Do you think you could hack it behind bars? If you’re a Daily Mail columnist you probably dispute the fact that prisons even have bars anymore. They’ve all been replaced you see, with tasty sticks of rock more in keeping with the dangerously liberal, comfortable satellite TV approach to treating filthy criminals. Being locked up is preferable to a five star hotel. Prisons are merely lavishly furnished warehouses for feral beasts that will be released back into the wilds of society unchanged. The fear factor has gone.
Bring back that shit yourself punishment and all of Britain’s ills will be cured. All this claptrap about human rights and civil liberties has been diluting the taste of our justice system since the 60s, so that it’s nothing more than a bitter sip of lemonade. Prisons should punish first and foremost, to act as a deterrent to the bad apples on the nation’s tree. When they fall they need to be crushed into a pulp and left to rot as an example to others; so the argument roughly goes.
Of course films are not the place to look for a frank and faithful look at the realities of prison life. Just because I’m put off a casual mugging by the possibility of gang rapes such as those in The Shawshank Redemption, doesn’t mean that actual perpetrators within the system encounter such things or that they are deterred by them. Cinema is a place for drama, tension and excitement. But a certain mould of gritty British drama always seems to capture something true about the cooped up existence of convicts, whatever the exaggerations.
In the case of Ghosted, the debut film of writer/director Craig Viveiros, the principal truth is that for many men, the haunting consequences of their crimes are punishment enough. There is also a heightened but believable look at the community of prison life, with its rival factions and dominating personalities pulling the strings. And much of the dialogue is insightful but understated, with main character Jack musing that, if nothing else, empty hours in a cell day after day give you plenty of time to think.
Jack (John Lynch) is a sensible prisoner, keeping his head down and away from trouble, serving his time. He is approaching the end of his sentence and desperate to get out to see his wife. But at the start of the film she fails to visit him and blanks him when he calls. Just as freedom is within sight his marriage collapses, destroying his hopes for a life on the outside. Gradually we find out more about Jack, eventually getting confirmation that his young son is dead. He burns most of his pictures of him because “sometimes the reminders are too hard in here”.
With just months until Jack is free, a new inmate arrives in the shape of young Paul, played by Martin Compston of The Disappearance of Alice Creed fame. Paul is immediately welcomed by the manipulative Clay, who is described on the marketing material as a “wing overlord”, which sounds like an all powerful evil super villain, but in reality just means a nicer cell, a mildly lucrative drugs racket and the odd fellow prisoner to bang. After the initial niceties Clay starts to use Paul, so Jack steps in and gets him moved to his cell.
This puts Jack in the firing line, resulting in some tense standoffs. The balance of the prison politics is disrupted and Clay is humiliated more than once, prompting him to get revenge. But despite the palpable sense of threat, the really interesting part of Ghosted is the relationship between Jack and Paul.
Jack is the heart of Ghosted and Lynch relished playing him, praising the creative talents of newcomer Viveiros: “It’s been a long, long time since I read a script that’s centred absolutely one hundred per cent on the characters”. In return the director praises his cast who “pumped blood into the story”. Both men are right.
Ghosted is well acted, with even the thugs coming across as something more than just two dimensional bad guys; they have their vulnerabilities too. But Ghosted is also well written and confidently directed so that it does not feel like a debut. Some of the scenes in which Jack and Paul open up to each other, often simply discussing old memories such as when Jack was in Brazil or when Paul was in care, are exemplary examples of characterisation rarely seen in today’s commercial world of cinema.
Ghosted is released in cinemas on the 24th of June and will be available on DVD from the 27th. See it to support a quality British drama with an all star cast, which simultaneously pays tribute to classic prison stories and approaches the issue from a new angle. Try to spot the emotional hammer blow of a twist at the end.
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Phil who? This was the reaction of a lot of football fans when it emerged that the first major bidding war of the summer had broken out over a 19 year old Blackburn centre back. Liverpool looked as though they were wrapping up a deal for yet another promising youngster, as Kenny Dalglish looks to rebuild, but then Manchester United swooped in with Sir Alex Ferguson on his own reconstruction mission. A sizeable £16 million release clause in his contract was triggered and after a period of uncertainty, Fergie got his man.
Or should I say boy? Jones is currently with the England Under 21s for the European Championships. Against a Spain side much fancied to win the whole tournament, Jones won plaudits for his performance alongside another United youngster, Chris Smalling. Sir Alex bought him last summer and he has since proved himself as a top quality, capable defender, deputising for the increasingly injured Rio Ferdinand with composure beyond his years. The 21 year old was also praised universally by pundits and columnists and it was generally accepted that but for Jones and Smalling in central defence the Spanish would not have been held to a 1-1 draw.
It’s looking worryingly like the same old story for England fans, even at Under 21 level. On paper the squad of youngsters is stronger than most, bursting with names that have already gained considerable Premiership experience and demonstrated their skills on a tough stage. Some might even think it’s stronger than Fabio Capello’s first team and many players will be looking to break through. But following the promise of the hard fought draw with Spain, England drew 0-0 with Ukraine, with the only impressive performances coming once again from the defenders. Talented forwards with enormous potential simply didn’t deliver.
And literally as I write England have capitulated to a 2-1 defeat against the Czech Republic in a must win match. Danny Welbeck had headed them ahead with just twenty minutes or so to go, but then it all fell apart with an equaliser and a snatched winner as England poured forward in stoppage time. Their tournament is over. Stuart Pearce’s boys are no better at winning trophies than the men.
None of this will greatly concern Sir Alex Ferguson. He is used to watching England internationals as accomplished as Paul Scholes, David Beckham or Wayne Rooney go off to tournaments and return dejected and defeated. It did not stop them becoming phenomenally successful Old Trafford legends. He will set about the task of moulding Phil Jones and Chris Smalling into the perfect readymade pairing to replace the ageing Nemanja Vidic and Rio Ferdinand.
In an interview this week Smalling said that he liked to think both he and Jones had a mixture of Ferdinand’s passing ability and football brain, as well as Vidic’s hard as nails tackling prowess. This might be true because certainly Smalling has proved that he is no physical lightweight and Jones is versatile enough to play in midfield, so he can presumably pass a ball reasonably well. But there’s no doubt that Jones appears to be the tough tackling long term replacement for Vidic and Smalling the smoother operator to step into Ferdinand’s shoes. I mean he even looks a bit like Rio.
Jones proved his Vidic-esque credentials by almost singlehandedly taking United’s title challenge to the last day of the season. In the end a penalty earned the Reds a 1-1 draw at Ewood Park but Blackburn almost gave Chelsea hope thanks largely to Jones’ one man brick wall. Even on his Blackburn debut against Chelsea in March 2010, not long after his 18th birthday, Jones made his presence felt with some stinging but legal challenges on the likes of Frank Lampard.
Smalling meanwhile, as I said, has had a surprisingly key role over the last season at Old Trafford. I’m not sure even Fergie would have anticipated his rapid rise through the ranks, leaving the veteran manager contemplating selling the likes of Jonny Evans, John O’Shea and Wes Brown with not too much concern. Ferdinand’s fitness is unlikely to ever reach the heights of reliability and effectiveness again, meaning that Smalling will be called upon more and more often until eventually Rio is relegated to experienced squad member. The former Fulham man will grow in confidence the more he plays, so that he’ll be bringing the ball out of defence and looking for a killer pass as Ferdinand did in his prime, as well as covering superbly.
Jones and Smalling then have the potential to become a durable, formidable and complimentary partnership at the heart of one of the best teams in the land. Any understanding the two develop could also be transplanted beneficially into future England teams. But before such a partnership forms, they are going to have to compete against one another to play alongside Vidic for perhaps the next couple of seasons.
This time will test, trial and prove the individual ability of each player but will give them little chance to play together. If they have both been useful and their talents have passed the tests of high quality football on a regular basis at the Theatre of Dreams at the end of this period, then Sir Alex (or his successor) will have relatively cheap, and English, replacements for two of the best defenders the Premiership has ever known.
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Who did Mark Hughes think he was kidding? As a storm of press speculation linked him to the Aston Villa job, as it did ludicrously just days after his appointment at Fulham at the beginning of the 2010-11 season, he announced his decision to resign from the helm at Craven Cottage. He insisted his decision wasn’t influenced by the approach of another club or his desire to apply for any available vacancies. He left a club that had treated him excellently and given him the chance to revive his coaching career following the disappointment of his tenure at Manchester City. And just weeks away from a Europa League qualifier on the 30th June, he left Fulham well and truly in the lurch.
Now though, in a very short space of time, the tables have completely turned. Just as fortunes can shift dramatically in a moment on the pitch, they rise and fall erratically behind the scenes too. Credit must be given to Randy Lerner for turning his nose up in disgust at the way Hughes handled his departure from Fulham. He swiftly turned his attention to other targets, leaving Hughes deservedly in the wilderness.
Credit certainly must not be given to the tabloids that linked Hughes with the Chelsea job though. Roman Abramovich wants to win the Champions League; it is his holy grail. Mark Hughes may have a connection to the club but that will mean nothing to the Russian. He will look at his track record and see he has not even been that successful in the Premiership. His tendency will be to go for impressive foreign coaches anyway, even if, like Scolari, they turn out to be mistakes. Hiddink will go to Stamford Bridge.
Whilst Lerner took a surprisingly honourable and praiseworthy course in steering the search for a replacement for Gerard Houllier away from Mark Hughes, the candidates he began to focus on were far from praiseworthy. The revelation that Villa wanted to initiate talks with Roberto Martinez was a complete shock. The Wigan manager kept the club in the Premiership with a late run of form by the skin of their teeth but their survival was hardly a triumph of his ability to lead. In fact it was his coaching style, aiming for an unrealistically fluid and attacking team, which left them vulnerable to the drop.
Some might say that the decision makers at Villa wanted Martinez to get them playing good football and that their players are more capable of it. In all likelihood though the appointment of Martinez would have signalled a downgrading in ambition from the club, admitting that they couldn’t attract big name coaches or big name players to compete with the likes of Spurs and Man City for European places.
Now the rumours are that next in Villa’s sights is Bolton’s Owen Coyle. Coyle’s track record, both at Bolton and Burnley, suggest he’s a better manager than Martinez, but he’s still hardly an inspirational choice. And in the case of Coyle, it seems daft of Villa to make an approach when the only answer they’re likely to get is “no”. Coyle played for Bolton and has got them scoring goals as well as keeping clean sheets. He has too many reasons not to leave the Reebok. He must believe he could finish above Villa with his Bolton side. There’s still a chance he could say yes but he would be foolish to surely.
Carlo Ancelotti was never going to step down from Chelsea to Villa’s level and Rafael Benitez knows he can wait for a higher profile job if he is patient. Steve McClaren is available, along with the shunned Mark Hughes, but fans reacted viciously to rumours of an interview. This is harsh given the way McClaren has grown as a manager in Europe with FC Twente in particular but inevitable given his England track record. David Moyes is a manager of Martin O’Neil’s calibre but he ruled himself out of the Villa job last summer.
Meanwhile, as Villa struggle to find a decent manager, Fulham appear to have found the perfect one. Of course it’s too early to say for sure but Martin Jol appears to be a spot on fit for the hot seat at Craven Cottage. He is very much in the mould of Roy Hodgson, in that he has extensive experience in Europe and of course the Premiership with Spurs. He knows the Europa League well, which bodes well perhaps for another exciting cup run if they can get through the qualifiers granted them by their place in the Fair Play tables. He can also bring a bit of cutting edge to Fulham’s attack, which has been lacking, with his knowledge of Dutch and German styles. He has already started to release players as he begins to remould the squad, so it can compete on all fronts, probably with the backing of funds from owner Mohammed Al-Fayed.
Perhaps whichever mediocre candidate gets the Aston Villa job will surprise us. But hopefully Randy Lerner will stick to his guns on Mark Hughes, so that someone in the game gets their comeuppance.
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It was only last year that I was championing Fabio Capello as an intelligent and adaptable manager capable of improving considerably on England’s tournament record. Then disastrous preparation for the World Cup in South Africa and the handling of the captaincy fiasco transformed him from hero to zero for the whole nation. Yesterday’s draw with Switzerland, in a game England should have won at Wembley, was further evidence that Capello should have gone after the failure of the World Cup.
Capello’s main failing at the moment, above his poor communication skills and shoddy organisation, is his refusal to move on from ageing stars. Frank Lampard started as part of a three man midfield yesterday but England improved dramatically after the break when Capello brought on Young in his place, who should have started the game. Young scored a smart goal.
England have real pace and youthful pentration available on the flanks. The likes of Young, Downing, Johnson, Lennon and Walcott ought to be utilised more often. It’s taken Capello too long to give them international playing experience. The best teams at the big tournaments are units of quality players that have played together for a number of years, since the promise of their youth. Look at the German and Spanish sides.
In the centre of midfield, Jack Wilshere is the future. Capello has finally decided to give him a key role. But he continually plays alongside Parker and Lampard. Lampard is past his best and should be a squad member, not an integral part of the team for the long term. Parker was exposed yesterday; he is not the solution to England’s midfield woes. Capello needs to look to younger options for a holding midfield partner for Wilshere. Tom Huddlestone perhaps?
On the other hand, Capello consistently neglects experienced international players that could still play a vital role in his squad. His new found fetish for Darren Bent as a lone striker has alienated Peter Crouch, with rumours swirling today that he’s ruled himself out of international duty whilst Capello remains in charge. Michael Owen would have scored the chance Bent had to win the game, undeservedly, for England against Switzerland. Michael Carrick has been superb for Manchester United and would compliment Wilshere well. His passing ability is well suited to internationals.
A year ago I thought one of Capello’s key attributes was decisiveness. He dealt excellently with the John Terry crisis at first, only to divide the dressing room with his terribly handled reinstatement. However the defining aspect of his tenure looks set to be indecision. Extraordinarily Capello didn’t know his best eleven before the 2010 World Cup. He still won’t know his best eleven before Euro 2012, if England get there. He appears torn between entrusting the team’s hopes to youth or tried and tested experience. And when he tries to balance the two, he picks the wrong ingredients.
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Manchester United were always going to be the underdogs at Wembley. Beating the Catalan giants required the best from every one of the eleven Red Devils. Rooney delivered to give the fans hope, only to fade away amongst chain after chain of world class Spanish passing sequences. United just weren’t in Barcelona’s league.
But no one in the world is right now. United were right to believe in themselves and in the opening ten minutes their positive tempo took the game to their intimidating opponents. Their unity and players like Rooney, Giggs and Hernandez, meant they could hurt even the likes of Messi and co. It was an upbeat pace impossible to maintain however and as soon as Guardiola’s side got a grip on possession, England’s representatives in the clash between Premiership and La Liga were always going to be chasing the game.
Now though, with the battle lost, hardened veteran Sir Alex Ferguson is ready to launch a new war. As crushing as the defeat at Wembley was for United fans, they might be able to take some comfort in the fact that their seemingly immortal manager is to carry on for at least three more years. And not just carrying on with his job as well as he always has done but tackling a challenge so big that it can ignite and excite even the 69 year old Scott: wrestling Champions League dominance from Barcelona.
I’m not saying that Fergie had lost the hunger. He is the type of man who will never lose the desire to keep on winning and this ferocious and clinical lust for triumph is a key ingredient of his monumental success over the years. But there’s no doubt his Achilles heel has always been Europe. He knows this is where the strength of his legacy crumbles, even after a second trophy in 2008. This year he proved that he has mastered the tactics of Europe to reach the end without conceding an away goal. His team proved to him that they were a unit capable of following his instructions to the final. But not to the trophy and not past Barcelona.
The signs of an even greater determination for glory and greatness are already there. The manager knows that the effective blend of youth and immense experience his team has benefited from this campaign, is about to become imbalanced. Even before the Champions League final defeat, Fergie was aware that he’d be losing Edwin Van Der Sar and Gary Neville, and in all likelihood Paul Scholes, to retirement. He knew Ferdinand’s fitness was an increasing concern and that Ryan Giggs will have to be rested more often. These pillars of experience will need replacing.
Current players will be expected to step up with the departure of such Old Trafford greats, with greater importance falling upon the likes of Rooney, Vidic and Fletcher than ever before. Young players from the FA Youth Cup winning side, such as the promising Ravel Morrison, will be encouraged swiftly, but carefully, through the ranks. But after the “hiding” his team received at Wembley, Sir Alex knows quality and efficiency are also issues he must tackle.
I say efficiency because the likes of Nani and Berbatov, despite being pivotal at points, have not been trusted at others because of their inconsistency. Berbatov is undoubtedly a great talent, a genius with the ball, and you feel for his undeserved fall from Premiership top scorer to Champions League final exile. But his future is in real doubt at the club, with serious offers likely to be accepted. His manager prefers the partnership of Hernandez and Rooney and will be even more ruthless in his quest to catch the Spaniards that have humiliated him twice. Nani too, could be tempted by a move. Fergie needs to be able to rely on everyone for every occasion to better the Catalans.
All of this means that this summer will be the busiest in a long while for the red side of Manchester. Sir Alex, by failing to accumulate replacements for his ageing stars in previous years, has left himself with a mammoth shopping list. But he is supposedly backed by funds from the Glazers and he’s given himself three years to catch the world leaders. He’ll need all the time and money he can get.
Who does he want this summer though? Well De Gea looks pretty certain to replace Van Der Sar in goal and Fergie will hope that the Spanish Under-21 keeper is a steady long term replacement, after the trouble he had replacing a certain red nosed Dane between the sticks. Also reportedly in the club’s sights is Villa winger Ashley Young, Everton rising star Jack Rodwell and Lens defender Raphael Varane. Fergie would love Dutch playmaker Wesley Sneijder to fill the boots of Paul Scholes but a move looks unlikely. With the likes of Obertan, Gibson, Kuszczak, and Brown also all likely to leave, along with possibly Nani and Berbatov as well, the task could yet grow harder still.
With fierce rivals City having plenty of oil money to burn and Arsenal looking to be busier again too, in many ways Sir Alex Ferguson has picked the worst summer to begin a major rebuild in pursuit of an almost impossible goal. But if one name continually defies expectations in football and gets what he sets out to achieve, it’s his.
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You can rely on Disney’s well known Pirate franchise for one of the universal laws of cinema. As sure as night follows day and the tide washes in and out, each successive film in the Pirates of the Caribbean series will be worse than the last. Like a basket of juicy fruit left to rot on a sunny beach, the individual ingredients that made the first film so fun gradually lose their enjoyment. You can also bet your house that in increasingly more desperate attempts to recapture the magic of the Black Pearl’s virgin voyage, the plots will acquire more baffling layers with each new instalment. And this film’s ending proves once again that there will always be room for yet another adventure.
However this film does break some new ground. For example for the first time ever, the title is as confusing and vague as the many competing strands of the story. The tides are certainly no more or less important than before and there is nothing strange about the film; within Captain Jack’s world at least mermaids and myths are pretty standard fare.
Things get off to a familiar but promising start. Our beloved scallywag Jack Sparrow is in London to rescue sidekick Mr Gibbs from a trial, which would be swiftly followed by a hanging if the bloodthirsty crowd had their way. After some costumed shenanigans and typically camp stalking about, Jack and Gibbs find themselves at the King’s palace. The crown wish to find the fountain of youth before the crafty Catholics in Spain and they’ve heard Sparrow knows the way.
Jack gets an audience with the King in a sumptuous room and Depp gets ample opportunity to showcase the physical comedy and wordplay audiences have come to love. The King is played by Richard Griffiths in a delightful cameo. Needless to say Jack manages an escape. Later in the film Geoffrey Rush’s Barbossa takes the time to mentally plan an escape route, presuming that’s what Depp’s madcap Sparrow does, only for Jack to reply that he sometimes “improvises”. The running and jumping through an impressive CGI London in the film’s opening segment, is ad hoc Jack Sparrow action at its best.
Sadly the film simply cannot maintain the entertainment levels as chase follows chase and sword fight follows sword fight. Most of the action is surprisingly inventive, especially since we’ve had three films already but at times even Jack’s luck over judgment leaps of faith enter ridiculous territory. The stunts become monotonous by the end because of the film’s relentless opening barrage, tarnishing the drama of the finale. There are no explosive cannon battles for those who love their ships and nautical duels. Instead of boarding we get an awful lot of trekking through the jungle.
Having said this, two standout scenes are exciting and engaging. I’ve already mentioned Captain Jack prancing his way around London but the first mermaid attack scene is also terrific. Only the Pirates franchise could deliver such a scene. It’s got frights and bites, fangs and bangs. The mermaids are less interesting by the end, but here they are introduced in a lengthy scene as seductive and dangerous. The attack comes as a real shock and well managed change in pace after they are lured in to enchant some pirates left as bait.
The mermaid battle is an epic, long scene and the film is so long that it loses much of its epic feel. Sub plots like a half formed romance between a mermaid and clergy man could have been slimmed considerably or dropped altogether .The runtime is literally bladder bursting, as a friend of mine dashed from the room as soon as the credits rolled. I was content to sit and watch the names of the cast fly at me in 3D however, because of Hans Zimmer’s magnificent music, which remains the best thing about the Pirates of the Caribbean. There are some nice variations and new additions to the main theme in this instalment but I can’t help feeling it’s time he focused his talents on new projects, rather than continually recycling one stunning track.
Hang on though; surely this is still worth seeing just for another outing from Johnny Depp as Captain Jack Sparrow? Isn’t he the single most important pillar upon which the blockbusters are based? I always assumed, like many critics, that the romantic pairing of Orlando Bloom and Keira Knightley in the previous films was holding back Depp’s brilliance. But having seen On Stranger Tides, in which Depp must mostly steer proceedings alone, his performance is somehow less effective without them.
He is at his best in this film when dancing around other characters, making light of them. Penelope Cruz is suitably sassy and sexy as a pirate, albeit with an unrealistically attractive cleavage for a hardened sailor, and she and Depp have some fun exchanges, but putting Sparrow at the heart of a love story doesn’t work. Even the filmmakers realise this by backing out of it somewhat at the end. Captain Jack Sparrow is not the emotional type. And what made him so attractive to audiences, was the way he mocked the clichéd relationship between Bloom and Knightley. Making him part of the conventional storyline robs his performance of some of its power.
Depp is still fantastic fun at points though, rising above an overcomplicated script with a bizarre fascination for throwing in random and rubbish rhymes. This film may just go through the motions and it may be far too long, but it’s undeniably grand and fairly pleasing despite the odd yawn.
Rather than fork out for its occasional 3D gimmicks of a sword jutting out of the screen though, I would recommend ditching the high seas for inner city London and Joe Cornish’s critically acclaimed directorial debut, Attack the Block. I saw this just hours before Pirates 4 and without adding anything new to the chorus of praise around it, I will just say go and see it. It is funnier and more thrilling than Rob Marshall’s blockbuster and doesn’t deserve to sink.
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Tagged 2010, 3D, 4, acting, action, actor, Aliens, America, Anne's, At World's End, Attack the Block, Australia, aye, bangs, Barbossa, beauty, bites, Black Pearl, Blackbeard, bladder, Blade, blog, Bloom, blud, Bray, Britain, British, bursting, camp, captain, Caribbean, cart, Catherine, Catholic, CGI, chemistry, Chicago, choreography, cinema, cleavage, clergy, Comedy, Cornish, costume, Cruz, culture, Curse of the Black Pearl, Daniel Day Lewis, daughter, David, day, Dead Man's Chest, Deadwood, debut, Depp, director, dull, eccentric, England, English, entertaining, epic, fangs, feds, FIFA, fight, film, films, Flickering, follows, fountain, franchise, frights, funny, Geoffrey, Gibbs, gimmick, girl, glasses, grand, Griffiths, Guardian, Hector, high sea, hilarious, history, horses, Ian, impostor, Incredible, Independent, inevitable, inner city, instalment, island, Jack, Joe, Johnny, jolly, jungle, justice, Keira, Keith, King, Knightley, Labour, length, Liam, London, love, man, Marshall, McShane, mermaid, movie, movies, musicals, myth, narrative, nautical, new, newcomers, next, night, Nine, novel, of, old flame, On Stranger Tides, Orlando, overcomplicated, Penelope, performance, Pirates, pleasant, plot, pregnant, Protestant, Queen, quest, race, random, revenge, Review, rhymes, Richard, Richards, ridiculous, rings, Rob, Roger, Rolling, romance, Rotten, routine, rubbish, runtime, Rush, sail, sailor, sassy, scallywag, scary, scene, script, sex, sexy, shenanigans, ship, silly, slang, soldiers, Spanish, Sparrow, Stones, story, style, sub plot, suit, suitably, swords, Tear, Technorati, Telegraph, The, The King's Speech, thoughts, tide, Tomatoes, too long, Trim, tv, UK, Ultra, Verdict, water, woman, writer, writing, youth
Whilst I was primarily wowed by last week’s opener to the new series, I wasn’t the only one having worries about the abundance of plotlines being introduced and secrets set up. And with this second episode, cracks in Moffat’s genius are beginning to show.
I know I never thought I’d hear myself say a bad thing about the man. But Day of the Moon simply tried to do too much. The really sad and disappointing thing about it is that it’s made of sublime component parts; it just didn’t work as well as it could have done as a complete whole.
The start of the episode was really impressive. All three companions seemingly hunted and gunned down in stunning and iconic American locations by the FBI. The Doctor locked up in Area 51 with a striking beard and strait jacket. Then of course a brilliant escape. It’s here perhaps that the flaws start to show however. Was anyone else baffled by the need for such an elaborate plan? Especially when later in the episode they simply wheel out President Nixon as the ultimate authority in their favour? Ultimately you can ignore the implausibility of our Timelord’s scheme for the added benefits to the drama; the cinematic scale of Americans locations, the stunning CGI shot of Apollo 11, a swimming pool dive from River and a seemingly bearded and beaten Doctor.
It’s later in the episode, around the middle, when the dialogue gets so bogged down with secrets that can’t yet be revealed, that as a standalone episode Day of the Moon begins to unravel somewhat. It’s simply unsatisfying for an audience to have so little payoff on the hints of huge revelations. In many ways Day of the Moon is too similar to the first episode; I was expecting it to leave a great many of the secrets untouched, to wrap up the story of The Silence in suitably engrossing style. In the end the Doctor sees off the terrifying foes rather easily, even if we’re told that this isn’t quite the end of them.
With the concluding two parter of the last series Moffat demonstrated his understanding of the impact of contrast, and there is not enough contrast between these first two episodes. The scenes in the children’s home are too similar to those in the tunnels at the end of The Impossible Astronaut. They have some wonderfully, typically Moffat ideas that are truly haunting, but throw in all the stuff about Amy’s baby and the completely confusing space suit and it’s all too much. These scenes with images of “Get out” scrawled on the walls and markings on Amy’s skin could have formed the foundation to a brilliant episode, but they are overshadowed by random but no doubt significant moments like the woman saying “she’s just dreaming” from behind the door. They also don’t sit right with the light hearted, race against time that’s the rest of the episode.
I’m not saying that I did not enjoy Day of the Moon. I am probably just bitter because it so completely baffled me and I’ll look back on it more fondly with hindsight. There were undoubtedly more than a handful of classic moments, and some brilliant dialogue. But it all just felt rather disjointed and overloaded. The relationships and jealousies between the companions are almost beginning to resemble soap opera. Here’s hoping that next week delivers a cracking and clever story truly independent of the secrets of the series.
Of course I’m not going to sign off without mentioning the Timelord child. Is it Amy and the Doctor’s? That’s the constant suggestion, which means it’s not as simple as it seems. Not that it does seem simple. I’m confused. And I have mixed feelings about it. Whilst Moffat should continue to push the boundaries of the character and take risks, he also could push it too far. One thing’s for certain; it’s worth sticking with the series to find out if its fetish for cliff-hangers becomes misguided or is sheer genius.
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This week super injunctions have once again, ironically, been in the news, largely thanks to a confession from the BBC’s Andrew Marr. He believes the balance has strayed too far in favour of gagging the media, despite having his own super injunction to conceal an affair. He supports the call of many to put the rules back in front of MPs for debate. Why should such extreme privacy only be available to mega rich politicians, TV stars or footballers?
They may be able to keep a lid on certain stories with their fat cheques but they can’t stop us discussing the issue itself. And it’s a difficult and ethically complex problem. On the one hand we can’t have censorship coming before free speech, but to live in a free society privacy is also important. Continually we are told that if a story is in the “public interest” it shouldn’t be hidden away under lock and key. But what does that actually mean? The hypothetical (but all too common) “footballer and a prostitute” scenario, is wheeled out by both sides of the argument again and again.
Those speaking up for the principle of super injunctions argue that what anyone does sexually is their own business, just as their health or bank details are. Footballers are private individuals that just happen to be prominently in the public eye. But the reason they are so closely studied by the media and their fans is not what they do off the field, but on it. Any personal problems they may have, whether it’s the fallout from shagging Imogen Thomas, an addiction to scratch cards or a fear of candyfloss, should be resolved in their own time and space without intrusion.
On the other hand of course the opponents will bellow in outrage that footballers are role models for our children and should behave as such. They may be talented but with such lucratively rewarding contracts they should act responsibly in return, and concentrate on delivering the best performance they can, week in week out in a professional manner, without the distraction of off the field turmoil. Season ticket holders, investors and fans in general may all feel justified in wanting to know whether their star striker is wasting his wages and fitness on whores after training sessions.
I have to say I have more sympathy with the pro-privacy side of the argument, when it comes to footballers and their whores at least. Of course with the ludicrous money they’re earning they should be focusing on giving our clubs’ the best they can offer on the pitch every weekend. But frankly I don’t care about their numerous and identical scandals. It’s an inevitability that young men, their wallets brimming with cash, end up disgracing themselves and living dangerously. If they can play brilliantly and indulge their dirty hobbies in private, then so be it. I don’t watch football to judge morality.
It’s only when the scandals are published that they become disgusting influences on our children, when the role models become corrupted and misery heaped on the club and the player’s personal life. And as for the “public interest” argument, there are minimal grounds for exposure for the genuine good of the population. The public’s interest in rumour and gossip is another matter altogether to their wellbeing and rights.
Ignore what I just said though. I may not be at all interested in hearing of their latest filthy fumbles, but for everyone to turn a blind eye would mean the disrespectful bastards get away with it time after time. Enough of them already escape the consequences by wielding their wealth for a super injunction or a quiet payoff for the mistress. Countless clowning cocks lucky enough to play football for a living probably simply get away with it because they’re not good enough, or famous enough, for anyone to care if they cheat on their wives and the mothers of their children.
There will undoubtedly be cases when it’s best and fairest if privacy is maintained. There will be others with a real and pressing “public interest”, far more vital than a lustful midfielder’s latest lay, that must see the scrutinizing light of publicity. The only sensible way to deal with the issue is on a case by case basis.
When it comes to football though, like it or not, there is a paparazzi culture for finding out the bedroom deeds of the Premiership’s so called “stars”. The players know this is a fact of life as much as we do. If they want their right to privacy preserved the only way forward is for them to start behaving gratefully and respectfully. They should appreciate what they have enough not to jeopardise it. There’s no need for super injunctions without scandal in the first place.
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