Like it or not, love him or loathe him, David Cameron has proved himself to be a competent and capable leader in his first year in Number 10. He has shown himself to be easily the most adaptable Prime Minister of the 21st century and perhaps the most versatile and formidable party leader too. He has embraced the unique hurdles and challenges of coalition government to at once deliver radical policy his party believes in and please the electorate. He has vowed not to make the mistake of Tony Blair’s early years, in which political capital went unspent. He’s taken a blitzkrieg approach to numerous important issues and departments, somehow taking most of the country with him through a combination of confidence and yellow human shields.
Ed Miliband on the other hand, has been constantly under fire from both the media and Britain as a whole, and his own party. His leadership is generally, and not unjustifiably, characterised as ineffectual and inactive. He has more often than not chosen to stand by and do nothing but protest vocally at government plans. He has claimed to be the voice of Britain’s ordinary people and its “progressive majority”. His critics say that this majority doesn’t exist and even those that think it might, recognise that it has to be earned and forged from blood, sweat, tears and most crucially of all, policy.
Labour under Ed Miliband has produced almost no policy. His supporters and aides will argue that he’s been focusing on healing Labour’s image, bruised and battered by thirteen years of controversial government. But there has been no clear rebranding or change of direction either. The publication of elder brother David’s would-be acceptance speech last week highlighted just how much more Ed could have done from the start. I was critical of David’s lazy leadership campaign and even praised Ed’s more concrete vision. Looking at David Miliband’s speech though, it’s hard to argue with those who say he would be doing better as leader right now.
The speech sets out the deficit as Britain’s key political argument. It simultaneously does more to defend Labour’s record in government and admit its mistakes than Ed has done. It systematically addresses key areas with attractive focus; Ed’s speech tended to waffle more generally, focusing on alerting the world to the fact that he was an alright sort of guy. Well now we all want to know what he’s going to do to prove it.
To make things worse for the victorious Miliband, his shadow cabinet has hardly had time to settle. Alan Johnson didn’t last long as Shadow Chancellor. There has already been more than one reshuffle. Ed Balls, finally in the role he has craved for so long, is Labour’s only ray of activity. Last week he announced the one concrete policy they have in opposition; increase the bonus tax on bankers. Balls intends to gather support from rebellious Lib Dem and even Conservative MPs to push a Bill through Parliament that would take more money from the banks to fund employment schemes for the young and house building projects; to stop the rot on growth.
Now it’s obvious that one of Miliband’s weak points has been his inability to do much else besides bash the banks. Credible Prime Ministers cannot afford to make such powerful enemies or be defined by the one headline grabbing policy. But the plans of his money man Ed Balls are exactly the type of thing Labour should be doing more of. The government’s refusal to invest in the economy or change course on its programme of cuts is doing lasting damage. Labour cannot afford to just talk about this. They should hit the coalition where it hurts; by acting to safeguard the national interest it claims to be working for.
And Miliband could go further. He could say that a Labour government would not just build homes for struggling first time buyers but insist that they are all green. Labour needs a new stamp that marks out policy as theirs, which goes further than simply investment vs. cuts. As David Miliband set out, Labour has to acknowledge that it will tackle the deficit; the question is how will it do it differently?
Ed should make it abundantly clear that he is proposing policies for consideration now, intending to pass them now because to act too late would let the state of the economy and the government’s initiatives do irreparable harm. More house building would kick start the construction industry; more homes would get the property markets moving and add stability to a fragile, slow recovery.
Miliband has continually fallen back on the fact that the party in opposition traditionally keeps its cards close to its chest until an election. People should not be expecting him to be outlining detailed policy now, he says. I defended criticisms of him early on by using the argument that he shouldn’t rush through thinking about such important issues. But he has had time now. He must have some ideas. And he needs to start sharing them.
This is not an ordinary government. The coalition can be stalled, halted and persuaded on almost any issue. Parliament is not a sea of blue and carefully selected opposition proposals could become law. The NHS “listening exercise” and the rethink of Ken Clarke’s justice reform are examples from the past week alone where Cameron has been swayed enough to track back. Ed Miliband needs to do something bold to win the respect of voters. Disclosing genuine alternatives in full and frank detail will show that Labour care enough to act in the country’s interest, not their own.
I write just hours after both leaders in the contest for the nation’s political affections made important speeches on policy. As is the trend of late, it was David Cameron’s that made the greater impact. Speaking to a meeting in London of a foundation called GAVI, backed by Bill Gates, which provides vaccines for the world’s poor, the Prime Minister would have won over voters usually hostile to all things Tory.
His detoxification of his party has been enormously successful and pledging £814 million (the biggest donation of any nation) to an effective charity, goes a long way to satisfying his own voters, thanks to a clear strategy, and others in the electorate. With one speech Cameron scored moral points as well as talking convincingly about finding a clear foreign policy role for Britain based on duty, encouraging private sector growth and stable, democratic government.
Miliband’s speech was also important. It aimed to win back the agenda of community from Cameron, who has dominated the thinking of voters even with his unsuccessful Big Society idea. Miliband talked of responsibility and made surprisingly tough statements about those who didn’t give back not receiving welfare support. There were strong strains of the Blue Labour ideology Miliband recently endorsed, which focuses on democracy and accountability at the grass roots. It was about the overall narrative direction of Miliband’s leadership and designed to answer critics.
However whilst it’s important Miliband finds a stronger and more defined guiding vision for his party, action is what the public wants from him now. For an opposition leader options are limited, so action essentially means policy announcements. The Labour leader needs to be braver and take some gambles with his leadership, to both win over the country and protect it. No one will reward him for waiting until the election.
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Tagged 0.7%, acceptance, accountability, AID, aim, Andrew, argument, Balls, Bank of England, Big Society, Bill, Blue Labour, bonus, Cameron, Case, Clarke, Clegg, Coalition, Community, concrete, Conservatives, construction, cross party, Cuts, David, debate, deficit, defining, deflation, detoxification, development, DFID, economy, Ed, efficient, electorate, Energy, figures, firms, first time buyers, Foreign, Gates, GAVI, GDP, General Election, government, Green, growth, guiding, health, house, human, immunisation, industry, inflation, interest rates, international, investment, jobs, jobs fund, justice, Ken, Labour, Lansley, Lib Dems, listening exercise, lives, Microsoft, Miliband, Mitchell, modern, Money, moral, national interest, nature, new, New Labour, NHS, Nick, of, Opposition, Parliament, policy, Politics, power, prices, private sector, proposals, public sector, rebranding, reform, reinvent, reinventing, responsibility, role, self-interest, shields, speech, tax, The, Tories, Tory, traditional, transparency, unemployment, vaccines, vision, voters, welfare, yellow, youth
Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.
Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.
Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.
Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.
Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.
In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.
Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.
Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).
However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.
The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.
Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.
I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.
Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.
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Tagged 50s, acting, action, Adjustment, aftermath, applaud, Aristotle, authentic, award, bad, ballerina, ballet, bar, believable, Blade Runner, blockbuster, blog, blunt, Bourne, Bradbury, Bureau, Business, cameos, chance, charming, chat, cheesy, chemistry, chewing, choice, cliche, Cold War, Collinson, Comedy, compelling, contemporary, convincing, cool, corporation, cute, Daily Show, Damon, dance, darkness, David, debated, debut, decisions, destiny, determinism, dialogue, dick, dicking around, different, Do Androids Dream Electric Sheep?, doors, drive, embarassing, Emily, ethics, exciting, fashion, fate, faults, feature, fight, film, first, Flickering, focus, framework, free will, funny, Gary, George, god, goo, good, Guardian, gum, hard, hats, holes, Hollywood, Hume, ideas, image, incident, Jason, John, Jon Stewart, K, Kant, leads, Leibniz, Liam, liberty, line, losing, love, luck, Mad Men, manhattan, masticated, mate, Matt, meaning, method, Minority Report, mix, Money, movie, musings, myth, narrative, new, New York, Nolfi, Norris, novel, pacing, path, performances, perhaps, Phillip, philosophy, Ping, plot, points, policy, Politics, postwar, praise, Ray, resonant, Review, romance, route, sci-fi, screenplay, script, Senator, set, sex, sight, sisters, skyscrapers, Slattery, soul, speech, Stamp, statue, story, Street, stunts, style, suits, superb, symbol, talking, technique, teleport, Terrence, The, The Man in the High Castle, thinking, thriller, ties, toilets, top, Trim, turning, tv, twists, UK, Ultimatum, up, valid, Verdict, water, Webb, winning, worthwhile, writing
Whatever happened to “I agree with Nick”?
What happened to the t-shirts churned out with that slogan and what happened to the most popular politician since Winston Chuchill?
David Cameron, the Conservatives, the Coalition and the cuts happened. And Nick Clegg’s identity as not only a politically savvy leader, likeable for remembering the names of questioners in the audience, but an ideologically well meaning man, was lost under all the public outcry. As the distinctive voice of his party became ever diluted by its partnership with the Conservatives, so did Clegg’s own progressive world view.
I’ve long championed Clegg on this blog. Frankly it’s been tempting to turn on Britain’s most hated man at times. But it would have been weak and naive to dismiss Clegg for compromising in government. He was absolutely right to enter into coalition. His choice of partner was unavoidable and fair. It was constitutionally correct and right for the British people. Not all of the policies of the Coalition necessarily are though. In fact some, many even, are damn right damaging.
More importantly from a Lib Dem point of view it’s been impossible to reconcile drastic deficit reduction with most of the progressive policies requiring investment in their manifesto. Finally though, today in Rotherham, Clegg delivered a speech daubed with innumerable fingerprints from that manifesto. And it’s the most convincing argument in favour of the government’s economic strategy so far.
Last year when David Cameron embarked on a foreign policy tour, I called on him to use sustainability and green growth as a unifying message to take around the world from Britain. Since then, and his failure to do anything of the sort despite promises of a “jobs mission”, President Obama has announced a focus on clean energy in his State of the Union address. And now Nick Clegg has made the ideological link between environmental and economic sustainability.
Nick Clegg’s speech has the potential to seriously worry Labour. It returns to the more inspirational language he used in the election. It makes a rational argument for a brand new economic model. Nowhere does Clegg make the mistake of saying it will end boom and bust, as Gordon Brown did, but that’s clearly the intention by creating a sustainable foundation for growth and diversifying Britain’s output. He makes it clear the government will plan for growth and eliminating the deficit is merely the means to an end of prolonged growth. The Conservatives, even Chancellor George Osborne, have made such a fetish of cutting that it seemed to be all this government stood for. Clegg reminds people of the future, of an optimistic vision. As with Climate Change, most have neglected to point out the opportunities created by the solution to a serious problem.
The speech will also reassure Lib Dems. To an extent, it reassures me. Clegg’s four pillars of growth are all sensible and recognisably linked to the key points on the front of his election manifesto. Investment over debt, regional balance, hard infrastructure (high speed rail, energy) and soft infrastructure (education and skills). For me the undertone of the speech was that were it not for the deficit and some conflicting priorities with Conservative colleagues, Clegg would be implementing an investment led, green economy alongside new measures for fairness. Fairer tax and better education. Green jobs and better transport.
Clegg ended his speech at the Carbon Capture plant speaking about Carbon Capture and Storage. The government appears to be committing to CCS. And about time to. For a long time the potential for exporting CCS technology, to emerging, gargantuan economies like China already packed with coal power stations, has been enormous. Britain could not only minimise upheaval and expenditure in converting her own energy supplies but make huge profits and create jobs by genuinely affecting the world’s carbon output through pioneering and exporting the technology. Clegg makes the economic case for CCS, but ties it to Climate Change for progressives. This is the way forward: realistic ways of getting emissions down.
However despite shifting the debate wisely to sustainability and articulating the reasons for government economic policy better than anyone so far, Clegg will remain under pressure from Labour. Firstly this speech shall probably wrongly achieve minimal publicity. Secondly, and more importantly, Clegg’s pillars of growth are undermined and contradicted by Coalition policy. They remain mostly on a wish list in the partly fulfilled Lib Dem manifesto. If there’s a commitment to education and “soft” infrastructure, despite the pupil premium it’s hard to justify cuts to universities. High Speed Rail makes slow progress, there’s no solid government money for green energy and jobs. The cuts hit traditionally poorer regions disproportionately hard. Labour should still be able to make the case that yes we want sustainable growth, but you needn’t cut as fast and deep, you needn’t delay all attempts to spark growth, despite a reasoned argument from Clegg about properly targeting spending. And you need growth in order to cut the deficit, sooner not later.
There are loads of good things in this speech I’ve wanted to see for a while. But the bottom line is they don’t go far enough and they’re outweighed by cuts, cultural devastation and unemployment. However if the Coalition pick up Clegg’s argument and Osborne’s Budget contains growth policies in keeping with a futuristic vision, Labour will find it harder to land blows on a plan of long term optimism. And whatever happens, Clegg’s proved his political credentials once more.
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Tagged 0.5%, 4th February, and, Balls, Budget, Cameron, capture, carbon, CCS, China, Clegg, coal, Coalition, Con, Conservatives, David, deficit, Dem, Democrat, Dems, Deputy, economy, Energy, export, GDP, Green, jobs, Labour, Lib, Liberal, manifesto, manufacturing, Miliband, minister, Nick, Osborne, partner, PM, policy, Politics, Prime, quiet, rebirth, recovery, rhetoric, Rotherham, speech, storage
Audiences are flocking to see The King’s Speech absolutely everywhere, ultimately not because of the quality of storytelling and filmmaking but a deep rooted attachment to monarchy. Many now simultaneously resent the royal family and find something irresistibly exotic about them. In a superb article in today’s Guardian, Jonathan Freedland goes some way to explaining the popularity of the film and in particular its appeal to Americans. He also, most accurately and interestingly, points out why even the most reasoned of arguments in favour of a more modern, fairer system will fall down whilst our current Queen remains on the throne; a rare, living link to the vital foundations of our most important national memory. And despite the flaws of our monarchy it’s refreshing to witness the powerful respect for history that maintains the love for them.
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Tagged 1940, 19th January 2011, alone, America, bafta, Blood, Britain, class, Colin, divide, elites, Elizabeth, Empire, fair, fight, Firth, flaws, Freedland, Guardian, history, Hitler, imperialism, Jonathan, King's, line, link, love, memory, modern, monarchy, national, nazis, Oscars, power, prince, privilege, Queen, Republican, respect, Royal, second, speech, The, victory, war, Wembley, win, World
It’s difficult to know what one’s destiny is; or if there is such a thing. Colin Firth for example seemed set to play bumbling Brits in silly rom-coms for all time, until the perfect, acclaimed home for his restrained emotion emerged in the form of firstly, a suicidal homosexual in Tom Ford’s sublime A Single Man and now spluttering monarch King “Bertie” George in Tom Hooper’s very regal Oscar contender, The King’s Speech. Helena Bonham Carter’s fate seemed to be mad eccentric types, inspired by her vicious turns as villainess Bellatrix in the Harry Potter franchise, only to find herself alongside Firth as the Queen Mum before she was quite Queen or indeed, merely a mother.
You’d think that at least in the Royal family destinies are clear; smooth processions along a plush red carpet blood line. But in the 1930s a scandalous affair and subsequent abdication crisis in the prelude to war meant that the poor old anxious Duke of York found himself stepping up to the throne ahead of time. The youth and popularity of his wild brother meant that he probably never foresaw himself taking on the big job. He certainly didn’t want it. And yet Guy Pearce’s Edward feels he simply must step aside if it means he can fulfil his love (or lust) for his American sweetheart.
Despite the sideshows of better known history, which adds sparkle and meaning to events, the heart of this film is the untold story of a King’s personal problems and his struggles to overcome them. Firth’s Duke of York has been struggling with a stammer for most of his life and the film begins as he and his wife seek treatment from various esteemed medics. His father, King George V played by Michael Gambon, has already noticed the wayward ways of Pearce’s Edward and starts pinning his hopes on the stuttering Bertie for a viable successor. However in the new age of radio, voice is everything for a monarch. Eventually the excellent, perfectly spoken Bonham Carter finds Geoffrey Rush’s Lionel Logue for her husband and the film comes to life.
From their very first scene together, Rush and Firth captivate the audience. No matter what other merits The King’s Speech has as a film, you will always want the action to get the King and his speech therapist back in a room again, as no other scenes come close for simple enjoyment. That is not to say that the other actors don’t give wonderful performances; Bonham Carter, Pearce, Gambon and Spall are all spot-on. And there is drama and humour elsewhere. But the speech therapy is after all what the film is about despite all the other momentous events. It’s a very personal drama about the weight of expectation on one flawed individual, born and bred in a cotton ball world. The best of the humour from some magnificent lines in David Seidler’s script sparks rapidly in these intimate scenes too.
However I couldn’t help thinking at times during The King’s Speech that it simply wasn’t as funny for those of a younger generation. Sure it wasn’t the stuffy, serious costume drama I’d been expecting either. But the cinema was packed with the elderly and middle-aged who seemed to snigger at the slightest hint of cheek from Rush’s speech therapist, or the merest sniff of rage from Firth’s dignified Royal. Most of the humour in The King’s Speech is of this variety, with the silver haired audience exploding into laughter thinking “oh dear, imagine saying that to the Queen today”. I was inclined to look on the dialogue as clever and witty, rather than uproariously funny.
I did thoroughly enjoy The King’s Speech though. The period detail is predictably sumptuous and immersive. The script is not only lively and witty but gripping and concise. The cast are all superb. I disagree with the criticisms of some reviews that the film seems to conclude by saying the King’s personal triumph over his demons won Britain the war over Hitler. This movie simply isn’t telling that story. And the story it does tell is fresh, moving and engaging. It’s at its best when reduced to simple parts; a therapist, a patient and his troublesome speech. Firth proves once again he’s stepped up into serious Oscar worthy roles and breathes life into the British period drama. It’s worth seeing for some rare, theatre like scenes that give acting talent centre stage above all else.
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Tagged abdicate, acting, American, Bertie, Bonham-Carter, Churchill, clever, Colin, David, Edward, Firth, Gambon, Geoffrey, Guy, Helena, Hooper, King's, Lionel, Logue, Michael, Palace, Pearce, Royal, Rush, scandal, script, Seidler, Spall, speech, The, therapist, Timothy, Tom, Winston, witty
Imagine a world in which Tesco invaded Denmark. That’s right the supermarket, grabbing itself a piece of prime Scandinavian real estate. Imagine television listings brightened by the presence of celebrity game show, Rape An Ape, complete with catchy theme tune. Imagine a political landscape in which David Cameron was a forgotten has-been like the Conservative leaders that preceded him and Tony Blair roams the streets of Baghdad, bearded, greying and haunted by his contorted legacy. These mad and brilliant ideas are all generated by the brain of Armando Iannucci for his hilarious and unique BBC series Time Trumpet. Loving this as much as I did I had no hesitation in snapping up In The Loop from amongst the many varied seasonal offers at HMV.
Released in 2009, In The Loop is of course a feature length, larger scale version of The Thick of It, an enormously successful political satire first launched on BBC4 that has since acquired a cult following. The popularity of the show is not just down to witty and intelligent scripts, but perhaps largely due to the superb and vibrant character that is Malcolm Tucker, political spin doctor. Played magnificently by Peter Capaldi, Tucker is Number 10’s attack dog, unleashed to deal with media storms reflecting badly on government. He spits out line after line of venomous insults, dripping with graphic and vulgar imagery. He hovers around in a frenzy, fretting about the incompetence of others. His swearing is so loud and non-stop that in one scene a passing American accosts him; “Enough with the curse words pal”. Tucker simply replies with a volley of typical vitriol.
In London Tucker is the big cheese, charging about confidently, marching into ministerial offices like he owns the place and intimidating cabinet members. Tom Hollander is an impressive addition to the cast as a bumbling everyman figure, essentially well meaning but conscious of his infant career. He tries valiantly to talk sense to Tucker, only to be bulldozed aside and dominated like the rest. A few too many slightly opinionated responses to interview questions about the developing situation in the Middle East and a “will they/won’t they” war (no prizes for guessing the recent crisis used for inspiration), and Hollander’s International Development minister is dispatched to Washington to quell fears about his resignation and bribe him back on side. Hilariously and accurately he is repeatedly told to stick to the government line, without being told clearly what this is, in fact he is simply baffled by the repeated blasts of explanation from Tucker.
In The Loop is impressive because once things shift to Washington the writers do a wonderful job of creating believable and amusing Yank career vultures too. Across the pond their own inter-departmental war is raging, between those for and against conflict, and no one will overtly announce what they’re rushing around and bickering about. A funny speech from Hollander’s character back home, trying to be ambiguous about the UK’s stance with typical MP speak, has been adapted and taken on by the pro-war Americans, with the cliché phrase “climb the mountain of conflict” isolated.
Tucker tags along for the ride, keen to ensure his mistake prone minister doesn’t balls up again. Hollander is accompanied by his geeky and clumsy new aide, played by Chris Addison, who gives a warm and funny performance. He is surprisingly well connected and becomes crucial to the plot, whilst remaining inept. Drawing his Washington trip he beds an old American university colleague and when this is found out by his British Foreign Office girlfriend on his return, he comically and awkwardly attempts to claim he did it to try and stop the war. Things zip along with laughs in every scene, the stateside action broken up with a constituency visit and an irate Steve Coogan, until the climax of a vote at the UN for or against military action.
Prior to the vote Malcolm Tucker is slapped down by his American superiors. In Washington he is a castrated beast, a joke to the hot shot Yanks. Push aside his vulgarity and the obvious point of the film and the series, to get us to look at the ridiculous and distorted nature of modern political spin, truly engineered and evolved by Blair with Alastair Campbell, and Tucker is irresistibly likeable as a character. He is weirdly brilliant at what he does. And bewilderingly you root for him as he rises from the ashes, despite the immorality and twisted motivation. You don’t mind so much as Hollander’s eventual moral stand is crushed by his masterful scheming. You laugh along and rejoice in his charisma and sheer balls, as he and fellow Scott sidekick Paul Higgins, playing Senior Press Officer Jamie McDonald back in Britain, smash their way to their objectives. In The Loop is an intelligent and endlessly funny Christmas present, but however much Tucker’s insults have you splitting your sides, you wouldn’t want him around the family turkey dinner table.
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Tagged 10, abuse, actor, Addison, Alistair Campbell, America, amusing, Armando, army, Ayoade, Baghdad, Balls, BBC 2, BBC 4, behind the scenes, Blair, brilliant, Capaldi, character, Chris, Christmas, comedian, Comedy, comic, comical, creative, culture, dick, director, discounts, Doctor, donkey, dour, Downing Street, drama, DVD, ego, feature, film, funny, hilarious, HMV, Hollander, hype, Iannucci, In The Loop, insults, invasion, Iraq, IT Crowd, Labour, laughs, Malcolm, media, military, mock, Moss, movie, MP, new, Number, offer, offers, officer, officials, Peter, plot, PM, press, Rape an Ape, Relationship, resolution, Review, Richard, ridicule, satire, Scott, seasonal, serious, Special, speech, Spin, spoof, star, state department, swearing, Ten, Tesco invades Denmark, The Thick of It, Time Trumpet, Tom, Tony, topical, Tucker, UN, unique, venom, vulgar, war, Washington, Westminster, White House, witty, writer