Brexit Blues (Part II)

Brexit finally came into effect on January 31, 2020 with a transition period due to end on December 31, 2020. It’s still not clear whether key issues such as the post-Brexit trade agreement between the EU and the UK will be completed by then (a major talking point being imports of American chlorinated chicken….). Nor is it clear which other areas of EU laws and standards will survive post-transition. Both of which continue to cause uncertainty for British businesses and local governments that have to operate within and enforce many of these rules. Add to that the recent UK storms and floods, the post-Brexit air of racism and xenophobia, plus the coronavirus outbreak and the resulting drag on global markets and supply chains, and maybe the UK will run out of more than just pasta, yoghurt and chocolate. Perhaps those promised post-Brexit savings of £350m a week really will need to spent on the National Health Service…..

The “Vote Leave” campaign bus, 2016 (Image sourced from Bloomberg)

The seeds of the Brexit debacle were sown in David Cameron’s speech of January, 23 2013. As I wrote last year, that set in motion a series of flawed processes. Despite the protracted Brexit process, it’s now unlikely that the decision to leave will be reversed, especially as the opposition Labour Party has just been trounced at the polls. Instead, Labour continues to beat itself up over the failure of its outgoing leadership either to make a solid case in support of the Remain vote in the 2016 Referendum, or to establish and maintain a clear and coherent policy on Brexit leading right up to the December 2019 General Election. The Conservative Party under Boris Johnson has a huge Parliamentary majority, a fixed 5-year mandate, and a general disregard for traditional cabinet government and the delineation of roles between political advisors and civil servants. We have already seen that any form of dissent or even an alternative perspective will not be tolerated within government or within the Tory party, let alone from independent and non-partisan quarters.

Since that fateful speech of January, 2013, it’s possible to follow a Brexit-related narrative thread in film, TV and fiction. Not all of these accounts are directly about Brexit itself, but when viewed in a wider context, they touch on associated themes of national identity, democracy, political debate, public discourse, xenophobia, anti-elitism, anti-globalism, and broader popular culture.

The earliest such example I can recall is Brian Aldiss’s final novel, “Comfort Zone”, (published in December 2013), while the first truly “Brexit Novel” is probably Jonathan Coe’s “Middle England” (November 2018). Somewhat to be expected, political thrillers and spy novels have also touched on these themes – Andrew Marr’s “Children of the Master” (September 2015, and probably still essential reading for Labour’s current leadership candidates); John Le Carre’s “A Legacy of Spies” (September 2017); John Simpson’s “Moscow, Midnight” (October 2018); and John Lanchester’s “The Wall” (January, 2019). (For another intriguing and contemporary literary context, I highly recommend William Gibson’s introduction to the May 2013 edition of Kinglsey Amis’s “The Alteration”. Plus there’s an essay on the outgoing Labour leader in Amis junior’s collection of non-fiction, “The Rub of Time” published in October 2017.)*

Elsewhere there have been TV dramatisations to remind us how significant, important and forward-looking it was when the UK joined the EEC in 1973 – most notably the chronicling of the Wilson and Heath governments as portrayed in “The Crown”. Even a film like “The Darkest Hour” reveals the love-hate relationship Britain has had with Europe. More distant historical context can be seen in films like “All is True” and “Peterloo”.

No doubt, Brexit will continue to form a backdrop for many a story-teller and film-maker for years to come. And we will inevitably see recent political events re-told and dramatised in future documentaries and dramas. Hopefully, we will be able to view them objectively and gain some new perspective as a result. Meanwhile, the current reality makes it too depressing to contemplate something like “Boris Johnson – Brexit Belongs to Me!”

*Postcript: hot off the press, of course is “Agency”, Willam Gibson’s own alternative reality (combining elements of the “Time Romance” and “Counterfeit World” referenced in “The Alteration”) – I haven’t read it yet, but looking forward (!) to doing so….

Next week: Joy Division and 40+ years of Post-Punk

 

Tarantino vs Ritchie

Rather like an English Literature exam where students are invited to “compare and contrast” the work of two contemporary authors, over the holidays I had the opportunity to consider recent films by Quentin Tarantino and Guy Ritchie – cinema is a great way to stay out of the summer heat.

Both directors have something of the auteur about them – they like working with ensemble casts, adopting non-linear story lines, and showing off their taste in music via the soundtrack selections. In Tarantino’s case, he also writes, produces and occasionally acts; whereas for Ritchie, his trademark directorial style is defined by his London crime comedies.

The latter’s forays into more traditional stories, adaptations and film franchises have not always been successful – but “The Gentlemen” is a return to the form of his early London gangster movies, which helped make his name. In the character portrayed by Hugh Grant, there is a certain pleasure at seeing the actor take cinematic revenge on the British tabloid press, enhancing (even refining) the satirical edge that these films sometimes reveal.

For Tarantino, “Once Upon a Time in Hollywood” is another oblique take on a familiar theme or storyline – in this case, the end of Hollywood’s Golden Age, amplified by the Manson murders and the death of the hippy dream. Once again, the director demonstrates a keen ability to create enormous cinematic tension prior to a cathartic denouement, a technique used to great effect in most of his films.

Both directors place great emphasis on dialogue and the interaction between characters, even if there is not a great deal of character development. Often, if feels like the leading roles are either pure ciphers (metaphors for interpreting events around them), or mere signifiers (the characters themselves are the meaning).

If there is one central theme connecting their core work, it is the concept of “honour among thieves” – that however far outside the law their characters reside, there is an internal logic and moral compass that guides them (however warped those values may appear to be to outsiders).

Overall, I think Tarantino’s films have more substance, and his nine feature films as director (and will the 10th also be his last?) represent a concentrated body of work that will stand the test of time. While I prefer Ritchie’s crime comedies (“Revolver” aside) to his more mainstream work, in the future those gangster capers will seem as quaint as Ealing comedies of the 1950s.

Next week: Haring vs Basquiat

 

 

 

 

 

Has streaming killed the video store?

In the era of Quickflix and internet TV services, why would anyone continue to patronise a bricks and mortar DVD shop? Well I, for one, am a  regular customer of my local independent video store, and here’s why:

First, choice. Clearly, they don’t have every film or TV series ever made, but there’s more than enough to discover during my lifetime. And they stock loads of titles not yet available to stream or download in Australia. (See previous blog on geo-blocking – and at the time of writing, Netflix is not available in Australia.)

Second, they have a great international selection, and their catalogue is not dominated by the latest Hollywood blockbusters. They have a particularly good section of art-house titles, as well as all-time classics, mainstream comedy and big-name dramas.

Third, it’s cheaper. There’s a minimal sign-up cost, no monthly subscription fees, and on average, the nightly cost of a DVD rental can be far less than alternative services. Plus, with most of their DVD’s, you get the bonus material not always available via streaming.

Fourth, it’s quicker. I know this sounds counter-intuitive, but with the slow internet speeds in Australia, it actually takes me less time to walk the few blocks to the video store and back than it does to download a full-length film.

Fifth, the staff make informed recommendations. OK, recommender engines are getting more and more sophisticated, but many still seem to be based on what people bought/downloaded, and not so much on what they actually watched, and really liked. But the video store staff are very knowledgeable about films, and having watched a lot, they can usually offer some personal suggestions based on what I have previously enjoyed.

Finally, the local DVD store is something of a community service, and for that alone I will continue to support it.