1.
Michael Ware’s Only The Dead has a narration, written and spoken by him, as good as Michael Herr’s in Apocalypse Now. It speaks of the dark places of the heart which his craving for war led him into, and one particular night we witness close-up when he realised he didn’t care, any more, if he lived or died.
This is an astonishing film, by the kind of vulture-hero we have seen at work in the last eighty years — Koestler, Steinbeck, Pilger, Herr, O’Rourke — serving up, with relish the scalded howling naked children and heaven-clawing pregnant women that now fill up great parts of our retrieved memory.
Made from an archive of tapes he in trauma neglected to look at or burn for five or six years after he came back from war for good, it tracks, with precision, self-mockery and unflinching pain — and one of the great editing jobs in all cinema — a descent into Hell at the climax of which, in real time, we watch a young man dying, untreated by the Americans, who declare him dead already, in the first Battle of Ramada, which we see at some length in its horror, boredom and fury.
Ware’s intense diagonal face and wild grey eyes grow older as we watch, and the larrikin Aussie wide boy he started out as evolves into a matchless historian, the enormity of what happened to Iraq — the tribal savagery Saddam had brutally stifled bursting forth volcanically while America, constantly unresourced with soldiery waiting to be attacked, not knowing which approaching child is their enemy — unfold over bombarded fruitless years before us. We feel at the end of the film like veterans ourselves, shattered souls who will never be the same again.
If Abbott’s new law gets through Mick Ware will get twenty years. He embedded himself with Al Qaeda-In-Iraq, the progenitors of ISIS, and filmed them firing at night at the Americans. He accompanied them, and by his presence encouraged them. At one point he was dragged out of his car by one faction of them and was about to be beheaded when another faction, intervening, and claiming he was on their turf and their property therefore, saved his life. He did not leave the war at that point, he was hooked on it. And so it went.
2.
Becue-Renard’s Of Men And War is a remarkable companion film to Mick’s. In territory like In The Valley Of Elah or The Best Years Of Our Lives it deals with a dozen shell-shocked veterans talking to each other in a bare hospital room, and in the gardens and surrounding landscape of the Pathway Home in California, and to a patient older psychiatrist who is trying to keep them alive. They shout at each other, storm out, and seem sometimes to want to murder each other, or their scared families, whom we meet as well on home visits and a Christmas party. All have seen a death close up; all have survivor’s guilt; all are messing up their marriages or distressing their parents or unnerving their baby children. All know well what the problem is: sleeplessness, and unquenched flashbacks, and malapportioned medication and a paralysing desire to go to their bedroom and fester there, and never come out again; a convinced belief that happiness, even the smallest fragment of happiness, is beyond them.
All the men give the equivalent of Oscar-worthy performances of dialogue as good as Arthur Miller’s. All of them are strong and big, film-star-handsome and possessed of resonant baritones and beautiful wives. One looks exactly like Howard Keel, another like Sidney Poitier, another like a young, gay George Bush. They all belong to a proud male culture and were raised unaware, pretty much, of women’s issues or American politics post-Obama or how it was the Iraqis resented their country being immolated because of weapons they didn’t have by thirty-two Christian countries who didn’t understand them. One of them suicides before the film’s end. One of them marries his long-time, thirty-eightish girlfriend. We see another struggling to relate to his eccentric infant daughter. One comes close to losing the best wife a man could have. One we realise, very late, is blind. Few documentaries are as good as this, and it should be seen.
3.
Sherlock Holmes is in Hiroshima seeking among radioactive rubble Smoky Ash, a plant that may restore his memory; he wants to set right Watson’s romanticised account of his last case, whose tragic outcome sent him into retirement, bee-keeping in Kent hear the white cliffs of Diver. Mycroft, Watson, Lestrange and Mrs Hudson are all dead; he is ninety-three and losing words every day. This Smoky Ash, perhaps, may retrieve his memory of a woman he loved, or did he; or kill him, perhaps, with its radioactive properties. His assistant, Roger (Milo Parker), a vigilant little boy of ten, bestirs him to complete his memoir. His housekeeper Mrs Munro (Laura Linney), widow of an RAF pilot blown out of the sky on his first mission, wants to accept a job in a private hotel in Portsmouth housekeeping, with Roger bootblacking. Holmes fears he will die alone.
Hiroshima, 1946; London, 1920; Kent, 1946; the first foothills of senility; flashbacks over thirty years. Who else but Ian McKellen — or Christopher Lee, sadly and suddenly now unavailable — could play this role? It is an astonishing experience, gratifying, arousing, engaging, in every wisp and soupcon of its lush and layered unfolding. It gives us ‘Englishness’ as reflectively as any poem by Betjeman or any play by Coward or any film like Chariots of Fire or The Theory of Everything that shows landscape, twilight, eccentricity, evensong, pleasure and sorrow and our finest hour in equal, poignant measure. It paints its colours, and salutes its village architecture, its beehives and brass bands and Spitfires, and passes on.
For those born after 1870 Holmes has become, like Biggles, Jeeves and King Arthur, a once and future presence we expect to shimmer back into life when beleaguered England needs him. The Benedict Cumberbatch version is as valid as the Basil Rathbone, the Nicol Williamson, the Christopher Plummer, the Robert Stephens, the Jeremy Brett, the Peter Cook and, yes, the Robert Downey Junior. He is a part of all who have a hint of English blood, like Christopher Robin, or Winston Smith, or Charlie Chaplin. Now, as Seward said of Lincoln, he belongs to the ages.
It is called Mr Holmes; the script is by Jeffrey Hatcher, the direction by Bill Condon, who made Gods and Monsters. Xxx as Holmes’s old love — he did but see her passing by — magically cast and conceived. It is a joy for old and young, and should be seen.
4.
A true story, Tigers, tells of Aamin (Emraan Hashmi), a salesman who finds the pharmaceutical company he worked for, a global affair, is killing babies with its ‘infant formula’, goes after them, nearly accepts a bribe but is persuaded by his wife and father not to, and provokes thereby such legal doubt that a German TV programme about him and the shrivelled babies of Pakistan does not go to air and millions of babies die. Directed by its co-writer Danis Tanovic in a jovial-everyman style that resembles Ron Howard’s, it has an impact like A Separation and leaves one in a welter of warm despair, some of the shrivelled-baby footage is from 1989, some from 2013; the story continues.
Suffused with the crowded familial buoyancy of the Subcontinent, much missed in his long years in exile in Toronto street-hawking doughnuts and driving taxis, it shows how much Aamin gave up, in truty, to be a good man, a whistleblower, and how few of us would emulate him: for seven years his wife unimpregnated, his parents dying, his children growing up without him. It is a fine, fine film and it should be seen.
5.
Among the best films ever made, or so it would seem, an hour afterward, by a serial hyperbolist like me, The Pearl Button, a meditation on water, its place in the cosmos (it came in comets; it made us), the Disappeared of Pinochet’s Chile, and the exterminated indigines of Tierra Del Fuego (naked near the South Pole, with faces like Japanese), it stretches the limits of the mind, and the spoken word, and images of unbelievable mountain and coastal beauty beyond what one would have thought.
Hunted and killed like Tasmanians, there are only three of the bloodline left, still possessed of the language, and they demonstrate it for us, and we see old images, filmed in the 1930s of their water-crossings to Patagonia, a mythical place of mist and gods like Valhalla.
An unmissable film, and one I shall forget I suppose like all things in a year or two. The director/writer is Patricio Guzman, a genius of cinema to put alongside Eisenstein and Riefenstahl, and there you go.
6.
The Vidal/Buckley film The Best Of Enemies yields more pleasure than one would expect. Not only the famous clashes in 1968 (‘Crypto fascist’; ‘Listen, you queer’), but the meditations each wrote about it (Kelsey Grammer voicing the one, John Lithgow the other), the three year court case that followed (Gore in his essay called Bill a secret sodomite, and on him based, in his historical novel Burr, one John Le Touche Clancy, a well-spoken bugger of farm boys) and svelte slim biographies of each of the titans, which included Gore’s loss of the love of his half-sister Jackie Kennedy through his hatred of Bobby, and home movies of Bill and Ronald Reagan, both saggy-breasted, surfing together.
Vidal is like Don Dunstan, facially and vocally, and Buckley the spitting image of Oskar Werner, who was Jules in Jules Et Jim. There’s an incendiary speech foreboding revolution by Gore in Ben Hur tediously shouted by Chuck Heston, and a prophetic scene (about ‘selling the image of the image’) from The Best Man, starring Henry Fonda in a role, William Russell, an Adlai Stevenson type, whom Ronald Reagan had begged, in a lean year, to be allowed to play till Gore forebade him saying, ‘He’s not plausible as a politician.’
We see each in his middle age and then his old age reflecting, obsessively, on the event. Gore would show ALL the debates to guests at Ravello, ‘like Norma Desmond,’ one said, ‘in Sunset Boulevarde.’
It was put together by Morgan Neville and Robert Gordon, and shows, too, what television ‘debate’ has become, on Fox News and similar these days an overlapping rant of nutters and blondes, and mourns that brief shining moment when it was clear, astringent, eloquent and reasoned. And so it goes.
More to come.
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