Month: November 2020

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Favourite Scots words, A-C

 

From the Scottish National Portrait Gallery

 

Today, November 30th, is Saint Andrew’s Day, the national day of Scotland.  To mark it, I’d like to post something about a favourite topic of mine, the Scots language.  And yes, the way that non-Gaelic and non-posh Scots have spoken for centuries has been classified as a language, a separate one from ‘standard’ English, by organisations like the EU and linguistic resources like Ethnologue.

 

Sadly, I think that Scots is now living on borrowed time.  It’s not likely to expire due to the disapproval of educators who dismiss it as a debased dialect (or accent) of standard English and regard it as the ‘wrong’ way to speak, although their hostility certainly didn’t help its status in the past.  No, the fatal damage to Scots has probably been inflicted by television, exposing Scottish kids to a non-stop diet of southern-England programming and conditioning them to speak in Eastenders-style Mockney or, worse, in bland, soulless ‘Estuary English’.

 

Personally, I love listening to and reading Scots.  Here are my favourite Scots words starting with the letters ‘A’, ‘B’ and ‘C’ that I’d be sad to see slip into linguistic extinction.  Most of the definitions given come from my heavily used copy of the Collins Pocket Scots Dictionary.

 

Agley (adv) – wrong, askew.  The saying, ‘The best-laid plans of mice and men often go awry’ (which provided John Steinbeck with the title of his second-most famous novel) is an anglicised version of lines from the poem To a Mouse by Scotland’s greatest bard Robert Burns: “The best-laid schemes o’ mice an’ men / Gang aft agley.”

 

Aiblins (adv) – perhaps.  The late, great Glaswegian writer Alasdair Gray borrowed this word for the surname of the title character in his short story Aiblins, which appeared in the collection The Ends of Our Tethers (2003).  This is about a creative writing professor being tormented by an eccentric student called Aiblins who is, perhaps, a literary genius or is, perhaps, just a fraud.

 

Avizandum (noun) – a word in Scots law meaning, to quote the Collins Pocket Scots Dictionary, ‘a judge’s or court’s consideration of a case before giving judgement’.  Avizandum is also the name of a bookshop on Edinburgh’s Candlemaker Row specialising in texts for Scottish lawyers and law students.  Not being a lawyer, I’ve never had cause to go into Avizandum-the-shop, but I do think it’s the most majestically titled bookstore in Scotland.

 

 

Bairn (n) – a baby or young child.  I once saw an episode of Star Trek (the original series) in which Scotty lamented, after Mr Spock had burned out his engines in some ill-advised space manoeuvre, “Och, ma poor wee bairns!”  So I guess this Scots word is safe until the 23rd century at least.  Also, the Bairns is the nickname of Falkirk Football Club, so it shouldn’t be dying out in Falkirk anytime soon, either.

 

Bahookie (n) – rump, bum, backside, ass or, to use its widely-deployed-in-Scotland variant, arse.

 

Bampot (n) – a foolish, stupid or crazy person.  During the documentary Big Banana Feet (1976), about Billy Connolly doing a stand-up tour of Ireland, Connolly responds to a heckler with the gruff and memorable putdown, “F**king bampot!”

 

Bawbag (n) – literally a scrotum, but normally, to quote the online Urban Dictionary site, ‘a derogatory name given to one who is annoying, useless or just plain stupid.’  Thus, when former United Kingdom Independence Party leader Nigel Farage steamed into Edinburgh in May 2013 in a bid to raise UKIP’s profile north of the border, he ended up besieged inside the Canon’s Gait pub on the Royal Mile by a horde of anti-racism protestors who chanted, “Nigel, ye’re a bawbag / Nigel, ye’re a bawbag / Na, na, na, hey!”

 

Bertie Auld (adj), as in “It’s Bertie Auld tonight!” – rhyming slang for cauld, the Scottish pronunciation of ‘cold’.  Bertie Auld was a Scottish footballer who played for Celtic, Hibernian, Dumbarton and Birmingham City and whose finest hour was surely his membership of the Lisbon Lions, the Celtic team that won the European Cup in 1967.

 

Bide (v) – to live.  Derived from this verb is the compound noun bidie-hame, which refers to a partner whom the speaker is living with but isn’t actually married to.

 

Blether (v) – to talk or chatter.  Journalist, editor and Rupert Murdoch’s one-time right-hand-man Andrew Neil used this word a lot while he was editor-in-chief at Scotsman publications.  He was forever fulminating against Scotland’s blethering classes – the equivalent of the ‘chattering classes’ in England who were so despised at the time by the English right-wing press, i.e. left-leaning middle-class people who spent their time holding dinner parties, drinking Chardonnay and indulging in airy-fairy political discussion about how Britain should have a written constitution, proportional representation, devolution, etc.  Then, however, Neil started working for the BBC in London and suddenly all his references to blethering ceased.

 

Boak (v / n) – to vomit / vomit, or something unpleasant enough to make you want to vomit.  One of those Scots words that convey their meaning with a near-onomatopoeic brilliance.  In his stream-of-consciousness novel 1982 Janine, Alasdair Gray – him again – represents the main character throwing up simply by printing the word BOAK across the page in huge letters.

 

From pinterest.co.uk

 

Bowffin’ (adj) – smelling strongly and unpleasantly.  Once upon a time, mingin’ was the favoured Scots adjective for ‘smelly’.  Now, however, mingin’ seems to have packed its bags, left home and become a standard UK-wide slang word – with a slight change of meaning, so that it denotes ugliness instead.  It has thus fallen upon the alternative Scots adjective bowffin’ to describe the olfactory impact of such things as manure, sewage, rotten eggs, mouldy cheese, used socks, on-heat billy goats, old hippies, etc.

 

Breenge (v) – to go, rush, dash.

 

Bourach (n) – sometimes a mound or hillock, but more commonly a mess or muddle.  Charmingly, this has recently evolved into the term clusterbourach (inspired by the less ceremonious ‘clusterf*ck’), which Scottish politicians have used to describe the absolute hash that the London government is making of the Brexit process.

 

Callant (n) – a lad or young man.  The Common Riding festival held annually in the Borders town of Jedburgh is called the Callant’s Festival.  Accordingly, the festival’s principal man is called the Callant.

 

Carlin (n) – an old woman, hag or witch.  Throughout Scotland there are stone circles, standing stones and odd rock formations that are known as carlin stones, presumably because people once linked them to the supernatural and imagined that witches would perform unsavoury rituals at them.

 

Carnaptious (adj) – grumpy, bad-tempered or irritable.  For example, “Thon Belfast singer-songwriter Van Morrison is a right carnaptious auld c**t.”  There’s a lot of carnaptiousness in Scotland and another common adjective for it is crabbit.

 

Chib (n/v) – a knife, or to stab someone.  Considering the popularity in modern times of wearing Highland dress at Scottish weddings, and considering the custom of having a ceremonial sgian-dhu (i.e. dagger) tucked down the side of the hose (i.e. socks) in said Highland dress, and considering the amount of alcohol consumed at such affairs, it’s amazing that Scottish weddings don’t see more chibbing than they do.

 

Chitter (v) – nothing to do with the sound that birds make, this means to shiver.

 

Clarty (adj) – dirty.  A dirty person, meanwhile, is often called a clart.  And a pre-pubescent boy who avoids soap, shampoo, showers and clean socks and underwear, like Pig Pen used to do in the Charlie Brown comic strips, would undoubtedly be described in Scotland as a wee clart.

 

Cleek (v) – to hook, catch or capture.  It’s also a noun denoting a large type of hook, especially the gaffe used by fishermen, and poachers, when landing fish.  At least once, in my hometown next to the salmon-populated River Tweed, a cleek has also been used as an offensive weapon.

 

From en.wikipedia.org

 

Cloots (n) – a plural noun meaning hooves.  By extension, Cloots came to be a nickname for the world’s most famous possessor of a pair of hooves, Auld Nick, a.k.a. the Devil.  In his poem Address to the Deil, Robert Burns not only mocks Auld Nick but brags that, despite his wild and wanton behaviour in this present life, he’ll escape the fiend’s clutches and avoid going to hell: “An’ now, auld Cloots, I ken ye’re thinkin’ / A certain bardie’s rantin’, drinkin’ / Some luckless hour will send him linkin’ / To your black pit / But faith! he’ll turn a corner jinkin’ / An’ cheat ye yet.”

 

Clype (n) – a contemptible sub-species of schoolchild, i.e. the type who’s always running to the teachers and telling tales on his or her schoolmates.

 

Colliebuckie (n) – a piggy-back.  Scottish playgrounds once echoed with cries of “Gie’s a colliebuckie!”

 

Corbie (n) – a crow or raven.  The knowledgeable Australian musician / singer / writer Nick Cave uses this word at the beginning of his gothic novel And the Ass Saw the Angel, which has a couple of ‘sly corbies’ circling in the sky above the dying hero.

 

Cowpt (adj) – overturned, fallen-over.  Often used to describe sheep when they fall onto their backs, can’t get up again and run the risk of breaking their spines.  Around where I live, there’s a story of a young farmer who was about to get married and, just before his stag party in Edinburgh, was collected at his farmhouse by a coachload of his mates.  As the coach was driving away from the farm, someone on board spotted a cowpt ewe in one of the fields.  Jocularly, the young farmer told the coach-driver to manoeuvre the vehicle off the road, into the field and across to the spot where the unfortunate beast was on its back, which he did.  The young farmer got out and put the cowpt ewe on its feet again; but meanwhile all the other sheep in the field, seeing the coach and not knowing the difference between it and a tractor carrying a load of hay, flocked around it expecting to be fed.  That left the stag-party and their transport marooned amidst a sea of woolly white fleeces.

 

I’ll return to this topic in this blog and cover further letters of the alphabet.

 

© Viz Unicorn Entertainment / Brent Walker

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Why I love the Jesus and Mary Chain

 

© Mike Laye

 

The Jesus and Mary Chain are an alternative rock band from the Scottish town of East Kilbride who’ve been in existence for 29 of the last 37 years.  They are essentially the brothers Jim and William Reid singing vocals and playing guitars, with a long and ever-changing cast of drummers and bassists, including Primal Scream’s Bobby Gillespie, filling out the rhythm section.  On at least three days of the week, they’re my favourite band of all time.  (I’d say on the other four days of the week, my favourite all-time band are probably the Mick Taylor-era Rolling Stones.)

 

However, it wasn’t until four years after their formation in 1983 that I started listening to them. When they first came to prominence, the media focused not on their music but on their habit of delivering gigs just 20 minutes long, something that the Reid brothers later blamed on not having enough decent songs to play.  Also, they’d perform with their backs to the audience and cloak their sound in squalls of feedback.  This didn’t go down well with the punters and resulted in bottles being thrown and much general disgruntlement.  Not having had a rock-and-roll bogeyman to demonise since the days of the Sex Pistols, the tabloid press happily described these gigs as ‘riots’.

 

A mate of mine went to see the band in Aberdeen in 1985, got the 20-minute, backs-turned, wails-of-feedback routine and then wrote a review for a student newspaper in which he called the gig ‘a load of bollocks’.  And for some time afterwards, I felt reluctant to part with my money for the sake of the Jesus and Mary Chain.

 

It wasn’t until 1987 that I accidentally heard some of their music.  My brother had recorded an album by the Pogues on a cassette tape for me and, to fill some remaining space on the tape, stuck the Jesus and Mary Chain’s Some Candy Talking EP (1986) on it too.  The EP I found surprisingly tuneful, in a lugubrious sort of way.  The following winter, I worked in a ski-resort hotel in Switzerland, where I procured a tape of the Jesus and Mary Chain’s second studio album Darklands (1987) from an alternative music-inclined English girl who was employed in the hotel’s bar.  I liked that enough to track down, soon after, their first studio album Psychocandy (1986) and a compilation album of their B-sides and rarity tracks, the fabulously titled Barbed Wire Kisses (1988).

 

© Blanco y Negro

 

Psychocandy is a combination of abrasive noise and, less expectedly, some wistful, haunted melodising that makes you imagine you’re hearing the ghosts of the Shangri-Las singing through a spirit medium.  Among the songs in the noise category are The Living End, In a Hole, Inside Me and It’s So Hard, while the melodic ones include the opener Just Like Honey, The Hardest Walk, Cut Dead, Sowing Seeds and the aforementioned Some Candy Talking.  Other songs are hybrids that somehow manage to fall into both camps, like Taste the Floor, Never Understand and My Little Underground.

 

Darklands, meanwhile, largely eschews the noise and embraces the melodic but melancholic. Most of its songs fit the mood suggested by its gloomy title but, in spite of themselves, are often exhilarating too.  The standouts for me include the title song and Cherry Came Too, Happy When It Rains and Nine Million Rainy Days, which contains the cheery lines, “As far as I can tell / I’m being dragged from here to hell / All my time in hell was spent with you…” Nine Million Rainy Days, however, veers off in an unexpected direction towards the end when it borrows the famous ‘woo-woo’ backing vocals that grace the Rolling Stones’ Sympathy for the Devil (1969), though here they mutate into ‘woo-woo, woo-woo, woo!’  Evidence, if it didn’t exist already, that the Reid brothers were, for all their modish abrasiveness, happy to ransack the annals of classic rock music for ideas and inspiration.

 

Q magazine, I think, once likened the songs on Darklands to ‘Scottish blues’, though you could also identify the album as a prototype record for the soon-to-be-popular shoegazer movement, but with more drive and focus.  You could even call it an outlier in the already popular goth-rock genre, though without goth’s self-conscious melodrama.  Actually, I suspect if you told Jim and William Reid they were goths, they’d punch you in the face.

 

But it was Barbed Wire Kisses and especially the track Sidewalking that finally made me fall in love with the band. Sidewalking is a massive, swaggering thing that sounds like a bastard child of the Velvet Underground and T. Rex, a combination I found irresistible.  Elsewhere, Kisses reaffirms the band’s love of late 1950s / early 1960s American pop and rock music by offering cover versions of the Beach Boys’ Surfin’ USA and, particularly good, Bo Diddley’s Who Do You Love?

 

By the end of the 1980s, I’d started a job in northern Japan.  I was pleasantly surprised to find a copy of the Jesus and Mary Chain’s latest album, Automatic (1989), in a Tower Records store in the prefectural capital, Sapporo.  Automatic is commonly regarded as the runt in the litter of the Jesus and Mary Chain’s albums – it made heavy use of a drum machine, which offended a lot of people – although I remember it being enthusiastically received at the time and getting into the ‘albums of the year’ lists of publications like the Melody Maker and New Musical Express.  Personally, it’s my favourite of all the band’s records, with that crunchy Velvet Underground-meets-T. Rex swagger to the fore.  Its tracks that were released as singles, Blues from a Gun and Head On, are great.  Head On even had the honour of being covered by the Pixies in their 1991 album Trompe le Monde.  However, for my money, the best thing on the record is the riff-tastic but overlooked song UV Ray.

 

© Blanco y Negro

 

Although the Jesus and Mary Chain had a signature sound and you were never in doubt about whom you were hearing, they were surprisingly varied.  Just as Psychocandy had that dichotomy of discordant noise and yearning soulfulness, so they’d moved from the exquisite cry-into-your-beer moroseness of Darklands to the strutting, sneering panache of Automatic in the space of two years.

 

For me at least, the Jesus and Mary Chain were on a roll and their next album, Honey’s Dead (1992), was another stormer.  Especially memorable is its opening track, Reverence, whose lyrics provocatively declare, “I want to die just like Jesus Christ / I want to die on a bed of spikes… / I want to die just like JFK / I want to die on a sunny day…”.  The breezy Far Out and Gone and the blistering Catchfire are splendid too.

 

Around this time, not only did the band get invited to take part in the 1992 Lollapalooza Tour in the United States alongside the likes of the Red Hot Chilli Peppers, Ministry and Pearl Jam, but they mounted their own scaled-down version of Lollapalooza back in the UK.  This was the Rollercoaster Tour, which they headlined.  I was lucky enough to catch a performance of the Rollercoaster Tour at London’s Brixton Academy.  It featured not only excellent support from American alternative rockers Dinosaur Jr and dreamy, swirly shoegazers My Bloody Valentine, but also a chance to sample a new, up-and-coming band called Blur.  I have to say my impression when I saw the youthful Damon Albarn ambling about onstage, cheerfully gormless, wasn’t that he was destined to be an icon of the future Britpop movement but that he resembled a musical version of Norman Wisdom.  Meanwhile, the headliners blew me away.  Promoting Honey’s Dead, the Jesus and Mary Chain played their set as dark silhouettes against a huge blood-red backdrop and were simultaneously glorious, imperious, uncompromising… and a bit terrifying.

 

With hindsight, the early 1990s was when the Jesus and Mary Chain peaked for me and I didn’t enjoy the albums they produced later in the decade as much as I’d enjoyed Automatic and Honey’s Dead.  1994’s Stoned and Dethroned is a comparatively mellow affair, at times almost a Jesus and Mary Chain Unplugged, although it does feature a collaboration with Shane MacGowan, recorded a few years after he’d parted company with the Pogues.  This track is called God Help Me and, given the condition MacGowan was in at the time, it was probably aptly titled.

 

1998’s Munki has a brilliant single, Cracking Up, which yet again shows that the band know what to do when they get their teeth into a memorable guitar riff.  Elsewhere, Virtually Unreal bounces along nicely and I Hate Rock ‘n’ Roll is enjoyably caustic, offering such bad-karma lines as “I love the BBC / I love it when they’re pissing on me / And I love MTV / I love it when they’re shitting on me / I hate rock ‘n’ roll / And all these people with nothing to show…’  But there are a few other tracks on the album that go on for too long.

 

© Creation

 

Rather better is the band’s second compilation of B-sides and oddities, 1993’s The Sound of Speed.  Among other things, this features the band having a go at such standards as Smoky Robinson’s My Girl, Willie Dixon’s Little Red Rooster and Leonard Cohen’s Tower of Song.  They also manage a gloriously rumbunctious take on Jerry Reed’s Guitar Man, which was famously covered by Elvis Presley in 1967.  So much did I like the Jesus and Mary Chain’s rendering of Guitar Man, and so unfamiliar was I with Elvis’s oeuvre at the time, that when I subsequently heard the 1967 version the first thought that popped into my head was: “Wow, is that Elvis attempting a Jesus and Mary Chain song?”  And yet another praiseworthy cover on The Sound of Speed is their wonderfully lithe, snaking version of the 13th Floor Elevators’ Reverberation.

 

By the late 1990s the vitriol expressed in the lyrics of I Hate Rock ‘n’ Roll had seemingly overpowered the band.  The relationship between Jim and William Reid had often not been easy, especially when they were under pressure onstage or in the studio, and they’d long been known in the British music press as ‘the Brothers Grim’.  Their one-time drummer John Moore once remarked that they’d experienced ‘enough fraternal conflict to make the Gallagher brothers look like princes William and Harry’ and quoted Jim as saying: “It’s like being locked in a cupboard with somebody for 15 years.  If it wasn’t your brother, you could kick him out.”

 

When I saw them in concert again in the summer of 1998, in Edinburgh, it was clear that things weren’t rosy in Jesus and Mary Chain World.  “William, just shut up!” Jim yelled in the front of the audience when his brother started singing a song intro off-key.  In September that year, a bust-up at the House of Blues venue in Los Angeles, wherein Jim was inebriated and William stormed off the stage, resulted in a gig that echoed the chaos at the start of the band’s career by lasting all of 15 minutes.  It was no surprise when, the following year, it was announced that the band had split.

 

I missed the Jesus and Mary Chain during the noughties.  Ironically, during the years when they weren’t around, it seemed you couldn’t throw a rock without hitting some new band that’d obviously been influenced by them – for example, Black Rebel Motorcycle Club, the Raveonettes, the xx and even the Scottish indie rock band Glasvegas.  Meanwhile, I felt a pang when I saw the Sofia Coppola-directed movie Lost in Translation (2003) because, unexpectedly, the song accompanying the final scene when Bill Murray bids farewell to Scarlett Johansson was none other than the first track on the first Jesus and Mary Chain album, Just Like Honey.

 

© Artificial Plastic Records

 

Yet somehow Jim and William managed to patch things up in 2007 and they performed at that year’s Coachella festival in California (with Scarlett Johannsen showing up to provide vocals for Just Like Honey) and Meltdown festival in London.  Since then, the Jesus and Mary Chain have done intermittent tours and gigs and overseen new releases of their old material.  But it wasn’t until 2017 that they finally got around to putting out a new album, Damage and Joy.

 

Their seventh studio album starts off powerfully with a clutch of songs that, in the way the Jesus and Mary Chain of old managed so effortlessly, fuse together the sunny harmonies of late-1950s / early-1960s bubble-gum pop music with some 1980s guitar distortion and general bad attitude – the sinewy Amputation, the meditative War on Peace, the irrepressible All Things Must Past.  Thereafter, among the album’s total of 14 songs, there are a few things that could have been excised to create a leaner package.  But there’s still lots of good stuff.

 

The band remain capable of penning lyrics that are amusingly provocative, as demonstrated by the avantgarde Simian Split.  The song boasts, ‘I killed Kurt Cobain / I put the shot right through his brain / And his wife gave me the job / Because I’m a big fat lying slob’.  Let’s hope this song never finds its way onto Courtney Love’s iPhone, or indeed, her lawyer’s iPhone.  Elsewhere I love the uplifting The Two of Us, the bouncy Presidici (Et Chapaquiditch), and Facing Up to the Facts, which channels part of Eddie Cochran’s Summertime Blues (1959) amid its muscular guitar work.

 

Incidentally, Facing Up to the Facts contains the lyrics, ‘I hate my brother and he hates me / That’s the way it’s supposed to be’.  Which suggests that, at long last, the Jesus and Mary Chain have achieved a dark but stable peace.

 

From nativetongue.com.au

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Jim Mountfield goes first footing

 

© Horrified Magazine

 

I’m pleased to report that my horror-writing alter ego Jim Mountfield has a short story featured in a new collection of spooky tales entitled Horror Stories from Horrified (Volume 1): Christmas.  The collection has been published by the online magazine Horrified and, as its title suggests, its contents are not only concerned with the supernatural and macabre, but mostly take during the festive season.  My contribution is actually a New Year story rather than a Christmas one, set on the night of December 31st / January 1st.  It’s called First Footers.

 

I spent much of my early life in Scotland, where celebrating New Year, or Hogmanay as the Scots called it, was a big thing.  (Cue the hoary old joke: “What do you get if you cross a Scotsman with an Iranian?  The Ayatollah Hogmanay!”)  In recent years, Scottish cities, especially Edinburgh, have cashed in on this tradition by holding huge street parties with firework displays and live music on December 31st, although anyone I know who made it to the Edinburgh Street Party usually whinged afterwards that it was largely ‘attended by Aussie and Kiwi backpackers’.

 

Away from the commercialism and razzmatazz, a lot of Scottish people still claim that the customary thing to do on Hogmanay is go first-footing, i.e., trudge around your neighbours’ houses after midnight and toast the New Year in each house with glasses of whisky.  But to be honest, I think this is an extinct tradition.  I don’t know anybody who’s gone first-footing since the 1980s – which was certainly the last time I attempted it.  Perhaps in the past, when Scottish pubs had very limited opening hours and Scottish society as a whole was much more buttoned-up, going on the razzle after midnight on January 1st with a bottle of whisky might have seemed exciting, but it hardly seems so nowadays when you’re at liberty to party and drink yourself stupid 24/7 if you want.  Or at least, you were before Covid-19 arrived…

 

Plus, does anyone in his or her right mind want to tramp from one neighbour’s house to another through the sort of dire, dreich weather you’re likely to get in Scotland, at night, at the very start of the year?  (If there is a Hogmanay custom in modern Scotland, I suspect it’s for folk to make an appearance in a nice, warm pub in the afternoon or early evening of January 1st and have a few celebratory drinks then, which seems far more sensible.)

 

Anyway, I got the idea for First Footers when it struck me that, in rural Scotland at least, going first-footing on a pitch-black night wasn’t just a physically uncomfortable experience, but possibly a creepy, even scary one too.  This inspired me to write a tale about two young guys who decide to revive the old custom of first-footing one New Year’s Eve and get more than they bargained for.

 

Available as a digital ebook, and priced just £3.99, Horror Stories from Horrified (Volume 1): Christmas can be purchased here.  Meanwhile, the main page for Horrified magazine can be accessed here.

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Cinema Peebles-diso

 

 

I recently noticed a discussion about the Playhouse Cinema on the Facebook page Auld Peebles, which is a site devoted to pictures, information and simple nostalgic reminiscing about past times in Peebles, my hometown in the Scottish Borders.  This inspired me to dig out the following entry, which I’d originally posted on this blog back in 2013.  In it, I indulge in some nostalgic reminiscing of my own about my town’s old Art Deco cinema…

 

The photograph above this entry shows the Art Deco building at number 60 of the High Street in Peebles, my Scottish hometown.  The building opened in 1932 as the Playhouse Cinema.  Its architect was Alister G. MacDonald, a son of Ramsay MacDonald, who was Britain’s first Labour Party prime minister and served in office in 1924 and from 1929 to 1935.  MacDonald Junior designed the cinema with a particularly wide auditorium and with stalls and a balcony that held a total of 802 seats.  The name Playhouse was spelt out in a squiggle of neon along the top of its façade, although the roof behind was less glamorous, being made of corrugated iron.

 

The Playhouse showed films for the next 45 years and for a time, in modest-sized Peebles, it wasn’t even the only cinema.  It had to compete against the Empire Cinema on the Bridgegate and the Burgh Hall, further up the High Street, which also showed films.  By the 1970s, however, with just about every home in Peebles possessing a television set, only the Playhouse was left and it was struggling, to the point where it’d introduced bingo a couple of nights a week as a way of attracting extra custom.

 

I became acquainted with the Playhouse at a very late stage in its life.  In 1977, when I was eleven, my family moved to a new home just beyond the outskirts of Peebles.  The town centre was only 30 minutes’ walk away.  Previously we’d lived in a rural part of Northern Ireland and if I wanted to visit a cinema there, I had to talk my parents into driving me several miles to the nearest one and then returning to collect me afterwards.  I was movie-crazy and having a cinema on my doorstep, as it seemed at the time, was a wonderful new luxury.

 

© Universal Pictures

 

I didn’t see any masterpieces in the Playhouse, but every film I did see seems to be engraved on my memory just because I’d seen it there.  For example, there was Earthquake (1974), the big, rumbly disaster movie starring Charlton Heston, Ava Gardner, Lorne Greene and George Kennedy.  George Kennedy was a portent of doom in 1970s movies, having already appeared in two of the Airport movies (1970 and 75).  If his craggy face appeared onscreen, you just knew a destructive earth tremor was going to strike the city or a Boeing 747 was going to fall out of the sky.

 

It was also in the Playhouse that I had my most disappointing cinematic experience ever, which was seeing Dino De Laurentiis’s 1976 remake of King Kong.  I’d really been looking forward to this, as I’d watched the original movie on TV and was desperate to see how they’d update all the fights that King Kong had with the dinosaurs on Skull Island.  To my horror, there weren’t any dinosaurs on the 1976 Skull Island, so Kong didn’t have any fights with them.  The only battle was an altercation between Kong (played by Rick Baker in a gorilla-costume) and a crap-looking rubbery giant snake.  I’d like to think that a young Peter Jackson saw the same movie and shared my feelings of profound disappointment.  For that reason, when he remade King Kong in 2005, he made sure his film was choc-a-bloc with dinosaurs.

 

Sometimes at the Playhouse you got to see a familiar feature of 1970s movie-going, which was a cinematic double bill.  Among the two-for-the-price-of-one marvels I was treated to were Carquake (1976) combined with The Giant Spider Invasion (1975).  Carquake was little more than a montage of car chases and car crashes and I suspect that the filmmakers had cast David Carradine in the lead role only because his surname started with the word ‘car’.  Nonetheless, it seemed like a masterpiece compared with its partner.  In The Giant Spider Invasion, the invading giant spiders were played by real-life tarantulas when they were babies, and played by giant wobbly-legged blobs of paper-maché mounted on top of cars when they were adults.  One scene showed a tarantula clamber unnoticed into a kitchen blender.  Then a character unwittingly blended it with some fruit and took a massive swig from the resulting Vitamin C / pulped-hairy-spider concoction.  That was about the most revolting thing I saw in a film until Hugh Grant started making romantic comedies.

 

© New World Pictures

 

But I had barely seven months to enjoy the Playhouse, for on September 10th, 1977, it went out of business.  It would’ve been fitting if the final end-credits to scroll up the Playhouse’s screen had belonged to a film that was memorable – Star Wars (1977), say, which was breaking box-office records at the time.  However, the last film shown there was another one about cars, an unremarkable horror film simply entitled The Car (1977).  This starred James Brolin and was about a rural American community being terrorised by a deadly, driver-less and demonically possessed automobile.  In his non-fiction book Danse Macabre (1981), Stephen King described it as “the sort of movie where you can safely go out for a popcorn refill at certain intervals because you know the car isn’t going to strike again for 10 minutes or so”.

 

Thereafter the Playhouse was derelict for a time.  I seem to remember a report in the local newspaper at one point about it being broken into and vandalised.  Then its foyer was converted into a shopping area and it became another High Street retailer.  For a while, it served as the premises for Visionhire, a TV shop, which meant that films were being shown on its premises again (at least, when one of the televisions on display was switched on and tuned into a channel broadcasting a film).  These days it houses an outlet for the cut-price chemist’s chain, Semi-Chem.  Thanks to Alister MacDonald’s Art Deco design, it’s now a listed building and has been given a Grade C status by Historic Scotland.  Incidentally, I’m only talking about the building’s front part.  As far as I know, most of its back part, containing the 802-seat auditorium, was demolished to make way for a housing development.

 

Losing the Playhouse in 1977 was a blow for Peebles film-lovers because video cassettes and VCRs were still things of the future.  If you didn’t have transport to get to a cinema in another town to see a film on its first release, your only option was to wait a couple of years until it turned up on TV.  However, you still had a chance to see films, old and not so old, on a big screen if you were a pupil at Peebles High School.  In the wake of the Playhouse’s demise, a teacher there, Dr Mike Kellaway, started up a Film Club and showed movies one evening each week with the school’s assembly hall acting as an auditorium.  But Peebles High School’s Film Club is a story for another blog-entry.

 

© Auld Peebles / David Brunton

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Seriously Sean – ‘The Hill’

 

© Seven Arts Productions / Metro-Goldwyn-Mayer   

 

Social media quickly filled with tributes to Sean Connery when the venerable Scottish superstar died on October 31st.  Much, of course, was made of the fact that he’d been the cinema’s first and best James Bond.  However, I found it interesting that many people also talked about the post-Bond movies that Connery made in the 1980s and 1990s.  These were big budget, escapist and sometimes shonky, though lovable, action or fantasy films like The Time Bandits (1981), Highlander (1986), The Name of the Rose (1986), The Untouchables (1987), Indiana Jones and the Last Crusade (1989), The Hunt for Red October (1990) and The Rock (1996).

 

Which is all fine and good, but I was disappointed that more attention wasn’t paid to what Connery achieved back in the 1960s and 1970s, in between his assignments as Bond, when he clearly had ambitions to be not just a movie star but a serious actor.  He made several movies back then that were critically acclaimed but generally didn’t make much money.  Perhaps it was disillusionment at their lack of success that made Connery later take the easy route and appear in the simpler, cosier fare that people reminisced about after his death.

 

Anyway, by a coincidence, a few weeks before Connery passed on, I’d felt an urge to check out some of those older, more serious movies of his. A few I hadn’t seen before. Others I’d watched at a young age and failed to appreciate at the time, probably because I’d been perplexed by Connery’s failure to breenge onscreen in a Saville Row suit and introduce himself as ‘a shhhort of lishhhensed trouble-shhhoooter’. So now, as a tribute to him, I thought I’d post my thoughts on the Connery films that I’ve recently watched or re-watched.  I’ll start with 1965’s The Hill.

 

Directed by Sidney Lumet, The Hill is a war movie.  But it’s a very different beast from the previous war movie on Connery’s CV, 1962’s star-spangled blockbuster about the D-Day landings The Longest Day, which featured Connery briefly as a comic Irishman called Private Flannagan.  (It had him sporting the unconvincing – I’m being kind here – Irish accent that he’d already trotted out in 1959’s Darby O’Gill and the Little People and would trot out again for his Oscar-winning turn as Malone in The Untouchables).

 

The Hill eschews the action, spectacle and heroism of conventional war movies because its setting is a prison for recalcitrant British soldiers – thieves, spivs, drunkards, deserters and those guilty of insubordination – in the Libyan desert during World War II.  Lumet and his cast and crew actually shot the film on the other side of the Mediterranean, in Almeria and Malaga in southern Spain.

 

Connery plays Joe Roberts, one of five new arrivals at the prison, or ‘glasshouse’ as it’s nicknamed.  Also in this batch of new inmates is young, timid George Stevens (Alfred Lynch), spiv Monty Bartlett (Roy Kinnear), gruff northerner Jock McGrath (Jack Watson) and rebellious West Indian Jacko King (Ossie Davis).  The fivesome find themselves in the custody of the hardnosed Regimental Sergeant Major Bert Wilson (Harry Andrews), who effectively runs the place.  Its Commandant is a rarely-seen and weak-willed figure, of whom Wilson says contemptuously: “The Commandant signs bits of paper.  He’d sign his own death warrant if I gave it to him.”

 

© Seven Arts Productions / Metro-Goldwyn-Mayer   

 

The prison staff also include the essentially decent if somewhat effete Staff Sergeant Charlie Harris (Ian Bannon) and the weary but also decent Medical Officer (Michael Redgrave).  Unfortunately, any goodness projected by those two officers is cancelled out by the viciousness of another staff sergeant, Williams (Ian Hendry).  Williams has recently been posted to the prison and sees it as a potential step up the promotional ladder.  He intends to make this ascent by impressing Wilson and treating his charges as brutally as possible.  “Don’t talk back, you different-coloured bastard!” he screams at King.

 

And that’s basically it.  The film is an ensemble piece with nine characters, five prisoners and four staff, stuck in the sweltering confines of the prison.  “We’re all doing time,” Roberts observes of the situation.  “Even the screws.”  We can believe this when we see how Wilson and Williams spend their evening hours, which is by getting as joylessly, pointlessly and paralytically drunk as possible.

 

However, there’s a tenth character too. This is the titular hill, a fearsome, steep-sided mass of sand that’s been assembled in the prison’s yard as a punishment for inmates who chaff against Wilson and Williams’ regime.

 

Williams instinctively homes in on the new arrivals and takes a particular dislike to Roberts, perhaps because of the offence that landed him here – Roberts punched an officer who’d condemned his men to death by ordering them to carry out a suicidal attack.  Stevens’ weak temperament also attracts Williams’ ire.  “One of those shy lads, are you, Stevens…?” he demands.  “One of those cads who can’t make up his mind whether he’s a boy or a girl?”  Predictably, Roberts, Stevens and the others are soon being forced to march up and down the hill, endlessly, in the blistering heat.  This has fatal consequences for one of them, which enrages Roberts and sets him on a collision course with Williams and Wilson.  Towards the end, the film’s suspense hinges on whether or not Harris and the Medical Officer will find the courage to intervene before Roberts receives a fatal punishment as well – by this point he’s already been crippled by a beating from Williams and his goons.

 

A situation rather than a story, The Hill is driven not by plot twists but by its performances, which are excellent.  Among the prisoners, Lynch is worryingly vulnerable as the hapless Stevens, while craggy character actor Jack Watson imbues his character McGrath with a fierce but not intransigent stubbornness.  He spends most of the film wanting to keep his head down and get his incarceration over and done with and he’s unimpressed by Roberts’ attempts to stir things up.  “You’re a clever bag of tricks, you are, Roberts,” he rages. “Not inside glasshouse half an hour and you use your bloody influence to get us a ride on the hill.  Oh I bet there’s one Saturday night booze-up your father’s always regretted.”  Yet later, sickened by what’s happening, McGrath gives Roberts his support.

 

The roly-poly Roy Kinnear, better known as a comic actor, plays the least sympathetic of the inmates, the cowardly and self-serving Bartlett.  But he wins our pity at one moment when he collapses while being made to run a strenuous assault course.  “I’m fat!” he cries pathetically.

 

And Ossie Davis, who was a writer and civil rights activist as well as a distinguished actor, is wonderful as Jacko King, the prisoner most immediately sympathetic to Roberts’ cause.  As a West Indian, a citizen of the British Empire and one of His Majesty’s subjects, he’s supposedly on an equal footing with the other soldiers – but of course, because of his skin colour, he isn’t.  He’s exposed to constant racism from both the screws and the other prisoners, though the quick-witted King gives as good as he gets.  When Bartlett has a go at him (“You’ve got it downstairs, mate, but we’ve got it upstairs.  Live up trees, you blokes do.”), King casually and accurately responds by describing Bartlett as ‘white trash’.

 

Later, when things come to a head, he defies Wilson and Williams by tearing off his uniform, renouncing his British citizenship and declaring that they don’t have the jurisdiction to keep him in the prison.  Actually, watching this in 2020, I was reminded of the Windrush scandal, engineered by then-Home Secretary Theresa May, wherein the British government showed elderly and long-term UK citizens of Caribbean descent what it thought of them by stripping them of their citizenship and deporting them without support to the West Indies.

 

© Seven Arts Productions / Metro-Goldwyn-Mayer   

 

Among the screws, Ian Bannon and Sir Michael Redgrave give strong performances, but they’re not as memorably forceful as those given by Ian Hendry and Harry Andrews.  Which is as it should be, because what gives The Hill its grimness is the audience’s sense that the bad outweighs the good in the penal system depicted.  Hendry essays an out-and-out bastard whose moral compass was long ago destroyed by his ambition.  It’s a little sad, retrospectively, to note how lean and mean he looks here – for as the 1960s progressed, Hendry’s well-documented alcoholism took its toll and left him increasingly frail and gaunt.  (In 1970, he lost out on the title role of the crime classic Get Carter, which of course went to Michael Caine, because the filmmakers felt he no longer had the physicality for it and cast him as the film’s weaselly villain instead.)

 

But even Hendry is outshone by Harry Andrews as Wilson.  I’ve seen Andrews in countless films playing crusty old buffers or authority figures, but I wasn’t prepared for his performance in this.  Wilson is a ruthlessly hard man, driven by his determination to repair the British Army’s errant and broken soldiers and build them back into fighting men (with tough love obviously), but he’s also intelligent.  He’s aware – as Williams isn’t – that there’s a line that they can’t be seen to cross.  After an inmate dies of exhaustion on the hill and Wilson manages to hush it up, he tells Williams angrily: “We’re not celebrating our glorious victory…  We’re patching up a bloody disaster.”  And when the death triggers a full-scale riot, Wilson defuses it with a masterclass in underhand, calculating diplomacy.  He faces down a whole prison’s worth of inmates with a mixture of threats, bribes, dark charisma and pure bloody-mindedness.

 

As for Connery, it’s impossible not to think of Bond when he first appears.  He had, after all, just played 007 in the previous year’s Goldfinger (1964).  And there’s something Bondian about how he manages to get under his enemies’ skin in The Hill, although this isn’t done with the superspy’s famous insouciance but with Roberts’ righteous perceptiveness.  He senses that Williams, despite his brutal exterior, is a coward and observes that by getting posted to a Libyan prison camp he’s managed to avoid both the front line and the Blitz in London.  Meanwhile, he neatly sums up Wilson when he shouts at him: “Oh, you crazy bastard!  You’d prop up dead men and inspect them if you was ordered to!”

 

But any suggestion of Bond’s alpha maleness in Roberts is gone by the final reel, after Williams has had him beaten to a pulp and he’s confined to a bed.  And the film’s final image, of Roberts crawling piteously across the floor and pleading with a couple of his fellow inmates to stop what they’re doing – what they’re doing, in fact, is snatching defeat from the jaws of a hard-won victory – ends the film on a note of chilling, though tonally appropriate, bleakness.

 

The Hill is a stripped-down cinematic experience.  There’s no background music and it’s shot in black and white, which gives the sand an unsettling bone-like gleam.  But its sparseness isn’t a problem because it’s so engrossing, which is due to the excellence of its cast and the unfussy but confident direction by Sidney Lumet.  It was the first, but thankfully not the last collaboration between Lumet and Connery.  Indeed, their third film together, 1972’s The Offence, would be as memorably gruelling as this one.

 

© Seven Arts Productions / Metro-Goldwyn-Mayer   

Posted on

It’s Biden and bye-Don

 

From twitter.com/chrissteinplays

 

Last month, despite what all the opinion polls were forecasting, I predicted gloomily that Donald Trump would probably win a second term in the American presidential election on November 3rd.  My gloom was largely rooted in what I called the ‘shy Trumper’ hypothesis, the notion that many people were lying to the pollsters about their voting intentions because they were too embarrassed to admit they were going to vote for a scum-bucket like Trump.

 

I already knew what I would write about on this blog in the likely event, as I saw it, of Trump’s re-election.  I planned to refer to the satirical 1981 novel Hello America by the late, great J.G. Ballard, which is set in 2114 and postulates an ecologically devastated and almost uninhabited United States of America.  An expedition from Europe arrives in the wasteland formerly known as the USA and discovers there, among other things, a madman claiming to be both the American president and Charles Manson.  I suspected another four years of Trump, whose penchant during the Covid-19 pandemic for summoning his adoring, mask-rejecting, non-distancing supporters to mass campaign rallies suggested a deadly cult-leader on a far greater scale than Manson, would send the USA well on its way to becoming the surreal, dystopian badlands that it is in Ballard’s novel.

 

© Granada

 

Well, as it turned out, the polls did severely underestimate Trump’s support.  At the time I write this, he’s accrued more than 70,900,000 votes.  Thankfully, however, Joe Biden received even more than that.  He’s got just over 75,400,00 votes at the moment and has crossed the 270 college-vote threshold necessary for winning the presidency in the USA’s electoral college system.  So Trump seems to be toast.  That said, the Orange Malignancy has spent the past few days tweeting and speechifying that he actually won the election, whereas Biden cheated, and has vowed to overturn the results in the courts.

 

However, that’s unlikely to come to much if the competence displayed so far by Trump’s finest legal minds is anything to go by.  At the weekend, for instance, Trump’s lawyer-in-chief Rudy Giuliani and his team flew into Philadelphia intending to hold a press conference to outline their forthcoming legal challenges.  Through some mind-melting balls-up, they ended up holding the conference not in the city’s Four Seasons Hotel, but in the parking lot of a gardening centre called Four Seasons Total Landscaping in its outskirts.  This was symbolically located between a crematorium and a porno bookstore called Fantasy Island Adult Books.  Watching news footage of the conference, I almost expected the centre’s manager to emerge in the middle of it, reveal himself as Borat and exclaim, “Very nice!”

 

Now while nobody is happier than I am to see Trump ousted from the White House, and I can fully understand why on Saturday when Biden was officially declared president-elect great numbers of people took to the streets of New York, Philadelphia, etc., and started dancing as joyously as the Munchkins did in The Wizard of Oz (1939) after Dorothy’s house landed on top of the Wicked Witch of the East, I’m afraid things are still looking pretty grim for the USA’s future as a democracy. The fact is that nearly half the American electorate, after four years of exposure to the vile, tangerine-skinned creature, were still willing to vote for him.

 

Let that sink in.  Almost half of voters opted for a man who’s presided over the deaths of 237,000-and-counting fellow citizens due to Covid-19 while insisting that it’s just ‘the flu’ and it’ll magically ‘go away’, who’s speculated about how said virus could be neutralised by injecting yourself with disinfectant, who’s contracted the virus himself but still insisted on holding a flurry of superspreading rallies where thousands of his supporters were jammed together in close, virus-friendly proximity.  Who’s displayed a complete ignorance of and disregard for science, who’s trashed his country’s environment, who’s helped trash the environment on a global scale too through his lucre-obsessed climate denialism.

 

Who’s bragged about grabbing women by the ‘pussy’, who’s mocked disabled people, who’s condoned violence against journalists, who’s dismissed whole countries as ‘shitholes’ and whole nationalities as ‘drug dealers, criminals, rapists’.  Who’s applauded the supposed fineness of white supremacists, who’s instructed fascist militias to ‘stand by’, who’s emitted a barrage of racist dog-whistles that in Biden’s words are as loud ‘as a foghorn’.  Who’s happily played along with the insane conspiracy theories of QAnon whenever he thought it might bolster his support among the extreme-right-wing, tinfoil-hat-wearing fruit-loop brigade.

 

Who’s cosied up to authoritarian thugs like Putin, Erdogan, Mohammed Bin Salman and the familicidal Kim Jong-Un whilst insulting leaders of long-term democratic allies and showing a particular misogynistic vehemence for female ones like Angela Merkel.  Who’s sneered at his country’s war-dead and derided former prisoners of war for the failing of getting ‘captured’, whilst using his family’s influence to escape doing military service himself. Who’s managed to wriggle out of paying any net federal income tax at all in 11 recent years, whilst in 2016 and 2017 paying the laughably meagre sum of $750 per annum, considerably less than what a citizen earning the minimum wage would pay.  Who’s continually boasted about his business acumen, whilst according to Forbes magazine in October 2020 owes more than a billion dollars in debt…

 

And so on, and so forth.

 

Although some commentators have claimed that the willingness of millions of Americans to vote for a character like Trump, devoid of anything resembling a shred of moral fibre, shows how badly they’ve been ‘left behind’ in this, the era of globalism, I can’t say I find this argument convincing.  You’d have to be extremely left behind, and in absolutely dire circumstances, to believe that Trump is your friend and saviour – when it’s obvious to anyone with a quarter of a brain that he despises the poor, whatever their political creed, and is intent only on lining his own pockets and the pockets of his hideous family.  I’m afraid that Trump’s massive election turnout is more an indication that a great swathe of the American electorate either has zero moral compass and zero empathy for others or is as dumb as a sack of cement powder.

 

Into that latter category I’d put the Trump supporter who, since the election went Biden’s way, has been tweeting angrily about the anomaly of five million votes being cast in Georgia despite ‘Georgia’ having a population of only 3.7 million.  So far he’s ignored the people who’ve pointed out to him that he’s confusing Georgia the state with Georgia the country.

 

Unfortunately, President-Elect Biden has his work cut out if he intends to heal the nation and somehow get those millions of Trump fans on board with concepts like decency, fairness, science, working for the common good and loving thy neighbour.  Meanwhile, I suspect that the Republican Party, impressed by how Trump’s unrepentant-bastard approach to politics earned him 70 million votes, the second biggest tally by a presidential candidate in US history, will decide to really go for it in 2024 and field as a candidate some 21st century reincarnation of Benito Mussolini.

 

All in all, I’m afraid, there are still plenty of opportunities for the USA to go completely J.G.

 

Anyway, for now at least, I’m relieved it’s over.  I’m truly fed up with having the past few weeks of my life dominated by a 24/7 obsession with American politics.  My partner especially will be relieved that she no longer has to listen to me mansplaining the Byzantine workings of the US electoral college: “…Pennsylvania has 20 electoral votes, so if Biden can get that, it’ll carry him to the 270 threshold he needs to win, but even if Trump gets Pennsylvania in the end, he can still sneak it by winning Nevada, which has 6 votes, and Georgia, which has 16…”

 

And she’s American.

 

© Ayrshire Daily News