and in so doing comment on the political fabrications of the period.

 

There were countless events that may have triggered Dick’s suspicions during the Cold War period. I have chosen two examples of illusion that seem particularly relevant to his work. The first example of Resource War as a stimulus for illusion is linked to ideas raised by Dick’s characters in The Man in the High Castle. In this novel Dick has created his own Cold War betweenGermany andJapan and superficially the reasons for their rivalry are mainly ideological, just like the real conflict. However through his characters musings on the Nazi Party’s grand schemes it emerges thatGermany’s aims are primarily the extension of its own wealth. The most imaginative scheme described is the conversion of theMediterranean into arable farm land. This project clearly has the intention of expanding the resources of the German people and improving their living standards. Ideologically driven projects of genocide are also mentioned but the emphasis is on the lifestyle available inGermany as a result of their material conquests. Dick is clearly commenting on the political conflicts of the time and questioning whether it is in fact greed rather than idealism motivating confrontations with Communism.

            The second example I give as a likely influence on Dick’s work is the myth of the Missile Gap. Dick seems to deal with the idea of producing unnecessary weapons directly in The Penultimate Truth. In this novel an illusion of war is maintained in order to control the awareness of the population and maintain a power structure. In real lifeAmerica produced nuclear weapons, rather than the robots of the novel, to deal with an invented technology gap with the Soviets. This myth was sustained by the media and Dick reflects this in the novel too.

 

We have already seen through Huxley’s criticisms that economic factors were crucial to the rivalry betweenAmericaandRussia. The notion that the Cold War was a purely ideological struggle between democracy and Communism is nonsense.Americawas concerned by the expansion of Communism because it was a system of governance that would ultimately be controlled and exploited by the Russians. The primary motivation for the Cold War was not a moral disapproval of Communism and its failings, but to sustain an economic system and therefore a way of life. The Second World War merely removed all the other competitors for the resources of the world, weakening them to such an extent that to acquire anything they must sit at the table of one of the superpowers. A century before the Second World War, it had already been observed thatAmericaandRussiawould one day be direct and supreme competitors by Alexis de Tocqueville, in De la Democratie en Amerique:

“There are now two great nations in the world which, starting from different points, seem to be advancing toward the same goal: the Russians and the Americans. Both have grown in obscurity, and while the world’s attention was occupied elsewhere, they have suddenly taken their place among the leading nations, making the world take note of their birth and of their greatness almost at the same instant. All other peoples seem to have nearly reached their natural limits and to need nothing but to preserve them; but these two are growing…Their point of departure is different and their paths diverse; nevertheless, each seems called by some secret desire of Providence one day to hold in its hands the destinies of half the world.[iv]”

The Cold War fulfilled this prediction of Americaand Russiadetermining the fate of at least half the world, as there are few regions the division did not in some way consume. One of the areas particularly embroiled in competition was the Middle East. This was because oil was now the resource everyone craved, just as gold, sugar or coal had been for the competing empires of the past. As Americamade the transition from the world’s largest oil producer to its biggest importer, it scaled up its military presence in the oil rich region. In 1940 Middle Eastern oil only accounted for 5 % of world production, but by the 1950s Americahad moved to secure its potential[v]. It took advantage of British weakness following the Second World War to replace them as the dominant power in theMiddle East. TheSuez crisis of 1956 forcedAmerica to choose between her Allies taking on a dictator who was flirting with the Communists and the oil of the Arab world; it chose the oil. It also repeatedly stopped short of fully supportingIsrael, despite the power of Zionists in American politics, in order to maintain relations with oil abundant Arab states. OperationAjax, a CIA led overthrow ofIran, was carried out in response to the nationalisation of the Anglo-Iranian Oil Company. There were worries about Soviet plans forIran but these were concerns about the flow of oil, not the method of government or the welfare of Iranians. The Americans knew full well that the Anglo-Iranian Oil Company could be influenced or replaced by American firms like ARAMCO or Standard Oil. The Russians, once in place, would be less accommodating.  

The Cold War was a resource war on a global scale and the resources involved were not simply fuels like oil.Americagained immensely from friendly, prosperous governments. Therefore wars like the Korean War, whilst not fought to secure control of a particular treasure, were carried out with the aim of acquiring an asset. They were also preventative, in that they halted the Russians from advancing any further and seizing land that may yield future benefits. Importantly they were clearly not ideological, as the Korean War was fought in support of a cruel dictator as tyrannous as the northern alternative, with the exception that he would do business with suited money men.

 

A recent article in The Times analyses the world’s current stockpile of nuclear weapons. The article is prompted by Iran’s efforts to join the nuclear club and is headlined “Enough bombs for 2.3 million Hiroshimas[vi]”. The main message of the article is “the world already has enough nuclear weapons to destroy every single nation on the planet.” Barack Obama has just won the Nobel Peace Prize for daring to suggest a world without nuclear weapons as President of theUnited States. However the world seems locked into a situation that makes it impossible to get rid of the destructive devices, despite a commitment by the Cold War powers to reduce their own stockpiles. This is because the hysteria of the Cold War arms race was not controlled and now the technology is far too freely available. The origins of this ludicrous ability to destroy humanity several times over lie in the pressure cooker of American politics at the beginning of the 1960s.

            The launch of the Soviet satellite Sputnik is partly responsible for the sheer number of nuclear armaments produced. It was not just the initial launch in 1957 but a whole series of satellites that shocked and amazed the world. The Americans had dismissed the Russian plans as propaganda but Sputnik’s radio bleeps provided the world with solid proof; Russiawas winning the technological race. The scientist Edward Teller said on television that Americahad lost “a battle more important and greater than Pearl Harbour[vii].”American pride took a severe beating and its military were also given a nasty shock at the realisation that Soviet missiles could soon be reaching US cities. The result of immense public pressure was a flurry of reactionary schemes to close the missile gap, the “technology gap, and behind that an education gap. A lasting legacy of the panic generated by Sputnik was the passing of the National Defence Education Act of 1958, in which at last the case for federal involvement in education was accepted by Congress[viii].”However not all of the schemes enacted in the hysteria were so harmlessly beneficial in the long run. As well as thousands of new university places the panic spawned thousands of new nuclear weapons. In 1959 the defence budget was increased by President Eisenhower to more than $40 billion, over half the entire federal budget. The press saw this as a long overdue response to the Sputnik crisis but a reluctant President Eisenhower had been more realistic. He knew from intelligence reports comprised of detailed photographs by U-2 spy planes, that the missile gap with the Soviets was a myth. However the top secret nature of this information meant he could not use it to ease political pressure on himself and as a result he was forced to increase the production of nuclear weapons anyway. His silence on why he felt reluctant to increase spending had already damaged his administration beyond repair. The American people turned to Democratic candidate John F. Kennedy in the election of 1960 instead of Eisenhower’s deputy Richard Nixon. Kennedy placed great emphasis on restoring America’s lead in the technological race, only to find on taking office that America was in reality already far ahead of the Soviets.

Dick chose to reflect the illusory aspects of the Cold War period in his writing. He did this in a number of ways and in many of his works, but I am choosing to focus on two of his best known novels, The Man in the High Castle and Do Androids Dream of Electric Sheep?

In Do Androids Dream of Electric Sheep? the most obvious illusory element is the fake animal industry. Status within society is determined by whether or not you own an animal. This had led to a supply of fake electric animals in order to satisfy the demand. Dick may have taken inspiration for this fake industry from government reports during the Cold War that recommended the construction of futile nuclear shelters and sanctioned the sale of “private family fallout shelters” by companies at a cost of “$2,395-installation extra”[ix]. Here we have a clear example of government orchestrating an illusion in order to gain profit and control. Official reports calling for nuclear shelters served the dual manipulative purpose of keeping the public in fear of attack but also making them feel that they were empowered to do something about it, thus avoiding hysteria. Allowing companies to sell private shelters to families would also have wrongly made people feel that they were taking positive action to protect their loved ones. It also allowed nuclear protection to commercialise and create an entirely new industry based on a fiction. The government directly instigated an illusion for profit.

 

The Man in the High Castle presents an alternative ending to the Second World War, in which the Axis powers triumphed. Whilst this would be a drastically different reality in many ways Dick makes a comparison with his own world by setting up Japan and Germany in a similar superpower standoff to that between the USA and USSR. He comments on the Cold War by creating an alternative one of his own, with arguably more extreme opponents. He reveals shocking snippets of information regarding world affairs in his alternate world, only through the individual musings of his characters. Indeed I think the believable characterisation in The Man in the High Castle is an important part of Dick’s representation of the theme of illusion.

The first character we meet in the story is Mr R. Childan, proprietor of American Artistic Handcrafts Inc. It is interesting to analyse the way Dick introduces us to Childan, as the novel goes on to introduce us, in my view successfully, to a number of different characters. All of these characters allow us to view Dick’s alternate world from a different angle, but they are all ordinary, accessible people with narrow viewpoints. The result is a tremendously varied novel, with intertwined narrative strands converging upon one ultimate revelation.

            Dick does an excellent job of establishing Childan as a character very quickly. We soon realise that Childan is a proud business minded man firstly because he is thinking about the upcoming business of the day and then from his actions in tidying up the shop. He takes “a cup of instant tea”, which suggests he is unwilling to stop, he likes to be busy. There is also an attention to detail in his preparations that serves the dual purpose of establishing the setting of the shop in our minds and features of his character like pride and tidiness. There is some further background detail about businessmen hurrying to work, purely for purposes of realism, before a more telling detail about Childan’s character.

“Women in their long colourful silk dresses…he watched them, too.[x]”

Dick does several things to show us that this detail is telling. Firstly the three adjectives, “long colourful silk”, without commas, give the sentence an elongated, seductive sound. They highlight in what way Childan is looking at the women by drawing attention to their “dresses”. Dick also adds in a suggestive pause as Childan’s thoughts wander. Finally there is the “too” tagged on to the end of the sentence, which further sets it apart from other background details. Later in the novel, with Childan’s character more firmly established, Dick hints again at his vulnerability.

“I always give satisfaction, Childan thought. To my customers.[xi]”

Here it is the “To my customers” that Dick highlights as a telling detail. Just three words tell us an awful lot about Childan’s character and how he has allowed his professional and public appearance to dominate his life. There is a strong indication that something is missing, or of a sense of inadequacy when it comes to real relationships with people. Dick continues to drop hints relating to this theme throughout the novel, particularly when Childan has conflicting feelings about his attraction to the Japanese wife.

            Dick explores the theme of illusion through Childan in several ways. One of these I have touched on in that Childan has an underlying sense of dissatisfaction and loneliness compared to an outward professionalism. Another is the way in which Childan can recognise and dismiss one aspect of society as fabrication but not others.

“The radio of the pedecab blared out popular tunes, competing with the radios of other cabs, cars and buses. Childan did not hear it; he was used to it. Nor did he take notice of the enormous neon signs with their permanent ads obliterating the front of virtually every large building.[xii]”

Here Childan seems to dismiss the culture of advertisement as artificial and false. He lets it wash over him, an unavoidable aspect of his routine but not an influence upon him. He also doesn’t hear the “popular tunes”. The implication of that phrase is that the music is mass produced, lifeless rubbish, worthy merely of the background. However whilst Childan refuses to buy in to the illusion of advertisement, he readily embraces the struggle to climb the ladder of social status. At various points in the novel Childan recognises the fixed nature of the social system, determined almost entirely by race. He appears to acknowledge that his race means he will never advance beyond a certain position. And yet all of his actions in the novel are geared towards how he can advance himself and “have, even for a moment, higher place”.

            Dick also uses Childan to show how illusion can be imposed from above. He has Childan blame the Germans for the racial social structure which is constraining him and then praises them for their vision. Childan describes Nazi policies of ethnic cleansing as works of progress. He even defends what the Nazis have “achieved” in arguments with others. He reflects the theme of Resource War through Childan by having him describe ideological motivations in a way that shows they are actually material. He convinces himself Aryans are better because “Those fellows certainly looked happy. And their farms and cottages were clean[xiii].” Dick suggests that it is the strain of being occupied and ruled by the Japanese that has led Childan to hold such contradictory views at the same time. Dick’s way of showing the enormous influence the occupation has had on Childan is to have his internal monologue mimic the speech patterns of the Japanese he both hates and admires.

“Has he stumbled onto correct notion, Childan wondered, that certain of the historic objects in stores such as mine…are imitations?[xiv]”

 Here Dick is commenting on the long term effects of American occupation on the minds of people. Dick’s awareness of Japanese culture would have made him mindful of the effects of American occupation on the country and others likeGermany. In particular Dick must have worried about the legacy of resentment that accompanied the dropping of the atomic bombs. He was also fully aware of the mistakes made in the aftermath of the First World War that only lead to greater slaughter. By changing Childan’s speech patterns Dick is suggesting how people can be psychologically altered under occupation in ways they don’t even realise. In a more recent examination of the issue, David Mitchell’s acclaimed novel Ghostwritten has a Japanese character who has become a terrorist partly as a result of the American legacy. Today the resentment felt by many in the Muslim world towardsAmericamay have been caused by a similar process of American superiority.

Despite the various narrative strands at work in The Man in the High Castle, such as Operation Dandelion, a Nazi plan to launch a nuclear strike against Japan and Julia Frink’s relationship with a volatile Italian; it is ultimately The Grasshopper Lies Heavy, the novel within a novel, which gives the story its illusory message. Of course there are other elements of the narrative that are linked to the theme of illusion, such as the fake jewellery and antiques business and the uncertainty regarding the identity of agent Baynes, but it is the hope of an alternate future that provides the novel’s key illusion. The revelation at the end of the book is that the truth behind an illusion may be extremely disappointing, perhaps so much so that we might wish to return to the illusion. Here we can draw parallels with Huxley, in how the Savage fails to appreciate the Brave New World. As part of that theme of disappointment Dick deliberately leaves the fates of characters we have come to care for hanging in the balance.  This though is part of the message of The Man in the High Castle. We cannot be sure of anything.

---

[i] Seed, D. American Science Fiction and the Cold War. Edinburgh University Press 1999, page 135

[ii] ibid, page 136

[iii] ibid, page 137

[iv] Landers, B. Empires Apart, Picnic Publishing 2009

[v] Ferguson, N. Colossus: The Rise and Fall of the American Empire. Penguin 2004, page 109

[vi] Binyon, M. 2009 Enough bombs for 2.3 million Hiroshimas. The Times 6 October page 28

[vii] Isaacs, J and Downing, T. Cold War. Abacus 2008, page 173

[viii] ibid, page 175

[ix] ibid, page 178

[x] Dick, P. The Man in the High Castle. Penguin Classics 2001, page 9

[xi] ibid, page 27

[xii] ibid, page 27

[xiii] ibid, page 29

[xiv] ibid, page 175

Kick Ass Assassins: Salt on Blu-Ray and The American on DVD

The world lacks a female super spy. Angelina Jolie has perhaps come closer than most to filling the void with her all action portrayal of sexy video game Tomb Raider Lara Croft, but this was ultimately more Indiana Jones than James Bond. Last year Phillip Noyce’s Cold War conspiracy thriller Salt, originally earmarked for Tom Cruise, morphed into a very different project altogether with the casting of Jolie as CIA agent Evelyn.

I may be veering into sexism here, but because of Jolie’s casting my expectations were drastically lowered. However I’ll defend myself with two qualifications; firstly I think of Jolie as more than merely an internationally coveted sexual icon, but as a fine and capable actress, particularly after her powerhouse performance in Clint Eastwood’s excellent Changeling. Secondly I believe I expected disappointment because of the film industry’s own sexist view of women playing action leads, rather than my own narrow and intolerant perspective on the “fairer sex”.

What I mean by this is that women rarely seem to be cast in serious mainstream action films. They’re a common feature in action comedies, such as the dire Knight and Day and Jolie’s own light-hearted romp with her equally famous and sexy spouse in Mr and Mrs Smith. But there’s no realistic and gripping female equivalent to the Bourne series, for example. Filmmakers are reluctant to showcase women, even today, as ruthless and professional killers without elements of fantasy. Watch a film about what is essentially a paid, female murderer (a “hitwoman”) and expect lots of ninja style, silly high kicking and unbelievable martial arts, alongside tight costumes, to offset such a horrific notion.

Sadly this is a formula that Salt eventually and perhaps inevitably, conforms to. The opening of the film is promising. Once we get some god awful dialogue out the way, probably ripped straight from the “how to script a film in the espionage genre” handbook, along with some forced flashbacks, we get Salt interrogating an apparent Russian defector. He drops the bombshell that there’s a sleeper agent in the CIA, and that agent is called Evelyn Salt.

Salt is dismissive at first, but all the high tech brain scans and probably some ingenious pad questioning his balls from his seat, says that he’s telling the truth. After a bit of dithering Salt decides to run, apparently out of concern for her husband, but it still seems rather daft if she really is innocent. Once she does run however, it looks as if Salt is going to be a decent film.

With the shadowy, backstabbing premise of the plot and some tense evasion of security cameras by a grey suited Jolie, Salt seems very Bourne-esque at first. And a female Bourne film would not have been such a bad thing. Boxed into an interrogation room, Salt constructs a makeshift weapon from chemicals and chairs and table legs to allow her to escape. She then flees for home to look for her husband and just avoids capture by climbing around the outside of her building. Finally she escapes the city after a standoff by jumping from truck to truck on the freeway.

During all of this action it’s easy to get swept up and the character remains believable. You sympathise with her apparent innocence and will her to succeed. But once Salt heads to New York based on information that someone will attempt to kill the Russian President at the Vice President’s funeral, the plot completely loses its way. It utterly surprised me on several occasions but purely because it becomes so absolutely ludicrous. You can no longer relate to Salt as a character and the action degenerates into ninja Jolie implausibly kicking the asses of trained security personnel in seconds.

At first I thought it was refreshing that Salt was a spy thriller based on the old Cold War rivalries and tensions. Cinemagoers could do with a little more entertainment courtesy of grand, evil schemes, rather than grim and realistic takes on Al-Qaeda. There’s nothing wrong with fantastical plots based on extravagant conspiracies and the destruction of the world, providing they’re executed plausibly. But Salt is just too farfetched and has too many holes, mainly surrounding the believability of its characters. It also strays into the absurd and hilarious; supposedly a “master of disguise” Salt looks fairly obviously like Angelina Jolie dressed as an effeminate man infiltrating the White House.

As usual with Blu-Rays, there’s a whole host of meaty special features to devour about the making of Salt. There’s a baffling section on Salt’s supposed genius as a “master of disguise” and a separate “in screen” interview with the costume designer explaining the selection process behind Jolie’s grey suit earlier in the film. Apparently it was really beneficial to visit the CIA and presumably discover they wear boring and generic corporate power suits like everyone else. The most revealing sections are interviews with Noyce and Jolie about the fact Salt was originally written for a man, which might account for some of the script’s rough and unfinished feel.

There are some pleasing references to classics of the genre in the film, for example when “defector” Orlov escapes using a blade concealed in his shoe, like Rosa Klebb in From Russia With Love. But in the end Salt resembles a mishmash parody of everything it has taken influence from. It lacks originality, quality and entertainment for most of its thankfully brief 100 minute runtime.

THE AMERICAN is the sort of serious and sombre story that sadly wouldn’t get made with a woman in the title role. It’s a slow-burning meditation on the nature of being an assassin and on loneliness itself. It’s an exercise in minimalist storytelling from writer Rowan Joffe, adapting Martin Booth’s novel A Very Private Gentleman, and particularly, director Anton Corbijn. With the lightest of brush strokes he paints what was, for me, an incredibly evocative and captivating picture. 

I had meant to see The American on the big screen but sadly its lack of success at the box office resulted in a short stay at my local multiplex. For critics the problem with The American is that it never truly ignites following such a tantalisingly drawn out simmering of tension. Many find it boring to sit through. But for anyone that loves the genre, the intoxicating idea of the lone assassin, or anyone that likes understated and subtle films, The American is wonderfully watchable.

In many ways George Clooney shouldn’t work in the title role. He is such a recognisable face across the globe, a brand rather than a name, that he shouldn’t convince as an unknown and elusive assassin. But Corbijn needed someone who could act without words and Clooney delivers a master class. When there is dialogue Clooney enthuses it with charisma; it oozes enigmatic intrigue. When the camera is entirely reliant on Clooney’s movements a pained expression, a cold glance or a precise gesture speaks more than a page of script ever could.  This has been hailed by some as the best performance of Clooney’s career for a reason. We’ve never seen him laid bare like this; robbed of the charm and the cheeky grin.

More than anything else The American is beautiful. Its soundtrack is haunting, atmospheric and touching. Every other shot would make an arty still in a gallery; in Corbijn’s second picture after the acclaimed biopic Control, his background as a photographer is constantly evident. Clooney’s character chooses photography as his cover and there’s something about the parallels of precise skill and solitude between pictures and killing that’s endlessly fascinating. Indeed the subtlety of the storytelling really lets you think about its themes whilst enjoying the gorgeous visuals and the sexy girls.

The loneliness of existence is there in every furrow of Clooney’s focused face; the life of the assassin is the perfect lens for examining anyone’s existential angst. His character makes meagre relationships that wouldn’t satisfy many human beings, and yet they prove too much and too risky for his secretive profession. Despite the reports of boredom and never-ending build-up, I thought that the restrained action punctuated the plot well and the climax of the simple story was suitably engrossing.

In many ways Salt and The American both take “old school” approaches to a familiar genre; Salt with its outlandish Cold War plot and The American with its focus on an age old character, complete with soul searching scenes with a priest. The undoubted difference between the films though is a sumptuous and sexy style and quality that makes The American infinitely more interesting than Jolie’s briefly entertaining foray into the world of espionage.

Reading and Writing Challenge Month – Day 4

Today I finished The Day of The Triffids by John Wyndham. I’ve also nearly finished a collection of short stories by Murakami I’ve been nibbling at for some time and begun Chekhov’s The Lady with the Dog, as well as reading The Kiss, a short while ago. On the recommendation of Tomcat (see his insightful, well written blog on books here: http://tomcatintheredroom.wordpress.com/) I have ordered an additional collection of short stories and shan’t post anything on “The Art of the short story” or attempt any creations of my own until I’ve delved through it and added further variety to my depth of knowledge.

I think that short stories are something I need to seriously study if I aim to be both a better reader and writer. They are economical examples of excellent craft, as well as being sublime, symbolic and inspired in their brevity. They often better capture the essence of a single idea or emotion than a fully fledged novel, padded out with all its requirements. I need to learn how to think of original ideas, as well as be more efficient with my language. Anyway enough of that till I’ve read some more and pieced some half decent musings together.

With my plans for short stories on hold, and an unexpectedly busy weekend ahead, I’m unsure where to turn for my next read. Certainly I have a pile of books to choose from and I can continue to consume short stories but I also feel I should be choosing something else substantial and making headway with it. My audio book too is on hold as I shall be unable to listen as attentively as I would like over the next few days. At the moment I’m leaning towards Lady Chatterley’s Lover by D.H. Lawrence as my next hurdle in this marathon month.

I say hurdle but on completing Triffids today I am starting to relish the immense range of books ahead of me. I was surprised by how different the novel by Wyndham was to an adaptation by the BBC, with Eddie Izzard as a villainous figure, a couple of years ago. From what I remember of this adaptation, Izzard played a character called Coker, brimming with a lust for power and the manipulative, ruthless personality to acquire it in a fallen world.

I might have remembered the BBC version incorrectly. If it was indeed BBC; could have been ITV? Probably BBC. Anyway in the novel Coker is an enemy of the protagonist and narrator initially. He believes that the sighted should do what they can to help the blind and cunningly kidnaps some of those that can still see, who were intending to start a new community in the country. He puts them to work looking after groups of the blind in the city, a plan destined to fail. But later he and main character Bill become friends, and Coker admits the error of his well intentioned ways. Throughout the book, because of lingering notions of the adaptation coupled with his earlier behaviour, I was expecting Coker to turn nasty and reveal his own personal malice and ambition. Instead he was very likeable, an intriguing and helpful character.

Triffids seems on the surface like sensational, pulp sci-fi. My girlfriend smirked and seemed put off the novel when the summary of the plot I gave her was inevitably ludicrous. But despite how ridiculous giant plants menacing the streets and fields of Britain may seem, Triffids is good, serious science fiction. Almost every page has Bill’s first person narration grappling with the ethical dilemmas of such an uneven apocalypse; with most of the population blinded but a few spared by odd circumstance. There are well written explanations of loneliness, realistic dialogue and fascinating interactions and bonds between strangers thrown together by terror. Not to mention warnings about nuclear weapons, biological experimentation, future energy crises and unsustainable lifestyles rolled into one idea. This book is impossible to adapt well. Nothing can replicate the way the Triffids are described or the realistic realisation of the probable truth with the passing of time. Screen versions require more drama, more enemies; a conspiracy of some kind that loses the truth in the essence of the original.

Triffids, for all its doom and grand ideas, was not a heavy or taxing read. Wyndham manages to keep things remarkably light. Part of this is to do with the zippy pace, another the narrative voice of Bill. But for me it was the quirky touches of early 1950s, post-war British period detail that made me smile amongst the horrors. Characters would constantly refer to situations as “queer” and Bill would refer to his love interest in an old fashioned way with terms like “darling” and “sweet”. She would often reply with “honey” in the most grave of circumstances or idea laden conversations. None of this was derogatory for women when balanced with the overall impression and philosophy of equality evident in the book; simply a sign of the author’s times and an innocence that would not leave his characters, no matter what.

So one book down. Hopefully many more to go. And I promise some accompanying articles at some point.

Bond’s first lady Judi to return

Judi Dench has confirmed to reporters at the South Bank Sky Arts Awards, where she bagged an award, that Daniel Craig’s James Bond will be getting his number one girl back in the forthcoming adventure. She confirmed her involvement after the film was officially announced earlier this month. Pressed for any inside news at all about the production, the chief of MI6 remained characteristically secretive. All she would say was how excited she was to be working with Daniel Craig again, and Sam Mendes, who has directed her in theatre.

This will be Dench’s seventh Bond film as his severe, disapproving boss, M. Prior to her appointment for Pierce Brosnan’s 1995 debut, Goldeneye, M had always been a man. Producers, writers and directors all grappled with the idea of M as a woman. Perhaps ultimately the decision was made because no man could live up to the figure of Bernard Lee, who simply became the embodiment of Fleming’s creation of M in the first eleven Bond movies.

Since her first moments on screen, reprimanding Bond’s bravado and warning she’ll only use the 00 section sparingly, Dench appears to have justified the filmmaker’s decision and won over fans. Producer Barbara Broccoli, daughter of Cubby, said of Dench’s casting:

“Our instinct was if we were going to cast M as a woman, we needed to find an actress who could be totally believable and not cartoonish. Our fear was that it would be laughable and the big thing was to get someone of the calibre of Judi Dench to play the role. And because M is the only authoritative figure in Bond’s life, the casting of a woman as M gave the relationship a whole new dimension.”

Dench’s opening scene with Brosnan in Goldeneye left the audience in no doubt that a female M was not laughable, at least in itself. The script was wise not to gloss over the fact as if nothing had happened, with Bond’s teasing lines humorously, but brutally knocked back by M: “If you think for one moment I don’t have the balls to send a man out to die, your instincts are dead wrong”. She also tells Bond he’s a “relic of the Cold War”.

Director Martin Campbell was aware of the pros of having Dench as M. He was told by studio head John Calley prior to Goldeneye, after floating the prospect of a female M, that “You need a star! You need someone with incredible screen presence, how about Judi Dench?” Campbell was so impressed with her performance in his first film that there was no question of dropping her, despite the complete reboot of the franchise, when he helmed Daniel Craig’s first outing Casino Royale in 2006. Costume designer for that film, Lindy Hemming, hailed Dench as a “brilliant piece of casting” and reveals in The Art of Bond by Laurent Bouzereau, that they made M’s costume “a bit more sexy” for Craig’s first film. Bond changes with the times and by this stage, not only was it modern for women to be in positions of power, but it was the norm for them to be expressive and natural in these roles.

What more can be done with Dench’s character though? Even Daniel Craig is slowly outgrowing the franchise, so surely Dench cannot stay in the role indefinitely? This could even be her last film. Glowing comments about her performances as M, like those above, make it difficult to consider replacing her though. Would M become a man again, played by an actor of similar clout? In The World is Not Enough, Pierce Brosnan, according to director Michael Apted, repeatedly asked for M’s role to be “beefed up” to give him more screen time with Judi. This led to the ambitious plot of M being kidnapped by terrorist Renard, played by Robert Carlyle. If M were to leave, she’d need a suitably huge story.

Bond needs a proper adventure and challenge anyway, after the gap between the disappointing Quantum of Solace and the as yet untitled, Bond 23, due to start filming later this year for a 2012 release. Casino Royale made it clear the best stories come when built upon Fleming’s original tales in a modern context. One tantalising, but difficult to execute, story never realised by filmmakers is a brainwashed Bond attempting to assassinate M. This comes from Fleming’s final Bond book, The Man with The Golden Gun, and was never used in the drastically altered film of the same name. This set-piece in the novel is the highlight of an otherwise disappointing final bow for the literary 007. It would need revamping, rooted as it is in the Cold War era of Soviet mind tricks, but you get the feeling a gritty, deluded Bond storyline would suit Daniel Craig’s hungrier acting abilities down to the ground if properly set-up. It could also be fantastic and bold on film. But the problem for the franchise would be how could Bond continue as 007 after being demoralised and duped into trying to kill his own boss?

Whatever the script writers Neal Purvis, Robert Wade and John Logan come up with, the trend has been more and more M in recent years. I look forward to some frosty and prickly dialogue in Bond 23.

Politicians have Snow Balls

It’s a cliché that you can’t rely on politicians for anything. But as I recently discussed with someone, clichés are clichés for a reason. Most people think that you can at least rely on MPs, particularly party leaders, to be dishonest and always on the lookout for an opportunity to score cheap points against their rivals and amass political capital. However Britain’s recent icy snap proved there are depths the media strategists will not dare sanction for their employers to sink to.

It really is a mystery why no one had the guts or guile to pounce on the targets laid bare by the blankets of white stuff. About a month ago I was reading an article in a hotel lobby in sporadically sunny Spain. Back home the country had already groaned to a moaning, bemused halt under the weight of the snow. This article was in The Times and I forget the identity of the writer, which is regrettably locked behind Murdoch’s News International Paywall. It made the very interesting point that neither leader of the two main parties had utilised a huge moment to deliver defining, resonant messages. The snow touched every single person in the country. It was a destructive but unifying force. The potential for delivering a knockout political blow was immense.

And yet our notoriously backstabbing, corrupt, two-faced politicians did nothing. Well nothing worthwhile. Of course there were the usual gripes about lack of planning and the inevitable shortage of grit. Labour had its half-hearted dig at the government, knowing full well it couldn’t overdo it because the previous administration had been responsible for much of the preparation. Most surprisingly of all, I remember the article in The Times highlighting, was David Cameron passing up his moment to finally win the public’s hearts over to the “Big Society”.

With all the complaints about councils failing to grit icy pavements and elderly neighbours slipping and sliding to serious injury, surely this was Dave’s moment to urge us all to lend a helping hand? This was the closest we were going to get to a modern day Blitz spirit. Everyone was out enjoying the beautiful change, waving to complete strangers, engaging in snowball fights; except those blocked in and cut off. Free those trapped in your area, band together and get by, show the true power that community still had. The Prime Minister said none of this and his chance to convey what his key policy might mean in reality was quickly gone.

It would have been an extraordinary moment for a Prime Minister under fire to show leadership and go on the offensive with a more optimistic message. The distraction from constant protests against cuts would have been welcome and may have lingered memorably in voters’ minds, but instead Cameron chose to wait it out till Christmas for his respite. Ultimately his characteristic caution probably held him back from any such message. It would have been open to ridicule. Evidence, his critics would say, that the Conservatives are leaving you to do it all alone, another excuse for incompetent governance, dressed up as positive ideology. Those criticisms of the “Big Society” might be true and are longstanding, but if Cameron genuinely believes in his policy then why did he have reservations about seizing his best opportunity yet of hammering its message through?

There seems to be an unwritten rule that a crisis caused by natural causes is off limits for use as political ammunition. Even so it is perhaps even more surprising in some ways that Ed Miliband didn’t capitalise on the snow. Miliband didn’t have a readymade policy to bolster like Cameron, but he needs to set his party on a new, distinctive course at some point. As a former Climate Change Secretary he could have pointed out the changing nature of Britain’s climate and the more frequent occurrence of extreme weather. He could have been extremely bold and announced that Climate Change would become a central, unifying theme of all Labour policy, especially now that it was proving directly damaging to the UK economy and its citizens everyday lives. However he needn’t have been so specific to achieve an effect, and with his policies still under review a vaguer, flexible approach would have been preferable. He could have simply called for greater provision to deal with such extreme conditions in future and indicated how Climate Change would be one of several of his key priorities, whether he meant it or not. This week Miliband demonstrated he could make decisions and announcements that were at once cynical and correct. Declaring he wished to see the banking bonus tax extended is sensible but he is only willing to commit to this policy ahead of so many others because it wins support. Why then did he not show similar political pragmatism with the snow?

Of course ideally Miliband would have used the snow as a platform, from which to launch a new sustainable set of policies which would see Britain cope better with such circumstances in future and begin an inspiring new assault on Climate Change. Sadly such genuinely motivational and good natured politics is so rare no one expects it. It is reassuring though that some areas, perhaps still considered by some to be acts of God, are still considered off limits for cheap, manipulative political point scoring.

The Killer Inside Me

British director Michael Winterbottom’s latest project The Trip, a “semi-real” comedy starring Rob Brydon and Steve Coogan as loose versions of themselves, has been split into six half-hour episodes and the first has already shown on BBC2. Entitled “The Inn at Whitewell”, it consisted primarily of loving shots of the bleak northern countryside and comedic duels between the two, in which they debated the merits of their own Michael Caine impressions. I’ve seen Brydon live and one of the funniest elements of his act was his frequent return to amateur, but wonderfully accurate, impressions of various famous personalities. This was awkward comedy but essentially heart-warming, harmless stuff.

Winterbottom’s summer release, The Killer Inside Me, was far from harmless of course. It conjured column after column of controversy. And the sort of identity doubts Coogan suffers from in The Trip are sedate and ordinary compared to the internal divisions lurking beneath Casey Affleck’s cold features as Deputy Sheriff Lou Ford. In a southern, drawling voiceover at the beginning of the film Ford muses that growing up in a small town, the problem is that everybody thinks they know you. This small town and its Texan desert surroundings are as beautifully framed as the rolling hills and roads in The Trip, and evoke the period American details of diners and dunes perfectly when combined with the classic 50s tunes on the soundtrack. However these familiar hits playing in the prelude to shocking violence is one of the most sinister aspects of the film.

Of course the violence itself is graphic and hard to watch at times, and the unflinching portrayal of beatings sparked the flurries of protest on the film’s release. Opponents of the film will view the most brutal scenes as unnecessary and gratuitous. However whilst their intensity may take something away from the viewing experience by making it extremely uncomfortable at points, it would be foolhardy to label the violence as meaningless. For it is undoubtedly aiming at something deeper than simply a sick visual spectacle. The motives behind the violence and the victims’ reactions are more chilling than the blows and injuries themselves. The notion that we are all capable of such acts and that the human personality is multiple is alluded to in the title of the movie. This idea is frightening and made more so when we watch Ford convince himself of the need to kill his hooker lover, as part of a grand plan he must carry out, whilst another part of him is madly, compulsively in love with her. His internal justification of the murders is baffling, unsettling and terrifying.

 And both of the women Ford kills in the film genuinely believe him to be a good man. They are surprised by his outbursts of punches and in disbelief they do not turn against him. In fact with their dying breaths they wish to understand, to help him. As the viewer you wonder how they did not see the signs, the hints of violence beneath the seemingly kind law enforcer expressed in sado-masochistic beatings during sex. But then part of the terror is that from their perspective, trapped within the relationship and viewing things through a narrow lens, you could not see how far the domestic violence would go. It is the “domestic” peace of it all that also proves extremely discomforting. His female victims are unsuspecting and the murders take place in a quiet, quintessential 50s community. Life in such an environment might even seem boring and the expression of disinterested calm on Affleck’s face throughout most of the film, even during the killings at times, is tremendously unnerving. His performance as a particular type of calculated, unfeeling serial killer deserves praise.

But of course Lou Ford claims not to be “unfeeling”. He professes love for the sultry Jessica Alba and clearly has affectionate at least for his long term love Amy Stanton, played by Kate Hudson. Both actresses do an admirable job of trying to convincingly portray characters that are for the most part enthralled, rather than repulsed by, the violence. Despite his feelings though the twisted plan inside his head requires him to kill and in the aftermath he rides out the suspicions of others cool as a cucumber. The pace and tone of The Killer Inside Me reflect this mellow attitude and adds to its disturbing effects. However whilst obviously a high quality piece of film making, Winterbottom’s controversial creation could be more engaging, even after an explosive finale. It is neither a gripping thriller nor truly horrific chiller, but it is undoubtedly well made and thought provoking.

Up in the Air

There are basically two George Clooneys. There’s the lovable, charming, cocky George. You know the suave Danny Ocean type with that irresistible playful glimmer in his eye. And then there’s cold, calculating, enigmatic Mr Clooney, who oozes just as much mysterious charisma as George, but from a more serious, furrowed face. Like the bearded suit in Syriana or what I imagine the detached, ruthless assassin to be like in Anton Corbjin’s upcoming picturesque character study, The American. The grave Mr Clooney doesn’t get out so much, not because he’s not up to scratch, but because the whole wide world can’t seem to get enough of George.

And it’s definitely the face of likeable bad boy George that Clooney wears in Juno director’s Jason Reitman’s 2009 rom-com Up in the Air. As you might expect from the director of Juno however, this is a rom-com with a twist and consequently a different take on George’s familiar face of fun. There are lashings of misery, isolation and loneliness in this movie that ought to deflate it and well and truly puncture its comedy moments. The audience ought to despise central character Ryan Bingham’s cheery detachment in the midst of the gloom, but it’s a credit to Clooney’s sheer charisma that you’re almost always rooting for him and seeing the pluses of Bingham’s bleak and extreme philosophy of life.  

Put simply and less eloquently, persuasively or amusingly as Bingham phrases it, this philosophy is; travel light. Ditch not only the material possessions but the emotional baggage of normal existence to stay on the move and thus continue to feel alive for as long as possible. Wrap yourself in a cotton wool world of luxury that you are fully aware is fake and artificial but nevertheless gives you a simple satisfaction and loyalty. Embrace exclusivity and inhabit a cocoon of consistency away from the volatile real world. Spend the bulk of your time away from the worker ants tethered to the ground but weightless, floating and drifting, blissfully Up in the Air.

It’s essentially the dream life on the road and Bingham has achieved it so that it has become his normal existence. He has refined and perfected his life to tailor his ever moving, but basic needs. But then two things happen to shatter the cycle of bliss. Anna Kendrick’s Natalie devises a cost saving strategy for Bingham’s company, whereby people like him who skilfully fire people no longer do so face to face across the nation, but from a remote computer screen in the company’s base in Omaha, via the wonders of modern technology. And Bingham meets Vera Farmigan’s Alex, who seems to be his perfect match and as Alex puts it essentially him “with a vagina”. Initially they enjoy each other’s company, are extremely compatible sexually and amusingly synchronise their schedules for further bouts of spontaneous passion. It’s safe organised fun and Bingham doesn’t consider a future with her.

Bingham reacts with scorn to Natalie’s idea of modernising his company and swiftly destroying his way of life. He successfully wins himself the chance to take the young upstart on a brutal tour of the realities of “corporate downsizing”. It’s in this portion of the film that Reitman’s fondness for making us simultaneously laugh and cry at deep, depressing subjects comes into play. It’s also where we see not only an extremely familiar charismatic George, charming people in impossible situations, but also a character who underneath it all does care about the impact of his work, and regards what he does as an art, in that if it is done right he genuinely believes he can steer the newly unemployed on a dignified path to a new life. There are a number of awkward, funny and emotionally affecting scenes where either Clooney or Kendrick must fire someone, and each person offers a new challenge Bingham insists cannot be dealt with via webcam.

Away from the backdrop of a new wave of unemployment, philosophies of life and exploiting misery, Up in the Air becomes a simple love story, in which Bingham realises he wants something, or someone, weighing him down in his previously empty rucksack, giving his life meaning by grounding it. Kendrick’s performance as Natalie is wonderfully believable and funny at times, and it is she who forces Bingham to accept his loneliness, his prolonged state of running through the crowd from his unhappiness. Tragically, even after Bingham has accepted Alex into his life as his guest at his sister’s wedding and physically abandoned his philosophy by running away from a speech he was giving about it, we are reminded of the attraction of travelling light. Bingham finds Alex at her home with a secret family of her own, a real life. He cannot believe he was foolish enough to think she was sharing a real life as empty as his own with him. By packing people in our rucksacks we risk being hurt by them.

The whole film is wonderfully acted, right down to the performances of those freshly fired employees and their varied responses. It also looks great, emphasising the glamour of the hotel bubble world Bingham lives in, as well as its isolation. The opening titles of the film play out to jazzy music and some stylishly edited shots of the ground from above, taking in a multi-coloured picture of America. Despite the good points it’s never actually that funny, with the humour being more of the slight smile at the corners of the mouth than roaring chortle variety. However ultimately the onscreen magnetism of George Clooney drives Up in the Air and is all the more compelling for channelling it in a refreshing, alternative way.

Spooks returns tonight!

With no Doctor Who to look forward to on British television screens each Saturday I have been despairing that there is no serial drama in which to immerse myself. A good weekly show with a strong, engaging narrative arc can allow me to escape the troubles of life for an hour, completely losing oneself in the characters and then having something to look forward to through the mundane disappointments and lows of the next week. With the return of the ever reliable and amusing New Tricks on Fridays to BBC1 my cravings were eased, but now the MI5 spy drama Spooks returns to our screens, starting this Monday at 9pm. Whilst New Tricks is well acted and comforting it is rather samey TV. Spooks has that rare dusting of glamour and exciting action for a British series, as well as being bold enough to reinvent itself each time it returns. In Spooks no character is safe from being killed off and the tense action usually plays out against tantalising shots of the sophisticated London skyline. Tonight’s opening episode of the ninth series takes place in Tangiers however and as ever introduces a raft of new characters and plotlines.

Richard Armitage, who played Guy of Gisbourne in the BBC’s Robin Hood series, has taken well to the spy drama playing Lucas North, a mysterious figure who returned from the cold of Russian imprisonment to effectively replace Adam Carter, Spooks’ long term leading man played by Rupert Penry-Jones. Replacing Jones was no mean feat but in the last series Armitage managed it, convincingly playing the disturbed, Bond like key man of Section D. This new series looks set to focus on the character of Lucas and may represent an interesting new direction for Spooks more focused on the personal story of one man, as opposed to new, distinct terrorist threats being dramatically thwarted each week. The exotic location of the first episode sets a more James Bond like tone of action and isolation for the spies, with Armitage saying in interviews that this series will delve into the questions of identity surrounding the operatives. The new series is also stripped of Hermoine Norris, who played Ros, a character I always found slightly annoying, and especially so by the end. Norris’ version of a spy always seemed a cold, uninteresting caricature. Constants like Ruth and Harry, and Harry’s relationship with his political masters are welcome leftovers however. Below is a trailer for the first episode, I hope it lives up to expectations!

http://www.youtube.com/watch?v=vde3_saF0GE

Doctor Who Series 5: The Verdict

I feel guilty that after airing my views on that early teaser trailer on this blog, warning that this series may fall short, it is only now that I have found the time to correct myself. However that is largely due to the fact that I have enjoyed this series so much that to sit down and analyse both its successes and failings after each individual episode would have spoilt the experience. In truth though the vast majority of my doubts for the future of the nation’s beloved Timelord had been dispelled following Moffat’s first episode, The Eleventh Hour. This extended adventure abandoned the repetitive London setting of the Russell T. Davies era and brilliantly ushered in a whole new set of characters and relationships, along with a regenerated Doctor. My greatest concern, the ability of Matt Smith to replace Tennant in the role, was also mostly alleviated by his first performance alone.

That is not to say this series has not had its disappointments. When Moffat has personally penned an episode there have been no problems with quality or balance, but other writers struggled to successfully tick all the Whovian boxes. The first episode to disappoint was The Victory of the Daleks, although to be fair this may have been because expectations were disproportionately raised by the sight of Churchill and the pepper pot villains in the trailer and were impossible to live up to in a single episode. Perhaps the worst episodes of the series were the Silurian double bill set somewhat unbelievably in a Welsh mining town undergoing a globally ambitious drilling project, staffed by the odd local. I think it was a mistake to follow the rurally set Amy’s Choice, one of those brilliant low budget, idea heavy episodes stuffed with terrific acting performances, humour and insight into the Doctor’s character, with another village location and casually brush aside the glaring lack of funds by having the Doctor insist he had been aiming for Rio. This two part story also felt thin and unable to properly engage for two whole weeks. A promising start, of Amy being sucked into the earth, gave way to a predictable storyline of culture clash and negotiation, with crudely drawn Silurian and human characters.

Following this Richard Curtis’ Van Gogh episode was also weak, despite some nice flourishes. The gaping hole in the strength of Curtis’ tale was the fact that the monster of “pure evil” only Van Gogh could see turned out to be an irrelevance, easily dealt with and disconnected from the heart of the story. In many ways it may have been better to dispense with the monster completely and simply have the Doctor indulge in a spot of emotional time travel, as this is clearly all Curtis wanted to do and in the final scene he did it wonderfully movingly. I was also not enthused by The Lodger despite generally positive reviews of it elsewhere. For me the basic premise of the plot could have been much more satisfactorily explored (I mean something was building a TARDIS??? What?) and the sight of James Corden on television is beginning to verge on repulsive.

Having said this that episode did offer an unblemished close up of the eleventh Doctor’s character, charisma and performance. For me the most pleasantly surprising thing about this series has been the ease with which Matt Smith has become a Timelord and banished nostalgic longing for Tennant. His interpretation of the character has seen a refreshing return to a more detached, alien figure, as by the end of RTD’s tenure Tennant’s Timelord was still lamenting the loss of Rose and envying his duplicate’s mortal existence with her. It’s clear that each actor playing the Doctor draws heavily on his predecessor however, and Smith clearly embraces much of Tennant’s lunacy, whilst also reviving the arrogance embodied in Eccleston’s leather swagger. For me it seems only fitting that the last of the Timelord’s should have such a high minded view of himself and Smith plays the Doctor brimming with a quirky, bumbling confidence of his own. Karen Gillan also brings assurance and feisty fire to the role of redhead Amy Pond. The actress has been at her best when not trundling out generic whiny phrases in a thickening Scottish accent, but in rare glimpses of emotion such as during the scene when she could not open her eyes, surrounded by Weeping Angels. The return of these stealthy statues from critically acclaimed Blink was a gamble for Moffat but one he pulled off spectacularly. He must also gain much credit for Smith’s fresh take on the Doctor, as his writing emphasises both the marvellous methodical detective and mad professor in him.

Indeed there seems to be no doubt that most of what is good about this new look Doctor Who is down to new head writer Steven Moffat. Previous contributions to the RTD series made his talent for exploiting childhood fears evident, but given creative control over the show he has shown an aptitude for the perfect two part episode and a gripping narrative arc. I have already praised the opening episode but the second, The Beast Below, thrilled me. It had a chilling cocktail of scares, “smilers”, floors sliding away in lifts, a shadowy government (led by the demon headmaster!), and also established Amy’s competence as a companion in a unique, imaginative way (Britain floating on a space whale!) that said something about the Doctor. The return of the Weeping Angels managed to capture the brilliance of the original by acknowledging the need for a different type of story, with Moffat himself comparing it to the greater scale of Aliens 2 following Aliens. And after all the teasing about cracks in time, what a finale last weekend!

Episode 12, The Pandorica Opens, was fantastically bold in scale and again the setting of Roman Britain was a refreshing departure from the RTD trend of grand finales unravelling in present day London. After several twists and turns the Doctor was imprisoned within the Pandorica by an alliance of his foes, as the TARDIS began to explode and destroy the universe itself. It was difficult to predict the direction of episode 13, but one would have guessed some sort of reckoning for the Doctor with his formidable coalition of villains and an explanation as to who, or what, was manipulating the TARDIS and causing it to explode. Certainly what sounded like the voice of Davros could be heard in episode 12, cackling that “silence will fall”.

However much to my relief Moffat continued to surprise, as Davros would have been a tired end to such a fresh new series. Moffat seems to recognise the key to successful double episodes is contrast, and so the Doctor went from facing a horde of enemies to a solitary, ailing Dalek and the little problem of a “total event collapse”. Cue some gloriously fun time hopping involving a fez and a mop and a performance ranging from daft brilliance to retrained pain from Smith that confirms his evolution into the last Timelord. The significance of the wedding was at last explained and Rory and Amy restored to the TARDIS, all set for new adventures, with the huge questions of River Song and who caused that explosion still to be answered.

All in all Moffat has rebooted the show, just as the Doctor hit refresh on the universe  with the “Big Bang 2”, and restored a sense of the magical and fairytale by always surprising and sometimes replacing the blockbuster scale of RTD’s tenure with classic, intimate scares (e.g. the headless Cyberman in episode 12 vs. the hordes of them in RTD stories). Best of all as this fairytale series comes to an end it feels as if it is only the set up for something greater to come.