Doctor Who; do not read this if you have not seen Face the Raven, 20/11 or do not intend to!

This is Clara’s farewell to The Doctor, and to us,  in episode 10 of Doctor Who: Face the Raven,  broadcast on the 20^th November, 2015.    

They both  know that she is going to die in a moment of two - and they both know who is to blame.  

Clara says to the Doctor…

“You; listen to me.  You’re going to be alone now.   And you’re very bad at that.  You’re going to be furious.   And you’re going to be sad.  But listen to me.  Don’t let this change you. ….  I know what you are capable of.   You;  don’t be a warrior, promise me.  Be a Doctor.” 

"What’s the point of being a doctor if can’t cure…"

“Heal yourself .  You have to. You can’t let this turn you into a monster.  So, I am not asking you for a promise.  I am giving you an order.  You will not insult my memory.   There will be no revenge.   I will die, and no one else, here or anywhere, will suffer.”

"What about me?"

"If there was something I could do about that I would.   I guess we’re both just going to have to be brave.”

This was obviously written (by Sarah Dollard) and recorded months ago, but how terribly relevant it is now.   If there is ever going to be peace on Earth we have to be brave enough, and truly human enough,  not to let our anger and grief turn us to violence.  We must not let monsters turn us into monsters.    We need  to respond to the worse that can happen to us – and to those we love - by being the best we can be.  And do you know what?  Time after time that is what happens.   We saw it in Paris last week.   If we look for it we can see it over and over again.  

It cannot be by accident that Clara then faces her death with her arms held wide open.     And I cannot believe that Stephan Moffatt, the originator and guiding hand of  the new Doctor Who,  will insult her courage and humanity by allowing some later resurrection.   Clara is dead.   And she  lived her death in the best possible way she could.     Thank you Clara.  Thank you   Sarah Dollard and Stephen Moffatt.   And thank you The BBC.

Slowly but thoughtfully riding West.

 Silverado was one of the last Westerns I saw that took seriously the fact that 19^th century America  was full of immigrants.   I say seriously even though in that case it was the inclusion of  John Cleese’ terribly English sheriff that made the point.  Slow West is set shortly after the end of the Civil War and has more immigrants, ranging from French speaking Africans to Irish Silas (Michael Fassbender) and Jay (Kodi Smit-McPhee),  a teenage Scots aristocrat in pursuit of his love, Rosy, (Caren Pistorious) who has fled with her father, both wanted for involvement in the death of Jay’s father.     Jay is equipped for his trek towards Colorado with nothing but determination and inappropriate baggage (I mean stuff in bags).    He is picked up by Silas, a gunman who is not quite as competent as he thinks, who becomes his guide.     But Silas has baggage too (of the other kind)  and a hidden agenda.    Payne (Ben Mendelsohn), a flamboyant bounty hunter,  is part of that baggage.      

The country through which they ride is actually New Zealand, but the Irish cinematographer Robbie Ryan films it beautifully.    I last saw his work in Philumena.     I try to never forget that movies are all photographed, and the eye and brain behind the camera is crucial. 

Fassbender co-produced this movie, written and directed by John MacClean, and I can see why.    MacClean studied Art in Edinburgh and London before forming The Beta Band and then The Aliens and directing a number of their videos.   In 2009 he made a short movie with Fassbender,  Man On A Motorcycle, shot on a mobile phone, and then won a Bafta for another short, Pitch Black Heist, in 2011.   Here MacClean has taken a look at the familiar Western genre and despite the authentic and random violence that punctuates the movie it is a rather thoughtful and gentle look.   For sure this is a hard place to be and survival is tenuous for young immigrant  families trekking West, for American Natives hunted by white gunmen,  for anyone with a price on their heads and for an innocent teenager with few survival skills.  But humanity surfaces in unexpected places.    Jay’s heartful intention drives the plot,  and cynical Silas slowly responds the foolish, but brave and intelligent, young man.      

Smit-McPhee made the most of his roles in Let Me In and The Road,  and pairs well here with Fassbender.   They shot the film more or less in sequence, and you can see the two actors coming to terms with each other just as their characters do.    I do not remember the music, and that is a compliment.    Too many soundtracks intrude.    I recommend Slow West. 

Brooklyn.

It has been said that in Waiting for Godot nothing happens in the first act, and in the second act nothing happens again.     In Brooklyn very little happens.    Yet this movie had the best opening weekend box office in Irish history – and I am not surprised.     It was adapted by Nick Hornsby from Colm Toibin’s award-wining novel, Directed by the Irish playwright and associate Director of the Donmar Warehouse, John Crowley, and stars  Saoirse Ronan, Domhnall Gleeson, Jim Broadbent and Julie Walters.       This is a very Irish production, with Brid Kennan,  Maeve McGrath, Fiona Glascott, Nora-Jane Noone, Mary O’Driscoll,   Karen Ardiff,  and Aine Ni Mhuiri providing some of the many Irish female actors involved and Iarla O’Lionaird, a well known Irish sean-nos singer, electrifies with his voice in a simple but moving scene during Christmas lunch for down-and-outs. 

The story is set in 1950’s South West Ireland and in Brooklyn, as young Ellis crosses the Atlantic looking to fulfil her modest ambitions.  I could summarise the plot in three sentences, but I will not.   It is a domestic drama with very little drama.   It is also exquisite.    The slow pace and lack of adrenalin allow us to admire the colour palate, the design, costumes, music, and most of all the acting.   Saoirse Ronan, who plays Ellis,  has  the ability to hold our attention while doing nothing.   Doctor Mark Kermode suggests that the pupils of her eyes do the acting.    I say her performance is limpid; still and utterly transparent.     I was reminded of Jennifer Lawrence in Winter’s Bone, in that I could not take my eyes of her.

One of the things I love about Brooklyn is that it about good people.   Ellis’s mother and sister have only her best interests at heart.   Julie Walters plays Mrs.  Kehoe, the owner of a Brooklyn boarding house,  sharp tongued but motherly, always looking out for her ‘girls’.   Jim Broadbent is a Catholic priest who sheds no darkness.    Emory Cohen is Tony, the Italian-American who falls for Ellis, and treats her honourably.      Domhnall Gleeson’s Jim is also a good man.   In fact the only malevolent character is a shopkeeper, who in times of scarcity revels in her power.  She eventually gets her own come-upance.  

Does this mean there is no dramatic tension?  No, it does not.   Because we care about Ellis we fear for her.  Even if the threats are vague we hope that fate and those close to her will treat her well, and if she makes a mistake we are anxious about the possible consequences.    This movie operates at a profoundly human, domestic level.   So do most of us.    We do not need murder, catastrophe or tragedy to move us.    The ordinary lives of other people, if they are presented with credibility and conviction, are enough to rouse our empathy and concern. 

When I say that this is good movie I mean that to apply to every level, artistic, technical and moral.   I heartedly commend it. 

London Spy. Fact or fiction?

If I was a parent, relative or friend of the late Gareth Williams  I might be rather upset by the new BBC five part drama, London Spy, which debuted on Monday night.   Why?  Because Mr. Williams’ life and unhappy death seem to mirror those of Alex,  one of the main characters in London Spy.   At the end of the credits we read that this is a ‘work of fiction.  It is not intended to reflect any real persons, events or  set or business.’   Really?

In 2010 Mr. Williams  went missing and was found dead in his smart London apartment in very suspicious circumstances.    His body was crammed in a sports holdall.    Williams was a code-breaking genius, working for MI6.   He had gone to University when he was 13, and been recruited by GCHQ in his teens.     Williams’ flat was full of women’s clothing and wigs.    It was alleged he was a transvestite.   There were suspicions that his flat had been either cleaned up, or 'dressed' by secret agents after his death.     Both the British and Russian Secret Services  were suspected of illegal involvement. 

In London Spy Alex, or rather ‘Alex’,  has gone missing, and a body has been found in his smart London apartment, in a trunk.   He is/was a code breaking genius, who went to University when he was 15 and then to GCHQ/MI6.     Alex’s attic is full of bondage equipment and clothing.   Alex and Danny seem to have been under surveillance, but we do not know by whom.    Are we being prepared for a fictive account of his fate, or this simply ‘inspired’ by William’s mysterious death?

I do not know if the Williams family were consulted, or warned.    I hope the first.  I would be very unhappy if they were not warned of the way this episode at least mirrors their boy’s fate. 

From a TV drama point of view this drama looks very promising.    Edward Holcroft’s Alex  is convincing,  a brilliant man who seems to have given up all hope of having a loving relationship, dedicating himself to his secret craft, until he happens upon Danny.   Ben Wishaw plays Alex’s lover Danny with subtly and conviction.   Jim Broadbent reveals the steel under his avuncular velvet.   Tom Rob Smith's script is taut, and well realised by Jakob Verbruggen's direction.  The photography by Laurie Rose follows the mood faithfully in tones of grey and blue, and the music by David Holmes and Keefus Ciancia is appropriately understated.    I look forward to seeing further episodes,  but I am disturbed by the fiction-based-on-fact implications.