‘People, Years and Nations’ by Velimir Khlebnikov

People, years and nations

run away forever

like a flowing river.

In nature’s supple mirror

We’re the fish,

dark’s ghosts are gods,

and the constellations

knot night’s nets.

 

by Велимир Хлебников (Velimir Khlebnikov)

a.k.a. Виктор Владимирович Хлебников

(Viktor Vladimirovich Khlebnikov)

(1915)

translated by Robert Chandler


Fun fact: This was written shortly before the centenary of Derzhavin’s death, continuing the theme’s of his last poem.

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Strike: The Silkworm

An irreverent look at this case which today is about the murder of a novelist and the intrigues of the book publishing world. In other words Rowling, by the second book, was out of ideas and wrote what she knew – just like Stephen King does by having all his protagonists be writers of one flavour or another. Written by J. K. Rwoling under her pseudonym Robert Galbraith i.e. the pseudonym everyone tends to forget to use when referring to the author of the C.B. Strike series of crime fiction novels.

So is this a veiled jab at people Rowling herself, under the pseudonym Robert Galbraith though everyone knows it’s her, encountered in her career? We can only wonder.

Long story short this case is ‘wanker writer got killed for being a complete wanker and everyone around him in the publishing world was somewhere on the sliding scale of wankerdom themselves’. There are no likeable characters – pitiable ones yes – but no likeable ones. Except Strike and even then that’s more because he’s the leading man and isn’t an arsehole to anyone intentionally unless they ‘deserve it’ in Rowling’s mind.

[Editorial note: Did you see this broadcast on the BBC on the 10th and 17th August 2017? Did you see this elsewhere when it was first aired? Guess what – I typed notes the hour after the broadcast and only now got around to tidying them up so if this is in any way mildly inaccurate… roll with it please for humour’s sake.]


Part 1 (Episode 3 of the short series).

Today Robin happily risks her future marriage as she still has dreams of being a private dick… although as we will see the dickishness of last time wasn’t an isolated event and she only escalates further down the rabbit hole of being a Mary Sue.

We open with a mystery woman reading an article in a magazine, cutting it out and pinning it to her chest then putting her head in the oven to commit suicide. What’s that? ‘It sounds exactly like how Sylvia Plath killed herself’ I hear you mention? Yes, yes it does doesn’t it? Rowling is going meta-intertextual on us. Be in awe of her post-modernist genius! And I’ll ruin the little mystery of this stinger by telling you now that the mystery woman wrote a book which was parodied by a more successful author, Owen Quine, and this drove her to suicide. Or did it? Yes, yes it did – there was a corpse found in the kitchen. But did Quine author the parody? That’s the subplot of this murder investigation and the key to solving it. Thus Quine becomes the ‘main case’ murder victim and the woman’s husband a, if not the main, murder suspect. The adaption clearly wanted to get your attention but you don’t get context for this scene until far, far, later.

At the core of this investigation is the anonymous distribution of Quine’s Bombyx Mori a controversial manuscript in which its protagonist, ‘Bombyx’, is a writer who is repeatedly abused, tormented and ultimately eaten alive by the people in his life whilst going to extraordinary lengths to capture and preserve his talent for their own selfish gains. Bombyx is Owen Quine and all the caricatures in the book are the people around him in the literary world he hated and felt were feeding off his success. Yeah, no, this couldn’t possibly be Rowling venting a little whatsoever…

Did you think there would be different introduction music for each case? Well apparently not. I mean they paid for one song. What do you think they’re made of money? That in adapting a sure-fire ratings winner being shown on the BBC they could afford to take that extra step so it’s the start of a separate case and not ‘episode 3’ of an ongoing series? (Who do you think they are? Netflix?) But surely you realise that’s how TV adaptions of ongoing crime novel series are! Can you name the different cases of Morse? No. Anything by Agatha Christie doesn’t count as you tend to learn those by social osmosis so ‘case theme tunes’ are pointless.

[instrumental] Me and you… you and me… we’re in this together… we definitely don’t have sexual tension and will end up together, by the end, though it all, you clearly don’t love your fiancé, and I’m clearly single… you and me… me and you… solving cases, knowing one day you’ll steal my clients, if our relationship breaks down, once you’re qualified as a private detective… [fade out]

Next Strike is with his ex and she asks how he can still love her. But it was a dream. It’s always a dream. He’s a disgruntled protagonist. His lot in life is not to be happy. Ever. Just like real people but only more so.

He’s in a cramped loft/attic conversion bedroom. Robin pops in to wake him up… so he’s living in her attic? I mean the rooms never given context so… um,yes? And yet her fiancé has never met him… Or it’s a side room of the office… but that’s not as amusing to imagine and if it was he didn’t use it during the Cuckoo case.

This is followed by a mystery man walking through an office to meet another mystery man. Who are they? You won’t have a clue when we get to the next scene so it’s all smoke and mirrors which is meaningless as you’ll have forgotten what they said in a few minutes. It was Daniel Chard, the president of Roper Chard (played by Tim McInnerny a.k.a. Percy off Blackadder who everyone forgets because Hugh Laurie replaced his ‘role’ on the series as being the nice but dim upper class figures) and the publisher but good luck remembering their names. Daniel Chard says he, the other man in the office, Quine’s alcoholic editor, Jerry Waldegrave wrote the letter. Ooh intrigue. And yes I’ve had to go look up the names as all at once the ‘literary world’ characters are interchangeable looking and yet each has a very different position within it though really they could all have their dialogue said by the wrong person and you wouldn’t notice except Elizabeth whose clearly bitterness and miasma of cigarette smoke makes her distinct.

Back with Strike he has a pushy client called Mr Baker complaining. Once he’s gone Strike calls him a tosser and tells him to settle the bill of services he’s accrued. Yes that character’s name I remembered and yet any names from now on have had the help of Wikipedia to confirm. Next the dead author’s wife, Leonora Quine, comes and needs his services.

Unlike a film noir detective she ain’t a leggy dame whose legs go on and on for miles and won’t quit running through the gritty detective’s mind ‘cuz them’s ain’t just legs them’s gams!’ Nope she’s a housewife, maybe even a just barely allowable ‘TV ugly’ looking woman as they’ve made the actress look as plain as possible in bagging clothing, unflattering glasses and such to the point you wonder if Rowling spent a page or two languishing over a detailed description of how normal she looked in contrast to all the glamorous people from the Cuckoo case. ‘Look I can write normal, working class, people too!’ she declares to the one person on an obscure internet forum (or Twitter) she chanced upon in the early hours of the morning. Even if she does write them as if they have severe emotional problems or one track minds she can write them… sort of… but they need some single characteristic to make them vile to the reader’s refined middle-class sensibilities. COUGHtheblowjobwomanwhohelpedStrikeoutlasttimeCOUGH.

Leonora, which is a fancy name for such a ‘look how boringly normal she is’ character to be honest, said her husband went to a retreat called Bigly Hall and has been away ten days.

Strike phones the retreat pretending he is doing so on grounds he is giving Owen a medical report. Owen isn’t there. Strike, who seems fed up of having work, says he won’t charge and see her out though she protests. Who needs an income? Robin tells him who she was, who Owen Quine is… blah blah blah you know the usual ‘Rowling thinks female heroines are walking databases’ stereotype though in Robyn’s case she is using an online search engine (not at all Google of course otherwise they might have to pay some form of royalties) and looking at an encyclopedia entry (not at all Wikipedia for the same reason… in fact she might be reading the wiki page for the Strike TV series… and reading spoilers on some pages so she’s one step ahead of the game).

Then they go for drinks. Because that’s what people do after work as far as TV land is concerned. No one is ever tired, hungry or has responsibilities in day-to-day life… I’ve seen it done on Casualty and Holby City too to name one other ‘drama series’ that has this sort of mentality. Work is life. Work will set you free. Welcome the freedom of death. In the meantime get drunk in the evening to numb the existential angst of the middle class malaise.

But they take the case as Leonora insists upon it. Robin is pushed back twice to no avail. The police won’t help so Strike HAS to help. Because he has the protagonist disease which affects him like a very specific form of OCD where he is compelled to help people in need…

Thus literary agent Elizabeth Tassel appears on the scene at the pub, but not the same pub as during the Cuckoo case, and we get her life story all in one go though no one asked for it. We get her life story every time she is on-screen. Why do we learn so much about her and her hatred of the industry she works in? Have you guessed yet? No… well okay we can wait a little longer as this is only the first strike over the head we’ve got so far.

She is a failed writer who became a literary agent. She lives and works on the fringe of the London literary community, which she deeply resents, and expresses by bullying her staff. She smokes a lot and has a dog that’s very ill. She’s a bit of a bitch so is immediately unlikable anyway. Also she is smoking in a public space which you would think would have a member of staff telling her to stop, her giving a ‘witty’ putdown and then the staff member saying ‘No… really… you need to put that out according to the British law because you can go do one if you think we’re going to get fined because of you’.

She can help. But she won’t help. Does she have a reason? Hmm do you think there’s a reason she won’t help? Is she perhaps contrasting someone from the first case who was too helpful?

DO YOU KNOW WHAT ROLE SHE PLAYS IN THE STORY YET?

She claims she fired Owen as he wrote a thinly disguised attack on the people around him which made the manuscript unpublishable. Strike notices an old black and white photo of her and other authors. Why it’s not in colour as most if not all cameras by that point were colour ones would have been I don’t know… just that convention dictates ‘old photos must be sepia or monochrome’ in TV land. Which means anyone who possesses a monochrome photo is doomed to suffering by default as if it instantly becomes a cursed object.

Owen taught a creative writing course. He considered Liz a hinderance. Then she mentions her dog’s poo is like rocks. DOGGIE DUN A POO POO! DATZ FUNNY!

She asks a waiter for green tea. He asks if it’s for the dog. No, she replies sharply, it’s for her – for her throat. Well yeah if you’re going to wave your dog about in a restaurant and ask for a drink while doing so the staff are going to leap to conclusions inevitably. You see a lot of odd people in the service industry just by sheer force of numbers you come into contact with so this kind of request is expected. Also green tea isn’t going to solve that throat cancer you’ll be getting one day since you smoke like an industrial era chimney Liz…

Back in the office Robin is ‘working’ by watching an interview of Owen’s on ‘Not-YouTube’ and remarks to Strike that Quine wasn’t a fan of short sentences. [Unlike Rowling who is criticising some unknown writer it can be assumed… part of me secretly wishes it was David Foster Wallace – someone who is dead and whose legacy is secured as one of the truly great writers while for all her money she will never be held in anywhere near the same esteem as him… and at least it would explain the treatment of the dog by the end if you know how fond Wallace was of dogs…].

Strike takes this moment to do a job evaluation and have a slight heart to heart with her. He tells Robin she is worth more than he is paying her and that they’re in debt again. How?

Okay… more importantly:

  1. How many employers have ever said such a thing to an employee? Only one’s who want something. And by something I mean unpaid work or beginning a tryst via flattery.

  2. How the hell is he in debt again when he has to turn away business he is so overwhelmed with people seeking his help?! It’s never explained.

So the editor (or someone else) is at Quine’s house unseen by the audience. He leaves and Leonora says he smelt of wine. What does that have to do with anything? Nothing. It’s a red herring. The guy likes a drink and spilt some on himself… not that the story ever clears that up.

Meanwhile Robin is in a bookshop. Why? Because the theme of this investigation is literature… um… that’s it. Rowling’s the only author who could write about a book shop and make it seem as interesting as IKEA’s ‘zone of boxed flatpacks’ next to the checkouts. Robin doesn’t discover anything.

Liz visits Robert…

Um… okay… at this point I should note a lot of the book characters got cut out and I think some must have been amalgamated. The adaption has a guy called Robert but that’s not on the Wikipedia page. Anyway the woman in the stinger who committed suicide was his wife.

So word is he has read Quine’s manuscript of Bombyx Mori. Then its noted her dog is shitting on the lavender in his garden. IT’S FUNNY CUZ DA DOGGIE DUNNA ANOTHER POO POO AND SHE DON’T CARE LOLZ! ROFLCOPTER! … and in other words the mentality of the following level of humour regarding repition of a simple joke:

but in fact it’s not just humour but a clue as to… if you haven’t figured out yet I won’t tell you. Someone’s a bad egg and we all know animal cruelty is ‘Bad Person behaviour 101’.

Strike is with Leonora and Liz visits him. Leonora thinks Owen was, as usual, sleeping around, shagging around (wombling free, the Wombles of Wimbledon Common are we)… whatever you want to call it he wasn’t faithful because apparently writers get fangirls willing to sleep with them all the time. (So… meta-narrative time: Did Rowling get a lot of offers from her fans?) Which is a good time to mention Stephen King’s novel Misery…

for no reason except, you know, I just want you to remember there’s a dark side to fandom… it’s not all fans wanting to crawl up inside you like eels.

some want to cause harm due to obsession. Moving on.

So walking down the road Strike sees a newspaper kiosk. Shocking! Who knew those still existed in this day and age?

But that wasn’t the focus. He sees his ex, Charlotte, has done a photo shoot with her new husband for the May cover of a gossip magazine. ‘Hello’, ‘Now’… you know the sort. The ones you see ancient editions of in the waiting rooms of doctor and dentist surgeries… So old that you have ‘these two celebs got together, then under a mouldy children’s book the ‘they’ve had kids’ edition and in someone else’s hands across the room the ‘they’ve had a divorce’ edition sometimes all three published during the same year. Well it seems his ex met and got engaged in what seemed a matter of days or a fortnight during the last case so to be honest he should be happy he got rid of her.

On a side note: if she isn’t the victim of one of the later novels I will be surprised. Either that or she turns out to be the murderer – thus further enforcing the ‘it’s Strike and Robin’s destinies to be together forever [in accordance with authorial mandate]’ storyline Rowling keeps dropping hints about. Saying that Robin’s fiance is also high on the list of likely ‘series long’ characters up for a ‘dull shock’ murder of a long time cast member. Put money on it. It’s certain to be one of them if not both.

Next we see a woman burning pages in an outdoor fire. This is Katherine or Pippa… or an amalgamation of the two. She isn’t that important really.

At the pub Strike finally meets Robin’s fiancé Matthew Cunliffe. Get it? Cunliffe because, as heavy-handed as her caricaturisation is of him Rowling couldn’t get away with calling him the four letter word outright.

So Matt asks if Strike plays rugby and then talks about rugby a lot. Because he is a man and men play rugby. Rugger bugger. Strike jokes he used to be his highschool champ. (Wait… did England have high schools before recently? It’s a very American term for secondary school a.k.a. Comprehensive for the approximate age of the character). I guess Robin never mentioned the leg issue as the joke falls flat. Unless Strike was being serious in which case add it to the pile of ‘I can’t write characters who are not the very best in every single thing they do’ which, for Strike alone includes him being in the military police, the son of a rock star, Robin being… Robin and so on.

Robin and Matt have been together 9 years. I take it that’s meant to suggest that they never married because they didn’t feel like making that step rather than because they couldn’t afford to. They’re to wed in eight weeks. BECAUSE THEY’RE NOT DESTINIED TO BE! BECAUSE OMG, WTF, STRIKExROBIN IS THE OP! LIKE STRIN / ROKE SHIPPING! SO ROKE! CORMORANxROBIN = CORBIN… (um, wait… like the current Labour political party leader’s surname but ‘I’ instead of ‘y’… that’s a little cunning a political leanings suggestion hidden in there). STRIKE IS SO HER TYPE! STRIKE NEEDS A WOMAN LIKE HER TO FIX HIM! Etc, etc…

Matt jokes she was the only half fit girl with brains at school/university. Because yeah that’s how you write guys in relationships… I mean I hear that sort of joke made but under no context is it funny. Rowling has serious issues and is venting about someone she knew. Rowling just wants to make sure that at no point will we consider him even a flawed human being – he’s an obstacle to be overcome for Strike and Robin to be together. It’s not even subtle. I can only imagine he might get the old ‘redemption in death’ treatment somewhere down the line if he’s lucky. Matt also speaks derisively about detective work… because [rinse and repeat earlier ‘non-case related antagonism’ comments].

Strike goes to the bar to get a drink and offers to buy them a round. While he’s away, in what seems to be a distance of about 6 metres, Matt criticises him. Robin is sad as she could move up the ladder… really? How about ‘Matt shut up he’s stood right there’ or ‘shut up he’s a decent bloke’ or… not being a single-minded, career focused, selfish cow? She and Matt deserve each other. Matt doesn’t want Strike at the wedding. So either the adaption really failed to get across the animosity here or it’s poor heavy handed writing. Any way you look at it Matt is a pantomime villain in the level of complexity given to his character. A few months earlier in the Tom Hardy series Taboo they had a character who every time he came on-screen used racial slurs on the main character for being mixed race and it’s about the same level of writing albeit against a disabled man rather than a mixed race man.

Strike looks at the wedding invite he’s been given. He recalls Charlotte and her claim she was pregnant once when he broke up with her. Was she? Wasn’t she? We never know as she is an almost never seen satellite character.

The next day Strike mockingly calls Robin by her middle name. She tells him it was because she was conceived in Venice. Why do people get told such things? ‘Oh such fond memories of your dad and I rutting like wild rabbits while in Tuscany’. No, no one wants to know that sort of thing – especially not Tim Upagainstthebikeshedbehindthechippy’ Bristols, Gordon ‘slagheap’ Wells or Julie ‘Cockett’ Mouth…

Someone keeps a blog. Strike, when asked by Robin, is polite and says Matt seemed like a nice bloke.

Robin finds Katherine, a.k.a miss page burner.

They go visit her and she says she though she and Owen were friends until she read the book. Yeah she’s just a narrative device so not even worth flippant commentary…

Back at the office they find out Owen co-owned a house with Joe North, an American writer (with an All-American name) friend of Quine and Fancourt. He died of AIDS while writing about his experiences living with the disease. After lying abandoned for twenty years, the house where North died became the scene of Quine’s murder. I had to look that up as the information is thrown at you so fast and matter of factly you’ll miss it. It doesn’t have any great bearing on events but it is odd finding what bits they feel the need to tell you about and which bits they omit or skim over quickly.

Leonora gives them keys to the house. It’s never brought up who else has keys to the house and it’s one of the things they never bring up again despite that being something you would want to know about considering the circumstances while eliminating lines of enquiry. Leonora mentions she also has a copy of Bombyx Mori as it was left anonymously on the doorstep. It’s noted that this is odd considering a copy would be in the house already, as this is Owen’s home, and Owen kept numerous filing boxes filled with ideas for various books so Leonora would definitely have a copy of the manuscript somewhere in the house already. Owen and Leonora have a daughter named Orlando. To me Orlando is a male name, e.g. Orlando Bloom, but maybe it’s genderless and so fine – albeit it’s no doubt another ‘commemorating where we had sex’ name by the parents… She has down’s syndrome. She is the only person who doesn’t have a character based on them in Bombyx Mori implying she was the only person he truly cared for. So.. you know… even a nasty bastard can have redeeming qualities. That or he didn’t even consider her to have agency and thus was more a pet than child. But they dodgy that implication. [Although, arguably the ‘real’ writer of those controversial bits of Bombyx just didn’t know of the girl or chose not to write of her.]

Orlando likes to draw and steal things. She misses her dad and it’s not clear if she understands he is dead.

Strike introduces himself and notes he is named after an Irish giant. I can’t help but remember the whole Viktor Crumb thing in Harry Potter and the Goblet of Fire where Rowling felt the need to correct people’s’ pronunciation of the name Hermione. It was fine then since it was a book series aimed primarily at children, with a far more limited range of dictional variants to call upon, but here she is definitely speaking down to the audience ‘look at the references I’m making – I’m so smart and have such a wide breadth of knowledge you can’t keep up so I need to put it in simple terms for you’. No… it’s just Cormoran is a rare name outside of Irish circles. I mean just because you choose rare names for characters that doesn’t make your writing better. If I called a character Islwyn ap Morgannwg that doesn’t mean my audience are stupid because they don’t know ap Morgannwg means ‘of Glamorgan’ but just because they’re unfamiliar with the cultural reference. The fact she has explained Robin’s middle name and Strike’s first name screams that she is trying too hard and just feels the overwhelming need to speak down to her audience.

Also Matt doesn’t care for Cormoran’s name. Because Matt is a bad man. Have you realised that yet or does he need to go into the town square and kill some puppies Caligula style before you’ll accept it? Rowling doesn’t think you do yet.

Strike reads the manuscript. On the screen grim imagery flashes depicting the Marquis de Sade style scenes of the book. Well it’s more de Sade crossed with Clive Barker and a side of Bret Easton Ellis I guess. So instead he watches the football. Because he’s a bloke and football is the default for relaxing television what with the inevitable screaming at the TV when your team isn’t doing well. Football for the common man, rugby for the elite – unless your Welsh in which cae rugby is treated like a religion. Hence it’s another Strike/Matt contrast. The next day he asks Robin to read the book.

Meanwhile he goes to the co-owned house which he finds is in ruins internally.

Here he finds the mutilated corpse of Owen Quine disembowelled and arranged like the cocoon a butterfly or moth has emerged from.

He photos it… because that’s another habit of his besides going to the pub for a pint and watching football. Because that’s what men do – just like women drink wine, are eternally fascinated by shoes, enjoy afternoon teas and watch soap operas in Rowlingland. This is Rowling’s standard of writing nuanced caricaturisation. Broad enough people can identify with it as it’s so blandly unimaginative you would forget the characters five minutes later if her name wasn’t plastered all over it.

He then phones Robin to tell her Owen is dead. It’s grim. Imagine one of the crime scenes from the film Se7en. Robin comes over and looks too. She, unused to crime scene viscera, has no reaction to it which is a bit psychotic really. In fact it’s incredibly suspicious. I secretly hope she turns out to be a villain later in the series. She shows Strike the book and he reads the ending of it. It’s exactly like the crime scene before them as it involves people tearing out Owen’s innards.

Matt calls Robin. His mother is dead. She had a stroke. Robin leaves to be at his side. Strike asks her to relay that he’s sorry for Matt’s loss.

Later Strike is chatting to Detective Steve at Richard’s house and the forensics is too difficult to process due to the use of acid which has all but stopped them using that for evidence. All they know is that there was a woman with a duffel bag seen coming to the property and leaving there.

POP QUIZ: How many female characters, assuming it wasn’t a transsexuals or transvestite, have we seen so far? Who can we eliminate from the inquiry? So is the murderer:

  • The bitter and twisted Elizabeth (with her dog whose got bowel issues mentioned whenever she appears CUZ DAT FUNNY… though it isn’t really).

  • The worried wife (who, if she did it, will have done exactly the same as the previous case’s murderer having needlessly brought Strike’s attention to the case and would have got away with it otherwise… just like a Scooby Doo villain).

  • The downs syndrome daughter (who loves her dad thus would be setting depictions of disabled people back about 50 years as ‘dangers to society’ who can’t be trusted to not act violently if left unsupervised and should be locked away in asylums so society may forget about them as was the case back then alongside single mothers, politically disagreeable elements, artistic sorts and anyone else who just ‘wasn’t our sort’ to ‘normal’ middle class people).

  • The disenfranchised student/friend/lover (who got the book after the fact to give her motive for the murder).

  • The rejected male to female transsexual lover (who is actually missing from the TV adaption hence why you thought I was being pedantic when mentioning transsexuals earlier).

  • Or it could be a man mistaken for a woman. It could be. It isn’t… But it could be.

It’s brought up that Leonora was a fan of Owen’s writing and was a butcher’s daughter in Hay-on-Wye before their marriage. So:

  1. Hay-on-Wye is a town of bookshops in Wales. She couldn’t come from somewhere more likely – No, it had to be from the town of books because this story’s theme is literature. Funny that really as she isn’t Welsh sounding but then there are so many wannabe Bohemian English people in that town it is technically an English town in Wales.

  2. There’s a hint of elitism here as this is revealed as if it’s something that should cause shock in the reader not seen since the Victorian sensationalist novels. How could a common butcher’s daughter be married to a successful author? It’s presented like there is some other aspect to it we are not told of. I assume in the book there’s some mention Owen knocked her up while at the annual literature festival in town and felt pressured into making an honest woman of her and the result of their union was their daughter. But the TV adaption skips that completely unless it was said so quickly in passing I missed it.

Strike says he knows the killer read the book. So we can remove a few of the remaining suspects can’t we? Apparently Owen and Leonora had an argument out on the street but Strike thinks Leonora wouldn’t have the ingenuity to commit the killing. Why is not explained. Working class people are cattle who can’t do something as elaborate as this sort of revenge murder. That’s the underlying message again from Rowling. Leonora throughout the case is presented as someone who is barely capable of coherent thought let alone being proactive in matters. She is presented almost as in need of care as much as her daughter if I’m honest as the show does everything in its power to demean her.

If you ever saw Harry Enfield’s depiction of the working class throughout his various sketch shows I feel this is very much in that ilk except it’s at the expense of the subject and not at the prejudice elitist arrogance of the ones observing.

Meanwhile Matt and Robin are in tears in their bedroom. He’s crying for his loss. Robin is crying she isn’t out and about playing detective as Strike’s sidekick.

Strike interviews Leonora but he can’t help her with the case. Police found photos. They take Lenora away into custody as the prime suspect. She screams out, Orlando becomes distressed, and Leonora is dragged away in tears. Leonora fears for her daughter as it’s only ever been her and Owen caring for their daughter. Except there is someone. Who they are isn’t known as they’re played by an extra whose presumably from social services. In fact that raises far more questions than it should but we never spend even a second on it.

In the next scene its morning and Robin makes Matt breakfast. He asks her to get the day off work. She tells him she will ask. Strike emails her at 5AM about the case. He then calls her and asks how Matt is doing. Because Strike’s a decent human being who wants to get on with both of them. He even tells Robin, unprompted, to take as much time as she likes. However, offended, she counters that they’ve already had clients complain because they’re behind schedule with their ongoing investigations. Um… no. Stay with your man in his hour of need Robin. Honestly Strike can’t win. He is considerate of a guy whose constantly belligerent to him, Robin is openly aiming to become a detective and likely take his client base from him after he’s paid for her training (which is what she wants to happen). He would be better off going back to doing it all by himself really. (and he kind of does later on in a later case but that’s a story for another time…).

So this is part one of this case’s ‘moments we are not meant to dislike Robin though we clearly will’. I mean seriously. I know there are people who justify themselves saying ‘oh I needed to get out of there! They were being so miserable.’ Well yes that’s what grieving is unsurprisingly. If he was like that six months down the line fine but Matt just lost his mother so I think he’s allowed a free pass for the moment to grieve. Rowling really just has some odd perspectives on things like this. Yes Matt is a thoroughly unlikable guy but to have Robin make excuses to leave him grieve alone is cruel. We get it. She really wants to be a detective and is single-minded in that pursuit but you can’t brush off this sort of behaviour time after time throughout the stories.

Strike has a meeting arranged with a man in Devon and Robin insists she will drive them there (in a hire car). And she does. As if you can just walk up and get a hire car instantly. Strike says why Devon. Robin remarks at least it’s not Cornwall. What, did Rowling have a bad experience in Cornwall too? That’s a bit out of left field save that it’s a further drive. She really is venting through this book it feels and the adaptions not being able to cover everything though no doubt some stuffs been left out.

They arrive at Daniel Chard’s country house with modern internal décor and are asked to take their shoes off before entering. Then Daniel, who has injuries to his hands from broken glass, says actually Strike doesn’t need to due to his leg. Daniel gets his… Thai?… servant to make coffee.

Daniel only wishes to speak to Strike so Robin goes to the kitchen. Sidekicks in the kitchen then. Send the woman to the kitchen… Rowling the feminist adhering to traditional gender role room allocation in a house.

Daniel reveals that Owen had an accomplice. He knows because there are things in the book which Owen couldn’t have known about. There is a reward of £10,000. This reward is never brought up again nor if Strike gets it when he dicovers the other author at the end. Daniel asks Strike if he’s read the book and confides it has things about him and Andrew in it.

Andrew’s wife was the suicide at the beginning. Liz says they were close. She considered Owen a genius and she had a crush on Andrew. Info dump…

Robin goes to the toilet. Manny, the Thai servant/boyfriend, blurts out he didn’t push Daniel down the stairs but in fact he fell down them by himself. This is never expanded on. In the book it was implied Daniel was gay. Well the TV series turned that up to eleven then… it’s implied there was a lover’s quarrel prior to Strike and Robin arriving. Not much to add… they just kind of leave it there as something they added but never developed. It therefore reminded me of a scene from Sasha Baron Cohen’s film Bruno unintentionally due to how petite the guy was. The one with the fire extinguisher. Go look it up. No in fact here’s a clip. It might even be the same actor for all I know…

Daniel adds Strike, and after a moment at Strike’s insistence, Robin on the guest party list so they can meet people involved in the events. That’s convenient of course but at least somewhat believable in contrast to the last case where they just seemed to walk in everywhere with little resistance.

Later Robin and Strike meet in a cafe and recount, in public, the key points of the case. Just to make sure the audience have kept up. I expect in a later book, if they do these in public cafes, for a suspect to sit in there and overhear what they’ve found out and used it to their advantage since this is so foolish. Ignoring too their poor manners in public but speaking so loud in a small cafe too.

Robin suddenly comes out and wants to know what Strike wants – as if he owes her something apparently. He says he wanted to train her he can’t consciously do so if she’s marrying someone who hates the work. He needs a person who can do the hours and tells Robin it’s the reason he and Charlotte broke up. He would pay for a partner to go on a training course but not an assistant. Then jokes, to try to lighten the mood now he’s said this, by asking for a bite of Robin’s sandwich. Robin says it’s not a good sandwich. GET IT? SHE’S SAYING SHE’S DAMAGED GOODS SUBTEXTUALLY… also no employer has offered training without some sort of price to be paid and Robin has done nothing but badger him about becoming a detective as if he owes it to her from the moment she first entered his office as an agency paid office temp helping put his paperwork in order.

Later they’re on a country lane, in the hire car, where there is a build up of traffic as a vehicle has broken down and it’s created a bottleneck. That it didn’t completely stop the traffic was a miracle from my experience where many country lanes are barely wide enough for one vehicle let alone have enough you can create a bottle neck where there is still movement. But then I know what I’m talking about here in Wales unlike a writer who is secluded in her mansion who had a somewhat comfortable, urban focused, life beforehand.

So what does Robin do? Wait and go past the traffic issue in a few minutes like a normal person being safe on the road? No. Of course not. She reverses, drives into a field and pulls off some off-road motor rally driving stunts drifting around gates and such. Strike is of course nervous as she is doing this with the mad, glassy-eyed, smile of a sociopath mowing down pedestrians.

They get past the block in the road… all 20 metres of it down the road though Robin seemed to drive about four times that distance through the fields and probably could have made their trip that much shorter by not doubling back.

So.. yeah. Those fields are private property of the farms and she just caused what could legally be deemed property damage. They were not on a tight schedule or anything either to thinly justify this little action sequence. She just felt like it and thus did it because she got frustrated for a few minutes having to deal with the reality of traversing rural roads. Prime detective material there… no wonder Strike wanted to train her.

Strike asks what she was doing. She tells him she did an advanced driving course. She says this smugly implying ‘see I can do anything’ as if driving in a field is the same as deducing the facts of a criminal case , potentially, having an innocent person prosecuted if you’ve got your facts wrong. But let’s face it Robin is becoming a textbook case study example of sociopathic tendencies. She didn’t get what she wanted so she intimidated Strike through reckless behaviour. You can argue it was ‘girl power’ showing him she was capable but he had good reason not to arbitrarily turn to his office administrator and ask ‘why don’t you become a detective?’

Strike has a voice message on his phone. He should also have his last will and testament after Robin’s actions today if he’s sensible. Andrew says he won’t read the book and he didn’t like Owen.

Leonora is taken into prison from the house and for no real reason they have her daughter on the doorstep there to further distress the girl. Classy. I half wonder if this was some criticism of the social services depicting them negatively in the book because Rowling once, and just once, had some trouble with them before Harry Potter took off.

Robin drives to the train station, jumps out and runs to the train to go back to Matt.

Oh great. Yes, let’s pretend like you care now. She even sits in the first class carriage to make sure she doesn’t associate with the common people. In fact she comes across like the subject of Pulp’s song now I think of it. She wants the detective life but doesn’t seem to appreciate what it entails.

And in the meantime she leaves Strike stranded in the ‘loading/unloading bay’ in the car… that’s not even a joke. I’m not sure he even knows what is going on for a moment as she ditches him so suddenly.

He offers a passing Irish girl £20 if she will drive him home. That doesn’t look dodgy at all… but what else can he do? There’s a whole mini-adventure here we never see occur on-screen.

Then he gets a call about Leonora telling him she’s been taken to prison.

DUN DUN DURR.

But no really how did he get home? What was the Irish girl’s reaction? What happened after? Questions that will never be answered.


Part 2 (Episode 4 of the series).

Fun fact: I lost most of my original notes on this episode – hence the long delay after it’s broadcast to the point the next case ‘Career of Evil’ has already aired the first half – so this is mostly working off an edited compilation of scenes uploaded by Katerina Varela. Give her page and videos some support on YouTube please as they’re a great help thouh they omit anything not featuring Strike and Robin.

Robin watches an interview of Owen again. His first wife committed suicide. Nothing comes of this oddly. Maybe it was discussed more in the book.

Strike is in a mystery location. Robin calls him and asks ‘are you awake?’ when he answers. Well I don’t know if ‘sleep phone-answering’ is the 21st century version of sleepwalking but I would hesitate it’s a yes – unless his phone was stolen… They discuss the wife and she offhandedly thanks him for letting her stay a little longer with her grieving fiance… but quickly goes back to discussing the case so clearing it was just an empty courtesy and she wasn’t grateful really…

Next thing you know Strike is walking down the stairs to his office and Robin is there. He says it’s Sunday. She knows. She says ‘I think we should start taking a closer look at Andrew Fancourt, don’t you?’ which of course is a loaded question. She is dictating that they should. Honestly could she be any more thirsty to become a detective… she says she’s got his address and ‘let’s go’.

ORPHANED SCENES FROM MY ORIGINAL NOTES WHICH OCCUR AT SOME POINT DURING EPISODE TWO

  • Robin reads a section. Strike says Leonora is innocent. He even goes as far as to bet his good leg on it. If he lost the bet this would become a British remake of Ironside…

  • At the prison Strike has his female lawyer friend (who we’ve never heard of before) represent Leonora. The dilapidated house couldn’t be sold and the items used in the murder had been bought with the Quine family credit card. Her husband spoke to her of the novel. Strike warns her that could be used against her. Yes apparently it’s Strike who needs to say that and not the legally trained person he brought along. Is she just arm candy for him or as a blunt diagesis narrative excuse to explain how he got access to Leonora in the prison?
  • Leonora is angry Strike didn’t keep her out of prison. She just wants to see her daughter again.
  • He later has lunch with his half-brother in a bar. The actor, if he isn’t Tom Burke’s real life brother, looks a lot like him. They have the ‘we are related but not close though we like each other’ sort of dialogue you can expect of characters who will become more relevant later in the series once Rowling has a use for them (as murder suspects/victims most likely). The brother flirts with the waitress at this exclusive place and gets the information Strike needs as they catch up with each other.
  • We cut to Robin running in the countryside as if there’s nothing else happening in life at the moment. No doubt it’s excused as a bit of trendy mindfulness – which right now is a bit selfish really for her to be doing. Matt, still holed up at home, answers her phone when it rings. So Robin, who so desperately wants to get back on the case left her phone behind? I’ve seen plenty of runners have their phones on an armband so this seems coincidental. This convenience allows him to discover she hired a car for ‘being Strike’s taxi’. She could afford to do that but not stay and help him arrange his mother’s funeral he decides. In fairness he has a very good point as she put career (or more exactly her desire for a career she is unqualified for as of yet despite throwing it in her employers face constantly) ahead of emotional support for someone she is engaged to and you would assume loves though we are shown no signs of it. Are there any negative consequences for Robin’s decisions ever? No. No, there are not. Because Robin is perfect and untarnished in the mind of the writer.
  • Back at the prison Strike and his friend are leaving and she warns him to have no relapses regarding Charlotte. He laughs it off but indeed both wordlessly know it isn’t that easy for him. Even tertiary characters are more emotionally developed than some of the main cast… Now her use to get Strike access to Leonora is over she disappears from the story never to be seen again.
  • Strike goes to see Richard. a.k.a. Mr police detective. Strike can’t believe Leonora is stupid enough to buy a disguise. I don’t know if that’s a compliment or further needless debasement of the Leonora character. Which writer’s partner wound Rowling up the wrong way at a few dinner parties for this level of venomous writing exactly?
  • Back with Robin she and Matt are lying in bed and there is clear tension between the two. He was there for her when she needed it but clearly she can’t be there for him. (spoilers: eventually in the series it’s revealed she was raped. Hence her over compensating and need to be proactive). He tells her he doesn’t want Strike at the wedding because he wouldn’t give her a day off for personal reasons like bereavement. You can understand his view with the limited information he has but of course we’ve seen Strike be nothing but kind and actually offer all the time off she needed. Robin is manipulating both of them and there are no real consequences to her. However she admits it was her choice as she wanted to be an investigator. She justifies it saying she was doing a Psychology degree and… blah blah justifying her selfish actions. She says she ‘doesn’t want to do this’ and they make up instantly. No consequences and she gets to dictate terms and the conditions of their relationship. No wonder he’s such a passive-aggressive ass everytime we see him as it’s the probably only way he can do anything albeit out of frustration.
  • Strike goes and has dinner with friends. Who are they? We don’t know but apparently it needed to be made clear he wasn’t a loner because ‘eww loners are icky and up to no good’ societal clichés. Disposable characterless friends are better than being alone. Even if they are cardboardcutouts from a stock photograph. (Look at how things ended for one of the characters from Stephen King’s The Dark Tower series to get an expansion on the concept). The lawyer friend says she hasn’t met Orlando, Owen’s down’s syndrome suffering daughter, yet.
  • At some point Robin goes to the Quine house to meet Orlando and… well long story short Orlando likes to ‘steal’ things and hide them in her bag. Robin offers an exchange but ultimately steals the contents of the bag. In the bag was Owen’s copy of Bombyx Mori. Robin leaves quickly as she has made Orlando incredibly distressed in a flood of tears. Nothing ever comes of this and in fact in the conclusion Orlando even gives Robin a friendly wave. Because Robin can never do wrong…

Strike finds Robin in the office on a Sunday. He says she doesn’t have to be there but she insists. So she shut her grieving fiancé down when he calls her out on her behaviour and she gets to go play detective too? Protagonist centred morality…

Robin says they should go see the house. Thus they go to snoop around someone’s house. And, lo, did Robin say until Cormoran ‘let us venture forth unto the garden’s of burial’ and lo it was so… for her’s was the way and the just as according to the creator…

They approach a garden gate and Robin asks Strike to give her a leg up. Strike doesn’t make a pun about his leg but instead looks over the garden gate himself by doing a pull up. Hench blud, mah boy is hench yeah? Look at him raising himself up like it ain’t no ting. Well no he huffs and puffs a bit but the TV version is in far better condition than his book counterpart. He sees it’s a cemented over patio so burial would have been impossible. When he drops down, instead of slowly lowing himself, he hurts his stump inevitably. [Also there was a sickening crunch which definitely didn’t sound healthy so… maybe got to the hospital’s A&E while your out and about?] He mutters shit and doubles over in agony. Robin calmly asks ‘are you alright?’ Why yes because that’s what people do when they’re in good health doubling over mutting shit and rubbing parts of their body… But then she tells him to lean on her which after initially refusing he accepts and he apologises about it. Commandery… and by that I mean it plays into Robin’s YOU NEED ME! View that she is more than capable of doing his job for him…

Thus they go to the pub. For the pub’s alcohol shall numb all pains of both the flesh and spirit… plus they’ve nothing better to be doing...

Robin notes it’s Strike’s birthday. For lo Robin is not only perfect in action but also knowledge. She even knows Strike’s passport number. Thus she gives him a gift which consists of a number of Cornish food and drink items. She asks how it is and he replies it tastes of Cornwall. (it’s his hometown or something to that effect so… nostalgia). They discuss the case – again in a public space. Strike keeps talking of the guts, how the police investigators were not brought in on it and that Fancourt writes the sort of stuff suggesting this so they should find him tomorrow. Robin asks if his leg will be fine for that and he says ‘yeah, it’ll be fine’… which she doesn’t believe it seems.

The next day he hobbles into the office using a crutch and Robin offers to tail Farcourt but Strike tells her she hasn’t been trained but she insists she wants to do it. Also she informs him Liz has agreed to talk to him about Fancourt too over lunch ‘which will be okay, you’ll be sitting down’. Yeah go on Robin kick him while he’s down. That’ll motivate him to get you trained!

Then she shows Strike the parody of the ‘Sylvia Plath style suicide’ woman’s novel written by Quine. The woman being Fancourt’s wife. The parody was taped to her grave… with what? Duct tape? Seriously in British weather that thing would have blown half way across town in reality. They think either he’s being taunted or blackmailed. Strike compliments her work. She downplays it regarding how she messed up and he walked right past her. Then Strike says maybe some training will help.

Next think they’re at a swanky penthouse suite, him in classic black shirt and tie while she has a figure hugging black dress on. Daniel Chard invited them Strike tells the doormen… who are stood in the middle of the apartment making you wonder how secure it really is. Robin scoffs ‘plus one, he’s not keen on me is he?’ Well you’re there so… it’s not like he refused your presence…

They go out on the balcony. Strike mocks that ‘nevermind declining booksales everyone I’ve met so far in publishing either has a drink in their hand or arranging to meet for lunch’. Rowling can’t help be salty towards the industry that fed her and put her kids through school apparently. Then Robin quips ‘It’s not a bad life is it?’ so Rowling can have her cake and eat it…

They wander around for a while then Strike lights a cigarette and asks when Matthew is back to which Robin replies he’s back already. Strike gives Robin his coat as it’s cold.

Chard taps a wine glass to call everyone’s attention as he is about to give a speech. Do people still do that? It feels pretentious but it works. He speech is basically ‘publishing has rapidly changed but on things remained true: work with great writers and your readers will come. After 20 years elsewhere Fancourt is returning to this publishing house’. So yes Rowling blowing smoke up her own trumpet there ever so subtly saying ‘I’m one of the greats after one book series and a few spin offs’. Yes you can no doubt quote Baum, C.S. Lewis and other ‘one series’ children’s writers but it still stands they did other stuff too. In Rowling’s case this is it… and it was under a pseudonym until the publishers wanted a boost in sales.

Fancourt thanks them all and that it feels like a homecoming (which if you know the Greek mythos origins of that phrase is actually always a bad thing). He waxes lyrical about writing for Chard then Roper and how they were good days alongside saying how he was an angry young man now he’s an angry old man. Everyone does that ‘middle-class polite’ chortles laugh. Then he finishes saying he looks ‘forward to raging for you’. And they applaud as he leaves. Strike leaves thus leaving an opening for Fancourt to approach Robin… because hey he’s a villain and not a single man of mild success who thinks maybe he can use the boost to his confidence to chat up a woman… nope this is villanous despicable behaviour… He noticed she is taking a while to pick a drink and offers suggestions. Sex on the beach? A long, slow, screw up against the wall? No not really… He says the champagne won’t kill her as he picked it out. She flirtingly smiles and says that’s what she’ll have then and he orders two. Then he asks if she’s read anything good lately in what is, in the context, a very cheesy chat up line. She says Bombyx Mori. He calls it a poison pen letter and asks what she thinks of his depiction. She asks if he has read it but he says people have told him of it. He considered Owen a very minor writer with a very large ego and that their conversation would have pleased him enormously. She asks if she can introduce him to someone and brings him over to Strike. Fancourt immediately addresses him as the one-legged detective… which let’s face it is exactly what people called Strike before these BBC adaptions as it’s his U.S.P. compared to Hercule ‘the moustache’ Poirot, Sherlock ‘you know my name’ Holmes, C. Auguste ‘murder at the Rue Morgue’ Dupin, Robert T. ‘in a wheelchair’ Ironside, Endevour ‘shot of whiskey til I die’ Morse, Theofilides ‘I got a lollipop with your name on it’ Kojak, ‘Frank’ [no official first name]‘ah one more thing’ Columbo , the various Swedish detective of recent, Miss Jane ‘little old nosey women busy body’ Marple, John ‘I’ma LUNDUNAAAA’ Luther, Erast ‘different style every case’ Fandorin and so on.

He tells Strike he’s read about him. Strike wants to talk about Owen Quine’s death. Fancourt compliments him on his choice of bait. They talk of how he was co-owner of the house the corpse was found in. He says he’s not been there in ten years at which point Robin chips in saying he inherited it from a friend who died the same year as his wife. She says she’s sorry for his loss at which he spits he didn’t lose her as he tripped over her corpse in the kitchen. Strike asks if he ever confronted Quine about the parody which he says he didn’t but was certain he wrote it. (Yes because a writing style is like a finger print you couldn’t possibly copy someone’s style could you? Seriously… the logic here even if it’s for egotistical writers is incredibly flawed to the point the resolution wouldn’t hold in court save the culprit began running away like an idiot giving away their guilt). Fancourt changes the subject to Strike being a footnote who pops up whenever the topic of his ex’s marriage comes up in magazines. Strike considers it high praise. Fancourt asks him if he’s attracted to trouble women or they become troubled because of him… but then thinks maybe he should ask Robin instead. Robin says they just work together. GET IT? GET IT? ROWLING WANTS YOU TO WANT THE MAIN DUO TOGETHER! GO WRITE A FANFIC OR DRAW SOME FAN ART! NO IMAGINATION? IT’S OKAY AS YOU CAN JUST DRAW THE ACTORS INSTEAD! Strike wonders why Quine would use Bombyx Mori to deny writing the parody if he did. Fancourt says his wife thought if she married a writer it would change how people saw her but when it failed she tried being a writer herself. He thinks Quine saw himself reflected in her. ‘Most writers are not very imaginative Mr Strike, they end up writing about themselves.’ At this point I laughed for a while thinking of the irony of the line…

He felt Quine was a failed writer struggling to gain some status through writing but was in his shadow. He tells Strike to take care, shakes his hand says ‘respect’ and leaves. Middle aged man talking like he’s from the streets yeah? Strike and Robin look at each other. The patented ‘what a wanker’ look.

The next day the pair are walking down a road to a house with a tree growing up it’s front. A man, the editor Waldegrave, answers the door and shakes their hands as he invites them in, offers them coffee. The whole nine yards. Strike thanks him for seeing them. The man says ‘anything for Owen, ha, bastard’. The guy had been at the party the previous night but disappeared after Fancourt’s speech… well yeah not much point hanging around really. Though part of me thinks Strike probably was too busy staring into the distance in his little ‘BOOM GOTCHA’ trap corner of the penthouse roof area rather than watching where the guy went.

Strike asks what he thinks of Fancourt. ‘Terrific writer, absolute shit of a human being’. He asks if they’ve read Bombyx. Strike confirms they both have though the guy wonders if they know what it’s all about. Robin interjects she didn’t recognise him in it. The guy says he was the cutter because… put your junior detective hats on for this revelation… he was the editor! Quine had used a rumour that Fancourt had fathered his daughter as part of the storyline of the cutter in Bombyx.

Strike says it must have hurt to which the editor replies ‘if you want life long camaraderie join the army; if you want peers to glory in your failure, work with novelists. No loyalty. Of course it hurt me.’ At which point he decides to have a drink as he’s got little to be sober for this afternoon and invites them to join him. Strike accepts a perolo and Robin wonders why. ‘It’ll help him feel we are on his side… and I like perolo’ he mutters to her metres away from the editor. People in the Strike universe are deaf to any noise more than three metres away from then it seems. Chatting of Liz the editor says even on a good day she can be an utter bitch and toasts to new-found cadre. After this he recounts some interesting information.

Liz made a pass at Andrew Fancourt after Ellie, the oven wife, died and Andrew saw it as a badge of honour that he couldn’t get it up for her. He mutters ‘prick’ under his breath and Strike admits he hadn’t been told that story by her. He continues that injured pride is exactly why she went with Quine over Andrew. Strike asks if Fancourt had a motive to kill Quine. The editor cites the claim in Bomyx that Fancourt wrote the parody of his wife’s work himself thus leading to her death. Strike asks if it could be true. The editor wonders as he’s very good at writing it. ‘It’s the kind of viciousness from somewhere even if it’s disguised. A writer can give himself away like that. In variably puts himself in the text more than he knows.’ Strike remarks Chard had a theory about that in regards of Bombyx. The editor confides that Chard didn’t like what Quine said about him. Strike says Chard though the manuscript could have had more than one contributor. The editor finds that an interesting thought and gives Strike a draft of the novel. He says there are many parts which feel like classic Quine with shock horror stuff but there are other parts where… DUN DUN DURR is some use of semicolons which in 20 years the editor never saw him use them once. WELL THAT’S CONCRETE EVIDENCE! (Oh, wait… no it is apprently. Really? Yes…). In the Bombyx manuscript there are several. ‘That is not something a writer embraces late in his career’. Strike thanks him assuring him he’s been very helpful. Robin sits with her mouth open aghast like a blow up doll. That was a weird moment… also it implies she hasn’t a clue as to how it proves the manuscript wasn’t Quine’s effort alone. Good detective skills…

Thus Strike announces he is off to Fulham.

But it’s time for the ‘detective explains their deduction’ scene at the denouement. Strike is in his office’s reception moving a chair to the desk to sit by Robin. Many pieces don’t fit together but this might be the thing that explains it.

  • Silkworms are boiled but in Bombyx it’s cut open. The book features the hero burned by a liquid and the murder site had acid. Katherine kent was expecting a very different book.
  • Waldergrave (aka the editor) and Chard detected foreign influence in the text (RUSSIAN HACKERS!) thus Strike deduces they repeatedly hear the same thing: Something is not quite right with Bombyx Mori.

THEY NEED A LITERARY ANALYST… wherever you go to hire one of those on the fly to compare the writing styles. Robin says she’ll get on that like it’s nothing.

  • The only person they know who spoke to Quine about the book was Liz so Strike is going to go to lunch with her again. ‘Needs must’… which I’m sure is a ‘you fat bastard’ type joke in the book no doubt as he is said to be so unfit but in the TV adaption they’ve only got Tom Burke who, at worst, you would say has a rounded face…

Next thing Strike is at the window reading a sliver of paper noting it has no baroque archetypes before he and Robin dramatically walk out the office into reception. It’s quite silly when you notice the Dutch angle and rising musical chord used as if something incredibly dramatic is about to occur only for it to be the literary analyst. Young and handsome of course as we can’t have any normal people on-screen unless they’re baddies or figures of ridicule. He congratulates them on getting it and Robin says Oxford often ask for it as it has Fancourt’s earliest published story in it. Long story short favouring certain irregular punctuation and such marks out who wrote it due to Quine never using the Oxford comma. Strike asks if it’s proof?

One word: No…

But it does suggest whoever wrote the parody piece also wrote Bombyx Mori. Which… let’s be honest is exactly where the pair were before hiring this expert. Though he does add it probably was the same person who wrote the short story as well.

Strike remarks it’s a sophisticated revenge ‘the story of your grudge in the form of a secret parody of Quine himself’. Robin adds that it leaves all the people around Quine hating him. But Strike feels it’s too complicated. Well they’re all conceited and ‘better than thou’ faux intellectuals so it probably isn’t to be honest. I mean… Finnegan’s Wake if nothing else proves how conceited writer’s can be about their genius and how easily people go along with it…

Strike makes a call to his detective buddy asking he trust him he needs to get a search warrant.

Strike and Robin walk down a road dramatically. She asks if he’s sure about this and he says absolutely. At the private dining club Robin comments it’s like a Bobyx reunion. The music is tense so you know this will be the ‘ah, it was old groundskeeper Willy all along… I would have got away with it if it wasn’t for you meddling kids’ scene.

Strike asks Chard and Fancourt if they have a moment to discuss something concerning Bombyx Mori. The three men head away from the table. Strike tells Fancourt he read the parody of his wife’s novel. He notes how spiteful it was. At this moment Liz begins to wander over. Strike says both Bombyx and the parody were written by the same person BUT Owen Quine was not the author. DUN DUN DURR (for those who didn’t figure it out much earlier when we had only been hit over the head 3 times instead of 12 with that possibility). Liz excuses herself saying she couldn’t help herself when hearing the name of that ‘wretched book’ raised and not ‘apologise’ to them both. Strike says good evening to her. Quine had written ‘a’ Bombyx Mori and intended to publish it but not ‘the’ version everyone else had read. The original ‘buries a few old sparring partners’ but his anecdote about Mr Fancourt’s limp dick isn’t in the original text they were given.

But then who would have known of it? Was it the editor or….

Everyone turns silently to Liz… who immediately tries to do a runner because that’s what everyone stupidly does when found out in these things so there’s a bit of action and tension to end on an adrenaline high.

Strike can’t chase her due to his leg so he calls to Robin. Liz smashes a vase into Robin’s face like this is an action movie but she continues to give chase a second after Strike checks on her. Outside Liz does a spot on impression of the T-1000 from Terminator 2 as she runs down the road. She nearly gets knocked over as she crosses the street. Apparently for a heavy smoker in her late 50s or so Liz is easily out running healthy, keen exerciser, Robin easily. Let’s say it’s because Robin has heels on otherwise it feels a little ridiculous…

Strike slowly follows and Robin tackles Liz to the ground but not without a tussle and some cat fighting. At this exact moment the police sirens wail and they arrive to take Liz away. Because they can’t announce their arrival until someone else has pinned the culprit down. Have to consider those health and safety and the possibilities of insurance payouts…

The next day and life moves on at the office. Strike calls Robin into his office. He says it might be good news so she should call them a cab… why he doesn’t just do it himself after finishing the call he’s on I don’t know but she has to earn her pay somehow.

Then outside in the sunlight the camera pans and we see Mrs Quine released from prison who trundles up to them like a child gleeful at seeing them… for you see the working class are not like Robin and Strike They are a lower order of intelligence equitable to a grapefruit and thus are like primary school children even after long having children and such. It is for the higher order to have dominion over these Luddites and ensure they are put to good use. That’s the tone of the Leonora character and I wouldn’t be surprised to find out that in the book she actually is developmentally challenged considering how she is depicted here…

Liz is in prison on suicide watch. Strike tells Leonora they found the real copy of the book in her house. Chard wants to read it with a view to publishing it and ‘it might even sell a few copies’ he adds. Robin gives him a look and he mouths ‘what?’ as he doesn’t realise how rude it sounded. Ho. ho, ho silly emotionally dense man – don’t you know it’s a woman’s world…

Leonora runs up the steps and joyously reunites with her Down’s Syndrome daughter. A carer… social worker… old woman who is never introduced… looks on happily. The daughter, Orlando, waves at Robin (as if she’s forgotten how she was tricked into giving away her treasure from her bag, and all ends happily. Strike and Robin get back in the black cab and next thing they’re discussing the detective just being glad the right person got locked up. Here we are told they checked Liz’s freezer and that she had been feeding Quine’s guts to her dog… hence all it’s digestion and defecation issues it had. DID YOU GET THE CLUE OR THINK ANIMAL SUFFERING WASN’T A MASSIVE GLOWING RED NEON SIGN OF EVIL? Robin remarks it’s disgusting. Not hoping the dog is okay or if it’s alive but just ‘disgusting’. Strike asks about Matthew and she scoffs about seeing him worse after a rugby match and says she is going to get the tube. She remembers to mention his ex sent in some photos and he laughs she isn’t his problem anymore. He tells Robin he has something for her and pulls and envelope out of his coat. He is paying for her to go on a surveillance training course. Or more exactly ‘you find it, I’ll pay for it’… which on the grand scheme of gift giving is a bit crap. She might find the most expensive course going. ‘So partners yeah?’ he smiles. She shakes his hand and he kisses it. I half expected a ‘M’lady’ and a fedora to fall out his pocket… and he goes upstairs while she walks smiling down the road. Again Robin gets everything she wants.

The End.

Review:

So this time around it’s the second person Strike meets regarding the case that turns out to be the killer. Taking Cuckoo into account that leads me to deduce that in the third case it will be the third person Strike meets who will be the killer in that story.

This book, in a meta-narrative sense, will no doubt be revealed one say as Rowling’s thinly veiled attack on people she doesn’t like in her own literary career and feels are leaching off her. Whether done knowingly or unconsciously will have to be seen.

Robin again is a thoroughly unlikable individual. It’s one thing to bluntly tell your boss you expected to ‘climb the ladder’ though being an administrative assistant and being an investigator are incredibly different skill sets even if you seem to think being an Oxford psychology degree drop out somehow qualifies you by default. Yet throughout the story she keeps on trying to persuade Strike to allow it.

Then she repeatedly leaves her grieving fiancé to go off on what comes across like adventure to her and not work. He might be an arse but that’s vile behaviour.

Hires a car and goes off-road with it. Not to mention she just so happened to take an advanced driving course as if that’s just something you do off the cuff.

The ‘ha ha I’ve got what I want’ trade with Orlando seems… cruel isn’t even the word. Did she take the necklace back as well?

There is just nothing redeeming about her as a character so far in these stories. What challenges does she actually face during these events? That Strike won’t make her a detective when she isn’t qualified? That her fiancé, who admittedly is unremittedly unpleasant to the point not once have we seen why she likes him save it was convenient, is going through the natural process of grieving and needs her to be there for him like… oh you know… a life partner he’s going to marry?! But she wants to go play detective. That a person with severe learning difficulties has incriminating evidence that can solve the case? No matter what scenario she is in she is in control and it’s incredibly difficult to identify with her. Yes I know that it’s eventually revealed she was the victim of rape so her need to be ‘always prepared’ so she never feels vulnerable again could be justified but not to this extent. It’s gone past self empowerment and falling into the abyss of Mary Sue. She has no flaws and thus suffers the Superman syndrome where there is nothing for her to overcome with any difficulty. Solving the problems in this case is as difficult as… well as you reading this right now.

As an example of how her character’s development so far in the series has come across: You needed to learn to read English but once that hurdle has been crossed here you are relaxing reading this like it’s nothing. Meanwhile there’s someone who can’t read English but can translate it and get the gist to find out what is being said and then there are people with dyslexia. This is how I feel any challenges are represented in the Strike novel series. Robin does things like it’s nothing, Strike has to interpret the clues he finds to work things out and the rest of the characters seem to be completely incapable of even comprehending the events of the murder (which is more an issue with the negative portrayal of the police, who’ve blamed the wrong person in both cases so far based on little to no conclusive evidence, than other figures in the story).

So let’s look at another aspect. Robin manipulates a mentally disabled young woman intentionally causing her distress. It’s hard not to read into that since Robin seems like such a glorified self insert. Does Rowling have issues with disabled or ‘deviating from the norm’ people? I mean let’s look at the end of harry potter.

  • Peter Pettigrew – (hand missing) – dead
  • Lupin – (werewolf i.e. infectious disease) – dead
  • Mad Eye Moody – (missing an eye and limbs) – dead
  • Voldermort – (orphan of a broken home and mental illness re: psychopath/sociopath) – dead
  • Severus Snape – ( bad upbringing and a Mudblood i.e. mixed race) – dead
  • Dumbledore – (undisclosed at the time homosexual) – dead

You could extend it to a number of the dead characters really…

Okay the last few are not disabilities but those communities do face persecution to varying degrees even nowadays. ‘Oh but lot’s of people are dead by the end’ you cry… yes but a few of these are ‘list of the dead’ deaths and not given details or any dignity considering how invested people became with the characters over the course of the series while the ‘villainous’ ones above are made to suffer for the most part or a great amount of time is spent noting how deviant they are compared to the social norm. Rowling has an issue with working class people and generally anyone who doesn’t agree with her sensibilities it seems and thus they get reduced to caricatures who are somewhat lesser than the figures she wants you to identify with.

It was an amusing case but the whole ‘you could never replicate another person’s writing style’ seemed a weak keystone piece of evidence to hinge the case on. It suggests the culprit was negligent and that’s disappointing. Most of all it’s hard to ignore the sense that this is Rowling’s own ‘Bombyx Mori’ criticising people she knows in the industry.


Please give Katerina Varela’s YouTube channel a look as it is thanks to her the videos of all the key scenes of the case are all here for your viewing pleasure.

Pisces by R. S. Thomas

Who said to the trout,

You shall die on Good Friday

To be food  for a man

And his pretty lady?

 

It was I, said God,

Who formed the roses

In the delicate flesh

And the tooth that bruises.

 

by R. S. Thomas

from Song at the Year’s Turning (1955)

The Last Night by Clark Ashton Smith

I dreamed a dream: I stood upon a height,

A mountain’s utmost eminence of snow.

Beholding ashen plains outflung below

To a far sea-horizon, dim and white.

Beneath the spectral sun’s expiring light

The world lay shrouded in a deathly glow;

Its last fear-laden voice, a wind, came low;

The distant sea lay hushed, as with affright.

 

I watched, until the pale and flickering sun,

In agony and fierce despair, flamed high,

And shadow-slain, went out upon the gloom.

Then Night, that war of gulf-born Titans won,

Impended for a breath on wings of doom.

And through the air fell like a falling sky.

 

by Clark Ashton Smith

Imitation From The Armenian by Anna Akhmatova

I shall come into your dream

As a black ewe, approach the throne

On withered and infirm

Legs, bleating: ‘Padishah,

Have you dined well? You who hold

The world like a bead, beloved

of Allah, was my little son

To your taste, was he fat enough’

 

by Анна Ахматова (Anna Akhmatova) (1930s)

from around the time of Тростник (Reed) / Из шести книг (From the Sixth Book) but left unpublished

translation by D. M. Thomas


This poem refers to the arrest of Akhmatova’s son by the authorities during the Stalinist era.

A Fairy Tale by Daniil Kharms

There once was a man  by the name of Semyonov.

And Semyonov went out for a walk and lost his handkerchief.

And Semyonov started looking for a handkerchief and lost his hat.

And looking for a hat, he lost his jacket.

He began to look for a jacket and lost his boots.

– Yes – said Semyonov – this is a loss – I shall go home.

Semyonov began walking home – and he got lost.

– No – said Semyonov – I’d rather sit. And he sat down.

And he sat on a stone, and fell asleep.

 

by Даниил Иванович Хармс (Daniil Ivanovich Kharms)

a.k.a. Даниил Иванович Ювачёв (Daniil Ivanovich Yuvachov)

(1933)

translated by Katie Farris and Ilya Kaminsky


Personally I would have gone with ‘… and lost consciousness’ for the last line, instead of ‘… and fell sleep’ in order to maintain the structural repition for humourous effect even if this translation is a more accurate one.

28 панфиловцев a.k.a. Panfilov’s 28 Men a.k.a. Battle of Moscow

A 2016 war film based on the Soviet propaganda legend about a group of soldiers, Panfilov’s Twenty-Eight Guardsmen, who heroically halt and destroy Nazi tanks headed for Moscow before they all perishing together on the battlefield. It is set in the Eastern Front of World War II and covers the 8th Guards Rifle Division operations during the 1941 Battle of Moscow

Supported by the gamers of War Thunder. The film was crowd funded by the donations of 35,086 people. Thus allowing the specially set up Panfilov’s 28 film studio to be made for the project with financial support from the Russian Ministry of Culture and the Russian Cinema Fund with assistance of the Kazakhstan Ministry of Culture and Sport in partnership with Shaken Aimanov Kazakhfilm with the assistance of the Russian Military-Historical Society.

… so yes. Just like the American army gives money towards Hollywood films that promote them, including the Transformers franchise, so too do Russian and Kazakhstan government departments. However if the Russian Military-Historical Society had access to the vehicles they are the ones who contributed the most although my assumption is they were more likely acting as the background extras in the scenes that required it while trained actors were at the forefront ad the vehicles were provided by the government departments.

Directed by

Kim Druzhinin
Andrey Shalopa

Produced by

Anton Yudintsev
Andrey Shalopa

Screenplay by

Andrey Shalopa

Starring

Aleksandr Ustyugov
Yakov Kucherevskiy

Azamat Nigmanov
Oleg Fyodorov
Aleksey Morozov

Music by

Mikhail Kostylev

Cinematography

Nikita Rozhdestvenskiy

Production
company

Panfilov’s Twenty Eight
Gaijin Entertainment

Release date

November 24, 2016 (Russia)

Running time

105 minutes

Country

Russia

Language

Russian

Budget

$1,700,000

Box office

$6,346,968 (January 2017)

₽385 million CIS
₽366.6 million roubles (Russia)
₸61.3 million tenge (Kazakhstan)

PLOT

USSR, late November 1941. Based on the account by reporter Vasiliy Koroteev that appeared in the Red Army’s newspaper, Krasnaya Zvezda (Red Star), shortly after the battle, this is the story of Panifilov’s Twenty-Eight, a group of twenty-eight soldiers of the Red Army’s 316th Rifle Division, under the command of General Ivan Panfilov, that stopped the advance on Moscow of a column of fifty-four German tanks of the 11th Panzer Division for several days. Though armed only with standard issue Mosin-Nagant infantry rifles and DP and PM-M1910 machine guns, all useless against tanks, and with wholly inadequate RPG-40 anti-tank grenades and PTRD-41 anti-tank rifles, they fight tirelessly and defiantly, with uncommon bravery and unwavering dedication, to protect Moscow and their Motherland.

SYNOPSIS

“Commemorating war does not only mean sorrow and grief. We also remember the battles and heroism that brought victory.”

– Commander, Panfilov Division, Bauyrzhan Momyshuly

November 14, 1941

A training barracks outside Moscow.

‘Of course mental strength matters most. Physical strength and courage too, but not so much.’ is the opening dialogue of the film.

Notably though in the dialogue you hear tovarishch ( Товарищ ) the subtitles omit this. Good in one way to avoid excessive subtitles but it omits indicating who is a citizen and who is a party member for those with a bit more of an in depth knowledge of the era.

A group meeting is held outside as the commanding officer or sergeant explains a tank’s weaknesses. Molotov cocktails are handed out.

The commander rides off on a white horse as the meeting continues.

A practise is arranged to train how to attack a German tank. The officers smoke saying the battle will be historic with looks of foreboding concern clear on their faces.

A war story report about a comrade Filin who was killed taking out an anti-tank gun with grenades is read by a lieutenant. The soldiers discuss the bulletin half mocking how often they’ve heard it repeated as they cut wood to make the tank model for their practise.

At sun set the wooden frame tank is dragged by the soldiers as one stood in a hole is informed how to act.

Inside the officers discuss recent military movements and the impending confrontation.

Many are Asian, specifically from Kazakhstan, which you wouldn’t see in a western film of these events despite the geographical area Russia covers as the old propaganda always depicted Russians as 7 foot tall, platinum blonde, white men with heavy athletic builds – which ironically meant they then had to go hire Scandinavian actors, e.g. the Swedish Dolph Lundgren in Rocky IV, to depict this stereotype as it really isn’t as common in Russian heritage as they would like to think (though of course you have the Slavic ethnic group we most common think of when thinking of ‘a Russian’ who share a common genetic heritage with the Ukranians, Polish, etc). Of course this all came to a head with Arnold Schwarzenegger, a universally well known Austrian, in Red Heat. The irony being that, in the Soviet era, they depicted Americans in much the same way, overtly tall and muscular brutes, and so there was a lot of surprise after the fall of the Berlin Wall, from both sides, that actually they look more or less the same as each other being a mix of ethnicities and appearances.

The officers remain and discuss their concerns as the soldiers have a snowball fight outside ignorant of their impending fate as they’ve been stationed doing little if anything besides digging trenches pointlessly for some time now.

Everyone prepares to move out the next day.

A soldier leaves his woman behind. Is she his lover, wife, girlfriend, cousin or sister? We never know. (I looked away for a second but I don’t think the scenes given any more context than ‘cliché scene to insert for soldier’s beginning to move out leaving their loved one’s behind’. We never see her again nor is she mentioned.

Later the commanding officer addresses the assembled soldier backlit by a spotlight. He says inspirational things – how they’ll defend their beloved motherland and the ‘great’ German army will know failure. History has known many brave warriors but none more so than them defending not only Moscow but the rest of their homeland.

Marching a soldier tells a story of a village who were being attacked by bandits so chose to fight and hired an expert – a samurai. 40 bandits vs 7 men. The warriors built fortifications. The gang was defeated. Someone says they heard it but it was in America and cattle herders. They laugh and joke.

The officers discuss not being detected by the Germans and ask the commanding officer not worry about it. The CO tells them to dig in and hold their ground. Stand firm but stay alive – that is the paradox they are presented with he admits.

The soldiers continue discussing their tales of heroic warriors. Now they move onto the battle of Thermopylae. (As seen in Frank Miller’s 300 or it’s film adaption by Zack Snyder). Perhaps it is just me but this film is being a bit apocryphal citing seven samurai and 300… would Soviet soldiers know of either of those events? Of course the film makers are alluding to their films by Kurosawa and Snyder which themselves are based on the embellished legends of historical events and therefore this is a knowing wink to the audience that the film-makers here too acknowledge what they are depicting is somewhat fantastical but intended, as the story was meant to at the time, be inspirational but at the same time early in the film, if not the first scene, we have the soldiers mocking such propoganda which isn’t something you see in American made war films. Quite refreshing really though of course this is one of many such films based on historical war events.

Later the soldiers are digging trenches and mock an old woman calling them heathens ‘worse than Muslims’ joking she mistook the Asian Kazakh Russians for Muslims and then asked if they ran out of ‘Russian Russians’. (again I would like to think this is a knowing wink to the audience but I have little doubt Kazakh troops faced prejudice at the time just as was the case in other countries including America which split their troop along racial lines often). They laugh and their supervisor scolds them it’ll be sunrise soon so they need to finish up and the Krauts will be there soon.

A machine gun is set up looking across the frozen fields before being put back into the hole.

A swerving trench is dug into a treeline. A captain criticises the placement of a cannon but decides they’ll test it later

Soldiers mock a soldier who, having read a political leaflet, asks where he can get a white flag… then add the Germans will kill you anyway so you’re stuck in the red army.

It was a common theme to jokes during the Soviet time: you could run from the red army but where would you go? If you run away during battle you’re only delaying the inevitable conflict. If, outside of times of conflict, you got the necessary papers to travel you can only go to another part of the Soviet Union unless you”re connected in the diplomatic services or find good enough forgeries. If you did somehow get outside the borders you probably have no connections as all the white emigre (i.e. the people who fled in 1917) escaped with their entire families decades ago and anyone who defects later has to have a use to the west to ensure they can do so (e.g. be an exceptional dancer, scientist, etc) or skillset (e.g. plumbing/engineering) in order to help them gain money to survive. In other words you’ve nowhere to go to… You’re already home… so get used to it and do what needs to be done to survive here! Fatalistic black humour is a keystone of Russia’s culture during this period.

One soldier wonders if they’ve disguised the cannon enough with white cloth and such. ‘Necessity is the mother of invention’ he’s told how the Germans shot their air planes in the tail as there was not defensive gun there in it’s design thus leaving them vunerable until redesigned.

In the trenches others discuss fighting for their land. Because it is their land and otherwise there’s nowhere to live. Two forms of it exist: the Motherland can be burned – its where they live however the fatherland also exists – but it’s how they live. Someone asked ‘but if a Frenchman learned Russian they wouldn’t make him Russian?’ He’s teased that a German couldn’t be but if they fought the Nazis and learnt Russian then maybe a Frenchman could be.

A plane flies overhead. Its said it has paper thin armour. A soldier raises his rifle and is scolded that its foolish to do so. He shoots anyway and is joined by another.

Kazhan and other languages are spoken as the group is mixed. Soldiers discuss asking how well those outside Moscow live. A sack of potatoes. An old man is given barbed wire to fortify his shack but he says it’s pointless. The soldiers passing by couldn’t have any delicacies only what they could scrounge.

In the trenches the captain gets a radio call. They are to rise early tomorrow. The artillery commander arrives tomorrow. They’ll get support fire if needed.

Elsewhere under cover of night the Nazis run forward in formation preparing for the conflict tomorrow. In the trenches the red army men sleep. The Nazis uncover their cannons and begin shelling just before dawn. In the nearby village the old men look out wistfully. This is the last we see of them. Assume they’re dead because there will be nothing left on the horizon once the battles over.

A red army solider wonders if they know their locations or are shelling randomly. ‘3 hours no losses – except their hearing’. The captain approaches teases they couldn’t sleep. No answers one, not with this lullaby and is told they’ll have time to stretch their legs soon.

The captain mocks it is an orchestra but soon there will be an intermission and they’ll swarm the buffet. A solider is told to wear a helmet to protect his head as dirt flies past him.

The Germans begin moving forward in formation behind their tanks. When the shooting stops they’ll have arrived face to face with the Russians the Red Army captain is told.

The Russians take position under cover of the forest and wait for two shots to ring out signalling their counter attack. A solider mocks the Germans think they know the Russian weak point. Kazakhs, he says to his friend, they’ll show them Kazakh men when they attack Kazakhstan and is agreed with.

All is silent as we pan across the trenches where the soldiers are ready with their rifles poised.

A spotter reports what the German forces are composed of.

The captain signals to fire a cannon.

The spotter corrects the range.

The captain signals to fire again.

It strikes and some infantry are taken out but still the tanks move ever forward.

The Russian command centre marks of the map the events. Planes fly overhead… but they are German and the red army mock they’re like vultures ready to swoop down.

The CO is informed on the telephone of events. The trench soldiers begin firing and take out some infantry. A cannon takes out the treads of a tank. A volley nearly hits the trenches. The music is all in the minor key but building. A fragmentation shell is shot at the tanks being abandoned and kills its crew but another German tank takes out a cannon on the forest edge though the soldiers get into the trenches just in time.

The Kazakh sniper repositions as cover fire takes more infantry.

The Germans withdraw. Why the infantry march alongside the tanks seems foolish.

It’s commented they didn’t take long to leave. He’s told they’ll be back soon as he strikes up a cigarette. Isn’t it odd he says again. He’s told not to worry.

Another pair chat mocking that the Germans probably think anyone left alive will flee.

The Germans will change their tactics and hit the weak points. This was just a test.

The captain runs across a field to see a man, Pasha, being taken away on a horse drawn stretcher. He’s told everything is fine that they will be there when he returns to the front… but the captain has a look saying the bleeding wont stop and Pasha won’t make it.

Back at the trenches the soldiers smoke in silence. Sombre music plays.

In the trench’s office the captain reports to the CO. Six injured and Pasha went for treatment. Told to keep it up. As if there is another option…

It won’t be a sprinkler next time, he reflects after, but a downpour when the Germans attack again.

Natarov refuses to move as he wants to shoot a plane. He is told to take cover when it fails. Volleys of German cannon fire rain down along the trenches line knocking dirt about

‘See they don’t want to fight, saving themselves for Moscow – which is good for us – puts us at an advantage’ a soldier comments.

Another mocks ‘them being cowards certainly puts us at an advantage, lets hope they don’t bomb us to bits out of fear’.

The banter continues but it is acknowledged they’re not idiots even if they see tanks burning and people dying.

A massive volley of focused shelling rains down over the trenches. A solider sees his friend is dead buried under unsettled soil.

The sergeant in the bunker who said they were fearful now changes his tone reflecting the red army ranks will be thinned so they must become a stubborn thorn in the Germans side. ‘The strategy is no heroics’. He scolds a younger soldier who comments that’s it not a matter of choice to be shot.

An injured solider is being tended to by someone saying visiting the dentist is torture this is nothing – just as a shell sends him flying.

The sergeant reiterates no heroics – just burn tanks.

The commander paces back and forth as the radio operator tries to contact the fourth company who are out of contact. No success.

Shells continue to rain down.

The forest is left in smoking devastation. Soldiers slowly crawl out of the dirt checking who is or isn’t alive.

The captain goes around checking surviving numbers and having everyone regroup.

The German tanks begin moving again as the Russian dead are moved off the battlefield.

Off the front two more carts are ordered to carry people away and a message to be sent.

The Germans begin another assault on land. The lighting in the damaged trench is very cinematic suddenly in this one scene for the radio report to the CO. only 28 men left … but no re-enforcements can be sent. He has to hold the line. The CO sits back down disconcerted knowing he’s just given the group a death sentence.

The captain says nine tanks need to be set alight to send a message. He gives a rousing speech that they’ve nowhere to run.

”we’re out of options, brothers. Although our land seems vast, and we are ready to die for it, we have nowhere to retreat. And we cannot die until we stop the Germans because we’re defending the last line. After us, that’s it. After us, it’s Moscow.”

The soldiers resign themselves to their fate and begin preparing as the tanks approach.

Yakov is asked if the story is true the Nazis tired to blast him out of a dugout with grenades and he threw 14 back at them? He mocks that the story has already been blown out of proportion to that level. Lies, he says, but when pressed admits it was 5. then later they threw a sixth so he wouldn’t have time to react. The soldier asks for more but Yakov says he’ll tell him later. ‘When?’ demands the soldier. ‘At night, before bed’. As the soldier leaves he adds it wasn’t in the dugout either…

The sergeant says now its a matter of precision so they need to let them get closer so they know they’ve definitely hit them. Someone mocks he’s happy not to be a tank crewman as it’s certain death.

An older soldier prays. A younger soldier asks what he’s doing and he says nothing ‘for the motherland’ and the younger guy says that’s how it should be.

Everyone waits tensely. A few treads are taken from tanks by cannons but return fire takes out the crew of one cannon. Then the machine gun of a tank kills the Kazakh sniper so his colleague takes the anti-tank rifle and fires at the treads of one tank successfully. He hopes his brothers in arms rest easy now.

A machine gunner takes out Fascist infantry and one soldier wields a grenade. Grenades are thrown at the tanks. The machine gun give a new belt feed. A Molotov cocktail thrown on a tank. A rifleman mocks the machine gunner must be going for a record as he’s leaving none to be shot. A tank tries to shoot the machine gunner but misses. Then the feed ends and echoing shots of lone rifles ring out across the battle field.

Another anti-tank rifle man shoots a driver mocking he wont be swinging his cross around here… as Grisha the older soldier aids him…

a grenade takes out a tank and as another soldier tires to throw one he’s hit but throws it still. The German infantry are on top of the trenches now.

Red Army men are laid out side by side in the forest as the cannons are dragged further back by bleeding men.

A tank descends on 3 men. A grenade takes out the tank but two are shot. The survivor throws the Molotov cocktail and empties his machine gun. Fortunately a rifle man stops the tank by shooting the loner gunner.

Ammunition is running low so the surviving soldiers let the tanks pass in hopes to regroup and deal only with infantry.

A man crawls through the trenches picking up a grenade. But his is shot before he can throw it. But he can still shoot. So he crawls over the top and fires until he passes out. The man who aided him took the grenade and realises they’re losing.

The battle field is a mix of snow and charred soil. An anti-tank rifle is carried across the line and prepared. It takes out the treads of a tank. A cannon takes out the treads of another. The man calls for someone to bring a shell but no one is left alive so he grabs on off a nearby corpse. But this is enough time for the tank to aim its cannon and take him out along with the cannon he was manning.

An anti-tank rifle man and his brother are taken out. Then another. The tank climbs over the trench but gets stuck ripping soil out burying the corpses.

Slowly the Red Army soldiers are being picked off now one by one and buried by the tanks pulling over the trenches.

But a man rises out of the dirt (Yakov?) and throws a grenade before dying and it stops on of the tanks.

This gives the remaining men a second wind and one runs up, climbs the exterior and throws a Molotov cocktail into the window of the tank hoping it warms them up.

The riflemen and assault rifles hold the line but Vasily is hit and passing out telling Grisha and others to fight on. The survivors are running through the trenches and throw a Molotov into a tank on their way. Grisha is told to fire ‘at the pedestrians’ and is covered by another just as a grenade lands near them. They’re both find and go to find Diev.

More German infantry run across the field and now the Russians are down to small hand guns. The Germans fall to the ground when they think a grenade has been thrown. They realise it was a fake

The sergeant tells the injured political officer its okay only a few are left…

The German infantry walk over the barbed wire as the Russians lie in wait. One man picks up a hatchet like trench shovel. That’s all they’ve got now. Another holds a knife. Tension builds.

But a machine gun mows the Germans down. Who is it? A German tank commander looks through his binoculars. Its… I don’t know who. Younger guy. The belt feed seems to never end nor get jammed. One German makes a break for it but the feed continues again suddenly. Daniil was the man on the mounted machine gun.

Over the radio the German tank commander has an order to withdraw. And so the tank line moves back.

The Red army men breathe a sigh of relief.

The sun sets over the quiet smouldering landscape as black smoke pours out of the tanks above the snowy upturned fields.

Daniil joins the sergeant ‘saved some aces for last’. ‘it was luck’. ‘luck had nothing to do with it’. He jokes they’ll tell their grandchildren there were more then the 14 tanks they fought. They lament everyone of them is a hero… because so few are left. That’s how they fight… that’s how war is. A few others climb the mound in front of them and look out upon the horizon. It was a victory but it was a loss. So it is in Russian war fare. There is no glory.

We end on a monochrome sweeping image of the Soviet Realism styled statues erected in those fields and the markings of where the trenches were.

During the credits we see more of the monument erected to the men who died in a park. I don’t know it but I’m sure people who’ve been to Moscow would recognise it as before it an eternal flame is lit.

REVIEW

The music in this film is quite simple in it’s composition but has it’s charm. It’s not bombastic orchestral work like an American film just simple strings and accompaniment underpinning the tension and moments of determination we see the ensemble undergo.

The recent trend of shaky-cam during conflict scenes is thankfully avoided here so you will always clearly see events and know where things are within context of each other. The camera work is on the whole serviceable for the rest of the film but nothing particularly memorable.

Costume wise perhaps I felt at the start everyone was a little too clean, as was the criticism of Enemy At The Gates, but then they had only been training not in conflict at that point and it’s certainly gone by the point they’re in the trenches. As the historical society was involved no doubt they aimed for as much visual accuracy as possible however, in contrast, as the events are based on propaganda it is easy to believe that many events or the film are exaggerated for effect.

Set design, apart from the interior of the Commanding Officers room, is limited to exterior shots of , at most, small villages or the trenches. Maybe a lot of it was filmed on sound stages for all I know but you wouldn’t think so. Again, along with the camera work, it’s serviceable on it’s limited budget and thus achieves what it needs to if not at times excels like that one very cinematic shot moment of the shelled trench room when the radio request is made to the CO.

Of course the film is biased to come degree – all war films are even when they’re praised for being unbiased – but it was crowd funded and so there is that level of being indebted to the contributors… just as major films are to their producers. However as I noted they give nods acknowledging it’s based on propoganda and therefore even if these events occurred they’re heavily embellished stories and should not be taken as a report of fact unlike some other war films. But on the whole it’s a straight forward affair and if you’re looking for something about the Eastern Front of World War II it isn’t one I would say you shouldn’t see. Are there better films? Probably but I like the straight forwardness of this and that it doesn’t do any ‘big damn hero’ stuff until the final moment and to be honest when you hear about some of the real life things that occurred during war time it actually underplays how dramatic it could have been portrayed.

If I do have a criticism it’s probably the translation and subtitles. They should refer to the Nazis as Fascists because not all the forces aligned with the Germans were technically card carrying Nazis though were aligned with them. Look at my review of the Estonian film ‘1944’ to see a different perspective on it. Thus there is that issue though I image many would offer the counter argument that the Fascists in this film are all but faceless mooks there to be ‘the opposition’ either to kill the protagonists or be mowed down by them thus giving them any context beyond ‘target’ is asking too much especially for something based on propoganda.

Also if you wanted to read the credits on screen forget it unless you’re watching this on a cinema screen and have it at 4kD…

As for the DVD: it’s no thrills. You just get the subtitled film and a chapter select.

You like war films? Give it a go. You want to see a recently made Russian war film. Give it a go. You want to see what crowd funding (which then gets further funding from government sources admittedly) can achieve? Give it a go. Just don’t go in with high expectations. It gets the job done and is reasonably entertaining but it’s not something you will remember much about afterwards.