Sunday, 28 August 2016

LAST STAGE OF A LONG JOURNEY: A Poem After Eberhard Weber

The Last Stage Of A Long Journey is a song by Eberhard Weber which first appeared on his 1980 ECM album Little Movements. You can listen to that version here. It's a slow builder, but I especially like Charlie Mariano's moves from harshness to sweetness, and Rainier Bruninghaus' piano, and the way it seems to swirl around with Weber's bass. The song also appears, and lends the title to, Stages Of A Long Journey, another ECM disc recorded in 2005, for Weber's 65th birthday. This version features Jan Garbarek on sax, Gary Burton on vibes adding extra texture to Bruninghaus' piano, and a full orchestra in the background.
I was listening to that version a couple of years ago, and thinking about the stroke in 2007 which left Weber unable to use one hand, and thus play the bass, when the poem below appeared to me. I haven't made many changes in those two years, and I feel like the texture is somewhere between Weber's song and the rhythms of Woodmont beach, where I grew up.

Weber's since released two albums of bass solos he recorded in live performance over the years with the Garbarek group, with edits and improvisations, including his own one-handed keyboard playing; there has also been another tribute concert in Stuttgart, this one for his 75th birthday, where Garbarek and Burton returned, along with Pat Metheny, Paul McCandless, Danny Gottlieb, and composer/arranger Mike Gibbs. This time he plays one mallet witt Burton on the vibes, worth a close listen if you can hear it. I've told the story elsewhere of my one meeting with Weber, he remains an inspiration to me. Here is part of my appreciation.

(after Eberhard Weber)

Snow falling on the Sound, wind scrapes like a dinghy on shore,
Off the jetties blowing sand across the beach into my face &
Forcing my eyes shut. It's winter
Where I grew up,
Winter in the place I would remember forever
If I could.
                    I turn
My back to the wind & without needing
To open my eyes I walk home, up & down the Central Avenue hill.
The back door is open; my mother & father never
Leave it locked. I float through the kitchen &
Just to the right of the hall is their desk. I open it, take
Some pictures from the middle drawer, to show my son
So he will remember the grandparents he never met
My eyes open & I cannot remember
Who or what or where or when anything was
Or is. I show him the pictures; ask him to try
To remember for me. He is not there. The desperation
In my voice calling for him echoes down that narrow hallway
Full of far-off music I move through
Searching for him.

Saturday, 27 August 2016


I wrote this piece at the end of July, but it went unpublished through August. It probably should have been hooked to her birthday, but I confess to being slow on the uptake. I wanted to focus specifically on DeHavilland's court victory, and the specific and I think direct impact it had on the change in her career. 

In a more general piece, like this, I would have mentioned how adept she was at comedy, even as a real ingenue; you can see two films released in 1935 for the evidence. Alibi Ike, based on the Ring Lardner story, is still a good baseball movie, with the comedian Joe E Brown (who had played professional baseball). It was her first film released, but her first film role as Hermia in the much-underrated at the time Warner Bros A Midsummer's Night's Dream, directed by Max Reinhardt and William Dieterle, proved she was an actress of real talent. It was released after Alibi Ike.
I would also have told the story of my friend Steve Springer and his wife Kara, who met on an Errol Flynn chatroom back in the early days of the internet and married very soon after. In London at dinner one night, he told the story and said the reason he'd fallen for her was she was the only person in the chatroom who could name the eight movies DeHavilland and Flynn had made together. I rattled off Captain Blood, Robin Hood, They Died With Their Boots On, Santa Fe Trail, Charge Of The Light Brigade, Elizabeth and Essex, and even Dodge City, but I couldn't recall the title of Four's A Crowd (a screwball-ish comedy that's another of her hidden gems). 'It's lucky,' I told Springer. 'If I'd got all eight you would have to marry me.'

On July 1st, Olivia de Havilland celebrated her 100th birthday. DeHaviland is best remembered today for her early work at Warner Bros, particularly the best of her eight roles opposite Errol Flynn, as a radiant Maid Marian in The Adventures of Robin Hood, and for Gone With The Wind where her performance as Melanie is arguably the finest in the film. But there is more to the career of one of Hollywood's best actresses, because in 1943 DeHaviland won a landmark decision in court against Warners, a decision which launched her career on a second act of remarkable quality.

It is not an exaggeration to see DeHavilland vs Warner Bros Pictures as the first of three major blows that brought about the end of the studio system as it had functioned for some four decades. It was followed by the 1948 anti-trust ruling which stopped studios from owning and block booking the theatres which showed their movies, thus separating production and distribution. Then, with the rapid growth of television a few years later, actors and their agents increasingly assumed the producing role studios had kept as a virtual monopoly.

DeHavilland's case was simple: when her seven year contract with Warners expired, the studio attempted to keep her for another six months, citing accumulated days of suspension which they said she owed them. But California law prohibited personal services contracts of longer than seven calendar years, and the appeal court's confirmation of the verdict in her favour, which became known as the DeHavilland Law, meant DeHavilland herself became a free agent, and blacklisting by Warners which had stalled her career was finally lifted.

She had received some of those suspensions for her reluctance to accept the parts she was assigned, and her constant battle for better roles. Jack Warner saw her as an ingenue, and she was usually cast as the stalwart girlfriend, the loyal wife, or the virtuous foil for the more interesting bad girls of film scripts: not just Vivien Leigh as Scarlett O'Hara, but the likes of Rita Hayworth in The Strawberry Blonde or Paulette Goddard in Hold Back The Dawn, just to name two from 1941. After Warners, DeHavilland had to fight to bring people on board to produce and direct her in roles she chose for herself. She worked far less often, but what is fascinating is the way the first four roles she picked all drew explicitly on the frustrations of the characters she had earlier played. She was consciously crossing the artificial boundaries Warners had set for her.

First, she persuaded Mitchell Leisen, who’d directed Hold Back The Dawn, to use his deft touch with actresses on To Each His Own (1946), where her noble character just happened to be an unwed mother, which gave DeHavilland the chance to stretch the boundaries of how audiences defined 'good' women, by maintaining the character they were familiar with seeing throughout her moral travails. She won her first Oscar for the role. Hollywood’s appreciation of her fight against Warners may have played a part, but her performance was a complete vindication of her judgement of her own talents.

De Havilland followed up with The Dark Mirror (1946), directed with noirish style by Robert Siodmak, in which she played sisters, one the classic dreamy good girl, the other a deadly femme fatale, in effect her stereotype and its opposite, a lovely piece of commentary on her own career. It was received lukewarmly by the critics, particularly where it bogs down into Freudian mumbo-jumbo, which was a hot topic in Hollywood at the time. But it holds up far better than Hitchcock’s Spellbound, released the previous year, in which Gregory Peck impersonates a psychiatrist, with attendant mumbo jumbo and of course an icy blonde shrink played by Ingrid Bergman at her most intelligent yet vulnerable.

After a spell on stage, during which she met her first husband (both her husbands were writers, an interesting coincidence), DeHavilland returned to the screen in The Snake Pit (1948) directed by Anatole Litvak, playing a woman committed by her husband to a state mental institution after suffering a nervous breakdown. There are harrowing scenes of what amounts to torture, and DeHavilland is brilliant in marking her character’s transformation throughout the process. It's worth a comparison to Sam Fuller's more lurid Shock Corridor, some 15 years later. She was nominated for an Oscar, but won awards in Venice and from the New York Film Critics and National Film Board.

She finished the quartet of re-defining films with The Heiress (1949), maybe her finest, most subtle role. She convinced William Wyler to direct after she saw the play, and drawing on all those nice girl roles she wrung every possible ounce of emotion out of the plain Catharine Sloper, falling in love with Montgomery Clift, whom her wealthy father, played by Ralph Richardson in rehearsal for films like The Sound Barrier, distrusts. It won her a second Oscar, and remains a melodramatic classic.

From that point, DeHavilland put Hollywood in its place, working on stage (though turning down the role of Blanche DuBois in the Broadway debut of A Street Car Named Desire, for which she would have been prefect) and caring for her family. Her second marriage took her to France and her film career became more intermittent, but it is worth seeking out Hush Hush Sweet Charlotte (1964) directed by Robert Aldrich in his signature mix of Siodmak noir and Sam Fuller tabloid excitement. With Bette Davis and Agnes Moorehead dominating its gothic grand guignol, DeHavilland channels every bit of her inner Melanie one more time to steal the film from them. ‘I wanted to play real human beings,’ DeHavilland once told an audience at the NFT in London. She had to win herself the freedom to do that, but what she really wanted was to play larger than life, bigger than real, roles, and she was every bit the actress to conquer such roles.

Saturday, 20 August 2016


Robert Daley in the 1950s was the PR man for the New York football Giants, at the time the NFL was breaking into the national sports consciousness, and the Giants were about to challenge the baseball Yankees as the city’s glamour team. He reported from France for the New York Times, then worked for a year as a deputy commissioner, for public relations, of the New York City police department; his term, in 1971-72 coincided with one of the most turbulent in the NYPD’s history.

This led to his best book, the non-fiction Prince Of The City (1978), which was made into a great film by Sidney Lumet, starring Treat Williams, in 1981. Daley’s fiction has been less acclaimed, but a number of his novels are quite good, and were filmed: the underrated To Kill A Cop (1976) as a decent TV movie, Year Of The Dragon (1981) in an underrated movie by Michael Cimino, and Tainted Evidence (1993) as Night Falls On Manhattan (1993), again by Lumet in 1996. They are big books which read something like sagas; they inevitably present the police force as an extended family, sometimes like a mafia family, and like Joseph Wambaugh’s novels of the LAPD, they deal with the strains the cop’s world places on real family life.

Hands Of A Stranger (1985) is another of those, and it is a deceptive kind of story. It opens with Judith Adler, a rare female Assistant DA, who handles rape cases and aims to be a high flier. She’s brought into an investigation in New Jersey which involves drugs, but also women who appear to have been coerced and raped for a series of videotapes. The drug connection brings her to Joe Hearn, recently promoted to inspector and given command of the drugs squad. Joe is devoted to his wife Mary, but she is beginning to chafe as the pull of Joe’s career relegates to her to second place.

As Joe and Judith are drawn to each other, Mary embarks on a flirtation with her son’s baseball coach, which winds up with her in a sleazy Manhattan hotel room, trying desperately to get out. But before she can, an armed man crashes into the room, and with the coach bound and gagged, rapes Mary.

The set-up plays out as an almost inevitable personal car crash for almost all involved. Mary has to tell Joe she’s been raped, while witholding some details, and Joe, already devoting more time than he should to the videotaping case because he and Judith are starting an affair, begins investigating the rape on his own time, eventually learning the truth and looking for his revenge.

The story works in large part because Daley is so good on the pressures of the police department: the way Joe has to choose between family and job, the way his superiors assume Mary, with a college degree and a talented artist, is what one calls a typical broad, and the way Adler has to fight twice as hard as a woman for her job, and devote even more energy to it.

But it’s also a strange novel, because although it’s set in the Eighties, it seems to be taking place in the Fifties; it could be a novel of the police in the time of Mad Men. It could be largely because the morality of the police is still drawn on the previous era, and the people involved, largely Catholic, have that sort of 50s morality ingrained in their pysches, but there is a definite sort of double standard here, something that makes forbidden fruit seem more exotic than it might be, and something that Daley makes evident when, after the story resolves itself in shooting and near madness, Judith takes a Caribbean holiday and, in the end, is too moral to lose herself to a man she meets, instead returning to her job, a virgin as it were, a bride of the DA’s office. It’s rare to see such morality laid out so plainly, and of course, Adler is not Irish Catholic and not a cop.

It’s not Daley’s best work, but it is well paced and detailed, and fascinating for its odd insight. And it has a feel of reality to it. It too was filmed, as a three-hour two-part TV movie, with great leads: Armand Asante as Joe Hearn, Beverly D’Angelo as his wife (Italians playing Irish) and Blair Brown as the DA, renamed to make her a WASP rather than Jewish. The screenplay is by Arthur Kopit which in itself is interesting, given the issues of morality and the way behaviour is repeated, as a way of coping. I haven’t seen it, but the supporting cast (Michael Lerner, Forest Whitaker, and Arliss Howard) is strong, and includes Ben Affleck as the Hearn’s baseball-playing son. I will be searching it out, not least to see what Larry Elikann, a TV and TV movie director, did with the kind of material Sidney Lumet would crush.

Hands Of A Stranger by Robert Daley
Signet Books, 1986, $4.50 ISBN0451145097

Thursday, 18 August 2016


I noted with some sadness the other day that Choo Choo Coleman had died. Chooch was a catcher on the original New York Mets baseball team which became famous for its ineptitude, a quality magnified by the fact that it was located in America's media hub, and in effect trying to replace the Brooklyn Dodgers and New York Giants in the hearts of New Yorkers.

Living in the New York media diaspora, but not a New York fan, I followed this with all the bemusement a 10 or 11 year old could muster, and the keen eye for baseball that was commenplace among kids of our day. Plus, for reasons that remain to this day a mystery to me, my best friend Bruce Bonessi became a die-hard Mets' fan, from the start a true believer, with all the attendant delusions such a fate implies.

Chooch was one of the iconic Mets, who came in two varieties. The first was the assortment of well-known stars recycled at Shea Stadium, mostly New York favouites like Gil Hodges, manager Casey Stengel and Willie Mays, but also the likes of Richie Ashburn. They were past their primes, but they made good copy, especially Casey, whose crazy-smart apohorisms and mangled syntax became, with the hapless Mets instead of the dominant Yankees, like something from a Beckett play. It occurs to me that Beckett might have found the Mets a worthwhile subject for theatre.

 The second group were the Mets' original products, cast-offs from other teams whom they chose to fill out the roster, the most notable of whom had the kind of self-defining (if only in an ironic sense) nicknames that make the best athletes memorable. 'Hot' Rod Kanehl. The immortal 'Marvellous' Marv Throneberry. 'The Glider', Ed Charles. And Clarence 'Choo Choo' Coleman.

The most famous Chooch story, repeated in all his obituaries, happened when the Mets' wonderfully tongue-tied announcer, Ralph Kiner, a kind of Beckettian counterpoint to Stengel, was trying to fill time during a rain delay by interviewing Choo Choo. It went pear-shaped when Kiner asked how Chooch got his nickname and Chooch said 'I dunno'. Flailing for a response, Kiner asked 'Well, what's your wife's name, and what's she like?' Chooch replied: 'Her name Mrs. Coleman, and she like me, Bub.'

Many years later, Choo Choo would explain he got his nickname when he was a kid, because he was fast. Indeed, Casey said he'd never seen a catcher so fast 'chasing passed balls'. Roger Angell wrote that Choo Choo 'handled outside curve balls like a man fighting bees'.

But I got another Chooch story from Bob Miller, one of two Bob Millers who pitched without memorable nicknames for the Mets. I met him at some event while I was working for Major League Baseball, and the topic of those Mets and Choo Choo came up; I may have just read that story above in a baseball book. Miller said he could beat it.

He had come in to pitch relief, with a runner on second. Choo Choo called for a curve, which he threw, and the batter was waiting on it and drove it to the wall. The runner scored; the hitter was now on second with a double. Miller calls time and signals for Chooch to approach the mound. 'Chooch, we have to change the signs,' he says,  'they read that one, he knew the curve was coming'. 'OK Bub', Chooch says (he called everyone Bub, which was easier than recalling individual names, though Miller thought he might actually be saying Bob), and holds up 2 fingers. 'We take the second sign now'. He turns to go back to the playe but Miller calls him back. 'What's wrong Bub?' 'Chooch you just told 15,000 people we're taking the second sign.' Chooch 'thinks' about it for moment. 'Youre right Bub.' He holds up his glove and whispers behind it, 'OK we take the third sign now'.

If you don't know baseball and can't follow this, the runner on second can see the catcher's signs to the pitcher, and signal the batter what kind of pitch is coming. So by flashing three signs (but only using, in this case, the third one) they can disguise what's coming from the opposition.
Chooch goes back behind the plate and squats. He wants a fastball, so he puts down one finger, the universal fastball sign. Then he puts down one finger again. And then one finger for a third time. Miller said he laughed so hard he fell off the mound. He claimed it was called a balk by the umpire, and the runner advanced to third, but that might be apocryphal. After all, three number ones was good enough. RIP Chooch.

Friday, 12 August 2016


I wrote this essay after the Olympic opening ceremonies in Rio, struck by the way the Olympic experience repeats itself. Sadly, that insight might better have been sold as prediction, rather than analysis, as it proved to be a self-fulfilling prophecy in which no one was interested, since they had been seduced and distracted by the games.....

The Olympic Games in Rio are underway, and like a battleship’s slowly turning cannon, the media’s focus has finally been shifted away from crime, or pollution, or shoddy construction, or corruption, or even an unexpected change of elected government, and over to the competitions themselves (and the attendant questions of which athletes and federations are ‘clean’ of performance enhancing products). With swimming one of the early foci of attention, the federation quietly reinstated a twice-banned Russian swimmer, apparently deciding that if the water in the pool did not bubble or steam when she entered the water she must indeed be drug-free.

This is the eleventh Olympics at which I have worked, eight in the summer and three in the winter. The first was in my then-hometown of Montreal in 1976, and it set the pattern for virtually every games that has followed. The month’s run-up to the games produces stories about ineptitude and delays in preparation, about potential accommodation and transport disasters, and in some cases about the government corruption, mis-apprehension of funds, or political unsuitability for staging the world’s biggest sporting event. Then the games begin, and the curtain draws shut around the wonderful wizard of Olympic Oz.

Montreal was a veritable showcase of disaster, putting huge financial burdens on both the city and the province of Quebec which took decades to crawl out from under. The stadium remained unfinished because of design flaws and a constant stream of strikes by workers who wound up almost-finishing things with months of golden overtime. French Canadians were furious when it was learned the royal yacht Britannia deposited its royal wastes untreated into the St Lawrence River; a boat was dispatched each day to collect and deposit them instead into the Montreal sewer system, whence they were returned to the river, untreated, because the money for sewage treatment had been spent instead on a magnificent fountain outside the Olympic stadium.

After the financial disaster of Montreal, no one wanted the Games. Moscow already had 1980/ the IOC traditionally admiring authoritarian governments who could allocate resources without voiced complaints. I was at the Olympic Congress at Baden-Baden in 1981 when Los Angeles were ‘awarded’ the 1984 games, with no other bidders. Peter Uberroth’s committee, citing the potential huge losses, cut deals to get services donated, drew on huge numbers of unpaid volunteers, and sought sponsorship for the games. After it was over, far from the expected financial disaster, the Los Angeles Organising committee announced a series of steadily increasing profits, and bonuses for its bosses. The race, as they say, was on.

The IOC moved swiftly to appropriate sponsorship for itself rather than leave it to the organising committees. Tied to the potential bonanza of advertising revenue from American television, the IOC created a profit centre which benefited from both a worldwide audience and an assembly of competitors who did not require payment. The Olympics became a brand cities fought to stage on the IOC`s behalf, with the committee`s VIP treatment extracted from those cities. It was a  largesse which only occasionally was revealed to the public when the bribery became too obvious.

Rio de Janeiro is in many ways a poster child for the Olympics. The government was overturned shortly before the games, the kind of timing that is commonplace in Brazil, where bad news is usually run through Parliament just before Carnival begins and thus is ignored for the next weeks and forgotten before the hangover has worn off. The weeks before the games found a steady stream of disaster stories: unfinished or shoddy buildings, including the athletes’ village, the collapsed cycle path, the polluted water, the mosquitoes carrying the Zika virus, capybaras roaming the new Olympic golf course, described as `giant rodents`, which is technically true but conjured up visions of huge plague-carrying rats, rather than cuddly pig-sized hamsters.

Then came the opening ceremony: a Tonga disguised as a WWF wrestler entered the arena coated in olive oil and everyone forgot their problems. It was Vendredi Gras, and it reminded me that London 2012 was not that much different. Who in Britain tracked the property deals that saw virtually all spectators at the Olympic Park routed through a shopping mall. Who has followed the awarding of the Olympic stadium to West Ham? Who remembers the promises to Britain’s youth as luxury flats go up where once sporting arenas stood in East London? In London’s opening ceremony James Bond, The Queen, Mr Bean, and (blessedly) Ray Davies were presented to the world as the happy face of Britain. The £12 billion that came from nowhere in a country whose budget cannot be stretched to pay doctors or nurses is now forgotten. Curiously, the cost in Brazil has been estimated at $12 billion, in a city whose separation between the rich, who live vertically in gated high rises, and the poor, who live horizontally in favellas, seems like a model for a London of the future.

Yet listening to the speeches, watching the happy athletes of the world, seeing Kip Keino honoured for working with children in Kenya, seemed to make it all worthwhile, even to the most cynical of us. When IOC president Thomas Bach said we were all equal in "Òlympism"' I almost believed him enough to have my taxi driver try the lane reserved for IOC VIP vehicles next time we got caught in a traffic jam. Then experience, the little Toto of the mind, pulled back the curtain to reveal Frank Morgan pulling levers and playing Wizard of Oz. For the people of Brazil, the one-off Carnival has brought Oz to Rio. The circuses eclipse the bread for the next two weeks. Then, like London, the memories will be happy ones and the questions that linger will remain largely unasked, much less answered. Like Dorothy, Brazil will wake up, thinking `there`s no place like home`.

Thursday, 4 August 2016


Cantus Arctics is a remarkable piece of music, integrating the calls of wild birds above the arctic circle into something that both soars in an almost classical romantic Scandinavian sense (think Sibelius) and challenges with its lean modernity. It spins around the listener as birds might, drops hints and moves away, and is totally beguiling.  It was my introduction to Einojuhani Rautavaara, who died last week, and it is a record I have given to many people, not least my late ex-father-in-law, who played horn in the New Zealand national orchestra, and it seems to have captivated them all.

Of course no Finnish composer can avoid comparison to Sibelius, but oddly I see in Rautavaara a strand more like the less romantic challenges in Nielsen, or the much under-appreciated Robert Simpson. Rautavaara studied at Julliard, and while he was there worked with Roger Sessions and Aaron Copland at Tanglewood; you can see a bit of them in his work too, a mixing of romantic and what I saw called post-expressionist. What stands out for me is that he seems to use the different forms as an extension of their content--the ones that seem to fit.

I'd recommend the sweeping brilliance of his 7th Symphony, Angel Of Light, the 3rd Piano Concerto (Gift of Dreams), and if you want to feel his roots, the 3rd Symphony (which he called his Bruckner work). What Rautavaara shows is what I like to think of as the best of post-modernism, a much maligned and much mis-used term, in that his work delves deeply into the possibilities of the tools with which he works, but never loses touch with the impulses that drive us to express our deepest selves in music.  It is both challenging and accessible, appealling to both the mind and the heart. What more can we ask of art?

Friday, 29 July 2016


The Intent is a gangster film which flashes its modernity while at the same time being very much old school, if not totally familiar. That it can breathe moments of life into what is a very hoary trope says a lot; that it cannot totally escape those tropes is probably to be expected.

Hoodz, Gunz, D Angel, and Mitch are a gang in waiting, eventually named TIC for Thieves In The Community. Hoodz is the man with the ambition, and wants to move beyond selling drugs and petty thuggery. Mitch is the one who wants no trouble, wants no one hurt. Gunz is the one who as a kid was fascinated by them, and D, well, D smokes a lotta weed. When their first armed heist goes wrong, and the woman shopkeeper is killed, Mitch suffers a crisis of conscience, while the other three go onto to bigger better and bloodier things.

So far, so familiar. It's at times a very flashy thing, but its most powerful scene may be early on, when Hoodz and Gunz relieve two young dealers of their new watches and chains. It has a real sense of menace, of a law of the jungle mentality that makes the streets seems truly dangerous, and it contrasts with the strongly suburban setting in both south London and in Birmingham. The flash comes mostly in the robbery scenes, the gang's masks and the fast moving motorcyles, the relentlessly upbeat progression upwards in the foodchain. Femi Oyeniran both co-directed and co-wrote the movie, and plays Mitch, and one gets the sense the action scenes may show an influence of the other co-director, Kalvadour Peterson.

It also works because the leads are good. Hoodz (played by Scorcher) and Guns (by Dylan Duffus) look like they've stepped out of The Wire (I kept seeing Wood Harris and Clark Johnson in their roles in an American remake). Oyeniran's role is smaller, in fact he simply disappears for the long central section of the movie, but it's harder to be Mitch (who tellingly has no gangland nickname, and you can guess what Mitch rhymes with) and he does well with it. In fact, most of the gangster roles are well played, Ashley Chin and Fekky are both good, perhaps because they are more fun and easier to play.

There's far more awkwardness in much of the supporting cast, especially those playing the police, who look strangely unbelievable...Sarah Akokia has a hard time seeming to be as tough as she's supposed to be. At one point I started wondering if this was intentional—a representation of what the police are really like, not that tough, not that strong, much younger than we think. I thought the same thing after the first shooting, which is not very convincing at all, badly staged and woodenly acted. But of course this is what real gunplay is like, the sounds and the drama are things added in. I would have thought this an excellent point to make, except the rest of the shootings in the film are more up to what we expect in gangster movies, and most of the scenes not set in nightclubs or shootouts have an almost Coronation Street flatness to the way they're shot.

At heart, it's a story of loyalty and intent; there's an undercover cop in the gang, who's in danger of falling in ove with the gangsta ife; Mitch has his second thoughts and quits; and there's a constant carping about family loyalties even as family members betray each other, which contrasts to the kind of family relations Hoodz has with his own mother and sister. His mother is disgusted with him, and won't take his money; his sister is more ambivalent, and her friend Naeema is very much taken with him. Even though Naeema is the daughter of the woman shopkeeper killed in their first robbery, and even though she doesn't know Hoodz was involved, she knows the life. Her father has said he is taking the family back to Pakistan, but next thing you know she's in the club in a dress revealing enough for a Trump wife, assimilation winning out in the end. Jade Asha seems far more comfortable in this part of the role, just as the guys playing the hoodlums seem far more comfortable than most of the cast. And she, like them, is much better than any of the people involved in those gangster-chiq Tarantino lite pix that plagued Britain a decade ago (Gangster No 1 or Love Honour and Obey anyone? If you doubt it, see my essay 'What Makes the British Hardman Hard?' to which you can link here).

The Intent's final problem is one that goes back to the very first gangster movies. Like Little Caesar or Scarface, the gangsters become the romantic heroes, and their lifestyles become aspirational. Who remembers nowadays that Scarface was actually titled  Scarface: Shame Of A Nation? Yes in the end crime did not pay, sometimes awkward codas had to be added on to make that point more clearly, but there was little doubt as to which characters were having the better time. It is Naeema's dilemma in a nutshell, and really it is why so many of the supporting cast, particularly Akokhia as Police Sergeant Smith, act like they'd rather been playing on the other side.

It's a story that keeps moving, and it has enough ambiguity to keep your attention. And it ends as it began, in flashback, which is truly touching and a little surprising, especially if you understand police carry rules. Impressive, derivative, inventive, and most of all promising.

The Intent
directed by Femi Oyeniran, Kalvadour Peterson
written by Oyeniran and Nicky Slimting Walker
on release from today, 29 July

This review will also appear at Crime Time (

Wednesday, 27 July 2016


When I reviewed Gunnar Staalesen's Cold Hearts three years ago (you can link to that here) I responded to Jo Nesbo's blurb calling Staalesen a 'Norwegian Chandler' by suggesting he might better be seen as a Norwegian Ross MacDonald, though I thought his character was a bit more of a blank slate than Lew Archer's. Where Roses Never Die reinforced my idea, but it's more effective than Cold Hearts precisely because its detective Varg Veum fills in a lot more of that seemingly blank slate.

Staalesen's work is actually a bit more Noir than almost all of what is sweepingly called Nordic Noir, primarily for its moments when Veum deals with his drinking problems, and when his typically Nordic depressive detective moves through what is a great setting for a mystery: an architect designed group of houses facing in on each other, a metaphor for the people who live there and indeed for the crime Veum is hired to investigate.

Maja Misvaer hires Veum to investigate the disappearance of her three-year old daughter from a sandbox outside her home some twenty-five years earlier. The statute of limitations is about to expire, which means the policewill formally close the case, and she wants Veum to take one last look. Veum rouses himself from his own grief and his alcoholic stupor, and begins asking questions and turning over rocks and discovering connections which go back far into the past, and which merge into another case, a robbery of a jewellery store in Bergen a few years earlier.

This is very much like MacDonald at his best: buried secrets come to the surface, the past haunts the present, and Veum, who was a social worker before becoming a detective, seems to take a high moral view which implies the consequences small break downs in personal morality can have. And a case which seems set to focus on child abuse turns into something different.

Bergen is a strange setting, and not necessarily a very noirish one, but Veum moves among its lowlife and shows us the underbelly even in a small relatively prosperous town in a social democracy welfare state. This goes back to the very start of the great Scandinavian detectives, and Staalesen works very comfortably within it. There are moments which sometimes stretch credibility, of coincidence and of violence, but there are also a number of moments that are moving, and the story underneath unveils itself with a few surprises. Staalesen remains relatively unknown and hugely undervalued here; he deserves more attention.

Where Roses Never Die by Gunnar Staalesen
translated by Don Bartlett
Orenda Books, £8.99 ISBN 9781910633090

This review will also appear at Crime Time (

Sunday, 24 July 2016


The Rules Of Wolfe is billed as a 'border noir' and it may well be just that. Eddie Gato Wolfe is 19. He's part of a clan of criminals whose legacy stretches back generations and across the Texas-Mexico border. But the family rules say Eddie can't join the real action in the family business until he's finished college, and college is not on his agenda. So Eddie disappears, and resurfaces in the middle of the Mexican desert, guarding the weekend getaway of 'The Boss', 'La Navaja'. The work is dull, and once again, there are rules. But Eddie isn't one for rules.

So when he eyes one of the women who arrives for the weekend soiree, Miranda, who's La Navaja's brother Segundo's squeeze, he ought to know, and we certainly do know, that doing anything about it will lead to trouble. But he does, and she does, and it does lead to trouble and next thing we know Eddie and Miranda are on the run, heading across the desert for the border, with all the resources of La Navaja's organisation mobilized against them. Eddie needs help, but contacting his brothers Rudy and Frank would not only be humiliating, it might alert La Navaja about where he is.

I reviewed James Carlos Blake's first novel The Pistoleer, about John Wesley Hardin, twenty years ago. His shifting narrators have a particular resonance which reminded you of how gunfighters moved into myth. I have followed him consistently since, and frequently been hugely impressed; not least with The Killings Of Stanley Ketchel, which has joined my list of best boxing novels ever.

Blake writes about outlaws, and their struggles to survive in America--with this he's added Mexico to the mix as well, with the country on the other side of Donald Trump's wall serving as a kind of wild wild west surrogate. On the surface, The Rules Of Wolfe isn't a complicated novel, basically a classic man on the run story, but the structure is actually quite neatly built--switching between the Wolfe family in Texas and their own problems, and Eddie Gato, and eventually managing to bring the two together.

Wolfe writes cleanly, which keeps the pace moving, and he is a master of that laconic kind of American voice that goes back before Hemingway into the western. It's a modern sort of western he's written here, and it's a rewarding read.

The Rules Of Wolfe by James Carlos Blake
No Exit Press, £8.99, ISBN 9781843444084

Note: This review will appear also at Crime Time(

Thursday, 21 July 2016


Tim Weaver's novels about missing persons investigator David Raker have been best-sellers and Richard&Judy selections. In his spare time he has also presented the Missing podcast, discussing with professionals the ways in which people disappear and how they are tracked down.

I made a guest-appearance on Missing to turn the tables on Tim, and interview him about the genesis of the podcast, some famous unsolved missing persons cases, how his fiction and the facts he discusses on the podcast are intertwined, and of course, about his new novel, Broken Heart. It was a great discussion, and I think that comes across when you listen to it.

Here's the link. You can click or go to: It's episode 9. Enjoy.

Wednesday, 20 July 2016

GEORGIA ON HIS MIND: Georgia O'Keeffe and Alfred Stieglitz

One of the topics much discussed in reaction to the Georgia O'Keeffe exhibition at the Tate Modern has been the nature of her relationship with Alfred Steiglitz. Almost twenty years ago, the Metropolitan Museum in New York staged an exhibition of Steiglitz's photographs of O'Keeffe, itself an expansion of another show nearly 20 years before that, which revealed much about that relationship. Every couple of decades, it would seem, O'Keeffe herself and the influence of Steiglitz have to be re-evaluated. This was what I saw twenty years ago, originally written for the FT, but held until the exhibition in New York had already finished, then spiked.

Georgia O'Keeffe portraits by Alfred Steiglitz

Georgia O’Keeffe’s paintings have become commercial icons. Animal skulls dried by the desert, adobe chapels, lush sexual flowers, tall thrusting cityscapes, all part of an instantly recognisable and popular style. O’Keeffe herself has become part of that iconography, just as recognisable. Her face, with its strong sharp features, piercing intelligence, and deep eyes, echoes the visual images of her work. Yet, as this exhibition shows, that image is itself a work of art, a construct that arose from the unlikely artistic partnership of one of the major figures of modernism in America with an unknown student. Over the next thirty years, it would produce nearly 400 prints.

In 1916 Stieglitz’s 291 Gallery was the centre of modern art in America. His journal Camera Work was almost single-handedly turning photography into an art form. O’Keeffe was a 28 year-old unsuccessful artist who had taught in South Carolina and Texas and was now taking classes at Columbia. A friend had passed O’Keeffe’s drawings on to Sieglitz because she knew how much she admired him and his immediate reaction was “at last, a woman on paper!” He exhibited the drawings at 291, getting the state wrong as he billed her as “Virginia O’Keeffe”, but overwhelming with his understanding of her art O’Keeffe’s protestations at being taken up by him. And by his understanding of her art's impact. The gallery which had introduced America to Brancusi, John Marin and Marsden Hartley was now causing a bigger stir. The powerful erotic energy which Stieglitz recognised in O’Keffee’s abstract drawings disturbed many of New York’s critics, even those in the would-be avant-garde.

Stieglitz was keen to introduce women into the modernist movement (Camera Work gave Gertrude Stein her first appearance in print), but where on the one hand he was promoting O'Keeffe's work, encouraging her as an artist, on the other he also began using her as a model, and it is difficult to avoid the sense of her romantic, as well as artistic, objectification.

At the beginning, Stieglitz was taken by the abstract possibilities of O’Keeffe’s remarkably strong, sharp features. He is particularly attentive to her hands. Her long fingers both frame other objects to give them a geometric quality, and provide an abstract shape of their own. If modernism was about isolating the pure geometric volume from forms, Stieglitz was already beginning to move past that abstraction with O’Keeffe. But his photos quickly came to reflect the growing intimacy between photographer and subject. The quest for abstract shapes recedes, as Steiglitz becomes more and more fascinated with O’Keefe’s body, its combination of grace and power, of stark angles and edges softened by deep curves: her breasts against her shoulders, her hips balanced by her legs. The same qualities he had originally captured in her hands he would continue to reveal in her face.

The stark force of her face was muted somewhat by O’Keeffe’s wonderfully expressive eyes. This expressiveness turns Steiglitz’s modernism transcendental: he had discovered a human form in nature which could both generate and convey the equivalent of his deepest inner experiences. Original as it seemed to him, he was also recapitulating what O’Keeffe had already made the central aim of her own art.

By 1919-20, the photographs have become more intimate, even obsessive. Abstract nudes give way to extreme sensuality, O’Keeffe setting her hair, squeezing her breasts, displaying her feet. They caused a scandal when exhibited, and even today there is something almost fetishistic about them. The scandal was intensified, no doubt, by the fact that they were living together openly, despite the fact that Stieglitz was married. Eventually, Steiglitz would take these 'scandalous' shots off the market.

After Stieglitz was divorced in 1924, he persuaded O’Keeffe to marry him. She saw no point in the added respectability of marriage, and perhaps predictably, Stieglitz’s camera at this point appears to lose its fire. He begins producing more mundane portraits, as if the very idea of being Mr. and Mrs. Stieglitz were the antithesis of their concept of modernist art and modern life. Reflecting their increasing time apart, the pictures become almost chaste. O’Keeffe began to spend more time travelling, while Stieglitz preferred the familiar environs of New York City and his house upstate on Lake George. Some of his passion transferred to his other major series of prints, shot at Lake George, of abstract shapes from nature, particularly clouds. These correspond with his emotions, in much the same way that parts of O’Keeffe’s body once had, but they never recapitulate the total emotional commitment of his 1920 portraits.

But as their relationship, and his photographs of her, became less intimate, Stieglitz finally began to portray O’Keeffe as an artist, rather than a model. He now seemed more involved with the work than its creator, and he began to reveal the iconic O’Keeffe so familiar to us today. Now the sharp angles of her face, the deep gaze of her eyes, the dynamic power of her body reflect what the artist and poet Marsden Hartley called the “almost violent purity of spirit” in her work.

Although Dorothy Norman took O’Keeffe’s place in the passionate intimacy of Stieglitz’s life, and O’Keeffe began to winter far away in New Mexico, they spent summers together each year at Lake George. By now she was travelling through New Mexico in an A-Model Ford, with the back seat removed and converted into a mobile art studio. Her freedom seems to have fascinated Stieglitz, who photographed O’Keeffe’s hands, once again almost as abstract framing, caressing the wheel-covers of a V-8 car. The triumph of man over the energy of machines is an important part of both their work, but O’Keeffe’s hands give the picture its impact, inserting a human dimension to keep the powerful shape of the machine in its place, in fact, turning it into something to be caressed, if not an item of fashion.

There is a wonderful 1932 portrait of O’Keeffe in a head-scarf, looking out the front window of her car as if auditioning for the Bonnie Parker role in Bonnie And Clyde. As she gets older, her face seems to grow deeper, its angles more involving, stronger and more shadowy at the same time. What is clear from these photos is that a relationship which may have started very much as pupil and teacher, and soon deepened into romance, eventually extended beyond romance into art. After the passion faded, they transcended the bounds of artistic or romantic definition. If Stieglitz’s images of her helped mould our perception of her as an artist, her vision as an artist helped Stieglitz find new means of expression through his camera.

“When I look at the photographs Stieglitz took of me, I wonder who that person is,” O’Keeffe wrote for a 1978 retrospective, some 60 years after those first pictures had been taken. Whoever that person was then, she is now the figure whose features, as captured by Stieglitz, reflect perfectly Marsden Hartley's perception of her work's violent purity.

Georgia O'Keeffe: A Portrait by Alfred Stieglitz
Metropolitan Museum of Art, October 1997

Exhibition catalogue, expanded from the 1978 edition, published
by the Metropolitan Museum of Art, 1997, ISBN 9780300086102

Monday, 18 July 2016


The other day I read a tweet from the estimable historian Tom Holland, saying 'Yes, David was able to kill Goliath - but he could never have pulled the same trick twice" - Israeli general. To which I replied, 'He could have if Goliath had played for an English manager'. A couple of days earlier I'd written the following essay, but it passed the editors' desks unrequited...


Sometimes it is difficult to determine whether sport imitates life or life imitates sport or whether they are both intent on becoming artistic parodies of themselves. The confluence of the United Kingdom's Brexit vote with England's (though not Wales' or indeed Northern Ireland's) abject departure from the European football championship was widely noted. As if not satisfied with this, at virtually the same time new Prime Minister Theresa May appointed Brexit's Field Marshal, Boris Johnson, to be her foreign secretary, the Football Association was asking Sunderland's permission to interview their manager, Sam Allardyce, for the England job.

You can argue Allardyce's relative successes and failures within English football all you like. As it happens I met him last summer, and despite his place in the endless line of Big Rons, Big Mals and Big Eteceteras, Big Sam seemed relatively progressive in his thinking. This may have impressed me, but it will not be the ultimate criterion upon which his appointment will be judged. In a stark and not surprising reflection of the late referendum, it is all a question of Englishness.

The argument follows much the same twisted logic of 'sovereignty' that was the rallying cry for Brexit. Paddy Barclay, the Scottish football scribe on the Evening Standard, wrote a column recently rubbishing the idea 'Englishness is not essential' for an England manager. As he put it, 'Germany's successes have been designed by Germans, France's by Frenchmen and Spain's by Spaniards', he wrote. 'So find one'.

I am tempted to interpret that as meaning 'find a German, or a Frenchman, or a Spaniard. But it doesn't, obviously, and therein lies the rub. Paddy listed a number of candidates (Harry Redknapp 'would be fun') including Allardyce. But part of his job description includes 'anyone willing to contemplate an igominious end. Anyone English that is. To be serious: people will look at rugby and reach for the quick fix but, in the long term, principle counts.'

Ignoring his self-fulfilling prophecy of failure, and ignoring also that the long term in international football rarely extends beyond the next major tournament, the question of principle is exactly what drove 52% of voters to Brexit. And as with the referendum, it's important to note that principle is seen through rose-tinted national health spectacles.

In football, England have always ignored the rest of the world to their own great satisfaction. The 1950 loss to the American part-timers (read about it here), perhaps a bigger upset than the loss to Iceland, went ignored at home because basically no one was in Brazil to notice, and the news when it got back to England was so absurd it was dismissed. Not until Hungary thrashed them at Wembley in 1953 did the myth of innate superiority begin to spring recognisable leaks. A World Cup win playing at home in 1966, with Brazil helpfully ushered out of the tourney by the Germans (and an English referee, as any Brazilian will swear) helped resurrect that myth, but the truth is that for the past 20 years, England has been barely more successful in World Cups than, say, the United States.

In fact, a quick fix is exactly what is needed. Eddie Jones, an Aussie, turned England's rugby team around using the same players who had disappointed so gravely at home in the World Cup the previous season. Iceland, lest we forget, were not coached only  by a part-time Icelandic dentist, their other co-manager was a Swede. Xenophobic principle will win England football matches with about as much certainty as would putting the Union Jack on their jerseys. The reality is not a question of nationality: England's past choices of foreign managers has been just as underwhelming as their Englishmen. It is a matter of perspective, of a change in perspective, and if history is any guide, that may be, on principle, exactly the most difficult thing for the FA to even contemplate.