COVID-19 Friday Five: ISO TV We've Been Watching

We're in lockdown - sorry, maybe you weren't aware? Well, we are. And everyone is watching TV. I've scrolled through my notes to see what's been keeping me entertained on the small screen.

5 TV Shows We've Been Watching:

1. Fisk (ABC) - Written and starring Kitty Flanagan, this show is light-hearted and fun, even though it is set in a law firm specialising in wills and probate, and the main character is Helen Tudor-Fisk, a woman whose career and marriage has fallen apart. The writing is smart and there are featured roles for a number of favourite Aussie comedians (Marty Sheargold; Julia Zemiro; Aaron Chen), with cameo appearances by many others (Ed Kavalee; Sam Pang; Dave O'Neil). It's a total contrast to the dark, gritty drama I tend towards, and I enjoy it greatly for the light relief. So far there is only one season of six episodes, but I hope there will be more. 
2. Handmaid's Tale, Season 4 (Hulu/ SBS On Demand) - The story continues to be as gripping and the production values as scrupulous as ever. June Osborne (Elisabeth Moss) makes it out of Gilead, but how does she cope in Canada? Can she reconnect with her past life? How does she make sense of the fact that people are literally dying to help her? Gilead still exists, and her daughter is still there, so what can she do about that? And will she ever forgive the Waterfords (Joseph Fiennes and Yvonne Strahovski) for what they did to her? So many questions - some of them are answered. It looks beautiful when it's at its most grim.

3. Lucifer, Seasons 1 & 2 (Netflix) - Described as an American urban fantasy television series, it revolves around the story of Lucifer Morningstar (Tom Ellis), aka the Devil, who abandons Hell for a stint in Los Angeles where he runs a nightclub called Lux and becomes a consultant to the LADP. Yes, that's ridiculous and it is glib and flashy - apparently based on a character in the comic book series The Sandman. It has elements of comic book conversions about it - lots of sidekicks and pointless characters, most of whom are one-dimensional, with the possible exception of Lesley-Anne Brandt who plays Lucifer's ass-kicking demon ally, Mazikeen. It's worth watching for the way Tom Ellis delivers his narcissistic dialogue with such delight - he is one sexy little devil.
4. National Treasure (Channel 4/ ABC iview) - The four-part 2016 British drama written by BAFTA-award-winning writer, Jack Thorne, is inspired by Operation Yewtree, a police operation begun in 2012 that resulted in the prosecution of a number of veteran TV performers. One such veteran TV performer is Paul Finchley, played by Robbie Coltrane, a once-successful comedian of the 1980s and early 1990s, now hosting a TV quiz show. When he is accused of raping several young women in the early 1990s, he fights to clear his name with the help of his former comedy partner and current star, Sir Karl Jenkins (Tim McInnery), while trying to explain his actions to his wife (Julie Walters) and daughter (Andrea Riseborough). It's unpleasant at times but very well written and acted. 

5. Tin Star, Season Three (Sky Atlantic/ SBS On Demand) - The wildly dysfunctional Worth family are back in Liverpool, making a list and checking it twice. I have really come to care for these characters over the past few series. Even if their actions are morally questionable (i.e. killing people is never a good thing), they are disarmingly charming, and no one does cheeky criminal banter quite like Tim Roth. But three season are enough, and judging from the unequivocal ending, I think we all know that.

Heart of Delusion: Marlow's Landing

Marlow's Landing by Toby Vieira

JM Originals

Pp. 294

Has any book had more effect on the literature of the jungle and the ‘other’ than Joseph Conrad’s Heart of Darkness? It is true that any story of a river trip into the unknown will call his novel to mind. Toby Vieira is counting on it, so much so that he names the mysterious destination to which his narrator is travelling (the title of the book) after Charles Marlow, the narrator of Conrad’s masterpiece. Vieira’s narrator is a dull accountant from Hull who is so bored with his mainstream job at an Antwerp-based gem dealer, that when Goldhaven, a man he has never met before, sidles up with promises of untold riches if he will just do a little job for him, he seizes on what he sees as an opportunity, unware that he is being played for a fool. There follows a fast-paced narrative of diamonds, deception and double-crossing.

Goldhaven is a shadowy character, and we are never sure if he is a hero or villain; chameleon or chimera. He certainly whets the narrator’s appetite. “Had I ever wondered, he said, what it would be like. To get my hands on a big pink stone. To hold what no one had held before me. To feel what no one had felt before me. To caress what no one had caressed before me.” What is it with men and their need to get their hands on something pristine? Diamonds and beautiful things come from hard and dirty conditions – mud and river beds – which lead to uncomfortable environments.

The narrator journeys up the river into the Caribbean jungle to meet with a dealer at Marlow’s Landing. The cover story is that he is a birdwatcher and he reminisces about “crammed hides and the smell of wet wool and mint cake.” He is unsure of where this place is and, despite a guide book and a real-life guide, he is none the wiser. “What does Babbon have to say about the part of the country Old Road is taking me to? Not much, since Old Road is heading into the heart of the biggest white patch on Babbon’s map. Babbon, it turns out, never made it back from the white patch. Babbon died before he could finish his book.” He is in constant fear of dangerous creatures; insects; snakes; Caymans; things that bite and sting, and his excitement does not last long. “I am sick of the tropics. Scabs come and scabs go. I have a giant blister on my ankle, the size of half a tennis ball, a neat globe, opaquely translucent, filled with liquid and with blood. Slime-covered lizards fall out of my clothes in the morning. I have strange headaches, on and off.”

The novel is written in a disorientating style, that makes the reader unsure of where we are or who is narrating and whether this is all a life-flash-before-your-eyes moment. While the story slips in and out of the reader’s grasp, it is the author’s style that keeps us absorbed, with descriptions that are vivid and chaotic. It is not just the unseen insects and nightmarish beasts that keep him up at night. The writing highlights the heat, illness, sickness, hallucinations and disease. As he gets more remote and further from known territory, he fears the lawlessness of his isolation as dead bodies riddled with bullet holes float down the river. This is a psychedelic whirlwind ride (one might call it the ambiguous definition of a trip) and perhaps a cautionary tale, suggesting that excitement might be overrated and boredom undervalued.

Friday Five: Classic Films I 'Should' Have Watched

You know those films that you always feel you should  have watched, but you just haven't got round to it yet? Well, over the last week (we're in lockdown), I've been trying to catch up with some.

5 Classic Films I 'Should' Have Already Seen:

1. The Exorcist (1973 Horror/ Supernatural) - Lots of male doctors lecturing a woman about how to run her life and deal with her daughter; the keepers of the knowledge deciding females they can't understand must be hysterical... It might be almost 50 years old, but some aspects still resonate. I believe good horror stories are never 'just' about horror; they connect with our deepest fears, ignorance and insecurities to explore something psychological. I feel this films does that, and Ellen Burstyn is spectacular. In conclusion: worth watching as a classic of the genre (I know all the best lines anyway), but probably not scary to a modern audience.

2. The Godfather (1972 Crime/ Drama) - Men use their violence and strength to secure nepotistic deals and gain yet more wealth and power. How quaint. Again, all the best lines are familiar - offers you can't refuse; sleeping with the fishes etc. - the score is sumptuous, and Marlon Brando, Al Pacino and James Caan give brilliant performances. I understand that this film re-calibrated the notion of seeing gangsters as a response to a corrupt society and made them into good guys, but it really is all about the guys, isn't it - and the toxic masculinity and lack of female representation may have set the women's movement back as far as it advanced the film genre.

3. Sunset Boulevard (1950 Noir/ Drama) - Mavellous fun; full of dramatic tension, stunning design and black comedy, with a seminal central performance from Gloria Swanson as a previous silent screen star in a world of talking pictures. "There's nothing tragic about being 50. Not unless you're trying to be 25."

4. Battleship Potemkin (1926 Drama/ Silent) - I love me a good bit of revolutionary propaganda and I have particular views on borscht, so I thought I was ready for this. I wan't - it is outstanding! Those montages sequences and individual close-ups in the middle of mayhem are utterly groundbreaking, and the stirring score is thrilling. I appreciate the excellent moustache detail and I now understand the The Untouchables reference. 

5. Bonnie & Clyde (1967 Drama/ Crime) - Obviously the inspiration for The Dukes of Hazzard with a comedy-crime-committing duo who claim 'we rob banks' although there is nothing to rob because the people are so poor they've got nothing to save. I understand that life may be dull, but killing people is not the answer (although I agree with Ivan Moss's verdict on tattoos). Faye Dunaway has some fabulous outfits, Gene Wilder's screen debut is a highlight, and whatever charm and charisma Warren Beatty has (and with his reported womanising he must have some) it can only be off-screen rather than on. 

Friday Five: More Theatre

As we are all in lockdown, I thought it would be time to review the last theatre productions I was able to attend as, who knows when we will get to go and sit collectively in the dark again.

5 Recent Theatre Productions:

Josh Wiseman and Pippin Carroll in Rope

1. Rope - Canberra Repertory Society, Theatre 3: This is a well-acted and well-staged production of an old-fashioned piece of theatre. Known to many due to the Alfred Hitchcock film, this interpretation still has sufficient bluffs and double bluffs to keep the audience hanging on until the end. The trope of a bored entitled elite killing someone just because they can and not acknowledging there will be consequences is well trod now (not least through Dostoevsky's Crime and Punishment or, more recently, Donna Tartt's 1990s book club favourite The Secret History), but at the time of writing (1929), the concept was original enough to be diverting. Patrick Hamilton's plays (he also wrote Gaslight) can be interpreted as stuffy and overwrought drawing-room dramas (and the opulence of the set threatens to overwhelm), but the fact that this still felt fresh is due in large part to the light but detailed direction by Ed Wightman and the flamboyantly compelling acting by Pippin Carroll in the lead role of Wyndham Brandon. Other acting is uneven and not all of the styles blend well together, but it is relatively tight at a one-act 90-mins running time.
2. The Appleton Ladies Potato Race - Ensemble Theatre, Canberra Theatre Centre: Written by Melanie Tait, this charming, heartfelt and positively affirming play provides five great roles for women and a story that is both specific and universal. The small country town of Appleton is disturbed when returning resident and new GP Penny Anderson (Sharon Millerchip) discovers that the famous Potato Race awards $1,000 prize money to men and $200 to women. As she takes on the organisers, the competitors and the spectators she comes face to face with those who want change and those who see no problems with the way things are. Director, Priscilla Jackman teases out all the niggles, nuances, resentments and rejections as the characters try to understand and accept each other for who they really are. It's as like a fusion of Made in Dagenham with The Dressmaker served with an added side of potato puns.
3. Hello, Is There Anybody There? - Tempo Theatre, Belconnen Community Theatre: Tempo love to have fun with their productions, and they ham up this self-aware murder mystery with great delight. Lady Amelia (Cheryl Browne) is searching for a subject for her next novel, aware that it has all been done before and there are no new murder tropes - so with many a knowing nod to the audience (the fourth wall is completely demolished), she explores them all over the space of the play, aided and abetted by her drunken sot of a sexist husband (Kim Wilson) and the farcical cop duo (Michael Ubrihien and Nikki-Lynne Hunter rocking her Scottish accent for all its inherent humour). The writing is drenched in self-deprecation and deadpan delivery, and the cast milk it like the comedy cow it is with the butler and the maid (Gary Robinson and Marian FitzGerald) joining in the murderous parlour games. It's ridiculous but it's fun.
4. Milk - The Street, Street Theatre: I believe the theatre is a forum for sharing stories; exploring the past; questioning the present; and preparing for the future. Milk does all of the above with superb staging and atmospheric sound and lighting featuring pivotal moments in liminal spaces. If this an ode to the writer (Dylan Van Der Burgh)'s daughter, she is one very lucky human. We stand with you. We pay our respects to the traditional custodians of the land on which we live.
5. The Governor's Family - Canberra Repertory Society, Theatre 3: Plaudits to Rep for taking on this confronting work. It's not often a community theatre company with a traditionally conservative audience would program a play tackling themes of cultural appropriation, gender diversity, incest and political revolution. If it is a little packed with righteousness, that is the fault of the writing and not of the delivery. Director Tony Llewellyn-Jones has assembled a cast of considerable merit to portray the dysfunctional family of the fictional Governor of NSW, Howard Mountgarret (played with agonising guilt and torment by Peter Holland in one of his finest performances to date). Frances Pod (Kiara Tomkins) is a young indigenous woman who has been raped by a group of Irishmen. Mountgarrett takes her into his home ostensibly as a gesture of compassion, but one which is viewed with scepticism by his weary and depressed wife (Antonia Kitzel) and insurrectionist cross-dressing daughter (Caitlin Baker) and partisan interest by his poetic justice-seeking son (Robbie Haltiner). As Mountgarret has to decide how to deal with the perpetrators - brothers of the temperamental newspaper man and potential beau of his daughter (Jack Casey) - he knows his actions will have greater implications for the future of the colony, which are hammered home with a decisive lack of subtlety in the second act. Andrew Kay's versatile set is a highlight, using the potential of the revolve and the scrim to place us in different sections of society with always the suggestion of another in the periphery. The production elements add in the moments of light and shade that the script itself lacks to make this a fully challenging piece of theatre.

Necessary Sacrifice? Disaster Before D-Day

Disaster Before D-Day: Unravelling the Tragedy at Slapton Sands by Stephen Wynn

Pen and Sword Books

Pp. 131

On the 27^th and 28^th April, 1944 a training incident at Slapton Sands, Lyme Bay, Devon, named Operation Tiger, was undertaken as a practice for the D-Day Landings. The site was chosen because of its topographical similarity to Utah Beach in Normandy. Due to friendly fire, miscommunications, ill-fitting life jackets, and undetected German E-boats, the exercise resulted in the tragic loss of 749 United States Army servicemen and 198 United States Navy personnel. Naturally there was secrecy at the time, as the training had to be kept hidden from the Germans or it would spoil the surprise of the D-Day landings, but it is still not a well-known incident.

The logistics for this exercise were considerable. If Slapton Sands were to be used for this exercise, the nearby village and surrounding area had to be evacuated, which meant “3,000 people from about 750 homes, farms, shops and pubs that made up the villages in the prescribed area, all had to be moved out.” One of the problems was overcrowding: where were they going to put everybody? Plymouth, Weymouth, Exeter and Torquay had been heavily bombed by the Luftwaffe; children and entire families had been evacuated to the countryside because it was considered safer; “by the beginning of 1944 there were tens of thousands of American soldiers dotted around the south-west of England involved in training exercises.”

“During the original planning of the exercise nobody had foreseen that Royal Navy might need to get in touch with the US Navy, so it was a situation that had never been addressed. They were operating on two different radio frequencies.” Consequently when the commanding officer delayed the timing of the exercise by an hour, this was not communicated to those involved in shelling the beach with live ammunition and the ground forces firing live rounds over the incoming troops – General Eisenhower believed that live ammunition was as an important factor set to harden the troops to the harsh reality of a naval bombardment. Originally these incidents had been planned an hour apart, but they ended up taking place simultaneously.

Two Royal Navy vessels should have been protecting the convoy of seven American landing craft, but one of them had been accidentally rammed the day before and was being repaired. Once again, this was not communicated between navies and so the convoy only had one escort, and the German E-boats were able to nip in unimpeded and fire torpedoes upon it: the LST-507 caught fire and was then abandoned (with 71 deaths); the LST-531 sank after suffering torpedo strikes (with the loss of 114 lives); the LST-289 was set on fire but managed to reach the shore; and the LST-511 was damaged by friendly fire in the resulting chaos and confusion. Many other servicemen drowned, waiting to be rescued. “It is believed a number of men died during Exercise Tiger because they were wearing their lifebelts incorrectly; some were also faulty. In fact, most of the casualties that died off Slapton Sands on 28 April 1944 did so from either hypothermia or drowning.”

One of the big remaining questions is whether the entire incident was deliberately covered up, and Wynn has tried to find answers. He explains that in 1954 the Americans officially confirmed the deaths from the E-boat attacks and there are personnel lists available of those killed in the incident. “But I have not seen a similar admission in relation to the friendly fire incident that took place on 27 April 1944, nor have I ever seen a list of those who died or how many there were.” This may begin to stray dangerously into conspiracy theory territory, but he tries to lay out the facts as he sees them.

While these ideas may be far-fetched, he talked to many “ordinary people” while researching his book and heard similar stories from Americans and British alike. He questions how there can be so many people who remember the events of 27 April 1944 if they never took place, as stated in repeated denials by official bodies.

Wynn approaches this episode from a military viewpoint with great respect and logical considerations but without hyperbole or excess emotion. He lists the name and ranking of all the men killed and missing, creating a sombre picture of death and warfare. There were many unfortunate deaths in the training exercises that were meant to prepare troops for the D-Day landings (Normandy invasion – Operation Overlord) of 1 May 1944, but, Wynn argues, these preparations doubtless also saved countless lives and brought the war to a close earlier than otherwise. He concludes “that the sacrifices made during that time, whether by the hundreds of young men who lost their lives during the training exercises, or the hundreds of people and families who left their homes so that American soldiers could train there, was worth it. If these sacrifices hadn’t been made, and lessons hadn’t been learnt, then the world might have had a totally different look to it today.”

Friday Five: Lord Love a Lefty

Today is not only Friday 13th, but also International Left-Handers Day. Him Outdoors is a left-hander. He tells me that the world is set up for right-handers and that he faces challenges using everyday implements such as scissors, corkscrews and can openers. He is of the generation who were rapped across the knuckles when they wrote with their left hand, so he tried to write with his right. He is also of the generation that used fountain pens, and they are notoriously difficult to manage for those of the sinister persuasion (not my word; it's Latin!).

Barack Obama is left-handed

I admit I have not always been sympathetic, but maybe this is a case of my unconscious bias. Apparently anywhere between 7-17% of the global population is left-handed (depending on what you read) and their struggles are real. Take that comment above: the Latin for left is sinister and the French is gauche. Not very nice, is it? Especially when the relative words for right are dexter and droit, from which we get dexterity and adroit. Linguistics tells us it's right to be right. 

In their effort to counter the negative connotations, left-handedness has often been suggested to denote intelligence and creativity. Sadly there is absolutely no scientific proof for this and there is no difference in IQ levels after studies have been completed. There may be a link between a left-handed dominance and verbal skills, but this is not fully explored or understood. With Bill Gates, Mark Zuckerberg, Steve Jobs and Oprah Winfrey all being left-handed, there may also be a link between left-handedness and being rich, or maybe that's just a determination to overcome adversity and make the world conform to you, rather than the other way around.

5 Facts About Left-Handedness

1. There is a town in West Virginia, USA called Left Hand. Apparently it was named after the nearby Lefthand Run Creek. And in a 'take that' moment, there is no equivalent town called Right Hand.
2. The Australian children's entertainment group, Hi-5 uses a left hand in their emblem - one of the cast, Tim Maddren, is a left-handed musician who plays the guitar, piano, trumpet and 'a bit of drums'.Other famous left-handed guitarists include Paul McCartney, Jimi Hendrix, Kurt Cobain, Courtney Barnett, and David Bowie, although the latter taught himself to play right-handed due to the fact that there weren't enough left-handed guitars in shops in post-war Britain.
3. Maybe it's because Australia is down under, but kangaroos are left-hand dominant, and all Australian sulphur-crested which cockatoos are left-handed (clawed)? I read this fact but I have yet to test it out - I'll note which talon the cockatoos use to throw tree debris at me next time I'm passing. 

4. This year the Dutch Reach method was introduced to the Highway Code in the UK. It is a method of opening a vehicle door that sees the driver use their hand furthest from the handle to open the door (in the UK this would be the left hand), therefore turning their body and allowing them to see oncoming cyclists before opening the door. The Dutch have been using this method for many years, but they just call it 'opening the car door'. Last year there were 140 cycling fatalities in the UK, and in 2007 (the last year for which I can find the figures for this) 8% of serious injuries to cyclists were caused by dooring (opening a motor vehicle door into the path of another road user). 
5. It is illegal to play polo left-handed - this is to do with reasons of safety, apparently for both horse and rider. Even princes are not exempt; the Prince of Wales and the Duke of Cambridge are both left-handed.

Left-hander Prince Charles playing polo with his right

War Artists

War is ugly and brutal. It is messy and destructive. But it also inspires creativity - from scientific, technological and medical inventions and developments to great art and culture. War artists are fascinating as they capture and portray moments in the heat of battle that inform and inspire those who weren't there. Of course this can be propaganda; slanted in whichever direction is required to get the desired message across. They highlight situations and individuals and hold them in an artistic embrace; imbuing commonplace events with eloquent significance.

Some time ago I went to the Australian War Memorial and enjoyed some of this sensational art. Here are some of my favourites in very different styles.

Moresby Picture Show (1943) by Charles Bush

Light entertainment provided a necessary distraction from the hard jungle fighting and difficult living conditions in New Guinea. In this work, a vibrant Disney cartoon is oddly set in a war zone and contrasted against the drab green of the mountainous tropical landscape. The searchlight in the distance is a subtle reminder of the war. 

The weight and weariness of the soldiers in the foreground are contrasted with the lightness of subject and the luminosity of the Disney character projected on the screen. The figures stand stoically still in the drizzling rain and uncomfortable conditions, enjoying the simple pleasures of the light entertainment. Each silhouette is unique, and the distinctive Australian slouch hat can be seen on the figure on the far left of the picture.

The tropical climate of New Guinea presented soldiers with harsh conditions for both combat and general living. Most were not accustomed to the high humidity, let alone the inhospitable jungle and terrain. Those stationed at Port Moresby would have greeted the screening of films with much anticipation, welcoming any distraction from the realities of day-to day living in New Guinea. Such events also provided the artist with atypical subject matter and an opportunity to record less grim aspects of wartime activity.

Hospital Ward, Burma-Thailand Railway (1946) by Murray Griffin

This work pictures Australian prisoners of war who were forced by the Japanese to build the Burma-Thailand railway. The artist depicted the atrocious conditions in the labour camps based on eyewitness reports by survivors. Griffin's use of light and shade in this work accentuates the physical condition and obvious suffering of the men as they struggle to survive malnutrition and disease, as well as drawing comparisons to the depths of hell. The skeletal men are barely distinguishable from the makeshift bamboo shelter. 

Griffin was serving as an official war artist in Singapore when it was captured, and became a prisoner of war in Changi. He originally volunteered to go to the railway, thinking conditions might be better, but gave up his spot for another man and remained in Changi for his entire captivity. Griffin was appalled by the condition the men returned in from the railway, and sought to make records of events and conditions that occurred on the railway from survivor testimony.

Bomber Crew (1944) by Stella Bowen

On 27 April 1944 at RAF Station Binbrook in Lincolnshire, Stella Bowen drew studies for a planned group portrait of a Lancaster Bomber crew, comprising six Australians and one Englishman, of no. 460 Squadron. This was the most highly-decorates Australian squadron in Bomber Command, but had suffered the highest casualties. Bowen was commissioned to paint a typical crew that flew Lancaster bombers on the intense bombing raids over Germany and occupied Europe. Preoccupied with their flight preparations, the men expressed no particular interest in Bowen's attempt to draw them, but their bravery, youth and vulnerability captivated the artist.

The next day the crew was reported missing, presumed dead: only Pilot Officer Thomas Lynch survived. Bowen completed the group portrait from sketches and official photographs. She wrote, "It was horrible having to paint the picture after the men were lost: like painting ghosts."The crew is depicted in front of the menacing image of their Avro Lancaster bomber, looming above them like a bird. They are shown wearing their full flying gear including 'Mae West' life jackets, flying helmets and headphones. Their names appear on the helmets and are repeated on the wreath-like ribbon that scrolls across the canvas, complete with their RAAF wings floating like cherubs.

Flak Busters (1945) by Dennis Adams

Australian Beaufighters of No. 455 Squadron, based in Norfolk, England, attack a German minesweeper off the coast of Norway. They co-operated on many shipping strikes with a New Zealand Beaufighter Torpeo Squadron (489 Squadron RNZAF). In those attacks the Australian aircraft came in and fired both rocket projectiles and 20mm cannons. The ship 'saturated' by this fire would then be attacked by the torpedo Beaufighters.

During the Second World War, Australian artists frequently drew on various modern art movements to form chaotic and jarring compositions that interpreted weapons and machines, military life, and the visual experience of battle. One such influence was the literary and artistic movement known as futurism. It developed in Italy, where it was active in various incarnations from 1909 to the 1930s.

At its core futurism celebrated the machine age. Its adherents wanted to renew cultural and artistic ideas to reflect the strengths and dynamic nature of machines and life in modern cities. In general, futurist works of art emphasised movement and dynamic tension between typically geometric pictorial elements. In this image the artist paints the ship overwhelmed by a barrage of repeated explosions and jutting shafts of water and light.