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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The title is theirs. Carlo Ancelotti did his best to fire up the Chelsea players, repeatedly calling it their cup final, but the Red Devils proved too strong at Old Trafford. The Theatre of Dreams has been a fortress of consistency in a curiously unpredictable season. Often it’s appeared as though no one wanted the league enough but ultimately United’s experienced desire was superior, and it was at its lustful best against Chelsea.
It seems as though we might be witnessing a time of real change in football, particularly in the Premiership. Every team in the league is capable of taking points from the top sides. The notion of a traditional top four is crumbling and the ways in which clubs are preserving their success are evolving too. The era of the successful big money signing appears to have past. Of course there are exceptions, with Manchester City the latest to flash the cash, but the big teams doing well this season were not dependent on new signings or even one standout performer. Arsenal may have once again fallen at the crucial stage of the race, but they were United’s primary challengers for most of the campaign. Their squad has grown gradually over the years.
And so has Manchester United’s. Since the departure of Ronaldo to Real Madrid Sir Alex Ferguson has continued to ignore the calls from fans, myself included, for more expensive replacements. Instead he has focused on improving the players he already has by carefully managing their experience of important fixtures, as well as bringing in some future investments (with some paying off early, such as Javier Hernandez). The failures of other teams have proved his strategy right. He has also once again settled on a different tactical vision for his side. Nowhere is this more evident than in the Champions League.
United have not conceded a goal away from home in the competition. They have done this by mastering a drilled and disciplined style of play. In many ways this is at odds with the entertaining, attacking tradition of the club. But Ferguson has been wise enough to recognise that the strengths of his team have changed. In 2008 when they defeated Chelsea in the final, United were a team boasting the sparkle and individual talent of Berbatov, Rooney, Tevez and Ronaldo. These days United have become a highly efficient and effective collective unit. Their starting eleven appears inferior in terms of talent, but they are no longer dependent on stars to succeed.
Having said this they will still need the key players in their unit, particularly Rooney, to be at their best if they are to beat Barcelona at Wembley. This is because the Catalans have the collective mentality of the current United side, as well as happening to have a team bursting with world class footballers. Ferguson insists he knows where his team went wrong in the final of 2009 against the Spaniards. He has been able to rotate his squad with extreme flexibility to get what he wants from a game, with whoever comes in doing what is required of them. But against Barcelona nothing less than his best combination of midfielders will do.
For it was in midfield that United lost the 2009 final. They can take some comfort from the fact that Yaya Toure, who scored the goal that ended United’s treble hopes in the FA Cup semi with Man City, will no longer be an immovable object at Barcelona’s core. It was he that overpowered Carrick and co so fatally. But nowadays the likes of Javier Mascherano are there to provide a defensive screen from which Iniesta and Xavi can create for the devastating abilities of Villa and Messi up front. Somehow United’s players will have to get a grip on possession.
Carrick has been unfairly derided in the past. He is a world class passer of the ball who can provide both a defensive shield and attacking platform. In recent weeks his resurgent form has added vital impetus to a tough run in. But there will still be question marks over whether or not he will perform for the big occasion and whether he will once again be outmuscled. He seems likely to start though given his involvement lately, so Ferguson must decide who to play alongside him and in what formation.
With the main worry being a lack of possession it’s likely we’ll see a three man central midfield, with Rooney leading the line alone. This robs United’s prize asset of much of his threat and his deadly combination with Javier Hernandez. It will also put him under pressure that might lead to frustration, which is a dangerous cocktail for his volatile temperament. Against Chelsea a two fingered salute to the Blues fans was a sharp reminder that the striker is way off the level of maturity required for a captaincy, of England or his club.
Darren Fletcher could be the missing link, as he missed the final two years ago through suspension. He would add the grit that was so evidently missing that night. But this time around its fitness that will be a problem for the Scot. Giggs has been majestic in some vital fixtures this campaign but mediocre in others. Anderson and Scholes seem unlikely to feature, but Ji-Sung Park, especially after his man of the match display against Chelsea, might be chosen to be a busy thorn in Barcelona’s side. It’s interesting and baffling that Dimitar Berbatov, the team’s main source of goals in the league and an undoubtedly dazzling player, is not being seriously considered by any commentators for a starting place. Ferguson does not trust him for the big fixtures and Rooney plays better with Hernandez ahead of him. The Bulgarian’s future will be one to watch in the summer, despite being top scorer.
It’s a one off game at Wembley. Ferguson will have learnt genuine lessons from two years ago and the togetherness of his new team will be a challenge for Barcelona, just as their undeniable quality will be a challenge for United. The tantalising thing for United fans is that if they are successful here, in theory such a young squad should only improve with experience, without the need for drastic and expensive imports.
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Fairytales: they’re all sickly sweetness and light right? You know beautiful princesses, magical kingdoms, swashbuckling heroes, kindly companions etc. Well no. Think of any classic fairytale and chances are there’ll be generous portions of nasty evil deeds hand in hand with the overwhelming prettiness and niceness. This is certainly the case with Tangled, a Disney anniversary special retelling of the story of Rapunzel.
As a baby, Rapunzel is the girl with the golden touch, or to be precise, hair. After her mother, the queen of a kingdom that rather fittingly resembles the Disney logo with its picturesque towers and steeples, falls ill during childbirth, it turns out the only way to cure her is with a magical golden flower (formed from a drop that fell from the sun – bear with me). The royal guard promptly retrieves said flower just in time and mother and baby make it through fine, with the unexpected complication that baby Rapunzel adopts the plant’s amazing abilities. Prior to the soldiers snatching the flower for the good of the kingdom however, a miserly old crone had been using it to stay forever young. Bitter and after revenge, she steals the wondrous baby with the golden, glowing locks in the dead of night. Then, tucked away in a lush green wilderness, she raises the child in a tower as her own, and sings to it instead of the flower she replaced for eternal youth. Meanwhile a kingdom mourns and the endlessly saddened royal couple release thousands of lanterns each year on their child’s birthday, in the hope that she will return home to them one day.
So far, so Disney. This is the back story to Tangled. And if you’re anything like me, you’ll have been concerned about accidentally vomiting in such a family orientated environment. Much like Marmite, you either love this sort of sentimental tale, or you hate it (although I mildly like Marmite, so does this ruin the rule?). However this background to the story is dealt with swiftly in Tangled’s opening. And it gets away with its sickly sweet, emotional mush, to such an extent that it wins you over.
If you’re a Disney sceptic, you’ll be dubiously asking how. The key to Tangled’s immense appeal is that it recognises fairytales are too sweet and sugary for some, so it gently sends up the whole tradition at times. That’s not to say you can’t enjoy the fundamental fairytale aspects, as I say the relief is only gentle, but it’s crucial and enough to make Tangled an extremely accessible movie. It’s refreshing because it doesn’t take itself too seriously, despite being a significant anniversary picture. It can entertain kids and adults alike with its broad range of humour and sentimental punches.
The key to the appeal for adults lies with the self-depreciating performance of male lead, Zachary Levi. His loveable rouge character, Flynn Rider, crashes into Rapunzel’s life after stealing the kingdom’s crown. Incidentally he grabs the crown in an amusing homage to Mission Impossible, lowered from the palace ceiling and later on he snatches a frying pan (used throughout as an effective weapon, with decent comic effect) as Indiana Jones would snatch his hat from beneath a closing booby trapped door. Touches of adult humour like this, alongside Levi’s well judged, constantly witty tone, provide more than enough sly, self-mocking moments to stop normal human being’s brains turning into vegetables.
This is no mean feat, given that Tangled is not just a typical Disney tale but one with random bursts of song. This sort of spontaneous, inexplicable, irrational singing is usually enough to tip most men over the edge. Whilst none of the songs from Tangled are particularly memorable, they are poignant at the right moments (and had kids dancing in the aisles occasionally). Donna Murphy, as evil Mother Gothel, delivers a charming diva like performance whenever she gets the chance to belt out a musical number. “I’ve got a dream” an ensemble piece in a seedy tavern, is heart warming and funny and stands out from the crowd, along with “I see the light”, a romantic duet between leads Levi and Mandy Moore at the emotional peak of the story, as Rapunzel’s dream of watching the floating lanterns seems to be realised. This scene is one of the best examples of the film’s startlingly vivid animation, with glowing candles fantastically rendered in the early night sky. With my secret soft spot for sentimental songs, I nearly shed a tear at the beautifully animated visuals coupled with the emotional duet.
Indeed Tangled as a whole is touching and visually captivating. There are lovely strokes of animation on the expressions of the characters, amusingly so on horse Maximus, but what strikes you most of all is the colour of the scenery. Vibrant and vivid greens and blues contrast with bright pastel colours in the city, set against a varied, but always stunning sky. The animation also allows for some distinctive action set pieces, most notably when a chase climaxes at a dam. There are gobsmacking leaps, acrobatics with endless reams of magic hair and exciting sword fights, with a frying pan, guards and a horse. But most impressive for me was the glistening water, which eventually erupts outwards in a great, mesmerising wave, chasing our hero and princess into claustrophobic confinement.
I saw Tangled in 2D and there is really no need to seek out the 3D version. It’s refreshing to see an animation go back to basics at a time of endless technological advance and reinvention. Here we just get funny, moving storytelling, that’s generally inclusive and pretty for all. From a hilarious opening montage of Rapunzel simultaneously rejoicing and hating herself for escaping her “mother’s” prison, to a heart wrenching emotional finale, Tangled has ingredients to delight everyone. It’s a pretty near perfect family movie, with bags of not only laughs but tender moments for adults too, which rest on the scripting and performance of Levi’s character Flynn Rider. My friend and I really enjoyed it, despite a disappointingly small portion of popcorn and initial doubts. Tangled will reel you in and surprise you, too, whatever your preconceptions.
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