Yes. In the first place, no one knows whose it was,
Who planted it there, or why –
We don’t know.
If it’s always clean and tidy as a peasant’s hut
Perfectly ordinary, pleasant willows,
Round that godforsaken one
All manner of trash is piled.
People bring scrap iron,
Not fit for anything now, of course,
(If they were any good at all, they wouldn’t be there),
And when the cat dies, it’s dumped by the tree.
So encircled is the poor willow
With old boots, rags and rotting cats
That it’s advisable to give it a wide berth.
But still, when May comes,
The willow, up to its knees in muck,
Suddenly begins gently to gild itself.
It doesn’t give a damn about the torn galoshes,
The jars and tins, the old clothes.
It blossoms as do all its earthly sisters.
Shyly it blossoms
With innocent flowers, so pure,
Turned towards the sun, for the first time opening.
And the sun shines. And the whole tree smells of honey.
And, incidentally, bees fly to it,
In spite of the rubbish lying at its foot,
And bears away the translucent honey of its flowers
To people who abuse trees.
by Владимир Алексеевич Солоухин
(Vladimir Alexeyevich Soloukhin)
translated by Daniel Weissbort
Additional information:Soloukhin lived from 1924 to 1997.
At the Moscow meeting of writers on October 31, 1958, he took part in the condemnation of the novel Doctor Zhivago by Boris Pasternak. Soloukhin noted about the Nobel Prize laureate that Pasternak should become an emigrant:
“He will not be able to tell anything interesting there. And in a month he will be thrown out like an eaten egg, like a squeezed lemon. And then it will be a real execution for the betrayal that he committed ”
[Apologies for the rough translation – the original version of the quote, in Cyrillic, can be found on the Soloukhin’s Russian Wikipedia page].
In his journalism of the late 1950s and early 1960s, Soloukhin spoke out as a Russian patriot, pointed out the need to preserve national traditions, and reflected on the development of Russian art.
The main theme of Soloukhin’s poetic and literary work is the Russian countryside, its present and future. His works strive to demonstrate the necessity of preserving Russia’s national traditions, and pondering the ways to further develop ethnic Russian art.
Vladimir Soloukhin is considered to be a leading figure of the “village prose” group of writers. His journalistic expressions of opinion during the later years of perestroika idealized pre-revolutionary Russia. So it is interesting to note that while other groups had their works censored or suppressed the ‘village writers’ works were passed with such criticism due to their idealising of the manual laborer contributing to society.
In the early 1960s he became interested in Russian icons, eventually becoming a respected advocate of them, as well as a collector and specialist in the interpretation and technique of icon painting. His publications on this subject – “Letters from the Russian Museum” (1966) and “Black Boards” (1968) received a wide public response.
Soloukhin’s book “Searching for Icons in Russia” describes his hobby of collecting icons. He traveled throughout the countryside in the 1950s and 1960s searching for icons. In some instances he discovered beautiful 16th century icons underneath layers of grime and over-painting yet he also finds ancient icons chopped into bits and rotting away.
He was known for his campaign to preserve pre-revolutionary Russian art and architecture. Ilya Glazunov painted a portrait of him. He died on 4 April 1997 in Moscow and was buried in his native village.
If you are able to find the Russian Cyrillic version of the above poem and direct me to it I would very much appreciated it.
by Римма Фёдоровна Казакова (Rimma Fyodorovna Kazakova)
translated by Elaine Feinstein
Additional information: Rimma Fyodorovna Kazakova (Римма Фёдоровна Казакова) was born in Sevastopol. 27 January 1932 in Sevastopol, Soviet Union – 19 May 2008 in Perkhushkovo, Odintsovo District of Moscow Oblast, Russia) was a Soviet/Russian poet. She was known as an author of many popular songs of the Soviet era. She studied history and worked in Khabarovsk as a lecturer. She has also worked as an editor in a newsreel studio.
Though a very conservative writer, Kazakova is nevertheless unusual in the Soviet context for her occasional frank treatment of such themes as pregnancy. Her poetry, like Berggolts’, is quite often sombre, showing insight into such problems as loneliness or ageing, particularly as it affects women. She identifies with the hard life of hunters, builders, fishermen etc., and much of her poetry springs from her observations of the working life of such people.
Her first rhymes were reminiscent of Yevtushenko, Okudzhava, Voznesensky and Rozhdestvensky and were first published in 1955. Her first poetry collection, Let’s Meet in the East («Встретимся на Востоке»), was published in 1958.
There doesn’t seem to be much available information about Kazakova in English. In fact this is the only translated poem of hers I’m aware of so if anyone is able to contribute something further then please leave a comment. Especially if you know where to source the original, Cyrillic, version as I couldn’t find any evidence of it after looking at a number of Russian language poetry websites.
Into the dry-leafed coppice an owl bowls, head over heels,
Its wings bulky yet nimble –
It flies shaggily,
It flies like something sewn up in a grey sack,
With oblique slits for eyes.
Its clumsy dance in the fresh air
Is like a rudderless, compassless boat’s…
Be off, absurd creature, be off!
Beyond the ditch, black as an abyss,
Bushes shine glassily, like vessels filled with some
It is the prelude to night…
Like uprights and arcs,
Above the warm,
Are motionless sounds…
by Новелла Николаевна Матвеева
(Novella Nikolayevna Matveyeva)
translated by Daniel Weissbort
Beneath is the original Russian version of the poem in Cyrillic.
На пороге ночи
У тропки вечерней сиренево-серный
И серо-лиловый оттенок.
И, словно орех, который, созрев,
Отходит от собственных стенок,
Отходит луна от небес волокна,
От облачного потока,
И к легкому своду уходит она
Деревьев цыганские тени кудрями дорогу метут...
Вдали, в запустенье, дымится и светится пруд,
Как жар, потухающий в трубке цыгана,
Мечтательно замерший наполовину,
Попав под рукав, под сырую овчину
Оттуда, из сырости грустной,
В лесок сухокудрый летит, кувыркаясь, сова:
Я слышу, я слышу крыла ее грузные,
О, эти порхающие жернова!
Летит она прозорливо и слепо, -
Движением тяжким и скорым, как шок.
Летит клочковато, летит нелепо,
Летит, как зашитая в серый мешок
С косыми прорезями для глаз...
Как пляска ладьи, где отшибло и руль и компас,
В воздухе свежем танец ее корявый...
...За черной, как пропасть, канавой
Стеклянно блистают кусты, как сосуды с целебным настоем, -
Это вступление в ночь...
Как столбики и как дуги,
Над сиротливым простором
Стоят неподвижные звуки.
Below is the original Russian Cyrillic version of the poem.
Дождь, дождь вечерний сквозь водосточные трубы.
Мокрые стены, зеленая плесень да мох...
Ах, эти трубы! Сделали трубочкой губы,
Чтобы прохожим выболтать тайны домов.
Трубы вы, трубы, - я вашим тайнам не рада.
Ржавые трубы, вы бросьте про тайны трубить!
Я вас не знаю, мне ваших секретов не надо:
Зная секреты, трудно мечтать и любить.
Верю, ах, верю тому, что за этою дверью
И в том окошке измена, обида, обман...
Верю, ах, верю! - но почему-то...не верю.
И улыбаюсь каменным этим домам.
Верю надежде, даже как будто напрасной,
Даже напрасной, совсем невозможной мечте...
Вижу я город, вижу я город прекрасный
В белом тумане, в черном вечернем дожде.
Трубы вы, трубы, - Бедные! - Вы еще стары.
Вся ваша плесень - лишь первый пушок над губой.
Вы еще стары, а мы уже юными стали,
Хоть мы узнали самую старую боль.
...Дождь, дождь вечерний сквозь водосточные трубы;
Мокрые стены, зеленая плесень да мох...
Ах, эти трубы! Сделали трубочкой губы,
Чтобы прохожим выболтать тайны домов.
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!
By Новелла Николаевна Матвеева (Novella Nikolayevna Matveyeva)
translated by Daniel Weissbort
Beneath is the original Russian Cyrillic version of the poem.
Как дрожит на ветреном закате
Как дрожит на ветреном закате
Солнце сквозь древесные прорывы!
Тьмы лучей волнуются, как пряди
Золотой взвивающейся гривы.
Фехтовальным блеском пререканья,
Новые сверкания свергают
С трона предыдущее сверканье.
Дымный под наклонными лучами,
Образующими царский гребень,
Зубья солнца в кудри получая,
Лес растерян, распылен и бледен.
Но уже, как занавес к закрытью,
К темноте край леса тяготеет,
Солнце наклоняется к отплытью,
Даль слабеет, небо сиротеет.
Пятна рощ сместились, как шальные,
Тихо от деревьев отлетели
Их полупрозрачные, двойные,
Ложные, двусмысленные тени.
И уже деревья у преддверья
Неизвестной ночи задрожали,
И уже своим теням не верят,
Потому что тени убежали.
Additional information: Matveyeva was born on 7 October 1934 in Pushkin, Saint Petersburg (then Leningrad). She suffered the fate of so many war children and was brought up in children’s homes and, later, apparently spent much of her time in hospitals. She was a Russian bard, poet, writer, screenwriter, dramatist, and literary scientist.
Novella was also the cousin of poet Ivan Matveyev (Elagin). Her first poetry collection, Lyrics, was published in 1961 which was the same year she was admitted to the Union of Soviet Writers.
From the end of the 1950s on Matveyeva composed songs to her poetry and performed them, accompanying herself on a seven-string guitar. The element of fantasy and the dreamlike atmosphere of much of her poetry is unusual in the Soviet context.
In 1998 Matveyeva received the Russian State Pushkin Prize in poetry, and in 2002, she received the Russian Federation State Prize in Literature and Arts for her poetry collection Jasmine. Matveyeva died on 4 September 2016 at the age of 81 in Moscow Oblast.
It was like a sword slipping from someone’s grasp,
Now shielding it, now withdrawing…
The rain finished what it had to say,
But all night the river
Its watery talk.
Let’s call in on the night…
The burdock is soaked,
You can’t make it out in the dark, but you can touch it and recall
The prickly blue-green beaded leaf –
Eglantine reddening as though it has been bitten…
Whistles with freshness, like a thread tweaked from a canvas,
Lilac in checkerboard beds scents the air,
Jasmine glimmers palely in the mealy half-dark
Under the damp vague trees.
I shall go down to the river: has the bridge drowned yet?
Trees dispute in the dark.
Thousands of black leaves hobnob with the stars,
Like crowds of paper mannikins.
Black on black. High up in the darkness
They prance, dance, weave, fight,
Drink, tumble… But near the water
They part, like cards being dealt out.
by Новелла Николаевна Матвеева (Novella Nikolayevna Matveyeva)
translated by Daniel Weissbort
Beneath is the original Russian Cyrillic version of the poem.
Река текла как дождь, лежащий на боку…
Река текла как дождь, лежащий на боку, А дождик шел, как речка в вертикали, И мост подныривал подобно поплавку, Когда струи по нем перетекали.
Казалось: из руки выскальзывает меч; Волна то прятала настил, то обнажала… Дождь высказался, смолк, но дождевую речь Всю ночь река вела и продолжала.
Пойти проведать ночь? Лопух водой налит. Во мгле не разглядишь, но тронешь и припомнишь В зубцах и в капельках зелено-синий лист – Прикушенно-алеющий шиповник…
Сад свищет свежестью, как нитка в полотне, Сирень ноздрится в шахматных деленьях, Жасмин белеется в мучнистой полутьме Из-под сырых расплывчатых деревьев.
Сойду к реке: не захлебнулся ль мост? Деревья пререкаются во мраке, Тьмы черных листьев трутся между звезд, Как толпы человечков из бумаги.
Из черной же. Высоко в темноте. Они гарцуют, пляшут, шьют, дерутся, Пьют, валятся с коней… Но в близости к воде Расступятся, как карты разберутся.
Extra information: Matveyeva was born on 7 October 1934 in Pushkin, Saint Petersburg (then Leningrad). She suffered the fate of so many war children and was brought up in children’s homes and, later, apparently spent much of her time in hospitals. She was a Russian bard, poet, writer, screenwriter, dramatist, and literary scientist. Novella was also the cousin of poet Ivan Matveyev (Elagin). Her first poetry collection, Lyrics, was published in 1961 which was the same year she was admitted to the Union of Soviet Writers. From the end of the 1950s on Matveyeva composed songs to her poetry and performed them, accompanying herself on a seven-string guitar. The element of fantasy and the dreamlike atmosphere of much of her poetry is unusual in the Soviet context. In 1998 Matveyeva received the Russian State Pushkin Prize in poetry, and in 2002, she received the Russian Federation State Prize in Literature and Arts for her poetry collection Jasmine. Matveyeva died on 4 September 2016 at the age of 81 in Moscow Oblast.
Below is the original Russian Cyrillic version of the poem.
В прошлое давно пути закрыты, И на что мне прошлое теперь? Что там? — окровавленные плиты, Или замурованная дверь, Или эхо, что еще не может Замолчать, хотя я так прошу… С этим эхом приключилось то же, Что и с тем, что в сердце я ношу.