Sitting in a luxurious hotel lobby in Spain last week I came across an article by the actor Hugh Bonneville in The Times which was part of their Christmas appeal. It was about Liberia and in particular a young mum, who claimed she was 21 but was in fact 17. She was having her third child. Even if it survived birth it would struggle to make it out of childhood, such are the overwhelming health risks for children in Africa. I wish I could quote the striking figures about infant mortality in the article but they are tied up behind Murdoch’s News International online paywall, although that is another matter entirely. The unsettling truth is that I would not have lingered over the article had I not known I would be writing a review on a documentary about Liberia’s turbulent recent political history on my return to British soil. I was holidaying in a country with 20% unemployment and an expanding prostitution industry, and the depressing fact is that we are all guilty of choosing to focus on these more manageable economic and moral woes of developed nations, than look with unblinking eyes at the seemingly insurmountable challenge of Africa. We need documentaries like Pray The Devil Back To Hell to jolt us out of our ignorance and indifference now and again and spark good souls into action.
Having said this, badly made documentaries can also turn an audience away from an issue, so it was an enormously important and difficult task that directors Abigail E. Disney and Gini Reticker took on. They were trying to summarise a long and bitter struggle and in particular distil the bravery and brilliance of ordinary women that formed a peace initiative that restored calm to their country. Liberia had once been envied as one of the few independent African republics, but just like other nations on the continent it encountered its terrible problems when the dream of a nation founded by free slaves on equality went sour over generations, leading to a sporadic civil war raging from 1989 to 2003. The conflict reached new and devastating heights at the beginning of the 21st century, so events remain chillingly fresh in the minds of those involved and are surely too close to be dismissed as mere history. Given the harrowing plight Liberians still face today according to The Times appeal, it’s clear this documentary had the potential to convince viewers why Liberia was as deserving of sympathy and aid as other better known African nations in crisis and poverty.
This is the story of an unlikely coalition of brilliant women, and given their brilliance the filmmakers are wise to let the women tell the story in their own words. From the beginning we are guided by the words of the charismatic leading light of the movement, and from then on the documentary is a painstaking fusion of moving interviews and dramatic archive footage. Initially the speakers set the scene of everyday life, then emotional interviews detail the atrocities carried out, both by the rebels supposedly fighting for democracy and the government forces commanded by President Charles Taylor, elected on the back of a campaign of fear. Having thus captivated the audience the film plunges into the remarkable story of the women that set out angrily to put a stop to the bloodshed in their villages of their friends and relatives. This story speaks for itself and is a tale of the power of peaceful protest that we in cynical developed nations may not think possible in the modern age.
Originating as a Christian movement the women’s plan for peace soon spread into the Muslim community and these two often divided groups of mothers proceeded to present a formidable and determined united front. Indeed the film is certainly a convincing advocate for the continuing good of religion in the modern world when its message is simplified to easily understandable, universal goods, namely peace in this case. Wisely the directors do not ram religion down the throat of the audience however; it is a key factor behind events but comes second to the sheer humanity of the story.
What’s especially extraordinary is that not only do the women force peace talks with their organised action, but they maintain the momentum to ensure the implementation of genuine democracy for their country, even after the ceasefire, to keep the widespread violence from making a comeback. As the momentum of the campaign builds so does that of the film and it’s easy to get swept up in the struggle. This is a story full of big and shocking ideas and issues but one with an ultimately idealistic message. There are rapes, murders and corruption, religion, race and reminders that our interconnected modern world means those in developed countries cannot afford to sit back and let the suffering play out (extracts from articles show that President Taylor had links to Al-Qaeda and other threats). In the end though the very real and authentic rhythms of African rhetoric, chanted by peaceful protestors clothed in harmless white, won the day. People power and perhaps as the Spice Girls said, girl power, conquers in a world where the odds are stacked against it. There is certainly something irresistibly inspiring about it all.
Despite the seriousness of the subject matter some atmospheric opening titles with colourful African images and music, along with a concise running time of 72 minutes and the powerful likeability of the women, avert a gloomy lecture of a film. In any case the drama of the story itself would make it hard to make a boring film about such stirring events. Even with the ongoing challenges suggested by the article that I read this story has a happy ending that makes it possible for help to reach those who need it most in Liberia. One would certainly hope that now heartfelt donations go directly towards the care of children and young mothers like those I mentioned at the beginning, rather than into the pockets of corrupt officials or towards the production of weapons. Watch this film over the festive season to see how deserving many Liberians are of our gifts and goodwill. Watch it to spare a moment for those less fortunate than ourselves. Watch it to be gripped by something real, not a contrived and fake blockbuster but a story with actual characters that personify a selfless Christmas spirit.
Doctor Who: Series 6: Episode 2 – Day of the Moon
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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