A recent purchase of mine was the DVD boxset of "Dad's Army", the sitcom written by Jimmy Perry and David Croft about the Home Guard during World War 2. Watching all of the episodes back-to-back endowed me with a new perspective on the themes and issues tackled.
Although "Dad's Army" was a comedy, it managed to achieve a balance, in that it did not trivialise war or downplay its horrors. Often the humour served to soften the edges, and was derived from the hardships and upheavals being endured by the populace. Whilst the universal values of idealism, stoicism and patriotism are to the fore, gentle satire and bathos are regularly employed to prevent things becoming excessively trite.
One of the strengths of this sitcom is that it is not permitted to descend into the realms of becoming a rose-tinted account. The tensions of class, bureaucracy and power are explored; normal human frailties against the backdrop of war.
Perhaps the hinge of "Dad's Army" was the sometimes fraught relationship between Captain Mainwaring and Sergeant Wilson. Mainwaring is the classic self-made "chip on the shoulder" type, whose overbearing nature is largely born of insecurity. At times he struggles to conceal his contempt for the languid and often dilettante Wilson, contrasting their social backgrounds with their respective professional and military standing. The sergeant generally responds with gently sarcastic remarks which tend to go completely over Mainwaring's head!
I still think that Arthur Lowe received insufficient credit for his extraordinary performance as Captain Mainwaring. He expertly conveyed the officer's characteristics, and his "physical" comedy skills came in very useful at times!
An emollient to the Mainwaring-Wilson dynamic comes in the shape of Corporal Jones, who cuts through some of the tension with his straightforward, salt-of-the-earth style.
For all the eccentricities and vagaries of the characters, such as Frazer the doom-laden undertaker, and Walker the black-market profiteer, when the crunch comes their loyalty can usually relied upon. This is evident in several touching but underplayed moments throughout the life of the series. When their own interests are threatened, the platoon was at pains to present a united front, particularly in their tussles with Mr Hodges, the grumpy ARP warden.
Even though the series is set around seven decades ago, the themes and emotions examined in "Dad's Army" still resonate today.
Friday, 22 July 2011
Monday, 13 June 2011
2011 Canadian Grand Prix
Yesterday's thrilling and compelling Canadian Grand Prix has restored my enthusiasm for the sport, and helped Formula 1 grab the worldwide headlines for the right reasons, following the recent unseemly saga concerning the Bahrain race. The ebb and flow of competition and the skill and daring of the drivers were once again allowed to flourish, and reminded us anew why we find this sport so intoxicating.
Prior to the weekend, the weather forecasts appeared to promise an element of unpredictability, and the nature of the Montreal circuit invariably makes for thrills and spills. Add in the vagaries of KERS, DRS and tyre strategies, and we were promised drama aplenty, even if Vettel and Red Bull still looked like top dogs.
Much attention has been focussed on Lewis Hamilton's adventurous approach in the early portion of the race, and his exit from it. My own view is that this is merely a case of a racer wanting to race,but feeling slightly frustrated, and I think that the stewards on balance made the correct judgement concerning his collision with Jenson Button in particular. Hopefully in the races to come Lewis will be able to make up places without such drama. He may just need one win to restore his equilibrium. Reports that he heaped fulsome praise on Button after the race would seem to give the lie to some of the wilder rumours circulating about his McLaren future.
This will probably go down as Jenson Button's finest victory to date. Granted, some of the cards fell for him in respect of the weather, pit stops and so on, but he drove like a man possessed in the closing stages, retaining that characteristic calm and focus, capitalising just as others came to grief or encountered problems. His driving has on occasion been likened to that of Alain Prost, and there were echoes here of Estoril in 1987, when Prost forced Gerhard Berger into an error late in the race.
Honourable mentions should also go to Michael Schumacher, Di Resta and Kobayashi for their efforts at various stages of the weekend.
Let us hope that the rest of the F1 season is as entertaining and intriguing as the race in Montreal.
A word also about this weekends superb Le Mans 24 hours , which featured a monumental tussle between Audi and Peugeot, and had one of the closest finishes seen in the classic race for many years. Audi clinched a deserved victory, but my abiding memory will be of the escapes of two of their drivers from huge crashes. Massive credit must go to the designers and engineers, and also to the rule-makers, for helping to ensure that drivers can emerge from such accidents relatively unscathed.
Prior to the weekend, the weather forecasts appeared to promise an element of unpredictability, and the nature of the Montreal circuit invariably makes for thrills and spills. Add in the vagaries of KERS, DRS and tyre strategies, and we were promised drama aplenty, even if Vettel and Red Bull still looked like top dogs.
Much attention has been focussed on Lewis Hamilton's adventurous approach in the early portion of the race, and his exit from it. My own view is that this is merely a case of a racer wanting to race,but feeling slightly frustrated, and I think that the stewards on balance made the correct judgement concerning his collision with Jenson Button in particular. Hopefully in the races to come Lewis will be able to make up places without such drama. He may just need one win to restore his equilibrium. Reports that he heaped fulsome praise on Button after the race would seem to give the lie to some of the wilder rumours circulating about his McLaren future.
This will probably go down as Jenson Button's finest victory to date. Granted, some of the cards fell for him in respect of the weather, pit stops and so on, but he drove like a man possessed in the closing stages, retaining that characteristic calm and focus, capitalising just as others came to grief or encountered problems. His driving has on occasion been likened to that of Alain Prost, and there were echoes here of Estoril in 1987, when Prost forced Gerhard Berger into an error late in the race.
Honourable mentions should also go to Michael Schumacher, Di Resta and Kobayashi for their efforts at various stages of the weekend.
Let us hope that the rest of the F1 season is as entertaining and intriguing as the race in Montreal.
A word also about this weekends superb Le Mans 24 hours , which featured a monumental tussle between Audi and Peugeot, and had one of the closest finishes seen in the classic race for many years. Audi clinched a deserved victory, but my abiding memory will be of the escapes of two of their drivers from huge crashes. Massive credit must go to the designers and engineers, and also to the rule-makers, for helping to ensure that drivers can emerge from such accidents relatively unscathed.
Sunday, 5 June 2011
The Professionals
Well, after blogging on the question of Starsky and Hutch, I have been giving attention to what some regarded as their British equivalent, The Professionals.
It is in fact debatable whether The Professionals can be directly compared to Starsky and Hutch. The former also contained elements of both The Sweeney and James Bond! The characters can be seen to have counterparts in the famous American series. For Starsky read Doyle; sometimes cynical, but idealistic and occasionally volatile. For Hutch read Bodie;the strong, silent type but intensely loyal to his partner.
The plot-lines often seemed like cartoonish, less plausible portrayals of contemporary themes, particularly Cold War espionage, urban guerillas and gangland activity. In fairness some of the topics covered swung a lamp over the future, suggesting the possibility of terrorism by lone fanatics, biological and chemical attacks and the increasing ferocity of drugs gangs.
It is difficult to escape the conclusion that some of the storylines were embellished for shock value, because the reality was a touch too mundane. The social issues (drugs, vice and corruption), however, were handled with some sensitivity and balance.
One amusing aspect of the programme was the way that it placed the British motor industry of the 1970s in a favourable light. No end of Ford Capris and sporty Escorts and Triumphs could be seen whizzing around in the hands of either CI5 themselves or the villains of the piece!
No mobile phones back then, of course! The venerable public call box was much in evidence, and most of the other communication was done via humble walkie-talkies, although we did get the occasional glimpse of futuristic James-Bondesque communications technology.
Looking back at The Professionals, one criticism would be the unconvincing dialogue exchanged between Bodie and Doyle. It seemed contrived and lacking in idealism, hardly the sort of words to come from the mouths of an ex-policeman and a former solider, no matter how elite they had now become.
Based on my recent viewing of some episodes, Lewis Collins emerges with more kudos as an actor than I had previously accorded him. This belies his image as an "action hero".
One thing which the producers achieved was to convey the peculiarly sinister and claustrophobic atmosphere of the London of that time. Leafy suburban streets, urban tower blocks and industrial wastelands provided a gritty backdrop to the action.
It is in fact debatable whether The Professionals can be directly compared to Starsky and Hutch. The former also contained elements of both The Sweeney and James Bond! The characters can be seen to have counterparts in the famous American series. For Starsky read Doyle; sometimes cynical, but idealistic and occasionally volatile. For Hutch read Bodie;the strong, silent type but intensely loyal to his partner.
The plot-lines often seemed like cartoonish, less plausible portrayals of contemporary themes, particularly Cold War espionage, urban guerillas and gangland activity. In fairness some of the topics covered swung a lamp over the future, suggesting the possibility of terrorism by lone fanatics, biological and chemical attacks and the increasing ferocity of drugs gangs.
It is difficult to escape the conclusion that some of the storylines were embellished for shock value, because the reality was a touch too mundane. The social issues (drugs, vice and corruption), however, were handled with some sensitivity and balance.
One amusing aspect of the programme was the way that it placed the British motor industry of the 1970s in a favourable light. No end of Ford Capris and sporty Escorts and Triumphs could be seen whizzing around in the hands of either CI5 themselves or the villains of the piece!
No mobile phones back then, of course! The venerable public call box was much in evidence, and most of the other communication was done via humble walkie-talkies, although we did get the occasional glimpse of futuristic James-Bondesque communications technology.
Looking back at The Professionals, one criticism would be the unconvincing dialogue exchanged between Bodie and Doyle. It seemed contrived and lacking in idealism, hardly the sort of words to come from the mouths of an ex-policeman and a former solider, no matter how elite they had now become.
Based on my recent viewing of some episodes, Lewis Collins emerges with more kudos as an actor than I had previously accorded him. This belies his image as an "action hero".
One thing which the producers achieved was to convey the peculiarly sinister and claustrophobic atmosphere of the London of that time. Leafy suburban streets, urban tower blocks and industrial wastelands provided a gritty backdrop to the action.
Friday, 27 May 2011
Starsky and Hutch
In recent days I have been re-living my childhood by watching episodes of the classic 1970s TV show "Starsky and Hutch".
This was the first time in many years that I had watched the programme, and several things leapt out at me from the screen. When first viewing as a child, it had simply seemed to me like escapist fun, and simply part of the stellar BBC Saturday evening line-up of that particular era. I was oblivious to the nuances of characters and plot, and my young mind failed to grasp the issues which were being touched on.
Revisiting the episodes brought home to me how dark and bleak some of the subject matter really was, dealing as it did with the seedy and hedonistic underbelly of urban life in the 1970s. Topics such as race, homosexuality, narcotics and official corruption were examined with a maturity and a frankness which was unusual for a prime-time show of that time.
One of the strengths of "Starsky and Hutch" was the depth of the characters, and the care taken with them. The producers did not just take the easy option of making the two lead characters exact
opposites, and sitting back and watching the tensions develop. A more holistic approach was adopted.
It is probably fair to say that back in the 70s, the character of Hutch was more popular, perhaps because of David Soul's pin-up appeal and music career. However, watching the programme afresh has endowed me with a fresh appreciation of the talents of Paul Michael Glaser, and his versatility as an actor. He ably portrayed the street-wise, volatile but principled Starsky. By way of contrast, Hutch comes across as cerebral, taciturn and reserved. However, these qualities frequently overlapped, and the topics of male friendship and bonding underpin much of the show's enduring appeal.
"Starsky and Hutch" was given additional depth by its supporting characters. The detectives' superior, Captain Dobey, came across as cynical and grumpy, but he was always loyal to, and trusting of, his men. An endearing and well-pitched performance by Bernie Hamilton.
The character of Huggy Bear was a master-stroke, with the writers and producers not allowing themselves to fall for lazy stereotypes. Although as hip and savvy as they come, Huggy was also clearly in possession of ethics and principles.
Criticisms? Well, a few of the plot-lines were slightly far-fetched, and things always worked best when set in the everyday environment of "the streets". Also, it is difficult to believe that that much violence occurred, even in 1970s Southern California!
On balance, any criticisms are outweighed by the show's virtues. Even if it was very "of its time", "Starsky and Hutch" has aged better than most other programmes of its genre.
This was the first time in many years that I had watched the programme, and several things leapt out at me from the screen. When first viewing as a child, it had simply seemed to me like escapist fun, and simply part of the stellar BBC Saturday evening line-up of that particular era. I was oblivious to the nuances of characters and plot, and my young mind failed to grasp the issues which were being touched on.
Revisiting the episodes brought home to me how dark and bleak some of the subject matter really was, dealing as it did with the seedy and hedonistic underbelly of urban life in the 1970s. Topics such as race, homosexuality, narcotics and official corruption were examined with a maturity and a frankness which was unusual for a prime-time show of that time.
One of the strengths of "Starsky and Hutch" was the depth of the characters, and the care taken with them. The producers did not just take the easy option of making the two lead characters exact
opposites, and sitting back and watching the tensions develop. A more holistic approach was adopted.
It is probably fair to say that back in the 70s, the character of Hutch was more popular, perhaps because of David Soul's pin-up appeal and music career. However, watching the programme afresh has endowed me with a fresh appreciation of the talents of Paul Michael Glaser, and his versatility as an actor. He ably portrayed the street-wise, volatile but principled Starsky. By way of contrast, Hutch comes across as cerebral, taciturn and reserved. However, these qualities frequently overlapped, and the topics of male friendship and bonding underpin much of the show's enduring appeal.
"Starsky and Hutch" was given additional depth by its supporting characters. The detectives' superior, Captain Dobey, came across as cynical and grumpy, but he was always loyal to, and trusting of, his men. An endearing and well-pitched performance by Bernie Hamilton.
The character of Huggy Bear was a master-stroke, with the writers and producers not allowing themselves to fall for lazy stereotypes. Although as hip and savvy as they come, Huggy was also clearly in possession of ethics and principles.
Criticisms? Well, a few of the plot-lines were slightly far-fetched, and things always worked best when set in the everyday environment of "the streets". Also, it is difficult to believe that that much violence occurred, even in 1970s Southern California!
On balance, any criticisms are outweighed by the show's virtues. Even if it was very "of its time", "Starsky and Hutch" has aged better than most other programmes of its genre.
Monday, 23 May 2011
The Boer War - Thomas Pakenham - book review
I have just finished reading this admirable chronicle of an often overlooked conflict.
The author is at great pains to lay pipework in the opening chapters, placing the war in its correct historical and geo-political context, and explaining the role of the politicans, military men and also the businessmen (particularly the owners of the large mining companies).
As Pakenham vividly details, the conflicts were not only played out between the British and the Boers. Vested interests, both political and economic, led to internal dissension on both sides, particularly in the British camp. The antipathy between notable British generals, and also with their political masters, is a constant theme throughout the book.
The story also examines the war's role in the industrialisation of warfare, and the measures taken against civilians as a means of furthering war aims. It is clear that these trends continued to develop, reaching their peak (or nadir) during the two world wars.
Militarily, the main strands which I picked out were the resourcefulness of the Boers, fighting against the numerical and material odds, and the often painful lessons learnt by the British in adapting to the terrain and the tactics of the enemy. Also stark are the strategic errors made by the British in seeking to bring the war to a swift conclusion. These mistakes seemingly often had the effect of bolstering Boer resistance, thereby prolonging the war.
The issue of the "camps" set up by the British to house Boer women and children is also examined in some detail, as is the role of the indigenous populations of South Africa in the war as a whole. To his credit, the author addresses these matters in a balanced but frank way.
In the closing chapters, the peace agreement, and the legacy of the war for the region, are also scrutinised.
As someone who before reading this work had limited knowledge of the subject, I found this to be an absorbing and enlightening book.
The author is at great pains to lay pipework in the opening chapters, placing the war in its correct historical and geo-political context, and explaining the role of the politicans, military men and also the businessmen (particularly the owners of the large mining companies).
As Pakenham vividly details, the conflicts were not only played out between the British and the Boers. Vested interests, both political and economic, led to internal dissension on both sides, particularly in the British camp. The antipathy between notable British generals, and also with their political masters, is a constant theme throughout the book.
The story also examines the war's role in the industrialisation of warfare, and the measures taken against civilians as a means of furthering war aims. It is clear that these trends continued to develop, reaching their peak (or nadir) during the two world wars.
Militarily, the main strands which I picked out were the resourcefulness of the Boers, fighting against the numerical and material odds, and the often painful lessons learnt by the British in adapting to the terrain and the tactics of the enemy. Also stark are the strategic errors made by the British in seeking to bring the war to a swift conclusion. These mistakes seemingly often had the effect of bolstering Boer resistance, thereby prolonging the war.
The issue of the "camps" set up by the British to house Boer women and children is also examined in some detail, as is the role of the indigenous populations of South Africa in the war as a whole. To his credit, the author addresses these matters in a balanced but frank way.
In the closing chapters, the peace agreement, and the legacy of the war for the region, are also scrutinised.
As someone who before reading this work had limited knowledge of the subject, I found this to be an absorbing and enlightening book.
Sunday, 15 May 2011
David Bowie
The other day, I was stuck on public transport, with only my MP3 player for entertainment. Throughout the journey, I listened to a David Bowie compilation, which gave a varied and fairly representative overview of his career from 1969 until the late 1980s.
When the diversity of Bowie's output during the aforementioned period is discussed, opinion can be divided. Mainstream opinion tends to laud his willingness to experiment, and his apparent ability to pioneer musical trends (glam rock, disco/funk, electronica, rock/dance fusions etc). Some more cynical observers deride him as an opportunistic musical chameleon, merely capitalising on genres which were already thriving "underground".
Whilst there may be some truth in the latter contention, on balance I see it as a strength. Yes, some of Bowie's early work was derivative of ground already covered by the Velvet Underground and others. However, he managed to bestow these fashions with mainstream acceptance, by giving them the "Bowie treatment". Even well into the 1980s, he retained some "cred" with the critics and musos, as well as enjoying commercial success. To his credit, it also seems that Bowie was quite candid about his influences.
For what it is worth, my favourite Bowie era is the mid-1970s, in the aftermath of the Ziggy Stardust hysteria, and prior to his period of greatest experimentation. The works around this time were stripped of some of the earlier artifice, and concentrated more on straight-ahead rock n roll. The "Diamond Dogs" album seemed to act as some sort of pivot for Bowie's career.
Although his music appeared to lose focus and zest as the 1980s wore on, he was still making well-crafted material, plus the occasional gem ,"Absolute Beginners" being a case in point.
When the diversity of Bowie's output during the aforementioned period is discussed, opinion can be divided. Mainstream opinion tends to laud his willingness to experiment, and his apparent ability to pioneer musical trends (glam rock, disco/funk, electronica, rock/dance fusions etc). Some more cynical observers deride him as an opportunistic musical chameleon, merely capitalising on genres which were already thriving "underground".
Whilst there may be some truth in the latter contention, on balance I see it as a strength. Yes, some of Bowie's early work was derivative of ground already covered by the Velvet Underground and others. However, he managed to bestow these fashions with mainstream acceptance, by giving them the "Bowie treatment". Even well into the 1980s, he retained some "cred" with the critics and musos, as well as enjoying commercial success. To his credit, it also seems that Bowie was quite candid about his influences.
For what it is worth, my favourite Bowie era is the mid-1970s, in the aftermath of the Ziggy Stardust hysteria, and prior to his period of greatest experimentation. The works around this time were stripped of some of the earlier artifice, and concentrated more on straight-ahead rock n roll. The "Diamond Dogs" album seemed to act as some sort of pivot for Bowie's career.
Although his music appeared to lose focus and zest as the 1980s wore on, he was still making well-crafted material, plus the occasional gem ,"Absolute Beginners" being a case in point.
Monday, 9 May 2011
The Sporting Weekend - Seve Ballesteros / Football / Turkish GP
The sporting weekend commenced with very sad news, following the death of Severiano Ballesteros.
The loss of Seve has been particularly keenly felt across the world, as he represented the romantic and swashbuckling antidote to an increasingly sterile and commercialised world. There is a sense that with his passing, a whole era has ended. His charisma, natural talent and competitive spirit made for a potent cocktail, lacking in the vast majority of other players.
In the late 1970s and 1980s, Seve performed the role for European golf which Arnold Palmer had fulfilled for the game across the Atlantic, bringing renewed zest, and attracting legions of new fans.
Leeds United needed a victory at QPR, and help from Crystal Palace, in order to qualify for the Championship play-offs. United delivered a praiseworthy win at Loftus Road, but in fairness it was expecting too much for the other variables to work in their favour.
Many fans expected a season of consolidation, but at the same time to come so close is very disappointing. One can only hope that the coaching staff and players can learn from this season, and make a concerted and consistent promotion bid next term.
The mood of us Leeds supporters was not helped when Manchester United defeated Chelsea at Old Trafford, thereby putting themselves on the brink of clinching the Premier League title. At least the fourth Champions League spot is being keenly contested...
On Sunday the Turkish Grand Prix produced more exciting and competitive racing, even if Red Bull's Sebastian Vettel emerged as a reasonably comfortable victor in the end.
There has been some comment in the media to the effect that the new technical measures have made overtaking too easy, and watching the highlights from Istanbul gave some credence to this view, cars sailing effortlessly past their helpless opponents. However, on balance I feel that things are just about right. Many of the people now criticisng the FIA are the same observers who for years have been pilloring the sport for its perceived lack of entertainment value. They cannot have it both ways.
Let us hope that the rest of the season sees racing of the quality which we have witnessed thus far in 2011!
The loss of Seve has been particularly keenly felt across the world, as he represented the romantic and swashbuckling antidote to an increasingly sterile and commercialised world. There is a sense that with his passing, a whole era has ended. His charisma, natural talent and competitive spirit made for a potent cocktail, lacking in the vast majority of other players.
In the late 1970s and 1980s, Seve performed the role for European golf which Arnold Palmer had fulfilled for the game across the Atlantic, bringing renewed zest, and attracting legions of new fans.
Leeds United needed a victory at QPR, and help from Crystal Palace, in order to qualify for the Championship play-offs. United delivered a praiseworthy win at Loftus Road, but in fairness it was expecting too much for the other variables to work in their favour.
Many fans expected a season of consolidation, but at the same time to come so close is very disappointing. One can only hope that the coaching staff and players can learn from this season, and make a concerted and consistent promotion bid next term.
The mood of us Leeds supporters was not helped when Manchester United defeated Chelsea at Old Trafford, thereby putting themselves on the brink of clinching the Premier League title. At least the fourth Champions League spot is being keenly contested...
On Sunday the Turkish Grand Prix produced more exciting and competitive racing, even if Red Bull's Sebastian Vettel emerged as a reasonably comfortable victor in the end.
There has been some comment in the media to the effect that the new technical measures have made overtaking too easy, and watching the highlights from Istanbul gave some credence to this view, cars sailing effortlessly past their helpless opponents. However, on balance I feel that things are just about right. Many of the people now criticisng the FIA are the same observers who for years have been pilloring the sport for its perceived lack of entertainment value. They cannot have it both ways.
Let us hope that the rest of the season sees racing of the quality which we have witnessed thus far in 2011!
Subscribe to:
Posts (Atom)