Friday, May 6, 2016
Revisited two truly great British movies over the recent Bank Holiday that in different ways reflect very stark modern-day realities in the United Kingdom - Tony Hancock's 1961 The Rebel and Peter Cook's 1970 The Rise and Rise of Michael Rimmer. Hancock's movie was the sixth most successful British film of that year at the box office while Cook's political satire was a commercial and critical failure - having had its release held back so as to not coincide with the General Election of that year when Labour's Harold Wilson lost to Edward Heath's Conservative and Unionist Party.
Whereas the latter half of The Rebel tends to fundamentally stall in the main - and I personally have never seen the appeal of Hancock's second and final film The Punch and Judy Man of the following year - the earlier segments of the movie remain utterly joyous. Hancock portrays a thoroughly disgruntled and soul-destroyed banking clerk who dreams of the bohemian life and one day leaves surburban London commuter hell and goes for it in cool France. The scene where he is down to his last sous in a Boho Parisian cafe and becomes so inspired to be even within hearing distance of impassioned artistic debate all around him is priceless. The hook of the movie being that his utterly crap, infantile and shitty art suddenly becomes seen as valid cutting edge product off the back of his own hamstrung idiotic misinterpretations for the awestruck Beatnik cognoscenti.
The Rise and Rise of Michael Rimmer sunk Peter Cook's career in one fell swoop as a solo headline performer though alike Cook and Dudley Moore's 1967 Bedazzled time has been very kind to this work. The movie is essentially the story of a marketing and PR genius' rise to prominence within political Conservatism - without ever breaking sweat or questioning the moral codes of society in truly psychopathic fashion.
The cast of both films are interesting in turn - The Rebel has John Le Mesurier as Hancock's dreary City boss and one of the angry artistes in the cafe in the beginning is a young Oliver Reed. The Cook movie has a great peformance from Le Mesurier's Dad's Army superior Arthur Lowe as an advertising manager whose cushy life is about to be obliterated by the amoral Rimmer down to the point of having to sell his own furniture and car under his wife's nose in the wake of his slick rival's career light flight. Other well known cast members include Graham Chapman, Ronnie Corbett, Diana Coupland, Michael Bates, Ronald Fraser and Denholm Elliott - all of whom are now deceased.
In reality Tony Hancock and Peter Cook were complex personalities on so many fronts and lived fundamentally foreshortened lives - Hancock committed suicide in Sydney in 1968 at the age of only 44 while Cook died of alcohol-related liver damage in 1995 when 57 years of age. Both The Rebel and The Rise and Rise of Michael Rimmer do seem so clearly relevant to irreversible societal changes of the modern day and especially with regard to modern London - vile greed, grotesque media spin, avarice that has altered the national DNA forever, the distancing of the general public from the political classes, staggering social immobility and the retardation of creative endeavour among them.
Indeed recently while on a walk through the bland remnants of Soho to see the new blue plaque to Mary Millington in Great Windmill Street I noticed a chain of art shops in the West End whose frontage was emblazoned with the legend TURN LONDON INTO A CITY OF ARTISTS. The irony being almost overwhelming in a city whose experience of one of the biggest population transfers in global history in the past decade now overlaps with what would certainly appear to be an imminent
collapse in property values off the back of grim Ponzi mischief that will end in very big and very bitter tears. In turn having a creative talent today that is even the equivalent of being in Birkenhead in 1959 with a flashy Rickenbaker and a good voice may alas count for sweet fuck all in the scale of things.
Check out both of these films at some point with regard to a devastated London, a lost England and a mangled British value system.
Thursday, May 5, 2016
And I heard the banshee sirens when those big black bombers came
But we kept the sea lanes open under Churchill's mighty plan
Till the victory day when you danced away round the Ould Black Man
The Ould Black Man was a monologue performed by the Ulster comic actor James Young at the Group Theatre in Belfast's Bedford Street in the late Sixties - it can be heard on his third album It's Great To Be Young which was released in 1968. The eponymous subject is the statue of the 19th Century Presbyterian leader Henry Cooke on Great Victoria Street and his musings on the city's changing social complexion - from the heavily populated and industrialised early part of the 20th century through to the swinging youth culture of the time.
The lines quoted above refer to the four Luftwaffe attacks on Belfast in April and May 1941- the second of the raids on Easter Tuesday caused the single highest death toll for any aerial bombardment during the Blitz on Britain outside of London. 900 men, women and children were murdered in one of the least protected cities in the United Kingdom. This particular raid also left 1,500 people injured and 50,000 homes destroyed - fatalities were also caused in Derry City, Bangor and Newtownards on that 15th of April 1941 night.
An ecumenical service of commemoration was held last month in Belfast on the 75th anniversary for the dead of the Belfast Blitz - alongside the unveiling of plaques at the Falls Road Public Swimming Baths and the central St George's Market which would both be used as temporary morgues. Other plaques have been erected near the scenes of significant death tolls around the city such as Percy Street on the Shankill Road where thirty died when a landmine struck an air raid shelter. Percy Street lay on the Protestant-Catholic interface in West Belfast and that night many Shankill Protestants sheltered in the Clonard Monastery on the Falls Road.
A BBC microsite on the Belfast Blitz includes four incredibly well made five minute-animations which reference many of the events now enshrined in the folk memory of the city - the possibility that Luftwaffe bombing patterns were focused on residential areas because of the misidentification of the Belfast waterworks as the docks, the destruction of many potentially dangerous animals at Belfast zoo (although a baby elephant was secretly looked after each night in one female keeper's own home), the aid given by the east coast fire services of Eire to their fellow Irishmen and the independent Unionist MP Tommy Henderson's assurance to the Stormont establishment that the sectarian mixing going on in the Ulster countryside between the working classes who had fled the city had clearly lead to a firm conclusion by all that "the government is no good."
Both my parents were in Belfast on the night of the Easter Tuesday raid as children and both of my grandparents' homes suffered serious structural damage in the north and west of the city, My father recalls being brought to the basement of his local primary school in the Oldpark district from where he could see the local church burning and that the end terrace house on his street was completely destroyed with the death of an entire family group. The four raids destroyed eleven churches, two hospitals and two schools across the city in general as well as severe damage to industrial infrastructure.
The story of the Belfast blitz is covered in great detail in a definitive study by Brian Barton from 1989. It was it was also discussed in a full chapter - Many Fires Were Started - of Robert Fisk's 1985 classic history of the respective neutral and belligerent statuses of a politically divided Ireland... In Time Of War. The Blitz in turn had provided the background for the author Brian Moore's superb novel The Emperor of Ice Cream in 1965 - Moore having served in the air raid warden services in North Belfast at the time and with the book juxtaposing Irish Republican glee at Britain's geopolitical mistfortunes with the mass murder that ensued in 1941 on the streets of proletarian Belfast. The late Moore is little discussed now though I remember well listening to an interesting lecture he gave in the early Nineties at London's Institute of Contemporary Arts on his Troubles thriller Lies of Silence.
Philip Orr's moving history of the 36th Ulster Division - The Road to the Somme - references a Shankill Road family who refused to leave the area after 1916 off the back of two family members who were reported "missing, believed killed" in Picardy and their wish to remain in the house in hope of their physical return. On the anniversary of the first day of the battle on 1st July the family always flew the Union Flag from their house in memory of the fallen - as indeed did my own great-grandfather for that one day alone in respect of his comrades from the 15th Battallion Royal Irish Rifles. Orr references how their house was destroyed during the 1941 blitz but on the first day of July a neighbour organised some local teenagers to emplace the flag on top of the rubble in order to maintain the continuity of the tradition.
As the BBC animations show, one of the main aerial routes the German planes took on their way to attack the great port city of Belfast was northbound along the coast of the beautiful Ards Peninsula by Strangford Lough - one of the most idyllic parts of the British Isles to this day. Architectural destruction of central Belfast over the course of the attacks was extremely severe on the third of the major raids in particular - the "Fire Raid" on the night of the 3rd of May.
Less than thirty years later an unprecedented sectarian conflict was to continue the destruction of the city centre and bring it to the point of social extinction and societal obliteration. A conflict whose outplay is today epitomised by the common sense, warmth and humanity of the working people who healed the breach and moved on as opposed to a Troubles legacy now apparently owned by dry academic verbiage that denies human agency or the misreading of history at all costs.
Much is yet to be gleaned in future from the course and consequences of the Spring 1941 German air raids on Belfast as to how a life or death struggle engendered class solidarity across Belfast's religious divide and one unforgettable gesture towards national reconciliation - this as sadly opposed to how the fossilisation of cultural identity in Ireland by the Forties would irrevocably steer society into sterile social relations and bloody conflict alike,