Showing posts with label spies. Show all posts
Showing posts with label spies. Show all posts

Sunday, November 09, 2008

Damaged goods

This blog has been a casualty of my chasing around on a number of projects, some of which are very exciting indeed. Announcements in due course...

Took the Dr to see Quantum of Solace on Friday, and generally agree with Millennium's glowing review. It's all played brilliantly, it looks absolutely gorgeous but I'm not quite convinced by the frenetic edit. Watching Nimbos' Blue-Ray Casino Royale earlier this week (cor!), Codename Moose noted how well told the action sequences are. They're fast and complex and intricate, but every shot is framed perfectly, and in any given instant you know exactly where you are.

Quantum of Solace continually loses you in the midst of action. There's an opening car chase where someone loses their driver-side door, and it took me a moment to realise who. There's a scene of Bond and a villain swinging from ropes where you're not sure which is which.

I'm a bit disappointed that we didn't learn the real name of Mr White – or “Ernst”, as he is to his mother. Nor do I really see the point of keeping the gun barrel to the end. But hooray for MK12's opening sequence: different but very pretty.

Also, ignore the fools who say this isn't really a Bond film. Or that it's the first direct sequel to the previous film. There are no gadgets in Doctor No - “Q” is in it but he's not called that and he only gives Bond a new gun. From Russia, With Love is a direct sequel to that first film, too – with the Doctor's buddies out for revenge. Quantum of Solace is, then, continuing a back to basics exercise, not just getting back to the Bond of Fleming's novels but the films as they began.

I've also read SilverFin, the first of Charlie Higson's Young Bond novels, which I enjoyed a great deal. The mad plot about eels and special serum is at the dafter end of Fleming (and more like the barking end of Sherlock Holmes). But it's a fun adventure.

A bit like River Phoenix in The Last Crusade, there's fun seeing Bong get his scar and learning to drive. In fact, Uncle Max explains to Bond for at least two pages exactly how a car engine works. I'd have loved this boy-stuff detail in my teens. It could almost have done with an Eagle cutaway.

Though we're never told the date in the book itself, the internet says this is set in 1933 – and Bond born in 1920. I think that's out by at least two years.
“[Moonraker] makes Bond 37 in a book first published in 1955, and possible set a bit earlier. He can't then be born any later than 1918.”

Me, 14 March 2008.

I'm now well into From Russia, With Love, and will report back as soon as possible. (I've also got notes on Baboon Metaphysics and a handful of other stuff. But you'll have to be patient.)

Sunday, November 02, 2008

Recent telly

A few pals speak of being at the “DVD boxset” stage in life. Some have kids, some can’t be fagged going out of an evening. I’m just a bit rubbish following telly as it airs. I either forget or something comes up in Real Life or I’m racing to meet a deadline.

The recent, needed lull in my writing commitments means I’m gulping down great swathes of the goggle box.

I've just got through the second series of The Wire – as leant by Codename and Mrs Moose. Having beaten the Barksdales last year, our gang of shades-of-grey cops are variously investigating the Baltimore docks, looking into murders and drugs and the union. The Barksdales are licking their wounds, either weathering prison or trying to restart their business. And slowly, very slowly, it’s all coming to a head…

As just about everyone on the planet has enthused, The Wire is a brilliant series. Funny and smart and rude and surprising, the serious, clever and violent adult stuff is nicely balanced with bits of slapstick and silliness, the stupid everyday things people say and do. If you’ve seen it you already know this; if you haven’t I don’t want to say more for fear of spoiling its wonders.

But I’d be quite happy were Idris Elba to be the next Doctor Who.

It’s not just box sets. I have also been watching telly LIVE. Little Dorrit is am impressively grimy, dirty adaptation – and the trailers keep suggesting a sapphic something involving Freema Agyeman. What is not to like?

Dickens is particularly good on the petty viciousness people heap on one another, the debilitating effect of gossip, the decades wasted on silly intrigues. The Dickensian world is a ruthless, brutal place, everyone on the brink of ruination. Yet because he populates his stories with such comic archetypes, it's very easy to over-play. Actors pull on frock coats and mad facial hair and prance about doing funny voices.

Far better is to play against the comedy, to pretend you're not comic characters at all. That way – as in the books – the comedy works to underline the awful things befalling the weakest characters. And that's why The Muppets' Christmas Carol is the best ever adaptation of Dickens.

Also, in Little Dorrit Andy Serkis plays another compelling grotesque. I'd like to see him play something heroic. In fact, I’d be quite happy were he the next Doctor Who.

The new series of Spooks unleashed two thrilling episodes this week, featuring Richard Armitage as a new character. The Dr was very pleased with the important plot point that he's got William Blake tattoos (and so had to take his top off).

For all it's good fun with lots of chasing, there were lots of silly things. If you're sneaking around someone's bedroom while they're asleep in bed, it's probably best to switch your mobile-phone-cloning machine to silent rather than letting it bing. And the Prime Minister would be committing political suicide if he cancelled Remembrance Sunday.

Armitage is looking pretty buff having spent eight years in a Russian prison. Also, his debrief seems to consist of being asked “Are you a double-agent?” - to which he answered “Yes”. He hangs round the office waiting for a cup of tea, and then is quickly part of the next mission. The writers should look at The Man With The Golden Gun (the book) for what happens when James Bond comes out of the cold...

Yes, I appreciate they sort of address some of that in episode two. But not really very much. Again they ask him if he's a double-agent, again he tells them yes. So they let him back on the mission again. Still, I wouldn't mind if Armitage was the next Doctor Who.

Incidentally, I also saw Mark Lawson talking to John le Carre with its top fact that the word le Carre invented for a “Russian asset” – mole – came from The Wind In The Willows.

And then there's Dead Set, in which zombies get into the Big-Brother. It's impressively violent and grisly, though the quick cutting means you're not always aware quite how grisly it is. The Dr missed one episode so I explained about Davina being stabbed through the back of the head, the lamp-pole bursting out of her eye... And realised it was far more horrid telling it than it had seemed on the screen.

It licked along quickly, never explaining how the zombies came to be or suggesting any solution. Horror can often be just a sequence of horrific events, bludgeoning against your eyeballs. But this managed to be smart and funny, keeping us guessing right up to the end.

Oh, and I’d be quite happy were Kevin Eldon the next Doctor Who.

Thursday, July 31, 2008

White - [house] - keys

It's been announced that the theme tune to Quantum of Solace will be by Alicia Keys and Jack White - and not Amy Winehouse or Dennis Waterman. Already there is much discussion about whether this can possibly be the right choice. By people who haven't heard it.

Even then, I was a little underwowed by Chris Cornell's "You Know My Name" on first hearing. Seeing it in the film itself, though, it's really rather good.

But in looking into this (and clearly NOT skiving) I discovered the work of one LuiECuomo. He's filled You Tube with Bond title sequences, matching the titles to tunes that were considered but not used. So there's the versions of Tomorrow Never Dies with singing by Pulp, St Etienne and k.d. lang.

The latter, clearly the theme used in David Arnold's score for the film itself, got relegated to being the end song. But the first two are just plain disappointing - especially from two of my favourite bands.

There's also different takes on the same song for You Only Live Twice, tunes that could have been Bond themes or that suggest what an artist might have been like. There's Scott Walker doing Die Another Day and also some fan film and gun barrell stuff too.

And then there's this marvellous conjuration:

I am, of course, listening to Shaken and Stirred as I write this.

Tuesday, June 17, 2008

Spectreville

I must have read Diamonds Are Forever when I was about 11 or 12. Reading it again, the only bit I remembered was James Bond meeting up with Felix Leiter, who pretends to hold him up and who is missing a hand and a foot after their last adventure. Even having finished it only yesterday, I’m struggling to remember the plot.

It starts in French Guinea with a scorpion and an arch-racist dentist who hates anything black. Including scorpions and ants. He hands some diamonds to a bloke in a helicopter. And thinks some not very reconstructed things.

Then Bond is given a crash course in diamonds and learns how to put a jeweller’s glass into his eye socket.
“’Don’t push it in. Screw it in,’ said M impatiently.”

Ian Fleming, Diamonds Are Forever, p. 12.

Yes, even Bond laughs at that.

He’s sent to Valance, the policeman from Moonraker, who gives Bond some make-up to hide his scar and warp his cheekbones. Then they go to Hatton Garden and annoy a dodgy bloke flogging diamonds.

Bond’s mission is to locate and extinguish the diamond-smuggling line, and of course it just so happens that he’s spotted the villain straight off. To do this, he pretends to be a posh burglar called Peter Franks, who’s already been hired by a sassy broad called Tiffany Case.

Bond flies to America (the plane stops off in Ireland on the way) with diamonds hidden in his golf balls. He’s dismissive of the American mobsters he’s out to bamboozle, and they turn out to be tough customers – a ginger hunchbuck and a guy who lives a cowboy fantasy in his own purpose-built town just a little out of Vegas.

The blurb on the back of the book quotes fellow shocker-writer Raymond Chandler in the Sunday Times:
“The remarkable thing about this book is that it is written by an Englishman. The scene is almost entirely American, and it rings true to an American. I am unaware of any other writer who has accomplished this.”
But I kept feeling Fleming was pushing the clichés. Perhaps it’s because we’re more familiar with Las Vegas and the mobsters after a string of films about them. As Bond is told the story of Buggsy (sic) Siegel I was thinking of Warren Beatty. And Spectreville – the villain’s Victoriana train and playset – reminded me of the villain in Once Upon A Time In The West. It also foreshadows the villainous gang behind Thunderball.

Again there’s the pornographic level of detail: the simply dressed women with little make-up and jewellery, Bond’s woollen clothes, his drinks (bourbon and spring water; his famous Martini with a twist of lemon) and omelettes. There’s psychological realism (or verisimilitude) in describing how casinos are built to drive people to the games, and the dead-eyed women filling the fruit machines with change.

Tiffany Case is a funny, lively broad, and Fleming gives her an awful past to make her that much more interesting. But I felt it was “interesting” like early 80s Doctor Who companions – they become awkward and difficult because of the burden of backstory. In this instance, Tiffany got brutally raped in her teens and hasn’t slept with a man since. How does Bond flatten her prickles and cure her of her horror? He, er, looks at her in a certain way. And buys her a few drinks.

That’s the most frustrating thing: Fleming suggests real difficulties and complexities and then doesn’t deliver on them. Case just switches side at the moment most plot-convenient. Likewise, Fleming’s attempts to address the race issue are quite startlingly clumsy. One paragraph might as well open with, “I’m not a racist, but…”
“Bond had a natural affection for coloured people, but he reflected how lucky England was compared with America where you had to live with the colour problem from your schooldays up.”

Ibid., p. 91.

There then follows an ill-considered joke from Leiter about the response to insensitive language – along the lines of “It’s political correctness gone mad!”

And then of course there’s the two homosexual villains, Mr Wint and Mr Kidd. There’s admittedly a delicious bit of detail in Mr Kidd being a nervous traveller – he carries a suitcase with the label “My blood group is F”. But these two killers don't feel particularly gay: they wear the label like an eyepatch, just something to make them less bland as henchmen.

A friend who has recently started reading Bond has been surprised by the latent, repressed… well, everything about the man. So I was amused by Bond’s qualifications for the perfect wife: “Somebody who can make Sauce Béarnaise as well as love.” He’s joking of course:
“‘And you’d marry this person if you found her?’

‘Not necessarily,’ said Bond. ’Matter of fact, I’m almost married already. To a man. Name begins with M. I’d have to divorce him before I tried marrying a woman. And I’m not sure I’d want that. She’d get me handing round canapés in an L-shaped drawing room. And there’d be all those ghastly “Yes, you did – no I didn’t” rows that seem to go with marriage. It wouldn’t last. I’d get claustrophobia and run out on her. Get myself sent to Japan or somewhere.’”

Ibid., pp. 163-4.

So no issues there, then. Case wins him over by, er, making a Sauce Béarnaise Bond finds “wonderful”. And she demands of him,
“’Everything you’ve ever done to a girl. Now. Quickly.’”

Ibid. p. 173.

Yes, that’s the mark of a Secret Agent. He can be in and out in perfect, swift silence – without you even knowing he was there.

No sooner has Bond got his leg over with un-legoverable Ms Case than Wint and Kidd turn up to bump them off. I’d mis-remembered Bond spotting them as crooks because one of them can’t whistle (yes, Bond thinks a man who can’t whistle is a homosexual, but he thinks it about Scaramanga) or because they’re wearing perfume (that’s what happens in the film). There’s a moment when Bond almost spots them based on a carefully dropped (clang!) signpost. But no. Instead, M sends him a telegram about the two would-be assassins just in the nick of time.

Bond stages a dashing rescue and leaves Wint and Kidd looking like they killed each other. But for all the slyness of this, it all feels convenient rather than clever. There’s no explanation of how Bond then traces the smuggling line back to French Guinea, where the last loose threads are played out.

No mention of what’s happened to Tiffany, last seen installed in Bond’s London flat. No mention of whether he’ll marry her. In all, it’s a disappointing book, with too few action sequences which anyway feel a bit abrupt and rushed.

Overall, I got the feeling Fleming was getting bored, and just wanted done with the thing. But that’s more true of the next one…

James Bond will return in From Russia With Love.

Monday, June 02, 2008

Devil May Die

100 years and five days ago, Ian Fleming was born in London. The man who’d later create James Bond and Chitty Chitty Bang Bang was two days older than Mel Blanc, the voice of Bugs Bunny, and three years older than Thora Hird.

To celebrate this (well, the 100 years bit), Penguin have produced a new James Bond novel, written by Sebastian Faulks. Faulks had previously pastiched Fleming’s style in Pistache, and Devil May Care makes every effort to be the book Fleming would have written had he not died prematurely at the age of 56 – just as Bond was becoming a screen icon.

It’s set in 1967, eighteen months after the events of Fleming’s final Bond (in which a brainwashed Bond tries to kill M, and then tries to make up for it by chasing a man with a golden gun). Bond is on enforced sabbatical, wandering the world and struggling to decide if he’s going to quit the Secret Service.

In Marseilles, his killer instincts spot a man wearing one glove. And then in Rome he acts completely out of character, declining nookie with an amazing, married woman. What do these chance encounters have to do with a corpse in Paris that’s had it’s tongue torn out, and with the terrifying increase in heroin addiction amongst posh kids in London and Manchester?

This is very much the Bond of the books – a man who hates gadgets because they are cheating, and who doesn’t always get the girl. Yet Fleming was himself influenced by the films, and gave Bond a Scottish mother in the wake of Sean Connery.

(I’d argue that the films cast a much more definite shadow over the subsequent, post-Fleming Bond novels. The ‘M’ in Kingsley Amis’s Colonel Sun reads just like Bernard Lee, while there’s a tricky moment in John Gardiner’s novel of Licence to Kill where he has to rationalise Felix Leiter getting fed to sharks twice.)

Faulks, though, consciously steers away from the films. As early as page 4 we’re following Rene Mathis – a loyal friend in the books, but a suspect in the most recent film. It’s a neat and immediate signpost that this Bond’s not Daniel Craig.

Throughout, there’s evidence of Faulks’ spotless research, with a great weight of references back to Bond’s earlier adventures. He remembers his card games with Le Chiffre and Sir Hugo, or his time on the Orient Express with Tanya. There’s the skin graft on his right hand, and mention of his various adventures in Jamaica. (Fleming would also reference his previous books, with footnotes explaining which books you should have read already.)

Bond aficionados will also spot specific Fleming turns of phrase: the comma of hair that hangs down over one of Bond’s eyebrows, or how we always know exactly what he’s wearing. The pornographic detail for clothes and food and pretty objects remind us Bond is an eagle-eyed watcher. Yet his constant omelettes and whiskies remind us that while he may be a snob, his tastes can be pretty bland. He likes simplicity: beautiful women who don't wear too much make-up, cooking that doesn't need fuss. For all he likes good wine, he often order food more as fuel than pleasure.

This is an old-skool secret agent, who despairs at the Beatles and Rolling Stones, and doesn’t like using gadgets. It’s the villains who have the cool new vehicles and ways of cheating at tennis. There's also something rather gentlemanly about how, while clothes and lipstick are painstakingly documented, we get no description of girls when they're naked. (When clothed it's okay to keep mentioning their breasts.)

But Bond’s muttering about silly, middle-class kids ruining their lives smoking marijuana makes him sound out of touch; from a generation and set of values that is ebbing away. Of course, Bond can identify the strain that they’re smoking with his brilliant nose. And he is himself a big drinker and smoker, as well as guzzling Benzedrine and sleeping tablets. But you feel a little as he drives perplexed through hippy London that he's being left behind.

Just as with the period setting in the most recent Indiana Jones, there’s fun to be had in making references that resonate with now. A sizeable chunk of the book has Bond agenting in Iran – or Persia, as it was under the British-positioned Shah. There are mentions of Afghanistan and Iraq and some hand-wringing about Western intervention in these countries. There’s a great gag, too, when Felix Leiter has never heard of Tehran.

But this isn’t an especially profound book with things to say about Britain’s role in the world – then or now. The villainous Gorner gleefully quotes the horrors done by the British under the imperial banner – the opium trade in China, the Mau Maus and the Irish potato famine. But these things seem more there to show he’s a maniac obsessive than to adeptly critique anything Bond himself stands for.

(The films have done better there: Sean Bean has a justifiable grudge against the Brits in Goldeneye, and there’s a brilliant moment in Casino Royale when Le Chiffre, in the midst of torturing Bond, knows the British will still offer him clemency.)

Gorner is a pantomime villain with a deformity, very much in keeping with the grotesque sadists Bond has fought before. Faulks obviously has a brilliant get-out clause that anything clunky, cliched or absurdly contrived in this is just him being authentically Fleming.

How convenient that Bond just happens to spot the villain several chapters before he’s even briefed on him. How convenient that Bond so uncharacteristically turns down the advances of Scarlett when he first meets her, so that he can spend the rest of the book anticipating getting into her pants. You wonder how differently things would have gone if he’d shagged her on that first night – without the thrill of the chase, would he have been half so bothered?

There’s an outrageous attempt to cover the mad coincidence by having people ask Bond if he believes in destiny. (The same trick is tried in John Buchan’s The Island of Sheep, where Richard Hannay also just happens to stumble into all the people who’ll be vital to the story. And, like here, you can only gape at the bare-faced cheek of trying that excuse.)

But Faulks also writes a gripping tale, full of Fleming’s abrupt and sadistic surprises. He improves on Fleming’s woeful ear for dialogue while still doling out pages of exposition.

There are some great set pieces: a tennis match where Bond insists on playing fairly against a foe who won’t; a fight on a train which ends like Vivyan in The Young Ones; an incongruous machine described early in the book that ends up doing for the villain at the end. The final twist is also neatly done, and just about manages to explain away some very odd behaviour by one person.

One small blooper: Bond says he's not been to Russia before, but that's where he got brainwashed in the period between You Only Live Twice and The Man With The Golden Gun. Okay, so maybe he doesn't remember being there, but he'd know that he had been.

What makes the book so enjoyable is how much it feels like Fleming. But that also means it doesn’t push the format too far. Fleming himself tried to keep things varied, setting Moonraker all in the UK, for example, or telling The Spy Who Loved Me in the first person. Faulks brilliantly captures the crude thrill and hackneyed inelegance of the books’ Bond, and it’s a considerable achievement to produce what feels so like perfectly generic Fleming.

It’s a seamless addition to the James Bond canon and a rollicking, punchy old shocker. But I think Faulks’ regular readers, or those who don’t know their Fleming, or only know Bond from the films, may well be scratching their heads. If Devil May Care pricks your interest, make sure to have read Casino Royale first.

Tuesday, May 13, 2008

50s way to leave your lover

It was like something out of Things To Come (1936) – and one of the glorious utopian bits, not the bits with fighting. A. and I made our way to the Science Museum’s ticket desk to buy our way into Dan Dare and the Birth of Hi-Tech Britain (until 25 October 2008). And it turns out to be free.

Hooray! We almost skipped in the great glass elevator up to the second floor.

Also strikingly modern was the new-fangled audio guide. Rather than being given some ersatz walkie-talkie, you used your own mobile phone. (Calls were charged at London landline rate, rather than at some cunning premium. We, um, didn’t bother.)

The post-war period is a fascinating one, and is also currently RESEARCH. Which means any exhibitions and related books and curios are tax deductible. And what follows is cobbled together from various bits of reading and not-quite-thinking.

Britain was punch-drunk after the war, reeling from the barely-understood-yet evaporation of her empire. There’s a thing in Graham Green’s “The End of the Affair”, where the narrator describes the fearlessness of living in the Blitz, where you might die any moment. It seems it’s only when there’s no more bombing, when you might survive, that your muscles unclench and you again remember how it is to be terrified. This is a post-traumatic stress civilisation. How in hell did it get through?

The shared effort of war has led to expectations of a shared effort in peace. There’s a welfare system, a National Health Service and as much dentistry and spectacles as anyone can eat. A huge rebuilding operation was also required.
“The full extent of the war damage to London’s infrastructure and housing stock made reconstruction an urgent priority. The publication of Abercrombie’s Greater London Plan established a framework where issues of reconstruction and social progress combined in the utopian idealism of slum clearance, New Town development and green belt conservation.”
Paul Rennie, Festival of Britain Design 1951 , p. 36.

And with that rebuilding came a magnificent street party, deftly coinciding with the 100th anniversary of a great bash in a greenhouse. In his book on the Festival of Britain’s design and merchandising spree, Paul Rennie speaks of jubilant firework displays and nights of dancing.
“The relative sophistication of these entertainments, for ordinary people, and in the context of post-war austerity, should not be discounted.”
Ibid, p. 21.

The new fashion for promenading wasn’t just dangerous for its European influence. The Thames beside which young people strolled was still busy, noisy and industrial, and the London smog killed 4,000 people in 1952. Yet the Festival marked something important; freedom after the austerity and secrecy of the war.

In some ways, the Festival was a conscious step backward to the pre-Great War – and imagined – period of church fetes and bicycling vicars. Look at the type-faces used in the Festival’s literature: fat-stemmed, fussy, serifed fonts as if Modernism had never happened. Things clearly fashioned by men and not machines. That, says Rennie, is a conscious turfing out of the
“ubiquitous sanserif faces of the 1930s and WWII”.
Ibid, p. 52.

The celebration is especially evident in the Festival’s logo; a compass decked out in coloured bunting. Abram Green’s Festival logo and his posters for the Financial Times, according to Rennie,
“define the graphic style of the decade perfectly.”
Ibid. p. 24.

And yet Rennie’s own book and the Science Museum would seem to disagree. The Festival isn’t of its age for looking fondly backwards, but for its yearning, breathless gaze into the future. It was symbolic, says Rennie, of,
“Britain’s status as an atomic power and the technical lead that it had in such fields as radar, computers, telecommunications, television and jet engines.”
Ibid., p. 50.

The Festival was defined by technical innovation. New electric trains from Waterloo meant the South Bank site was viable because there would be less soot and smoke (p. 15), while the Festival also introduced ordinary people to the space-age concept of proper toilet paper (p. 19). It was this generation that put men on the moon.

Oliver Postgate – later inventor of Bagpuss, the Clangers and Ivor – had a job at the Festival. He helped build the scientific machines, which were constructed around complicated bubble machines,
“in essence, a large diagram depicting a flow of materials, the flow being marked out by thin glass tubes through which coloured liquid, regularly interspersed with air-bubbles, would travel along slowly."
Oliver Postgate, Seeing Things, p. 165.

His description of that work gives a brilliant, idiosyncratic sense of what the Festival – and its time – might have been like.
"The main characteristic of work for the Festival was that nothing that was supposed to happen happened when it was supposed to. Our material was finished and ready on time but the building it was to go into, the Power and Production Pavilion, was, to put it simply, not there. It was eventually made available to us exactly a week before the Festival was due to open, whereupon we discovered that, for reasons we knew nothing of, the showcases had not been made according to the plans we had been working to.

There was no time to argue about this and no point in doing so because nobody was taking responsibility. Bob and I just set to and sustained by Benzedrine and knobs of sugar, worked, non-stop, night and day for the whole week.

Even then I didn't quite finish. As the King and Queen and the two Princesses came through the pavilion, viewing the exhibits on the formal Opening Day, they might have thought that all the ingenious animated displays were electrically driven. Not so; I was lying on my back underneath one of them, winding it by hand.”
Ibid., p. 167.

I love the glee and naivety around this new-fangled science stuff, of civilisation being on the cusp on an enlightenment it doesn’t like to admit it doesn’t understand. Shoe shops of the period excitedly offered to X-ray your feet on the pre-text that they’d fit your shoes much better, but really because it was just cool to use the gadget. Paul Rennie tells of similarly overly-enthusiastic space-age jollity at the Science Museum.
“A proposal for a new 'Newton-Einstein House', which subjected visitors to extreme gravitational forces, was ultimately rejected.”
Rennie, p. 51.

The present day Science Museum is divided into three. The first section contents itself with the new technologies that people chose themselves. There’s the ultra-slim GEC hairdryer (model DM397A) from 1956. “Unlike previous types,” says the label, “it had a compact and quiet induction motor. This did not protrude from the main body and allowed the hairdryer to be sleek and stylish”.

There’s Russell Hobbs’ first offering, an electric coffee pot from 1952. There’s early electric toasters and the onomatopoeic “Sylph” electric iron. Various versions of bulky hi-fi systems all include complex valve and bulb-strewn amplifiers and hardly space-age wooden surrounds. The clunky Post Office-provided telephone receiver was still supplied until 1981.

The list of artefacts is important because each is a sea change in how people lived their lives. More, it gives an insight into how they filled their time and recorded their experience, increasingly with gadgets. I was taken by the mechanics of a Bell & Howell cine-camera, where you only used one side of the 8mm film at once, reloading it when one side was full. At the process lab, the film was split lengthwise and the 2x 25 foot lengths spliced together into 1x 50 foot length.

Beside me in the exhibition, a fellow visitor was trying to capture this explanation on his mobile phone. In the modern world, you just plug in a USB or email the pictures to yourself, or go to one of those photo machines that accept every kind of plug in but the one you’ve got.

And last there were the Frigidaire electric refrigerator, a Hotpoint washing machine (with mangle attachment on its top) and a Dishmaster electric dishwasher – all with the same stylistic rounded edges and gleaming surfaces, like props straight from Dan McRegor Dare.

Dare is the subject of the second section, which sketches who he was and how the Eagle came about, and includes a few pages of original artwork from his comic strip adventures and a selection of the wild merchandise that went with them. Admittedly, the Dan and Digby walkie-talkie is rather less strange a concept than my own walkie-talkie Eccles and Slitheen.

Excitingly, there’s two exclusive Frank Hampson posters, commissioned by the Science Museum in 1977. You can see them here:
I was rather sad to see the state of the exhibits. On the latter poster, Hampson’s signature is smudged, while the original artworks would surely be better framed.

I wasn’t surprised to see no mention of Colonel Dan’s adventures in 2000AD, Eagle mark II or recent CGI. A panel did show covers to the Garth Ennis-scripted Dan Dare strip and the Best of Eagle collection, and of course neither of these was available to buy from the shop.

Lastly, there was a section on broader developments in technology – the health service, nuclear power and electric trains. The Daily Mirror of 25 January 1955 (price 1½d, “Forward with the people”) broke the news of a “£1,200,000,000” network of electric trains, ordered by the Transport Commission. And, from Saturday, it would also be offering a brand new “Woman’s Sunday Mirror”.

I loved the British space suit – or rather the “Royal Aircraft Establishment flying suit” – with it’s goldfish-bowl round helmet, chunky zips and pleated arms and legs, with slipper-like boots lacked to the suit’s ankles. It seemed so cheap and simple, and made of natural fibre, that it seemed more like a costume from a low-budget sci-fi show. The adjacent oxygen cylinder had apparently been used on the conquest of Everest. Noticing the chunky black piping, I wondered if the air would taste of rubber. Nicely, these exhibits were often labelled with classic, cutaway illustrations from the old Eagle.

It’s a strange exhibition in all, I think because of the disconnect between the bright-eyed aspiration in the comics and designs – the determination to built a better future after the horror of the war – and the literal fall-out. It’s not just the X ray machines in shoe shops, or the scant protection offered to the Duke of Edinburgh in the photo of him visiting a nuclear power station – in a nice suit, just some paper coverings on his feet. A. spoke of having seen many of the exhibits in his own family’s homes, only yellowed with years of cigarette smoke.

In looking into this period, I guess I keep seeing the same thing; people plunging into the future because it was too awful to go back, rather than because they had any idea what they were doing. There seemed to be no thought at all that people might get burnt by the white heat of technology. The nearest mention we get of the nuclear threat in the Science Museum is an Eagle cutaway of a British intercept missile.

And I didn’t spot any mention of the hovercraft, the resolutely British invention I associate so indelibly with its Eagle cutaway. But then only this weekend I was reading how the hovercraft helped kill off some of the sexy sheen which difficulty lent stuff we take for granted.
“James Bond did not take the car ferry to France. This is the one part of the journey where my plans must diverge from his. He headed instead for Lydd Ferryfield airport, in Kent, where he drove up a ramp and straight into a Bristol plane bound for Le Touquet. This used to be a regular practice for the rich until the hovercraft killed off the business in 1970.”
Jon Ronson, “The name's Ronson, Jon Ronson”, The Guardian Weekend, 10 May 2008, p. 45.

See also Charlie Higson’s piece on Ian Fleming, and the booze and fags and women that killed him, in the same bat-time, same bat-paper:
“Let's face it, writers are pretty boring. Writers never know how to pose for photographs – is it hand on chin, or hand not on chin? Some might get drunk and sleep around, some might shoot themselves in an effort to appear more interesting, but the fact is 99% of our lives are spent locked away in a small room with a keyboard.”
Charlie Higson, “The Man Behind 007”, The Guardian Review, 10 May 2008, p. 21.

Which is my cue to just shut up.

Wednesday, March 19, 2008

Spy Wednesday

Hooray! I was rather hoping for some James Bond news, today being today. Though I don't think Holy Week quite has MI6 in mind.

Friday, March 14, 2008

Some comfort

There’s 238 days until Quantum of Solace opens in the UK. There’ll probably be quite a lot more of this sort of thing before then. It includes spoilers for some of the James Bond novels.

I originally started reading James Bond when I was 11. I can vaguely recall trying to explain to a friend at my new secondary school that the last chapter of Dr No was a lot like Witness – which had been on telly round that time. I also remember calling it “Doctor Number” and my confusion, from a footnote saying ‘See the author’s previous one…’ that this wasn’t the first of the books when it had been the first film. (It’s possibly I gleaned even this fact from a feature on the forthcoming new one, which my wicked big brother kept insisting was called Daylight Saving Time.)

Working through the Bond canon again now (honestly, it is useful research) all manner of other things strike me. Bond is a prized cock at the best of times; the dialogue is always pretty abysmal, clunky, place-holding stuff; the racist undertones and outlook are far more obvious than the misogynistic; and the exotic props described in such pornographic, listy detail have not all worn terribly well.
“In a characteristic passage from Live and Let Die, Bond leaves a ‘bitter raw day … the dreary half-light of a London fog’ to go to New York, where his hotel serves him crabs and tartare sauce, ‘flat beef Hamburgers, medium-rare, from the charcoal grill, french-fried potatoes, broccoli, mixed salad with thousand-island dressing, ice cream with melted butterscotch’ and Liebfraumilch wine. That a burger-and-chips with Blue Nun menu, which would soon become common in suburban lounge bars across Britain, clearly seemed so mouth-wateringly exotic [to British readers] in 1954 is eloquent and, in its way, touching.”

Andrew Marr, A History of Modern Britain, p. 216.

Annoyingly, I thought that too as I reread Live and Let Die – about a week before I read Marr’s very excellent history. But you’ll just have to believe me that I didn’t pinch the insight. Again, what follows contains major spoilers for various Bond books.

After the events of Casino Royale (book) and the leave Bond gets granted at the end, he’s sent by BOAC to New York to help investigate some long-lost pirate gold that’s just resurfaced and is financing the communists. He and old pal Felix Lighter are soon on the heels of grey-faced black hoodlum, Mr Big. The old-skool Etonian spy naturally has Opinions:
“’I don’t think I’ve ever heard of a great negro criminal before,’ said Bond, ‘Chinamen, of course, the men behind the opium trade. There’ve been some big-time Japs, mostly in pearls and drugs. Plenty of negroes mixed up in diamonds and gold in Africa, but always in a small way. They don’t seem to take to business. Pretty law-abiding chaps I should have thought except when they’ve drunk too much.’

‘Our man’s a bit of an exception,’ said M. ‘He’s not pure negro. Born in Haiti. Good dose of French blood. Trained in Moscow, too, as you’ll see from the file. And the negro races are just beginning to throw up geniuses in all the professions – scientists, doctors, writers. It’s about time they turned out a great criminal. After all, there are 250,000,000 of them in the world. Nearly a third of the white population. They’ve got plenty of brains and ability and guts. And now Moscow’s taught one of them the technique.’”

Ian Fleming, Live and Let Die, in Casino Royale, Live and Let Die, Moonraker, p. 153.

Mr Big could be meant to be some kind of emancipatory figure, because having a black baddie is a kind of equal rights. I’d almost have time for that line of argument if his use of voodoo – and just the way he and his men get described – didn’t plumb such blatant racial stereotypes. A dead giveaway is the painfully “authentic” bickering between a couple in a Harlem bar in the tastefully titled Chapter 5, “Nigger Heaven”.

Yes, it’s easy to wag a finger at the presumptions of another time. But what stands out here is just how old and far distant James Bond seems from now. Marr nicely links the spies, sex and establishment so much a part of novel-Bond to the spies, sex and establishment of the Profumo affair.
“The political scandal that happened at the fag-end of the Tory years was more highly coloured and more unlikely than much of what Ian Fleming poured into his early ‘shockers’.”

Marr, ibid.

The scandal hit in mid-1963, a year before Fleming died and just as a working-class milkman was making Bond his own. As I’ve said before, the film Bond changes quickly: becoming a force for détente when the Russians start buying the movies; or one minute slating the Beatles, the next they’re doing his theme tune. When David Niven – Fleming’s own choice – played the role just five years later, he’s an awkward, embarrassed fossil of another age.

The movies have continued to express tension about how of-the-moment to make Bond: is he a smoker, is he a dinosaur, does he do girls in their teens? Anyway, shouldn’t women know better? Even so, and taking us back to race, notice how Colin Salmon is the only person who works with Brosnan’s Bond who doesn’t at some point take the piss out of him.

Back to Live and Let Die. As with Casino Royale, the plot simply licks along. Bond soon meets Simone Latrelle, better known as Solitaire, who reads cards for Mr Big. She sees Bond as her way out of getting hitched to the villain, lies to save his life and then joins him on a train. Beautiful and 25, she’s never been with a man but – caught up in the adventure – shows everything to Bond. But she’s not foreseen the many eyes of Mr Big and gets herself recaptured before Bond can do his moves.

Bond and Leiter continue their investigations. Fleming is good at conjuring paranoid claustrophobia – the two agents don’t quite appreciate how closely they are watched. In fact, we take their predicament far more seriously than they do. Leiter rather recklessly goes to investigate the baddie’s hide-out all on his own one night. This allows for a shocking bit of savagery, the sequel to the bollock-whacking in the first book. As cobbled into the plot of Licence to Kill, Leiter gets himself fed to a shark.

That’s the gloves off; Bond finds the truth hidden beneath the poison fish, has a fight with an octopus and finally meets up again with Solitaire. They do the bit being dragged behind a boat like in the film For Your Eyes Only, but without the cheat of having an aqua-lung waiting. As is often the case with the films, you realise you’ve been well briefed on the thing that’s going to eat Mr Big at the end. Bond goes off for some ‘passionate leave’ [sic] with Solitaire, and is then back in London in time for his next assignment.

Which sees him playing another game of cards and then pootling round exotic Dover. Moonraker feels like a whole other series. The first chapters have a bored, restless Bond doing a bit of filing and dwelling on things to come.
“It was his ambition to have as little as possible in his banking account when he was killed, as, when he was depressed, he knew he would be, before the statutory age of forty-five. Eight years to go before he was automatically taken off the 00 list and given a staff job at Headquarters. At least eight tough assignments. Probably sixteen. Perhaps twenty-four. Too many.”

Fleming, Moonraker, in ibid., p. 328.

Which makes Bond 37 in a book first published in 1955, and possible set a bit earlier. He can't then be born any later than 1918. I'll come back to this age question another time, when I'm further into my rereading.

It’s a different kind of mission, this – initially a favour to M, then a secondment to MI5. It seems small and parochial, a threat to little England with no need for sexy clothes and locations. Bond worries about his secretary’s love-life and what people might think in the papers of Sir Hugo Drax. Drax is not French here, as in the movie, but one of Britain’s finest. Oh, I realised as I reread it, Drax is Toby Stephens.

There’s something funny with the British rocket programme that Drax is rather dashingly donating for the protection of the nation. Hmm… what could possibly go wrong? It maybe seems a bit obvious since we get told early on how the programme is using lots of former Nazis (who knew a thing about long-range rockets having worked on doodlebugs). I still love their brilliant disguises, as Drax ultimately explains:
“’You smelt a mouse, my dear Bond, where you ought to have smelt a rat. Those shaven heads and those moustaches we cultivated so assiduously. Just a precaution, my dear fellow. Try shaving your own head and growing a big black moustache. Even your mother wouldn’t recognize you. It’s the combination that counts. Just a tiny refinement. Precision, my dear fellow. Precision in every detail. That has been my watchword.’ He chuckled fatly and puffed away at his cigar.”

Ibid., p. 483.

There’s also the oddly erotic mix of awkward and sexy as Bond and Gala go for a swim in just their rubbish pants, and survive an explosion that blows up all their clothes. This is falling into parody – more Tara King than Ian Hendry. Yet there’s still plenty of thrilling writing, like the car chase on the A20 where a boy racer takes the fall for Bond. The live news report at the end of the penultimate chapter is also nicely done.

And I also loved that in this one Bond doesn’t get the girl. Policewoman Gala Brand (a less-rude name than Dr Holly Goodhead) is engaged to someone else and furious when Bond plants a kiss on her. The control freak fantasist has all sorts of plans for them once the adventure’s done, and she neatly tells him it’s not happening and walks out of his life.

A few people have said that the film producers should have followed Casino Royale (film) with a remake of Live of Let Die and then continued through the canon. But Moonraker really has only its title to recommend it. The rest feels low budget and ITC, too easily imagined with stock explosions and the exterior dialogue played against photographic flats.

The short story collection For Your Eyes Only also contains some very un-Bond-like Bond. The titular story is the springboard for a lot of the film of the same name, only it happens in Canada not Greece. The Havelocks in the story have lived in the same house in Jamaica for 300 years and their murder by Cuban gangsters might suggest Fleming’s own discomfort with the political context gathering round his home. It’s odd to see Bond being nominally on the side of Castro, but there’s not really any profound insight into post-colonial or ex-pat existence. Some rich friends of M are murdered and he asks Bond to take revenge.

The film also nicks and hellenifies bits from the story “Risico” (which is how the character Kristatos says “risk”), and neglects to have Bond dying himself with walnut stain until he looks “like a Red Indian with blue-grey eyes.” But the vengeful daughter, the crossbow and that cheesy line about first digging two graves is all in Fleming’s original.

“From a View to a Kill” (the short story has the word “from” in it) has Bond spotting the secret hide-out of some villains who shoot a messenger. The villains have an underground base in the forest and wear things like snow-shoes that stop them leaving footprints in the grass. It’s set in France and has ex-Nazis, but no airships, horses or microchips. “The Hildebrand Rarity” is the Krest bits of the plot of Licence to Kill, only not quite as exciting.

Rereading this stuff, I’ve been struck by how often the best bits of the films are always Fleming’s. Yet it's weird to realise that the worst of Bond on film - silly plotting, an overly serious Bond being dull about posh past-times and food, and sleazing his way into bed (in fact, A View To A Kill) - is not atypical Bond of the books.

The skill of the adapters is also to jettison his crapper stuff. They rename the women and make the set pieces bigger and in more striking locations. They make the words coming out of Bond’s mouth smart and witty and sparkly. They’ve got a broader, more inclusive view of the world and other people. And that’s what keeps Bond involving when he could easily have died with Fleming.

“Quantum of Solace” is really very odd; Bond is bored at a dinner party and doesn’t get on with his host. But a chance remark leads to the host telling a story about an affair that gives him a completely different perspective on the boring guests. Bond is, unlike the reader, gripped. Compared to them, he finally decides, his life isn’t that exciting.

Just what the flying flip?

An uncharitable reviewer might assume Fleming had shoehorned Bond into the framing of a non-James Bond story. Perhaps it’s meant to reinforce the idea of Bond as an outsider, cold in company but keen to know everyone’s secrets. But I think it’s just meant to play as it is; Bond is moved, has a revelation about people, because of hearing this story.

The title comes from the host’s own theory about what finally breaks up a couple. Bond can’t suck up enough.
“Bond said: ‘That’s a splendid name for it … I should say you’re absolutely right. Quantum of Solace – the amount of comfort. Yes, I suppose you could say that all love and friendship is based in the end on that. Human beings are very insecure. When the other person not only makes you feel insecure but actually seems to want to destroy you, it’s obviously the end. The Quantum of Solace stands at zero. You’ve got to get away to save yourself.’”

Fleming, Quantum of Solace, in For Your Eyes Only, p. 093.

So it’s a story about there being nothing left of a relationship. Which bleak view, it seems to me, is the complete opposite of what rumour says will be the basis for the film version. If the whispers are right, Bond can take some minuscule comfort from how things with Vesper turned out in that she’s led him to the baddest of the bad guys. And maybe – though they whispered it of the last one, too – that’ll be someone with the same initials as one of Fuller’s beers.

No, not London Pride.

James Bond will be return in Diamonds Are Forever (book), just as soon as I've reread it.

Monday, March 10, 2008

Mess-up-otamia

Some time ago in a comment on this blog, Liadnan recommended I base my understanding of Middle Eastern history on more than a rant from one old stand-up comic. He was even kind enough to supply a copy of David Fromkin’s “A Peace to End All Peace”, though it is such a hefty and serious-looking tome that I kept bravely putting off starting it…

It’s utterly compelling. Sadly, it’s compelling in the same way as a car crash. Or rather, like some impossibly intricate multiple pile-up, stretching out years and hundreds of miles. “How the Middle East ended up in such a godawful mess” was Liadnan’s own subtitle.

The book covers the collapse of the Ottoman Empire and the foundation of the modern Middle East, so from the start of the First World War to the attempts at agreement that followed it, up until 1922. In large part, it’s told from the perspective of British interests, and often Fromkin seems to concentrate on two key figures – David Lloyd George and Winston Churchill.

This is in keeping with a particular kind of history that likes to pinpoint the Great Men Who Made Stuff Happen. Just like in Knight Rider, one man can make a difference. And yet the one man who really changes everyone’s fortunes is the bloke who single-handedly won the First World War. Bothersomely, he was French.
“Suddenly – and unexpectedly – an Allied breakthrough came in Bulgaria, where General Louis-Félix-François Franchet d’Esperey, the new French commander of the Allied forces in hitherto-neglected Salonika in Greece, launched a lightning offensive at the end of the summer. Bulgaria collapsed and, on 26 September 1918, asked for an armistice. The request should have been forwarded to the Supreme War Council of the Allies in Paris, but Franchet d’Esperey dared not chance the delay. He composed the terms of an armistice himself, and had it signed within a matter of days so that eh could turn immediately to mount a devastating offensive on the Danube against the Germans and Austrians, thus successfully executing the ‘Eastern’ strategy that Lloyd George had been advocating in vain ever since the war began.”
David Fromkin, A Peace to End All Peace, p. 363.

Fromkin argues that this turned out to be a bit of a nuisance, as Lloyd George and US President Wilson weren’t quite ready with a plan for an armistice, at least not one that would hand them the best spoils. The war was suddenly over, and the West’s leaders were running to catch up with new powers in the Middle East.

It’s a monstrously complex mix of stories, plots and conspiracies, and Fromkin thankfully divides even his short chapters into sections. Yet I found I kept having to refer back to the index to remind myself who was who, and there’s just four maps with which to try and untangle the mess of various place names and people.

Though the grand narrative is rather hard work, Fromkin peppers it with tremendous and brilliant detail. He explains and critiques the self-mythology of TE Lawrence (who was blushingly caught at the Albert Hall, enjoying a sell-out performance of a film version of his own heroic endeavours). He gives context to the Tashkent adventures of Colonel Bailey, and even the misadventures of Enver Pasha are full of weird and lurid intrigue. British – and French and American – interests were, though, little troubled by any of this contemporary complexity.

European powers had famously seen the Ottoman Empire as that “sick old man” for a good century, but it served as a useful buffer between the imperial machinations of Britain and Russia. As the venerable Dr Challis argues in her published work, the Crimean War was just one example of the Ottomans’ relative weakness. For the next few decades, British warships patrolled her waters and British travellers helped themselves to her antiquities.

But Western assumptions about the East meant Britain massively underestimated the Ottoman position on the outbreak of war. Fromkin is good at following the various diplomatic intrigues – British, French, German and Russian – that saw the Ottomans joining the war and, rather to the surprise of those four powers, not tumbling out of it pretty much instantly.

The Middle East region was important to Britain as the link between its colonial riches in Africa and India, and much of Britain’s attempts at settlement hoped to create a safe trade route stretching from Cape Town to Australia. Fromkin is good at explaining the economics of this; that the European powers were parasitic of Africa and Asia, and that this to some extent justified the attention Lloyd George gave the Middle East while (as the Times argued at the time) ignoring important issues of welfare at home.

The economics is also important in explaining why Britain’s hold over these territories unravelled. The local populations only suffered such regimes because revolt was put down so brutally. As with Iraq after 2003, the new treaty agreements needed to be more than just words, but deploying lots of soldiers to keep the peace proved to have to high a price. It wasn’t just the money; the British people were exhausted by four years of appalling warfare, like nothing anyone had ever seen before.
“It has been estimated that the total of military and civilian casualties in all of Europe’s domestic and international conflicts in the 100 years between 1815 and 1915 was no greater than a single day’s combat losses in any of the great battles of 1916.”
Ibid., p. 232.

As a result, the domestic pressure for post-war demobilisation scuppered all Britian’s efforts, and at a time when Lloyd George had just expanded the territories over which Britain was keeping watch.

Where Fromkin disagrees with Rob Newman is in the role of oil before war broke out. Churchill was, Fromkin argues, unusual in seeing the importance of the region’s oil prior to 1914. The military importance of oil was generally recognised by 1918, but Churchill, arranging before the war,
“for the British government to purchase a majority shareholding in the Anglo-Persian Oil Company, aroused a great deal of opposition, especially within the Government of India, from British officials who did not see the need for it.”
Ibid., p. 354.

That said, this doesn’t quite square with Fromkin’s own account that,
“a month before the outbreak of the Ottoman war in the autumn of 1914, London had ordered a standby force to be sent from India to the Persian Gulf to protect Britain’s oil supplies from Persia in case they should be threatened.”
Ibid., p. 200.

So if not about the oil, what was it all about? As Fromkin says, Britain’s concerns about Germany’s influence in the Middle East in the lead-up to the war were not about the well-being of the indigenous people. Rather they worried that, “Asia might be left as a vast slave colony in Germany’s possession, and its wealth and raw materials would fuel Germany industry and allow it to dominate the globe” (p. 357). Clearly that sort of thing should be left to the much more honourable British.

The Middle East was also important to the West for historical, cultural reasons. This was the land of the Bible, of the Iliad and the founding of civilisation as we know it. The names used for the regions in question – Syria, Mesopotamia, even Palestine – betrayed that the Western powers were some 2,000 years out of date with their local intelligence. Fromkin is good at showing what little concern there was for the contemporary, complex mix of languages, people and traditions. “The [Ottoman] empire was incoherent,” he says (p. 34).
“It was evident that London either was not aware of, or had given no thought to, the population mix of the Mesopotamian provinces. The antipathy between the minority of Moslems who were Sunnis and the majority who were Shi’ites, the rivalries of tribes and clans, the historic and geographic divisions of the provinces, and the commercial predominance of the Jewish community in the city of Baghdad made it difficult to achieve a single unified government that was at the same time representative, effective, and widely supported.”
Ibid., p. 307.

And the Western powers tried to untangle these disparate groups with little more than the stories they’d learned at school.
“Lloyd George, who kept demanding that Britain should rule Palestine from (in the Biblical phrase) Dan to Beersheba, did not know where Dan was. He searched for it in a nineteenth-century Biblical atlas, but it was not until nearly a year after the armistice that General Allenby was able to report to him that Dan had been located and, as it was not where the Prime Minister wanted it to be, Britain asked for a boundary further north.”
Ibid., p. 400.

US President Wilson had no better weight of local knowledge to support his lofty ideals for the territorial settlement. His “experts” based their assessments on old maps and one encyclopaedia.
“The Middle Eastern group, composed of ten scholars operating out of Princeton University, did not include any specialists in the contemporary Middle East; its chairman was a specialist of the Crusades. The chairman’s son, also a member, was a specialist in Latin American studies. Among other members were an expert on the American Indian, an engineer, and two professors who specialized in ancient Persian languages and literature.”
Ibid., p. 261.

It was this lack of detail that proved fatal – literally. The disastrous Gallipoli campaign was the result of the available maps being so out of date (as well as an atrocious lack of planning about what to do once the beach had been taken).

But the West didn’t acknowledge their own shortcomings, and just assumed they knew what was best for all these funny foreign people. There's a misguided belief, perhaps a Whig liberal idea, that the locals will be glad to see us wading in, even if we don't really speak the language. Wilson’s high principles were, to be put it mildly, not practical.
“The President’s program was vague and bound to arouse millennial expectations – which made it practically certain that any agreement achieved by politicians would disappoint.”
Ibid., p. 262.

The lack of local knowledge and insight inevitably led all too often to the achievement of entirely the opposite of what was wanted.
“Nothing, however, could have provided a better description of what was going to happen at the Peace Conference than [US President] Wilson’s speeches about what was not going to happen. Peoples and provinces were indeed ‘bartered about from sovereignty to sovereignty as if they were chattels or pawns in a game’. It was not the case that every settlement was ‘made in the interest and for the benefit of the population concerned’; on the contrary such settlements were made (though Wilson said they would not be) in order to provide an ‘adjustment or compromise of claims among rival states’ seeking ‘exterior influence or mastery’. Not even his own country was prepared to follow the path that he had marked out.”
Ibid., p. 390.

There were also awful consequences for groups affiliated with the Allies, which again the Allies seem not to have considered at any point. The Turks avenged themselves on those groups they took to be helping the Allies – the Armenians and Christian minority groups, and (it seems strange now that they get just a footnote) the Kurds. Constantinople and the Dardanelles were effectively held hostage by the Greeks to ensure, “Turkey’s good behavior in such matters as the treatment of Christian minorities” (p. 411).

Fromkin is also damning of many of the promises made by the Allied powers. “This was sheer dishonesty,” he says at one point, “for the Arab Bureau officers did not believe that Arabs were capable of self-government” (p. 345).

It’s ironic, too, that Feisal and other leaders in the region were told to trust the Entente powers, when those powers couldn’t even trust each other. The language used at the time gives some idea of the suspicion and contempt for any kind of foreigner, even the ones on your side. The French referred to “the brutal rapacity of our allies” (p. 442), the British spoke of Transjordan as “partially inhabited by predatory savages” (p. 443).

All this meant trouble for the various communities caught up in the disputed lands – such as the Armenians, Kurds, Assyrian or Nestorian communities. But the book especially concentrates on the plight of – and problems caused by – Jewish groups.
“London’s policy of Zionism might have been expressly designed to stir up trouble, and must have been devised by far-off officials who did not have to live and deal with local conditions.”
Ibid., p. 445.

There’s a temptation to see all of Middle Eastern conflict as a war between Jews and Arabs. That is mistaking race for culture, that all Jews are the same, that all Arabs are the same. It would be as wrong to assume that all the Christian peoples of Europe had the same national identity, or could be controlled in the same way. Even as the British made their first woolly commitments to a Jewish state, Zionism was a contentious topic among much of the Jewish community. Edwin Montagu was not alone in his concerns that a Jewish Palestine would mean exile for British Jews.
“The second son of a successful financier who had been ennobled, Montagu saw Zionism as a threat to the position in British society that he and his family had so recently, and with so much exertion, attained. Judaism, he argued, was a religion, not a nationality, and to say otherwise was to say that he was less than 100 percent British.”
Ibid., p. 294.

Fromkin struggles to reconcile British Zionism with an implicit, institutionalised anti-Semitism. I think you can reconcile these two extremes by considering the Nazis’ later plans to make Madagascar the new Jewish nation; giving the Jews their own country meant they could be excised from yours.

Fromkin shows Britain to be rabidly anti-Semitic. British intelligence (or rather, stupidity) was fast joining up the dots between disaffected Jewish groups in Germany, Jewish designs for Palestine and Jewish members of the Bolshevik revolutionaries. This seems to have been helped along by the publication in London and Paris in 1920 of “The Jewish Peril”. This translated “Protocols of the Learned Elders of Zion”, apparently the records of Jewish and Freemason meetings “in which they plotted to overthrow capitalism and Christianity and to establish a world state under joint rule” (p. 468).

The Protocols had first appeared in a Russian newspaper in 1903, but had really become something in 1917,
“when it was remarked that several Bolshevik leaders were Jews and the communist doctrine bore a certain resemblance to that described in the Protocols … As such, the Protocols explained – among other things – the mysterious revolts against Britain everywhere in the East.”
Ibid., p. 469.

They were, of course, a forgery and, like so many of these things, cut and pasted from earlier works (including a satire on Napoleon III and even a fantasy novel).

But British intelligence seems to have been blinded to the dodginess of this dossier by their own eagerness to believe the conspiracy. They even decided the Young Turks who’d revolted against the Sultan must be Jewish led, because one of them had a name a bit like a bloke in New York. Fromkin quotes the manic conspiracy theorising that opens John Buchan’s The 39 Steps, and then reminds us that Buchan “later became director of information services for Lloyd George’s government” (p. 247).

(It'd be easier to justify these rantings as the mad paranoia of a character in the book were the book then not to confirm the character's suspicions. Sherlock Holmes' Last Bow includes a similar cell of anarchists working to bring about war, so you could easily create a shocker plot without having to make the baddies such stereotypical Jews.)

This institutional anti-Semitism came with a high price in lives. The British refused to help arm Jabotinsky and other Jewish veterans of the British Army so that they could defend themselves from the violence that broke out in Jerusalem on 4 April 1920. No casualties were suffered where Jabotinsky's forces were (they had bought weapons from a gunrunner); all the Jewish casualties were in the Old City of Jerusalem,
“which British army units prevented Jabotinsky’s forces from entering. Adding an especially ominous tinge to the bloodletting in the Old City was the cry of the rioting mobs that ‘The Government is with us!’ That the mobs were not unjustified in their cry became evident when the British military authorities meted out punishment. Only a few rioters were punished by serious court sentences; but Jabotinsky and his colleagues were swiftly brought before a closed court martial, charged with distributing arms to the self-defense group, and sentenced to fifteen years’ hard labour in the fortress-prison of Acre.”
Ibid., p. 447.

Richard Meinertzhagen, head of Military Intelligence in Cairo, was sent to Palestine to investiogate, where he discovered that the,
“British colonel who served as chief of staff of the administration was conspiring with the Arab Mufti of Jerusalem to foment new anti-Jewish riots.”
Ibid, p. 448.

This does not mean that the Jewish groups themselves were entirely innocent of all wrongs. Churchill was also prescient about problems inherent in the settlement of Palestine for the Jewish people, arguing as far back as October 1919 that the Jews “take it for granted that the local population will be cleared out to suit their convenience” (p. 494).

Also, the West might have been wildly paranoid about the Bolsheviks and their influence. Yet Fromkin is quick to point out that “[Lenin’s] was a minority regime that had seized power by force and that held on to power by employing as many as a quarter of a million secret policemen” (pp. 476-7). There were good reasons to be paranoid.

But again and again it’s the West’s own wilful blindness, paternalistic assumptions and damnable pride that are the cause of so much of the horror inflicted on the region. Fromkin traces a line through a whole series of separate incidents, intrigues and revolts that the British believed had to be the work of a single and small group of conspirators. And then argues that that’s not wholly wrong.
“In fact there was there was an outside force linked to every one of the outbreaks of violence in the Middle East, but it was the one force whose presence remained invisible to British officialdom. It was Britain herself. In a region of the world whose inhabitants were known especially to dislike foreigners, and in a predominantly Moslem world which could abide being ruled by almost anybody except non-Moslems, a foreign Christian country ought to have expected to encounter hostility when it attempted to impose its own rule. The shadows that accompanied the British rulers wherever they went in the Middle East were in fact their own.”
Ibid., p.468.

The book explains how the Middle East we know today came into being. And I can’t help wondering if those same shadows accompany the British and Americans even now, only under a different name.

Sunday, November 11, 2007

Lover traitor hero spy

As I noted in last year’s post about Casino Royale (the novel), Commander James Bond of MI6 earned his licence in the Second World War. He compares war stories with a waiter, and was part of the Special Operations Executive – the real secret service which got up to all kinds of neat tricks and nastiness against the Nazis.

Author Ian Fleming had played a role in intelligence matters during the war, and was even named in a bit of misinformation about anti-submarine technologies in 1944. The chap responsible for morsing this lie to Germany was one Eddie Chapman. Chapman was a hugely accomplished double agent: the only British citizen to receive the Iron Cross, a pal of Noel Coward and Dennis Wheatley, and, according to one anonymous lady acquaintance, “an absolute shit”.

He’s the subject of Ben Macintyre’s Agent Zigzag, on which I have just gorged. Cor, it’s a bit good. John le Carre is on the nose in his assessment (which is the reason I picked the book up):
“Superb. Meticulously researched, splendidly told, immensely entertaining and often very moving.”
Chapman was a small-time crook with a thing for explosives who found himself in a jail on Jersey when the Nazis took the island over. He avoids the labour and death camps by offering them use of his explosive skills, and is soon being trained as a German agent. He learns how to hide explosives in pieces of coal and there’s quite a lot on the different ways to make timers from watches and alarm clocks. We get insights into the mechanics of spy work and the ornate puns and anagrams of which the coders were so fond.

The Germans then parachute him into England. He doesn’t fasten his mask properly so nosebleeds down his suit; his pack is so big he gets wedged in the plane’s trapdoor when he tries to bail out, and one of the pilots has to give him a kick; and when he finally hits the ground, he gives himself up to the British.

What follows is a complex tangle of intrigues as the British debrief and then use the double-agent, all the time struggling with his amorality, his need for excitement and cash and loose women. Macintyre musters a huge wealth of newly declassified contemporary reports and more recent interviews to give a comprehensive picture of the man.

As Sir John Masterman, chair of the misinformation-making Twenty Committee noted of his charge,
“Certain persons … had a natural predilection to live in that curious world of espionage and deceit, and who attach themselves with equal facility to one side or the other, so long as their craving for adventure of a rather macabre type is satisfied.”

quoted in Ben Macintyre, Agent Zigzag, p. 71.

But it’s not just that Chapman is such a fascinating, charismatic snake. Macintyre also expertly guides us through the complexities of spy work, the conflicting hierarchies of British and German military and intelligence groups, and the real and perceived events of the war that Chapman reported on, lied about and affected. It is an extraordinary achievement that so richly detailed a study as this is so straightforwardly engaging. In explaining the context, Macintyre packs in a wealth of brilliant top facts and details.
“Between the extremes of collaboration and resistance, the majority of Norwegians maintained a sullen, insolent loathing for the German occupiers. As a mark of opposition many wore paperclips in their lapels. The paperclip is a Norwegian invention: the little twist of metal became a symbol of unity, a society binding together against oppression. Their anger blew cold in a series of small rebellions and acts of incivility. Waiters in restaurants would always serve their countrymen first; Norwegians would cross the street to avoid eye contact with a German and speak only in Norwegian; on buses no one would sit beside a German, even when the vehicle was jam-packed, a form of passive disobedience so infuriating to the Nazi occupiers that it became illegal to stand on a bus if a seat was available.”

Ibid., p. 228.

This wealth of detail means Macintyre can marry up the inconsistencies in people’s accounts with solid facts – and several times he can point out when Chapman lied through his teeth. He also makes us care about the people Chapman met and worked with, so that it’s as rewarding to find out about the post-war lives of Chapman’s guards and mentors as about his later scams.

If there’s any criticism at all, it’s that occasionally the descriptions are a little too overwrought – “the sun that poured through the dining-room window of the Hotel de la Plage formed a dazzling halo around the man sat opposite Betty Farmer” (p. 3).

It’s also interesting that one other of Chapman’s many acquaintances, called upon to as a character witness, was Terence Young. Young later directed the film Triple Cross, in which Christopher Plummer played Chapman – though Macintyre dismisses it as bearing “only a superficial relation to the truth. Chapman was disappointed by it” (p. 318).

But more famously, Young was director of the first two James Bond movies. Many have said that Sean Connery based his performance on Young. But in the cool, funny, sophisticated, adventure-loving rascal that is more Connery’s invention than Fleming’s, there’s clearly something pinched from Agent Zigzag.

Friday, September 21, 2007

Keep it secret, keep it safe

“It’s like Allo! Allo!, but without the laughs,” said Monster Maker as he tried to explain to me Secret Army.

“Oh,’ I said. “So just like Allo! Allo!”
Secret Army (1977-79) was one of a number of highly acclaimed BBC telly dramas based on the Second World War. Thought up and produced by the same gang what did Colditz, this is about the adventures of the Belgian “Lifeline”, a top secret network that rescued crashed Allied airman and got them back to fighting Nazis again. For several wise people I know, it’s the best thing ever on telly.

In the first series, Jan Francis plays Lisa – codename Yvette – the brave young zealot running Lifeline. She works through Brussels café le Candide run by the charming Albert Fourier (Bernard Hepton). Albert’s crippled wife is bed-ridden, but aware that Albert’s carrying on an affair with waitress Monique (Angela Richards). Lifeline also gets help from teenage waitress Natalie (Juliet Hammond-Hill) and vegetable-seller / radio-operator Alain (Ron Pember), plus Doctor Keldermans (Valentine Dyall). There’s also English agents, old ladies and helpful peasants along the way.

It’s a brutal series where nobody is safe, the work of saving some 800 airman taking a terrible toll. As the Germans continually point out, an airman being captured goes becomes a prisoner of war, but anyone helping them escape will be shot. So there’s plenty of chases across roof-tops and through the country, and some occasional firefights and explosions.

Pretty much every actor of the time is in it, plus several young faces yet to be names. Matthew Sweet and I invented a game for watching it, where you get one point for naming an actor, two points for naming something else they’ve been in, and five points for their role in Doctor Who. The Black Guardian’s a regular, and so is Doctor Skagra, and there’s roles for the Security Chief from The War Games, Griffiths from Attack of the Cybermen and even the boss of the Krillitane.

It’s also odd to see Klinkerhoffen, von Strohm and Gruber from Allo! Allo! in it. But also odder to imagine anyone being sold “Let’s do Secret Army as a sitcom”. Did someone really respond, “Yes, that’s a good idea…”?

Like a lot of old drama (and maybe Casualty now) the pathos comes from watching people dashed on the rocks of ill-fortune. Yes, like Casualty, we can sometimes spot which characters are going to die from the moment they’re introduced. But other characters, like (muto) Stephen Yardley’s Max and (my friend) Paul Shelley’s Major Bradley, are both sudden and nasty surprises.

Likewise, Yvette is suddenly killed off in the first episode of season two, just as le Candide becomes a posh restaurant and changes the whole dynamic of the series. This means that it can cater for the occupying forces, so there’s more interaction between the goodies and the German villains. These are lead by Clifford Rose’s Kessler, head of the Gestapo, and Michael Culver’s Brandt as the firm-but-fair head of the Luftwaffe. The series also explores the Germans’ relationships, and offers a sympathetic view of the ordinary German soldiery, as separate from the Nazi sadists.

Which is odd, because Andy Priestner’s notes and the DVD extras tell us that Clifford Rose was the one the audience went for. Perhaps that’s because the ladies like a villain, or because even he is made sympathetic through his relationship with Hazel McBride’s Madelaine. She didn’t, though, continue into the dubious-sounding spin-off which sees us rooting for Kessler on the run.

In fact, a hell of a lot of the series is about the complexities of what’s often portrayed elsewhere as a simple war of good versus evil. Lifeline has to make tough decisions and sacrifice people, just to protect themselves, while the Germans are often kind and caring people, just as hurt by the ongoing war. The fact that the series can so ruthlessly, unexpectedly despatch its characters also adds to the sense that we don’t know what’s coming next.

Season Two also sees a lot of stock footage mixed in with the action, tying the events and characters of the drama into the real, historical record. I wondered how much more effective that would have been at the time, so soon after The World At War.

The second season ends with news of the Allied invasion, and the prospect of liberation. But this in fact causes more complications in Season Three, as it becomes harder to run Lifeline with the roads, trains and phones out of action, and with Terrence Hardiman’s Reinhardt breathing closer down their necks. What’s more, the communists see Albert as the enemy, and the rest of Brussels see him as a conspirator. It becomes a race against time: will Albert and his friends be lynched before the Allies can explain their efforts.

The four episodes leading up to the end (bar the final episode) take place on consecutive days as the Allies get into Brussels. There’s a sudden change of pace and loose ends get tied up very quickly. There are still some last-minute deaths for regular characters, but there’s also a sudden romance and rescue that I hadn’t seen coming at all. Calling the final episode “The Execution” had me thinking it would go a whole other way entirely. Good herring there, fellas!

I’d heard something of the events of the penultimate episode from my parents, who remembered the series fondly. The bit that stuck in their mind was Monique having her head shaved by the Brussels mob, for being an adultress and collaborator. Is it wrong to be disappointed that it’s only an extra who gets the grade 2 treatment? I felt that this rescue and Monique’s subsequent adventures were too contrived a happy ending – even if the final scene of the series plays again into the complexity of everyone’s relationships.

And then suddenly it’s all over. A never screened, never available final episode is described in the DVD notes, reuniting the characters in 1969, while Albert and Natalie had cameos in the spin-off Kessler. And there are details of a CD of singing on Andy Priestner’s website.

Is it the best thing ever, then? The structure’s a bit odd in places so that suddenly whole long plot lines are over. Sometimes it’s pretty hysterical (“Plague!!!”), and I’d have liked some more funny bits to balance the general misery. But it’s a gripping, intelligent series full of fantastic characters and detail, and really rather special.

Wednesday, August 15, 2007

Like free admission to a library

Not the sameM kindly plus-oned me into a screening of The Bourne Ultimatum yesterday morning – on the basis that he’d not seen the first two Bourne outings and I might help with any questions. I was a bit giddy with excitement as we arrived in Leicester Square. The following contains some minor spoilers, but won’t give the game away. But no, Ian, there weren’t any lions.

The film picks up immediately from the end of The Bourne Supremacy with ex-assassin-on-the-run Jason wounded and in Moscow, having just fessed up to a girl. The police are after him, he’s in bad shape and it’s all a bit exciting. The fast-cutting, low-fi, hand-held look is just as from before, as is the fantastic music.

For newbies like M, there are flashbacks early on to what has gone before and a CIA board meeting where people explain the plots of the last two films to gnarly boss Scott Glenn. His, “You couldn’t make this stuff up,” is a bit awkward and knowing, but any newcomers are quickly up to speed.

The hook for this one is that the Guardian have got hold of the story. Yes, really. There’s exciting scenes of the Guardian offices as they fight they good fight against conspiracies. M, what knows those offices himself, found this especially funny.

Soon Jason is chasing the story himself, racing to collect clues about what he used to be a part of, while baddies try to eliminate the evidence. We dash quickly all across Europe: Turin, London, Paris, Madrid, the CIA merrily ignoring local laws and civil liberties as they struggle to keep hold of their secrets.

It’s as brutal and fast-paced and thrilling and smart as its predecessors, with Matt Damon using his brains as much as he uses martial arts, one man against hopeless odds. There’s some fun gags as he calls the police on his pursuers or turns up where they’re not looking. I am struggling not to say more, but note how it’s the women who help him and act as his conscience and the boys who use too much brute force.

So if you like the last two, you’ll be very happy. What’s more, the film has enough similar shots and situations to make it feel like this isn’t just another add-on to the franchise but part of a cohesive whole. That’s most obvious in the final scenes: the last lines from Bourne and then what happens next.

M not seen any of the previous two (I leant him them on DVD) and loved it too, though in the drizzle outside after he felt unconvinced by it as satire. I suggested, though, that this “it’s not the institution that’s at fault but some rogue elements within it” is no different from James Bond. I suppose there’s an argument to be made that this genre is all adventures with extremists.

Speaking of Bond, there’d been some speak last year that Casino Royale owed a great deal to Jason Bourne (though I’ve argued that it owes more to 24). So how would Bourne respond: would it break its winning formula in trying to up its game? No, it offers more of the same, only faster and more intense and with some bigger set-ups. (I also thought the rooftop chase in Tangiers reminiscent of The Living Daylights, though M. thought of the political Battle of Tangiers).

There are a small number of tiny niggles, too. Where does Bourne get his money from? How does he break into what should be such secure places? The film works hard to give Julia Styles a reason to be there, but it’s still a huge coincidence that she happens to end up in Bourne’s way again. Especially given what we learn about her past: yes, she might have reasons to be there, but that’s why her bosses would ensure she couldn’t be.

There’s also the customary British actor playing the villainous big cheese. At first I thought the bloke glimpsed in the flashbacks was an excuse to bring back Brian Cox, and wonder if Albert Finney got cast entirely for that reason.

Filmed at Pinewood, the film makes use of London’s own American actors – Von Statten and the US President from Doctor Who are in it, though I felt cheated there was no Mac McDonald. (Only this weekend M and I devised a game for watching Secret Army, where it’s one point for naming an actor, two for naming another role they’ve had, and five for who they played in some form of Doctor Who).

But anyway. I was buzzing all day after seeing it and am already booking to go again.