Here is my experience, in Wales, of the ‘Clap for our Carers‘ event, also known as Clap for Carers, Clap for the NHS or Clap for Key Workers, which ran through early 2020 during the Coronavirus / COVID-19 pandemic lock down.
[26/03/2020] It is the first 8 o’clock clapping event to show our appreciation to the NHS staff. If the wind blows the wrong way and carries water droplets… boom – more infections… but it seems like everyone will be doing it for an excuse to step out of the house. Will the NHS staff (and others this is done for) hear the clapping from miles away? I doubt it. It’s about ‘community spirit’ more than that really it seems.
The media treat it like an afterthought when not patronising the workers they’ve corralled to appear as window dressing to their reports. Virtue signalling seems the real intent behind this all rather than any practical support or supporting the rules established regarding social distancing… although it is bizarrely surreal and comical to see reporters holding boom microphones like pole arms while interrogating people to report their experiences.
It’ll be one of those ‘everyone did it’ events historians recall about this period in years to come. So you better do it or else your neighbours will judge you (or, at the very least, there is some weird media driven social pressure to take part)! The BBC’s ‘The One Show’ is endorsing it now. Go to your door, balcony, etc and clap for them to show your appreciation they insist. Just like they did in Italy and Germany. If they can do it so can we! There’s a strangely competitive aspect to the whole thing beneath the façade of community spirit.
20:12 There was some BBC coverage of ‘the clappening’ as I coined it (no doubt others have also done so independently though I’ve not heard the term being used). Various NHS staff were shown but also those currently on military service for some reason appear. I don’t know about you but nothing quite says ‘well done NHS’ like a big fuck off tank being shown full screen… ‘Oh yeah, you’re doing the 8 o’clock clapping to show our appreciation to the NHS staff, etc? Yeah, we are doing that too but, while we’ve got your attention, look at our military power too while you’re at it’.
There was no initial suggestion this would be a weekly thing at this point unless you went to the website.
[19:58, 02/04/2020] I forgot about the ‘clapping to thank carers’ was happening again this evening at 8PM.
The news and media, in general, were not mentioning it this week so either it was a given it was happening or maybe not. Who knows? Probably people hesitantly checked at the time and joined others if they saw them doing it outside their front door.
It occurred obviously. There were one or two less this time on their doorsteps. Some blinds fluttered as people across the road checked who was out doing it. It seems those either side of us were not doing it and thus those across the road decided they wouldn’t either. The house where the old woman used to live, decades ago, has young people in it now who came to their doorstep to clap.
[09/04/2020] Besides Britain I know Italy was doing a similar thing (and playing music) on their balconies and Germany was doing something similar. There was no clapping in St Petersburg but there was in Yekaterinburg I was told regarding Russia. Ringing the church bells would be nice as an alternative plus in the lead up to the Eastern Orthodox Easter on the 19th. It would reassure those concerned about celebrating Easter in some way.
Here in the UK apparently the third ‘Clap for our Carers’ event was going to happen tonight. It was obviously a given to many depending on what media you consumed as they would notify you throughout the day ad nauseum. Remember you better do your bit or else people will judge you.
Regarding the clapping there seemed less enthusiasm this time. The first I heard of it on the day was the 6 o’clock news personally although the news later on in the evening showed clips of people around the nation, in the armed forces and NHS staff (stood on the forecourts of hospitals they’ve been working in for hours only to be rounded up to perform for the cameras) doing it. It is all a bit ‘propaganda’ in tone when you take a step back and consider it. Could the overstretched hospitals really afford to have twenty or more staff go outside for ten minutes for a media event? You would think in these times they would need all hands on deck constantly.
I participated in the clapping. I saw a guy, across the road, literally stick his hands out the door, while in his t shirt and shorts with disheveled hair, clap for about 10 seconds then going back inside. I could hear, but not see, people further up the street clapping.
[16/04/2020] The clapping: this week more people were out and someone, a street or two away, shot off fireworks. Pots and pans began to be banged together this week by the people up the road.
Yet again more people, on average, seemed to have stopped doing it around here (this week had a mild resurgence in participants which didn’t last) but those who did continued participating seemed to be trying to over compensate for others’ apathy.
[23/04/2020] BBC’s The Big Night In (a collaboration between the Children In Need and Comic Relief fund raisers) had a filmed skit based on Black Adder featuring Stephen Fry and Prince William:
Stephen Fry reprised his role of Melchett ,who he had played multiple generations of in the Blackadder series, to chat with Prince William, the Duke of Cambridge. This skit actually led into the weekly clapping ‘ritual’ (as The Guardian newspaper refers to it) on the night as a countdown so I didn’t see anything, on the night, in the above video after the two minute mark when he began counting down to 8 o’clock. That was an amusing thing to happen for the special evening of entertainment charity drive. There were some nice sketches during the event which are available to see on YouTube.
We had a few clangings of pots and pans again but no one I could see. In fact, at one point, one guy walked out of one house with a bottle of beer and went in another house. He clapped on his way amusingly. Again it depends where and who you’re doing it with I guess as to how many people seem to be participating in the clapping.
[30/04/2020] Clap. Clap. Clap. It’s week… five or six? I’ve lost count. It was week six. I’ll leave in my confusion over the next few weeks’ entries as it is what I noted on each occasion due to one week flowing into the next over the period.
The cat goes in the window to see what is going on. The houses across the street don’t come out. I saw one woman come out of her house to join the clapping after about a minute, into the two minute long clapping, this week. Each clapping session lasted at most two minutes I think with everyone waiting for someone else to stop first. The same pots and pans were being banged together.
This week they televised other places clapping. Not just hospitals but also residential streets. Would the people have been out in such force without the cameras there? We can only speculate. All bright young things. Middle class families with 2.4 children with perfect hair and perfect teeth.
Also during this time a ninety nine year old World War II veteran, Captain Thomas Moore, was doing laps of his garden to get donations for charity thus becoming somewhat of a celebrity for a short time.
He was in the news constantly serving as a distraction from the events and as a symbol of the ‘resilient British spirit’ I suppose. ‘Stiff upper lip‘ and all that.
Kakebyleanneharry made a cake in the shape of his head. Those always have that element of unintentionally saying ‘look – I’m stabbing and eating this person like a murderous cannibal’ in the photographs when they are served I imagine. ‘Here’s a cake celebrating you… here’s us cutting into the cake and eating ”you” too… you should feel honoured we are devouring a representation of your flesh’. I wonder how many ‘Christ-like’ jokes have been made regarding these confections? It’s all a bit surreal…
On the last few laps of his garden he had an honour guard and there was a fly over by an air squadron past his house. He was made a colonel eventually. The country felt a little bit better about itself and he received enough birthday cards to fill a town hall on his hundredth birthday.
[07/05/2020] The sixth week of ‘clapping for carers’… No, apparently it was the seventh… I don’t know what the media coverage was of it as I was watching National Theatre Live’s broadcast of Shakespeare’s Anthony & Cleopatra. (It was good if a little bloated feeling. They had a live snake on stage in one of the final scenes when Cleopatra and her assistants die!)
This time, during the clapping in my street, a girl in pyjamas and a nightgown was clapping at her garden gate and was joined by her, I assume, sister after a minute. The people up the road were not clanging their pots and pans as much but had their Union Jack bunting out already for V.E. Day tomorrow. Oh and a woman, so fat she was spherical, like in a cartoon, was chasing her black dog, walking slowly after it calling the dog’s name, down the road as it ran about sniffing everything having escaped the house.
[08/05/2020] V.E. Day: Street parties with people in their gardens etc. Apparently there was meant to be some ‘coming out the house and singing’ event to celebrate it but it didn’t seem to happen here unlike the clapping.
However on the BBC you could watch entire streets doing it and dancing besides their small garden tables they had outside their front door. However these communities seemed to mostly be in picturesque English villages projecting a certain image to the rest of the world rather than anything else. I’m not saying they were organised especially for the media but it all seemed a bit too convenient. Everyone in a street dressed in vintage clothing with one guy able to play the accordion, everyone knowing the lyrics to songs of the era and having all the other things you might expect at a historical recreation event. Except it’s owned by all the residents in a single street during a societal lock down where you would be unable to buy such supplies. Maybe they ordered them online and had them delivered? Amazon rules western society right now…
[14/05/2020] The seventh week of ‘Clap for Carers’. No apparently it was the eighth… I really lost track of the weeks.
People living nearer me did the banging of pots and pans this time. However the ones up the street didn’t seem to be doing it this week surprisingly – or maybe they were being drowned out. Across the road someone in a white bath robe came out to clap at the end of her pathway. Directly across the road, slightly obscured by a white van, was a young woman in a pink t shirt whose hair seemed to have been completed plaited out of boredom. She clapped looking down into her garden while facing her house. Maybe she had a dog or little children I couldn’t see. There were even less people this week taking part.
[21/05/2020] Clapping for Carers: week… eight? No, it was actually week nine.
This time one guy across the road leaned out his door to clap for a minute. I heard one, maybe two, people up the road banging pots and pans halfheartedly. That was it.
Suddenly, the last week or so, people have got a bad attitude here it seems. Maybe everyone is fed up. The novelty of it all has worn off. The media is slowly showing signs of being fed up of keeping a façade of positivity and endorsement.
On the TV you see NHS workers, spaced out as part of ‘social distancing’ obviously, continuing to clap minutes after the two minute average as the journalists revel in it. It’s more for show than anything. It still seems questionable to have carers take part in the clapping when the clapping is intended for them. But it’s all for the aesthetic. It’s like that song says ‘the sun always shines on TV’…
[27/05/2020] Apparently Annemarie Plas, the creator of ‘Clap for our Carers’, would like it to end with the tenth week. I think most people gave up after the first week or so anyway…
The final ‘Clap for our Carers’. Maybe for now… maybe forever. The media was really sour about it this morning with them all acting like it was beneath them and just a government trick to keep people compliant due to Dominic Cummings actions and the Westminster governments efforts to explain or justify them which feels like they’ve all been blown out of proportions for the sake of something to discuss. At one point they even tried to drag accusations against the Welsh Health Minister, Vaughan Gething, into it as a parallel though it didn’t stick.
The media is bored now of giving an unequivocal supportive tone to proceedings. Now, just as they have in the past, they turn sharply to intense criticism and judgemental, languorous, condemnation because so few developments have occurred to satisfy the ever hungering beast of twenty four hour news coverage. The government statements and their coverage all sound like: they’re repeating yesterday’s announcements to which only yesterday’s questions can be asked and yesterday’s vague answers can be offered. Something is happening but it’s negligible because only 24 hours have passed so it’s hardly worth acknowledging.
‘But why isn’t more being done?’ demands the journalist like a spoilt child via a ZOOM conference call scratching themselves out of frustration. ‘Something is being done’ answers the indolent government adviser, stood at the podium, who has nothing new to say while slowly hoping they can leave the room soon. No one is satisfied with how it’s gone so far but everyone has answers on how it should be done.
‘Are we there yet?’ the journalists ask from the back seat. ‘Almost, just a little while longer’ the government mutters, through gritted teeth, slowly putting their foot down on the accelerator to get out of this situation sooner to shut them up.
Journalism has turned into an industry where they watch paint dry and complain it isn’t more exciting. Unlike ‘the good old days’ when you might asphyxiate on the fumes of the lead paint or choke on the coal dust lining your lungs from the fireplace or even die of liver disease from one too many wet lunches. Back when journalism was ‘real’… or at least that’s what the old timers, who’ve retired and love recounting their exploits, tell them while pretending things were all sanitary back then and no one ever got their hands dirty for the sake of ‘a good story’.
No doubt, in a few years time, we will see multiple autobiographical books being published by journalists who go on to give talks and book signings at literature festivals. Books detailing their struggles, their vigilance, their nobility of spirit, all very inspirational… oh and that ever so funny thing that happened to the person they don’t respect but have to call a friend in case they ever have a use for them. You know the one. Yes, them. The one with the funny thing and their terrible, completely bonkers, manner. Hilarious honestly. Where do they get it from? Amazeballs. You had to be there. But you weren’t. Because you’re not important enough. Even if you were there you definitely were not ‘present in the moment’ like they were. Even if there’s a recording of the moment contradicting what they wrote it’s a complete lie unlike how they recall it. Their story is much better anyway. Now buy the bloody book and piss off because we all know no one actually reads these things – they just go on a shelf so you can look informed and on the ‘right side’ when it comes to discussing things.
[28/05/2020] The Clappening a.k.a. Clap for Carers: Chapter 10: The Finale (?) Some people, three at most, were clapping further up the road. I saw Venetian blinds across the road flutter. The cat was in the window watching us. The clapping continued for two minutes then ended.
I took the rubbish (garden waste, glass, black bags and food waste) out afterwards from the back to the front garden. Out the back I could hear some pots and pans in the distance clanging together. Also this song was playing in the distance:
It was as if it was intended to mock people. But was it aimed at those who clapped or those didn’t? I’ve not heard any songs playing loudly in the area in years. Someone used to play Seal’s ‘A Kiss From A Rose’ every Sunday morning. I always suspected they were covering the sounds of their love making because it was odd to always have that one song at the same time every week… but maybe they were exercising or something. Who knows?
On the final day the media were basically doing the adult equivalent of acting like the self declared cool kids in school. We have all known them. The fashionable followers of trends. The ones who brought something to people’s attention and, initially, were front and centre making sure everyone saw them ‘doing their bit’ endorsing it beforehand but then one day, out of the blue, repudiated it entirely declaring ‘yeah, I was never into it because I saw through it all along’ though, only a week before, they were calling out others for not participating in the endorsement.
I tend to get the impression journalists were the nasty, but respected, people in their classrooms. Ever ready to change their opinion if it suits their needs to one up others or when they perceive a shift in the attitudes of the majority which might cause them to lose influence.
In a while they’ll chortle derisively on various programmes ‘what was that all about ?’ like people looking at photos of the fashion they wore in previous decades which is completely alien to modern trends… until that style comes back into fashion. Just like there’s always a plague, or some such, in the ’20s of the past few centuries. Time is a flat circle.
There were many events and attitudes expressed during the period but you can find those documented elsewhere. Here are one or two representing the sort I came across.
Conspiracy theorists: So ardent about it too! But apparently that’s how the media began to speak about it once they wanted to demonise Dominic Cummings and the current UK (Conservative) government despite their efforts.
The Welsh government took a more strict view to enforcing lock down compared to England – which people coming into Wales seemed to have a hard time understanding. Many assumed that the rules announced by the Prime Minister, Boris Johnson, applied to all of Britain not just England even though he stated explicitly they were for England only. That’s an unfortunate attitude people have: they assume Northern Ireland, Scotland and Wales follow England’s lead even though many areas of legislation and such have been devolved to their respective governments for quite a while now.
For a shorthand explanation of the underlying attitude to why people clapped every week, though they would never admit it, look at this humorous video:
Keeping up with the Joneses. That’s why people really clap as they think their neighbours will judge them. This video was played on one of the breakfast shows; either BBC Breakfast, Good Morning Britain or The Jeremy Vine Show; on the final morning as if they themselves were not the people doing exactly this sort of judgemental thing every other week lecturing people on ‘virtue in the times of COVID-19’.
This year there was no competition so instead we got two shows instead!
The first programme was a retrospective clip show of previous winners throughout the years and a phone vote to decide what the best ever song is. That turned out to be ABBA’s Waterloo apparently. The version of this programme available online is different to the one shown on the BBC though most of the songs shown are the same but with different people interviewed.
The second, longer, programme was hosted from Rotterdam which was meant to be this year’s venue. It was hosted in a small studio by three hosts, probably thankful they got to wear the outfits they bought especially for the occasion, showing 30 second clips of the music videos for each performer who would have competed this year. The video clips were preceded with a brief message from them wishing everyone well during these trying times.
They did some additional interviews during breaks every nine songs or so. As we only got 30 seconds per artist many, no doubt, didn’t get fair representation as that brief a time is, at best, a preview of the songs and undermines any aspects such as escalation. It came across like the Eurovision committee wanted to do a show but also to keep costs down leading to a somewhat unsatisfying experience which will have frustrated many of the artists involved though many will return to compete next year. Later, we are told, all the singers will perform ‘love shine a light’ together.
The above video is also different to the version shown on the BBC. So below I will present the entries in the BBC’s broadcast running order rather than the supposed official running order as the video above describes itself. It seems to play the videos in full but I’ll put them individually below for ease of reference.
We got to see an interview with Johnny Logan of Ireland who was on talking about winning three times live from Dublin. He is still wearing a white suit all these years later… then he sings ‘what’s another year’ with a choir of people at home.
Johnny Logan – What’s Another Year (including choir of Eurovision fans) – Europe Shine A Light version
This year we will see the videos for the songs instead of a live performance.
I’ll put my initial opinion formed by the 30 second clips shown on the BBC but then, in a second paragraph, also my opinion of the full music video or performance versions (whichever the BBC showed). There is no doubt many songs were underrepresented by the abbreviated format presented by the BBC.
Israel – Eden Alene – Feker Libi
Good energy, 90s nylon tracksuits.
I can imagine a soulful acoustic version of this. It is definitely very 90s with the garish neon yellow costumes of the dancers. The song is enjoyable but it’s definitely not one that would score high.
Norway – Ulrikke – Attention
power ballad. Sparkly dress from a cheap high street shop.
The opening strings remind me of the theme music to role playing computer games or fantasy films. The song is really good with a slow build up. The flickering lights in the background provide a minimalist, yet effective, staging. The shift between soft and projected vocals is far more effective in the full version so the BBC clip really misrepresented it. It’s reminiscent of many from the past so, while a good song in it’s own right, it’s an ‘also ran’ in this contest.
Russia – Little Big – Uno
Going for the camp vote with a weird pastel 70s look. Knee shaking 1920s sort of dance moves. Comical figures. Eurovision classic in the making!
After the controversies of the past few years Russia has done what the UK did around a decade ago – just send fun entries and enjoy the experience because there will inevitably still be countries who will refuse to give them points out of sheer political spite. The song is really fun and the dancing well co-ordinated. The pseudo prison tattoos on the lead vocalist is an amusing contrast to the see through shirt. Also the guy with the liberally applied black lipstick. Fun novelty track which will get effectively remixed into some club anthem potentially. They used that pastel retro aesthetic popular in British pop music about a decade ago with acts like OK Go or Benny Benassi’s Satisfaction music video.
Georgia – Tornike Kipiani – Take Me As I Am
Wants to be an anthem. In the back of a car. In the studio – black and white filming. Bit overly self reverential.
Usually they have interesting acts. This one is a bit more toned down and gritty. It’s a good pop song but… Eurovision wouldn’t reward it. The video is pretentious but I suppose every musician has at least one ‘in the studio’ music video under their belt. The lyrics are a bit ‘victim syndrome’ but probably talking of the Georgian nation’s experiences (or the singer’s experience with lovers) where people expect them to behave like others. Very good but not a Eurovision song.
France – Tom Leeb – Mon Alliée (The Best In Me)
5 o’ clock shadow and a guitar. One for the ladies…
Slow acoustic ballad. Very generic sounding. The video is very generic. ‘Please award him for he is handsome and plays an acoustic guitar so is clearly very soulful’ entry. Doesn’t really strike any real impact. It’s the sort of song that plays second or third during the credits of a film. The filming locations are nice in the video in a shopping arcade and theatre. It reminds me of venues in Cardiff.
Azerbaijan – Efendi – Cleopatra
Katie Perry music video… turns dark for a split second then generic female singer music video. In the desert.
In hindsight it reminds me more of Cheryl Cole (Fernandaz-Versini). The song reminds me of Holly Valance. It’s a good pop song and the costuming for her is very good. Not sure about the cut to the audio pitched lower section near the start really as it should have been repeated or omitted. Aside from the costume most of the video is a few vehicles in a desert… oh and some mummy dancers. Well made and above average points scorer probably if quite repetitive towards the end.
Portugal – Elisa – Medo De Sentir
Big puffy sleeves top. Sparkly pants. Makes me think of a song played over the credits of an anime series.
Nice gentle song with a piano accompaniment. Portugal won with such a song so they’re playing it safe. The sleeves look awkward but I’m not sure if it might be alluding to a form of national dress. Motivating uplifting song but also reflectively sad. Would give it another listen in future. Also woof. It probably wouldn’t do that great but it’s a nice relaxing song to chill out to.
Lithuania – The Roop – On Fire
Quirky dance. With standard basic beat dance music. An ‘I will…’ self empowerment type of song.
A magnifying glass… it’s been a while since I’ve seen one. The music video is very artistic. Fun song. The dancing reminds me of the eccentric moves actors perform when films or television programmes want to mocking the dance styles of certain ‘butt of the joke’ characters. Very enjoyable and would probably get some decent points during a contest. It’s the sort of song you end up looking for years down the line because you’ve forgotten the name of it as so develop a small self-imposed quest to relocate it.
Sweden – The Mamas – Move
Large backing singer ladies given their moment in the spot light. They’ve a Beverly Knight, soul diva, sparkly dresses style with a Little Mix style song.
Very ‘Muses from Disney’s Hercules’ style staging. Really good upbeat song. Definitely can imagine this being used in a television series or advert. Only downside is these sort of contests still have a bit of a stigma. It’s okay to be a funny ‘cartoonish’ woman doing a ‘chicken song’, like Netta, but doing a serious performance and not fitting the standard physique no doubt counts against them even if no one is willing to admit it. Body positive and talented ladies but they’re being judged by the old school when competing and they’re not being ‘comically fat’ so despite pulling off a flawless performance of a really good song they’ll not get more than middle points in a contest.
Måns Zelmerlöw – Heroes – Eurovision: Europe Shine A Light version
An acoustic version of his song performed in his London garden. Good! Actually I prefer it to his competition entry for a previous year. Like every performance of the evening he offers good wishes to the viewers.
Then last years winner of the junior Eurovision song contest, Viki Gabor who represented Poland, was interviewed.
Then there was a performance by a past contender with children who participated in the Junior version.
Gali Atari & Junior Eurovision kids – Hallelujah – Eurovision: Europe Shine A Light version
She was the female group member of the Israel entry which won 1979’s Eurovision contest singing a song titled Hallelujah. They say people still sing it but part of me feels they’re confusing it with Leonard Cohen’s version as much as I half recall hearing their song with the same title. They send Chinese lanterns off into the sky. Someone’s crops no doubt burnt to ash overnight when those eventually came down.
Then we get interviews with contestants by make-up tutorial vlogger(?) NikkeTutorials chatting to them over face time about what they’re doing over this period. Painting. Animals. Tik Tok videos. The Netherlands royal house hopes everyone well. It all seemed a bit ‘forced friendly interaction for the sake of good PR‘ in tone despite their best efforts but it might be that her make up makes her face look very artificial to the point of distraction – and not in a good way. The uncanny valley but with an actual person.
Then from Italy a guy named Antonio with dodgy facial hair and a guitar performs a famous song titled Buona Sera. I suppose it’s meant to make us all feel more united. It was nice. I couldn’t find a clip of it surprisingly.
END OF BREAK
Latvia – Samanta Tina – Still Breathing
A very Lady Gaga style music video. Generic dance music song though…
This definitely had some inspiration from Benny Benassi’s ‘Satisfaction’ music video but also Kylie Minogue’s ‘Can’t Get You Out Of My Mind’ music video too with some costuming like Sia. The song is a Euro-dance track. It’s okay but it would have been interesting to see what they would have done live at the finale with it. It’s a style of music that is very hit and miss with me. It’s okay. It’s advert music – especially with the ‘Dove soap’ moments of body positive lingerie inter-cut with the rest of the video with thin dancers which sends a mixed message. The video is just a compilation of ‘that would look cool’ ideas with no focus.
I mean you could pretend there is one and that when she was little she was bookish, then got into rigid exercise and lost her identity, then became comfortable with her body and then ultimately became herself at the end able to eat cake but still be confident in herself… but that’s me applying an ‘artist’s BS explanation via interpretation of vague imagery association’ filter to it. Ultimately they wanted sexy women but added ‘smart’ looking school girls (in the most blatant ‘bookish nerd’ stereotype possible) and body positive women in lingerie enjoying themselves so they avoided any criticism for the dancers in leotards from vocal Feminists. I wouldn’t have noticed except for the contrasts so at least that apparently made it mildly more memorable in a year of extravagantly kitsch music videos.
Belgium – Hooverphonic – Release Me
She is the 6th vocalist to join the group apparently. Subdued band video. Very Portishead in tone. The guys are much older than her… bit of a weird vibe unintentionally.
Yeah the Portishead overtones are really strong. Specifically the music video for ‘Glory Box’ during certain parts – you’ll know when you see both. It’s the sort of music I really enjoy, what most people probably associate with trip-hop of the 90s or those ‘lo-fi hip hop for studying’ type YouTube videos. You just know this isn’t the sort of song that does well in Eurovision unfortunately. The singer reminds me of someone… the actor who played Neelix of Star Trek: Voyager? One of my favourites of the contest this year nonetheless.
United Kingdom – James Newman – My Last Breath
Chunky guy could be 20s or could be in his late 40s. Video filmed in Poland. Trudging through snow like a bear. Upbeat modern song.
The music video is well made although it’s a strange juxtaposition to have a hardened, sinewy, rural living old man contrasted with a metro-sexual, well fed and groomed, young guy. The song is very ‘British boy band pop song’ tonally. I mean a lot of the song’s impact is from the backing singers rather than James. It’s… okay? It’s the entry from my country so I should be more supportive but… it’s decent but it wouldn’t stand out and is instantly forgettable. Put that in a compilation of boy band songs and you would be hard pressed to differentiate it as ‘the one we entered into the Eurovision song contest’. The most interesting parts of it were from the voice over monologue which frame the rest of the music video… and the music video itself is ‘guy goes for a dip in his freezing cold pool before his daily routine with his dog; meanwhile, elsewhere, a young guy goes wandering through the forest. I just imagine the old guy hunted James later and made a rug out of him.
Belarus – VAL – Da Vidna
very late 80s video. Enjoyable. Three women and a guy on a guitar. Reminds me of The Corrs… but Slavic instead of Irish.
Oh she is wearing a bejeweled headpiece like the one from The Cranberries’ music video for ‘Zombie’ or Metallica’s music video for ‘Until It Sleeps’ which had a similar aesthetic to it. Aside from that they wear black suits. Again a bit of a 90s vibe going on. As for the song – it’s enjoyable but I imagine forgettable. [editing note: I actually had to relisten to this while proofreading the post as I honestly couldn’t recall what it sounded like at all unlike other songs!]
I know what you’re saying – that ‘first impression’ and the ‘music video’ one don’t sound like I was watching the same thing. Indeed… I’m not sure myself either. Did I miss a song or something? At the time of uploading this there was no evidence of the version broadcast on the BBC unless I skipped it. [editing note: I went to double check and indeed I’ve no idea what it was I saw on the BBC broadcast…]
Finland – Aksel – Looking Back
Dressed like Kim Jong Il in a navy uniform/traditional east Asian styled suit. Nice staging. Good song. Overweight with a moustache so probably wouldn’t get the votes. Fat women are acceptable in society these days but not men unless you can grow a good beard and have a big cockerel’s comb of hair too.
That suit does him no favours and I don’t think anyone really pulls off those ‘grandfather’ collar’ styles really. The staging with the projected images is really nice. The song too is something that you can easily imagine scoring really well and probably being a contender for the top 3. Unlike other entries that feel like they begin to get a bit repetitive towards the end this one doesn’t outstay it’s welcome which is a bonus few tend to consider when you’ve heard the same lyric repeatedly for minutes on end.
North Macedonia – Vasil – YOU
The song is decent. The video is blatantly ‘we are dancing as a prelude to sex’ but done in a bar makes it feel a bit seedy.
An Enrique Iglesias style song and music video featuring what appears to be a man who likes to think he has the same level of raw sex appeal but is in fact just a deluded narcissist. He looks like a bloke down the pub on a Saturday night and the lady dancing with him looks like she is on a girls night out cosplaying as a Spice Girl. The video represents what drunks think they look when they dance – when in fact they’re just flailing their limbs about while groping at each other.The song is quite good but nothing really stands out. Another ‘song from the 90s’ or early 2000s’ sounding entry. It’s okay but an ‘also ran’.
Switzerland – Gjon’s Tears – Répondez-moi
Man with a puffy sleeved shirt… novel. Song is generic sounding.
The music video and singer remind me of Robert Smith and The Cure around the time when he was going through that ‘it’s not all about the make up’ phase except if that was happening now. The framing makes this guy seem so self involved it’s hard to assess the rest of it. Some nice visuals at times but very much in the mold of ‘French new wave cinema with a dash of surrealism’. The song is mostly him singing one line then holding an ear-piercing high note [editing note: relistening to it the note is even worse – it’s probably fine in person but through a speaker it’s like a stiletto dagger to the ear]. Okay… but it’s not that appealing. What let’s it down is the awkward high notes otherwise it’s a solid sounding piece. He reminds me of a singer here called ‘Passenger’ who has a high voice and both have good songs ruined by their voices which don’t really fit the style and tone they want.
Serbia – Hurricane – Hasta La Vista
Apparently their answer to the Pussy Cat Dolls. Indeed. Very like them but in shiny material. Enjoyable enough if your wanting to dance.
Yes… very ‘Pussy Cat Dolls’ era girl group with ‘sex sells’ attitude though the song is fun and well performed so could do well on it’s own. Costuming wise there are definitely Little Mix inspired choices there. Bare chested male dancers and all the things you would expect of pop music videos of this style. The ‘pastel boxes’ bits are nice though it reminds me of the British group the ‘Sugar Babes’ when they had Heidi in it. Another ‘also ran’ ultimately. They should have gone full blown into doing references to The Terminator having worn the leather jackets because that’s what a lot of people immediately thought of upon hearing the song title no doubt.
Serbia – Marija Šerifović – Molitva – Eurovision: Europe Shine A Light version
Graham Norton referred to her as ‘Marta 2.0’ (pronounced as ‘Marta two point oh’). A Serbian singer performing in the empty streets of Serbia. She was Serbia’s 2007 entry nwon it that year. It’s a very good song… if it was competing this would have likely been my favourite. I think it was my favourite that year too. Admittedly the fact we can hear more than 30 seconds, during the BBC broadcast, elevates it but you can just hear the quality difference. In the video we also see medical staff and others doing their work. People in future will know exactly when certain songs came out as they are featured in so many right now.
Then the Rotterdam Philharmonic (though Graham Norton, for some reason, introduced them as the London philharmonic) performed ‘love shine a light’ as venues around Europe (and elsewhere) lit up. All very ‘spiritually uplifting and that…
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Spain – Blas Cantó – Universo
Lot of modern filming techniques in modern aesthetic locations. Songs very good. Probably would have won overall. Has that energy.
It reminds me of the music videos for the group called ‘Hurts’ here in Britain about half a decade ago. People covered in glitter dancing in the sterile interior and then him climbing through a desert terrain to find people with chicken wire over their faces in white robes. Interesting imagery but what does it mean if anything?The song is enjoyable. Maybe it is the sort to grow on you but then he does that ear piercing high note which puts me off. It probably would have done okay. It’s a nice touch at the end of the video there are credits for the people involved as music video production tend to go uncredited.
Albania – Arilena Ara – Fall From The Sky
everything white in a white room. Most of the clip was her susptaining anote. Probably quite good.
The music video reminds me of that YouTube art piece/musician Poppy. ‘Hi, I’m Poppy.’ ‘Hi, I’m Poppy.’ ‘Hi, I’m Poppy.’ The ‘ultra modern/ultra art house art design makes it both interesting and yet essentially barren. The birdcage bit could honestly be from the 80s. The song is very nice. I would, in future, half recall it and that it was featured in the Eurovision contest probably. It’s just distinct enough. It would probably get a decent score. There is also a lyric video version but it’s essentially a static image with the lyrics along the bottom of the screen.
Ireland – Lesley Roy – Story of My Life
Very pop song of the moment. 90s baggy suit with mesh top style costuming. It reminds me of Billie Piper’s debut single’s music video. Retro-chic style music video. Song good video …. eh… okay.
Avril Lavigne. That’s whose music it reminds me of. Or someone like that. The video again has a lot of pastels with retro designs so fits the current British trend of design and style.It’s a really fun, infectious, song. I imagine it would do very well as it’s the sort that usually does well in Eurovision with a strong easy to sing chorus. Lesley has that sort of look where she could be in her twenties or well into her forties.
Slovenia – Ana Soklič – Voda
Filmed on a beach. Another power ballad sort with loud instrumentation then quiet vocals moment. Enjoyable.
Another case where the video shown and the one available on YouTube as the official video are different. Deep voiced lady singing a song from the 90s again. There are a lot which remind me of songs from the 1990s during this contest. Maybe the 90s are trendy now but I can’t imagine that being the case for people in former Soviet block countries considering the issues that caused unless everyone has rose tinted memories of the time now? Anyway… a plain white dress with attached cape makes her look like a character from a high fantasy film like Lord of the Rings. (Galadriel specifically). The song is slow and makes no impact to be honest. When it’s in direct comparison to others featured it’s a definite low scorer unfortunately. She has a good voice though.
Austria – Vincent Bueno – Alive
Crowd pleaser, Justin Timberlake like, song. Leather jacket in an abandoned building video… very good. Would have done well.
It’s a nice video and light song. Very enjoyable. An infectious club song making you want to get up and dance. It would do well. This is another video of people with masks… was that a trend this year or is it a political statement by a number of countries? Because it’s full face masks not ‘cover your mouth’ surgical style masks which obviously would be in reference to COVID-19.
Bulgaria – Victoria – Tears Getting Sober
Sort of gothy/Billy Eilish vibe to the video. Song a melody sort. Very good.
A nice gentle song. You can imagine this being on the radio, adverts, television series. It’s one of those songs that just feels universal. The video might not be the best fit but then it gives the vibe of ‘reflecting in the evening sat in the park’ so that’s the obvious allusion. Then you get the flashes of lightning and the fire flies. I would be surprised if it didn’t do well… but then other years I have really liked some songs and they’ve not done as well as expected. Woof! This is my favourite of the competition overall! Both modern and yet timeless!
San Marino – Senhit – Freaky!
Retro chic disco/dance pop number. Fun. Lots of different styles thrown at you in quick succession.
A dance music track from about 20 years ago. Epilepsy warnings were not given before it was shown or the BBC chose the 30 seconds when it didn’t need the warning. There are a lot of interesting visuals in the video but it’s so much you’ve no time to appreciate any one thing. To induce the sense of it being ‘freaky’ I guess but there is nothing bizarre… just distinctly variable. The song is fun and will get a lot of play on the radio and in clubs (you know… when the quarantines are lifted…) so while it wouldn’t get massive points in this contest it’s definitely one that will serve Senhit well career wise.
Iceland – Daði og Gagnamagnið – Think About Things
Video is very ‘Okay Go!’ from about a decade ago. Fun song. Would have done very well if not won. Lots of fun. The guy is 6 foot 9!!!
This honestly screams ‘this years winner’ when compared to everything else which is either stuff we’ve seen before or doesn’t have ‘the spirit of Eurovision’ which seems some mysterious level of ‘cheesy yet technically competent’ which marks certain performances out. The only reason it wouldn’t win is their staging would be less extravagant than some others on the night. An infectious beat. Easy lyrics to sing along to. Quirky presentation. Admittedly I’ve not posted Eurovision’s official video as that’s just a stage performance and the music video on the groups page is much more fun and is the one shown by the BBC. The only costume difference is they have boiler suits for the stage version with just the musicians though still retaining the pixel art portraits of their faces on their chests.
Michael Schulte & Ilse DeLange – Ein Bisschen Frieden – Eurovision: Europe Shine A Light version
He was Germany’s entry in 2018 and is doing this year’s commentary apparently. Ilse is from ‘The Common Linnets’ who were the Netherlands 2014 entry. They perform a song from 1983 (actually it was the winner from 1982… so Graham Norton was wrong again?) by the German Entry Nicole. The song is called Ein Bißchen Frieden (A Little Bit of Peace).
It’s very Country and Western and yet ‘British pop’ of the era too. Good. I like the venue especially.
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Greece – Stefania – SUPERG!RL
Girl imagines she can levitate. Very dance focused song but good energy would do well.
It reminds me of a song from last year due to the use of horns (albeit they’re electronic here). Her voice sounds like it is modulated electronically in the music video. The video is very good but… the song feels generic despite it’s good energy. I can’t help but feel this really wants to put itself forward to be the song used for YA novels adapted into Television series or films. It’s okay but I think the music video adds a lot to it while the song itself is good but it’s the sort soon forgotten. Like Holly Valance’s songs from years ago. It reminds me of that sort of energy.
Czech Republic – Benny Cristo – Kemama
90s style R&B music video – people in low lit areas… very 90s R&B video. The song is a light dance song. Okay, but nothing special.
The camera spins around. It reminds me of the Japanese action film ‘Azumi’ where they did that for the final showdown and I felt a bit ill… nothing to do with the camera work but I do recall it because of that. It’s a club song. Not my kind of song but it’s okay. It’s not a style I listen to much so can only say it’s a nice change to the usual stuff we have in the competition. The spinning was trying to do something with what was a relatively bland video when you could tell what was on screen.
Also wasn’t the Czech government trying to get people to call the country ‘Czechia’ nowadays instead of Czech Republic?
Poland – Alicja – Empires
Very fire filled video. Another power ballad sort. Seen it before. Poland used to have unique stuff but they’ve gone tame again…
The song would make a good theme song for a drama series or such. The video is okay. The is a lot of fire imagery. You would half think this is a political song and Poland was actively involved in a conflict. Either that or this is the theme song to a James Bond film. It’s quite good but this is the sort of song you expect to be in the Eurovision song contest. Another Galadriel dress. Alicja apparently has only one facial expression too.
Moldova – Natalia Gordienko – Prison
Lots of heavy bass. Music video in the desert again. Very good but wouldn’t win. Appearance in the video is model. In video to audience is girl next door… interesting
‘Look I’m a bad girl’ sort of imagery and ‘I’m an attractive woman who knows it and uses her sexuality to empower myself’ type music video with lots of close ups of herself and male models obsessed with her. It’s a good song (initially) but the video doesn’t serve it well. More walking through a desert like landscapes like other competitors. Then some blurry close ups. It would get some decent marks but end up somewhere in the middle. It gets repetitive quickly though thus becomes bland after a minute or so. The music video even more so. I half expect it to turn out to be an advert for a perfume.
Cyprus – Sandro – Running
Dance club anthem song. Basic video with some lights under a sheet suspended overhead.
Another music video where they have them dancing under a suspended sheet of fabric. Is that the visual theme this year? ‘If there’s a fabric ceiling then it’s a dance track’. Good rhythm and beat for dancing to but the lyrics are incredibly basic.A very meh song to be honest overall. You’ll enjoy dancing to the rhythm but it’s remix fodder at best. Costume wise its ‘t shirt and jeans’ so… yeah nothing to comment on there. Also that’s some weak moustache game you got going on there bro – have some self respect and shave that bum fluff off or grow it out properly because you won’t be able to grow a John Waters no matter how much you might want to.
Romania – Roxen – Alcohol You
Floating letters music video in neon blue night time. Very reflective soulful song.
Drifting letters in the air. An interesting music video. Good lyrics though the ‘alcohol/I’ll call’ pun is a bit of a stretch to be polite though it’s a nice try and better than the all too on the nose lyrics others have. On the whole yeah this is really good. Not sure about the face jewels. Kind of ends too suddenly. It would probably be in the top three or five at least.
Croatia – Damir Kedžo – Divlji Vjetre
Standard modern entry. Backing singers etc. Not much to add.
Clothing wise he just came from his waiter job in a nearby restaurant. The song is generic. Honestly sounds like if you averaged out all of this style of song this would be at the exact centre of the curve. There are a lot of backing singers, off to one side, to the point you wonder why they didn’t put them directly behind him for more symmetrical staging. It’s a nice effort but was never going to stand out. And it’s in his native language rather than English which, as with previous years, nets them extra points in my book. It’s just that it’s so pedestrian an entry unfortunately even in these tamer, culturally homogenised, times.
Germany – Ben Dolic – Violent Thing
Puffed up jacket. Slav gopnik ‘#1 with the hair clippers except for a fringe at the front’ hairstyle. High pitched singer trying to be cool. Ehhh…. it’s okay but bland really.
The video is a nicely cinematic effort. Clearly money was thrown at it. He facially reminds me of the little boy from ‘This Is England’ grown up. He’s got a high voice. It reminds me of the singer ‘Passenger’. I don’t like this modern castrato singing style he and others have used this year. It hurts my ears needlessly for to show off their range but not actually achieve anything with it in the song. The video is generic ‘in the club’ stuff. It’s the sort of song that would do well but not one I can appreciate. Aside from that the lyrics and instrumental are very good. If someone else had done this I would probably like it better.
From Israel we get an interview with Netta who has Bayonetta hair… Joking about what she has done in quarantine. Showing her opening last year’s ceremony. She wishes everyone well then presents a video of a song she has done.
Netta – Cuckoo – Eurovision: Europe Shine A Light version
Much more toned down compared to her winning one. An excellent song. The sort you enjoy hearing repeatedly by a singer but it never really gets the notoriety of their louder bombastic songs. Ironically she wouldn’t have won Eurovision with this but it’s a much better song in my opinion as it doesn’t rely on gimmicks and has a much more impassioned emotional resonance. Very fitting for these times where people are distanced and having to face who they are when their socialising options are much more limited even with social media. As per usual it’s the songs not mean to be competing which seem to have the more impactful performances.
Then online stuff featuring someone watching the show with her dog. Then a montage of people singing song fragments. Who would the singers give their 12 points to?Performers admit they would give it to their neighbouring countries and such though some give to performers from elsewhere too. That’s sad to hear that even after the measures taken to deter block voting there is still that sentiment. Favoritism over meritocracy. Such is the way of the world sadly.
Duncan Laurence – Someone Else – Eurovision: Europe Shine A Light version
Last year’s winner performing his song. Good stuff. Without question you can tell this is a well written and performed song. (cue someone looking at my comments from last year and noting what I said… no, actually no one will… no one will because no one reads these Eurovision posts but it’s nice to remind me of which I liked and which had no impact so Eurovision doesn’t, years later, say one song was good but actually wasn’t). Saying that he does look like he just came from his fast food restaurant job due to the shirt he is wearing. I guess that’s the fashion right now – to look like your wearing a retail/service industry uniform… then again military jackets and such are still a popular clothing choice so maybe it shouldn’t be that surprising but it says something about European culture that that’s where fashion has drifted. Maybe it’s meant to be like a male nurses shirt – I’m pretty sure I’ve seen ones that look like that.
Then finally a look in performers’ homes while they make reassuring comments about sticking together and such. Some seem more in context of the competition, some more regarding the virus… some just seem generic or self referential…
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Malta – Destiny – All Of My Love
Energetic anthem – kids dancing in the rain. Would have done very well! Corto Maltese would be proud.
Another music video with some random inspirational narration at the start of it. I can see that be next year’s trend then. Really good song which would get a good reception outside of the contest. More ‘people looking off into the distance as if aspirational’ stuff in the video but the free running along an abandoned building and the lake/river/seaside is a nice change to the ‘in the desert’ ones.
Estonia – Uku Suviste – What Love Is
Boy band member striking out on his own. Open shirt in an empty theatre filled with candles. It’s okay but… it would have got girl votes rather than song votes.
In an abandoned building – which in hindsight is a trend this year for some. Slow start. Then BOOM it’s Hogwarts with all the candles! His style is very 90s boy band. You half expect the other members to turn up. Yes I stand by my first impression ‘wow being by myself is great… but so is love’… very ‘boy band member releasing his debut single independently’.
Australia – Montaigne – Don’t Break Me
Modern Art house music video – song is good ‘dance music remix’ fodder. It would get lauded there but here… ehhhh….
Sings very fast initially. Her costume is very out of keeping with the song. I like the dance routine parts involving her with the dancers acting as puppeteers (like Kuroko from Japanese Noh theatre) but… it’s also a bit try hard. That’s weird to say for a Eurovision entry but it really seems overworked and thus a bit mechanical and soulless. I want to like it but… I’m not clear what her costuming is meant to express save that the person she is singing to considers her a clown… but she isn’t. She reminds me of Taika Waititi in a way… who, of course, is from New Zealand so, unintentionally, I’m insulting her a bit…
Ukraine – Go_A – Solovey
Yes! That’s Ukrainian energy! They always deliver! And fantastic costume and stage design for the performance. Reminds me of HARD KISS in a good way. Would have been my personal winner.
Okay well either this or Belgium were the best song of the evening as far as I’m concerned personally. Belgium for the mainstream this for the ‘representing our nation’ option. It reminds me of ONUKA to be honest but less experimental in their use of techno/synthesizers compared to them while retaining some of the more traditional instrumental aspects.
Ukraine likes to put up very modern entries recently but it’s possible, after the issues when they had a very politically charged entry which courted some controversy, they’ve chosen the more noble path of showing how cutting edge modern and European they are as a nation in contrast to Russia who still wish to retain a certain level of distance and traditionalism to remain distinct from Europe. So there is still the friction there but it’s not overwhelming each countries entries as it did in previous years with the boycotting issues and such.
The costumes are very interesting. Woof! The firework from the guitar seemed a bit pointless. Their singing reminds me of ‘Tulia’ who represented Poland last year in terms of their harmony. So this is your answer to the question you never asked: ‘what would an ONUKA and Tulia collaboration sound like?’ Maybe I just have weird tastes in music. I would prefer something experimental over something bland though. Better to make an impression, good or bad, than none at all when it comes to the arts.
Denmark – Ben & Tan – Yes
Guy with a guitar. Lady accompanies him…. feels a bit wielded together. No chemistry.
A ‘couple’ where the woman sings while the man plays a guitar and sings in support. It’s a romantic cliche but it’s worked in the past. Both dressed fashionable though I don’t get the ‘half jacket’ dress trend for women in the past year or so. High fashion I guess. It’s not for someone like me to understand. It’s a nice song with good ‘sing-a-long’ potential. It’s a Eurovision classicstyle wise but probably wouldn’t win unless there was some lucky scores. Probably it’ll be the one cited from this year in future when looking back if it’s for entries that had ‘the Eurovision spirit’ if they want to overlook the global events of this year.
Italy – Diodato – Fai Rumore
Empty amphitheatre venue. Leather jacket. Good song. Apparently gone platinum in Italy already.
So there are both the above ‘Arena di Verona’ video and the ‘Official Music Video’ versions. I like the arena one. It really draws into focus his performance. It’s an impactful soulful song and will be looked back as showing the spirit of this year where we are separated and yet looking forward to reunion. It will no doubt be used in future to represent this year more so that the Denmark entry despite it having ‘the Eurovision spirit’ of other years. Probably with some sentiment that ‘we’ve never been further apart yet closer together’.
Here’s the official music video with the English subtitles in the video itself. Italy always makes a really hard effort to win but rarely seems too. It is no doubt incredibly frustrating. It’s a subdued yet artistic video. I can see people enjoying this long after the contest is over. The lyrics really hit home due to current events so no wonder they wanted to perform it in the Arena di Verona’. Another contender for song of the year though not my personal choice because of my odd tastes.
Armenia – Athena Monoukian – Chains On You
Modern flashing artistic video. Very audio stabilised voice music video with Rihanna’s style from a few years ago. Good but wouldn’t win.
Yeah, this needed an epilepsy warning! A lot of ‘sexy yet stylish’ imagery. Woof. The song is good until it gets to the chorus part then it gets a bit flimsy. The ‘red’ parts of the music video and the backing dancers in the ‘white’ parts are the best aesthetics of the video. The song ultimately is an ‘also ran’ but might get some votes from people into Rihanna and her style of music as this really reminds me of Rihanna’s work from about a decade or so ago.
Netherlands – Jeangu Macrooy – Grow
Gospel R&B – people sat in a circle to make it confessional. Very good! Stands out amongst the others.
Excellent song. Really nice video. It would deserve high scores and could have potentially won depending on the running order and if other acts didn’t perform well on the night. A nice gentle song. It’s the sort of song you hear now and years down the line completely get taken by surprise realising this is where you first heard him because you’ve been into him for such a long time. It builds to such a great positive high by the end but hopefully had he performed it live he wouldn’t end it as suddenly as the video does.
FINALE OF THE EVENING
A message from Björn of ABBA. A retrospective because they were so successful. Talks of his grandson telling him people in school told him his grandfather was a pop star and him being incredulous about it. Then Björn praises the contest as being ‘so very European and letting people forget about Coronavirus for a moment‘. He ends by joking that he is glad they chose ‘shine a light’ and not ‘Waterloo’ for this years slogan.
Then Graham Norton. He joked earlier about the delay in the interviews and indeed it was something the host mentioned so they obviously heard him earlier but its only a split second. It actually came across as if the hosts were being a bit bitter about it – so even this year the hosts are a bit self-important… Maybe he rubbed Eurovision up the wrong way with the comment like Terry Wogan used to do (if so then that’s great as his acerbic commentary was always a massive part of the experience other nations sadly didn’t get to appreciate). Then some chat. Where was he when ‘love shine a light’ won Eurovision for Britain. ‘Face down on the floor drunk probably’ he jokes.
Then he returns to commenting and says it was awkward yet ‘strangely emotional’. Ha ha.
Love Shine A Light performed by the artists of Eurovision 2020 – Eurovision: Europe Shine A Light
Then we get all the competitors for this year singing parts of ‘Love Shine A Light’ as there will be no winner this year. Obviously all sang it at the same time they did their recorded song introduction parts regarding their songs as they’re in the exact same place as those clips. A nice way to round out the show with Katrina (and her poodle) doing the final part of the song.
The odd thing is they could have had the competition anyway but with the caveat it’s based on the music videos or done via broadcast… but I guess they insisted it must be only judged based on a live performance on the night to ensure no foulplay. Still that feels a bit needless as it means everyone either returns next year or loses their chance to have participated. Some had tried multiple times to participate only to get through this year and for the pandemic to occur. Graham Norton joked maybe it was the universe trying to tell them something… Nonetheless everyone will return next year to Rotterdam if they can.
Apologies to those who expected this to be published within 24 hours of the event but it took longer than expected. Hopefully you enjoyed it. If you feel like leaving a comment, a like or following the site you’re more than welcome to.
Red Joan is a 2018 British spy drama film, directed by Trevor Nunn, from a screenplay by Lindsay Shapero. The film stars Sophie Cookson, Stephen Campbell Moore, Tom Hughes, Ben Miles, Nina Sosanya, Tereza Srbova and Judi Dench.
Red Joan is based on a novel of the same name written by Jennie Rooney, inspired by the life of Melita Norwood. Norwood worked at the British Non-Ferrous Metals Research Association as a secretary and supplied the Soviet Union with nuclear secrets. The materials that Norwood betrayed to the USSR hastened the pace at which the Soviets developed nuclear bomb technology.
Cookson performs the young version of Joan Stanley studying physics at Cambridge. She became involved with Communists and radical politics through her friend Sonya (Tereza Srbova) and Leo (Tom Hughes), a German Jew. Her story, which reaches as far back as 1938, is recalled in flashbacks as Joan in old age, performed by Dench, is questioned by the Special Branch. The questioning reveals that Joan was not actively supporting communism, but was more concerned about “levelling the playing field” to maintain peace in the postwar world.
Most of the film takes place during the Second World War in the offices and research facilities of the atomic researchers. There are scenes in cafes and private rooms alongside a few different interiors but ultimately it plays out like a chamber drama dealing with Joan‘s affair with Max, Leo‘s temptation, chatting with Sonya and only really picks up the pace once Joan is aware of what happened at Hiroshima which leads her to begin committing espionage. This occurs in the third act more or less meaning most of the film is bland melodrama and reiterating how sexist the era was time and time again to labour the point.
These sections are framed by current day events where Joan is taken by Special Branch on behalf of MI5 for questioning. She is put under house arrest with an ankle bracelet and eventually ends up making a press statement, in her front garden. She declares she isn’t a traitor but wanted everyone on equal footing. She wanted everyone to share the same knowledge as it was the only way to avert the horror of another world war. She concludes that she believes if they look back in history they’ll see she was right. A female journalist shouts she should be ashamed to which Nick declares she has no reason to be ashamed and that he would be acting as her legal representative.
The film was inspired by the story of Melita Norwood who, in her 80s, was unmasked as a KGB spy. She was accused of providing British atom bomb research to the Soviet Union in the mid 1940s. She admitted her guilt at a press conference held in her suburban garden. Sue to her age the British Government decided not to prosecute. Known as the ‘Granny Spy’ she died at the age of 93.
The film closes with this text on screen.
Character Based Review
Immediately you see, with even a little knowledge of the real life story it’s based on, how they’ve ‘upgraded’ the central character from a secretarial role into a more proactive scientific contributor when we are informed early on she was selected for her intellect (though her beauty is also noted). As a first class Cambridge science graduate she gets recruited (later insinuated to be via Leo‘s influence) into the secretive research towards atomic energy by the British Government even offhandedly mentioning something the male scientists overlooked thus earning the respect, and adoration, of Max the research lead. She has to keep this all relatively secret but due to connections from her student days, when she spent time with Communist sympathisers, she begins to be influenced into leaking information.
To be honest this in reality might, in the best case scenario, have barred her from even being considered for selection to work on such sensitive information from the very start so there are a lot of conveniences for this heightened fictionalised account to even take place already. More than likely she would be detained indefinitely (however in the film she blackmails a college friend, William, for some tickets to Australia to wait until the heat is off it seems to be implied before returning to Britain in her old age). In the worse case scenario she wouldn’t even be given a trial of any sort and be killed on sight once she commits her betrayal.
She says she doesn’t want the research used as a weapon and remains faithful to her country (yet induced unfaithfulness in the professor who has fallen in love with her and who she sleeps with until later he declares he is getting a divorce to be with her). This goes as far as working with Canadian/American scientists at one point until Hiroshima occurs. This is not so much a shock as an inevitability considering what the research, even on, is being discusses as capable of. She never had the option to stop this and yet then takes questionable actions by arming a foreign power – and it would be hard to argue her leaking of the self same research that enabled the bombing of Hiroshima and Nagasaki (the latter not acknowledged bizarrely) by arming a foreign nation to induce a nuclear stand off.
There is a lot of talk of ‘you don’t understand how it was back then‘ in scenes with her son and yet we, an audience generations removed and knowing the consequences of such spy work, know of the Cold War paranoia induced by the arms race which is arguably still evident today with Trident and other deterrents. The film asks us not to judge her by that same argumentative logic with which she tries to silence her son – namely that, as much as he couldn’t understand war time mentalities, she couldn’t be assured that the research she leaked would lead to a stalemate, as she hoped, and not immediate utilisation of nuclear arms on non-Soviet territories.
In fact we don’t know how the war affected her personally besides what she tells her son. We only ever see or hear of her experiences in university and the research facilities. Even her time in Australia is at best paid lip service. Did she have relatives who went to fight in World War II? Relatives who were caught in the bombings? It’s as if she was an orphan with no connection to others besides her university friends. I only realised that afterwards and it strikes me as bizarre. Is the film, amongst it’s myriad of options to be interpreted, also suggesting everything we saw was a streamlined fabrication in the manner of Keyser Söze in ‘The Usual Suspects’? Honestly I’m over-reading into this film because it is so unfocused if you look at it on anything but the surface level.
Anti-war sentiments, though occurring before and after the second world war, felt like a very modern in their sensibility and portrayal here. The film tries, unsuccessfully, to stress in it’s ending that her actions were vindicated by history yet it ignores the Cold War era apparently. Often in the framing device, set in modern times, she reiterates her view that, regarding Stalin, they didn’t know about his actions at the time and stresses the relativism of other such values. The film wants her both to be seen as a victim of sexism in the era and yet striking out at that self same society in an act of morally questionable autonomy. She didn’t want atomic research to be used as a weapon so, having seen it’s utilisation as such, she opts to provide research to the Soviet Union which clearly must be understood by her as potentially arming them with weapons too.
Ultimately she was naïve and so for all the film reiterating her intelligence she proved to have little autonomy in her life. What little actions that were her own proved to enforce the archaic attitudes of the men that she was not to be trusted with ‘serious business’. It’s oddly sexist without irony how they portray her. It doesn’t truly comment on the era’s sexism so much as pay lip service to it then double down on it’s own belittling of her.
The bombing of Hiroshima single-handedly acts as the tipping point when she begins to leak information to Soviet spies. Initially via Leo, who often appears professing his love for her, and Sonya who has a child and acts as a friend of sorts.
The film tries to balance you sympathising with her struggling for respect in a man’s world, for example when a Canadian scientist keeps on about how she is going to be impressed by a tumble dryer they have, but also shows the slow progression of her sympathies towards aiding foreign powers. Therefore willingly choosing to be blind to the greater picture of world events playing out in the background (which are barely acknowledged in the film to the point you see no sign of home front efforts towards the cause even) thus endorsing those sexist values that she can’t be trusted.
There is a foreign scientist working with the Canadian scientists who is later revealed as a spy and she emulates this exact behaviour but the film seems to believe you will sympathise on no greater basis than that she is British and a woman, who we see old and frail in the framing device, when being coldly interviewed by MI5 representatives. Kierl, the scientist spy, and all foreigners are on some level to be dismissed, as they do him initially, or mildly suspicious. It’s a film very rooted in an archaic attitude and it doesn’t seem all that intentional as much as part and parcel or British dramas of a certain type for some reason when concerning middle class academics and such.
The film seems unable to settle on a single perspective of how to portray her. Is she sympathetic as a woman seeking validation for her scientific abilities in a patriarchal society? Is she a fool manipulated by others? Is she a traitor – both as a British citizen during war times but also in her personal life where she hid her actions from her family? Yet when we see her interact with other women she is often looking down on them in some way herself echoing the attitudes of the men she worked with.
Despicable for betraying her country? But, besides some dramatic shouting and frustration by her son, we don’t know how her leaks truly had consequences besides Leo‘s death and Sonya running away. Are we expected to sympathise with her when she finds Leo‘s corpse though she rejected him repeatedly and knew the consequences of what she was doing? To sympathise with her loss of her friend when she uses her discovery in Sonya‘s wardrobe to blackmail William? What of her being told the Russian research had somewhat of an unexpected boost? For which it is the professor, Max, not she who is imprisoned – and to which the film asks we sympathise with her anguish seeing him imprisoned apparently. There seems no true consequence to herself until her son refuses to represent her legally – something he later doubles back on for a somewhat forced positive ending. We even see her put the curare pin to her arm but then she is fine later. It’s as if she goes through the motions of regret but without the follow-through nor consequences of it.
Is she a martyr regarding her anti-war sentiments towards the use of nuclear weapons which would shared by later generations? Arguably yes and yet of course, because of such a ‘levelling the playing field‘ attitude to research, this all led directly into the ‘atomic age’ Cold War stand off between nations and all that involves which remains to this day with national defence budgets. The sort which often dwarfs all other spending in government budgets based on the paranoia that someone else might push the button. The sort for which retaliation would be initiated and thus mutually assured destruction the outcome wiping entire continents if not all mankind off the face of the Earth.
So instead of an open war there was, as a consequence of her actions, the suspicion of neighbours, the Red Scare of America and a long list of liberties people across the world lost. Perhaps, on some level, that was the film’s message that despite her best intentions nothing really changed. Everything is eventual and she merely sped up the Soviet Union’s nuclear research. But that would be a very favourable interpretation of her actions to the point of blindly deeming her moral on the basis of the simple logic that a protagonist is intrinsically moral. That’s the sort of naïve logic seen in propaganda.
You could, on some level, argue that due to the nuclear research race she was, by a long sting of sequential events, also partially responsible for Chenobyl. Okay that’s, of course, a stretch but it hopefully indicates how naïve her attitude was in assuming all people think like she does as if governments, let alone individuals, don’t have differing ideologies and priorities just as certain choices led to the meltdown of the reactor and there still being an exclusion zone around the site to this day. The film wants us to act like there were no negative consequences to her actions and MI5 and Special Branch are just angry she leaked information not that her actions led to empowering a foreign power which had ill intentions towards our allies if not also ourselves.
She holds true to the view expressed by Marcus Tullius Cicero that “an unjust peace is better than a just war.” The film enforces this by ignoring later events prior to the interview with Special Branch, save for her discussion with her son of having lived in Australia, as if the height of the Cold War never occurred and thus painting her as somewhat a tragic heroine undeservedly to those who may be unfamiliar with the terrors of the era where people suspected their neighbours of being spies, lists were written (most famously Orwell’s) blacklisting people so they would never be allowed positions of influence or access to sensitive information and so on. All we are presented with is her good intentions and not the consequences of them.
Often, despite the film’s best effort she is a somewhat wretched figure who shows no true autonomy unless it relies on the stereotypically portrayed wiles of women such as hiding secret in a box of women’s sanitary towels knowing a young male inspector will blush out of embarrassment and let her go with it? For the most part she shifts between Leo, the professor Max she is having an affair with (who is later her husband admittedly) and the later Sir William who she blackmails for being a homosexual with photographic evidence so she can escape to Australia from her predicament in Britain at the time.
Ultimately it can be safely said this script could have been written anytime after Hiroshima as a propaganda piece and, depending on what the governing bodies wanted the message to be, to either show her as a traitor, the western perspective, or as a noble spirited comrade thinking of the world as a whole which would be the the Soviet version. Albeit, of course in the Soviet/International Communist version, glossing over the true intentions and values of the Soviet governments of those nations at the time through the rhetoric of ‘worldwide comradeship’ as is seen in much of their propaganda and in the film repeatedly echoed by Leo calling her his ‘little comrade’). People suffered for what she did and she sees only her own sense of right in the matter. Any consequences between the end of the war and her being interviewed by MI5 are never mentioned so we, I presume, can apply real world events. Certainly the film never addresses that aspect even casually.
She is initially faithful to Britain but after Hiroshima’s tragedy she began to leak information to Russian spies. In a truly fictional drama (even let us say and alternative history one where it’s all but our world with a few key differences e.g. The Man In The High Castle), where we don’t know the later events in the world of the film, this can be framed as a noble action – a truly humanitarian action even – but we live in the world where these things played out in reality time and time again due to international espionage so there were consequences unlike in the film. Espionage was very much at the forefront of popular culture (e.g. the novels of John le Carré, Ian Fleming’s James Bond, The Ipcress File, The Avengers, The Saint, The Man from U.N.C.L.E. And many, many, more – some grounded, some fantastical but all concerning espionage). People died for less important information than the atomic research she gave and the film cannot, despite it’s best efforts and even having an actor of Judi Dench’s ability, make us ignore this fact.
At one turn the film presents her as intelligent but at another profoundly self involved, contrary and irrational in her decisions. She was ultimately what is termed a useful idiot for the purpose of Soviet scientific, and therefore military, knowledge.
The film tries to pose her as often striving against patriarchal norms but she folds to it repeatedly despite a few momentary gestures of refusing to abide by it. She has values but seems to only act out of spite by leaking the information with no idea of the real consequences of her action. She closes with the statement she was ‘levelling the playing field‘ but that isn’t even naivety but outright, wilful, blind stupidity with no forethought of what such information enables foreign powers to do. To put it bluntly this film ultimately endorses her encapsulating the misogynistic values of men of that era. It’s shocking but watching it it’s undeniable this film holds the values of the early twentieth century not of a contemporary production. The script isn’t sure if it wants you to sympathise, destain her or to have conflicted feelings towards her and so falls back on propaganda like simplification but without the through-line of following through with the sentiment it has woven that she is truly at fault and not someone to even have pity for despite it’s desperate efforts to attempt such a tone by the end.
Both Sophie Cookson, as the young Joan, and Judi Dench, as the older Joan, do their best but the role seems so convoluted scene from scene it’s hard to really gauge how it should have been performed.
Dench arguably has the easier part as her part plays out over a few days rather than years but it then places so much weight on her to carry the production to set the context of how we view the rest of it. Do we view the rest of the film as Joan‘s biased (and somewhat falsified) account of events? Was she truly naïve? Too many questions are left for Dench to imply answers to in her performance without the aid of a better script and editing.
To further my view this film is propaganda in structure we only need see how flat the other characters are written.
Leo, for the most part portrayed as a male femme fatale clearly linked to Communists going as far as to lovingly call Joan his ‘little comrade’ seductively. The only real development he gets with when giving her a locket with a curare poisoned pin once she begins to commit espionage. Later he is is found hung in his apartment. It’s suggested it was the Russians who killed him but it could have just as easily been British Intelligence. The latter is never even humoured in passing as a possibility though it would be more logical as only the one source of information has been compromised. We find out afterwards he truly did love Joan and had a son though it’s implied he also had a similar relationship with Sonya as Joan finds a similar locket at the abandoned home of Sonya later on. Tom Hughes does his best with the one note role but ultimately it feels like a retread of his performance as Prince Albert in ITV’s Victoria.
Max, the professor of the British effort into atomic research and later Joan‘s lover seems incredibly generic in his role in the piece. She has an affair with him, later marries him (after he decides to divorce his current wife who is never seen on screen – divorce itself being somewhat scandalous in the era) and bears him their son Nick who is a grown man in the later set parts of the film. He is apparently dead by the later part of the film though it’s never explained how though presumably it was of natural causes.
The film in it’s fractured efforts wants us to both enjoy their budding relationship yet also potentially judge it possibly. He with his clumsy confession that he chose her for her mind but she has a nice face too (later confessing to her, post-coitus, it’s at that moment when he fell in love with her), and her for not rejecting him knowing he was an already married man. In fact the adultery side of it, which was a legally permissible grounds for divorce (damaging to Max as the adulterer), is severely downplayed though it would have been the reputational ruin of both at the time. (which in part might have played a role in escaping to Australia too in hindsight).
Again her later declaration ‘you wouldn’t understand how things were back then‘ comes to bite this fictionalised narrative in the rear. Adultery would be highly immoral in the era (and not exactly something we think well of even now without extenuating circumstances).
We never learn anything about Max‘s previous wife except she was a barrier to him getting together with Joan. Yet at that point in the film they want you to like Joan, going about it almost forcefully, as the next scene is her being spoken down to by a Canadian scientist saying she would be more interested in a tumble drier they have. It almost begs us to side with Joan, having shown her sympathetically, yet due to how it’s depicted it falls on deaf ears for being so on the nose.
Do they want you to look past the surface and already begin to disassociate with her or do they want to lull you into considering this act of adultery as okay (which was deemed so immoral, to the still quite archaic legal system at the time, you could cite it as good cause for an immediate divorce and the adulterers would be a social pariahs at the time let us not forget). Why? Because they end up together in the future? The repeated phrase of Joan‘s about not understanding the time period again comes into question. Divorce was something people were judged for too though that would be a case of deeming them of ‘poor moral character for not being able to maintain a stable relationship/ as a source of gossip for others/unable to control or satisfy their partner’ rather than the far more scandalous faux pas of adultery where they would have been deemed ‘wantonly immoral in their lifestyle and a risk to be associated with if you needed to be considered of good moral character’ for employment or other matters in polite society.
The film glances over those aspects as though they didn’t matter. Certainly Max‘s previous wife would have potentially been likely to spend her life unable to marry again in that era because of him. But they’re not core to the narrative so get omitted I guess though they would add to furthering an audience’s views of Joan’s morality and consideration of how her choices affect others. A missed opportunity.
As for how Max comes across… he is a generic portrayal of a stereotypical Cambridge (or Oxford) academic of the era. Have you watched other British dramas set during World War II about the intelligence services’ efforts? Then you’ve seen him many times before with a different name whether based on a real person or fictional. They are all interchangeable in how they are portrayed. There is nothing notable about him. Even the affair is played out in the staid, emotionally mute, passionless, way the English seem to enjoy such things being portrayed for that era. (Basically as shorthand consider Lady Chatterley’s Lover in how clueless the titular character seems to be of her own needs and emotions yet desperate for intimacy). I say that but they so love seeing illicit affairs portrayed in dramas which speaks something of the national character. He is just a placeholder in the narrative. Prior to the Special Branch/MI5 interview it’s implied he is dead and likely never knew the full extent of what Joan did. When her son presses her on how much he was aware of she replies bluntly yet confusingly ‘enough’.
Unfortunately it seems Stephen Campbell Moore is also doomed to repeating his performance of another role from a different production or indeed, possibly, he repeats this performance again when portraying a character in the film adaption of Downton Abbey which was made the following year. He seems typecast into a lot of these emotionally blank upper/middle class Englishman roles. He is good at it but it must be soul crushing to be so typecast even if it does pay the bills and ensure a steady flow of incoming work offers.
Sonya is a well off university friend, of foreign origins (Russian emigre in origin I think but I’ve honestly forgotten), who later has a child and meets with Joan outside of her work at the research offices. She clearly holds sympathies for the east but it’s never clear if that does as far as betraying British values. Later in the film, when Joan visits, Sonya has already hurriedly cleared her room of both her own and her child’s possessions to evade capture by the authorities. In a wardrobe Joan finds items of Leo‘s including a photo of a boy and handwritten notes with a photo of William kissing another man. At the end it’s revealed she returned to Moscow with her child by way of Switzerland where she had contact with Leo‘s son. Another woman caught in the world of espionage but apparently one who, implied off-screen, more fits with how we imagine women of the era being involved in espionage as depicting in other media i.e. somewhat of a socialite using connections and unguarded chatter to gain information.
For the most part she serves as the only other prominent female character in the narrative. The only two other women to appear are a Special Branch/MI5 interviewer in the modern sections, who is just a functionary thus has no characterisation beyond being a stoic interviewer and a secretary/tea lady in the war time parts who, unaware of her real intentions, gives Joan a box of sanitary towels where Joan hides the information she is leaking as an investigation begins in the offices where she is working.
Tereza Srbova, a Czech actress, does her best but this role is relatively one note on paper and doesn’t really give her much space to imbue it with anything short of coming across as clearly a questionable figure in her allegiances. Nonetheless she is one of the better performers and comes across as appropriately charming yet suspicious. I have no doubt she is someone worth checking out in other roles.
To briefly digress regarding the secretary/tea lady is the only person with a British regional accent in the film and how she is interacted with implies she is somewhat stupid and looked down upon by Joan. That’s an issue with these sort of British films – everyone is middle class and that carries a worrying level of class bias with it where if you are not an RP speaking English person you are somewhat looked down upon or ‘foreign’ in the sense of being incapable of understanding events from the unquestionably virtuous and intrinsically fascinating actions of the middle classes.
The most succinct way I could describe it is Don Quixote and Sancho Panza where the middle classes can’t conceive of the working classes being capable of intelligence equal to their own. Even when doing the same things (or consuming the same media) the middle classes somehow are deemed to be appreciating it on some profound level beyond the ability for working class people to contemplate let alone achieve. To the middle classes the working class are base illogical creatures there to serve a purpose not play a role and British dramas of this sort tend to endorse that by omitting them, marginalising them or playing them up as something to be looked down upon.
Refer to my reviews of J K Rowling’s Strike adaptions for a few demeaning portrayals of working class people in contrast to their betters. As for foreigners they’re all portrayed with a certain level of contempt to varying degrees in these period dramas with the Canadians being quasi-American in their depiction here, Kierl (the spy scientist) is mocked for his manner repeatedly until he is revealed to be a spy (at which point he is mockingly praised) and we have already noted Leo and Sonya who are presented as questionable figures even before they’ve said more than a few words (though in their case it’s justified within the narrative’s context). If you’re not English, middle class or better, then your a caricature in these sort of dramas very often. ‘Stiff upper lip’ and ‘no sex we’re British’ and all that…
Nick, Joan and Max’s son, who serves as her legal representation acts as the moral adjudicator speaking on behalf of the audience. In turns angry, frustrated and despairing. He denounces her and says he will not legally represent her but apparently relents by the end – albeit off screen so we never see how nor why he changes his decision except for it being his mother. Certainly it would be a very dark mark in a legal career to have a spy as a mother and nothing would soften that stain on his reputation though it is never addressed here in aid of giving a positive ending. Joan is an old woman and therefore we should forgive her apparently despite the clear implications of her actions. They even have him shout at a reporter who shouts ‘traitor’ at her before giving an impassioned speech.
I’ve seen Ben Miles in other things and he can really pull something out of nothing with roles and he proves it again here. With a few scenes you fully appreciate the position his character is in and he brings a nuance to it which just doesn’t exist in the script. If you ever have a chance to see a recording of The Lehman Trilogy he was in then it is unquestionably amazing even if you’ve no interest in the subject because it is a powerhouse performance by Simon Russell Beale, Adam Godley and himself.
William Mitchell is another college friend. I honestly barely recall him during the film even when referred to by his later title Sir William. In short he is there as a narrative device to explain how Joan went to Australia with Max after his imprisonment. It seems overly convenient. Also it shows that not only are the working class near non-existent in Joan’s experience of the war but the lone upper-class person she knows is beholden to his vices of homosexuality ( illegal at the time in Britain though as a member of the upper-classes it wouldn’t make him a social pariah and at risk of attack, or even at risk of murder, but just deemed ‘eccentric’). So he also is someone the middle classes, at least through Joan’s perception, are allowed to feel superior to due to giving into his vices though she herself gave into lust by committing adultery. Later William Mitchell reveals Leo had a son and Sonya went to the boy in Switzerland before heading onto Moscow. Joan wants to go to Australia and so blackmails him with the photos she found thus leading for him to arrange for Max to be released from prison so the couple can go to Australia.
He serves as little more than a forgettable narrative device and to portray middle class people in an even more profoundly self-aggrandising light as moral arbiters of societal norms despite all that has been committed by these characters without due criticism.
Freddie Gaminara has absolutely nothing to latch onto in the role and does what he can for the brief time he is present. Part of me feels perhaps the edit was unfair to him and he might have had more of a role in the initial cut of the film as he is all but absent past the college scenes barring one offhand mention when Nick and Joan are talking in the interview room and his later blackmail scene.
Everyone else I’m sad to say play such fleeting roles in the story they barely warrant mention. They do well with what they have. That’s the best I can say. Nina Sosanya as the MI5 agent does well and is a face many may recognise f you watch a lot of British dramas. There are a lot of recognisable faces in this film.
Brief overall review of the Film:
You’ve seen British dramas set during this era of history? Here’s one more to add to the pile. Read about the real life event it was based on or go look elsewhere.
It’s all blandly filmed with a muted colour palette. The pacing is sedate until the third act when there’s the slightest suggestion of urgency when Joan has to cover herself during an inspection and a few consequences of the espionage occur. Even then it’s glacial.
This is at best a ‘Sunday evening drama’ on TV (ITV here in Britain to be exact, e.g. Poirot, if you need context). If you’ve seen those then that’s what you are getting more or less. It’s slow moving, overly ‘chocolate box’ in presentation and doesn’t help you understand the consequences of what she did nor it’s consequences outside of her immediate (very isolated) social circle. If you want a film which will illicit the response ‘there’s a war going on you know‘ from you here it is.
It actually reminds me of dramas from decades ago involving Gregori Rasputin where the court intrigues of the Romanovs all but make the First World War a minor background note to the events occurring inside the palace.
This film comes across in much the same way with events outside Joan’s immediately social circle being little more than passing bits of dialogue by other characters. Even the turning point about Hiroshima is merely some one telling her about it casually rather than her reading a newspaper, hearing a news report on the radio or some other method.
It’s hard to make a film where a woman is both the victim and manipulator of patriarchal society without coming across as a bit of an immoral person who challenges our own moral values. However it’s even more of an achievement to do that and also make the character not illicit any sort of strong reaction whatsoever. But here it is. She had an affair, she committed espionage against her country and there are no consequences whatsoever to her personally. Oh yes she reacts to Max‘s imprisonment, to Leo‘s corpse and to Sonya‘s overnight escape – but it’s others who suffer not her. She does these things and it all passes as if it was always going to be this way it seems. Everything is eventual. Perhaps in an earlier draft it was more clear how older Joan’s views affected her perception of the past and she had come to terms with how things turned out and justified them to herself as inevitable but the film as it stands merely plays out as if the character’s themselves read the script and were merely playing their role in a drama in some poorly done meta-fictional way. But again I am trying to find something that isn’t there as it is so miserably generic.
It’s a dull, near aimless, British drama. If you’ve seen others you’ve seen this. Read about the real life events instead and you’ll find more of interest. If you like real life espionage this gives you nothing. If you like British drama this is bland so worth skipping. If you want a World War Two drama… go elsewhere… I can’t stress that strongly enough as there is absolutely nothing here.
As soon as it began with the ‘based on a true story‘ text I knew this was going to be biased but I didn’t think it would be such a generically British, middle-class centric, film. The actual events of espionage feel like they play second fiddle to the melodrama of the affair, Leo’s flirting and scenes of men being sexist toward Joan.
Apparently leaking sensitive information and blackmail is acceptable behaviour to be an anti-war quasi-feminist. The Cold War apparently is something you can forget happened when making a spy seem virtuous. It’s actually quite insulting to what people actually underwent for just being accused of it let alone found guilty. Perhaps that was the point – Melita Norwood never faced consequences for her actions as the British government decided she was too old to undergo it and thus this fictional version is never truly held to account for anything she did in her life. She was a puppet in others games even when she believed she was doing what she wanted and had no accountability.
It couldn’t be more demeaning to women if it tried despite how it probably hoped people would interpret it. The moments where Clement Attlee jokes she is in charge of making the tea at a meeting about atomic fusion, a Canadian scientist insists on how a tumble drier will impress her and other moments only serve as gilding the lily of what is already at it’s heart a deeply demeaning narrative. The views of men from a past generation we can view in context but it seems the narrative itself seeks to rob her of any sense of autonomy by making her a mere pawn in the agendas of others due to her emotional response to the bombing of Hiroshima to justify her espionage activities (which barely last 15 minute of the run time it seemed despite being the marketing focus of the marketing) or by accentuating her physical frailty and moral powerlessness in old age.
Earlier I mentioned how the main character seems to reflect Marcus Tullius Cicero’s quote that “an unjust peace is better than a just war.” I wish the film had actually discussed that more by addressing the Cold War era but it didn’t and thus deflates the entire core of this film. How can we evaluate the character of Joan when over half a century of her life and events in the world as a consequence of her espionage are ignored? It’s a bizarre decision even if it was only addressed in passing to make her acknowledge what her choices led to. It’s frustrating if not infuriating.
It’s a plodding British historical drama filled with worthy English actors fussing about their middle class affairs and underplaying the historical aspects of the narrative to the point it feels like it’s in contempt of them. British historical dramas of this sort: you’ve seen one – you’ve seen them all. Embarrassingly it is true here…
”What if they took a British propaganda script, written in the early Cold War era, and made a mildly propagandist melodrama film today with no alterations to the dialogue?” – you get this more or less.
Yes, even with the older Joan parts. The ‘script’ wouldn’t be aware of the events of the Cold War and it’s universal sense of paranoia at that stage. Those scenes would be presented as her ‘some time in the future’ having been a woefully naive ‘useful idiot‘ puppet of the Soviets (except here they tried to make her somewhat sympathetic and fail).
It’s embarrassingly bland in presentation and generic in it’s narrative. There is little actual espionage despite what the marketing suggests. Go elsewhere. Whatever makes you interested in this go elsewhere. No really. On your head be it unless you are suffering insomnia and want a cure!
An anthology of five tales of terror, each originally produced for video. The titles are “A Little Fishy” (a.k.a. ”Something’s Fishy”), “Coffee Break”, “Who’s There”, “Jonah’s Dream” and “Think Twice”. There is also a framing story called “Hall of Faces” featuring Vincent Price.
Framing story – part 1: ‘Hall of Faces’
A young man, named Matt Wilson, gets a VHS in the mail delivered to him . He didn’t order it but decides to watch once home for the evening. It has Vincent Price in a hallway of mannequins embedded in the wall who introduces the selection of stories. Imagine if the candelabras from Jean Cocteau’s Beauty and the Beast were placed in a 1980s music video based on German Expressionist cinema with neon lighting. After a slow pan through the curved corridor is Vincent Price waiting for his cue to begin his monologue. That’s the first part of the framing device called ‘Hall of Faces’. We go on to watch the various stories and return to the young man’s motel like home at the end to conclude the film.
Story 1 – ‘A Little Fishy’
A fisherman goes fishing on a riverbank but ironically gets fished himself via a red apple he finds and decides to bite into on the river bank. The line pulls on the hook in his mouth and he is dragged into the water. That’s it. It’s the first story and thus a ‘mood setter’ I suppose… or a one note bad joke made into a short film.
Story 2 – ‘Coffee Break’
An obnoxious young delivery driver asks and old man for directions and promises him he will drive slow, enjoy the scenery and stop for a coffee at a diner. However he drives past it deliberately and yet finds himself in a loop until he finally stops at the diner to ask for directions.
The server is the same old man who gave him directions previously and who goes on to offer him a cup of coffee. The old man tells him he didn’t keep his promise so now he has all the time in the world to enjoy his coffee along with the other occupants of the diner.
The young driver tries to escape in his vehicle but ends up back at the diner again where the patrons laugh at him as the man comes outside to offer him coffee again. The young man ends up stuck there forever drinking coffee.
Story 3 – ‘Who’s There?’
Experimental ‘apes’ escape a lab, watch some kids play football and stalk an overweight jogger through a forest. One of them runs around wearing the guy’s tracksuit jacket which he abandons at one point. A chase ensues through the forest as the jogger is pursued by the largest of the creatures. As soon as it catches up to him it says in clear English ‘tag, you’re it’ and they all run away from the man laughing like excited children. To them it wasn’t a terrifying pursuit but part of playing a fun game of tag.
Story 4 – ‘Jonah’s Dream’
An old female gold prospector finds a piece of gold and goes into town to sell it. In town people greet her as Mrs Tucker and comment on her continuing efforts to find gold up in the mountain long after her husband passed away (just because it was his dream it is later revealed). The shop owner tells her people were worried about her but he can’t give her much for what she has brought on that day as she hasn’t paid her last bill yet. He reiterates he can’t give her anything and advises her to sell the mountain and move into town. She says it was her husband Jonah’s dream and refuses to take his advise. The shop owner says they’re there if she needs them.
She is well liked by the community and even gives one of the kids outside an Indian arrow head she found when she was prospecting before heading back to the mountain. The men outside ask the shop owner how much in value she brought in and are told $92. (Bear in mind that’s $92 in the 1980s so he probably could have given her something and kept the excess value for himself as interest). They agree she has gold fever like Jonah did.
She goes and puts flowers on Jonah’s grave. Later, in front of the fire, she reflects on what people have been saying and looks at an old cameo/portrait of Jonah remembering him panning for gold and how happy he was to find gold. The kettle whistles.
There is an explosion outside and the roof of her barn has been caved in. With her shotgun ready she inspects inside. There’s a glowing spaceship emitting noises. Eventually she removes the debris from it at which point it does a ‘Simon says’ toy sequencing of light and opens. There is lots of smoke then another bang which presumably knocks her out.
Mrs Tucker wakes up in the morning lying on the ground. The barn is flattened and there is no sign on the space ship now. On the ground are a number of dull rocks which are apparently gold. She calls out to Jonah that they had been sitting on the gold all that time because they had built their barn and house on top of it.
Story 5 – ‘Think Twice’
A man runs through some city streets. The sort which only existed in 1980s cinema. He mugs someone and looks through the bag he took for anything of value. A tramp with a shopping cart rolls by. He unfurls a cloth to reveal a gem stone he is carrying. He holds it close to his face and it begins to glow red.
The criminal mugs the tramp who begs him not to take his gem as it will be of no use to him. The mugger runs away past another homeless guy but then gets run over by a man in a suit who is drink driving through another alleyway. The driver gets out and inspects the blood on his car’s hood then picks up the gem which begins to glow in his hand. He drops it and gets back in his car.
The gem now glows blue as the tramp picks it up and smiles before breathing on it to make it glow red again. It brings the mugger back to life and, as the tramp watches, a police car appears with armed officers telling the mugger to drop the knife and purse he is holding. The mugger is arrested and looks on as he is taken away by the police. The tramp returns to walking the streets with his shopping cart happy with his glowing gem.
Framing story – part 2: ‘Hall of Faces’
The young man who has been watching the VHS listens to Vincent Price’s host giving a wrap up about the six stories. Except there have only been five. In a twist the last one involves the young man and addresses him by his name thus breaking the fourth wall. He tries to stop the tape and attempts to remove it to the denouncement of the host. As he runs through his house the characters of the stories on the VHS appear and crowd around him as the host laughs maniacally. Then the young man wakes up. On the back of the VHS case he sees it says starring Vincent Price and introducing Matt Wilson i.e. himself… then, in one final twist, Vincent Price dressed as a mail man laughs maniacally at him once more implying it was he who brought the VHS here in the first place.
Overall Anthology Review
When you compare this anthology’s host with figures like Tales from the Crypts’ Crypt Keeper, Brazil’s Zé do Caixão (a.k.a. Coffin Joe), John Carpenter’s Undead Mortician in the 1993 anthology film Body Bags and many other such anthology hosting figures… well the host of this anthology can be sincerely summed up as ‘ooh look we hired Vincent Price which is worth the price of admission alone’. No it isn’t. He is in about 2 minutes of it at most and only to rattle off an opening monologue, a few seconds of dialogue and laugh at the conclusion. He is the only thing that would draw people’s attention to this anthology. Oh but, in fairness, maybe you were looking up anthology horror films like me – that’s the other reason. Heads up anything other horror anthology will seem better after you see this including “H is for Hydro-Electric Diffusion” the seventh vignette of 2012’s anthology film The ABCs of Death where a Nazi fox furry tortures a British bulldog furry. No really. At least that’s memorable… and mildly traumatic for the wrong reasons.
There is no set tone for the Escapes anthology. Some stories are meant to be funny, others are karmic retribution but there always seems a tone where you are meant to be taking them more seriously that the writing itself suggests. This is ‘fun’ horror and better aimed at children really but, at the time it was made, would have probably been classified as too scary for them by censors. I seriously doubt children nowadays would react to this with anything other than boredom.
‘A Little Fishy’ really seems like a student film or what some friends with a film camera would make as a fun project over the space of a day or two once summer. It’s like a Yakov Smirnoff joke: ‘In Russia you don’t fish fish – the fish fish you!’ There’s not much to say. It’s a one note short story to set the tone but it gives you the impression what you will be seeing are karmic stories where people get their comeuppance. Arguably they do albeit some end on a positive note.
‘Coffee Break’ really stands out as the best section in concept and execution. It is tonally quite close to ‘Creepshow’ or ‘Body Bags’. I might also say an episode of ‘Tales from the Darkside’ even might be the best comparison but with a heavy metal soundtrack. Lots of long shots of the van driving along roads are used to pad the run time though. Lots of heavy metal which reminded me of Stephen King’s Maximum Overdrive. The coffee guy and the delivery driver both play off each other well but it’s a little too drawn out sadly. In fact most of these stories feel bloated by about 20% each in order to reach the run time when they would have a stronger impact being more concise.
‘Who’s There?’ definitely could have been the basis for a script on something like ‘Are You Afraid of the Dark?’ or ‘Goosebumps’. It’s an amusing little piece and in a more light hearted, child marketed, anthology it would have fared far better and possibly become a fondly remembered piece. As it is it just feels like another mismatched piece in a collection of stories that are tonally uncoordinated. If the low budget creature costumes, with their weird little ear stalks, were not enough then the fact one wears the discarded jogging jacket correctly should have tipped you off this is a lighter story. Honestly the application of the make-up on the main creature is well done for the era. It’s a nice simple concept with an amusing little pay off. Like most of these it needed tightening up choosing whether to play up either the humour or the threat through a greater sense of tension. Initially it seems to want to play to the latter but the resolution completely deflates that aspect.
‘Jonah’s Dream’ is the most drawn out and weak overall. It doesn’t really go anywhere for at least ten minutes then pushes a spaceship/meteor scene in at the end before the main character wakes up after encountering the spaceship. Maybe the encounter itself was a dream but there is no way you could interpret it that way from what I recall. In better hands it would have been a good one person monologue piece but instead seemed to be where money was wasted instead of tightening up aspects of the other stories. It is easy to see it being revised as a short drama where she discovers the gold under the house without the alien ship aspect of the story which feels stuck on to force it as part of this anthology. There is a lot of build up in this story with a relatively dull conclusion. The community gets fully fleshed out and it seems sort of redundant unless it was to get friends of the production and their children cameos for whatever reason. Really the important parts could all have been done by the one actress as Mrs Tucker with a flashback sequence featuring her husband (and even then it could be her recounting her words to herself so even that would be unnecessary). The whole exchange in the shop merely served as meaningless exposition. As part of the anthology series Amazing Stories it would be deemed a weaker episode probably.
‘Think Twice’ is well made but the core aspect of what exactly the ability is of the crystal makes it hard to follow. It grants wishes? It is an extension of the homeless man? It’s never clear except it leads to the defeat of the mugger and the homeless man is very attached to it. As long as you can get past that this is relatively good but unsatisfying due to the ‘rules’ or context of it not being explainedor at least contextualised for the audience to reach a satisfying understanding. What the crystal is exactly isn’t explained so there is a distinct frustration regarding this story. What are the limits of the item? Really something else should have been used despite, presumably, a glowing, colour changing, crystal serving as a unique aesthetic for the film’s promotional material. What is the homeless man’s connection to the gem? If they revealed he was an alien (or something as convoluted) it would have made more sense to explain the crystal rather than leave it a mystery why the homeless man claims it will be of no use to the mugger and the things it apparently does. This seems like a concept meant for Creep Show.
The framing device ‘Hall of Faces’ is weak. Honestly it feels tacked on with little thought. Most framing stories are relatively weaker than the main stories inevitably but at least they contribute a fitting setting for, and reinforce the themes of, the other stories being told. V/H/S, despite also having it’s framing device criticised, at least has a little more impact than ‘old man laughing at you’. Tales from the Crypt (1972) reveals all the story protagonists who gathered had died in their individual recounted stories and were destined for hell together, Trick ’r Treat (2007) has Sam wander though each of the stories, Southbound (2015) has the separate stories occur along the same stretch of road and there are many other examples of how to construct a cohesive anthology.
His inclusion in the framing story is just an excuse to plaster Vincent Price’s face on the cover of the VHS in order to sell it. Okay, it’s a pretty standard way to wrap up an anthology and connect the stories (though if you paid attention some share actors between each other). It reminded me a bit of the final story in season 4 of Yamishibai where the storyteller is revealed to have brought all the stories to life (oddly enough that isn’t as big a spoiler as you might think as the introduction of each episode in the series features a masked storyteller). Framing stories tend to be hard to make effective though there are some from the 70s (and those noted above) which achieved it but they had a stronger thematic through-line between stories so it already felt connected even without the framing story to create a cohesion between them.
There’s nothing to draw you to this unless you feel like riffing on it with friends or having an example of how cheesy some 1980s and early 90s horror anthologies could be. It’s B movie horror stories in the bad sense. As is always said of anthologies they’re only as strong as their weakest link and the overly drawn out panning shots used throughout instead of establishing scenes just seem there to pad out the running the time. Having read the above you’ll imagine something better than what was depicted on screen. I looked up the IMDB entry and it sees this was a vanity piece for David Steensland who directed, wrote and produced it. Who was he? Where did he go after this project? Was it a pseudonym used by an established person in the industry? We might never know…
The entire film is on YouTube should you want to watch it. It’s not worth it to be honest. ‘Coffee Break’ is classic cheesy 80s horror. The ‘Who’s there?’ one is a funny story to tell a child to amuse them (no need to watch it – any embellishment you make will be an improvement). ‘Think Twice’ is flawed but could have been good if what the gem was was at least alluded to and honestly the rest are rubbish.
There is a version of Escapes which runs 16 minutes longer but I don’t know what that adds to it as this is already a bloated film. I don’t think there is an omitted story just more overly long panning shots I presume. If you’ve seen the longer version what extra is in that version?
For anyone interested I would rank the stories, best to worse, as: Coffee Break, Who’s There?, Think Twice, A Little Fishy, Jonah’s Dream, Hall of Faces.
Skip it or go check it out on double speed on YouTube if you must check it out. It’s forgettable and poorly made. More a fantasy than horror anthology. I bet you only came here because there’s so little information about it. Admit it – you did. If you liked it, besides due to rose tinted nostalgia from seeing it many years ago, tell me and explain why.
Rendell Locke is murdered at the hands of former student Sam Lesser, so his wife Nina is forced to move with her three children Tyler, Kinsey, and Bode from Seattle to Matheson, Massachusetts and take residence in Rendell’s family home, the Keyhouse. The children soon discover a number of mysterious keys throughout the house that can be used to unlock various doors in magical ways. However, they become aware of a demonic entity that is also searching for the keys for its own malevolent purposes.
It’s an enjoyable, mild, adventure and seems to focus more on the fantastical aspects of the story than the horrific making it the inverse of the comic’s version of events. Certainly aspects of the original get toned down such as how scarred Sam Lesser’s face is.
The first season covers, more or less, the first 3 collected volumes of the comic series. It’s not scary but for a younger audience may be unnerving.
Is it faithful to the comics?:
For fans of the comic I would say it’s best to see this as a reinterpretation of the core concept, i.e. ‘a family moves into their ancestral home and discover a mystery involving magical keys’, than hope for a faithful adaption. There is more of a sense of wonder and charm here than impending threat. Some characters are amalgamated, others lost and a few incidents and keys work in a different way to the comics.
Is this like a Stephen King mini series?:
If you come to this with the mindset that because Joe Hill is Stephen King’s son you’re going to be getting a King like story… well I can’t say it’s a million miles away from his father’s work but there is a very distinct difference. Joe focuses on individuals and their interactions thus builds his characters up far more than his father. That is to say we spend more time seeing the effect of events on them personally, both in their past and present, than the development of a plot where people become pieces in the greater narrative with their past merely serving as a shorthand to indicate their archetype (e.g. King’s infamous favourite of a ‘divorced, drunkard, writer’ where we see no aspect of those affect the current narrative when faced with some supernatural threat). Joe is more focused on the inter-social impact of things than his father although you could argue Stephen King initially had a similar style, in his earlier works such as Carrie, before moving towards a more plot driven style of writing.
Is Joe Hill’s Locke & Key like Stephen King’s IT?:
To make a direct comparison, which is no doubt obvious, we have elements in Locke and Key which echo King’s novel IT and it’s adaptions. The ‘Keepers of the Keys’ (a.k.a. The ‘Tamers of the Tempest’ in the comics) come across like a ‘what if’ scenario of the youth parts of IT featuring the ‘Loser’s Club’. Dodge plays a similar role to IT albeit the intentions are somewhat different as one seeks to unleash demons into the world while the other is a predatory entity using the town as a feeding ground. At one point Dodge speaks to Sam via a mounted illustration print as IT did to the Loser’s Club children at one point via ones in a book. There is also the Downing cave which is easily comparable to IT’s inner sanctum in the sewers of Derry, as a pivotal location of confrontation, albeit with a few differences… and yet some similarities too really. Sam Lesser is clearly a parallel to Henry Bowers albeit slightly more tragic ultimately.
Locke and Key does address one aspect people often cite as an issue with IT and its adaptions – audiences enjoy the childhood losers club side of the story but less enamoured when we see how embittered they’ve become in adulthood so we have a much harder time identifying with that part of the story. In Locke and Key it is a multi-generational story instead.
The younger characters, discovering this world for the first time alongside the audience, allow us to enjoy the escapist aspects as they enjoy their adventure with discovery of the keys and their abilities, suffer some turmoil (both socially and plot driven) and eventually overcoming the villain. Meanwhile the adults, who have gone down this route previously but with a bad result barely surviving, are allowed to have more naturally drifted apart (without King’s ‘magic amnesia’ as often criticised in IT between the two parts and it’s ending) and in some cases become such damaged individuals it ultimately leads to setting in place all the circumstances required to lure the next generation of the Locke family back to their ancestral home.
The adults in Locke and Key hide some dark stories and repressed memories from their history and we see the consequences of it on the Locke children. However there is a greater sense of hope for the future in Hill’s story than his father’s which, despite his best efforts, ends on a somewhat more muted tone intentionally or not.
On a side note both King and Hill have an odd attitude towards depictions of mentally ill or neuroatypical/neurodivergent characters such as Rufus where there is no way for them to be ‘normal’ in what the media portrays as ‘normal’. It is never defined what his condition is, no doubt for fear of causing offence to real world individuals with such conditions, thus ironically making them ‘magical’ in tone as Rufus (at least in the comics though not yet shown on the show if they ever do address it) being immune to the effects of the ‘head key’ as if his undefined mental condition is something even magic cannot surpass. As for King there are multiple characters across his works, both depicted positively and negatively, who have undefined yet clearly presented mental conditions. You see this with characters in other series of course so it’s not just King and Hill who are guilty of it. For example Sheldon Cooper in The Big Bang Theory where he is ‘off’ due to his manner of social interaction and clearly there is an issue but it’s never honestly addressed by the people making the show even when directly asked about it as that makes writing it as a source of comedy more difficult (though you might compare Sheldon to the lead character in Netflix’s series Atypical which is a ‘coming-of-age comedy-drama’). The fact they chose, in the adaption, for the only person Rufus to be able to speak on equal terms with is the six year old Bode (via soldier terminology) creates a certain stereotype about his mental age. In the adaption he is clearly well into his later teens but was much younger in the comics making his interactions with Bode seem more natural. Why they chose to increase his age I’m not sure unless they had trouble finding a suitable actor of a younger age. Again it unintentionally delivers a certain message of normalising prejudice, about his ability to function effectively in society intentionally or not, to audiences regarding people who are not neurotypical. In truth it’s an essay all on it’s own. It doesn’t have much impact on the first season of Locke & Key but may come up next time…
What is the series like besides the similarities?:
Episode 5 certainly comes across as a ‘breather episode’ where the powers of one key is used to play pranks at school before the season arcing story line finally begins to come into the forefront with the end of episode six leading into episode seven which is primarily a flashback dominated where we learn why the Locke’s returned to their ancestral home is revealed. I am going to say that there are some scenes in episode one which you will have to accept at face value regarding the father being killed than only now will be given any real context so I partially feel maybe they should have omitted those scenes and left it until now to fully explain the reason for the move to the house so it was more coherent.
Steven Williams as Joe Ridgeway steals every scene he is in. Most, if not all, the young actors do very well with special note towards Jackson Robert Scott as Bode Locke for not coming across as overly precocious nor just rattling his lines off with no authenticity (and extra bonus Hill/King connection points as he played Georgie in the recent duology film adaption of IT). Patrice Jones, though he performs his role well, feels particularly misplaced due to his British accent unless I am missing something.
Dodge I feel is not well acted by Laysla de Oliveira but I don’t know if that’s the actor’s choices or how she was directed. She comes off more as a teen drama ‘queen bitch’ antagonist. For most of the series she only appears occasionally to bully six year old Bode (at least until the end of the sixth episode) rather than a demonic entity with malicious intentions. In a way it’s bizarrely comical. Even at the end of episode eight she comes across like she should be in a teen drama due to how she behaves now she finally comes to confront the Locke children face to face with what she is finally fully revealed. That stereotypical ‘teen drama antagonist’ interpretation is established early on with events of her going on an international shopping spree and generally only interacting with little boys for the majority of the first six episodes (though there is a twist I’m not addressing yet as it’s quite a big one if you’re unfamiliar with the comics which comes into play towards the end) which really undermines what a threat Dodge is supposed to be for nearly the entire first season.
Sam is introduced very early on but only really becomes relevant by the end of episode six and playing an active role in the narrative during episode seven in which his entire backstory is also told at the same time with everything regarding him wrapped up neatly by the end of that episode (including Tyler absolving himself of his guilt regarding Sam killing his father – at which point he also aggressively rejects Sam’s friendship too which felt spiteful but realistic for a teenager probably). The role is performed well but the writing doesn’t do the character justice although there is a potential way for him to return in season two’s events as a ghost so maybe there will be some interaction with Tyler there.
Overall tl;dr opinion?:
I would recommend checking it out if the premise sounds appealing. There is some teen drama in there but it’s relatively well done and doesn’t distract from the greater ‘find the keys, find out what happened with the adults and stop Dodge’ season long arc. The assumption that adults can’t see magic being subverted was good and seems a more developed version of a similar attitude in IT which in the connected universe of King’s works didn’t make much sense beyond some vague insistence that ‘what happens in Derry stays in Derry’.
My only real gripes with the series are relatively minor otherwise. The generic soundtrack is relatively forgettable with little impact on the scenes where it is used and they use licensed music at certain points which seems common right now for Netflix series aimed at a younger audience – if you’ve seen Suicide Squad it’s as jarring and as on the nose here as it was there. There’s a distinct chord played when Lucas appears which is a bit on the nose once you know the Dodge twist. Comic readers will already know it so it’s not that much of a give away but once you notice it it seems a bit of a poor choice to scream out to the unfamiliar that there’s something dodgy about Lucas. The role is very well performed when you consider the context of the role and how it had to gel distinctly with Dodge’s actress and interact with Ellie. It’ll sort of odd he carries the callous yet manipulative tone of the Dodge role off very well after the reveal but the main actress for the role couldn’t…
I would hope for a bit more intensity in the presentation of the antagonistic elements in the story. There is a lot of what people would deem teen drama padding which really slows the plot development between episodes 3 through to the end of 6. All you really learn in those episodes is some of the key abilities so in theory you could skip those episodes and as long as you had an idea of what each of the keys does and the consequences you wouldn’t lose anything in regards to the core ‘stopping Dodge’ storyline. I still enjoyed them though as individual mini adventures towards the great goal and they were good for character development but it does make the series as a whole feel poorly balanced overall.
The ‘echo’ key’s ability doesn’t really make sense in terms of what it does. Why it brings back who it does instead of the intended person? You assume it brings back the dead person completely not who was in the body of said person. That’s probably the one flaw that is inherent in the story which can’t be explained as it’s bringing the spirit back not the flesh presumably. Namely how ‘demon Dodge’ returns with the body and not Lucas Dodge as himself implying possession equates destruction of the soul but it’s never clarified. Also why did Dodge change back to their female form? Probably to be recognised by the children to intimidate them… but then they also got a dress when other times the key only seemed to change the face? I mean there are a lot of questions the end of episode 9 and start of episode 10 throw up to an audience really implying some keys have more extensive powers than are ever portrayed. The ‘ghost’ CGI is… cartoonish but I’m not sure if that’s intentionally stylised or not as it’s so obvious.
In hindsight maybe the season could have been a few episodes shorter to be honest. The pace doesn’t really pick up until episode six but the prior episodes help develop the characters and ease you into understanding the use of the keys.
Check it out as it’s stronger than many adaptions of Stephen King’s works and has some nice twists in episode 8. It’s not as tightly paced as Stranger Things but you’re getting a lot of similar aspects present in this production. If you are unfamiliar with the comics it is easy to get into and an enjoyable story. If you are familiar with them it’s an interesting take on the story with a few of the keys changed to produce different resulting powers.
Conclusion (a.k.a the real tl;dr):
It’s worth checking out but the middle few episodes might seem to go nowhere though they help develop the main and side characters a bit. If you want an IT like story it’ll scratch your itch. If you want an adventure series with a mystery you’ll be given snippets in each episode to deduce it yourself before it’s laid out plainly at the end of the season. There’s also a good twist at the end which will leave you waiting in anticipation for season 2 – and if you don’t want more it can be read as a downer ending befitting a horror series.
Amy Speace is a folk/Americana American singer-songwriter from Baltimore, Maryland. National Public Radio described her voice as “velvety and achy” and compared her to Lucinda Williams. She lives in Nashville, Tennessee. A former Shakespearean actress, her music has received critical acclaim from The New York Times, NPR, The Sunday London Times, Mojo Magazine, etc. Speace’s song, Weight Of The World, was recorded by singer Judy Collins on her 2010 album Paradise.
As soon as you walked in there was a guy in a t-shirt acting as the doorman with a clipboard checking if you had bought tickets. There seems a lot more space in this bar area now. If every person who had a seat in the performance room came in here there would still be plenty of room to move about. You can see the kitchen area behind the bar where there’s a stone oven to cook the pizzas which they seem to specialise in.
Every time some pizza came past it looked nice enough with some fresh salad. To me though there was a particularly acute rancid smell to them. It was probably a certain sauce or something I just found an unappealing smell. I’m not sure how to describe it but as we were sat near the door it assaulted me a few times unintentionally.
There were about 20 people initially and by the time it started 50 or so had assembled in the audience. It really wasn’t that many and no one was sat upstairs (well Amy’s mother along with the guy controlling the lights and sound on his iPad but not any paying customers). Amy isn’t that well known here ‘but is on the rise’ as far as people are concerned like some other American folk singers who didn’t get larger crowds until they had come here a few times to build up word of mouth. It’s an intimate venue but indeed it wasn’t filled to capacity sadly. Presumably it is the pizzas helping to keep things ticking over.
Since the last time I was here they’ve removed more of the hard wood church pews and replaced them with stackable chairs and small tables. I suppose it’s to create a sort of ‘cafe bistro’ performance venue atmosphere. The table I was sat at was wobbly so you dare not lean on it but I’m sure the other tables were more sturdy. There are rows of chairs on the side (under the stairs), a few rows of chairs at the back and tables to the front. So if you’re unlucky and arrive later when there is unallocated seating you not only are sat with far less space for yourself but will also be watching the performers from behind people eating too. Oh and there are pillars too but that only restricts a few very specific seats and they’ve clearly tried to counter that by giving more space for the performers more floor space, to stand further forward, than previously.
No one was eating during the performance, unlike the last time I was here, but I don’t know if that was enforced by the venue or just a coincidence. When Amy came out she commented on the pizza to the effect of something like ‘surprising to find nice pizza in Cardiff’. I think most performers find it odd but all really like the acoustics of the former chapel so it’s a bit of a trade off.
We were sat downstairs by a pillar but with a good ¾ view (i.e. not at the front nor side of the performance area). There isn’t a raised platform stage area and the floor looks very scratched up now as the varnish has gradually been worn away by equipment being moved about. Someone walked by before the start smelling of toilet fragrance aerosols… or maybe it was a very cheap perfume? And it lingered… nasty. Not the venues fault but it was such a strange smell I couldn’t help but note it. The venue is perfectly fine smell wise but this perfume and the pizza were very pungent.
8.05pm the performance began.
Amy was wearing a long navy dress with small diamond patterning and white pixie boots. It reminded me of the sort of dress country singers wore in the 1970s.
She told stories between the songs about her parents’ religiousness (the father is a lapsed baptist who gave her a big, leather bound, white bible while her mother is a Catholic and there was an unspoken agreement the children would be raised Catholic) and political e.g. How she is a folk singer so her being a liberal should be a given to some degree yet some complain saying they thought she was going to do songs like a Country singer (i.e. the stereotypical Texan republican who loves their country blindly). She had her son in her fifties and named him Huckleberry as her husband teaches Southern literature and she thought it would be unique… only to discover someone else had also used that name.
Amongst the songs she performed were the following:
She performed most songs with an acoustic guitar connected to an amp but one or two she did sat at the grand piano too.
At 9.03pm there was an interval. A staff member rushed in zealously seeking empty glasses to take off tables. It got to the point he seemed to be eyeing up half filled glasses as if ready to claim them as having been abandoned if people were not sat next to them to ward him off. Out by the bar Amy’s mother was selling CDs of three of her albums, t-shirts and apparently one album on vinyl. Amy would sign them too. About 10 or so minutes later the second half began suddenly signaled by the lights suddenly being turned off again.
While performing she forgot the lyrics to a few of her songs so a friend had to look them up for her. It was fortunately made more charming rather than awkward. Earlier she had joked at other performances she had had to do that too.
After she remembered and performed the first forgotten song a guy shouted “got there in the end” which the classic sardonic Welsh sense of humour. It’s not meant in a bad spirit but I imagine it so easily could be misread as such if people are not familiar with it… and let’s face it when you have visiting foreign artists I do often wonder if it gives a bad impression and if it’s affected the chance of people coming back again. However Amy mentioned how polite British audiences are as American ones have to be made to shut up and often will throw things at the performers. British audiences chuckle while American audience guffaw it seems. Probably it makes it easier to read the tone of the room compared to more reserved audiences.
She had gone up Snowden and it was the first time her parents were touring the UK. She seemed hung up, like all visiting American artists, on the whole ‘divided nation’ aspect of America at the moment regarding Trump and said Britain probably is too now due to Brexit. She joked politicians need to get better hair and some exercise in reference to Trump and Boris Johnson.
At 22:25 the concert ended after she said she would do a false ‘walk off and encore’ by turning away a few seconds rather than walk out the room. She did one of the last songs acoustically without her guitar plugged in. Oddly it might have been better to do that more in this venue but I guess everyone is used to instruments being amplified these days that just having the instrument sounds less ‘authentic’ somehow…
It was very enjoyable. The stories actually felt personal rather than just a script she rattles off to every audience. It’s a bit concerning she forgot the lyrics to her own songs though. But overall it was very enjoyable. I recommend seeing her if you’ve the chance though it is one of the few occasions where I’ve seen a performer forget their own lyrics which in a less seasoned act would be criticised as being unprofessional.
Parking is still the biggest issue the venue faces really even with it’s relatively small capacity. Park on the road side and if you can’t then you’ll have to park further down or in a residential space. There are no real alternatives to be honest but that’s the cost of it being in a community’s former chapel.
P.S. Here are some names of other acts coming here soon if you want to look them up… The Magpies / Daisy Chapman / Maz o’connor / Emily Mae Winters / Mr Tea and the Minions / Morganway.
Usually I post these updates on 1st January but there was a delay this year.
Last year I posted once a week instead of every day as I had in 2018. The result? The same number of readers but less viewing of multiple pages per visitor. Translation: regular readers were not ‘catching up on previous posts’ when checking in once or twice a week while there were the usual ‘looking for one thing then leaving’ types too but in lower numbers. Another thing I did was that, in contrast to 2018, I limited posts to once a week to see what the downturn would be. Fortunately it seems those who follow the blog have stuck with it which is nice to learn.
This year, if the regular readers don’t mind, I will be posting reviews of various films and such alongside the poems. The poems will remain being posted on Sunday 8:30AM BST barring any issues so that’s isn’t’ changing. I just never felt there was a good time to post the reviews without posting multiple times a day during 2018 and then I became overly busy in 2019 so I couldn’t do the long form reviews I’ve done previously.
The reviews I’ve done in the past tend to include long synopses but they never felt satisfying. The reviews I will be posting will be much briefer and likely only a few paragraphs in length compared to past efforts. I won’t include header images as I am always a bit concerned about the upload limit we have for file storage like that (hence why many previous images have likely been on the smaller side).
Along side those I hope to write some vignettes too. Short stories and the such. I got into watching a series called Yamishibai which comprises of 5 minute long Japanese ghost stories. It’s quite enjoyable and available for free in high quality on the Crunchyroll website. So I might type things like that too to experiment with some styles of short writing exercises.
There are some who say
the word Odradek is of Slavonic origin, and they try to account for
its formation on that basis. Others again believe that it derives
from the German and is merely influenced by Slavonic. The uncertainty
of both interpretations, however, probably justifies the conclusion
that neither is correct, especially since neither permits one to
attach meaning to the word.
No one, of course,
would occupy himself with such studies if a creature called Odradek
did not in fact exist. At first glance it looks like a flat,
star-shaped spool of thread, and indeed it does actually seem to be
wound with thread of the most various kinds and colours, all knotted
together and even tangled up with one another. But it is not simply a
spool for projecting from the middle of the star is a small wooden
crossbar, and to this another little bar is attached at a right
angle. By means of this latter bar on one side and one of the points
of the star on the other, the whole thing is able to stand upright as
if on two legs.
One might be tempted to
suppose that this object had once been designed for some purpose or
other and now was merely broken. But this does not seem to be the
case; at least there are no indications of it; nowhere are there
stumps or fractures visible that might suggest anything of the kind;
the whole thing certainly appears senseless, and yet in its own way
complete. It is not possible to state anything more definite on the
matter since Odradek is exceptionally mobile and refuses to be
He resides by turns in
the attic, on the stairs, in the corridors, in the entrance hall.
Sometimes he is not to be seen for months; so presumably he has moved
into other houses; but then he invariably comes back to our own house
again. Sometimes when one comes out of one’s room and he happens to
be propping himself up against the banisters down below, one feels
inclined to speak to him. Naturally one doesn’t ask him any difficult
questions, one treats him – his diminutive size is itself
sufficient encouragement to do so – like a child. ‘What’s your
name?’ one asks him. ‘Odradek,’ he says. ‘And where do you live?’ ‘No
fixed abode,’ he says, and laughs; but it is only the sort of laugh
which can be produced without lungs. It sounds something like the
rustling of fallen leaves. That is usually the end of the
conversation. Even these answers, by the way, are not always
forthcoming; often he remains dumb for a long time, like the wood he
appears to consist of.
It is in vain that I
ask myself what is likely to become of him. Is he capable of dying?
Everything that dies has previously had some kind of goal, some kind
of activity, and at this activity it has worn itself away; in the
case of Odradek that does not apply. Can it be, then, that he might
one day still be rolling down the stairs, with ends of thread
trailing after him, before the feet of my children and my children’s
children? He obviously does no harm to anyone; but the idea that he
might also outlive me I find most painful.
Of course what Odradek is, what it represents and many other questions are posed by the story but none is given any real answer. Some interpretations are briefly covered on the Wikipedia page The Cares of a Family Man.
To those who have discovered this story due to Death Stranding: The blue, rattle like, toy Mama is holding when reunited with her sister is a representation of the mysterious Odradek in this story, opting to depict it as some form of childhood item in that scene, though the ‘backpack’ item worn by the main character and others shares it’s name also.
“One minute we had customers, the next minute
there was no-one.”
In a lost village, blurred by redrawn borders,
hidden under a crumb on the map, Bear Ridge Stores still stands.
After a hundred years, the family butchers and grocers – a place for
odds and ends, contraband goods, and the last petrol pump for 30
miles – is now silent. But owners John Daniel and Noni are going
nowhere. They are defiantly drinking the remaining whiskey and
remembering good times, when everyone was on the same side and the
old language shone. Outside in the dark, a figure is making their way
One of Wales’ most celebrated writers, Ed Thomas (co-creator of Hinterland) makes a momentous return to the stage with this semi-autobiographical story about the places we leave behind, the indelible marks they make on us, and the unreliable memories we hold onto.
Writer Ed Thomas
Co-directors Vicky Featherstone & Ed
Designer Cai Dyfan
Composer John Hardy
Sound Designer Mike Beer
Noni: Rakie Ayola
The Captain: Jason Hughes
John Daniel: Rhys Ifans
Ifan William: Sion Daniel Young
World Premiere in Sherman Theatre‘s Main House
National Theatre Wales and Royal Court Theatre
Performed in English (though there are a few Welsh words present e.g. bara brith).
Contains strong language, scenes of an adult
nature, loud noises & gun shots
Running time: Approx. 95 minutes (no interval)
I saw it on 25 September 2019 at 7.30pm.
I usually give quite
detailed, near exhaustive, accounts of a narrative but I feel due to
how new this play is it would be a disservice to do so. I will just
give a general outline for those who want it. A lot of the impact is
in the dialogue and performance of this play, so much so it could
easily be adapted for radio, so it may seem relatively uneventful.
It’s an allegorical narrative regarding the playwright’s memories of
his community and concerns about the challenges the Welsh language
and culture face both from the past and going forward when there are
so many foreign influences, most notably that of England. I probably
have forgotten certain elements or omit them intentionally in the
following paragraphs so there are some things for you to experience
A man, John Daniel, awakens in the remnants of his burnt out butcher’s shop after an aerial carpet bombing raid. He laments he is all alone now in the dark as snow falls about him. He begins to recount the birth of his son with his wife Noni and how proud he was. (I’ve forgotten the son’s name ironically but he does have one).
We then see him and his wife waving their butcher’s cleavers as planes fly overhead. They condemn that they don’t know if they’re on their side or against them during an ongoing war. A war that apparently ended decades ago yet still seems to affect them currently. They then spend a while discussing how their community at Bear Ridge has dwindled as they relive the memories of their past both in terms of recalling their customers, food and events. Their young slaughterman Ifan William comes from out of the trapdoor and goes into the fridge and returns to the underground slaughterhouse after some brief chatter. The couple continue their discussion once he has left reciting their mantra of foodstuffs happily to each other relishing the memories.
As the couple are
dancing to a repeating song on the radio a captain, who was involved
in the ongoing war, walks into their shop and holds them at gunpoint
not sure if they are friend or foe. Once reassured he chats with them
and says the song reminded him of his mother and youth. He recounts a
number of things, including how his commanding officer gave him the
order to clear the mountain before then shooting herself to his
shock. Eventually he gains the couple’s confidence. They discuss
memories and ‘the old language’ which only John Daniel now knows how
to speak but laments he is forgetting. He only remembers it because
he remembers speaking it to others but they’re all in the past so all
he has are his memories with which to keep the language alive. His
son spoke it fluently, Noni learned some but he is ultimately alone
now in knowing it which throws him into despair.
Suddenly the captain is on edge when Ifan William comes from out of the trap door again. He demands to know why they didn’t tell him of this third person. ‘You never asked’ John Daniel replies drily. Ifan William recounts his childhood growing up and going to university with the now dead son of the couple. The son went to university and was very progressive, philosophical and wanted to keep the ‘old language’ alive. However the son and Ifan William (who the son taught Welsh) were beaten by others one day in the street accusing them of being Germans and other nationalities though they were not as these aggressors didn’t recognise the old language of their own country and assumed the worst (the identity of the characters in the play as native Welsh people is never explicitly stated but some words and phrases dotted throughout the dialogue suggest this along with the distinctly Welsh naming styles of the characters). The son died in the war and had so much potential the characters who knew him lament. Ifan William admits he truly loved their son and their son loved him (to the degree it’s implied to have been romantic in nature but this too is never made explicit). John Daniel silently embraces Ifan William for their mutual loss.
The captain, after offering Ifan William a swig from his canteen, again recounts his memories. How he was ordered to clear the mountain by a commanding officer who then killed herself immediately afterwards in front of him having fulfilled her duty. The couple refuse to leave, despite being the only people left, as this is where they belong as does Ifan William. The captain tells them he is on the same side as them. Noni, agitated by such a broad declaration, asks if he really is or not and compares it to a river where there are two sides – the side they are on and the other side. People who want to swim over can try but the current is strong and deep many drown in the effort (as if referring to the Severn river which acts as both the physical and metaphysical division between the Welsh and English identities). She asks the captain again if he really is on their side or not. He insists he is. Now they’re all assured Noni offers to make tea and the captain excuses himself asking to go to the bathroom. John Daniel says it’s around the corner, behind the rocks, outside the building (actually it may have been in the building but the actor exits the stage via the rear). The captain leaves silently.
Ifan William enters
carrying a tray piled high with a china tea service. The couple and
Ifan William sit down to drink. A single gun shot rings out
(presumably the captain coming to the same conclusion his commander
did and committing suicide). Nothing is said. No one reacts. They sit
in silence drinking their tea and then, once everyone is content, a
plane flies overhead and it suddenly cuts to black and it seems a
bomb was finally dropped on Bear Ridge to clear it.
Arguably this loops back to the start of the play though you could also read the beginning as John Daniel lamenting his isolation as the only person who knows the old language… which he truly is if the play loops back to that opening scene as his wife (who was a learner), his son (who was fluent) and Ifan William (who was, I think, semi-fluent) are all now gone leaving him truly alone both in his memories, knowledge and physically.
I won’t go into great
detail. They’re all dressed in the manner one would expect of people
left with little to sustain themselves during an ongoing conflict
with few if any supplies available over a long time.
John Daniel is dressed
in a worn jumper and the white, but now grubby and worn, coat of a
butcher with an orange gilet over it. Around his ankles are scraps of
cloth over his worn boots. A shaggy beard and overall dishevelled
state indicate he has little time to pretend like he is at all at
peace with life to attend to such things. Not just due to the
situation they find themselves in but it seems like he’s always been
a bit like this and the gilet is, as explained during a piece of
dialogue, a birthday resent from his wife and the only clean thing on
him. Life weighs heavy on his shoulders.
Noni wears an apron and
cardigan with a tattered skirt and hobnail boots. Even in these bad
times it’s evident she tries her best to maintain normality by taking
care of herself appearance wise unlike her husband.
Ifan William is young and his clothes are relatively clean with little sign of wear. They are also of a much more modern, casual sportswear, design compared to those of John Daniel and Noni who, in comparison, could be from a hundred years ago or yesterday in their style of dress (except for the gilet which seems to act like a life vest keeping John Daniel afloat in modern times). The only dirt on the young man’s clothing is the dried, caked, blood from the job he does on his butcher’s apron. His beard and hair are relatively well trimmed in comparison to his wild, mountain man, looking employer John Daniel.
The captain has outerwear of a military design. I would say it reflects the clothing of a First World War office in the trenches but I believe it is meant to evoke a timeless militaristic style really. He wears heavy boots, a serviceman’s belt of pouches and a holster with his service revolver. A large, thick, scarf is wrapped around his neck obscuring any signs of a uniform and he wears a full length woollen, olive drab coloured, trench coat so little else is visible on his person beneath it.
Throughout the play the floor is covered in a light layer of fake snow as though the interior and exterior of the butcher’s shop is gutted.
There are three walls
to represent the interior of the shop. On the left wall is a cupboard
where Noni keeps the trinkets she has collected and which spill out
at the start of the play. On the right is a fridge door which when
opened lets the actor walk through as if entering a room sized
fridge. Again this too is featured at the start of the play but
neither plays any purpose besides establishing the characters of Noni
and Ifan William.
The rear wall is in
fact technically two pieces which sit either side of a green door
frame and door. These are the shop front, gutted by a previous bomb
explosion it can be assumed, and a broken window. The door itself is
intact with a ‘sorry we are closed’ sign on it and a set of lace
curtain netting across it. These are all removed about half way
through the run time once everyone is, presumably, stood outside.
A pile of broken school
desks and furniture sits left of centre representing all the
furniture they’ve had to break up for firewood during the ongoing
harsh weather conditions on the mountain without any outside aid
arriving. Hidden within this pile are two milk crates used for seats
at certain points of the play. Ifan William later uses a tin box as a
stool too which I think he brings up from the trapdoor.
Beyond the ‘shop’ are
black, dead, trees and high piles of rock to represent the mountain
range. A path leads behind the rocks which is where the captain goes,
off stage, at the end of the play.
The backdrop is a
curved white sheet lit in a manner to give the illusion of a heavy
misty skyline beyond which nothing can be seen. It becomes brightly
lit when planes fly over to silhouette the characters against it.
Overall I feel it’s very effective though I question if you could actually reduce the staging to be even more minimalist to be honest as so much of the play is in fact grounded in it’s dialogue rather than actions. Throughout the only ‘actions’ that occur are the couple wave their tools at the planes flying overhead once or twice cursing at them, an overfilled cupboard spilling, the couple dance, the captain firing his gun in frustration, Ifan William going in and out of the trapdoor, in and out of the fridge and later kicking up some dust, John Daniel when lamenting the loss of the old language scrabbling about creating a dust storm in frustration and the tea service being brought on at the end of the play. In fact you could even embellish it if you wanted to be honest without detracting from the core dynamics of the play.
The allegorical play begins with an incredibly strong echo of Dylan Thomas’ lyrical dialogue style most notably heard in Under Milk Wood when John Daniel and Noni begin reciting a list of customers and the foodstuffs they sold and enjoyed in the past as if relishing and being nourished by the language and memories they share.
Throughout John Daniels
has a phrase he often uses ‘no, you’re alright’ when he wants to
assure others or dismiss something troubling. You could reflect he
says this because he himself is not alright though I’ve often heard
fellow Welshmen, admittedly of an older generation, use the phrase in
the same tone Rhys Ifans uses where it is more akin to ‘I don’t
approve but I accept the situation at hand’. There is a lot of the
dour Welsh humour present in the play and I wonder if non-Welsh
people will ‘get it’. Only when it’s performed in England will we
know. I’m sure they will but sometimes it does seem people unfamiliar
with that Welsh style of humour feel it can be harsh hence the
stereotype some hang onto of us being isolationist when in reality we
are very warm towards visitors.
Noni is a difficult
character to categorise. She collects trinkets, she laments her sons
death and she loves her husband who it seems is notably older than
her. The only real information we get about her past, her memories,
tends to be through John Daniels recounting the birth of his son and
his first encounter with Noni where they both knew they were meant to
be together. She fits the Welsh archetype of a valleys girl, that is
to say bubbly, chatty, but not afraid of confronting people she
doesn’t agree with, however it feels she has the least substance
presented to the audience. She seems secondary to the male characters
and even her dead son whose ghost echoes throughout the memories of
the others. While it can be said that there’s an element of this
enforcing traditional stereotypes of women place being in the shadow
of the men in their lives it’s not as simple as that in Wales. We
have been a soft matriarchy throughout history so a woman being quiet
and ‘knowing her place’ is quite alien to us and only crept into our
culture through the influences of the English. So there’s an
underlying question regarding her character where arguably she is the
most conformist of the ‘native’ characters but we don’t have a chance
to explore that aspect of her characterisation during the plays run
time and it has to be portrayed via the actress’ mannerisms more so
than the dialogue.
Ifan William has two
scenes, one at the start is somewhat light hearted and merely acts as
a set up for the sudden shift in tone towards the end. The actor has
some great material to work with as he confesses his feeling to John
Daniel and Noni about their son. It could feel a bit laboured by a
less skilled actor so to see the shift of the character from somewhat
lackadaisical to heart-rendingly broken by his memories really
delivers a contrast to John Daniel and Noni. The older characters
recount happy times in the past and bemoan their current
circumstances while here the younger man finds trauma in the past
but, having survived an assault by bigots, seems to thrive in the
current circumstances having found his place in the world. So through
him we have elements of discussion regarding the ‘truth’ of cultural
heritage and the effects of rose tinted memories on passing it to the
next generation. While John Daniel speaks of a united community under
one language Ifan William presents the harsh reality of conflicting
cultures and of prejudice which isn’t acknowledged by the older
The captain, in
contrast to the other characters, is notably different sounding not
just in accent but diction and phrasing. He is an outsider but I feel
the role is being played far too safely so as not to feel jarring
when contrasted with the other characters tonally. If anything I
would actually like the play to be a bit more bold in this to truly
challenge the audience in the later part when he is asked if he is
‘on our side’ or not so they question if he is sincere or playing
along for survival. The actor performs the role well but I feel maybe
there needs to be some work on the role. Whether it’s to make him
more of an outsider conflicting with the other characters or truly
get across his desire to be on their side by gradually emulating
As it is I assume the
intention is for the audience to decide for themselves his motives
and values by the end of the play’s events. Does he shoot himself
just to repeat history as his commanding officer did; did he do it
because, despite his words, he truly couldn’t be on their side
despite his intentions as he lacked the language and other cultural
aspects to do so; was it because he didn’t seek to become like them.
Could it even be the case we should interpret his behaviour as PTSD
where he keeps reliving the moment he saw his commanding officer
shoot herself, after giving him his orders, thus leaving him to
wander in a liminal state somewhere between constantly reliving that
memory as a soldier and incapable of reacclimatising to civil society
(as is the case for many servicemen who suffer trauma during their
I think my overall
question about him is, PTSD possibility aside, whether he was a
soldier carrying out his duty, but faltered when the opposition was
given a face, or a refugee like figure trying to escape the war and
‘join’ the others in their world view of not being defined by the
conflict. He feels vaguely defined and I’m not completely certain
that was intentional to the degree it appears. Although, in fairness,
we never learn his name and it is certain he was meant to be
culturally ‘othered’ to the shared culture and history of the other
three characters as an outsider.
The staging is good but
perhaps needs some refining as I noted when discussing it earlier. At
times when a sense of claustrophobia is required it feels there is a
bit too much space inside the shop’s interior and yet when they’re
meant to be stood outside it feels far too claustrophobic ironically.
I’m not sure if that’s because the Sherman’s stage wasn’t quite right
for their planned layout but maybe on smaller stages the rubble on
the sides (which I omitted from the stage plan though it remains
throughout the performance) could be removed to give them more space
in the later parts of the play. I only say this as there is a moment
later in the play when John Daniels is meant to walk away from the
others to ‘speak the old language to the moon’ but unfortunately he
is barely 3 metres away on the stage. In fact Rhys gave a cheeky look
to the audience at this point as if acknowledging it. Perhaps for
that moment he can go onto the ‘mountain path’ the captain later uses
leading backstage instead as that would be more effective? It’s an
minor issue to be honest.
The performances are excellent but certainly I feel there might be a need to work on the pacing of dialogue or where to emphasis certain lines as sometimes there were moments of speaking over each other with little narrative purpose for it. Also while the characters are distinct I feel there needs to be more confidence in the delivery by the captain as he doesn’t seem as affected nor distinct from the others as he needs to be. As much as none of us wants to see overacting I do feel for John Daniel and Noni to fit the Welsh archetypes they are referencing they may need to be slightly more embellished with John Daniel having a slightly more intense manner with some pregnant pauses possibly.
I understand why the
performance choices were made however part of me feels, when the play
moves onto the Royal Court Theatre, it’s been done early to ‘tone
down’ the Welshness to be more accessible and that feels
counter-intuitive considering what the message of this play seems to
be. I’ve seen that done in translation of various works to localise
things but it never feels like a good idea in the long run. In effect
it seems to have caused a Welsh playwright, writing about Welsh
cultural matters obliquely, to ‘other’ his message in his own work as
if self censoring which speaks volumes about how entrenched the
cultural persecution of the Welsh culture and language is in our
mindset as a nation.
Part of me feels the
refusal to actually name Wales or Welsh in any form is possibly part
of the narrative in the sense it is self censorship as the ‘Welsh
Not’ was in the classroom for a time in the early twentieth century.
However it also in effect makes the play more universal while still
retaining the irrefutable inclusion of Welsh things such as the
characters’ naming (except the captain who is only known by his
military rank title and never his personal name), a reference to bara
brith and other elements which seem all too obvious in context to a
Welsh audience but might not to a different culture if there was a
foreign production of the play. (e.g. how Welsh seems part of the
‘Elder Speech language’ in the Polish fantasy literature series The
Witcher and it’s adaptions going as far as the card card in it being
Wales has a number of Welsh playwrights who, when doing work for television, are lauded and award winning yet to set a play in Wales seems to ghettoise it unlike if you set it in England. Perhaps that’s just me recalling my issues with Niall Griffith’s novel ‘Sheepshagger’ which felt like it could have been set in England’s west country or elsewhere rurally without losing anything as it’s so devoid of inherent ‘Welshness’ unlike this play.
I fear, in later productions, this play might have the Welsh elements edited out of it to localise it and thus lose its inherent message. As I said with my review of Gary Owen’s adaption of The Cherry Orchard, which localised Chekov’s play to 1980s Wales, there is a risk of losing part of a message or altering it in adaption which I dearly hope doesn’t occur here as discussion of the trials Wales has faced in maintaining its culture seem to be muted whenever presented to a wider audience. Certainly in my experience few people from other countries know much about us without it being tinged by English imperialism to the point they assume we are part of England and not a separate entity.
There is great
potential here but as I’ve seen it so early in it’s run I feel
everyone is still finding their stride in their performances and no
doubt, should you go see it, they’ll have worked out those nuances so
what is already a thoroughly enjoyable, evocative, play about
identity will become a modern classic. Already it is getting high
praise and, despite the critical tone of this review at times, I
thoroughly recommend seeing it!
jerk, irreverent, reactions to watching the live final… a fortnight
late because no one looks at these posts but it’s a useful reference.
This year themes and notable moments : Bland performances by singers with songs that don’t suit their voices, lots of 1990s feeling costumes and songs, conservative boybands, performers dressed like fighting game characters and zettai ryouiki.The sentences will be legible but I won’t tidy the grammar up so it retains that ‘instant reaction’ tone. Ukraine again makes a political statement regarding Russia but this time end up withdrawing an none of their chosen acts will perform for them due to the terms of the contract they proposed but Maruv is allowed to perform her song especially for the interval as a gesture of goodwill to her by the contest. Madonna is showing her age and gets a very muted response from the audience when she performs during the interval.
I’ll put the key sentences of each country’s commentary in bold for the lazy Tl;Dr casual scanning readers looking for specific content.
[edit: on a side note it’s the same ‘flame columns’ pyrotechnics very act seemed to have so I guess it was that or nothing which was allowed… which is very restrictive. In fact the ‘screen’ visual effects were also very limited this year. On the whole this year felt like a downgrade from previous years and really makes you appreciate how much effort other countries put into the experience while Israel puts out a ‘budget’ version and yet has the cheek during one of the intervals to hire Gal Gadot to promote the country to people for tourism].
Malta : Chameleon –
Nice song but completely the wrong tone of voice for it. Staging isn’t much. One year someone will dress as the european comic character Corto Maltese and boom… there’ll be a mass flood of fan votes. Very 90s style of costume. The sacrificial lamb first act of this year. A generic pop song. I am certain I’ve heard songs exactly like this on the radio. Knee socks and a jacket with see through vinyl sleeves, ending with denim cuffs, on a denim jacket. Odd look once you pay attention and one not seen since 1990s British girl bands.
Albania : Ktheju
Tokës – Jonida Maliqi
The song title means ‘return
to your land’ – so there’s a mild unintentional xenophobic tone to
the title until you hear the song. I like it as it represents the
heritage of Albania’s music with a modern twist. Then again I’ve
been playing Koudelka and the Shadow Hearts series of games and the
soundtrack has echoes of similar ‘epic ballad’ aspects so it’s a mild
unintentional bias by me there. Pretty standard staging of a singer
in operatic looking dress with backing singers. I liked it in
context. [edit: after hearing all the songs I favour it a bit more
for at least taking a risk compared to the more pop song like
Czech Republic :
Friend of a Friend – Lake Malawi
Catchy song. For a moment
the guy sounds like he has an Essex accent when saying the girl moved
back in which caught me completely off guard… that was random. Yes,
nice beat. The lyrics, just like many from the boy band One
Direction’s, have a slightly sinister entilted misogynistic tone to
them yet you never hear it commented on openly ‘he’s cute and
misunderstood and I can fix him so it’s okay if he doesn’t treat me
well and always gives be backhanded compliments implying I’m nothing
without his love as he can see past how ugly I am to my true beauty
in supporting him’. Boy bands and romance novels is where all those
life long insecurities begin. Nothing new when you look back to
Wuthering Heights and other classics. Three handsome guys in
trainers, skinny jeans, baggy jumpers playing instruments playing
repetitive inoffensive music… Every teenager girls wet dream… to
be honest you can imagine them being drowned out by the screams of
teenage girls at a concert. Inoffensive stuff but the longer it
goes on the more low energy it feels.
Germany : Sister –
A blonde and brunette duet.
Call each other sister.. but, plot twist, they are not sisters. It’s
nice. A good solid entry with a good rhythm and perfomance with
stripped back staging. Instantly forgettable though but you can
imagine it being used in a pivitol scene in a feel good drama’s
climax when two friends reunite after some disagreement or
something. It’s a nice song but maybe didn’t capture people’s
hearts. [edit: public vote = 0
points… so indeed it didn’t].
Russia : Scream –
You already realise this
blog will be biased towards this entry but in fairness they tend to
have quite solid entries in fairness year on year usually. It’s a
solid entry and a strong contender. Building chorus and
everything. Again throwing everything at it instrumentally and
staging wise though the vocals might feel a bit softer than you’d
hope when listening to it. Actually the staging with the multiple
screens gets a little ridiculous and I wonder if there should be some
rule against some aspects used as it felt a bit like it ended on an
echo effect/recording. Very good though… I’ll forget it it soon
enough. He took part in 2008? or 2018?
Denmark : Love Is
Forever – Leonora
A very 2000s song. It
reminds me of someone like Kate Nash. It looks nice when you
watch the video but bear in mind she starts off with her back to the
audience so it’s not as good an experience when there in person. A
giant chair… it reminds me of those American photos of workmen
eating their lunch on skyscraper worksites miles bove the city
skyline. It’s a nice simple song. I mean once everyone’s sat up
on there you spend more time in anticipation of someone falling off
more than anything…
San Marino : Say Na
Na Na – Serhat
Serhat is a dentist and
claimed this took 5 minutes to write. Well yeah with lyrics like ‘na
na’ I’m not expecting it to have been a struggle. It’s… very
karaoke friendly. Another ‘I swear I saw this in the late 90s’ entry.
Staging wise they have that effect that looks like the video files
got corrupted for the background imagery and just went with it.
It’ll get in the highlight reel for the year no doubt. It’s
enjoyable. You won’t forget the chorus. Then he begins getting
‘yeah going crazy’… yes. Na na na. Say na na na. Say na na na…
sayonara San Marino. Everyone, costume wise, looks like they’re going
to the tennis court immediately after performance.
North Macedonia :
Proud – Tamara Todevska
Sincerity. Well this is
hitting all the buttons for me. Opera length dress and husky
voice. Motivational lyrics. Maudline tone. I’ll be honest it does
look like her dress slipped down due to the ‘exposed bra cups’
design. That’s as sexy as it gets this conservative year. It’s
enjoyable. Another ‘you’ll hear it on an advert or during a moment in
a drama’ song. Never really hits the pinacle I was hoping might
arrive before the end so it feels incomplete.
Sweden : Too Late for
Love – John Lundvik
Striped back staging with
the one ‘caught escaping’ light behind him. Strong lyrics. Nice
lead into the beat and then cuts back to vocal priority. Yes strong
entry. Enjoyable. It’ll do well I assume. I can see them twisting
this for Brexit/other conflicts use in future. No doubt we will
hear this again over the next few years.
Slovenia : Serbi –
Zala Kralj & Gašper Šantl
They met on Instagram
apparently. The intro reminds me of a lot of Sting’s songs.
She looks like she has Down’s Syndrome. If she actually has it’s very
progressive to feature her. I would like more, staging wise, if
they didn’t have her stood singing right into his face as he plays
the guitar. I like the song for that sort of lamenting tone it
has but… it probably isn’t going to do good if people want an
upbeat song this year. Both wear white and hold hands later on
but it’s very… teenagers at a school assembly talent show due to
how they’re dressed. Bit of a mantra quality to it. It’ll be big
with the normie ‘I like feeling creeped out’ audience and those who
think that the couple look a bit incestuous. I like the song and her
voice – it’s just they don’t look like they gel together visually
and are a bit too awkward on stage which in turn makes the audience
feel a bit awkward watching. The song is good though. I want to hear
it again [edit: …and this is one of, if the only, song of the
finalists I honest can say that about this year].
Cyprus : Replay –
ryouiki. [Other acts also feature
it so maybe this was the only way to be ‘sexy’ this year due to the
more conservative nature of performers’ costumes due some behind the
scenes mandate the public never heard of]. She
is dressed the way early 3D fighting game characters dressed due to
low polygon counts. Then the pull the top off and it’s even more like
a costume of that era of gaming! It’s a generic sounding dance
track… nothing else to add really. I forgot it instantly in indeed
I was even able to remember it as I was listening to it.
Netherlands : Arcade
– Duncan Laurence
One of, if not the,
favourites this year going into the finals according to bookies
etc. Yeah this has ‘Eurovision winner’ written over it the way
‘a Hollywood film where an attractive actor ‘goes ugly’ for a role by
putting weight on [Chris Hemsworth as ‘fat Thor’ is in the running no
doubt this year by that logic] or portrays disability or depicting
ficitionalised real life events of someone’s experiences during World
War’ 2 has ‘Oscar winner’ written all over it. Anthemic. Sad.
Warbbling. He mimes playing the piano. Yeah this will be top 2
if it doesn’t win. [Spoiler: It wins.]
Greece : Better Love
– Katerine Duska
Distinctive voice… it’s
the vocal equivilant of Marmite. Balletic sword fighters duel
weilding. Dancers fluttering wings. A arched churchdoorway
mini-stage. I like it but that voice is going to throw a lot of
people off. ARGH when she goes for high notes! She’s one of those
women who is single and you wonder why then you hear her voice… I
joke. It’s a nice song and the staging is very nice. Nonetheless
that voice is going to lose votes probably. Very ‘Florence + the
Machine’ in style.
Israel : Home – Kobi
”Hometown Hero” – no
one was allowed to see them rehearse so… could be amazing could be
a shitshow. Those rhymes… I… he is losing me with every line.
The chorus aiding him improves it… but indeed it’s very much f a
‘this is me’ generic rising chorus ‘confidence gaining’ song from a
musical. I like the ‘beams of lighting’ staging watching it but
having been at events using it it’s a death ray if you’re sat in the
wrong seats and get blasted by it for minutes straight. It’s a
nice song… the warbling highnote at the end kind of mutes it. Good
response as he’s the home hero but… eh it’ll do okay but it’s not
Norway : Spirit in
the Sky – KeiiNO
George Harrison. Admit it
you too were wondering if it was going to be a cover though those are
not allowed at Eurovision. Primark military style jacket. Essex face
lift pony tail for the lady and… IT’S THE YODELLING BALD MAN!
INSTANT WINNER! Nice dance track but that yodelling man… damn
that’s a winner addition! He even gets a solo!!! and Yggdrasil,
the tree of life from Norse legend, makes an appearance! Eurovision
United Kingdom :
Bigger Than Us – Michael Rice
From Hartlypool. The British
entry so maybe I’ll be mildly bias. It’s a nice ballad. I don’t
think he starts on the right note… Anthemic but subdued. It
could go any way to be honest. Who are we kidding he’s the British
entry… as soon as he gets in the greenroom they’ll get him as drunk
as possible to numb the inevitable pain of the low votes. If we
get on the left side of the score board it’ll be a small miracle.
It’s a nice pop song. I honestly feel a bit more impact was needed
though. I mean the backing vocalists almost drown him out on at least
one occasion. He thanks Europe and says he is living his dream
performing there Cool, good manners. Good boy.
* * * * *
Midpoint: The male presenter
behind stage, in he green room, asks the San Marino entrant Serhat
the dentist a question then cuts him off before he can answer
properly. ‘Presenters being presenters’ as ever… can’t cut into
that running time even to be polite.
Here are some comments by
the British Eurovision commentator Graham Norton about the entries:
* * * * *
Iceland : Hatrið mun
sigra – Hatari
‘Hatred will Prevail’ is the
meaning of the title. Thus very ‘anti-Eurovision’. Very
anti-capitalist too aparently. Weirdly electro-punk with
industrial style accoustics. I like.Eurovision needs more
rock music like this and Lordi. Flame spikes. Edward Scissorhands
outfit and mohawks. Well this is my favourite but it won’t win. No
doubt people are claiming it scares them, for some reason or other
just because it’s not mainstream, as if they’re going to wake up
suspended from the ceiling in a gimp costume as part of someone’s sex
dungeon… such people shouldn’t have been allowed to read 50 Shades
of Grey as it’s given them ideas. Saying that it should have been
about 30 seconds shorter as I got bored by the end.
Estonia : Storm –
Pretty guy in a leather
jacket with an acoustic guitar. Mr generic cool guy to every
generation… He will have a better than he would otherwise as a
contrast to Iceland’s entry no question. Even got some clapping along
early on by the audience wanting to spirit away the dark energy
Iceland left them with. Nice breezy song. I enjoy it. Might be a
bit too ‘seen it already’ due to others having similar songs though.
Really the longer it goes on the more I think ‘I’ve heard that bit
elsewhere…’ Enjoyable though. Apparently augmented effects were
used. That’s becoming more common for the staging on the night of
Belarus : Like It –
She reminds me of the
blogger Angelika Oles. Then she has one of those hot pink and white
with black accent outfits that looks like a
cross between an F1 pit girl and a gogo dancer.
She has B-boy backing dancers. Nothing
really stands out. Zettai
ryouiki again and a bared midrift.
The only two areas acceptable in clean family entertainment to
indicate sex appeal. [edit: when I typed that I was thinking of
Princess Jasmine from Disney’s Aladdin only to find out in the live
action film version they give her a most conservative costume with a
corset like covering for her midriff]. The
song is an ‘also ran’. Even when listening to it it wasn’t sticking
with me. ‘Impossible’ you say? You’d
Azerbaijan : Truth –
Thumping beat. Robot arms. A
laser on his chest like the Predator is about to kill him. Husky male
voice singing. Good good. Goes into a higher register but fine. ‘shut
up about it’ he chants.. in a song called Truth… interesting. Yeah
nice song but not going to get too high. More about the staging
with the electro girl head than anything really. He is dressed like a
character from a 1980-90s SNK beat-em up. No really. Look up
‘King of Fighters’ and you’ll find his outfit on a guy with a
ponytail. It’s the year of ‘beat-em up costumes!
France : Roi – Bilal
A feminine looking man. He
is like the lead male character from the most recent trilogy of SNK’s
King of Fighters games! Or Remy from Street Fighter III! He’s also
deaf and doesn’t conform to gender stereotypes apparently. The
‘progressive’ vote then but also he would get the Japanese
boyband vote too if there was one. ABBA outfit. On fleek eyebrows.
Guy will launch his own makeup Youtube channel and brand if he hasn’t
got one already. Obese dancer… she actually moves quite well.However they replace her with a tiny Asian lady soon enough.
He reminds me of an anime Bishonen (pretty boy) or androgenous
villain with his look. No seriously go look up anime and scroll down
the images and I am certain you’ll find someone with his look. As for
the song… it’s a standard Eurovision entry. Good but you’ll
forget about it.
Italy : Soldi –
The ‘I like rap’ option
for what it’s worth. Badass in a hawaiian shirt and earring with
one of those wallet chains you’ve not seen since the 2000s with
American skater punk bands like Limp Biskit or Sum41. Clap clap.
You’ll hear this in the clubs. It’ll get a really good dance remix.
It feels a little lifeless on the night unfortunately compared to
others. It really needed the audience participation to go wild for it
and they didn’t. The backing dancers I swear pulled off a few
American line dancing moves a few times by boot scooting… It’s a
good song by itself but not one that will ultimately win Eurovision.
Serbia : Kruna –
The title means ‘crown’.
Slow ballad. Has the look of a rocksinger in the 1980s… like
Bonnie Tyler. She reminds me of the film ‘White Chicks’.
The design of her dress to show the leg with an intentional arch of
fabric instead of a split is a bit forced as if they put the top of a
jukebox on her. I like it. Of the ballads I probably like it best.
I kind of wish she didn’t alternate language as it probably would
sound better in just the one. Also thanks the crowd. Good good.
Switzerland : She Got
Me – Luca Hänni
They last won in 1988 with
Celine Dion apparently. The boy band entry… well ‘one man boy
band’ entry. Flashing lights and all the tricks. Well
choreographed. The backing dancers being dressed in red, in red
light, with a red background makes them barely viewable if you’re
there in the crowd and not by the front. It’s a nice upbeat entry.
All the boys go… All the girls go… Everyone goes… eh, it’s
alright and I can dance to it so it’s got that going for it. He’s
got that leather vest under a sleeveless jacket look which no one can
pull off… and again I’ve seen that costume on a fighting game
character I swear. [edit: e.g. Robert Garcia in both SNK’s ‘Art of
Fighting’ and ‘King of Fighters’ series]
Australia : Zero
Gravity – Miller – Hedke
Australia is in Europe
everyone jokes… and yet still they compete. At least others are
geographically close if not in Europe. Ice queen outfight with tiara
crown. It’s a flying Statue of Liberty. Yodelling woman…
cunning. I like it. Then it goes all ‘electro-dance beat… well this
is going to compete hard then. Are they all on stilts? Oh no they’re
on… sticks. I’m sure the staging is amazing if you’re there but it
looks comical at home. I’m getting ‘Christ at the Crucifixion’
vibes due to the crown and there being three of them. The ‘death
of Liberty’ undertext. It’s pick up votes from oldschool Eurovision
lovers no question.
Spain : La Venda –
Comic panel staging. It’s
meant to be a house but nope. Full on 6 panel newspaper comic
look. Very upbeat and fun. This will get votes for it and by
people who’ve forgotten all the others. Weird light giant thing
on stage too. Fun. The backing dancers look like they are meant to
be doing an exercise at home doe a ‘exercise at home with [insert
name of a reality TV celebrity]’ moneygrabbing name recognition
exercise video. This should get quite a few votes. Good one to
end on. It’s been a bit of a dour year to be honest with far too
many ‘safe’ entries.
* * *
Apparently if you vote you
get a thank you video from the artist you voted for. They did that
for the Olympics too for some reason.
While you vote they showed
previous years’ winners singing other winners’ songs and some
favourites of the past. Quite interesting really. They did it as a
sort of Cabaret thing. Conchita’s outfit took inspiration from Hakke
Andrey a character from Atlus’ Maken X computer game it seems.
* * *
Madonna appears and does a
song. Like a wild pokemon in the long grass. Wearing an eyepatch with
a costume suggesting both pirate and pearly queen of London’s
Eastend. Promoting her album Madam X. Then gives some inspirational
words to the performers which come across as a bit patronising. A
presenter says she knows what she is talking about which… yes
please tell musicians to pay attention for some life advice as if
it’s not their career and think it’s not at all insulting to them you
grovelling little scab. Madonna? Knowing about being a successful
singer? No really? Musicians performing at Euroviosn not knowing
their stuff? Really? Then she quotes her own song and tries to get
people to repeat it but it falls flat.
Then someone else performs.
Oh it’s Ukraine who pulled
out of the contest! Except not really. Ukraine forbade Maruv to
compete because she had toured in Russia and so Eurovision let her
perform her song as a sign of goodwill on their part though not
representing Ukraine obviously.
(Not Ukraine) interval
act: MARUV – Siren Song (Bang!)
Well you can’t lose if you
don’t compete! Oh yeah this is far too sexual for this year’s tastes.
They’d have to tame it down immensely. Phwoar nonetheless. Going for
that dad vote like Poland did a few years ago with their ‘My
Słowianie – We Are Slavic’ milk churning women in traditional ress
performance in 2014 but Maruv makes it clearly more dominatrix in
However I recorded it as ‘a
song called something like ‘Boee (Come With Me)’ was played at this
point. I assume in hindsight it was Maruv as the lyric ‘come with me’
I prefer music reflect the
culture of the performers and this does. I wish more of the songs had
followed this tone as it makes it much more interesting than the
euro-pop that got humoginised over time and then got a slight revival
due to developments in staging with back projection, slim large 4K HD
monitors and such.
Also the ‘political protest
is not allowed’ seems a rule very weakly enforced depending on which
country is saying it. Here’s one video about the events happening
outside the event.
Quavo appears. His first
time at Eurovision. He is, like Madonna, dressed as if they’re
filming a Mad Max or Waterworld sequel. He says his mom grew up
listening to Madonna. Mikedrop moment as if he had been throwing
shade intentionally or not…
Then a mentalist trick with
a ‘not Derren Brown’ guy to pad the run time while the votes are
Then ‘chicken song’ [a.k.a.
‘Toy’] singer Netta, who won last year, appeared in a yellow ‘na na
banana’ dress with a new song. It’s like a song for preschool
children got given a remix… When a 9 year old girl is asked what
she wants at her birthday party I image something like this. She
wants a classy evening dress affair dinner party but then she also
wants bright colours and pop music.
Then Madonna, after the
third or fourth reminder of all the entrants, fnally performed.
Everyone was waiting for another ‘throttled by her cape’ moment of
course. The staging screams Gregorian chanting monks even without
the costumes. So it’s one more step down the ‘no, I’m not being
blasphemous’ road like her videos in the 1980s which got her in
trouble with the Catholic church back then. They’re trying to make
her songs sound like anthemic hymns by doing them a beat or so slower
tempo wise with chanting backing singers and a beats machine. I
mean… okay. But it’s also weird considering it’s what you would
hear if all the sound equipment failed at a concert.
Then the monks carry logs or
pillars up the steps. She seems out of breath. Then she does a
quasi-Shakespearean bit with one dancer to Tchaikovsky’s the sugar
plum fairy… the dancer has a white gas mask on and a flower
crown which seems quite political surely. Weird segway. Then the
Quavo guy turns up with heavy vocal balancing effects on his voice
and Madonna sounds like she is underwater.
She got a muted response in
* * *
The.. vote… finally… the
votes… it seemed shorter between the final act and the votes when
they used to allow more entrants per year than it does with these
never ending interval acts and padding.
Then the presenters have
Gal Gadot turn up in a VT promoting the country… because what
else can they do to pad it out even further. I don’t recall over host
coutries doing this but maybe I’m forgetting them.
Jokes about Israelis but in
a self-depricating manner. However only on light topics like music
and things that come across as an advert for the country’s tourism
board. Gosh ren’t we a quirky fun country? Nothing bad happens here.
Just forget all the active warzone on the borders kind of stuff – we
are all about the chicken song and Gal Gadot. Forget the whole
ongoing conflict you might get caught up in as a visitor… it’s all
good here we love everyone… well except ‘those people‘…
but apart from them everyone is welcome.
It starts off with last
year’s host Portugal with Inez whoever she is… 12 to Netherlands…
We, Britain, gave 12 to
North Macedonia…. the power of ‘dressing like your on the pull on a
girl’s night out and it’s 2.30AM’ wins us over.
Russia has a piano player to
do the point announcement…. after doing a brief recital piece. I
mean all the point announcers are having a 30 second of fame moment I
guess though they’re famous people in their own country anyway and
it’s not enough time for people to remember them… presumably.
Greece had an electric guitar rock band guy too.
And now I’ll just recount
the ones who gave Britain points… any at all… and let’s not think
‘potential trade union deal partners post-Brexit?’ while doing it.
Norway – 2 points.
Hungary – 2 points.
Belarus – 5 points [also
phwoar… shockingly the only true one this year it seems! Actually
was she on a previous year?]
Armenia – 2 points
Georgia – 1 point.
Switzerland – 1 point
13 professional jury points
in total! We are not ‘nul point’ this year! Others are doing worse
than us and that’s as good as we can ask!
We gave Norway 12 points…
wel they gave us two so that’s okay…
The public vote
3 points from the public.
FUUUUUUUUUUUUUU…. well that’s this year’s sacrificial lamb done
Germany got no public
Once it was down to Sweden
vs Netherlands they dragged out the final announcement to up the
tension for no good reason repeating that Sweden needed 253 points.
They got 93.
The winner was… The
Netherlands with 492 points. 1975 was the last time they won.
Last year’s winner hands the trophy to the new winner. The run up to
get it is dragged out. The music loops. He holds it aloft.
Someone, somewhere is shedding tears. Others are sat on the toilet
evacuating their bowels. It’s over for another year.
So another year and another
low ranking place. Once it as due to participation in the Iraq war…
now it’s Brexit. In fairness some of the entries were bad and others
were just throwing something at it and seeing if it would work some
years. Some years we actually had good acts, others were ‘bring out
the old horses to flog’ and a few were ‘sod it we just can’t be
The presenters thank the
broadcaster and it’s almost 2AM in Israel and they’ve still to wheel
the piano out. They skip it and have him miming the piano this time
(not that he was playing it anyway probably). He calls on the
audience to sing the chorus with him as streamers fall from above.
Reign well God-king of
the Netherlands, ride unto the shores of Valhalla all shiny and
chrome upon the unplayed piano that is your steed. Let the thundering
arsecheeks of the farting oarsmen clpa their rhythm in your wake. Let
the warble of your voice be the birdsong that sends your opponents to
their fate. Their defeat was a foregone conclusion as the fates
foretold through their oracles bookie’s stakes…
* * *
Bonus: Those who
didn’t make it to the finals
For the first year of doing
these I’ll also include those who fell before the final hurdle. Sadly
I actually liked some of them more than those acts who were in the
Armenia : Walking Out
again… it must have been the fashion this year. The only flesh
allowed to be shown to be ‘sexy’ without offending Israeli TV censors
I assume. Pyro technics which really punctuate the end of the song
but… the whole song is in minor key
though you feel it should be in major so… it was good but I can see
why on balance some other acts edged it out into being in the finale.
Ireland : 22 – Sarah
The checkerboard pattern and
popart featured gives the staging that aesthetic retro ‘1950s yet
with a 1990s twist’ I recall a few British boybands having in some of
their music videos. Red leather skirt ad strappy heels – again
sexy in a conservative manner. She has a husky voice which I
don’t feel fits the song and the syling they’ve used as you
associate the 1950s with higher pitched singers of that era… this
song if it was more upbeat with a different singer would definitely
sound more like a 1950s hit but instead it sounds a little like it is
meant to act as an ‘in those good old days’ reflective sad ballad but
it just doesn’t work. A different song would have worked with her
voice. So it’s understandable they didn’t progress to the final. Oh
and obviously it’s a surprise Ireland didn’t get into the finals but
this probably isn’t the first time ever though, from a British
perspective, we tend to notice their absence.
Moldova : Stay – Anna
Using sand/salt art
projected onto a screen is interesting but I think it was done in
previous years and… I’m not sure but I think that’s the Ukrainian
artist, Kseniya Simonova, who is famous for it they have doing it
live on the stage with the singer… wait yes I just confirmed it’s
her. Well considering Ukraine pulled out this year as a
protest [and yet did the interval somehow] I am assuming she is
going to be getting a lot of criticsm in her homeland… [apparently
not in hindsight]. Anyway the singer is wearing a dress which is
half 1980s wedding dress and half modern ‘going out tonight’ dress.
Heer voice reminds me of the American singer Anastacia. It’s very
much a dramatic Eurovison style ballad and I enjoy it so I’m a bit
surprised it didn’t get through considering how bland some of the
fianlists were. Maybe some of the notes didn’t hit the heights the
judges would have liked to give that extra punch to the songs impact.
Latvia : That Night –
I feel this and the
Slovenian entry would have been an interesting juxtapositon to each
other. Apparently there was only room for one soft song of this
type this year and the young couple had the better ‘story’. A simple
lace dress with boots and a wide brimmed hat to give that summertime
mood when singing the reflective romantic song while accompanied by a
3 piece accompaniment. They all look much older in the official
video. It’s a nice easy listening song. The singer has a charm
making her appealling but I guess it was just too mellow for this
year’s judges which is a shame as it would get my vote.. if I was the
sort to vote for these things. Ultimately the stripped back staging
with just a swaying dance, with a few turning walks, was just too
little of an impact for a contest that seems to need more and more
spectacle in the projected visuals nowadays.
Romania : On a Sunday
– Ester Peony
Interesting costumes where
it’s rhinestone/sequins covered eveningsuit wear on top with a
punk-charcoal puffskirt rock lower half with platform Goth boots.
Phwoar. You know who her look reminds me of? Missy from Dr Who a
few years ago. The dancers look like they are meant to
promoting a computer game… specifically the character designs of
the fighter when the Mortal Kombat series first dabbled in 3D
use. It’s going for that sort of alternative rock look but the
song is a quite traditional Eurovison ballad. It’s an also ran
entry ultimately. Take the dancers away and it’s not got anything
unique in the song itself. Singer phwoar; song snore. The
first line or so she has very odd pronunciation for Sunday as if
warbling the line. The backing singers have an oddly ‘baby doll’ look
to them. It’s all very ‘what fashion designers think of when given
the brief to produce something ‘dark’ themed so they break out the
black fethers, leather books and harsh tailoring or otherwise go to
the Gothic Lolita side of the ‘dark’ spectrum. Indeed it is
understandable why this didn’t get to the finale though I’m certain
the singer is capable of better than this when allowed to do her own
thing. I don’t get the audience’s reaction when the pyrotechnics go
off unless they were not expecting them as they showed appaulled by
them from their tone not excited as you might expect. Maybe they were
too cloe to them.
Austria : Limits –
A soft uplifting song for
the most part though it has one point towards the end where she
sounds quite bad. Lighting gradually growing with the intensity.
Her costume really doesn’t fit with the style of song. Is she wearing
a dress or trousers? It’s just she has the look of a middle aged
woman desperate to pull on Fridy night in the local bar kind of
aura… [also considering the look of many of this years acts she
is showing too much skin for the judges’ /broadcaster’s liking no
doubt]. She sounds like she hits a lot of bad notes when she gets to
the more intense moments. A very disjointed entry and indeed one I
can definitely understand didn’t get through. If anything it
represents my issue with this year everything is far too restrained
and dull. The songs are all too focused on presenting something which
appeals to the broadest dynamic and so instead of something memorable
it’s all of the lowest common denominator.
Croatia : The Dream –
Taking the lyrics and the
whole ‘I’m an angel in a lake of fire’ aesthetic into account…
is he meant to be playing Lucifer?! I mean that’s gutsy to be
doing that in Israel of all places… Then the backing dancers come
down and honestly it’s the look you see as a parody of an ‘overly
pretentious pop act’. The song is nice enough but I think they
shot themselves in the foot with their visual concept…
Lithuania : Run with
the Lions – Jurij Veklenko
This would have been an
interesting contrast with the Greek entry as both have distinctive
vocalists. Visually there’s all the ‘generic stylish young
handsome guy’ boxes ticked. He sings surprisingly high for a lot of
the song if I’m honest. I know there’s singer/songwriters like
Passenger who are like that but it’s not an easy sell for most
people. The song is decent if generic. It’s quite bland and
forgettable to be honest though there’s nothing wrong with it to
* * *
Hungary : Az én
apám – Joci Pápai
Straight away I feel this
has a lot more impact than many got through to the finals. It really
gets a good reaction from the audience there. Barring the ‘performing
in bare feet’ bit he is very much in the standard ‘generic safe male
performer’ visually. It’s actually shocking someone of this
calibre didn’t get through. There’s
not much to add. It’s disappointing this didn’t get through as it
would have done well.
Montenegro : Heaven –
Dance music start. Very
conservative outfits… maybe a little too conservative as they
remind me of American Evangelical preachers. The third guy is
very nasal which sticks out like a sore thumb for his moment. It’s
the sort of song you can imagine having been performed about ten
years ago at the latest. They’re all decent but in a year of bland
they’re the wrong kind of bland. They’re not ‘what a middle aged
panel of judges thinks appeals to young people these days’
inoffensively safe but just ‘old fashioned’ safe. Too safe in a year
I felt was overly safe… which is kind of tragic.
Georgia : Keep on
Going – Oto Nemsadze
I still recall previous
years entries by them. Georgia is the country always certain to do
entries I thoroughly enjoy and would listen to independent of the
Eurovision contest. Each year I forget and each year they surprise me
and I recall the quality the country produces. I like this but it
is in stark contrast to many other more mainstream, safely
commerical, entries this year so got excluded for a ‘smoother’
running order experience I guess with only Iceland being the notable
‘see we let different acts take part’ token gesture entry. The
wailing bit really adds support to his main vocals. Then a male choir
chorus too! And pyrotechnics?! They really built this up throughout
the song to a good climax. And he even thanks the audience which not
every act does. They were robbed of a place! This is my
‘spiritual’ victor who sadly didn’t get placed!
Finland : Look Away –
Darude feat. Sebastian Rejman
Leather jacket and blue
jeans… is it the 1980s, 90s or 2019? A dance track song. Yeah it’s
okay. Dance music isn’t my thing though it’s one of the pan European
crowd pleasers. It would have stuck out a little this year but
like some others feels like it’s missing the ‘punch’ it needed to
just get a bit more traction. It’s better than some of the finalists
to be honest. Generic for a previous year but for now it would have
been distinctive. The dancer does very well considering all eyes
are on her more than him during it. Oh it’s Darude… and he
didn’t get through?! Shock result! Even I know who he is! Maybe
he was felt to be a ‘ringer’ being entered into this contest and it
would have been unfair as he would have taken so much of the popular
vote from the public…
Poland : Pali się –
Nation of ‘we don’t take
this serious’ with their milkchurning girls in traditional dress with
‘My Słowianie – We Are Slavic’ in 2014, a wheelchair user in 2015
performing In The Name of Love and now… they’ve early 90s girl band
vocals like Elastica while wearing quasi- traditonal Slavic yet
Mongolian ceremonial dress?! Their voices are cutting through me.
Bit too repetitive but they get the audience on side. I would have
liked to see them in the final as a novelty act to break up the
monotony. Their floating heads on the screens seem more in keeping
with this years tone than their costumes on stage. I can see why
it didn’t get through but good on them thanking the crowd.
Portugal : Telemóveis
– Conan Osíris
should have got into the finals!
The song has a very sort of Arabic chant style but mixed with Eastern
mysticism style before exploding into a sort of Electro-synth
dance beat reminding me of the soundtrack to Mamoru Oshii’s Ghost In
anime film. It actually seemed really interesting costume wise in a
‘Mortal Kombat if Kazuma Kaneko did the
costume designs’ way…
On the whole this year felt very ‘safe’ in terms of most of the acts.
At least this one had some style to it even if not to everyones’
tastes. Again thanking the audience. Maybe in the final they were not
allowed to or their microphones got cut off when they did it?
Belgium : Wake Up –
Taiko drums? And this didn’t
get placed? Let’s see why… drumming on the beat. Um… yeah his
vocals are not strong enough sadly. Someone with a bit more power to
their voice and this probably could have gone through but as it
is it sounds like a teenager covering it for a school talent contest.
The audience clap in time with the beat to support him. Well
hopefully he can go away, train his voice some more and we will hear
from him again. The drummers do very well in fairness. Smoke
effects? I don’t think anyone else had those. Maybe he got cut so
they wouldn’t have to fork out for those in the final?
* * *
Ukraine’s withdrawal this
year: Maruv was allowed to perform by Eurovision without it being
connected to representing Ukraine for the reasons detailed below. In
hindsight is very good of them as it’s not her fault that the country
she was to represent took umbridge with her touring obligations which
inevitably included work in Russia despite the broadcaster imposing
what were clearly politically motivated conditions of her contract if
she were to represent Ukraine. Kudos too should go to the show of
solidarity by ‘Freedom Jazz’ and ‘Kazka’ who were offered the
contract when Maruv wouldn’t agree to the terms.
So what’s the story?
Ukraine withdrew from the
competition this year. It was politically motivated, though they
would deny it of course, hence why Eurovision extended a hand to let
Maruv perform even if she wasn’t able to compete. A goodwill gesture
by them to the performer surely should be applauded as there was no
political intent behind her decisions though the Ukraine frame it as
such because she honoured tour dates that had, by the time of the
contract being proposed, been agreed upon long beforehand.
To quote the Wikipedia
article’s synopsis of events:
“During the final of the
national selection, it was announced that the broadcaster had
reserved the right to change the decision made by the jury and
Ukrainian public. Following Maruv’s win, it was reported that the
broadcaster had sent her management a contract, requiring Maruv to
cancel all upcoming appearances and performances in Russia in order
to become the Ukrainian representative. After it became clear that
she would be performing in two concerts in
the following months, Vice Prime Minister and Minister of Culture
stated that artists who
toured in Russia or “did not recognise the territorial integrity
of Ukraine” should not take part in Eurovision. She was also
given 48 hours to sign the contract or be replaced. The day
afterwards, Maruv revealed that the broadcaster’s contract had
additionally banned her from
on stage and communicating
with any journalist without the permission of the broadcaster, and
required her to fully comply with any requests from the broadcaster.
If she were to not follow any of these clauses, she would be fined ₴2
million (~€67,000). Maruv also stated that the broadcaster would
not give her any financial compensation for the competition and would
not pay for the trip to
On 25 February, both Maruv
and the broadcaster confirmed that she would not represent Ukraine in
Israel due to disputes within the contract, and that another act
would be chosen. National final runner-up Freedom Jazz announced on
26 February that they had rejected the broadcaster’s offer to
represent Ukraine as well, with third place finisher
confirming they had
rejected the offer as well the following day.
It is considered
controversial for Ukrainian artists to tour in Russia
following the 2014
Russian military intervention in Ukraine.”