Thursday, 17 November 2011

Wuthering Heights, directed by Andrea Arnold



Andrea Arnold’s Wuthering Heights strips away all the fine clothes, romance and other trappings of period drama that often shroud Emily Bronte’s masterpiece. She reveals the wind bleached, gnarled bones of this story of violence and anger and lust – as stark as a solitary gale-tortured tree on the windswept North York Moors. 

Blood and mud dominate the film. The mud that surrounds Wuthering Heights, which Cathy skips through to meet Heathcliff and which the adult Heathcliff picks through in his fine shoes. The blood that soaks Frances Earnshaw’s legs when she gives birth to Hareton in a field. The blood of the sheep Heathcliff is slaughtering, which stains Heathcliff’s clothes as Hindley tells him never again to speak to Cathy. 

In the only truly joyful moment of the film, Cathy trips in a patch of mud and pulls Heathcliff to the ground after her. What begins with Heathcliff smearing mud on Cathy’s face – turning her, briefly, as black as he, ends far less innocently with Heathcliff straddling Cathy and a knowing look in her eyes. When Heathcliff is beaten because he would prefer to roam on the moors with Cathy than build a dry stone wall, Cathy lifts up his shirt and licks the blood from his scarred back. 

This transgressive, yet entirely natural and pure act,  performed by actors who are children, emphasises Andrea Arnold’s skill in casting two untrained, unknowing Sheffield school children, 13-year-old Shannon Beer and 14-year-old Solomon Glave, as the young Cathy and Heathcliff.  

In the same way, her controversial decision to use black Heathcliffs was not controversial at all in the context of the film. The black faces on screen were the visual counterpart of Bronte's description of him as “the little Lascar", making clear his foreignness. The racial beatings and abuse he suffered from Hindley lends this Heathcliff an almost symphathetic quality – going in some way to explain the seething rage that drives him.

James Hawson, as the second Heathcliff, was a believable extension of the first. Rather than being an oddly artificial effect, this idea of casting older actors to play the older Cathy and Heathcliff was as natural as marking the passage of time by following a shot of newly bitten, discarded apple, with the same apple – now black and rotten. 

Like Glave, Hawson was plucked from obscurity, and his identity as an outsider as well as his criminal past, feeds into a powerful, violent and moving performance. The decision to cast Kaya Scodelario, who played Effie from Skins, as the older Cathy, was less inspired. This thin and interesting looking girl seemed insipid compared to raw sexiness and innocence of the younger Cathy.

Wuthering Heights is shot entirely from Heathcliff’s point of view.  Heathcliff, riding behind Cathy on a horse over the moors has his face buried in Cathy’s streaming, sun-tinted hair. Instead of panning to show them both on the horse, the hand-held camera becomes his eyes. The screen is filled with the blowing, waving hair, interrupted only by a shot of his black hand kneading the horse’s white flank, to emphasising the effect that this closeness to Cathy is having on him.  

The most memorable lines of the book: 

“My love for Linton is like the foliage in the woods; time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath”

are drowned by the wind and only the whisper of Cathy’s voice reaches Heathcliff as we see him tramping across the rain drenched moors. He had already left the room and Wuthering Heights, driven out by Cathy’s words: “It would degrade me to marry Heathcliff now.”

Yet nature, particularly the barren and beautiful North York Moors, is the true centre of this film. There are moments when Wuthering Heights becomes a nature documentary – its characters merely struggling animals in the landscape. The camera focuses on a bog, as if explaining the primitive life that inhabits it.  Another shot is of a lapwing circling in a sky so white it hurts the eyes, or the fuzzy golden sun playing amongst apple boughs. The only soundtrack the film has is the call of birds, the shrieks of insects, and the constant symphony of wind. 

No other adaption has placed the moors so firmly at its centre. The North York Moors are portrayed in the way that Bronte describes them, not as a place of romance and passion, but where men strive against the elements and die.

Thursday, 9 June 2011

A Million Signatures for Peace

Twenty years after the outbreak of the Yugoslav wars, the arrest of the Serbian general, Ratko Mladic may bring reconciliation one step closer. The arrest is good news for a group of young people trying to find out what really happened during the Yugoslav wars.

 In a cross-border initiative, young people aim to collect a million signatures for a petition they hope will persuade governments to establish a commission to investigate the facts about the wars and their victims and work towards reconciliation in the region.

As many as 160,000 people were killed and millions were left homeless in ten years of ethnic wars in the former Yugoslavia, beginning in Slovenia in 1991. So far, none of the successor states have released official lists of those killed during the conflict and no attempt has been made to find the 15,000 people still registered as missing.

“Knowing the truth and having all the facts about what really happened will bring closure and emotional peace to a lot of people,” says Dejan Dokuzovski, 26, who is collecting signatures in the Macedonian capital Skopje. 

At Zagreb’s bustling Ban Jelacic Square, in the centre of Croatia’s capital city, the newly opened stall has already attracted some interest. Volunteers weave through the crowds of people waiting for trams or enjoying the sunshine, handing out leaflets in the shape of hands and telling people why they should sign the petition. Armed with these leaflets, people approach the stall. A group of teenage girls are simply curious. A middle-aged woman is dissatisfied by the way the Croatian government has dealt with the aftermath of the conflict. “They are all thieves,” she says.

“Some just nod or sign, while others ask us more about what this petition aims to do, and tell us their own personal stories about the war,” says volunteer Kristina. 

Ivan Novosel, 22, who coordinates the volunteers in Croatia, explains the current justice process makes victims feel marginalised and unsatisfied. 

 “Although the International Criminal Tribunal for the former Yugoslavia has punished war crimes perpetrators, the focus is on the defendant. Victims still feel like victims.”

The Hague tribunal has so far indicted 161 persons, concluding proceedings against 125 of them. Mladic, who will be the next person to appear before The Hague, is charged with commanding the 44-month-long siege of the Bosnian capital, Sarajevo, which killed more than 10,000 people, and ordering the massacre of at least 7,500 Bosnian Muslim men and boys at Srebrenica in 1995.

The million signature petition aims to bring justice to victims by putting them first. The regional commission created by the petition, RECOM, is meant to encourage governments to establish the facts about victims of war crimes, including rape, committed in the former Yugoslavia and draw up official lists of the dead. 

“It is the job of states, not private organisations, to maintain the rights of people in their nations,” Novosel says.

Begun in six years ago by Serbian human rights activist Natasa Kandic, the RECOM initiative now involves over 1,500 non-governmental organisations, associations and individuals, making it one of the largest joint human rights actions in the region.

Novosel admits this is a bad time to be collecting signatures for a multinational commission, since the conviction of Croatian general Ante Gotovina for war crimes at The Hague in April has stirred up nationalist resentment. He also worries there is little desire among the seven successor states to sign an inter-state treaty, particularly when Serbia does not recognise one of them, Kosovo.

“We get a mixed reaction from people. Some accuse us of being anti-Croatian and wanting the old Yugoslavia back, even though none of us are old enough to remember it. Many people say ‘OK, that’s very good, we want that,’” Novosel says.

Some of those who sign fear the initiative might not deliver the justice and closure it promises.

Luka Bozovic, 22, who is collecting signatures in Serbia, has vivid childhood memories of his uncle’s departure for the war and of the NATO interventions in Serbia in 1999.
“We had to hide in our basement because of bombing, or spend days out of town, away from possible targets. Luckily, my family didn't lose any members in the past war,” says Bosovic.

Bozovic says he has grown up with stories about people who went missing during the war, and of the sadness of those left behind. The wars themselves were talked about during his childhood. However silence surrounded information concerning the truth about their origins and the facts about those killed.

“I know the stories about missing persons and their parents and loved ones,” Bosovic says.
“These emotional stories motivate me to keep fighting for a better future in the region and trying to prevent conflicts in future,” Bozovic adds.



Tuesday, 22 March 2011

Emotive dancing and musical score lift this tale of lust and war



 Review of Northern Ballet's production of Cleopatra

At first I thought, this is not a ballet. 

In the opening scene Cleopatra had distinctly unpointed feet, and her dance with guardian god Wadjet was a series of ice-skating hoists rather than classical ballet.

Yet Martha Leebolt’s skill as a ballerina was not long concealed. As Cleopatra, her pas de deux with lovers Caesar and Mark Antony were bewitchingly sinuous, evoking masterfully the shifting balance of power. Cleopatra (Martha Leebolt) was dominated by Caesar, electrically portrayed by Javier Torres. Leading Mark Antony, (Tobias Batley) with the same moves that Caesar used to lead her, Cleopatra dominated him. Too weak to fall on the sword that Octavian (Hironao Takahashi) gave him in their potent war dance, Mark Antony had to be helped to suicide by Cleopatra.

Kenneth Tindall as Wadjet and Martha Leebolt as Cleopatra. Photo Bill Cooper.
A masterstroke of the production was the decision to add a new character, the guardian god of the Pharaohs, Wadjet, to the cast. As well as performing some breathtaking pas de deux with Cleopatra, Kenneth Tindall's Wadjet served as an outer symbol of Cleopatra's inner state. Portraying her darker impulses as well as her instinct for survival, he inspired her decision to murder Ptolemy and was there as she seduced both Caesar and Antony. When Cleopatra turned against herself, Wadjet became the asp, stabbing Cleopatra with his arm and thus helping her to realise her immortal longings.
                                                                                                                              
Movements and costumes told the story. Once under Cleopatra’s power, Mark Antony was completely stripped of his Roman costume and clothed in fluid Egyptian robes to demonstrate his surrender to the fleshpots of Egypt. Costumes were wonderfully imagined, apart from those of Cleopatra, which resembled swimming costumes rather than queenly robes.

However, the shiny, plastic scenery let the production down. Images projected on the backdrop during important moments were grainy and unrealistic. Moreover, they were unnecessary. A romantic Nile boat trip was evoked so well by blue robed dancers fluidly writing in front of a blue cloth that the projected images of waves became redundant. Martial music and dancers hooded in blood red robes far better conveyed the terror of war between Egypt and Rome, than did the projected fire.

Nevertheless, Claude-Michel Schonberg’s score made up for the deficiency of the scenery. His powerful music merged seamlessly with the dancers’ movements, showing that the composer is not limited to show tunes. Despite obvious musical codes: Egyptians had dreamy flute motifs, Romans had drums, the score sustained the ballet’s high emotion, providing fitting scenery for this tale of lust, war and death


This is an extended version of an article published in the Hull Daily Mail on 18.03.11

Friday, 18 February 2011

Interview with Simon Heffer about his new book 'Strictly English'





Why do you think that grammar matters?

I think for two reasons, firstly, it’s good, whatever you do for a living, to be able to communicate with people. One reason we have grammar is to avoid ambiguities, and the more grammatical you are, the more clearly you communicate. The other reason is that many young people who have not had the educational advantages that you and I have had lag behind in life because they are unable to make people believe that they are credible. If you go for a job interview and are inarticulate or you string words together in the wrong way and use words that don’t mean what you think they mean, the person interviewing you, who will normally have a better command of English than you do, won’t give you the job. I’ve always been very distressed by the way that academic linguists think that language shouldn’t be prescriptive and that people should speak and write as they see fit. These academic linguists are usually very well educated, with numerous university degrees, and they inflict on others a life-long ignorance that will hold them back. 

You only have to look at some of the more successful immigrant communities that have come over in the past few years. The ones who learned to speak the language got on, the ones who didn’t learn it didn’t. That’s a regrettable fact but it is a fact nonetheless. If you want to prosper in this country: professionally, socially, academically, you’ve got to be able to speak English properly. So, one reason that I’d like grammar to be taught more widely in secondary schools is that it will create a level playing field for everybody and ordinary people going to get jobs will be able to speak English as well as those who have gone to the top public schools.

What do you say about those who are supposedly educated using words such as ‘them’ and ‘was’ in the wrong context?

There’s a difference between using those sorts of words in speech and in writing. I wouldn’t think badly of you if you make grammatical errors in conversation and you would think me very pompous if I used a phrase like ‘It is I’ rather than ‘it's me.’ Unfortunately there are a lot of educated people who make such mistakes in writing, and such mistakes call into question the author’s credibility. This could be avoided if people were taught grammar in schools, but there are very few schools, even private ones, who do that. In my experience, both as a pupil and as someone who goes into schools to give talks, people who don’t learn a foreign language are also very bad at grammar and I deplore the fact that there’s no longer a compulsion to learn a foreign language at GCSE. I think that if everyone did French or Latin to GCSE they would learn grammar in a way that they don’t learn it in English.

Would that encourage them to apply these grammar rules to their own language?

If they’re intelligent they’ll realise that what they’re learning is relevant. The skeleton of any language is the same as any other language, and that skeleton is grammar. If you learn in French that something is a noun and something is an adjective, and that there’s something called the subjunctive, you may, if you’re very clever, start to ask yourself what the equivalent in English is, and you will start to think more closely about your own language. I notice that those who study a language to a high level speak all languages pretty well, including their own language. I see this in my own children, who are 17 and 14 and have both done lots of foreign languages at school. My eldest son is studying three languages to A-level, and they both speak English better than their peers who are scientists. I think that it does give then a care for language.  

You have a passion for grammar, then. What led you to write Strictly English?

Money. I wrote the book because someone had read my e-mails to Telegraph staff on writing bad English and they wondered if I’d write a book on it. I said that there’s a slight difference between doing what I do professionally and inflicting that on people out in the real world. If we make a grammatical error in our newspaper or use a word wrongly we get enormous amounts of negative feedback from readers. People buy us because we are a quality paper and are cross if there are errors in the paper that they would associate with people who are less educated than they are. So I’m very strict and there’s a man whose job it is to read every word that goes in the paper, who normally doesn’t miss anything. We are a business and I want people to keep buying the paper. I always fear that people might stop buying the paper if we don’t communicate with them at a level that they expect. I explained this to the man who suggested I wrote the book and he replied “there’s an enormous market for such books”.  He was right, Strictly English sold 30,000 copies in hardback in four months, and my scepticism was misplaced. It hasn’t really been promoted and one of the reasons it sold so well is that people buy it and go and tell their friends “I should use fewer rather than less and use a subjunctive here or there.” I think that people of my generation, who were not as lucky as I was in having a good education, feel self conscious if they speak English badly. I think they find a straightforward book such as mine, which tells them clearly what’s right and what’s wrong, quite valuable.

The audience is everyone who wishes to improve their language, whether they’ve had an Oxbridge education, or only went to a comprehensive school. How did you pick the right tone?

 I didn’t talk down to readers; I used the same tone as I use with my colleagues. I assumed that readers are clever, educated people who are capable of learning. I think that if you are very stupid you won’t buy my book because you won’t care about improving your English. This book is for people who are intelligent and who have been failed by the English education system, so I didn’t patronise them. I remember watching a programme on the television about 30 years ago. It was a programme about numeracy for adults who had not grasped numeracy at school. A picture came up on the screen and the very nice man who presented it said “here’s a picture of some chimney pots, can you work out how many there are?” There was silence for about 30 seconds and at the end of it he answered “there were 6, but if you got between 4 and 8, well done, you’re on the right line.” I was heaving with laughter and that was wrong because one shouldn’t make fun of people who are innumerate, probably through no fault of their own. I wanted to avoid writing a book about English that was like that because English is an exact science, you’re either right or you're wrong. There’s no point telling people that they can get away with things when they can’t. Political correctness is an example of this. People use the word ‘they’ instead of ‘he’ or ‘she’ because they are afraid to use ‘he’ because it excludes women. As I said at the front page of the book, I was brought up to use ‘he’ to include women – and it doesn’t mean any disrespect to women or to the great women writers we’ve had, it is just correct. Saying ‘he’ is less laborious than saying ‘she or he’, and it’s not wrong, in the way that saying ‘they’ is.

 I quite liked the way you called that opening section ‘A Word about Sex’. Were you trying to be slightly populist in the way?

It was a bit of a joke wasn’t it?

Yes, the heading ‘PC Plodding’ for the chapter on political correctness is another one

What I wanted to do is try to alert people at page one that they weren’t going to get a very dry or boring book. I tried to be entertaining and amusing in it. If people buy the book expecting it to be full of exciting stories about sexual intercourse than so much the better. I don’t care why people buy it as long as they buy it.

What of the title ‘Strictly English’, did you pick it because of the popular connotations of Strictly Come Dancing and things like that? 

I didn’t pick it. I was at a shoot on a Saturday 18 months ago, when I’d been asked to write the book. A man I've never met before or since, who was talking to me and my wife when we were between drives, asked me if I was writing another book, and I said “yes I am, I’m writing a book on the English language about how we should do things properly, and I can’t think of a title”. He replied “It’s on writing English correctly? – Strictly English.” He’s acknowledged in the front of the book. The ‘strictly’ phrase has got some currency at the moment; it lodges in people’s minds when they see it in bookshops. The word of mouth thing going on, is, I think, partly to do with the fact that the title is easy to remember.  

I looked at some of the reviews of Strictly English...  

Some of the reviewers hated it. Those who are academic linguists do not like people like me telling people what to do. I would say to them, it’s all right for you because you can speak and write proper English when it’s necessary. I worry about people who can’t; who don’t pass their GCSEs, don’t pass their A-levels, don’t get job interviews and don’t get into the right universities, because they are inarticulate. I want to make money, but I also hope that people whose grasp of English is not as good as mine to get a better grasp of English, because everyone can do it. No one is barred by lack of affluence from doing this sort of thing. Although some didn’t like it, some reviews really did. One of the reasons that Strictly English has had a boost in sales in recent weeks is that the Field, of all magazines, reviewed it, and they thought it was wonderful. Every time an academic linguist has given it an unpleasant review it’s sold more copies, so I take the view that all publicity is good publicity.

The reviews did spot a few errors and inconsistencies though. One that stood out was when you wrote that ‘Telegraph readers write to each other on writing paper rather than note paper’ which, according to Stephen Poole, suggests that the Telegraph has undergone a decline in its readership since we have earlier been told that “the phrase 'each other' can only apply to two people or things.” 

Yes, that’s probably right; I’ll have to kill myself. The book was proofread by the most brilliant proof reader and read very carefully by my editor who is a very intelligent man. So any errors are purely my fault. 

You listed all the books that you read for the book in the footnotes: the Oxford English Dictionary, and books by H.W Fowler, Eric Partridge and Charles Talbot Onions, none of which were written later than 1960. Did you read any more recent grammar books?

I read a book by Kingsley Amis published just after his death, which added nothing to my knowledge at all. I just read the dictionary. I am quite broad minded about this. I accept that words will change their meaning and that new words will come into the language to describe new phenomenon. I object to words changing their meaning for no reason, such as when people confuse ‘prevaricate’ and ‘procrastinate’ and ‘flaunt’ and ‘flout’. 

You admit that words do change their meaning and you also say that you see no reason for a word to be used in any other than its etymologically correct sense, yet you prevaricate over phrases and words like 'to target’ and ‘obscene’, refusing to accept the new meaning, even as you admit that the nre meaning will be accepted in the future.  

That’s just stating a fact about how language progresses. One word which doesn’t mean what everyone thinks it means is ‘prestigious’. You could say ‘distinguished’ or ‘honoured’, but ‘prestigious’ means ‘deceitful’, it’s from the same root as the French word prestidigitateur which means ‘conjurer’. Words become vogue words, I never remember anyone in my teens using the word prestigious, and then suddenly in the 1980s, everyone and everything was ‘prestigious’. Look it up in a dictionary and it doesn’t mean what everyone else thinks it means.

That’s a word that I’ve used and my generation’s used to mean 'honoured'. If the word has been used for the past twenty years in that context surely there’s no problem if everyone understands what it means?

It’s a problem for me. But then I’m very strict. If I were reading a professional writer and they use the word ‘prestigious’ in the wrong context I would cease to think that they were in quite the league that I hoped they were in. 

Do you think there are many like you?

There is one on every newspaper, which is a good thing. I did a joint public meeting last week with the Production Editor of the Guardian. We talked about our respective stylebooks and he is as strict as I am. He is always attacking people on his newspaper for making mistakes, in the same way that I attack people. 

Yes I’ve read one of your style emails, which was actually circulated on Facebook. You commented on the ‘public’ and ‘pubic’ error in there, amongst others.

That’s one of the least enjoyable errors that we make, and we make it all the time. It’s most depressing.

When you wrote the book you used various examples to illustrate your points: from the tabloids, from novels, from Aldous Huxley, from a newspaper published two years ago. Where did you find these examples?

I have a degree in English. I have read a lot of books. When I came to do this book I pulled books off the shelves of my library at home and used examples from those – as simple as that. Huxley was about the use of dashes wasn’t it?

Dashes and colons, yes.

I remember reading Huxley when I was your age and thinking, he really does love dashes. I also remember reading Barbara Pym and George Orwell and remembering how concise their sentences were. Enoch Powell was given to me for a practical criticism exam as an example of a rhetorical speech.

There’s one example you quoted from a newspaper which I’d like to ask you about: ‘the day before he died, David Cameron and his wife played with their son’

Well, that’s the question of the misplaced participle isn’t it?

The fact that you used it as an example could be seen as distasteful

I don’t know why the writer couldn’t have said: ‘The day before his son died, David Cameron and his wife played with him’, which would have solved that problem. Some things are going to be in questionable taste, but it also serves as a warning to my colleagues of the sort of embarrassment that can be caused if you get your grammar wrong
.
I’m interested in your opinions about politicians’ use of language, particularly the passive voice

It’s very easy for politicians to say something will happen rather than I will do something, since it distances them from their action. Orwell rails against the use of the passive voice for that reason: he felt it was the weapon of dictators and tyrants. If ever have a colleague here I will not say ‘it has been decided that there is not much happiness with you’, I will say ‘I am not happy with you’.

What about the way in which they coin phrases ‘squeezed middle’ ‘alarm clock Britain’?

Of course, they don’t coin them; a team of bright young things like you sit up late inventing them. They often are meaningless to everyone but the politician who uses them. I invented the phrase Essex Man in an article I wrote some years ago, and then he became a stereotype.  Its patronising, it becomes a cliché.

How do you think we can reverse the decay of our language?

People can read my book, which has sold over 2 million copies. For our children, we start teaching grammar in schools and stop this notion that anything goes. There is such a thing as right and wrong. For people who are past that stage, I would advise reading writers of English prose and, if they are good, ask yourself why they are good, and if they are bad, ask yourself why they are bad, and try to emulate the good and distance yourself from the bad.

Strictly English is published by Random House.

Friday, 4 February 2011

South Riding.

Winifred Holtby's most famous novel, South Riding (1936), has just been reissued to tie in with the forthcoming Andrew Davies adaptation for the BBC. Born and brought up in East Yorkshire, I'm anxious to know if Andrew Davies can adequately represent the barren yet beautiful Humber Estuary and the rich farmland that Winifred Holtby describes so well.   

Yet the fact that the BBC has chosen to adapt South Riding suggests that the appeal of this absorbing and ambitious novel is not merely local interest. In a press release, Andrew Davies portrays South Riding as recession literature, drawing the obvious comparison between post First World War England, struggling with the effects of the Great Depression, and our own unstable economic times. There is another parallel that can be drawn. At the centre is an unstable coalition between a conservative and a liberal in the shape of a doomed love affair between gentleman farmer Robert Carne, and Sarah Burton, who believes passionately in reform and women’s rights but is drawn despite herself to the reactionary, arrogant, yet charming Carne – the embodiment of everything she is fighting against. Sound familiar?
 
Written whilst Holtby was dying, South Riding is the swan song of this indomitable Oxbridge graduate. Comparable to George Eliot’s Middlemarch in its panoramic portrayal of English society, Holtby’s characters, like Eliot’s, are realistic, three-dimensional, and encompass many aspects of human experience.

At the novel's heart are the main pillar of provincial life: the High School, where Sarah is Headmistress, and the city council. Yet local government in South Riding is not tedious, impersonal bureaucracy, but a living, thriving institution that effects the lives of all of the novel's characters. It is this kind of all-inclusive local government that Cameron's plans to devolve power from the centre to local communities aim to recreate.

South Riding portrays failure: Carne's failure to ride out the agricultural recession, due in part to the money he spends to pay off the debt he feels he owes to his past, the failure of love, the failure of peace. Yet there is also success, shown in the story of Lydia Holly, a young girl whose family camps in a railway carriage and whose passion for education saves her from poverty and deprivation.

Although the England that South Riding portrays has changed beyond all recognition, this moving, powerful novel is a compelling reminder of what once was –  a reminder of our advances in health care and women’s rights, and of the sense of community that we have lost.