Will Carling – Blood and Porridge

June 29, 2021June 30, 2021

Scotland or Not-land?

From unsplash.com / © Stewart M

Most people in Scotland last week were disappointed, though probably not greatly surprised, to see their national team get a drubbing in the first round of the Euro 2021 tournament. However, I suspect not everyone in Scotland was sad to see the team fail.

One person I’m sure was delighted was the Scottish, but very British-nationalist, blogger Effie Deans, who before the start of the tournament had tweeted a picture of a past Scotland-England football match and demanded angrily, “Why are there international matches between parts of the same country?” Similarly, I imagine certain fans of Glasgow Rangers, a football club whose culture revolves around such British symbols as the Queen and the Union Jack, weren’t sorry to see the Scottish national team flop. Indeed, an article in the Daily Record newspaper on July 8^th confirmed that some Rangers fans were unwilling to support Scotland during Euro 2021.

For Deans and a certain segment of the Rangers faithful, the belief seems to be that if you regard your country primarily as Britain, then you can’t support Scotland. In fact, acknowledging Scotland on an international stage is damaging to your sense of Britishness and shouldn’t be encouraged. Scotland? No, it’s Not-land.

It’s not just in sport. The idea that Scotland might have its own culture and languages is anathema to some people. The right-wing Spectator magazine has printed pieces by embittered Scottish Daily Mail columnist Stephen Daisley and uptight Scottish composer James MacMillan complaining that (a) Scottish culture is infantile and embarrassing; but (b) if you’re stupid enough to be into Scottish culture, you’re somehow a Mussolini-type fascist too. Amusingly, after MacMillan complained – falsely, because the man has actually won a number of Scottish awards – about Glaswegian novelist Andrew O’Hagan being cold-shouldered by the Scottish arts establishment for not being sufficiently supportive of Scottish independence, O’Hagan began, in the wake of the Brexit referendum, making favorable noises about Scotland becoming independent.

Particularly nasty has been the abuse aimed at the Scottish Gaelic and Scots languages. Right-wing unionist twitter in Scotland is a constant whinge-fest about road-signs having names printed in Gaelic as well as in English. Effie Deans again, complaining about travelling to Fort William last year: “The number of times I missed my turning made me wish the signs were in one language or the other, but not both…” Well, dear, maybe try reading the parts of the signs that are written in the language you understand?

Meanwhile, dodgy, right-wing Unionist political carpetbagger George Galloway – at least, he’s right-wing when he’s in Scotland trying to hoover up Conservative votes; when he’s in England he campaigns as a left-wing man of the people – recently caused a pile-on on Scots-language poet Len Pennie after he made disparaging remarks on twitter about her and the medium in which she works. And a few years back, Jackie Kay, Scotland’s Machar (poet laureate) received brickbats when one of her Scots-language poems was among the items given to new mothers as part of Scotland’s ‘baby box’ initiative. “A woman from Bishopbriggs, writing doggerel,” sneered Ian Smart, prominent social media presence and self-styled ‘lefty lawyer’ and ‘Scottish Labour Party hack’.

Again, among many Scottish people who don’t see Scotland as a country but as a region, or as a big glorified county, of the mightier and more majestic entity that is the United Kingdom, there’s a conviction that Scottish culture can’t be real. Accepting the existence of Scottish culture implies the place being different from the rest of the UK. Therefore, culturally, there’s no such thing as Scotland either. It’s Not-land.

From youtube.com

Predictably, the fact that there’s now a Scottish parliament in existence, separate from the parliament in London, is something that drives many British-loyal Scots to distraction, especially when the past 14 years have seen it run by a party, the Scottish National Party, dedicated to pulling Scotland out of their beloved UK. Particularly guaranteed to make them gnash their teeth and froth at the mouth is any suggestion that the Scottish government, like the Scottish football team, might be recognized on an international level. The moment First Minister Nicola Sturgeon pronounces on some international matter or dares to show her face at some international conference, Scottish twitter is raging with indignant people who have Union Jacks in their profiles (and usually the words ‘Rangers’ and the acronym ‘WATP’, which a Glasgow-Celtic-supporting friend assures me stands for ‘We adore the Pope’) slavering about her having ‘ideas above her station’ and being just the head of a ‘wee parish council’, and not knowing ‘her place’. Can’t she see that she isn’t the First Minister of Scotland, but that of Not-land?

This desire to erase the concept of Scotland from everyone’s consciousness is, it has to be said, one that’s been exhibited lately by the British government too. British diplomats have been ordered to stop talking about the ‘four nations’ of the UK and talk about it as a single country only, while supermarkets have seen a recent craze for plastering Union Jacks over foodstuffs made in Scotland. Meanwhile, Prime Minister Boris Johnson, that symbol of everything decent, moral, honest and faithful about dear old Blighty, was heard bragging that at the upcoming COP26 climate summit in Glasgow he was going to slather the event in Union Jacks and wouldn’t allow Nicola Sturgeon anywhere near it.

Just last Friday, Johnson’s education minster urged schools across the UK to honour something called One Britain, One Nation Day, wherein schoolchildren were made to sing a song, specially composed for the occasion, that ended with the four-times-repeated refrain: “Strong Britain, great nation!” Though considering what’d come to light by Friday, I suspect the savvier kids had changed the words to: “Matt Hancock, penetration!” Unfortunately, hopes that this would convert all Scottish children to worshipping Winston Churchill, Spitfires and the Union Jack were dashed by the fact that in Scotland most schools had broken up for the summer holidays the day before.

This strikes me as ironic because I’m old enough to remember a time in Scotland when it was perfectly possible for many people, possibly even a majority of people, to wear their Scottish identity as proudly as they wore their British identity and segue effortlessly from one to the other even when it involved expressing contradictory sentiments. This meant they enthusiastically supported Scottish sports teams, enthusiastically recited Scots-language poetry by Robert Burns and, generally, enthusiastically indulged in all things Scottish: golf, whisky, tartan, ceilidhs, Highland games, etc. Simultaneously, though, they thought the Royal Family were wonderful, cheered on the British Olympics team and got misty-eyed with nostalgia about how ‘we’, meaning Britain, had fought off the Nazis during World War II.

They also voted for anti-Scottish-independence political parties, mainly the Labour Party, although there was support for the Conservative Party too. Scotland’s Tory MPs, incidentally, were experts at broadcasting a dual Scottish / British identity. See Albert McQuarrie, MP for Banff and Buchan, who loved whisky and called himself the ‘Buchan Bulldog’; or Nicholas Fairbairn, the tartan-swathed representative of Perth and Kinross. Although McQuarrie worshipped the ground Margaret Thatcher walked on, I think he was at heart a decent bloke. Fairbairn, however, was a vile specimen.

When I look at Scottish right-wing / pro-British twitter, I see a common sentiment expressed in many of the profiles: “Hate what the SNP have done to Scotland!” Which suggests that in the old days, before the SNP achieved political dominance, Scotland was a kinder, less partisan place. But I remember it being far worse when there was no parliament, the SNP had only a handful of MPs and independence was regarded as a crazy pipe-dream. In the 1980s, I recall crowds of Scottish rugby fans in pubs in Edinburgh, after international rugby matches, coming out with vehemently anti-English abuse that would probably get them arrested today. Indeed, English rugby skipper Will Carling has terrible memories of playing in Edinburgh in 1991, when the Scottish Rugby Union decided to air the anthem Flower of Scotland, with its references to sending the English ‘homeward, to think again,’ before the start of the match. There was, he claimed, “more noise, more patriotism – more hatred – than I have ever experienced”. Yet many of these Scottish rugby enthusiasts were well-to-do and would have voted Tory. The prospect of an independent Scotland would have horrified them. Evidently, feeling British for a good part of the time was no barrier to you wanting to stick it to the English.

Incidentally, before the SNP took power in Scotland and even before the Scottish parliament was created, Scotland was still allowed near the international stage occasionally. This was despite it being an era when Margaret Thatcher and then John Major ran Scotland from London with what at times seemed an imperious disdain you’d associate with a colonial governor. For instance, in 1993, while I was living on the northern Japanese island of Hokkaido, I remember the Scottish Office sending a group of officials there for a special Hokkaido-Scotland link-up. I blagged an invitation to the event through a Japanese colleague with political connections who’d later serve in the House of Representatives in the Japanese Diet. Obviously, the Scottish group had the delicate job of talking up Scotland without commenting on the running of the place by their bosses, the British Conservative government, whom few Scottish people had voted for. They remained impeccably straight-faced, non-committal and evasive when, during a panel discussion, my colleague raised the possibility of a devolved Scottish parliament being set up. (Actually, I’d primed her to mention this.) Their masks only slipped, from blandness to dismay, at the reception afterwards. Some hapless Hokkaido bigwig gave them a speech of welcome and told them how he loved “that great Scottish song, Danny Boy.”

© James S. Kerr

I suspect the comfortable co-existence of Scottish and British loyalties was fostered largely by the military. The British Army’s Scottish regiments were canny in exploiting soldiers’ sense of Scottishness, decking them out in tartan and having them led by pipe bands, even while they defended and promoted Britain, the Crown and the Empire (an empire that, admittedly, the Scots did very well out of). I found it fascinating in my youth to see how normally uppity and cantankerous Scotsmen would suddenly become deferential and forelock-tugging at the sound of a posh, officer-class, English accent. However, cuts to the military budget have left the 21^st century British Army a shadow of its former self and the old Scottish infantry regiments have been reduced to just one, the Royal Regiment of Scotland. So that influence barely exists now.

Another thing that once made Scots feel proudly British, certainly working-class ones, was the existence of many nationalized industries that provided them with employment and had the name ‘British’ in their titles: British Coal, British Gas, British Rail, British Steel and so on. These encouraged the idea that working-class Scots were toiling alongside their comrades in England and Wales for a common cause, for the good of a benign, fair, welfare-state-supporting UK. Of course, that idea died a death when Thatcher, with her zeal for privatizing the British economy, arrived in power in the 1980s.

I’m not sure how this will end. It may be that Scotland gets another shot at an independence referendum in the future and votes to go its own way. Or it may be that the stringent British nationalism / unionism of the 21^st century prevails and Scotland becomes merely a Union-Jack-swathed province at the rump-end of right-wing, post-Brexit Britain. If the latter option happens, I expect Westminster to abolish the Scottish parliament at some point. Not-land indeed.

But what’s isn’t an option now is the comfy middle-ground, the old fashioned, dual-loyalty, at-ease-with-both-worlds, Scottish / British identity. As far as that’s concerned… Well, to quote a well-kent Scottish anthem: “Those days are past now, and in the past, they must remain.”

From unsplash.com / © Kristina G.

July 21, 2020July 26, 2020

Morricone no more

© enniomorricone.org

The death of legendary film composer Ennio Morricone a fortnight ago shouldn’t have been a surprise since he was at the big age of 91. But he’d shown such a cussed approach to life and art, still composing music, going on world tours and quarrelling with young whippersnappers like Quentin Tarantino while he was in his ninth decade, that you assumed he was going to continue living and composing forever. Anyway, a heavy workload earlier this month prevented me from penning a tribute to the great man at the time of his passing. Here’s my belated tribute now.

Ennio Morricone was the first film composer I knew. I recognised his work well before I recognised that of John Barry, Bernard Hermann, Leonard Bernstein or Henry Mancini and even before the blockbuster themes of Jaws (1976) and Star Wars (1977) acquainted me with the name of John Williams. As a boy I was daft about western movies and as soon as Sergio Leone’s spaghetti westerns started showing up on TV I realised that Morricone’s exhilarating music, soaring and swooping along the soundtracks with twangy acoustic guitars, electric guitars, whistles, chimes, bells, flutes and aah-ing choirs, was as much a character of the films as Clint Eastwood’s cigar-smoking Man with No Name. Remove Morricone’s music and they wouldn’t be the same. There’d be a gaping Clint-sized hole in them.

Morricone’s music for A Fistful of Dollars (1964), the film that put him, Leone, Eastwood and spaghetti westerns on the map, is great but I think his theme for the sequel For a Few Dollars More (1965), with added Jew’s harp and ocarina, is greater still. Maybe I’m biased since the film is my favourite of Leone’s Dollars trilogy. It has Eastwood, the Man with No Name, team up with the splendid Lee Van Cleef, the Man in Black, and take on Gian Maria Volonté as evil scumbag bandit El Indio. The climax sees Van Cleef facing up to Volonté in a duel whereby the participants can only draw their guns on the final chime of a musical pocket watch, which had belonged to Van Cleef’s murdered sister. It’s absolutely epic, thanks largely to Morricone’s music, which climbs majestically and drowns out the plaintive tones of the pocket watch, then plunges and dies away again a few palm-sweating seconds before the watch stops and the shooting starts.

© Produzioni Europee Associati / United Artists

The third and final movie of the trilogy, The Good, the Bad and the Ugly (1966), confused me when I saw it as a kid because although Lee Van Cleef starred in it alongside Eastwood again, this time he played a different character from the one in For a Few Dollars More and was as evil as Volonté had been in the previous film. I assumed he was the same guy and couldn’t figure out why he’d suddenly become so bad. Morricone’s theme here is perhaps his most famous work – I still hear blokes in the pub, after a few pints too many, going “Na-Na-Na-Na-Naaah…. NA-NA-NAAAH!” for no good reason. But it’s perhaps the accompaniment he provides for the Ecstasy of Gold sequence, in which an increasingly delirious Eli Wallach spends four minutes running around a cemetery while Leone’s camerawork becomes correspondingly frenzied, that’s the film’s musical highlight.

Of course, we hadn’t heard the last of Morricone as far as Leone’s westerns were concerned, because in 1968 he contributed to Leone’s Once Upon a Time in the West, a movie that regularly gets mentioned in ‘best film of all time’ lists. (It’s certainly in my top three.) Morricone’s magnificent score ticks all the boxes. At times, it does the customary soaring and swooping. At others, it’s playful and jaunty. And at other times, it’s marked by a haunting and pained-sounding harmonica. Like Lee Van Cleef, Gian Maria Volontè and the musical pocket watch in For a Few Dollars More, we discover the tragic significance of that harmonica at the end when hero Charles Bronson has a showdown with villain Henry Fonda. Ironically, the film’s most breath-taking sequence, the lengthy opening where three gunmen played by Woody Strode, Jack Elam and Al Mulock await, with murderous intent, the arrival of Bronson at a remote, rickety train station, unscrolls without Morricone’s music (and indeed, without any dialogue) until nearly ten minutes in when that melancholy harmonica strikes up.

Morricone toiled away on many other Italian, and occasionally American, westerns and his CV surely makes him one of the great figures in the western genre. His work appears in Duccio Tessari’s The Return of Ringo (1965), Franco Giraldi’s Seven Guns for the MacGregors (1966), Carlo Lizzani’s The Hills Run Red (1966), Sergio Sollima’s The Big Gundown (1966), Giulio Petroni’s Death Rides a Horse (1967), Don Taylor and Italo Zingarelli’s The 5-Man Army (1969) and Don Siegel’s Two Mules for Sister Sarah (1970). He also contributed to a few westerns like Navajo Joe (1966), The Hellbenders (1967), The Mercenary (1968) and The Great Silence (1968) that were directed by another Sergio, Sergio Corbucci, who was honoured in Quentin Tarantino’s recent Once Upon a Time in Hollywood (2019) when Al Pacino described him as “the second best director of spaghetti westerns in the whole wide world!” Meanwhile, Morricone was reunited with the first best director of spaghetti westerns in the whole wide world with Leone’s late-period western Duck You Sucker (1971), a movie that I like but don’t consider in the same league as Leone’s earlier efforts. (James Coburn’s Irish accent doesn’t help.)

By the early 1970s Leone had shifted from spaghetti westerns to another staple of traditional Italian cinema, the giallo – the horror-thriller hybrid wherein a group of people, usually affluent and beautiful, get despatched by a mysterious killer (whose identity is revealed only in the closing moments) stabbing, slashing and hacking his or her way through them for some unlikely reason. The results are often Italian films at their most stylish, glamorous, violent, ridiculous and politically incorrect.

Morricone’s giallo music is frequently mannered, genteel and dreamy, at odds with the bloody events happening onscreen but matching the well-upholstered lifestyles of the doomed protagonists. He contributed to Elio Petri’s supernaturally tinged A Quiet Place in the Country (1968), Paolo Cavara’s slick but dodgy Black Belly of the Tarantula (1971), Aldo Ladi’s rather brilliant Short Night of Glass Dolls (1971), Massimo Dallamano’s fairly reprehensible What Have You Done to Solange? (1972) and Umberto Lenzi’s lovably barmy Spasmo (1974). He also did the music for Lucio Fulci’s A Lizard in a Woman’s Skin (1971), but I haven’t seen that one, so I can’t provide it with suitable adjectives.

He also worked on three movies directed by the man who’s arguably the maestro of the giallo, Dario Argento: The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971) and Four Flies on Grey Velvet (1971). He didn’t, however, supply the music for Argento’s giallo masterpiece Deep Red (1976). That role went to the German prog-rock band Goblin and I have to say, with apologies to Morricone, that I think their baroque, intense Deep Red score just about pips his work as the best giallo music of all time.

By then, of course, Hollywood had discovered Morricone and his scores for such prestigious productions as Terence Mallick’s Days of Heaven (1978) and Rolande Jaffé’s The Mission (1986) won him international acclaim. A digression here – I remember reading an interview with Will Carling, the nice but dull skipper of the England rugby team in the late 1980s and early 1990s. Carling told the evidently bored interviewer that before games, to settle his nerves, he listened to ‘The Mission’. The interviewer thought Carling was talking about the 1980s British Goth band the Mission and, believing he’d discovered something interesting about Carling at last, that he was a Goth, asked him if he liked Gene Loves Jezebel too. “No,” retorted a perplexed Carling, “The film The Mission. The music from The Mission!”

Morricone also enjoyed a final reunion with his old comrade Sergio Leone, creating a majestic but wistful score for Leone’s Hollywood gangster epic Once Upon a Time in America (1984).

Leone didn’t just provide the music for good films. He also plied his trade with many bad ones and often the music coming out of the cinema speakers and what was happening on the screen seemed to belong to two different aesthetic universes. I’m thinking of Reagan’s Theme, the haunting guitar-and-choir piece he composed for John Boorman’s much-derided Exorcist II: The Heretic (1978), or the soulful, religious sounding theme he provided for Michael Anderson’s Orca: The Killer Whale (1977), totally at variance with the ridiculous plot that has Richard Harris going Captain Ahab against a vengeful cetacean.

Among Leone’s Hollywood scores, I particularly admire the one he did for John Carpenter’s excellent remake of The Thing (1982). At the time, disdainful mainstream critics (who also hated the film generally) dismissed his work as being like one of Carpenter’s own, pulsating synthesiser scores ‘slowed down’ or ‘played at the wrong speed.’ Heard today, its doomy sound encapsulates the film’s claustrophobic and literally under-the-skin horror, whilst reminding you that, yes, this is a John Carpenter film but it’s a special John Carpenter film. I also like his subtle, creepy score for Mike Nichol’s underrated Wolf (1994), wherein a tired, middle-aged and downtrodden publisher (Jack Nicholson) gets bitten by a werewolf and discovers that his newly acquired lupine powers actually serve him well in the aggressive, cutthroat world of the 1990s New York publishing industry.

One of Morricone’s last major commissions was for Quentin Tarantino’s The Hateful Eight (2015). The two men had previously fallen out over Morricone’s contribution, eventually non-contribution, to Tarantino’s 2012 western Django Unchained, but Morricone was back on board for this and contributed an urgent and ominous main theme. Appropriately, seeing as The Hateful Eight and The Thing feature the same star (Kurt Russell) and a similar scenario (a stranded group trying to identify an enemy hiding among them), Morricone also donated some pieces he’d created for but hadn’t used in the 1982 John Carpenter film. And as extra icing on the cake, Reagan’s Theme from Exorcist II: The Heretic was borrowed to accompany a brief, arty sequence of coach-horses making their way through the snow. So it was gratifying that near his life’s end Morricone got an opportunity to show his mastery again of the genre that established his name, the western.

From open.spotify.com