Watch out, we’re mad!

 

© Yahoo News

 

Watch Out, We’re Mad! was the title of a 1974 Italian-Spanish slapstick comedy movie starring Bud Spencer and Terence Hill, whose films during the 1970s were the sort of thing kids – kids in the UK, anyway – would graduate to when they grew too old to enjoy the slapstick comedy movies of Norman Wisdom.  Its plot had something to do with bearded, burly Bud and slim, handsome Terence having an escalating battle of wits, and fists, with some property-developing gangsters after the gangsters wrecked the duo’s beloved dune buggy.  No shit.  I saw it as a kid at my local cinema as part of a double bill with the re-released The Seventh Voyage of Sinbad (1958).  When you were ten years old, that was a double bill made in heaven.

 

However, Watch Out, We’re Mad! could also be the title given to the Daily Telegraph during the period leading up to and since Boris Johnson becoming British Prime Minister.  As soon as a Johnson premiership looked likely, the venerable newspaper decided to be that premiership’s number one cheerleader in the British media.  The November 6th edition of the Telegraph, for example, headed its front page with a quotation by Johnson saying of the opposition Labour Party and its leader Jeremy Corbyn: “…they point their fingers at individuals with a relish and a vindictiveness not seen since Stalin persecuted the kulaks.”

 

In my youth, the British tabloids were as idiotic and mean-spirited as they are today.  On the other hand, there seemed to be some constancy and balance at the upmarket end of the nation’s press.  You had three newspapers that were commonly, and for the most part deservedly, referred to as the ‘qualities’: the Guardian, catering for those people whose political sympathies lay on the left; the Times, catering for those who were in the middle; and the Telegraph, catering for those who tended towards the right.

 

Unfortunately, these days, ‘quality’ is the last word you’d apply to the Telegraph.  It has untethered itself from reality and sanity.  It has transformed itself into a printed pantomime of pro-Johnson loopiness.  And since the announcement that Britain will have a general election on December 12th, that loopiness has increased by the power of ten.

 

Before I continue, I should explain that I don’t live in Britain at the moment and my only access to the Telegraph is via its website; and as its articles exist behind a paywall, and as I’m not going to shell out cash to an organ so dementedly devoted to Johnson, and to Brexit, and to all causes championed by right-wingers, I can only gawp at its headlines.  It’s often said that newspaper journalists and columnists aren’t responsible for the sensational headlines topping their work, which are the creations of sub-editors.  But as the names I’m about to mention seem very comfortably ensconced at the modern-day Telegraph, I doubt if the headlines over their articles disturb them greatly and I assume those headlines are fair summations of their opinions.

 

Firstly, there’s the Telegraph’s coverage of Johnson himself, which brown-noses the man with an intensity reminiscent of the state-controlled North Korean media reporting the mightiness and infallibility of Kim Jong Un.  On October 20th, columnist Tim Stanley likened him to a certain bulldog-spirited British wartime leader: “It’s time critics saw Boris for the Churchillian figure he is.”  Ex-Telegraph editor Charles Moore attributed miracles on August 25th:  “Boris has brought a miraculous change to the political weather, as the remainer world falls apart.”  Johnson’s speech to the Conservative Party conference in early October was widely derided for being brief and perfunctory, but the Telegraph’s American columnist Janet Daley heard qualities in it that nobody else did: “Good-humoured Boris just gave the best speech of his career.”  And while stories have circulated about Johnson getting over-familiar with ‘the ladies’, Telegraph hack Alison Pearson dismissed these on October 1st.  Apparently with a direct telepathic link to the minds of the entire British public, she declared: “Normal people don’t give a monkey’s about ‘Gropegate’ – they’re still backing Boris.”

 

To the Telegraph’s current editor Allister Heath, Johnson is practically an Arthurian warrior-king, taking arms against a sea of Corbynites, anyone who still likes Tony Blair, EU remainers and general evildoers: on November 6th, “Wake up, Middle England.  A Corbyn victory would be a genuine catastrophe… This election is a binary battle between Boris and a Labour Party bent on the destruction of our freedom”; on October 30th,  “Boris Johnson’s historic mission is to save Britain from Corbyn and the Blairites”; and on August 28th – insinuating Johnson is Maggie Thatcher with a sex change – “This is Boris Johnson’s Falklands War, and he will do everything to win it.”

 

Johnson and his Conservative Party are generally reckoned to have had a shit start to the election campaign.  Their Welsh Secretary Alun Cairns resigned ‘after being accused of lying over an aide’s sabotaging of a rape trial’.  Tory MP Ross Thomson, Johnson’s most vocal supporter in Scotland, announced he wasn’t running for re-election after allegations of him drunkenly groping people.  And the famously aristocratic, arch-Brexiter Tory MP Jacob Rees-Mogg was condemned for making crass, ignorant remarks about the victims of the Grenfell Fire disaster.  But the Telegraph – surprise! – disagrees.

 

Its parliamentary sketch-writer Michael Deacon insisted on November 7th that the fiasco was actually one big, brilliant Boris plan: “A bumpy start for the Tories?  Actually, it’s a PR masterclass.”  Deacon apparently believes that whatever happens during the campaign has been mapped out in advance and will end in a big win for Johnson, for on October 30th he wrote: “The election campaign hasn’t even begun – but the Tories’ cunning plan is already clear.”  Oh, and let’s not hear any bad words about Jacob Rees-Mogg either.  Back on July 27th, Charles Moore gushed: “Jacob Rees-Mogg makes a fine case for the revival of the archaic.”

 

Boris Johnson might in the eyes of the Telegraph be heroic, noble, wise and infallible, but few adjectives are negative enough to describe his opponents, especially those who also oppose Brexit.  “Remainers have turned parliament into an anti-democratic monstrosity” (Heath on September 25th); “Euphoric Remainer snobbery has become a fanatical religion” (Sherelle Jacobs on October 18th); “Fatuous remain MPs have just become the useful idiots of the Leave cause” (Jacobs on October 24th).  And don’t even mention the unspeakable European Union itself.  “To survive the new global Dark Age, Britain must leave the tyrannical EU” (Jacobs yet again on August 8th); and “Our democracy is being overthrown by the EU’s Hideous Strength” (Daniel Hannan, Conservative MEP and Fox News’ go-to guy when they need a British commentator to assure right-wing Americans about the horribleness of the British National Health Service, on September 14th).

 

It says something about how utterly Loony Tunes the Telegraph has become that the editor of its Scottish version almost sounds reasonable in comparison.  This is Alan Cochrane, a man famous for his fulminations against supporters of Scottish independence.  Aware that in more left-leaning Scotland, any success the Scottish Tories have enjoyed in recent years has been due to them being perceived as ‘moderate’ – as epitomised by their former leader, the supposedly moderate Ruth Davison (who promptly resigned when Johnson became Prime Minister) – Cochrane has written pieces warning how badly the Boris Johnson Show plays north of the border.  These include “It’s not just what Boris Johnson says, it’s the way he says it that alienates Scotland” (October 4th) and “Crass Downing Street jibe at judges unites Scottish politicians” (September 12th).  You nearly feel sorry for Cochrane when you read the unhinged, xenophobic, Scotland-bashing comments his articles attract from English Telegraph readers in the threads below them.

 

Although Cochrane’s work appears regularly on the online Telegraph’s opinion page, he isn’t even mentioned on the page listing its columnists (alongside such veteran eye-swivellers as Julie Burchill and Nosferatu himself, Norman Tebbit).  Which shows how much importance the newspaper attaches to Cochrane, its Scottish edition and Scotland generally.

 

Of course, the Daily Telegraph is fixated with Boris Johnson largely because he’s been involved with the newspaper since the late 1980s – when it hired him as a journalist after he’d been sacked from the Times for fabricating a quote.  (Then-Telegraph editor Max Hastings has since said of Johnson that “he is unfit for national office, because it seems he cares for no interest save his own fame and gratification.”)  During the 1990s, as the Telegraph’s Brussels correspondent, Johnson made his name publishing widely exaggerated pieces on how the beastly EU was imposing spiteful and stupid regulations on plucky little Britain, helping fuel the Euro-scepticism that birthed the United Kingdom Independence Party (UKIP) and eventually won the 2016 referendum in favour of Brexit.  Johnson still writes for the Telegraph and its online opinion page gives pride of place to a set of articles with the oxymoronic title The Best of Boris.

 

Mindful of the dynamics between President Donald Trump and Fox News in the USA, the Telegraph clearly hopes to enjoy a similar relationship with Prime Minister Johnson – supporting him with a fervour unlike any other media outlet, whilst enjoying a symbiotic relationship where he uses his name to promote it and it has influence over him and his policies.

 

Yet all cannot be well in Telegraph-World because its owners, billionaire twins David and Frederick Barclay, have just decided to put the newspaper up for sale for 200 million pounds – less than a third of what they paid for it in 2004.  Officially, it’s said that the sale is due to the newspaper’s declining profits.  However, I’d like to think that the Barclay brothers are worried that their Boris-worshipping newspaper has turned into a Frankenstein’s monster and they want to get rid of it before their reputations are damaged by association.  That they’re no longer saying, “Watch out, we’re mad!”, but “Hold on, we’re not that mad.”

 

© Columbia Pictures

 

Death log 2016 – part 1

 

© American International Pictures

 

You may have noticed that one or two people died in 2016.  Here are some folk who passed away this year who’ll be particularly missed at Blood and Porridge.

 

January 10th saw the departure of musical legend and stylistic chameleon David Bowie, who was commemorated in no fewer than three postings on this blog:

 

http://bloodandporridge.co.uk/wp/?p=6104

http://bloodandporridge.co.uk/wp/?p=6114

http://bloodandporridge.co.uk/wp/?p=6130

 

Die Hard (1988)
Directed by John McTiernan
Shown: Alan Rickman

© Silver Pictures / 20th Century Fox

 

The British actor Alan Rickman died four days later.  Rickman’s career, and especially his talent for playing delightfully fiendish villains in movies like Die Hard (1988) and Robin Hood Prince of Thieves (1991), was also celebrated at Blood and Porridge:

 

http://bloodandporridge.co.uk/wp/?p=6183

 

January 9th saw the passing of American actor Angus Scrimm, who’ll be fondly remembered by horror-film fans for playing the Tall Man in Don Coscarelli’s Phantasm movies.  And Scottish writer Robert Banks Stewart died on January 15th.  Banks Stewart was well-known for creating the TV detective shows Shoestring (1979-80) and Bergerac (1981-91) and he also scripted two of the scariest stories of Tom Baker-era Doctor Who, 1975’s Terror of the Zygons and 1976’s The Seeds of Doom.  The alien monsters in the former adventure, the repulsively slimy and sucker-covered Zygons, proved so popular that forty years later they’re still menacing Peter Capaldi in the revived Doctor Who.

 

© BBC

 

Another British actor to depart in January 2016 was actor Frank Finlay, who passed away on the 30th.  Finlay played Porthos in the classic trilogy of Musketeers films directed by Richard Lester in 1973, 1974 and 1989; Van Helsing in the BBC’s stately adaptation of Bram Stoker’s Dracula in 1977; and Dr Fallada in a less reputable vampire epic, Tobe Hooper’s hilarious Lifeforce (1985).  He also had the curious distinction of playing Inspector Lestrade in two different films where Sherlock Holmes investigates the Jack the Ripper killings, 1965’s A Study in Terror and 1979’s Murder by Decree.  The final day of January saw the death of Irish broadcaster Terry Wogan, whose twinkly-eyed, possibly toupee-bearing visage seemed to symbolise the BBC during the 1980s as much as Ronald McDonald did McDonald’s or Colonel Sanders did the KFC.  Equipped with a soft brogue, gentle wit and inability to take himself or anyone else too seriously, the ubiquitous Wogan could host any ropey old chat-show or game-show and make it entertaining.

 

Italian author Umberto Eco died on February 19th.  I always thought his acclaimed novel The Name of the Rose (1980) was overrated, but at least the film version six years later gave Sean Connery one of his last good film roles.  On February 22nd, the British cinematographer Douglas Slocombe passed away at the venerable age of 103.  Slocombe’s half-century career included such highlights as Dead of Night (1945), Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951), The Servant (1963), The Fearless Vampire Killers (1967), The Lion in Winter (1968), The Italian Job (1969), The Great Gatsby (1974) and the first three Indiana Jones movies (1981, 84 and 89).  Another great behind-the-scenes man of British cinema, production designer Ken Adam, died on March 10th.  Not only was Adam responsible for the spectacular and now iconic sets of seven James Bond movies between Dr No (1961) and Moonraker (1979), but he designed the War Room in Stanley Kubrick’s Dr Strangelove (1964), reckoned by Steven Spielberg to be the greatest movie-set ever.

 

© Hawk Films / Columbia Pictures

 

Another Kubrick veteran, the actress Adrienne Corri who appeared in 1971’s A Clockwork Orange, died on March 13th.  Among her other credits was a role in the bloody but fairy tale-like Hammer horror movie Vampire Circus (1972).  Two days later saw the death of Sylvia Anderson, the one-time Mrs Gerry Anderson, co-producer of such classic kid’s puppet TV shows as Stingray (1964-65), Thunderbirds (1965-66), Captain Scarlet and the Mysterons (1967-68) and Joe 90 (1968-69) and such adult sci-fi TV shows as UFO (1970)  and Space 1999 (1975-77).  In Thunderbirds, she also provided the voice for the gorgeous and glamorous, though frankly plastic, Lady Penelope.  Author Barry Hines died on March 18th.  His most famous work was A Kestrel for a Knave (1968), which a year after its publication was filmed as Kes by mighty British director Ken Loach.

 

© ITC Entertainment

 

The comedy world took a treble hit in spring 2016.  The English comedienne, actress, writer and director Victoria Wood died on March 24th; the Scottish comedian and comic performer Ronnie Corbett on March 31st; and the great American stand-up, actor, writer and producer Gary Shandling on April 20th.  The passing of the impish and fruity-toned Corbett prompted this tribute from Blood and Porridge:

 

http://bloodandporridge.co.uk/wp/?p=6367

 

© BBC

 

Welsh actor Gareth Thomas, who played intergalactic freedom-fighter Roj Blake in the BBC’s downbeat 1970s space opera Blake’s Seven, died on April 13th.  Surely the most traumatic TV moment ever came at the end of Blake’s Seven’s final episode, which sees Blake bloodily gunned down by his second-in-command Kerr Avon (Paul Darrow) who wrongly suspects him of treachery.  (“Have you betrayed us?  Have you betrayed… me?!”)  A week later, on April 20th, film director Guy Hamilton passed away.  Hamilton was another James Bond alumni with four 007 movies under his belt, most notably 1964’s Goldfinger.  And April 21st was a day when another great musical talent was snuffed out: Prince.  Blood and Porridge paid its respects to the saucy purple one here:

 

http://bloodandporridge.co.uk/wp/?p=6441

 

On April 24th we bid adieu to two character actors who’d enlivened many an old British B-movie: Australian Lewis Fiander, who’d had supporting roles in the horror movies Dr Jekyll and Sister Hyde (1971) and Dr Phibes Rises Again (1972) and was the leading man in Narciso Ibanez Serrador’s splendidly creepy Spanish film Who Can Kill a Child? (1976); and British-Chinese actor Burt Kwouk, who was best known for playing Inspector Clouseau’s manservant Cato in the Pink Panther movies, though he’d appeared in a lot of movies and TV shows besides.  Kwouk was a big favourite at Blood and Porridge, which published this tribute to him a year ago:

 

http://bloodandporridge.co.uk/wp/?p=5707

 

By June, the month when the United Kingdom voted for Brexit, it was clear that 2016 was going to be remembered as a monumentally shite year.  This unhappy fact seemed to be reinforced by the passing of the great Muhammad Ali on June 3rd, which was recorded on this blog here:

 

http://bloodandporridge.co.uk/wp/?p=6607

 

From www.wantedinrome.com

 

June 12th saw the death of one of Scotland’s more outré eccentrics, Tom Leppard, aka the Leopard Man, who was reckoned by the Guinness Book of Records to be the world’s most tattooed man.  A former soldier, Leppard had his body covered in a leopard-skin pattern of spots and spent much of his later life living in a remote bothy on the Isle of Skye.  On June 19th, the American-Russian actor Anton Yelchin died in a tragic freak accident.  Aged just 27 at the time of his death, Yelchin had made a name for himself in impressive movies like Jim Jarmusch’s Only Lovers Left Alive (2013) and Jeremy Saulnier’s Green Room (2015), as well as in the rebooted Star Trek movies where he played Chekov.  And Bud Spencer, the burly Italian Olympian swimmer and comic actor, died on June 27th.  In partnership with Terence Hill, Spencer made 20 movies of rumbustious and destructive slapstick that regularly turned up as supporting features in British cinemas during the 1970s.  Watch Out, We’re Mad (1974) and Crime Busters (1977) are particularly fondly remembered at Blood and Porridge.

 

Finally, June ended and July began with what Blood and Porridge dubbed ‘the curse of the Radiohead video.’  No sooner had the avant-garde British rock band released a video for their new song Burn the Witch, which combined the look and the Claymation animation style of the classic British TV children’s shows Camberwick Green (1966), Trumpton (1967) and Chigley (1969) with the plot of the classic British folk-horror movie The Wicker Man (1974), than: (1) Gordon Murray, producer and animator of those children’s shows died on June 30th; and (2) The Wicker Man’s director Robin Hardy died on July 1st.  Here’s what Blood and Porridge had to say about Hardy:

 

http://bloodandporridge.co.uk/wp/?p=6706

 

© XL

 

To be continued…  Unfortunately.