Tag Archives: narrator

Films that remind you of people – Amelie


Sometimes you really wish you could forget someone. Not because you want to but because you feel like you have to. People are forever telling you to “move on” from them, as if they were a shifty beggar in the street wasting your time. They have condemned you to the rubbish dump of their lives, so you should do the same. Whatever you manage to salvage from the wreckage of them will only remind you of the way things were before the crash, in a time you cannot travel back to. It’s time for a new stage of your life, minus them.

There are days when it feels like you might be able to do it. There are loads of things to live for, more pluses than minuses dotting the horizon of the future. But the thing is life has a knack of throwing reminders your way that jolt you back to her, to him, to them, to there. Oh look, memory sneers in a stage whisper from the shadows, it’s the bar you spent all night talking in, the river bank where you first kissed or the station she used to get off at. Even when you’ve succeeded in blanking them out from familiar places, their memories surprise you in other ways.

“This was our song” is a phrase you often hear from the devastated dumpee, just before their face melts in a cascade of noisy tears, possibly years after the breakup itself. Then there’s the novel that becomes ostracised on the book shelf because of a strange connection you are suddenly seeing these days within its pages. Even their favourite paper or magazine can give you a slap in the newsagents occasionally.

Some of the worst offenders are films. There will be the trashy romantic comedy given inexplicable significance because it happened to be your first date. There will be films that divided you and films you wished them to see. And there will be some favourites of theirs you never found the time to watch.

This was the case for me as I finally watched Amelie in its entirety. I had seen bits of it but never the whole thing. I knew that the music was fantastically whimsical and enchanting. I had watched an uplifting scene via YouTube in which Amelie spirits a blind man along a street, vividly describing everything in a whirlwind of sensuous movement. I knew it was French and starred Audrey Tautou. And I knew it was one of the favourite films of someone I wish I could forget.

In a way I was desperate to hate Amelie. I knew what it would be like because I knew the people that liked it. I was hoping that it would try too hard, alienate me with its quirkyness and annoy me with its arty farty simplifications. There were times I felt a little like that. But mostly I loved it.

Why did I hope that I wouldn’t? It was hard at points to be enjoying it so much because they enjoy it. How much easier it would have been to be repulsed and to have found another tiny reason to take another minute step forward and away from the past!

Amelie is about being alive, feeling alive and dreaming. It’s about the smaller things, so particular and peculiar that they must be real, containing a touch of magic that makes life worthwhile. It is extremely funny and eccentric, fresh and unique.

It’s the eccentricity that I thought might annoy me. I thought that Amelie might have been quirky for its own sake, as so many films of its ilk are. But Amelie’s comedy is crucial to its success. It is almost self mocking at times with the ridiculous and random nature of its details.

In the opening twenty minutes I fell in love with the narration. Normally voiceover is catastrophic and awful. Perhaps Amelie’s is so charming and intoxicating because it is French. Or perhaps it is that at once meaningful and light hearted tone, which doesn’t take itself too seriously. Amelie feels like a novel throughout its enjoyable beginning which explains her tragic yet amusing childhood. Characters are brought to life instantly because of their odd habits and Amelie herself has baffling, childlike musings about the world which add to her appeal.

I was disappointed when the narration became less frequent throughout the film, which is extraordinary given my usual distaste for voiceover. I loved the musicality of the voice, the specific details it would come out with and the telling but mysterious insights we’d instantly learn about characters. Most of all I loved the way it seemed to mock any work of art trying much too hard to stand out.

But the retreat of the narrator brings Amelie herself to the foreground. The wonderful lines from the narrator are replaced by some witty and surprising scenes of dialogue. The visuals and sounds of the film grow and grow until modern day Paris seems like a wondrous place, with deserving and interesting souls to be saved on every corner.

I expected Amelie to be preachy, perhaps patronising or too desperate to be different. I wanted to dislike it for my own good. But in the end I am glad to have seen it. I liked it because it’s good, not because of any associations it has with anyone. I thought it was unique and it made me feel alive and full of possibility, regardless of what others think. It’s a beautiful and beguiling film that reminds us how life can be so too, with dreams coming true, big or small, out of nowhere.

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The failure of Reading and Writing Month – An apology and explanation from Mrt’sblog


If anyone at all follows my blog they would’ve noticed the disappointing petering out of Reading and Writing Month. I feel I should explain as briefly as possible why a project I was very excited about and had big plans for did not turn out as I had hoped.

What happened then? I suppose the simple answer is: real life. It’s an excuse all the same I know but when it came down to it I couldn’t motivate myself to either write for my blog all that much or do enough reading because of actual events and “dramas”. I used to make the mistake of using this blog as an emotional outlet for “real life” and I have no intention of ranting again here and spoiling what I’ve worked hard on. But I also once said I would write on this blog should I ever find that elusive state known as happiness. I may as well say now that for most of 2011 so far I have indeed been happy; the happiest I have ever been probably. I am grateful to have felt that even if it was fleeting.

Enough of that though and back to blogging matters. It really is most regrettable that I have a real life at all sometimes. I am frequently full of ideas for writing but most thoughts never become blog pieces or creative works. Often I know that if I try to realise an idea and rush it to some sort of completion, its quality will disappoint. I know that an awful lot of the words I vomit onto these pages are not examples of the best work I can produce. Sometimes it’s just imperative that I produce something or air my views on whatever issue I am passionate about, no matter how inadequately.

For Reading and Writing Month for example I had numerous ideas in the pipeline. I planned to write on literary classics like Lady Chatterley’s Lover and Lolita, comparing their taboos. I planned to write my own short stories after amateurishly examining a selection of some I had managed to read. I wanted to discuss the future of reading with the coming of Kindles and IPads and audiobooks etc. I intended to explain why I rarely re-read books, and ask why we come back to old favourites when there was so much to discover and consume. Do we all have bibles for certain things, like good writing or storytelling, which we like to re-read to learn again? Like revision almost. Or do we re-read to recapture a feeling? Generally I wanted to have finished reading a lot more books than I did.

More recently in terms of general blog writing I’ve wanted to comment on the Libyan situation and the ethics of a no-fly-zone. Trips to Fulham football club and controversial Champions League games would have once spawned some thoughts. Various television programmes from comedies like 10 O’Clock to dramas like Christopher and His Kind have tempted me to put pen to paper, or finger tips to keyboard more accurately, but I have simply lacked the confidence, the time and the reserves of happiness to begin.

This is incredibly self-indulgent but it does annoy me that a) I don’t write enough and b) I don’t write well enough. Lots of things interest me and I want to write about most of them, but the task often seems insurmountable. The recent impingement of my real life on my blogging has forced me to rethink my writing habits. I shall have to accept that I can’t do it all. Especially if I’m to keep reading. And if I’m to do anything at all with at least a degree of adequacy. So I’m considering drawing up a more regular timetable for posts on particular topics. Film pieces will probably still emerge in a regular messy pattern, but perhaps other things I should simply talk about once a week on a certain day.

It will be sometime most likely before I do anything concrete about this. But it will probably soon have to be done out of necessity and I’m hoping it might help improve both output and quality. If you do drop by now and then I’d love any feedback or suggestions on what readers want and what Mrt’sblog can do better.

In the meantime I am personally trying to convince myself of the positives of Reading and Writing Month, despite its undoubted failure. I read a good mix of short stories and who knows maybe in future I’ll draw on them to write my own. At least for now I have good stories I can return to. I’ve generally rediscovered my taste for reading, not that it ever really went anywhere, even if progress is slow. I’m currently devouring, well gently chewing, Room by Emma Donoghue and soon I’ll start on Martin Booth’s A Very Private Gentleman, now a film called The American starring Mr Clooney. After these reads I’ll return to the list from Reading and Writing Month and try to make headway once more.

A heartfelt sorry from Mrt’sblog then, to myself at least if no one else is that bothered. Do follow me on Twitter (@Mrtsblog) and give me that feedback (constructive or completely pointless, all comers welcome)

Thoughts on … Never Let Me Go/The Canal/The Dice Man


I have recently enjoyed three excellent and thoroughly engaging novels. Each had me gripped in very different ways, but each shares the key ingredient of successful storytelling; a strong narrative voice. The extremely distinctive first person narrators of each of these novels draws you in and captivates you. A narrative voice that feels real and engaging is the element I most struggle with when trying to write my own creative works. I certainly therefore don’t feel qualified to dissect the successful and unsuccessful subtleties of the writing in these books in review form, but feel compelled to record what made them so readable for me as “thoughts”, for that is all they are, and to recommend them to others nonetheless. I may inadvertently let slip the odd slight spoiler, for which I apologise but place a warning here.

First up then is Kazuo Ishiguro’s Never Let Me Go, which I admit I was only inspired to read due to the hype surrounding a forthcoming film adaptation and the allure and beauty of the trailer for it. What’s noticeable and striking even in that brief snippet of film is the overwhelming Britishness of the story and it’s a very British novel too. That sense of place comes not just from the boarding school setting, the childhood themes, the nostalgic reminisces and stunning countryside, but from the voice of the novel, Kathy H. Whilst it appears she is candidly telling her life story, with little reason or desire to embellish and hold back, you soon notice her strong focus on others, on those immediately close to her. If she criticises a friend she will qualify what she means and spend pages delving into another random memory of them to share their alternative, better side. In many ways this is a novel of memories, about the ones that slip away and the ones you never let go of. Given that she focuses on those most important to her, it’s enlightening, revealing and intriguing that she never actually says in the novel, as far as I can see or recall, that she loves the man events make clear to be her soul mate. Indeed Kathy does not spell things out about herself often and retells everything, overpowering emotions and all, with a simplicity and undertone of British restraint. It’s this restraint and modesty that is the most chokingly moving at times too.  It’s clearly to Ishiguro’s immense credit that he simultaneously creates a strong, rounded character in Kathy, whilst also letting events, and things Kathy omits, paint a picture of their own. Kathy has confidence that, from what she has retold to us, she need not say explicitly “I loved him”.

 I’m glad I read the original story as a novel before the release of the film in January. Despite the promise that attracted me in the trailer, Carey Mulligan will do well to play Kathy H as quite as compellingly as Ishiguro writes her. The film is also set to cut large chunks of Kathy’s childhood memories of Hailsham, in favour of the adolescent portion of the story. I hope this omission does not detract from events later on and make them less meaningful. The one fault I found with the book, and one the film will also struggle to overcome, is the sense that there is never a satisfying big conspiracy revealed, as is hinted at. The one that does emerge seemed fairly clear early on and whilst Ishiguro seems to hint that there is more to it (I had visions of some sort of apocalyptic Britain or a more interesting and dramatic disintegration of ethics) there really isn’t. Mostly though Never Let Me go is a terribly moving story because of the way it feels so real. Kathy’s language is simple but beautiful at times, like many of her memories. Her friendships and loves are not obsessively described with clichés and extravagant imagery, and are consequently all the more like our own. The way things turn out is so tragic because you can place yourself in her shoes.

I have also recently read Lee Rourke’s debut novel, The Canal, joint winner of the Guardian’s alternative award Not The Booker Prize. As the review on the Guardian website points out, this is a debut crammed with ideas. This might have been a problem if the ideas weren’t original or didn’t resonate with me, but I found most of them to be insightful and well expressed musings on a realistic truth. The novel begins as an engaging meditation on the nature of boredom and how it is a fundamental part of existence to be embraced, rather than feared and avoided. It eventually evolves into a touching love story, which becomes an obsession and climaxes with an eventful ending. Most of the novel aims accurately for realism; its ideas, its dialogue, its images. Only at the end do feelings and events become sensational.

The title of the book makes it clear that it will have a strong sense of setting and the surroundings of The Canal are ever present throughout the narrative, the backdrop to almost all the action. Its features are described with some wonderful imagery and symbolism. Even the book itself, the physical design of the novel, is pleasing to look at and hold. If I were Rourke I’d be delighted with the tasteful design of my first fictional foray. He ought to be proud too of the dialogue in his work, which really stands out as exceptionally believable and realistic, becoming almost a script at times before reverting back to the narrator’s thoughts. The dialogue is rightly praised on the back of the book.

Like Never Let Me Go, much of The Canal’s success comes down to the convincing narrative voice. However if Kathy H was restrained, the nameless narrator of The Canal is mysterious. The woman he meets on The Canal is also mysterious, until he slowly uncovers her secrets. She is for the most part a rounded character and their relationship believable, but at times it succumbs to cliché. There are other clichés too such as the stereotypical gang of youths and the unstoppable march of building work that eventually swallows his patch of The Canal. These unimaginative elements let down the originality and realism of the rest of the book, but The Canal was an engaging, un-put-down-able read.

If The Canal mused about boredom then The Dice Man is a full on exploration of its depths and connections to the meaning of existence. The main reason I was reluctant to be bold enough to call these thoughts of mine a review was that The Dice Man is simply too mammoth, sprawling and impressive a work for me to digest, let alone analyse adequately. It’s jam packed with ideas and full of such variety that it touches on more areas in one chapter than most novels. It has spawned a cult and resembles a bible in weight and heft. It’s immensely controversial, challenging long established truths in religion and philosophy, outraging those with a strong moral compass. It contains scenes that are graphically violent and sexual. It is regularly and consistently funny. However as with The Canal, it is the quality of composition and writing that truly impresses me with The Dice Man.

From the very first page The Dice Man makes it clear it will not follow the conventions of an ordinary novel, but mimic several at once. It flits from the brilliantly cynical and scathing first person voice of Dr Lucius Rhinehart, to describing events in his life in the third person. It also chucks in various articles about events in the Dr’s life, along with other methods of storytelling such as transcripts of interviews and television shows. With all the talk of ideas, philosophy and sex surrounding The Dice Man, it can be forgotten that it is an exemplary exercise in creative writing, full of tremendous variety. The dialogue is always funny and realistic and the characters well realised, albeit obviously through the lens of Dr Rhinehart’s own entertaining, intelligent opinions. There are narrative twists and turns, violent thrills and sexual ones. The careful craft and exciting breadth of this novel ensures that a novel of over 500 pages remains gripping throughout. It consumed me for a whole week.

Then of course there are the ideas themselves, the philosophy behind The Dice Man. The reason this book has become so notorious and actually converted readers to the “religion” detailed within its pages, is that many of the ideas make sense, that and the alluring mystery to it all. The mystery blurs the boundaries between fiction and reality. Luke Rhinehart is of course a pseudonym, but a quick Wikipedia search on The Dice Man and you discover the real author, George Cockroft, also genuinely experimented with the “dicelife”. So there is some truth to the claims that this a factual account and that may account for its vivid detail. However it is also undoubtedly a sensational work of fiction, at times taking swipes at the profession of psychology and the state of society in general. I have already said that as a novel it should be praised and not revered simply for its bold ideas, but it is true that the seductiveness of the ideas help sweep you along in the story.

The basic principle of The Dice Man is to abandon free will, at least to a great extent. Every decision in your life you are unsure about should be decided by the throw of a dice, and in fact later on, even those you do feel sure of. You may create options for the various numbers of the dice or die, but whichever they choose you must blindly follow. The options must try to embrace all aspects of your multiple existence, so for example if you have idly fantasised about masturbating over your pot plant, even for a second, this ought to be considered and given to the die to decide. The aforementioned variety and randomness of the novel thus mimics the theory at its heart, with one section actually printed twice immediately after you have read it, presumably at the will of the die.

The philosophical implications of handing over control of a human life to chance are vast and fascinating and I shall not even scratch the surface of their interest here. But Rhinehart comes to believe in the novel that by following the dice and developing his theory he can become a kind of superman, the ultimate human that abandons the misery imposed on us by clinging to a sense of “self”. We often feel completely contradictory desires each day, none more true than the other.  What is truly haunting and bewildering about The Dice Man is that by listening to Rhinehart’s distinctive, cynical, hilarious voice, we come to see the sense to his arguments and then when he commits an unspeakable sin at the will of the dice, we feel implicated too. Does a truly liberated human existence require immorality?  Rhinehart becomes obsessed by the potential of his simple idea to elevate him intellectually, to truly free him from boredom and obligation. He says that he resembles Clark Kent and by pursuing “dice theory” Rhinehart aims for a permanent transformation into Superman, The Dice Man, on another level to the ordinary human drone.

I’m not saying The Dice Man is the perfect novel, do not misunderstand my awe and praise. At times it left me baffled in completely the wrong way, and despite its championing of the random and new experiences, it can become repetitive, particularly the frequent bouts of sex. And whilst it is sometimes credibly intellectual and inspiring, such as the scene when Rhinehart defends his new theory to a panel of his influential peers, at others it does appear to be simply sick and shocking for shocking’s sake. The thing is that The Dice Man knows it is not the perfect novel, in fact its cynicism screams and mocks the idea of a perfect novel being possible. Even the repetitive sex scenes are always evocatively described or hilariously painted and the idea that a man striving for complete liberty is constantly tied down by sexual desire is ironic and mocking in itself. The Dice Man really is often laugh out loud funny. It is also scandalous, entertaining and everything else it has been described as. Most of all it is an original creation, a unique fusion of cultural influences, which perfectly encapsulates the America of its time and remains powerfully relevant today.

These three novels perhaps demonstrate the importance of two ingredients in particular amongst the many needed for a success: interesting ideas and an individual narrative voice.

Boxer, Beetle by Ned Beauman


Ned Beauman’s debut novel is a distinctive, original and confident creation that is immensely readable. It is not especially remarkable for young novelists to produce compelling fiction but it is a considerable achievement for Beauman to have pulled off a story based on some controversial ideas and subject matter that may have otherwise repulsed or offended readers if not carefully executed. It is by no means a perfect debut and its often ghastly and occasionally two dimensional themes do grate at times, but its success lies in its bold originality and playful prose.

The inside cover of Boxer, Beetle brazenly asserts that this is a clever, distinctive and entertaining novel. Despite a number of flaws including the unconvincing skin deep characterisation of one of the main protagonists Phillip Erskine and simply an over abundance of weirdness at times, I would not disagree with this confident claim on the cover having finished the book. At times the novel displays all three qualities and its brave comic handling of potentially problematic areas such as the collection of Nazi memorabilia ensures it is a distinctive experience throughout. It probably helped my enjoyment of the book that I found many of its chosen themes of eugenics, fascism and underworld boxing culture historically fascinating, but Beauman also vividly evokes the period sections with well written and sensual description that ought to engage those without a particular interest in the era.

Indeed Beauman demonstrates a gift for colourful and accurate description during the third person period sections of the novel and he also has little trouble in fleshing out believable minor characters with unique idiolects. He does struggle to make the key characters, repressed homosexual and twisted beetle collecting Fascist scientist Phillip Erskine, and rampant homosexual Jewish boxer Seth “Sinner” Roach, into rounded individuals though. It might be argued that Beauman does develop their characters enough, it is simply that I did not like them and neither was I meant to, but I can’t help thinking that Erskine in particular was a little too predictable in terms of prejudice and the attempts to make Sinner endearing in some way by introducing a regret at losing his devoted sister seemed forced.

The first person sections of the novel were always enjoyable however, seen through the quick witted and odd eyes of the impossibly smelly Kevin Broom, nicknamed “fishy” by his rich Nazi collector friend Grublock, who meets a sticky end at the hands of a sinister Welsh assassin searching for clues about the boxer and the beetles from 30s Britain. At times the present day sections felt almost like a comic novel, such was the pace and playfulness of the prose. One chapter begins with the narrator musing about what Batman would do, only to conclude that he could not imagine Batman in a Little Chef and that in general the everyday, mundane architecture of modern Britain was not conducive to a cunning, acrobatic and glamorous gothic hero. Generally the novel works superbly well, even with so many ideas flying about, providing they pass through the lens of the likeable narrator. In the third person sections too many ideas can bog the plot down and make passages with Erskine in particular almost tedious. However the novel rarely becomes an essay, despite a couple of unfocused chapters devoted to invented, short lived artificial languages and the third person chunks set in the past tend to zip along well enough despite the inferior sense of character.

Overall Boxer, Beetle is a satisfying read with a bizarre, strangely gripping narrative populated by characters we are not meant to take too seriously dealing with a cocktail of varying grand ideas and themes. Beauman’s writing style succeeds largely in pulling together a lot of seemingly unconnected subject matter into a coherent and entertaining read. It will be interesting to see how Beauman chooses to follow up such an individual first book but his writing talent is evident and Boxer, Beetle is such a mixed bag you get the impression he could and would turn his hand to anything and make a success of it.