Tag Archives: Eric

Paul Merton’s Birth of Hollywood proves that the likes of Transformers: Dark of the Moon won’t save 3D


Last night I watched the last in the series of Paul Merton’s Birth of Hollywood on BBC 2. I actually watched it on TV! You can watch it here on iPlayer:

http://www.bbc.co.uk/iplayer/episode/b011vmsd/Paul_Mertons_Birth_of_Hollywood_Episode_3/

I really enjoyed it and will be trying to see the first two episodes somehow. This episode chronicled the death of silent cinema, which Merton shows to be at the height of its creative powers when the technology for talkies arrived. Silent films starred ingenious performers, and were shot in inventive, imaginative and inspiring ways. They could afford to make classic escapism for the masses as well as experimental pictures, which also more often than not turned into hits by capturing the public’s lust for the cinema in new ways.

Talkies, Merton argues, brought the quality and the standards crashing back to basic levels. Yes audiences could hear the tinny voices of their beloved stars but they lost much of the magic of cinema when it was silent. They lost the live musical performances accompanying the pictures in theatres. They lost the moving camera angles, zooming in and out to visually dazzle and excite. They lost the cults of intoxicating mystery that grew up around actors, as soon as they heard their ordinary or often foreign accented voices. Instead there was wooden dialogue in front of static cameras. Imaginations were stifled and limited.

It’s impossible not to compare the arrival of the talkies with that of 3D films in the 21st century. In my view it’s obvious that the shift is not so dramatic. Sound is a far bigger leap forward than three dimensions. This seems an odd thing to say; when in theory 3D should mean the action literally happening in front of you. But we know the reality of 3D is mostly gimmicky after seeing the offers of studios in cinemas.

This might suggest that greater efforts are needed to improve the technology, so it’s truly as transformative an experience as listening to sound for the first time in a movie theatre. However Merton’s documentary focuses on the ability of good storytellers to adapt. Irving Thalberg, who died in his 30s, was the extraordinary man at the centre of last night’s episode.

A German immigrant, Thalberg grew up in New York, after being born with a weak heart. He spent long periods of his childhood mollycoddled and stuck in bed through illness. During this time he read classic literature, plays and autobiographies. And followed the fortunes of the film business.

Then he got his big break and headed to Hollywood as a secretary to the head of Universal Studios. He was unexpectedly promoted to Head of Production, because of the qualities he showed his employer, where he established a reputation in his early twenties, before moving to MGM in the same role. His influence transformed MGM‘s studios into a vast dream factory with all manner of storytelling resources on site. He handpicked films for suitable directors, mixing traditional stories with bolder projects. He ensured that before release all his films were screened to members of the public, which led to scenes being re-shot frequently. A modest man, his name never appeared on any posters.

Thalberg’s MGM was at the top of its game when talkies arrived, courtesy of rivals Warner Brothers. But before his death Thalberg oversaw a successful transition to sound, with that same focus on good storytelling. As a producer he called the shots, made decisions in the company’s financial interests, but never compromised a good story.

3D audiences have been declining and champions of the technology pin their hopes on Michael Bay’s third Transformers movie, Dark of the Moon. In press previews the 3D is said to be cutting edge, mind blowing and the best yet. But as this Guardian writer, Ben Child, points out, Bay’s films are so loud and bombastic that they simply become tedious. And the only real hope for 3D is that someone, a great individual of Thalberg’s ilk, can steer a truly great and inventive film project to fruition. One that makes the best of 3D‘s unique assets but one that, above all, tells an unbelievably good story.

http://www.guardian.co.uk/film/filmblog/2011/jun/10/transformers-dark-of-the-moon-3d

The NHS “reforms” break an implicit election promise – and do not go nearly far enough


Cast your minds back to the days of the last election. All the talk was of cuts and the campaign was curiously short on optimism. Nick Clegg rocketed to popularity because of his outsider status and a rare ability to sound slightly hopeful about the odd issue. Cameron and Brown battled over grim details, tainted by all that had gone before. One of the few rays of hilarity to shine out of the darkness was the very British ridicule of one of our current Prime Minister’s key policies and publicity stunts.

I’m referring, of course, to Cameron’s notorious airbrushed poster campaign. The abnormally clean image of the old Etonian presented on billboards everywhere to the entire nation, took the Tory drive for renewal to the laughable extreme. Dave was not wealthy and out of touch, merely handsome and approachable. As funny as the image and tactics themselves were however, it’s the snappy quoted message alongside his shiny face coming back to haunt the Prime Minister now.

I certainly do not pretend to even partially comprehend the reforms to the NHS this Conservative led government is proposing. Indeed the lack of understanding from its own ministers seems to be a large part of the problem. And it’s no secret the Conservatives have long planned a shake-up, fuelled by the steadfast belief of their long serving top dog on health, Andrew Lansley. However whilst the faults and flaws of the plans that are becoming clear are extremely important, in terms of political capital and strategy for Number 10, they are in many ways besides the point when it comes to that infamous election promise.

“I’ll cut the deficit-not the NHS” translated for voters to “This is a new kind of Tory party that treasures the NHS above all else. We will not mess with it anyway.” Cameron will argue his promise did not say he wouldn’t change the NHS and that it needs modernisation for the better. But he knew the implication of his promise and the votes it would win him. His protestations about the benefits of his reforms will therefore mean little to those his promise swayed.

It’s also especially hollow given that the Prime Minister has since watered down and diluted that concrete pledge, which formed the symbolic heart of his campaign, again and again and again. First it became merely a safeguard for frontline services and then promised improvements, like an increase in the number of midwives, were scaled back and ultimately scrapped altogether, with even plans to maintain current numbers reversed. Fears about privatisation which the reasonable man might have attributed to overzealous, sensational leftist press, are now emerging to have hard evidence behind them. 50,000 jobs are set to be cut. How exactly is this not cutting the NHS?

If the workers within the system themselves were in favour Cameron would have a much stronger argument. But countless GPs have written to newspapers, as well as other types of professional, warning against the changes as unnecessary and damaging. The Prime Minister continually insists that locals have the right to opt in our out, but what are those that oppose and don’t sign up to the scheme meant to do? Even in my quiet rural area GPs feel overworked and many local people distrust the vested interests of certain doctors. Is handing over the biggest budget in the country to them really a good idea and what people want? It’s doubtful if the new system will even be able to produce what the public need.

Another argument constantly wheeled out by the Tories is the pressing need for modernisation and reform, which make it necessary. There is nothing necessary about these plans though. Whilst the health service has its flaws, the current system leads to a mostly positive service. There are undoubted challenges in health care such as an ageing population and emerging drugs, which often seem insurmountable. Government proposals do not do enough to ease the burden and according to many that know, they actually complicate the fight. For a leadership so keen on cutting the deficit, you would think that such costly, ideological plans could wait for better times.

 It would also do more good in the long run, and reduce the deficit substantially, to work out some realistic spending priorities centrally. Vital areas and treatments need to be protected nationally and things the NHS can’t afford to provide should be phased out. The private sector does have a role but it should grow independently of the NHS and take up the slack for treatments it shouldn’t be wasting resources on. Taxes and other initiatives should encourage healthier living. Devolving decisions to GPs is no magic pill, no silver bullet and it doesn’t even equip the NHS for the critical, worsening challenges it will face in the future. It would be a far more sensible decision for the government to begin a nationwide debate about what we expect, want and need from our NHS now. It would fit with the “new politics” of plural cooperation and potentially produce actual solutions.

Perhaps the main reason the government looks less likely to bow to pressure from the public on this issue is the Prime Minister’s ego and pride. He’s been happy to recognise the weaknesses of coalition and concede on issues like the forests and sport in schools. But the NHS plans are too inextricably linked to Cameron’s personal brainchild; the Big Society. Its philosophy of localism and choice in the community over centralised solutions marries nicely with Lansley’s ideas for health. The health reforms open the way for the sort of community cohesion and interaction, fuelled by voluntary, charity involvement, that Cameron wants to see. He genuinely believes it’s the path to a social recovery for Britain that’s sustainable and empowers government to do what it does best, as well as liberating people from the state. He’ll continue to be blind to all the irreversible wounds the “reforms” will inflict on the NHS itself and his popularity with the people as long as it remains tied to his vision. His recent attempt to re-launch the initiative demonstrates his huge commitment; it cannot afford to fail.

The real shame for the country and even the Conservative party, is that Cameron’s election pledge could have been a clever way of dumping a responsibility and challenge for maximum political gain. His implicit promise of not touching the NHS meant it could have been left as it was, a gargantuan issue for a future administration to tackle, ticking over just fine for the time being. There are after all, enough problems for the coalition to face. If this government had done mostly nothing on health, the public would have thanked them for it, the Conservatives especially. But Cameron is so determined to be radical and appear to be so, that he will press on, regardless of the consequences. It may prove to be the well meaning project that took his remodelling of the state too far.

The Other Boleyn Girl


Basically: bouncing boobs, breached bodices, bonking, beauty, blondes, brunettes, betrayal, backstabbing, blood bonds, bastard babies, beheading, Bana, Boleyn. Bogstandard historical “fact”/fiction that skips superficially over and through major historical events rapidly, particuarly towards the end, in favour of a focus on lust and madness. The supporting cast appear predominantly British, such as the colourfully named Sherlock Benedict Cumberbatch, but Hollywood starlets from overseas are favoured for the key roles, with an Australian playing the English King and prim performances from Natalie Portman and Scarlett Johanasson as the sisters. In many ways a two-dimensional affront to historical storytelling, this film is however ultimately watchable due to most of it resembling a Tudor version of those sexy M and S ads, such is the brilliant beauty of the period detail and exquisite human forms of the cast.  This isn’t just a Royal sex scandal, it’s Scarlett Johansson moaning with ecstascy as Bana’s buff Henry the Eighth towers over her, expressing his divine power as monarch in glorious slow-mo. This isn’t just sisterly rivalry, but a catfight between Portman’s manipulative, manicured and manufactured British tones and Johansson’s saintly gasps of disbelief, with the prizes of religion, state, power and wealth at stake. Meet the original, surprisingly well-to-do, respectful and ambitious footballer’s wives.