Fergie Finally Forced to Roo Missed Opportunities

As a Manchester United fan I refused to believe the tabloid talk of a widening rift between Wayne Rooney and Sir Alex Ferguson. It was the usual overexcited babble, trotted out simply to fill column inches. The sports pages have always brimmed with such gossip and rumour when the decorated, dour Scott decided to take a no nonsense approach to one of his big players. Rarely did such an approach lead to outright irreparable confrontation, and when it did the players had always past their prime or become replaceable. No one was seriously considering Wayne Rooney as a player who has already peaked, a player who could easily be slotted out of the side. When Ferguson had had enough of a player’s ego in the past he ushered them out the door and reinvented his side. Stam was eventually replaced by Ferdinand, Beckham by Ronaldo. When Van Nistelrooy departed Fergie changed the team’s playing style and adapted for the better. This time there was no question of Rooney departing and that being the catalyst for a wave of positive renewal, because Rooney was the one remaining talisman, the fulcrum around which any new generation would grow. Besides just months ago the England striker had pledged his entire playing life to a club he loved, respected and was grateful to. It is impossible to imagine where he would go.

I put all the excited chatter down to his recent personal and footballing woes. Rooney was the type of character who was bound to get agitated when in a bad run of form. He was also, or so I thought, a football puritan who just wanted to play as much as humanly possible. That’s why he was furious with Ferguson for being left out of the side a few times recently after news of his personal life rocked the airwaves. He wanted to play his way out of trouble, smash the doubters and the critics with his genius and endeavour on the pitch. Sir Alex, experienced with such media storms, clearly felt that Rooney would be better off shielded from the harsh glare of scrutiny whenever possible and unleashed to prove his doubters wrong only when fully, 100% fit. The manager was doubtless aware how he has allowed his squad to deteriorate in quality, to the point where Rooney carried United’s title challenge almost single handed last season, and he would be needed again at his best if United were to win back the crown. Sadly Rooney too could feel that burden on his shoulders and was no longer relishing it but allowing it to undermine his brilliance on the pitch.

Nevertheless even as the evidence mounted I would not believe that Rooney wanted to leave until Ferguson confirmed it in a press conference and Rooney followed this with a statement of his own. If there is to be a media battle as to who is blamed more, manager or talisman, it would seem Fergie has already masterfully laid the seeds of manipulation in his favour. Or perhaps the veteran manager was simply being honest and there was nothing calculated at all about his approach to the news. He seemed solemn at the press conference, powerless. The fingerprints of the modern game’s big money, agent culture were all over Rooney’s statement. The fans could make up their own minds.

Having said this Rooney does have some weight behind his argument. There is no doubt that Ferguson has let his team become over reliant on Rooney’s presence. I have been arguing for the last couple of years, and indeed have mentioned in previous pieces, the need for Fergie to invest in the future, a new generation of Red Devils and thus avoid the need for a massive, unrealistic replacement of faded stars like Giggs, Scholes and Ferdinand in one go with high quality, expensive replacements. There are still gaps in the team left by the departure of Ronaldo and even Roy Keane. At times United’s trophy charge last season was a limp and a wheezing carcass was dragged reluctantly towards the finish line by Rooney’s goals. When his form dried up so did the team’s trophy hopes. This summer it seemed inevitable that Fergie would finally reinvest some of Ronaldo’s gargantuan transfer fee. But he let more time pass without acquiring replacements and dumbfounded supporters by missing the chance to sign a bargain like Ozil, who ended up at Madrid. There was no excuse for such a failure. The manager has always insisted that he would not be held to ransom by the market, but here was a proven, emerging young talent at a sensible price. Instead an impulsive £7 million went on Bebe, an untested, youthful player from a low level of football, who judging by his start to life at Old Trafford looks set to go the way of Djemba-Djemba and other Fergie transfer flops.  

Letting Ronaldo go may have been inevitable and a good deal for United, but since his departure the manager has not moved to build a new great side or plug glaring gaps. In the aftermath of Ronaldo’s departure United’s weakness was the lack of a strong midfield spine, which cost them a second consecutive Champions League against Barca in the final. However rather than acquire that solid spine and build a new team for a renewed push for that third European Cup Fergie has allowed his squad to age. Now there is the need to replace Van Der Sar soon, find a new partner for Vidic given Rio’s continued fitness problems and secure long term creators and goal getters going forward. Acquiring all that quality in a hurry will be expensive and impossible given United’s financial constraints these days. Perhaps I am being unfair and in reality Ferguson, like any manager, was keen to go out and get players but was hampered by cautious voices behind the scenes, filtering down from the boardroom and from the Glazers. But in my view United’s diminished financial clout made it all the more important to gradually and sustainably acquire the parts of the next great side. Leaving things so late heaps so much pressure on players who simply don’t have it in them and risks a Liverpool style fall from grace from which the club might not recover.

Ok things might not be THAT drastic. Manchester United remains a massive club, with or without Wayne Rooney. Top, top managers hungry for glory and a place in history and capable of putting their own stamp of success on a team, would be desperate to step in should this crisis prove the beating of Sir Alex. If Rooney were to leave he would bring in a fee similar to that of Ronaldo, if not more. He is certainly worth more to the team, if not in the same dazzling, world beating form that the Portuguese was in. With no Ronaldo or Tevez at the club now only Dimitar Berbatov stands out as a world class potential talisman, and his form is sporadic. Therefore Rooney’s departure would surely demand serious investment in like for like replacements to keep United at the forefront of the game. There is already talk of Torres, Kaka, Benzema, Bale. As with Ronaldo though Rooney’s unique qualities make him effectively irreplaceable and a number of players, coupled with a change in style, would be needed to cover his absence.

Whilst Sir Alex has clearly missed opportunities in recent transfer windows that may have made the effects of this crisis even worse, there is a reason why Rooney is emerging as the villain of the piece; he is. Sir Alex Ferguson is a wise, successful manager, hindered by a difficult boardroom situation and impossibly high expectations. Wayne Rooney is a good player, but at 24 owes everything to his manager and his club. His statement talked of ambition and the club’s apparent lack of it, but for all the failings I have mentioned Manchester United remain one of the best clubs in Europe and are rivalled seriously only by Chelsea in the Premiership. Rooney has been privileged enough to have been elevated to effectively the leader of United’s trophy pushes, the carrier of supporters’ hopes and dreams. As Mark Lawrenson remarked in the build up to United’s stale win over Bursapor last night, Rooney has clearly forgotten where he has come from. He is a Champions League and Premier League winner and it is within his own power to ensure continued success for his club. Has he no sense of responsibility, respect or greatness? Where exactly would he like to go? Manchester City or Chelsea? Madrid or Barca? The choices are limited and none would suit him like United. Those who abandon Fergie’s projects rarely go on to better things, even if their already sizeable pay packets swell that little bit more. Rooney’s departure could permanently scupper United, but it will more than likely simply herald the beginning of the end for his own career and hero status.

Harry Brown

It’s difficult to precisely pinpoint the moment I fully embraced the mantra “don’t get sad, get mad”. It may have been after my first THRRIP (Totally Humiliating Romantic Rejection In Public), or my second, third or fourth, or it may have been at the doctors after being diagnosed with yet another niggling ailment, or that time on holiday. Yeah that time. Anyway it’s an incredibly liberating and practically useful little philosophical phrase that never fails to help when intoned in worrying hushed tones to oneself at times of crisis. Normally it’s best to redirect your waves of gloom into stinging volleys of verbal venom at something or someone else. However if you can’t quite manage this straight away there is the intermediate stage of self-loathing as opposed to self-pity. It’s surprising how much better it feels to mentally pound yourself, the equivalent of smashing your knee caps to bits with a hammer, than to sit and curse your bad luck and the unfairness of the world and stay true to some ideal that ultimately makes you a worthless martyr. That’s a bit like watching Comic Relief in black and white without the Comic bits and you feel so guilty you want to ring up, only you can’t because you’re tied to a metal chair in a freezing igloo with only cockroaches and old copies of Bella with outdated fictions about the Loose Women for company. I mean you can find the fun in bashing anything with a hammer.

Obviously though it’s better not to destroy yourself, no matter how fun it is, but that’s the beauty of the mantra “don’t get sad, get mad”. Anger is far more productive than depressing sadness and can usually be channelled like a satisfying stream of hot piss as opposed to the dreary, relentless drip of sadness. If you let it that drip will erode your soul, whereas that stream of piss will just make it a stink for a while, and people will think you’re a prick, but you’ll feel better. Anger gets things done. They may not be worthwhile things but it will get you out of bed in the morning. Countless critics for example seem to make a living out of analysing and ripping to shreds pointless content, such as ITV’s new morning show Daybreak. I mean really who cares about its quality, who actually expected it to tackle the news seriously and intelligently as the producers claimed before the revamp? But what would be the point in collapsing into weepy hysterics about the futility of life, symbolised by Adrian Chiles’ empty autocue reading posture, or Sharon Osborne’s incompetence standing in for Loraine Kelly? Much better to write scathing, fury fuelled critiques that might just brighten the day of all those who tolerate such comfort TV, whilst secretly seething at its failings.

I have to say though that I have realised I was exaggerating to say I “fully embraced” the mantra “don’t get sad, get mad”. The little method outlined above to deal with life’s ups and downs really just dips its toes in the rivers of possibility. Michael Caine’s character Harry Brown, in director Daniel Barber’s 2009 debut of the same name, fully adopts the philosophy and dives deep into those waters out of grim necessity. Harry has more reason than most to be sad, and therefore extremely mad. He lives in London’s hellish underbelly and watches, his face illuminated in the gentle amber glow of the street lights, as his neighbourhood is terrorised and ruled by mindless thugs. And what really irks Harry is that they are totally mindless. Harry was in the Marines in Northern Ireland and saw ghastly things in that warzone, but that violence was always motivated by deeply held beliefs. In this modern hell he watches as his life is torn apart by bored teenagers, snatching filthy pleasures and dangerous highs where they can get them.  

Caine was full of praise for Barber’s directorial skill on his debut after this film’s release and that praise is mostly justified. That is not to say his first film was perfect but it is a solidly gripping and at times moving tale. The film opens strikingly with a random shooting, seen from the frenzied perspective of drugged up youths on a fast moving, noisy bike. The incident comes to a crashing halt and despite the horror of it all the audience can feel the thrill and therefore the twisted motivation behind the criminals’ actions. Barber then swiftly contrasts this dizzying, dangerous high with the monotonous, lonely day to day existence of Harry Brown in his drab flat on a graffiti splattered estate, with only chess games at the pub and visits to his dying wife to fill the dragging bags of time. When Harry’s only real mate, his chess buddy, is murdered standing up to the thugs and the police investigation quickly stumbles in an excellent, frustrating interrogation scene, Harry resolves to begin unpicking the threads of his local underworld. Actually just to back up my earlier theory Harry tries drink first, feels sorry for himself and then is forced to act by a knife wielding hoodie. Sad first, then get mad.

Now if the idea of a pensioner getting things done, pulling out the roots of crime through strength of will alone, seems a little implausible to you, then you’re not alone. Even though it was Michael Caine, once so imposing in Get Carter, so assured in The Italian Job, I was sceptical. But Caine’s performance, vulnerable puppy dog eyes and all, ultimately draws you in. Indeed this is a very well acted production. David Bradley puts in a solid turn as always as Caine’s murdered friend but most impressive for me were the police officers involved in the investigation. Emily Mortimer’s well meaning Detective and streetwise Charlie Creed-Miles as her Sergeant make an intriguing double-act, whilst Iain Glen as the superior officer in charge is totally convincing in his brief scenes trundling out the official line with cold hearted efficiency. If the film has a weak point it is perhaps the crude characterisation of the yobs, whose performances are somewhat predictable. But then again the slightly heightened and simplified version of grim estate life may simply be making the point that scum exists and even the police recognise the best they can do is to be seen to be doing something about and to contain it within areas beyond help. The actions scenes, whilst not perfect, are hard hitting and gripping. The film builds to a climax in which the estate becomes a battleground, with shield wielding riot police standing helplessly against the hordes of savage youths. Again this feels simplified but the film concludes well with a satisfying twist. Barber definitely deserves more opportunities in the director’s chair, if only for the vivid vision of a grimy, sodden and hidden London that is present throughout.