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THE ROAD TO CANTERBURY

The Road to Canterbury

The Road to Canterbury

Andrew Atherstone. Darton, Longman + Todd. ISBN:978 0 232 52994 4. £7.99

When Rowan Williams announced last year that he was retiring the media was abuzz with speculation over who would succeed him as Archbishop of Canterbury. The eventual choice – Justin Welby, Bishop of Durham – came as a big surprise to most observers, not least because Welby had only been a bishop for four months when Williams announced his intention to step down.

Who is Justin Welby? Where did he come from? What makes him tick? Will he be up to the job of holding the fractious Anglican communion together? Oxford don Andrew Atherstone makes a fine attempt to answer the first three questions. The jury’s out on the last one as he will need the wisdom of Solomon and the patience of Job and a lot more besides to sort out that mess. However, his reconciliation work in Nigeria, his background in business and his ministry in several parishes to date do allow for a certain cautious optimism.

Welby grew up in a family that had been long a part of the Establishment. One of his great uncles had been a leading post-war Tory, R A B Butler. Butler had been Home Secretary, Chancellor of the Exchequer and Foreign Secretary in the 1950s and 60s. His mother, Jane Portal, was a secretary to Winston Churchill and in that role typed up the drafts of his six-volume history of the Second World War. His father, Gavin Welby, was a bit of a rake, once competing with Errol Flynn for the attentions of a millionaire heiress. Gavin and Jane eloped to America.

Justin was a honeymoon baby who parents’ marriage soon failed. Justin stayed with his father and was packed off to boarding school at the age of eight. He attended Eton from1969 to 1973 when the school was at a low ebb and headed off to east Africa for a short gap year before beginning his studies at Trinity College, Cambridge. In Kenya he spent six mont hs teaching in a secondary school under the auspices of the Church Missionary Society. He had previously shown little interest in spiritual matters, but in Kenya he met and talked with Christians and began to read the Bible and think about questions of faith.

In the months before Welby’s arrival at Cambridge in 1974, there had been a flurry of conversions to Christianity among the students. The local Christian Union was very lively, hosting visits from leading preachers, notably Rev David Watson from St Michael le Belfrey in York who led 12 people to make professions of faith in a single evening. Welby held out for over a year despite the efforts of many of his Christian friends until ‘the penny dropped’ for him and he ‘asked Jesus to be Lord of my life’. Shortly afterwards, he received a real sense of the deep love of God and began to sense a calling to ministry.

As a young Christian, Welby attended the Round Church in Cambridge which plugged him into a network of leading evangelicals in the Anglican church, notably John Stott and David Sheppard. While at home away from university, he began to worship at Holy Trinity Brompton which had become a mainstay of the growing charismatic movement. Here he was introduce to a Cambridge student who was another new Christian, Caroline Eaton, who was to become his wife.

After graduation and marriage Welby took a job with an oil company in Paris. During the holidays he became involved with a Christian group that smuggled Bibles to persecuted Christians in Hungary and East Germany using a campervan with secret compartments underneath a false floor.

The Welbys know the pain and grief of losing a child. On the way back to England, their seven-month-old daughter was fatally injured in a road accident near Amiens.

During his time as group treasurer of the recently privatised Enterprise Oil, Welby honed his management and leadership skills and began to think deeply about the ethics of finance and responsibility in business. He argued that companies are moral agents and are just as prone to sin as individuals. Biblical justice must include a sense of corporate accountability.

Although well settled in a very well paid job which he enjoyed, Welby had a growing sense of call to the ministry. In 1988 he attended three days of interviews at a Derbyshire retreat house. He was asked by a bishop why he wanted to be ordained and replied that he didn’t as he was enjoying the job he was doing. Well, why was he there, then? Because he had been called by God. What would he do if he was turned down for ordination by the C of E? He’d go back to London and take the wife out for the most expensive meal he could afford to celebrate! He was accepted. His annual salary dropped from around £100,000 to less than a tenth of that; £9500 in 1989.

He studied for the ministry in Cranmer College, part of the University of Durham. Here he became open to a wider variety of theology, worshipping and finding placements with churches that were mixed in theology, Anglo-Catholic or Charismatic in outlook.

After ordination at Coventry Cathedral in 1992, his first parish was in a working class suburb of Nuneaton in Warwickshire. Here he launched youth work, children’s holiday clubs and pioneered the use of the Alpha Course, a basic introduction to Christianity that began in Holy Trinity Brompton and went nationwide in 1993 as a way to reach the unchurched. This trend of turning declining congregations around continued in his next charge, Southam, a rural market town in the same diocese. He restored the 700-year-old building, and introduced more modern forms of worship in the morning service in tandem with traditional Book of Common Prayer early morning communion services and evensong services. Part of this church growth strategy was also due to a revival of children’s and youth outreach and rolling Alpha Course programmes for adults.

An interesting insight to Welby’s worldview can be gleaned from his regular ‘thoughts for the month’ published in the Southam Parish Church News. In this Welby expounded the line that, ‘The church is not a home for saints; Christians do not claim to be better than other folk, but they do claim that God has touched their lives and given new meaning to them.’ He had a high view of God’s grace and the necessity of forgiveness and the power of redemption and ‘a fresh start’ in the gospel message. Welby was orthodox in his view of Christ’s resurrection and made it clear that it was the job of the church to speak out on issues of social justice and in opposition to moral relativism.

Welby was in great demand for his expertise in financial matters. He had been involved with the Association of Corporate Treasurers as its personal and ethics advisor and was invited to join the finance ethics group of the Von Hügel Institute. This Cambridge-based Catholic research organisation sought to apply the principles of social justice, human dignity and ideas of the ‘common good’ in Pope Leo XIII’s encyclical Rerum Novarum (published in English as The Workers’ Charter) to everyday life. This brought him into contact with Catholic economists and theologians in Europe and give him a higher view of the power of the sacraments than he had hitherto been familiar.

In 2002 he moved to Coventry Cathedral in order to direct the cathedral’s International Centre for Reconciliation. This brought him to conflict zones in Israel, Palestine, Iraq, Nigeria and Burundi. Welby focused on reconciliation work in Nigeria which he already knew from his time as an executive with an oil company. At times his life was in real danger from AK47-toting gunmen. Welby argued that the church ought to be ‘the body of reconciled reconcilers’ and Christians should not just receive reconciliation but become sources of ‘rivers of reconciliation’ to places of conflict and trauma.

By 2005, the funding ran out for Coventry’s ICR and it collapsed. The international ministry was drastically cut and a new focus was sought. This was one of the greatest disappointments of Welby’s ministry to date. He began to work out a means of reconciling differences between Christians and conducting arguments and disagreements in the spirit of 2 Timothy 2: 24-25, ‘the Lord’s servant must not be quarrelsome but kindly to everyone… correcting opponents with gentleness…’(Welby’s emphasis).

In 2007, Welby was appointed as the Dean of Liverpool Cathedral. Welby’s task was to overcome financial shortfalls and division and disharmony in the cathedral’s Chapter. Sorting this out was a challenge to his background in finance and his ministry of reconciliation. Some of his ideas were controversial but he did raise the cathedral’s profile in the city, reach new people and introduce a variety of forms of worship, m anage to start a theological school and envisage an ecumenical religious community. During this time he acted as an envoy to Kenya in the aftermath of violence during the 2008 election campaign and he became involved with Anglican Communion affairs in an attempt to deal with its own deep divisions and conflict. He became Archbishop Rowan Williams’ special envoy to American Episcopalians, Nigerian Christians facing persecution and murder and he facilitated a meeting of primates in Dublin in order to tackle some of the serious issues threatening to tear worldwide Anglicanism apart most notably the ordination of woman bishops and attitudes to sexuality.

After just three and a half years in Liverpool, Welby was appointed as Bishop of Durham in October 2011. He used his maiden speech in the House of Lords to call for economic regeneration in the north-east of England and for Christians to build alliances with politicians, financiers and businesses in order to bring about justice and community renewal. He made many contributions to the debate on the Financial Services Bill in which he favoured the establishment of credit unions and limits on directors’ pay and bonuses. In July 2012 he was appointed to the Parliamentary Commission on Banking Standards where he gained a reputation as a formidable operator who took no obfuscation, waffle nor double-talk from the former ‘masters of the universe’ who ran the banking system like a Las Vegas casino. He wasn’t against banking and bankers as such, however, as he made cleare in a lecture in Zurich last October when he called for the European banking sector to be re-imagined in such a manner as to resurrect it from, ‘the wreckage of a hubris-induced disaster, to retrieving its basic purpose of enabling human society to flourish effectively.’

Welby’s time at Durham was too brief for him to have made his mark as a newly-minted bishop. He seems to have a realistic view of the parlous state of the Church of England and the wider Anglican Communion, ‘We are divided, often savagely. We are battered. We are weak… The church is not a rest home for saints, it is a lifeboat for sinners. And when you stick loads of sinners together, perhaps especially Anglican sinners, you don’t get a saintly church…’ He was quite impressed by the American Episcopal Church after attending its July 2012 gathering of its House of Bishops. He thought that they managed disagreement better and were closer to his own motto of ‘diversity without enmity’.

The thorny issues that plagued his predecessor haven’t gone away. Welby might be able to sort things out. He might not. Time will tell whether or not Welby will be a reconciling Archbishop of Canterbury or the man who presides over the final fracturing and schism of worldwide Anglicanism.

DAVID KERR

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Federalism for Britain

Cover of Caledonian Voice.

Cover of English Voice

Federalism for Britain: The NLP Launches two papers for England & Scotland.

JULY saw the launch of two new publications by the National Liberal Party (NLP), English Voice (EV), and Caledonian Voice (CV).  As their titles suggest, the former is produced for England and the latter is aimed at Scottish readers and thus they will function as the national NLP papers for England and Scotland.  Both papers are currently produced in a double-sided A4 format with the front page comprising eye-catching mastheads and lead articles with the reverse giving readers a general introduction to the NLP, its policies and its New Horizon e-zine.  EV is currently available online while CV is available both online and in printed form for distribution door to door.

The common theme of the first issue of both publications can be summed-up as ‘Federalism for Britain’ and revives the concept of ‘The British Family of Nations’ which was a strong strand of de-centralist thinking within nationalism in the 1980’s which sought to strengthen local and regional identities and culture and devolve power away from central government and down to the ordinary people.  At the time this represented a radical departure from what had been hitherto orthodox nationalist policy which looked very much to a centralist British Government and a blanket British identity.  With the question over Scotland’s future within the United Kingdom and calls for England to have its own Parliament, EV and CV bring a nationalist view to these debates.

CV leads with The Independence Referendum…..Is there a Third Way? and puts forward the option of Devo-Max as alternative to both outright separation of Scotland from the rest of the UK and the status quo.  Devo-Max seeks to devolve as much power to Holyrood from Westminster as possible leaving only issues common to the whole of the UK such as defence and foreign affairs vested centrally.  The NLP’s distinctive stance in calling for the establishment of an English Parliament and the introduction of citizens’ initiative referenda along the Swiss lines are also highlighted:

“The NLP supports the creation of an English Parliament and encouraging people across the United Kingdom to become involved in open and accountable systems of government at both local and national level that enable ordinary citizens to participate in the decision making processes that affect their daily lives.  The NLP calls for the introduction of Swiss-style citizens’ initiative referenda to ensure that the majority can be heard on issues that the political elite would rather ignore”.

EV carries the bold headline DEVO-MAX FOR THE ENGLISH and pulls no punches when it lays out the anomaly of Scotland, Wales and Northern Ireland having their own parliaments or regional assemblies while England has none:

“DISCRIMINATION! That’s the only way to describe the way the Westminster establishment treats England and the English people. One of the main reasons England is discriminated against is because every other nation in Britain has some form of self-government. But England has none!”

 

EV then continues to point out other areas where England is disadvantaged relative to the other parts of the United Kingdom, such as the “West Lothian Question”, posed by the Labour MP Tam Dalyell back in 1977, which highlights how MPs from Scotland, Northern Ireland and Wales can vote on purely English matters in the House of Commons while under devolution English MPs could not vote on the same matters concerning those other parts of the UK.  EV puts forward the creation of an English parliament under Devo-Max as the way to address the imbalance with the rest of the United Kingdom.

Both English Voice and Caledonian Voice are produced to a high standard with impressive layouts that attract the reader.  CV has been produced in printed form with the aim of being distributed especially in small towns and rural areas that do not often see any form of political campaigning.  It will be interesting to see what the response is.  Readers interested in distributing CV door to door in their areas should contact the NLP’s office for details of how copies can be sent to them.  I understand that issue two of both papers should be out before the end of the year.

Both papers are also available via e-mail.  To get hold of them, e-mail natliberal@aol.com and ask for your FREE pdf copy of Caledonian Voice and English Voice.

Reviewed by Andrew Hunter

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Trojan Women

EDINBURGH FESTIVAL FRINGE 2012

Trojan Women

The Lancaster Offshoots

The Space at Symposium Hall, Venue 43

Booking Office: 0845 557 7475

Afficianados of Greek Tragedy are spoiled for choice this year as there are three productions of Trojan Women on offer at Fringe 2012.

Trojan Women is a horrifying story of the savagery of war and its effect on four captive women, survivors of the defeated side, who remain in captivity while their Greek captors decide their fate. Troy has been destroyed and their menfolk are all dead.

Hecuba, the ousted queen of Troy, tries in vain to get her two daughters, Andromache and Cassandra, to stick together with Helen (whose carrying off to Troy precipitated the Trojan war) as they wait to hear what their Greek captors plan to do with them.  In the background, the quarrelling gods, Athena and Poseidon make playthings of their lives.

Andromache is consumed by hatred of Helen whom she blames for all the troubles that have been heaped on her. Apart from Hecuba, no-one comes out of this Greek tragedy well. The gods are as petty and self-seeking as the ‘lesser men of greater power’ who decide to throw Andromache’s baby son from a high tower unto rocks in case he might grow up to rebuild Troy.

At first the production under review didn’t seem right.  How can you justify a musical version of Euripides’ classic tale of arbitrary, bickering gods and the hapless victims of war? Doesn’t it trivialise the story?  Well, no. It sounds unlikely but this retelling of the ancient story, by a bunch of travelling musicians, works very well. In fact it serves to intensify its impact.  The cast work well together. This reviewer was struck by the intensity of the actress who brings a dreamy quality to her role as Cassandra, who is cursed by the gods with the ability to see the future with the added twist that nobody will believe her.

**** Four Stars

David Kerr

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DEVIL IN THE DETAIL

DEVIL IN THE DETAIL

Meta Morpho

Zoo Roxy, Venue 115, Roxburgh Place

WHAT on earth is going on here?  That was my reaction when this play opened.  This was a puppet show, for goodness sake.  I don’t like puppets, except maybe Captain Scarlet and Thunderbirds when I was a child.  However, any initial bafflement melted away as things began to make sense.

Devil in the Detail has live actors in huge masks, a bit like the Tweenies, but this story is not for children. There is no dialogue. Changes of mood. Changes of pace.  All the performances are led by the musical soundtrack.

The action unfolds like an old Brian Rix Whitehall farce -as adapted by Quentin Tarantino or the Coen Brothers, with opening and closing doors and characters just missing one-another.  Two tenants, a crooked accountant who is skimming money off a sexy gangster and a dozy night security man, both rent the same flat from a dodgy landlady and her shopaholic daughter. Neither one knows about the other. It’s great knockabout stuff.  Look out for a runaway snake, a barking dog, murder and mayhem in this riot of fun.

Reviewed by David Kerr

**** Four Stars

www.metamorpho.co.uk

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GUTTER JUNKY

GUTTER JUNKY

Presented by Dream Epic and Salida Productions

 

GOD alone knows what the title means, It’s not important. This fast-moving, hard-hitting play has much to say about the road to hell being paved with good intentions.

Harry, an enthusiastic young, naïve writer bunks up with  Bill, a jaded, washed out old hand – a friend of a friend in the chief city of a strategic South American city on the verge of revolution.  Within a few weeks, however, he has become single-minded enough in pursuit of his story to go into the south of the country and ‘rescue’ a girl from the unfolding chaos.

Within a decade, his book has become a bestselling advocate for war against the new South American ideology.  He realises his role as a prophet of fear and paranoia and tries, claims he was sick at the time, and tries to enlist Bill to help,

James Cunningham plays Bill with unrelenting world-weary cynicism.  James Maxted carries off Harry’s early-years Tony Blair-style ‘Bambi’ to perfection.  Andrea Pelaez combines fear, uncertainty and indignation in a perfect mix.

 

**** Four Stars

 

www.salidaproductions.com

www.assemblyfestival.com

 

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Call off the threats

The BBC has succeeded in gaining an impressive reputation: it’s respected around the world for its impartiality.  While other broadcasters like Rupert Murdoch’s Sky and Fox channels and Silvio Berlusconi are universally despised for their undoubted political biases, the BBC usually manages to get away with its claim o be a balanced and impartial broadcaster. This claim is not sustained by the facts as revealed by a former Director General of the BBC itself, Greg Dyke, in a speech to a fringe meeting at the Liberal Democrats’ annual conference, only reported by the Belfast Telegraph, the Glasgow Herald and the Guardian media correspondent Roy Greenslade.

In his speech, about MPs’ expenses, Dyke called for a commission to look into the “whole political system”, adding: “I fear it will never happen because I fear the political class will stop it.”

Dyke claimed that he had wanted to make big changes to the BBC’s political coverage but that these had been blocked..

“The evidence that our democracy is failing is overwhelming and yet those with the biggest interest in sustaining the current system – the Westminster village, the media and particularly the political parties, including this one – are the groups most in denial about what is really happening to our democracy…

  “I tried and failed to get the problem properly discussed when I was at the BBC and I was stopped, interestingly, by a combination of the politicos on the board of governors, one of whom [Sara Hogg] was married to the man who claimed for cleaning his moat, the cabinet interestingly – the Labour cabinet – who decided to have a meeting, only about what we were trying to discuss, and the political journalists at the BBC.

  “Why? Because, collectively, they are all part of the problem. They are part of one Westminster conspiracy. They don’t want anything to change. It’s not in their interests.”

He went on to claim that at the BBC,  “In the end, political journalists live in the  same narrow world as politicians do and they don’t see a need to change because they think it’s the world. They just don’t understand that out there it’s very different.”

That’s the hub of the problem.  The bias at the BBC is so ingrained, that it has become as natural as breathing to most of the journalists who work there. This was borne out by an impartiality seminar of BBC journalists hosted by former Desert Island Discs presenter Sue Lawley in 2006.  Andrew Marr admitted to the London Evening Standard that the BBC did not represent majority British opinion, saying, “The BBC is not impartial or neutral. It’s a publicly-funded, urban organisation with an abnormally large number of young people, ethnic minorities and gay people.

  “It has a liberal bias not so much a party-political bias. It is better expressed as a cultural liberal bias.”  Business presenter Jeff Randall told the same paper that he had  complained to a senior executive at the BBC about the corporation’s pro-multiculturalism stance. He claimed he was told: “The BBC is not neutral in multiculturalism, it believes in it and it promotes it.”

There is evidence that the prevailing ethos at the BBC at best disdains Christianity and seems to want to drive it from the public arena to the private sphere. According to the Evening Standard, Lawley’s seminar discussed a proposed episode of Room 101 in which Ali G would dump a copy of the Bible and the Quran. BBC executives were willing to dump one of these books but not the other.  Can you guess which one?

Former BBC newsreader Peter Sissons, blows the whistle on this in his recent book When One Door Closes. Sissons says, “What the BBC wants you, the public, to believe is that it has ‘independence’ woven into its fabric, running through its veins and concreted into its foundations. The reality, I discovered, was that for the BBC, independence is not a banner it carries ­principally on behalf of the listener or viewer.
“Rather, it is the name it gives to its ability to act at all times in its own best interests.”

You might ask, so what?  After all, we have the option of turning our television sets and radios off if we don’t like what we hear.  What does it matter if the BBC reflects the concerns of a self-affirming political liberal-leftist elite? We can watch other TV channels, tune in to other radio stations or access other news sources online.

That’s true, but the big difference is that we are required to pay for this source of biased news on pain of criminal prosecution. When I pay for a copy of The Guardian, I know what to expect; thoughtful left-liberal political analysis. I expect the Irish News to promote an Irish nationalist agenda, the News Letter to promote unionism and the Daily Express to come up with something new or bizarre about Princess Diana every couple of months. I expect pugnacious conservative populism in the Daily Mail and The Sun and unrepentant Stalinism in the Morning Star.  I pay my money and I take my choice.

No-one is going to send me a series of threatening letters saying that they have no record of me taking The Times and threatening me with court action if I don’t immediately go out and pay for the privilege of reading it whether I actually do so or not. I can choose to subscribe to newspapers, internet and cable or satellite television channels that reflect or challenge my political or religious opinions, prejudices and biases.  I cannot choose not to pay for the BBC and use a television set without risking being taken to court and fined or sent to prison.

We have become so used to this extraordinary state of affairs because we have grown up with it, but in fact it’s a crazy system. A private company acts as if it was some kind of public authority to demand payment with menaces for another private corporation; one that holds the view that the masses who do not share its left-liberal metropolitan views are to be treated with disdain or contempt.  Try ignoring letters from the TVLA and see how it ratchets up the threats and menacing language. Even better, if you have no television set, write and tell them so.  It makes no difference. The threatening letters soon resume.

It’s time for the BBC to put its money where its mouth is. I suspect that the Corporation might have to change its ways were it forced to rejoin the real world and pay its way like any other business.  The smug ‘we know best, so clear off’ response to viewers’ and listeners’ complaints might change if people were not treated as criminals should they decide to withhold payment of their TV licence fee.

Abolish the compulsion element in the licence and replace it with a voluntary subscription and quarterly fund-raising appeals and see what happens. That’s what happens in theUSwith American Public Radio and National Public Radio. Those who agree with the BBC’s political line or who like to be challenged by it will pay to receive BBC radio and television as their counterparts do inAmerica.  Those alienated or offended by it or the indifferent will probably walk away.

 

David Kerr

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Film & DVD Review: What Dreams May Come

What Dreams May Come

Click on image to buy DVD

What Dreams May Come [DVD] [1998]
Robin Williams (Actor), Cuba Gooding Jr. (Actor), Vincent Ward (Director) | Rated: Suitable for 15 years and over 113 mins

The books I was reading and the books ordered for future reviews tied in perfectly with the film What Dreams May Come – so I was anxious to watch. Despite the warnings (mainly about themes) I decided to view with my 12-year-old son (who when we talked about the film afterwards thought it had been made for children and was surprised about these warnings!). The film won an Academy Award for its visual effects and it was nominated for the Academy Award for Best Art Direction. It also won the Art Directors Guild Award for Excellence in Production Design.
Perhaps the first thing to consider is that the book the film is taken from is probably one of ideas – and ideas don’t translate well to the screen – in fact the book’s author, Richard Matheson claims in its introductory note that only the characters are fictional, and that almost everything else is based on research. The screen (and the BIG SCREEN particularly) wants action and – naturally – visual power. The latter is there…hence the awards – but somehow I found the whole experience lacking. The ideas are so profound how can they be espoused in under two hours. Matheson’s research appears to dissolve into cringing sentimentality – is this slushiness from the book or straight from the ‘depths’ of Hollywood?
The character Christy ‘Christian’ (played by actor Robin Williams) falls in love with Annie (they meet while boating on a lake in Switzerland) and subsequently marry and have two children…Annie’s an artist he’s a doctor – life seems pretty damn good for them (a few problems with communication with the children) but they seem to spend their whole lives together giggling – and getting on well. Then the children get killed in a car crash – for which Annie holds herself responsible, as she wasn’t driving… And there is a very moving scene at their children’s funeral (some of this action is viewed through flashback). Then Christy gets killed while helping someone in a car crash – and he goes to Heaven. This is a Heaven his thoughts have created. And his Heaven begins (because it’s ‘safe’) as a reflection of one of his wife’s paintings – visually this is very beautiful if not highly viscous – wading through painted water in one scene.
Heaven seems to be without time (yet there is movement) and explained as a dream (dreams have no or little time yet also appear – when dreaming – to be perfectly normal); indeed it is a Heaven composed of thoughts. Often seemingly anarchic and pointless (but are we seeing ‘true’ Heaven or differing people’s thought-ideas – or only Christy’s?) there are some nice touches; ‘souls’ often seem to take on different guises of age/race/sex so as to make the meetings of people who knew each other – perhaps were related to each other – equal and without the usual baggage and preconceptions.
So Christy begins to get used to Heaven but then finds out that his wife has committed suicide. This means she will go to Hell (though Hell is explained as being not quite as we imagine) and there is nothing Christy can do about this. He refuses to believe he can do nothing and decides to find his wife and bring her back with him to Heaven. (They are explained as soul mates as a tree has appeared in Christy’s Heaven, which has been painted by his wife when on earth, an apparently  ‘remarkable’ occurrence.) His guide – whom he calls ‘Doc’ – is not actually the Black doctor he thought but rather his son – and their relationship (with notions of the father expecting more than the son could or wanted to achieve) partially explained in flashback. The psychiatrist helper/guide ‘Sigmund Freud’! turns out to be the Black doctor…More flashback shows that his wife has had a nervous breakdown and how Christy tries to help her and how there is a significant conversation at the hospital where she vows to carry on (and not give in to either madness or death).
The journey to Hell is impressive visually – though it could have been more so – it made me recall Dante’s Inferno at times but Christy’s reaching of Annie is too quick (unless of course this all takes place in his thoughts and is his illusion). During this journey we find out his guides are his son as well as his former doctor/mentor. If all this is his illusion (his dream) then everything is excusable – but finding Annie amongst a sea of faces (seemingly trapped in thick mud) stretches credibility to the limit. He then attempts to enter ‘her’ illusion (his, hers or both?!) and mustn’t be caught by her (therefore remaining there within ‘her’ illusion) – this mirrors a conversation he has had with Annie in the grounds of the mental hospital. The dialogue is clever but not wholly convincing – he decides to stay there with her and by doing so (sacrifice?) manages to persuade her to leave with him and it’s all – considering – much too easy. As my son pointed
out – if people are in Hell for a punishment or through judgement how can they travel to Heaven so easily? Wouldn’t that interfere with some higher judgment?! Also – it seems the age-old notion of a suicide being condemned for taking away God’s gift is brushed aside and it’s rather a matter of self-worth/self belief. I’m not passing judgement here – but balancing it against religious teaching (Oh and God is referred to as being ‘up there’ somewhere! A Heaven in Heaven?)…
It also seems that despite the whole of humanity (to that point) dying and going to Heaven or Hell – and all the noble figures; all those who have lead strict and difficult lives; all those who have loved through UTMOST difficulty – it seems only ‘now’ that ANYONE has got someone out of Hell  – it’s taken a couple of giggling Americans to do what none other has EVER done.
Everyone gets reunited – father, mother, two children and the dog (of course)…now, dogs in Heaven? Okay as part of an illusion but if dogs really get to Heaven where are all the animals people have eaten? And the amoebas – wouldn’t there be all forms of life there? Where would this line of life be drawn? (And umm…how about the dinosaurs?)…
Again – and it really boils down to this – if we are witnessing everything as Christy’s illusion ONLY – then anything goes…it’s his dream and his rules…the fact that we are TOLD or apparently shown others ‘realities’ or dream-states or Heaven Experiences could simply be Christy’s illusion. So now then…what to do in Heaven for an eternity eh?
Well Christy persuades Annie to get reborn (a ‘Christian’ goes Buddhist?) so they can find each other again and fall in love – for what purpose? – hey, and guess what – the last sickeningly sentimental shots are of a little boy and girl meeting and you know it’s them finding each other (not a lake this time more a large pond with toy boats not real ones!)…A near ‘perfect’ reduction of some of the greatest and most profound questions on (Heaven and) earth to simpering Hollywood schmuck!!!
I’ll leave you with this reported quote from the film’s Wikipedia entry:
When asked his thoughts on the film adaptation of his story, Richard Matheson said, “I will not comment on What Dreams May Come except to say that a major producer in Hollywood said to me, ‘They should have shot your book.’ Amen.”

Review by Tim Bragg

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Film: The King’s Speech

  • Certificate: 12A
  • Runtime : 118 minutes
  • Director: Tom Hooper

When a film receives the amount of hype surrounding The King’s Speech; nominated for 14 BAFTA awards. 12 Academy Awards and already having given leading man Colin Firth a Golden Globe for Best Actor; it’s understandable that some folk might be determined to resist the tide. Peter Hitchens in the Daily Mail had a go, excoriating the film as historically inaccurate and another symptom of why Britain is going to hell in a handcart.

This time, however, the hyperbole is justified. The King’s Speech is an impressive piece of work. Colin Firth excels as a man who finds himself thrust unwillingly into a role he had never expected to fill. After his ne’er-do-well brother, David the Prince of Wales, abdicates the Throne in order to marry an American divorcee, Bertie the Duke of York becomes King George VI.

Bertie’s big problem is that to the despair of his ailing father, King George V (Michael Gambon in a cameo role) he suffers from a dreadful nervous speech impediment. He is unable to even begin to overcome this problem until he meets up with Lionel Logue, an unconventional Australian speech therapist (Geoffrey Rush).

The King’s Speech derives from the point of view of the then Duchess of York, Elizabeth Bowes-Lyon who later became the Queen Mother, played here by Helena Bonham-Carter. This is fascinating as I had always been brought up with the romantic story of Edward VIII; the king who gave up everything in order to marry the woman he loved. As the Duke and Duchess of Windsor the former king and his wife Wallis Simpson always seemed to be ostracised from the rest of the Royal family who never disguised their hostility towards them. In this film, the romantic Prince of Wales comes across as a blustering bully with no sense of duty or propriety.

This is a snapshot of a class-ridden Britain that has long disappeared along with the infamous London fogs. It’s not to be missed.

David Kerr

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Film Review: Clash of the Titans

Remakes of well-loved films are often misguided, pointless or unnecessary. Nobody, for example could improve on the original Wizard of Oz, Casablanca or High Noon. That’s not always, true, however. Some remakes build on the original work and bring it to a whole new audience.

I think that’s true of the new version of Clash of the Titans, currently doing the rounds in the cinemas. The story is simple. Mankind has annoyed the gods. Statues of Zeus have been overturned by these ancient Greek versions of Richard Dawkins. Hades is contracted to punish the humans who have dared to defy the gods, although he has an ulterior motive; he wants to supplant Zeus. It’s a bit like the relationship between Yahweh and Satan in the Old Testament book of Job.

Ray Harryhausen’s much loved original was a staple of Sunday afternoon television for many years. It was famous for it’s stop-go models as Perseus took on Medusa the gorgon and a whole host of fabulous creatures in order to save a Greek maiden from a fearsome sea monster.

Today we have computer general images to bring more terrifying monsters to the big screen. The modern Clash of the Titans even comes in 3D bringing a whole new dimension to Perseus’s attempts to kill Medusa without being turned to stone by her gaze. This Medusa really is scary. She caused quite a few cinema patrons to jump in their seats and spill their popcorn.

Full marks, then for this remake but I’m still not sure whether 3D is the next big thing or a passing gimmick. It’s certainly not worth a £2.50 premium. Time will tell.

David Kerr

Dircetor: Louis Leterrier

Run time: 106 minutes

Certificate: 12A

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Film & DVD Review: Gabbeh

Reviewed by Pat Harrington

Gabbeh DVD cover

Click on image to buy this DVD

A Gabbeh is a type of Persian carpet. The pattern of the carpets are drawn from the experiences of the nomadic Gashgai tribe in southeast Iran who weave them. As Mohsen Makhmalbaf explains:–

Should they go across a desert, yellow will appear; should somebody be born a baby will appear and as for a love story, bright merry colours will be used.

The film uses the device of an image of a young girl who appears from the pattern of such a carpet. She tells her love story to the old woman washing the carpet. By her side her husband listens, and sometimes interjects.

Parallel to Gabbeh’s story is that of her uncle Sahayi who has returned to the countryside from the city where he worked as a schoolmaster. Back home he teaches the children of the tribe how to obtain from the flowers the wonderful colours which will help dye the wool of the gabbeh. This produces some of the most beautiful imagery in the film. When Sahayi points to the poppies in the field and draws back his hand it is a vivid red. When he points to the Sky, blue. The underlying ethos of the film is one of a people living in harmony with nature and drawing inspiration from it.

Reading the description of the film and noting the fact that it was in Persian I must confess I was a little daunted. But Gabbeh is not “arty” or boring, it is an unusual and thought-provoking film. Mohsen Makhmalbaf has tried to explain why Iranian films should draw audiences here in the West:–

These audiences are flooded with violent, tough films and are confronted with the same violence throughout their highly mechanical daily lives. That’s why the simplicity and the quietness one finds about these closely linked-with-nature Iranian films attract such audiences.

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