Posts Tagged History

Culture Vulture: 5–11 July 2025

3,310 words, 18 minutes read time.

Culture Vulture is a weekly entertainment guide from an alternative perspective.

This week, the airwaves belong to the dreamers and the rebels. From the symphonic genius of Jeff Lynne to the savage wit of Hunter S. Thompson, the schedule is rich with iconoclasts who did it their own way — and usually better. The BBC rolls out a full evening for ELO, culminating in a triumphant Hyde Park set that glows with retro-futurist joy. On Sunday, Live Aid at 40 casts fresh light on a cultural moment when rock music briefly believed it could save the world — and, for a day, nearly did.

Selections and writing by Pat Harrington.

Saturday 5 July

ELO at the BBC
8:05 PM, BBC Two
This lovingly curated concert compilation draws from the BBC archives to celebrate Electric Light Orchestra’s decades-spanning fusion of classical ambition and pop wizardry.

Mr Blue Sky: The Story of Jeff Lynne and ELO
9:05 PM, BBC Two
A warm and revealing portrait of Jeff Lynne — producer, songwriter, and sonic visionary — told with affection and rare footage.

Jeff Lynne’s ELO: Radio 2 In Concert
10:05 PM, BBC Two
An intimate live set showcasing the enduring musicality of Lynne’s reassembled ELO. Precision meets pop grandeur.

Jeff Lynne’s ELO at Hyde Park
11:00 PM, BBC Two
Lynne’s triumphant return to live performance in front of a massive Hyde Park crowd. Rich in fan favourites and retro magic.

Extras with David Bowie
10:20 PM, BBC U&Dave
David Bowie brilliantly sends himself up in Ricky Gervais’s meta-sitcom. Equal parts cruel and hilarious — a classic cameo.

The Riddle of the Sands
4:40 PM, Talking Pictures, 1979
This slow-burning Edwardian spy tale has aged into something quietly haunting — part naval adventure, part political forewarning. Two Englishmen, Carruthers and Davies, sail into the Frisian coast and stumble upon evidence of covert German military activity. On the surface it’s espionage, but underneath it’s a meditation on empire and insecurity. The film hints at Britain’s naval pride and its looming irrelevance, with paranoia tucked between fog and sandbank.

Released in 1979, its Cold War context adds another layer — old-world gentility shading into modern unease. The economic anxieties surface in the fixation on coastlines, trade routes, and the subtle mockery of amateurish intelligence efforts. Class friction simmers between the polished civil servant and his gruff companion, both shaped by privilege but shadowed by a sense of waning power. Their mission isn’t just to foil a plan — it’s to reckon with the fading grandeur of a system that trained them to look outward but never inward.

The Secret Garden
6:55 PM, Five Star, 1993
This 1993 take on The Secret Garden quietly blossoms into something more than nostalgia. Beneath its painterly aesthetic — dappled light, tumbling ivy, and Yorkshire mist — lies a story about grief, repression, and emotional rebirth.

Mary Lennox, orphaned and shipped from colonial India to a grey English manor, is not just a lonely girl; she’s a child steeped in imperial detachment and emotional silence. Her transformation, driven by the discovery of a walled garden, is both personal and political. The garden isn’t just a metaphor for healing — it’s rebellion against neglect, against the rigid adult world of locked doors and unspoken rules.

Set against the backdrop of Edwardian wealth and class divide, the film lets nature reclaim order. Frances Hodgson Burnett’s themes of ecological renewal and human connection are tenderly preserved, and Agnieszka Holland’s direction lingers on silence as much as dialogue — the unsaid often being the most powerful.

Perfect for a melancholic summer evening, yes — but also for anyone craving a story that gently confronts emotional barrenness with beauty and growth.

Prey
9:00 PM, Film4, 2022
The Predator franchise gets a sharp and satisfying reboot in this lean, atmospheric thriller set in 18th-century North America. Director Dan Trachtenberg strips away the military bombast of earlier instalments, replacing it with something far more elemental — a fight for survival amid sky-wide plains and thick forests.

Told through the perspective of a young Comanche woman (played with fierce intensity by Amber Midthunder), Prey honours Indigenous storytelling while delivering on creature-feature suspense. The predator itself is more primal, less reliant on tech, which makes the contest feel mythic — nature versus nature.

Visually striking and refreshingly grounded, this is one of the most intelligent franchise entries in recent years. It’s also a reminder that blockbuster cinema can still surprise when it trusts its audience — and its characters — to do more than just shoot first.

Oasis: Supersonic
10:00 PM, Channel 4, 2016
More myth than documentary — but what a myth. A swaggering deep-dive into the rise and ruin of Britain’s most volatile band.

King Richard
10:20 PM, BBC One, 2021
At first glance, this might look like another sports biopic — but King Richard goes deeper, exploring family, ambition, and belief in the face of overwhelming odds. Will Smith gives a layered, deeply human performance as Richard Williams, the father and unorthodox coach of Venus and Serena. He’s protective, stubborn, sometimes difficult — but never anything less than compelling.

The film resists easy triumphalism, focusing instead on the grind, the strategy, and the long hours behind the meteoric rise. Director Reinaldo Marcus Green keeps the tone grounded, while Saniyya Sidney and Demi Singleton deliver radiant performances as the young tennis prodigies.

What emerges is less about sport and more about legacy — how dreams are built, brick by brick, by those rarely celebrated. Smith’s Oscar-winning turn anchors a story about determination, faith, and fatherhood, told with warmth and grit.


Sunday 6 July

Live Aid at 40: When Rock Took on the World (1/3)
9:00 PM, BBC Two
The story of how music mobilised global attention, revisiting 1985’s mega-concert with fresh insights and rare footage.

Live Aid at 40: When Rock Took on the World (2/3)
10:00 PM, BBC Two
Continuing the story with a closer look at the politics, personalities, and aftershocks of the most ambitious charity gig in history.

Elton John: Million Dollar Piano
4:40 PM, Sky Arts
A dazzling performance from Elton’s Las Vegas residency — all sequins, keys, and heartfelt hits.

The Remains of the Day
1:45 PM, Film4, 1993
An exquisite study in repression and regret, The Remains of the Day stands as one of Merchant Ivory’s finest achievements. Anthony Hopkins plays Stevens, a butler so consumed by duty and decorum that he fails to recognise love until it’s far too late. Emma Thompson, quietly radiant, is the housekeeper who might have changed his life — had either of them been brave enough to speak plainly.

Set in the shadow of war and the decline of the English aristocracy, the film explores moral blindness with surgical precision. Stevens’s loyalty to a Nazi-sympathising employer becomes a devastating metaphor for all the things he fails to question — until time runs out.

What lingers most is not what’s said, but what’s left unsaid. Every pause, every glance, carries the weight of lives unlived. Gorgeously shot, perfectly acted, and emotionally shattering, this is a film that stays with you long after the final curtain falls.

Hidden Figures
4:25 PM, Film4, 2016
This uplifting drama tells the too-long-ignored story of the Black women mathematicians who helped launch America into space. Taraji P. Henson, Octavia Spencer, and Janelle Monáe shine as three minds at the centre of NASA’s Mercury programme — battling not just gravity, but racism and sexism embedded in every corridor.

The film moves with energy and warmth, balancing technical detail with personal struggle. Director Theodore Melfi never lets the message become heavy-handed, instead trusting the story’s power to speak for itself. It’s a celebration of intellect, perseverance, and sisterhood in the face of systemic exclusion.

Rousing, moving, and refreshingly straightforward, Hidden Figures is more than a history lesson — it’s a call to re-centre who gets credit, who gets remembered, and who makes history happen.

The Fault in Our Stars
8:00 PM, BBC Three, 2014
Based on John Green’s bestselling novel, this teen romance could have easily veered into sentimentality — but instead delivers a surprisingly grounded and emotionally intelligent story of young love in the shadow of terminal illness. Shailene Woodley and Ansel Elgort bring warmth and wit to roles that could have felt overdrawn, letting humour and humanity shine through.

The film doesn’t shy away from pain, but neither does it wallow. It captures that precarious balance between adolescent intensity and the existential weight of mortality, offering a love story that feels more defiant than doomed. Director Josh Boone allows space for silences, side glances, and the small gestures that make big feelings believable.

What emerges is a film that treats its characters — and its audience — with respect. It’s tender without being fragile, heart-breaking without manipulation. Whether you’re seventeen or seventy, it’s hard not to be moved.


Monday 7 July

True History of the Kelly Gang
11:35 PM, Film4, 2019
This wild, unflinching reimagining of Australia’s most notorious outlaw breaks free from traditional biopic constraints. With a style that’s part fever dream, part punk manifesto, True History of the Kelly Gang drenches the screen in blood, grit, and restless rebellion.

Narrated with a chaotic intensity by George MacKay, the film captures Ned Kelly’s transformation from a hunted youth to folk hero with a rawness that’s as unsettling as it is electrifying. The narrative splinters and soars, evoking a fractured, mythic Australia caught between colonial violence and desperate survival.

Director Justin Kurzel doesn’t offer easy answers — instead, he immerses you in a feverish world where history is as much legend as fact, and legend bleeds into revolution. It’s a messy, brutal, and unforgettable cinematic ride.

Atonement
12:00 AM, BBC One, 2007
Joe Wright’s adaptation of Ian McEwan’s novel unfolds as a haunting meditation on the power of storytelling and the consequences of a single lie. Keira Knightley and James McAvoy deliver nuanced performances in a love story fractured by class, misunderstanding, and the brutal sweep of history.

The film’s elegant narrative structure moves fluidly through time, weaving innocence and guilt with devastating precision. From the manicured English estate to the ravages of World War II, the lush cinematography contrasts sharply with the emotional turmoil beneath.

Atonement is a masterclass in mood and morality — a cinematic poem on regret, forgiveness, and the elusive nature of truth. Its final revelation lingers long after the credits roll, challenging how we perceive both fiction and reality.


Tuesday 8 July

Surviving 9/11
9:00 PM, Sky Documentaries
Survivor testimonies reveal the human toll of the September 11 attacks in this moving and clear-eyed documentary.

Eyewitness to History: Norma Percy and Angus Macqueen on The Death of Yugoslavia
10:00 PM, BBC Four
Behind-the-scenes reflections from the creators of one of British TV’s most acclaimed political documentaries.

The Death of Yugoslavia: Internationalism
10:20 PM, BBC Four
A crucial episode that examines the international community’s role in the Balkan conflicts.

The Death of Yugoslavia: The Road to War
11:05 PM, BBC Four
Charting the tragic path from fragile peace to full-scale war in Europe’s post-Cold War collapse.

Gonzo: The Life and Work of Dr. Hunter S. Thompson
10:15 PM, Sky Arts
A vivid and sometimes anarchic look at America’s greatest outlaw journalist, narrated by Johnny Depp.

The Wicker Man
11:00 PM, BBC Two, 1973
A landmark of British folk horror, The Wicker Man balances eerie atmosphere with an unsettling exploration of faith and sacrifice. Christopher Lee commands the screen as Lord Summerisle, a charismatic yet menacing pagan leader whose island community harbours dark secrets.

Edward Woodward’s police sergeant arrives seeking a missing girl, only to find himself ensnared in a ritualistic nightmare that blends folklore, music, and dread. The film’s haunting soundtrack and pastoral beauty heighten its sense of inevitable doom.

Part mystery, part ritual drama, The Wicker Man remains chilling decades on — a slow-burning descent into a world where belief becomes deadly. It’s cult cinema that still feels dangerously alive.


Wednesday 9 July

Plunderer: The Life and Times of a Nazi Art Thief
7:20 PM, PBS America
The extraordinary story of Bruno Lohse, the man behind the Nazi regime’s massive looting of European art.

Poisoned: Killer in the Post (1/2)
9:00 PM, Channel 4
A gripping real-life thriller following a mysterious case of fatal poisonings linked to letters in the post.

Don’t Look Now
12:00 AM, BBC Two, 1973
Nicolas Roeg’s Don’t Look Now is a haunting, atmospheric meditation on grief, memory, and the uncanny. Set against the labyrinthine canals and decaying beauty of Venice, the film follows a couple (Donald Sutherland and Julie Christie) grappling with the sudden loss of their daughter.

The narrative weaves together erotic tension and supernatural dread, creating a mood both sensual and sinister. Roeg’s fragmented editing and richly symbolic imagery immerse the viewer in a world where reality and premonition blur disturbingly.

This is not a conventional thriller but a deeply emotional exploration of trauma and the unknowable forces that shape our lives — a masterpiece of slow-burning unease.


Thursday 10 July

Touch of Evil
12:00 AM, Rewind TV, 1958
Orson Welles’s Touch of Evil is a masterpiece that reshaped film noir with its dizzying camera moves and morally tangled narrative. Set in a corrupt border town between the US and Mexico, the film thrums with tension, double-crosses, and shadowy figures lurking in every frame.

Welles himself plays a morally ambiguous detective, blurring the line between lawman and criminal with magnetic charisma. The film’s signature long take — a breathtaking three-minute tracking shot — remains one of cinema’s most celebrated technical achievements.

Dark, dirty, and intoxicating, Touch of Evil still feels raw and vibrant, a portrait of a world where justice is elusive and corruption seeps into every corner. Noir at its most electrifying..

The Shape of Water
1:05 PM, Film4, 2017
Guillermo del Toro’s The Shape of Water is a fairy tale drenched in longing and strangeness. At once romantic and unsettling, it tells the story of Elisa, a mute cleaning woman who forms a bond with a mysterious amphibious creature held captive in a secret laboratory.

Del Toro blends lush, vintage aesthetics with a deeply human narrative, exploring themes of otherness, love, and connection beyond language. The film’s fairy tale roots are sharp-edged, reminding us that beauty often coexists with danger.

Equal parts magical and haunting, The Shape of Water invites us to listen carefully — to the creatures, the silences, and the hearts beating beneath the surface.


Friday 11 July

The Massacre That Shook the Empire
7:45 PM, PBS America
This documentary confronts a brutal and often overlooked episode of British colonial violence, shedding light on the massacre that shook the foundations of empire and galvanized resistance. Through survivor testimonies and expert analysis, it uncovers the human cost behind the headlines and history books.

Far from distant history, the film connects these events to ongoing struggles for justice and recognition, showing how past atrocities continue to ripple through present-day societies.

Sobering, essential, and unflinching, this is a timely reminder of empire’s darker legacies — and the movements born from its shadows.

Jaws @ 50: The Definitive Inside Story
8:30 PM, National Geographic
Half a century after its release, Jaws remains the quintessential thriller that redefined summer cinema and set the blueprint for the modern blockbuster. This documentary dives deep into Steven Spielberg’s creation, exploring the technical challenges, behind-the-scenes drama, and cultural impact that turned a story about a great white shark into a global phenomenon.

Featuring interviews with cast, crew, and film historians, it uncovers the genius and grit behind the suspense, from the famously malfunctioning mechanical shark to John Williams’s iconic score.

For cinephiles and casual fans alike, this is an essential journey into the making of a movie that still looms large in the collective imagination — terrifying, thrilling, and utterly unforgettable.

High Noon
2:15 PM, 5 Action, 1952
A masterpiece of moral tension, High Noon distils the Western into a tight, relentless allegory of duty, courage, and isolation. Gary Cooper delivers a quietly powerful performance as a marshal standing alone against a vengeful gang, his every minute ticking down with mounting dread.

The film’s real-time pacing heightens the sense of inevitability — a small town’s failure to support its own lawman becomes a reflection on conscience and cowardice that still resonates today.

Simple yet profound, High Noon remains a taut, emotionally charged classic that questions what it means to stand firm when everyone else walks away.

The Shining
11:00 PM, BBC Two, 1980
Stanley Kubrick’s The Shining remains a towering pillar of psychological horror, where the eerie corridors of the Overlook Hotel become a labyrinth of madness and dread. Jack Nicholson’s iconic descent into insanity is both terrifying and hypnotic, embodying a menace that seeps into every frame.

Kubrick’s meticulous craftsmanship — from the unsettling steadicam shots to the chilling score — crafts an atmosphere that’s as claustrophobic as it is expansive, trapping viewers in a nightmare that feels impossibly real.

More than just a ghost story, The Shining explores isolation, family breakdown, and the unseen horrors lurking beneath the surface. Essential viewing for any night owl seeking a true cinematic chill.


STREAMING CHOICES

Leviathan
Available from Thursday 10 July, Netflix
This eagerly anticipated anime brings Scott Westerfeld’s steampunk trilogy to life with stunning animation and a richly imagined alternate 1914. Following Prince Aleksandar, heir to the Austro-Hungarian throne, and Deryn Sharp, a fearless Scottish girl disguised as a boy in the British Air Service, Leviathan combines political intrigue, adventure, and bioengineered airships in a vividly crafted world.

Produced by Qubic Pictures and Studio Orange — renowned for BEASTARS and Trigun Stampede — the series features a score by Nobuko Toda, Kazuma Jinnouchi, and original music by Joe Hisaishi. Westerfeld himself has been closely involved to ensure the anime honours the novels’ spirit while bringing fresh visual and narrative energy.

Whether you’re a fan of the books or new to the story, Leviathan promises a thrilling blend of historical fantasy and cutting-edge animation, perfect for anyone craving epic storytelling with heart and imagination.

History Hit: Gladiator
Available from Thursday 10 July, Netflix
In this gripping documentary series, Dan Snow delves into the brutal world of Roman gladiators, combining expert insight with vivid re-enactments to explore their lives, battles, and the society that both glorified and exploited them.

History Hit: Gladiator brings history to life with a modern lens, connecting ancient spectacles to contemporary themes of power, violence, and survival. Snow’s approachable style and in-depth research make this a compelling watch for history buffs and newcomers alike.

For anyone fascinated by the Roman Empire’s darker, blood-soaked arenas, this series offers a sharp, thought-provoking journey into one of antiquity’s most iconic—and brutal—institutions.

Dexter: Resurrection
First two episodes available from Friday 11 July, Paramount+
The blood-spatter analyst with a dark secret returns once more in this latest revival of the Dexter saga. Picking up where New Blood left off, Dexter: Resurrection dives deeper into the murky waters of morality, identity, and obsession.

Michael C. Hall is back with the familiar mix of charm and chilling detachment, navigating new challenges that blur the lines between justice and vigilantism. The show balances tense thrills with psychological complexity, reminding viewers why Dexter remains a compelling, if controversial, antihero.

Whether you’re a long time fan or curious about the latest chapter, this resurrection promises fresh twists and darker dilemmas in the shadowy world of Miami’s most infamous serial killer.

Walter Presents: Arcadia
All 8 episodes available from Friday 11 July, Channel 4 Streaming
This Belgian dystopian drama imagines a chilling society where citizens are constantly rated for their behaviour, creating a claustrophobic world of surveillance, judgment, and control. Arcadia deftly explores themes of conformity, resistance, and the human cost of living under unrelenting scrutiny.

Beyond its Orwellian trappings, the series is surprisingly emotional, grounded by complex characters whose struggles add depth to the stark, oppressive setting. With tight plotting and atmospheric tension, it keeps viewers hooked while probing timely questions about privacy and social pressure.

For fans of speculative drama that blends political critique with personal stories, Arcadia offers a gripping and thought-provoking binge.

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Analysing “The Communist” Newspaper: Issue 22 Review

543 words, 3 minutes read time.

“The Communist” is an intriguing publication that offers a distinct and thought-provoking perspective on contemporary political and social issues. Issue 22, dated 26th February 2025, delves into a range of significant topics, each analysed through a lens that challenges mainstream narratives.

“The Communist” A thought-provoking read

One of the central discussions revolves around Britain’s financial support for Ukraine. The newspaper raises critical questions about whether the substantial financial aid, amounting to £13 billion so far and a promised £3 billion annually, truly serves the interests of working people in the UK. It contrasts this with the rising cost of living, noting increases in essentials like water, energy, and council tax. This juxtaposition serves as a reminder of how foreign adventures can adversely impact domestic welfare.

The paper also delves into the rise of the Reform Party, exploring why segments of the working class might be drawn to it. Yet, it cautions against the division along racial lines, arguing that such fractures weaken the collective power needed to fight for better economic conditions. This aligns with its broader critique of how societal divisions can distract from economic struggles. It should be noted that thus far the ‘Left’ has had little success in refocusing many working class people in the UK away from a very deep hostility to woke or overcoming a very deep nationalist instinct. My own view is that one problem the ‘Left’ has had in connecting to working class people is their failure to listen to their concerns.

In addressing the concept of “woke,” “The Communist” advocates for rejecting cultural battles in favor of systemic change. It posits that the exploited and oppressed should focus on class struggle against the billionaires and bankers, rather than getting entangled in what it views as a “reactionary war on woke.”

A particularly compelling piece in this issue is the review of Mussolini: Son of the Century. The newspaper highlights how fascists historically rallied the middle class and landowners by exploiting their fears during times of economic crisis and revolutionary turmoil. The review notes Mussolini’s rhetoric, such as “Against the red beast, let us make a ram of all our lives,” to illustrate how fascism can gain momentum by manipulating public anxieties. The conclusion of the review warns not merely of the threat posed by ‘strong’ leaders but rather the fragility of “bourgeois democracy” and how the ruling class, when faced with a choice between socialism and fascism, might favour the latter to protect their own interests. I also reviewed this programme myself and found it deeply insightful. As cuts in services bite in the UK and costs rise we may see a further increase in support for non-mainstream or populist parties and movements. As of now it seems this will favour the ‘Right’ rather than the ‘Left’.

Unfortunately, “The Communist” is not easy to purchase. I obtained my copy at the excellent Housmans bookshop near King’s Cross, and it is also available by subscription (details can be found on the web at communist.red).

In sum, “The Communist” is a publication that challenges readers to think critically about societal structures and the power dynamics within them. It encourages a re-evaluation of priorities, urging a focus on class unity and systemic change over divisive cultural battles. I’ve only just scratched the surface of the articles in this issue, as it offers a wealth of thought-provoking content. Despite its title, the newspaper provides valuable insights that are relevant across the political spectrum, making it a worthwhile read for anyone interested in a deeper understanding of contemporary issues.

By Patrick Harrington

Pat Harrington reviewed Mussolini: Son Of The Century here

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Mussolini: Son of the Century Review

1,016 words, 5 minutes read time.

Introduction: Understanding Italian Fascism

Mussolini: Son of the Century is an audacious exploration of Benito Mussolini’s ascent to power. It is immersive and masterfully directed by Joe Wright. This eight-part series delves deep into the intricate tapestry of early 20th-century Italian politics. It offers viewers a visceral experience. The experience is both enlightening and unsettling.

To fully grasp the significance of the series, it is essential to understand the historical context of Italian Fascism. Fascism was born in the post-World War I turmoil. It emerged as a response to economic instability, social unrest, and the perceived failure of liberal democracy. Mussolini, once a socialist journalist, founded the Fascist movement in 1919, promising national rejuvenation, expansion, and authoritarian stability. The movement rapidly gained traction by exploiting fears of communism and capitalizing on nationalist sentiment.

A Visually Striking and Modernist Interpretation of Italian Fascism

The series distinguishes itself through a striking visual style. It also features a pulsating soundtrack. Together, they evoke the essence of Modernist Italian Fascism. The deliberate use of rapid cuts and dynamic camera movements sets the scene. A techno-infused score adds to this, creating an atmosphere reminiscent of the Futurist movement. This movement celebrated speed, technology, and industrialism. This aesthetic choice immerses the audience in the era’s zeitgeist. It also underscores the allure and danger inherent in Fascist ideology.

Mussolini as the Sole Narrator: An Exercise in Subjectivity

A compelling aspect of the series is its narrative structure. Mussolini, portrayed with uncanny precision by Luca Marinelli, serves as the primary narrator. This approach offers an intimate glimpse into his psyche, ambitions, and justifications. By presenting events from Mussolini’s perspective, the series engages viewers with the seductive nature of his rhetoric. It also challenges them to understand the charismatic pull he exerted on the masses. This narrative choice aligns with the show’s emphasis on “showing” rather than “telling.” It allows audiences to witness the unfolding of history through the dictator’s eyes.

The Role of Luca Marinelli: An Astonishing Performance

Marinelli dominates the screen in nearly every frame of the eight-hour series. He delivers a performance reminiscent of Robert De Niro in Raging Bull. His embodiment of Mussolini is uncanny. This is not just in physical resemblance. It is also in his ability to capture the Italian leader’s gestures, speech patterns, and volatile moods. Marinelli’s Mussolini is both magnetic and repellent, a study in contradictions. He oscillates between calculated intellect and explosive rage, between moments of introspection and primal brutality. This interpretation forces the audience into an uncomfortable position. They are drawn into his charisma. Simultaneously, they recoil from his actions.

The Changing Social Basis of Fascism

The series effectively portrays how the social composition of Mussolini’s support base evolved over time. Fascism initially relied on disgruntled veterans, nationalists, and radicalized workers. Gradually, it found its strongest backing among the lower middle class—shopkeepers, small business owners, and bureaucrats. This shift was crucial in cementing Fascism’s institutional support, as these groups sought stability and protection from socialist movements. By showing this transition, the series demonstrates that Mussolini’s appeal expanded beyond his early revolutionary rhetoric. It reached a broader base of economic self-interest.

The Allure and Horror of Violence

The portrayal of violence in Mussolini: Son of the Century is both graphic and unflinching. Scenes of brutality committed by the Blackshirts are depicted with a raw intensity that is likely to disturb viewers. However, it’s crucial to recognize that such depictions also illustrate violence’s seductive allure. This allure held power for some during this tumultuous period. In the context of early 20th-century Italian politics, violence was a means of asserting power. It was not merely a tool of oppression. It also served to instill unity among followers. The series adeptly captures this duality, prompting viewers to think about the complex interplay between violence and ideology.

Mussolini’s Capitulation to Capitalism

One of the most significant themes depicted in the series is Mussolini’s pragmatic but ultimately self-defeating embrace of capitalism. Initially, Mussolini positioned himself as an anti-establishment revolutionary, promising to dismantle old power structures, including financial elites. Yet, as his movement grew and he consolidated power, he increasingly aligned himself with industrialists and conservative elites. He abandoned his early socialist leanings, favouring policies that bolstered Italy’s capitalist class in exchange for their support. This shift is portrayed with great precision. The series shows that Mussolini relied on corporate backers. This reliance ultimately trapped him in the economic structures he once vowed to upend.

Mussolini’s Reversal on the Catholic Church

Another striking element of the series is how it portrays Mussolini’s relationship with the Catholic Church. Initially a staunch secularist and critic of organized religion, Mussolini later recognized the strategic necessity of appeasing the Vatican. The series highlights the gradual shift in his rhetoric and policy. This shift culminates in the Lateran Treaty of 1929. The treaty granted the Vatican sovereignty and declared Catholicism the state religion of Italy. This capitulation was a calculated move. It aimed to solidify his regime’s legitimacy. Mussolini demonstrated a willingness to abandon ideological consistency. He favored political survival.

Conclusion: The Danger of the Rock Star Dictator

Mussolini: Son of the Century is more than a historical drama. It carries the risk of portraying Mussolini as a rock star. He becomes a rebellious anti-hero with whom audiences may identify. While the series highlights his contradictions, it also presents a charismatic figure whose presence dominates the screen. This is dangerous, as it can foster an admiration for a man who ruled partly through violence and coercion.

It is crucial to understand the savage lure of Fascism. The show successfully conveys the visceral energy of the movement. However, it is equally important to recognize that Fascism did not arise in a vacuum. The weaknesses of Italian democracy enabled Mussolini’s rise. It failed to represent the interests of ordinary people. There was corruption and division. This, more than Mussolini’s personal charisma, is what allowed Fascism to flourish.

By Pat Harrington

Engage with Us

What are your thoughts on Mussolini: Son of the Century? Did the series change your perception of Mussolini and Fascism? Share your opinions in the comments below!

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Culture Vulture (16 -22 March 2024)

3,867 words, 20 minutes read time.

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative viewpoint. With St. Patrick’s Day on Sunday we see a lot of Irish themed programmes this week including The Hunger a fascinating documentary on the Great Famine as well as a lighter emphasis on Irish culture in music, dance and painting. Selections and writing are by Pat Harrington and music is by Tim Bragg.

Saturday 16 March 2024

Dark Victory (1939) 3.10pm BBC2

In this film, socialite Judith Traherne (played by Bette Davis) leads a lavish yet emotionally hollow existence. Her joy lies in horse riding, and her stable master (portrayed by Humphrey Bogart) secretly harbors feelings for her. However, her life takes a dramatic turn when her doctor, Dr. Frederick Steele (played by George Brent), informs her that she has a brain tumor. Distraught but determined, Judith opts for surgery to remove the tumor. Along the way, she discovers love and faces more medical challenges, all while grappling with mortality.

Bette Davis delivers a tour de force performance, infusing the character with energy and life force. The film deftly balances triumph and tragedy, making it a moving exploration of life, love, and resilience. Despite its vintage, Dark Victory remains emotionally effective and skillfully executed, leaving a lasting impact on viewers.

The film’s exploration of mortality and the human desire for connection resonates even today. While it may not match the depth of Akira Kurosawa’s Ikiru, Dark Victory stands as a classic example of Warner Bros.’ women’s melodramas—a genre known for its emotional potency and tearjerker qualities.

Philadelphia (1993) 6.30pm GREAT!movies

Philadelphia indulges in some clichés but compensates with stellar performances and sensitive direction. Tom Hanks delivers an exceptional portrayal of Andrew Beckett, capturing the emotional turmoil of his character. Denzel Washington’s Joe Miller provides a strong counterpoint, emphasizing compassion and justice.

The film’s exploration of AIDS, discrimination, and the fight for equality resonates deeply. Despite its predictable courtroom drama structure, Philadelphia remains a significant milestone in LGBTQ+ cinema. Director Jonathan Demme breaks the ice, addressing a crucial subject of our time.

While some critics find it mediocre, the film’s impact endures, especially considering its 1993 release. It’s a reminder of progress made in LGBTQ+ rights and the importance of empathy and understanding.

Sunday 17 March 2024

Dunkirk (2017) 10pm BBC2

Dunkirk (2017), directed by Christopher Nolan, is a gripping war film that masterfully captures the intensity and desperation of World War II. Here’s a concise review:

The film unfolds during the harrowing events of May 1940 when German forces advanced into France, trapping Allied troops on the beaches of Dunkirk. Amidst relentless air raids and ground assaults, British and French forces orchestrate a daring evacuation. The story revolves around the survival and heroism of soldiers as they await rescue.

Nolan’s direction is nothing short of remarkable. The visuals, sound design, and music blend seamlessly to create an immersive experience. The ticking clock motif adds urgency, emphasizing the soldiers’ race against time. The film’s structure, weaving together land, sea, and air perspectives, keeps viewers on the edge of their seats.

The talented ensemble cast, including Fionn Whitehead, Tom Glynn-Carney, and even musician Harry Styles, delivers authentic performances. Their expressions convey fear, determination, and camaraderie, making the characters relatable.

Dunkirk avoids sentimentality. Instead, it focuses on survival instincts, sacrifice, and the chaos of war. The absence of traditional character arcs heightens the realism. The haunting score by Hans Zimmer amplifies the tension.

The film pays homage to the actual events, honoring the 330,000 soldiers—French, British, Belgian, and Dutch—who were evacuated. It’s a testament to human resilience in the face of adversity.

Dunkirk serves up an emotionally satisfying spectacle, blending technical prowess with a fact-based narrative. Nolan’s best film to date, it leaves an indelible mark on war cinema.

The Hunger: The Story Of The Irish Famine (one of two) 8.35pm PBS America and,
The Hunger: The Story Of The Irish Famine (two of two) 9.40pm PBS America

“The Hunger: The Story of the Irish Famine” is a poignant documentary that commemorates the 175th anniversary of the devastating Irish Famine. Narrated by the esteemed Liam Neeson, this two-part film delves into the origins, development, and enduring legacy of this tragic chapter in Irish history.

The film outlines the social, political, and economic conditions that allowed the Famine to unfold.It charts the initial three years of the crisis in Ireland and Europe, revealing the British government’s response, which initially succeeded but later worsened the situation.

Based on new research, the documentary sheds light on the tragic reality of the 1840s Irish famine. It unveils how the crisis was not only a natural disaster but also a manifestation of class struggle, affecting the most vulnerable segments of society.

The film prompts viewers to reflect on the fallout from relief policies, political ideologies, and religious beliefs. Through candid interviews and historical context, it invites us to confront uncomfortable truths about Ireland’s past.

In this exploration of tragedy and resilience, “The Hunger” serves as a powerful reminder of the human cost of famine and the importance of understanding our shared history.

Jack B. Yeats: The Man Who Painted Ireland 9.30pm Sky Arts

“Jack B. Yeats: The Man Who Painted Ireland” is a captivating documentary that delves into the life and artistry of one of Ireland’s most significant painters, Jack Butler Yeats. Born on August 23, 1871, in London, England, and passing away on March 28, 1957, in Dublin, Ireland, Yeats holds a prominent place in Irish art history. His work spans the 20th century, and his paintings resonate with themes of daily life and Celtic mythology.

The Shamrock Tenors: St Patrick’s Night Concert 10.40pm BBC4cert

“The Shamrock Tenors: St Patrick’s Night Concert” is a harmonious celebration that brings together the soul-stirring voices of the Northern Irish vocal group, The Shamrock Tenors. This enchanting concert, which aired on BBC Four, resonates with the spirit of St. Patrick’s Night and captures the essence of Ireland’s rich musical heritage.

Filmed at Belfast’s Ulster Hall, the concert marks a triumphant return for The Shamrock Tenors. Their international hit show finds its roots in the heart of Northern Ireland, where the melodies echo through the historic venue.

The Tenors’ harmonies blend seamlessly, evoking emotions that transcend borders. Their renditions of traditional Irish ballads, folk songs, and contemporary tunes transport viewers to the emerald landscapes of Ireland.

Literary luminary Colm Tóibín adds depth to the performance. His interviews with the Tenors reveal the stories behind the songs, connecting the music to Ireland’s history, resilience, and enduring spirit.

In this melodic journey, The Shamrock Tenors remind us that music transcends time, borders, and language. Their voices weave a tapestry of tradition, passion, and pride, leaving an indelible mark on the hearts of all who listen. 🍀

The Chieftains: Water From The Well: Live Over Ireland 10.40pm Sky Arts

“The Chieftains: Water From The Well: Live Over Ireland” is a captivating documentary that immerses viewers in the soul-stirring world of traditional Irish music. Let me share some insights about this remarkable musical journey:

Formed in 1962, The Chieftains are legendary ambassadors of Irish folk music. Their unique blend of instruments, including violins, bagpipes, tin whistles, harps, and bodhrán, creates an enchanting tapestry of sound.

In this documentary, the band members return to their roots, traversing the sylvan Irish countryside. They visit churches, pubs, and music schools, sharing their melodies with locals. The backdrop of rolling hills and ancient stone walls adds to the magic.

The concert revolves around their CD release titled “Water From the Well.” The title itself evokes the mystical Hazel trees of Celtic mythology, whose hazelnuts dropped into sacred wells, symbolizing wisdom and inspiration.

Musical Conversations: The Chieftains engage in musical conversations with fellow musicians, celebrating the rich heritage of Irish tunes. Their performances resonate with authenticity, passion, and a deep connection to Ireland’s cultural legacy.

Literary luminary Colm Tóibín provides context and depth. Through interviews, he unveils the stories behind the songs, bridging the gap between tradition and contemporary interpretations.

“The Chieftains: Water From The Well: Live Over Ireland” is a harmonious pilgrimage—a celebration of music, history, and the enduring spirit of Ireland. Whether you’re a seasoned fan or a newcomer, this documentary invites you to immerse yourself in the magic of Irish melodies.

Steps Of Freedom: The Story of Irish Dance 11.40pm BBC4

Steps of Freedom: The Story of Irish Dance” is a mesmerizing documentary that unravels the captivating journey of Irish dance, tracing its evolution from humble origins to a global phenomenon adored by millions.

The documentary delves into the rich history of Irish dance, which began as a simple folk tradition.
From the ritual dances of pagan Ireland to its association with defiant political ideology, Irish dance has weathered storms and stood resilient.

Irish dance has transcended borders, captivating hearts worldwide. Weekly Irish dance classes now thrive in over 60 countries.
Theatre shows draw millions of spectators, and television programs celebrate the rhythmic magic of Irish dance.

The film showcases breathtaking performances by dancers who embody the spirit of Ireland.
Their intricate footwork, synchronized movements, and vibrant costumes weave a tapestry of tradition and passion.

Literary luminary Colm Tóibín provides context and depth, bridging the gap between tradition and contemporary interpretations.
Through interviews, he unveils the stories behind the steps, revealing the soul of Irish dance.

“Steps of Freedom” celebrates not only the artistry but also the resilience, joy, and unity that Irish dance brings.
As dancers leap, twirl, and stomp, they honor centuries of tradition while creating new rhythms for generations to come.

In this rhythmic odyssey, “Steps of Freedom” invites us to tap our feet, feel the pulse of Ireland, and embrace the universal language of dance. Whether you’re a seasoned dancer or a curious observer, this documentary leaves an indelible mark on the heart and soul.

Folk Hibernia At The BBC 12.40pm BBC4

Folk Hibernia at the BBC is a delightful celebration of Irish folk music, drawing from the rich archives of the BBC.

The documentary compiles performances by iconic artists, including The Clancy Brothers, The Chieftains, Christy Moore, The Pogues, and Sharon Shannon.
Their soulful renditions evoke the spirit of Ireland, resonating with audiences across generations.

From lilting ballads to foot-stomping jigs, the program captures the essence of Irish tradition.
Whether it’s the haunting harmonies of The Clancy Brothers or the spirited tunes of The Chieftains, each performance is a musical gem.

Literary luminary Colm Tóibín provides context and depth, bridging folklore with contemporary interpretations.
His interviews reveal the stories behind the songs, connecting us to Ireland’s cultural tapestry.

Picture the warmth of a cozy pub, the clinking of glasses, and the shared joy of music. “Folk Hibernia” transports us to those magical nights.
In this hour-long journey, we sway to the rhythms of Ireland, carried by voices that echo through time. Whether you’re a folk enthusiast or a curious listener, this program invites you to raise a glass and immerse yourself in the heartwarming melodies of the Emerald Isle.

Monday 18 March 2024

Whites Only: Ade’s Extremist Adventure 10pm Channel 4

“Whites Only: Ade’s Extremist Adventure” is a thought-provoking documentary that takes viewers on an eye-opening journey into the heart of Orania, a controversial town in rural South Africa. Here are the key insights from this compelling film:

Created in the 1990s, Orania was established as a “safe haven” for Afrikaners, descendants of white European settlers.
Despite the dismantling of apartheid, Orania remains a “whites only” town, where only white Afrikaners are allowed to live and work.

Journalist and presenter Ade Adepitan ventures deep into Orania, seeking to understand the motivations and perspectives of its residents. His week-long immersion sheds light on the complexities of race, identity, and division.

As the world grapples with increasing divisions, this documentary serves as a mirror, reflecting the cultural, political, and social fault lines within communities. Adepitan’s encounters with Orania’s inhabitants reveal both entrenched beliefs and moments of potential understanding.

“Whites Only: Ade’s Extremist Adventure” prompts viewers to question the legacy of apartheid, the boundaries of tolerance, and the possibility of bridging divides.
Through candid conversations and personal reflections, Adepitan invites us to confront uncomfortable truths.
In this exploration of one of the most racially divided places on Earth, the documentary challenges us to seek common ground, empathy, and a path toward healing.

The Long Good Friday (1980) 11.10pm Film4

The Long Good Friday (1980), directed by John Mackenzie, is a gritty and groundbreaking British crime film that leaves an indelible mark. Here’s a concise review:

The film revolves around Harold Shand (portrayed by Bob Hoskins), a ruthless London gangster with grand ambitions. He aims to orchestrate the largest real estate deal in Europe, fueled by Mafia money from America and the tacit cooperation of the London criminal organization. However, a series of bombings threatens to unravel his carefully laid plans during the crucial Easter weekend.

Harold Shand is a fascinating character—a bundle of contradictions. He’s brutal and sadistic, yet vulnerable and sensitive. Bob Hoskins delivers a powerhouse performance, capturing Shand’s complexities. His interactions with his intelligent mistress, played by Helen Mirren, reveal layers of his personality.

The film unfolds in an indirect manner, weaving seemingly unrelated events. As the plot unravels, we discover the truth behind the bombings. The IRA’s involvement adds an extra layer of suspense. The final shots, focusing on Shand’s face, are haunting.

The Long Good Friday is sharply scripted, reflecting the Thatcher-era political and economic climate. The Docklands area’s emergence as a business hub lends the film an eerie prescience.

This masterfully constructed film combines noir sensibilities with a gripping narrative. Bob Hoskins’s portrayal of Harold Shand remains iconic, making The Long Good Friday a must-watch for crime film enthusiasts

Radioactive (2019) 12.15am BBC2

Radioactive (2019), directed by Marjane Satrapi, delves into the life of the remarkable scientist Marie Curie. Here’s a concise review:

The film chronicles Marie Curie’s journey—from her groundbreaking research alongside her husband, Pierre Curie (portrayed by Sam Riley), to her discovery of the elements polonium and radium. It also explores her personal struggles, including the tragic loss of Pierre and her scandalous affair with colleague Paul Langevin (played by Aneurin Barnard).

Rosamund Pike steps into Curie’s shoes, but unfortunately, the film doesn’t fully harness her talent. Pike’s portrayal remains committed to the cause of scientific advancement, but the script often reduces her to reciting inspirational catchphrases. It’s as if Curie has a string attached to her spine, pulled whenever she needs to deliver a motivational line.

Radioactive champions intelligence and scientific curiosity, but it does so with a heavy hand. The audience is spoon-fed historical context, and even a child creating an atomic model is deemed necessary for comprehension. The film’s foreboding statements about radiation’s potential misuse are equally on-the-nose.

Radioactive falls short of its potential. While Pike’s central performance shines, the storytelling lacks nuance, leaving us with a biopic that doesn’t quite reach critical mass.

Tuesday 19 March 2024

Undergods (2020) 11.10pm Film4

Undergods (2020), directed by Chino Moya, is a haunting trilogy of stories set within a desolate and dilapidated landscape. Here’s a concise review:

Moya utilizes every inch of the screen, delivering a unique viewing experience. The film’s grand visuals, at times reminiscent of constructivist art, serve its purpose well.

A riptide of surrealism runs through the film, with tales that don’t merely interlock but butt into one another. From scavengers in a post-apocalyptic landscape to a shifty stranger claiming to be locked out of an apartment, each story weaves its own strange tapestry.

The surges of Vangelis-like synth propel the characters along their paths, hinting at a dark, unifying destiny. The film’s commitment to originality is heartening.

Undergods deals in metaphors, orbiting around dysfunctional domesticity and satirical business environments. While parody occasionally bogs it down, the overarching story arc connects in weird and unexpected ways.

Undergods is a visionary dystopian anthology that leaves totalitarianism in its surrealist, satirical sights. Released in cinemas and on digital platforms, it’s a film worth exploring.

Just Mercy (2019) 11.15pm BBC2

Just Mercy (2019), directed by Destin Daniel Cretton, is a fact-based legal drama that packs an emotional punch. Here’s a concise review:

The film follows Bryan Stevenson (portrayed by Michael B. Jordan), a passionate lawyer who dedicates his life to fighting injustice. He takes on the case of Walter “Johnny D” McMillian (played by Jamie Foxx), a man wrongly accused of murder and sentenced to death row. As Stevenson delves into the flawed legal system, he confronts racism, corruption, and the struggle for truth.

Michael B. Jordan and Jamie Foxx deliver full-blooded performances. Their chemistry and commitment elevate the film. Foxx’s portrayal of McMillian captures the despair and resilience of a man fighting against a broken system.

Just Mercy sheds light on systemic issues—racial profiling, inadequate legal representation, and the dehumanization of death row inmates. The film’s anger and urgency resonate, especially given its relevance today.

Cretton’s direction, while solid, occasionally lacks ferocity. The film opts for safe choices, which can flatten its impact. However, the emotional finale and Stevenson’s unwavering pursuit of justice leave a lasting impression.

Just Mercy may not break new ground, but it serves as a reminder of the ongoing fight for equality and compassion within the legal system.

Wednesday 20 March 2024

Brighton Rock (1947) 1.10pm Talking Pictures

Brighton Rock (1947), directed by John Boulting, is a gripping British film noir that immerses viewers in a world of fear, sin, and criminal intrigue. Here’s a concise review:

The film is set in the interwar period, amidst the racecourse gangs of Brighton. Pinkie Brown (played by Richard Attenborough), a teenage gangster, takes charge of a protection mob. His ruthless ambition clashes with the established criminal figure, Colleoni (portrayed by Andy Serkis). Pinkie’s troubles escalate when he murders an enemy gangster and becomes entangled with the timid waitress Rose (played by Andrea Riseborough).

Brighton Rock brilliantly captures the seedy, transient allure of Brighton—a town teetering on the edge of decay. The film’s noir aesthetics, shadowy alleys, and the ever-present sea contribute to its brooding atmosphere.

Attenborough’s portrayal of Pinkie is a revelation. His cold, morally compromised character exudes tension and menace. Pinkie’s inner turmoil and twisted sense of destiny are palpable.

The film delves into sin, Catholic guilt, and the struggle for redemption. As Pinkie’s actions spiral, we witness a descent into damnation. The ending, though controversial, leaves an indelible mark.

Brighton Rock remains a classic British noir, anchored by Attenborough’s unforgettable performance. Its exploration of morality, love, and the transient nature of pleasure lingers long after the credits roll.

Thursday 21 March 2024

A Life In Ten Pictures (one of six: Carrie Fisher) 9pm BBC2

“A Life in Ten Pictures: Carrie Fisher” is a captivating documentary that delves into the extraordinary life of the iconic actress and writer, Carrie Fisher. The program presents a unique perspective by showcasing a handful of both iconic and private photos that reveal the sensitive soul behind the famous persona.

Carrie Fisher shot to international stardom as Princess Leia in Star Wars, but her journey was far from straightforward. Beyond the glitz and glamour, her private life was marked by turbulence, tragedy, substance abuse, family challenges, and mental health struggles. These intimate snapshots provide glimpses into her multifaceted existence, capturing moments that shaped her identity and legacy.

Coincidentally, I was recently watching another program featuring Ruby Wax, the renowned comedian and mental health advocate. Little did I realize that Ruby and Carrie were also great friends. It also reminded me what an accomplished writer Carrie was.

A Life in Ten Pictures masterfully weaves together visual storytelling, personal anecdotes, and historical context to honor Carrie Fisher’s enduring impact on popular culture. Whether you’re a devoted fan or simply curious about the woman behind the iconic Leia, this documentary is a must-watch.

Villain (1971) 10.15pm Talking Puctures

Villain (1971), directed by John Boulting, is a gripping British crime thriller that immerses viewers in the seedy underbelly of 1970s London. Here’s a concise review:

The film follows the psychopathically violent gangster Vic Dakin (portrayed by Richard Burton). Vic runs a criminal enterprise in west London and is tempted to venture into armed robbery. His ruined handsomeness, angle-grinder voice, and death mask of hostility make him uniquely disturbing.
Performances: Richard Burton’s lip-smackingly gruesome portrayal of Vic Dakin is a masterclass in nastiness. His sneering contempt and brutality leave an indelible mark. The rest of the cast, including Nigel Davenport, TP McKenna, and Ian McShane, form a mouth-wateringly ripe buffet of character-acting talent.
Themes and Influences: Villain weaves elements of corruption, violence, and the creepy ruling class. It draws inspiration from real-life cases, including the Profumo affair. The film’s unflinching portrayal of sexuality and homosexuality adds to its gritty authenticity.

Villain stands alongside the better-known Get Carter as a classic British crime thriller. Its unapologetic brutality and Richard Burton’s unforgettable performance make it a stand out film.

Friday 22 March 2024

And finally, The Wife (2017) 12.30am BBC1

The Wife (2017), directed by Björn Runge, features an unforgettable performance by Glenn Close. Here’s a concise review:

The film revolves around Joan Castleman (played by Glenn Close), the seemingly perfect wife of Nobel prize-winning author Joe Castleman (portrayed by Jonathan Pryce). As they travel to Sweden for Joe’s Nobel ceremony, secrets and tensions unravel.

Close’s portrayal of Joan is unnervingly subtle and unreadably calm. She simmers with self-control, revealing layers of marital pain and deceit. It’s a career-best performance.

The Wife delves into the sexual politics of prestige, literary ambitions, and the sacrifices made within a marriage. Christian Slater’s insidious journalist adds tension.

The Wife relies on Glenn Close’s power to drive home its story, leaving a lasting impact.

Picture Credits

Dark Victory (1939)
By http://www.movieposterdb.com/poster/94189217, Fair use, https://en.wikipedia.org/w/index.php?curid=7200777
Philadelphia (1993)
May be found at the following website: http://www.impawards.com, Fair use, https://en.wikipedia.org/w/index.php?curid=8005206
Dunkirk (2017)
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=51683157
The Hunger: The Story Of The Irish FamineBy James Mahony – http://seanduke.com/2011/08/08/is-there-a-genetic-memory-of-the-irish-famine-the-holocaust/, Public Domain, https://commons.wikimedia.org/w/index.php?curid=24088245 – The scene at Skibbereen, west Cork, in 1847. From a series of illustrations by Cork artist James Mahony (1810–1879)
Jack B. Yeats: The Man Who Painted Ireland
By Alice Boughton – Smithsonian Photography Search, Public Domain, https://commons.wikimedia.org/w/index.php?curid=5153787
The Chieftains
By Maelor – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=4557568
Flag of Oriana
By Vectorebus – https://orania.co.za/, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=78030530
The Long Good Friday (1980)
Fair use, https://en.wikipedia.org/w/index.php?curid=14847458
Radioactive (2019)
By CineMaterial, Fair use, https://en.wikipedia.org/w/index.php?curid=61869325
Just Mercy (2019)
By The poster art can or could be obtained from Warner Bros. Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=62555909
Brighton Rock (1947)
By The poster art can or could be obtained from Charter Films., Fair use, https://en.wikipedia.org/w/index.php?curid=24525044
Carrie Fisher
By Riccardo Ghilardi – Crop of File:Actress Carrie Fisher © Riccardo Ghilardi photographer.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=55103929 – This file has been extracted from another file, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=56867189
Villain (1971)
Derived from a digital capture (photo/scan) of the VHS or DVD Cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the film company or the artist. Claimed as fair use regardless., Fair use, https://en.wikipedia.org/w/index.php?curid=26538848
The Wife (2017)
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=55237222

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FDR Miniseries: Immersive Depiction of FDR’s Triumphs and Trials

FDR in real life

451 words, 2 minutes read time.

The three-part miniseries “FDR” stands out as an extraordinary portrayal of Franklin D. Roosevelt’s life, seamlessly blending historical accuracy, captivating performances, and breath-taking cinematography. Christian McKay’s portrayal of FDR captures his charisma, resilience, and unwavering determination during pivotal moments in American history.

The series delves into FDR’s leadership during tumultuous times, effectively illustrating the impact of his decisions. Notably, it showcases FDR’s efforts to prepare a reluctant nation for World War II, navigating through key moments like the attack on Pearl Harbor. The series expertly portrays FDR’s resolve and visionary leadership during this defining period.

What sets “FDR” apart is its reliance on dramatizations based on letters and diaries, providing an intimate perspective on FDR’s personality. Interactions with Eleanor Roosevelt and Winston Churchill humanize the statesman, revealing the complexities of his character.

The cinematography deserves special mention, transporting viewers to iconic locations like the Oval Office and wartime strategy rooms. Coupled with sparing yet impactful reenactments, it enhances the storytelling, immersing the audience in the historical narrative.

A central theme is the significance of FDR’s legacy, prompting viewers to reflect on the sacrifices, the weight of leadership, and the enduring impact on the nation. FDR’s triumphs and struggles, presented with nuance, serve as a powerful reminder that leadership is often forged in adversity.

“FDR” transcends the conventional documentary, acting as a living time capsule. Whether you’re a history enthusiast or intrigued by the man who shaped modern America, the series offers an immersive experience. The sepia-toned past comes to life, allowing viewers to witness the triumphs and trials of a truly remarkable leader.

In comparison to other historical documentaries or dramas, “FDR” stands out for meticulous attention to detail, compelling performances, and a nuanced exploration of FDR’s legacy. It goes beyond a mere retelling of events, providing a rich and immersive experience that resonates with both history buffs and casual viewers alike. At its core is McKay’s remarkable portrayal of FDR, capturing the essence of a leader who guided America through tumultuous times, defining an era. The series draws strength from dramatizations based on letters and diaries, offering an intimate glimpse into FDR’s personality, from sociability and optimism to strategic brilliance. As Hitler’s shadow looms over Europe, FDR faces the task of preparing a reluctant nation for war, showcasing his unwavering resolve and visionary leadership. The series confronts the complexities of Roosevelt’s legacy, prompting viewers to ponder the sacrifices and the profound impact on a nation. “FDR” transcends documentary boundaries, acting as a living time capsule for those intrigued by the man who shaped modern America.

Reviewed by Pat Harrington

Picture credit:

FDR
By Photograph: Leon PerskieScan: FDR Presidential Library & Museum – CT 09-109(1), CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=71911951

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Caesar’s Legacy Uncovered: A BBC Docudrama

Julius Caesar

1,034 words, 5 minutes read time.

“Julius Caesar: The Making of a Dictator” is a captivating three-part docudrama series produced by the BBC. It delves into the extraordinary rise and fall of Julius Caesar, the renowned Roman general and political leader, and his profound impact on history. Through a combination of dramatic re-enactments and insightful commentary, the series paints a vivid picture of Caesar’s ambitious journey, intricate plots, strategic alliances, and remarkable conquests. These tumultuous events unfold against the backdrop of the Roman Republic’s final 16 years after a 500 year run.

The documentary draws upon the expertise of notable historians and commentators, including Tom Holland, Rory Stewart, Jonathan Evans, Shelley Haley, and Shami Chakrabarti.

All are qualified to speak on this subject. Tom Holland is a historian and author who has written extensively on the ancient world. He is known for his works such as “Rubicon: The Triumph and Tragedy of the Roman Republic” and “Dynasty: The Rise and Fall of the House of Caesar”. Rory Stewart is a former British politician, diplomat, and soldier who has served in various capacities in the British government and military. Jonathan Evans is a former head of MI5, the United Kingdom’s domestic intelligence agency. Shelley Haley is a professor of Africana studies and Classics at Hamilton College in New York state. Shami Chakrabarti is a former director of the civil rights advocacy group, Liberty.

By providing diverse perspectives, they offer valuable insights into Caesar’s character and his enduring legacy albeit within a similar theme.

While the series does draw parallels between Caesar and modern-day populism, some may argue that it occasionally leans too heavily into this comparison. The portrayal of Caesar as a populist and the comparisons made between him, Donald Trump, and Jair Bolsonaro might feel heavy-handed to certain viewers.

One aspect that could benefit from further exploration is the chaos that characterized the final years of the Roman Republic. This understanding is crucial for comprehending Caesar’s potential motivations. It is important to question the assumption made by the documentary that Caesar was always inclined towards establishing tyranny. In reality, Caesar, a military leader, aimed to restore order in Rome and, arguably, safeguard the interests of the people against entrenched powers.

Contrary to the series’ implications, Caesar often upheld the law and actively pursued reforms within the Roman legal system. For instance, he opposed executing the Catilinarian conspirators because Roman law did not allow for the execution of citizens. In taking such a stance, he displayed adherence to tradition and the constitution. It is noteworthy that it was the Senate aristocrats who sought retribution at the expense of tradition and the law.

In a move exemplifying the complexity of Caesar’s actions, he resigned as sole Consul in October 45 BC and facilitated the election of two successors for the remainder of the year. By doing so, he ostensibly restored the customary Consulship, as the constitution did not recognize a single Consul without a colleague. This manoeuvre invites multiple interpretations and highlights the intricacies of Caesar’s motives. At times, it appears as though he was devoted to undermining the constitutional traditions of the Republic, while at other times, his intentions seem less clear.

During his dictatorship from 49 to 44 BC, Caesar enacted a series of constitutional reforms that arguably benefited the Roman populace. Two noteworthy examples include relieving debt by cancelling a portion of the interest owed on loans and offering grain supplements to the people of Rome. The latter measure aimed to incentivize larger families and potentially bolster the Roman army’s manpower.

One aspect where the documentary excels is its focus on Caesar’s subversion of the magisterial system. By increasing the number of annually elected magistrates, Caesar created a substantial reservoir of experienced individuals, allowing him to reward his supporters. However, this transformation also weakened the authority of individual magistrates and their respective colleges. This is just one example of how Caesar gradually drew power to himself and weakened the traditional checks and balances of the Republican system. Though in each specific case his motives are complex.

The series consistently emphasizes the perils of populism and highlights the importance of adopting caution when confronted with leaders who challenge the established political elite. While it is true that Caesar sometimes bypassed the aristocratic Senate by directly appealing to the people with proposed bills, this approach is not intrinsically morally flawed. Nevertheless, it did contribute to the escalating tension between Caesar and the Senate.

Rory Stewart’s portrayal of Cato as a principled martyr is undoubtedly captivating. However, it is equally important to acknowledge the challenges stemming from Cato’s unwavering inflexibility. For instance, when Pompey proposed a marital alliance between one of Cato the Younger’s nieces and Pompey’s son, Cato erred in rejecting the proposal. Although the series briefly acknowledges this misjudgement, it fails to deeply explore how the reactions of Cato and other opponents influenced Caesar’s increasingly aggressive stance.

It is worth contemplating whether the relentless efforts made by Cato and others to prosecute Caesar and obstruct his policies and laws played a significant role in shaping Caesar’s response. Feeling cornered and faced with constant challenges, Caesar may have felt compelled to adopt a more assertive approach to safeguard his interests and maintain his position of power.

Moreover, the turbulent times in which Caesar lived cannot be overlooked. Supporters of the Republic also frequently resorted to violence as a political tool. While the series portrays Caesar as a despot, it is crucial to consider the counterargument. Caesar made efforts to prevent state executions of Roman citizens in accordance with the law and reached out to former enemies and adversaries after his war with Pompey. Consequently, Caesar emerges as a significantly more complex figure than the series suggests, underscoring the importance of considering all facets of his character and legacy.

Overall, “Julius Caesar: The Making of a Dictator” is an engrossing and informative series that offers a fresh perspective on one of history’s most influential figures. Although the presentation may occasionally lean towards a one-sided view, it undeniably provokes thought and fosters a deeper understanding of this fascinating historical era.

Julius Caesar: The Making of a Dictator is available on BBC iPlayer.

Reviewed by Pat Harrington

Picture credit

Public Domain, https://commons.wikimedia.org/w/index.php?curid=91281949

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Barbarossa: The Russian German Conflict 1941-1945

By Alan Clark

(Published by Weidenfeld and Nicolson, 1964, 1995, 2001)

As we pass the 22nd of June 2023,  and the 82nd anniversary of the launch of Operation Barbarossa, the invasion of the Soviet Union by Nazi Germany, an event that sparked the most bloody, barbaric and titanic military struggle in world history, I thought I would share a few reflections on my recent reading of Alan Clark’s history of the conflict, which was first written in 1964.

Clark was that very rare beast, a Tory M.P who I liked and respected. I well remember enjoying the 1993 television documentary Love Tory, which included details, with the full compliance of Clark and his long-suffering wife Jane, of his tangled sex-life, including dalliances with the wife of a top South African judge, as well as their two daughters, a trio referred to as ‘The Coven’ by Jane. The posthumous television dramatisation of his diaries, for along with Tony Benn, Clark was perhaps the greatest British diarist of the post-war period, starring John Hurt, was also highly entertaining.

As regards his private life, I suppose he had much in common with Boris Johnson, though he was much more likable. Plus, he lived in an actual castle, complete with drawbridge and moat. No ‘man of the people’ affectations from Alan. Though not a fully-fledged aristocrat, he was certainly, like Johnson, born with the proverbial silver spoon, his father being the leading art historian Sir Kenneth Clark, who wrote and presented, the 1969 BBC series Civilisation, a comprehensive history of western art, which is rightly seen as a landmark of British television. Henceforth, he would always be referred to by the impressive sounding title of Lord Clark of Civilisation.

Again, like Boris, Clark Jr often had a tangential relationship with the truth, his admission that he may have been ‘economic with the actualite’ temporarily bringing a whole new Anglo-French term into popular usage, following some dodgy dealers during his time at the Ministry of Defence. Somehow, his natural charm allowed him to get away with these personal and political misdemeanours. Clark was also a genuine maverick and free-thinker in a way that the arch-globalist Johnson would like to think he is, but simply isn’t.

I love the story of how, after Thatcher, who he, to his detriment greatly admired, (and to the point of sexual attraction: he once compared her to Eva Peron, though I can’t see it myself), had narrowly failed to secure enough votes to prevent a second ballot when challenged for the Conservative Party leadership and thus the post of Prime Minister, by Michael Heseltine in the autumn of 1990, he was one of the long parade of Tory dignitaries who were called into Number Ten Downing Street one by one to offer advice as to her future course of action. Almost to a man (and they were almost all men) they told her that her support amongst the parliamentary party, at a time when Conservative M.P’s alone decided who should lead the party, was collapsing, and she should therefore resign immediately. Clark, looking at the issue as a historian rather than as a practical politician, offered a contrary view: ‘You should stand,’ he told her. ‘Of course, you shall lose, but it will be magnificent!’ Sadly, Thatcher ignored this advice, and we were thus denied the enjoyment of Maggie’s final bunker-like denouement.

Even more, I will always love Clark for his very last speech in the House of Commons in 1999 when, after fruitless surgery, suffering from a brain tumour he knew would soon kill him, he was one of the few voices in British politics to denounce the then ongoing NATO bombing of Belgrade (and those who tell you that the current Russo-Ukraine conflict is the first major war in Europe since the 1940’s conveniently forget the deliberate destruction of socialist Yugoslavia by the western powers), calling the Serbs ‘a brave Christian people who have never injured, nor so much as threatened a British citizen.’

He was also an active supporter of animal rights, and thus opponent of blood sports, again, a rarity amongst members of the upper echelons of the Conservative Party.

So, I’ve long been a fan of Clark. I was, however, only dimly aware he was an accomplished military historian; and I admit that military history is not and never has been my usual reading matter. I therefore approached the 474 pages of Barbarossa, not counting Appendices, with some trepidation, fully accepting the possibility that it may join the list of the books on my bookshelves that sit there for years with a makeshift bookmark placed somewhere between their pages, before it becomes time for another space-creating cull and a trip to the near-by charity shop with a series of bin-liners attached to our shopping trolley.

But finish Barbarossa I did, and I found it to be a gripping read from first page to last. In fact, I enjoyed it so much that I intend to seek out a copy of his earlier, and more widely-known book, The Donkeys: a history of the BEF in 1915, about the struggle on the Western Front in World War One, a book that has done much to shape our view of that conflict.

When it comes to mass casualties, the figures for the battles for territory between the Allied and the Central Powers from 1914 to 1918 pale into virtual insignificance when compared against the war between Nazi Germany and the Soviet Union, which began less than a quarter of a century after Revolution had led to Russia’s early exit from ‘The War to End All Wars.’ This latter war was not so much a war for territory, though the Red Army and Soviet people were of course defending their homeland from invading forces, but a war of annihilation. Hitler’s racial theories, which treated the Slavic peoples, like the Jews, as under-mensch, literally sub-humans, whose fate and suffering was therefore of no consequence, made this inevitable. Their lands, including those of the highly fertile Ukraine, and it’s worth noting that Barbarossa is replete with the names of battlefields which are once again regularly appearing on our news outlets, were, once its inhabitants had been erased from the face of Earth, to be re-settled by those of the best National Socialist racial-stock, by the members of the SS and their families, with their head Heinrich Himmler openly musing that within a few generations nobody would care, or perhaps even know, that these geographical areas had ever been anything but Germanic/Nordic settlements.

Clark is unstinting in his descriptions of the brutality of the conflict, for which he rightly blames, primarily, Nazi racial theories. Like others before and since, he notes that their fanatical anti-Slavic views probably hampered rather than helped the German war effort. A more compassionate attitude to the inhabitants of the newly conquered territories during the first six months of the war as the Wehrmacht swept all before it, and seemed destined for the early victory that Hitler expected, may have won over large sections of local populations hostile to Stalin. In Ukraine, the Holodomor famine, which, rightly or wrongly, was widely perceived as being the result of a deliberate policy of the Soviet government as part of Stalin’s drive to ;‘eliminate the Kulaks as a class,’ was still a recent event, having occurred barely a decade earlier; and the Baltic countries, Latvia, Lithuania and Estonia, had only, forcibly, been incorporated into the Soviet Union a year before the Nazi invasion. Of course, some members of the population did voluntarily sign up for the National Socialist cause, and in some areas the advancing German forces were initially welcomed as liberators. But the Nazi treatment of the peoples’ of these seemingly vanquished nations, the casual destruction of entire villages, the rape and murder of women and children, the use of the men-folk as slave labour for the Reich, ensured that in the main the Nazi advance was met by fanatical resistance, from both the Red Army and from rapidly formed ‘Workers Battalions’, resistance that within a few months, as shown in letters home that are referenced by Clark, already had the rank and file of the Wehrmacht opining that they were fighting not under-mensch as their leaders had promised, but rather uber-mensch, supermen (and women) who were prepared to continue to fight on fearlessly with hands, feet and teeth, even after their last round of ammunition had been spent.  

As well as thrilling, and disturbing, Clark’s account is well balanced. For one thing, he openly admires the fighting qualities and courage of the ordinary soldiers on both sides of the conflict.  And as well as powerfully invoking the atrocities committed by the Nazis, he also, towards the end of the book, addresses the issue of the violent excesses of the Red Army, particularly when it breached the borders of the Reich itself from 1944 onwards, including the well documented mass rape of German women. But, as he points out, these excesses were an ad-hoc, though brutal affairs, where individual soldiers and units did what conquering warriors, filled with the adrenalin of victory in battle have always done, took their fill of revenge and the spoils of war. This is not, Clark makes clear, to excuse these actions. But it was of a different order to the actions of the Nazis, whose ideology led them to see the destruction of entire races of people as not only justifiable in times of war, but as desirable in and of itself. There was no ideological; justification for the rape of German womanhood by Soviet soldiers, and we at least have instances, though not enough, of such departures from the norms of socialist morality being swiftly and severely punished by the political commissars of the CPSU, when and if such actions became known to them.

Without explicitly stating the case, which might have proved difficult for such a firm believer in Thatcherite ‘free’ market economics, Clark’s account of the vital industrial dimension of the conflict reveals the superiority, at least in times of war, of Soviet centralised planning over the rather chaotic mish-mash that operated in the Third Reich, at least until the belated, too belated, embrace of ‘Total War’ which was signalled by Goebbels following the catastrophic defeat at Stalingrad in early 1943. Despite massive early losses, in machinery as in human life, the Soviet Union, with workers often dismantling entire plants and transporting them eastwards as they were forced to retreat, were soon turning out weapons of war on a scale that the German economy was never able to match, even with the vast resources of slave labour that their victories afforded them access too. It is also a historical fact, though it is beyond the scope of Clark’s book, that the British coalition government under Churchill succeeded in committing more of the industrial capacity of the UK to the needs of war than was managed by the Nazi regime in Germany, largely because Churchill sensibly left economic matters mainly to his temporary Labour Party partners. Hitler’s ideological aversion to the idea of women working, still less fighting, again until too later in the war, was also a factor, albeit one of many, in their eventual defeat.

It wasn’t only a question of bare numbers when it came to the Soviets production of the material needs of war either. These were weapons of a very high calibre. Clark shows very well, from the point of view of the ordinary German soldier as well as of the military High Command and the Nazi leadership, the initial shock when their seemingly invincible Panzer divisions first encountered, during the first great Soviet counter-offensive of December 1941, the brand-new Russian T-34 tanks. For a Wehrmacht whose morale was already being sapped by their first Russian winter, for some of them the first of four, for which they were ill-prepared both psychologically and in terms of clothing and equipment, this was final confirmation, if any was needed, that the USSR was not France.

Indeed, Clark expresses the opinion that even if there had been no Western Front, if this had been a straight fight between the Soviet Union and Germany, such was the terrain, the climate, and the vast reserves of manpower and resources at the disposal of the former, ultimately the Red Army and their civilian axillaries would still have triumphed, or at the very least fought the Wehrmacht to a bloody stalemate.

If he were alive today, I believe Alan Clark would, as German tanks once more burn on the Steppes of Ukraine, be strongly warning Europe of the folly in following the United States in risking an escalation of the current war in the into a wider conflict between Russia and NATO.

The Donkey’s was seen as ‘Revisionist’ history when it was first published, though its central thesis of brave warriors being needlessly slaughtered through poor leadership, on both sides, is now standard. Barbarossa too does not always follow the received wisdom, either of the time it was first published or of the present day. This is particularly true in Clark’s assessment of Hitler as a military leader. Most historians see the German Fuhrer as an untrained dilettante whose military meddling’s severely damaged the cause of the Wehrmacht’s campaign in the East, perhaps even costing it victory through his decision to divert the main thrust of his forces towards the oil fields of the Caucuses, rather than making straight for Moscow late in 1941. Clark’s view is that military commanders are generally more cautious than they need to be, that Hitler’s contrary elan was usually more successful than would have been the actions advised by his Field Marshal’s and Generals, and that in disputes between the Nazi leader and the German High Command, Hitler was in general more often right than wrong. On the question of Moscow, he points out that such was the level of resistance mounted by almost the entire population in the major cities of Russia, there is no guarantee that German forces would have triumphed there any more easily than they triumphed at Leningrad or Stalingrad. All that can be said with certainty about an early Battle for Moscow, according to Clark, is that its result, whichever way it went, would likely have ended the war much earlier than it did eventually end.

Clark also addresses the standard ‘Mad Dictator’ thesis, showing through excerpts from the regular, eventually nightly, military conferences, that apart from in the very last weeks of the war, when he had become completely delusional, moving now largely none-existent Divisions around his map in his bunker conference room, Hitler remained completely rational throughout hostilities. He wasn’t always right, but based on the available transcripts, the military decision-making of Hitler, that ‘terrible-titan’ as Clark describes him, was based on rational, understandable, sound logical reasoning.

There is less about Stalin in the book, I suppose because less is known, or at least was known at the time it was written, about Stalin’s role in the leadership of his armed forces. He does praise the Soviet leader’s foresight and guile in keeping back reserves for future use even when it seemed there would be no future in which to use them. But all in all, it seems, despite his purge of the leadership of his armed forces before the war, once it began, unlike Hitler, he was prepared to leave military matters to the experts. Any political threat his Generals might pose could be dealt with as and when required, as of course happened with the Soviet Union’s greatest of all military leaders, Marshall Zhukov, who was initially acclaimed a Hero of the USSR, then disgraced, then rehabilitated, before finally ending his days quietly and modestly, once more out of favour with the Soviet leadership. In the Soviet Union, unlike in Germany, no old-school military establishment managed to sustain itself through the years of totalitarian dictatorship. A Soviet equivalent of the July 1944 bomb plot against the head of the Party and the Nation, would have been unthinkable.

The conflict which began on June 22nd 1941 was, as already stated, the most brutal and titanic conflict in the history of warfare. It takes a great book to covey, even in the smallest way, some inkling of what it must have been like to have been involved, and even to live through it was to be involved, in that conflict. It also takes a great book to make the minutiae of military tactics and the hardware produced and deployed in pursuit of victory exciting to a reader, like me, who has little experience of reading of such matters. In Barbarossa Clark succeeds on both counts, as well as conveying superbly the vital and fascinating political and industrial dimensions of the struggle.  Magnificent, to use one of Clark’s favourite words.

And for anybody who has fond memories of the author as a political speaker, the voice throughout these thrilling pages is unmistakably that of the late, great Alan Clark.

Anthony C Green, June 2023

Barbarossa: The Russian German Conflict 1941-1945

By Alan Clark

(Published by Weidenfeld and Nicolson, 1964, 1995, 2001)

As we approach the 22nd of June 2023,  and the 82nd anniversary of the launch of Operation Barbarossa, the invasion of the Soviet Union by Nazi Germany, an event that sparked the most bloody, barbaric and titanic military struggle in world history, I thought I would share a few reflections on my recent reading of Alan Clark’s history of the conflict, which was first written in 1964.

Clark was that very rare beast, a Tory M.P who I liked and respected. I well remember enjoying the 1993 television documentary Love Tory, which included details, with the full compliance of Clark and his long-suffering wife Jane, of his tangled sex-life, including dalliances with the wife of a top South African judge, as well as their two daughters, a trio referred to as ‘The Coven’ by Jane. The posthumous television dramatisation of his diaries, for along with Tony Benn, Clark was perhaps the greatest British diarist of the post-war period, starring John Hurt, was also highly entertaining.

As regards his private life, I suppose he had much in common with Boris Johnson, though he was much more likable. Plus, he lived in an actual castle, complete with drawbridge and moat. No ‘man of the people’ affectations from Alan. Though not a fully-fledged aristocrat, he was certainly, like Johnson, born with the proverbial silver spoon, his father being the leading art historian Sir Kenneth Clark, who wrote and presented, the 1969 BBC series Civilisation, a comprehensive history of western art, which is rightly seen as a landmark of British television. Henceforth, he would always be referred to by the impressive sounding title of Lord Clark of Civilisation.

Again, like Boris, Clark Jr often had a tangential relationship with the truth, his admission that he may have been ‘economic with the actualite’ temporarily bringing a whole new Anglo-French term into popular usage, following some dodgy dealers during his time at the Ministry of Defence. Somehow, his natural charm allowed him to get away with these personal and political misdemeanours. Clark was also a genuine maverick and free-thinker in a way that the arch-globalist Johnson would like to think he is, but simply isn’t.

I love the story of how, after Thatcher, who he, to his detriment greatly admired, (and to the point of sexual attraction: he once compared her to Eva Peron, though I can’t see it myself), had narrowly failed to secure enough votes to prevent a second ballot when challenged for the Conservative Party leadership and thus the post of Prime Minister, by Michael Heseltine in the autumn of 1990, he was one of the long parade of Tory dignitaries who were called into Number Ten Downing Street one by one to offer advice as to her future course of action. Almost to a man (and they were almost all men) they told her that her support amongst the parliamentary party, at a time when Conservative M.P’s alone decided who should lead the party, was collapsing, and she should therefore resign immediately. Clark, looking at the issue as a historian rather than as a practical politician, offered a contrary view: ‘You should stand,’ he told her. ‘Of course, you shall lose, but it will be magnificent!’ Sadly, Thatcher ignored this advice, and we were thus denied the enjoyment of Maggie’s final bunker-like denouement.

Even more, I will always love Clark for his very last speech in the House of Commons in 1999 when, after fruitless surgery, suffering from a brain tumour he knew would soon kill him, he was one of the few voices in British politics to denounce the then ongoing NATO bombing of Belgrade (and those who tell you that the current Russo-Ukraine conflict is the first major war in Europe since the 1940’s conveniently forget the deliberate destruction of socialist Yugoslavia by the western powers), calling the Serbs ‘a brave Christian people who have never injured, nor so much as threatened a British citizen.’

He was also an active supporter of animal rights, and thus opponent of blood sports, again, a rarity amongst members of the upper echelons of the Conservative Party.

So, I’ve long been a fan of Clark. I was, however, only dimly aware he was an accomplished military historian; and I admit that military history is not and never has been my usual reading matter. I therefore approached the 474 pages of Barbarossa, not counting Appendices, with some trepidation, fully accepting the possibility that it may join the list of the books on my bookshelves that sit there for years with a makeshift bookmark placed somewhere between their pages, before it becomes time for another space-creating cull and a trip to the near-by charity shop with a series of bin-liners attached to our shopping trolley.

But finish Barbarossa I did, and I found it to be a gripping read from first page to last. In fact, I enjoyed it so much that I intend to seek out a copy of his earlier, and more widely-known book, The Donkeys: a history of the BEF in 1915, about the struggle on the Western Front in World War One, a book that has done much to shape our view of that conflict.

When it comes to mass casualties, the figures for the battles for territory between the Allied and the Central Powers from 1914 to 1918 pale into virtual insignificance when compared against the war between Nazi Germany and the Soviet Union, which began less than a quarter of a century after Revolution had led to Russia’s early exit from ‘The War to End All Wars.’ This latter war was not so much a war for territory, though the Red Army and Soviet people were of course defending their homeland from invading forces, but a war of annihilation. Hitler’s racial theories, which treated the Slavic peoples, like the Jews, as under-mensch, literally sub-humans, whose fate and suffering was therefore of no consequence, made this inevitable. Their lands, including those of the highly fertile Ukraine, and it’s worth noting that Barbarossa is replete with the names of battlefields which are once again regularly appearing on our news outlets, were, once its inhabitants had been erased from the face of Earth, to be re-settled by those of the best National Socialist racial-stock, by the members of the SS and their families, with their head Heinrich Himmler openly musing that within a few generations nobody would care, or perhaps even know, that these geographical areas had ever been anything but Germanic/Nordic settlements.

Clark is unstinting in his descriptions of the brutality of the conflict, for which he rightly blames, primarily, Nazi racial theories. Like others before and since, he notes that their fanatical anti-Slavic views probably hampered rather than helped the German war effort. A more compassionate attitude to the inhabitants of the newly conquered territories during the first six months of the war as the Wehrmacht swept all before it, and seemed destined for the early victory that Hitler expected, may have won over large sections of local populations hostile to Stalin. In Ukraine, the Holodomor famine, which, rightly or wrongly, was widely perceived as being the result of a deliberate policy of the Soviet government as part of Stalin’s drive to ;‘eliminate the Kulaks as a class,’ was still a recent event, having occurred barely a decade earlier; and the Baltic countries, Latvia, Lithuania and Estonia, had only, forcibly, been incorporated into the Soviet Union a year before the Nazi invasion. Of course, some members of the population did voluntarily sign up for the National Socialist cause, and in some areas the advancing German forces were initially welcomed as liberators. But the Nazi treatment of the peoples’ of these seemingly vanquished nations, the casual destruction of entire villages, the rape and murder of women and children, the use of the men-folk as slave labour for the Reich, ensured that in the main the Nazi advance was met by fanatical resistance, from both the Red Army and from rapidly formed ‘Workers Battalions’, resistance that within a few months, as shown in letters home that are referenced by Clark, already had the rank and file of the Wehrmacht opining that they were fighting not under-mensch as their leaders had promised, but rather uber-mensch, supermen (and women) who were prepared to continue to fight on fearlessly with hands, feet and teeth, even after their last round of ammunition had been spent.  

As well as thrilling, and disturbing, Clark’s account is well balanced. For one thing, he openly admires the fighting qualities and courage of the ordinary soldiers on both sides of the conflict.  And as well as powerfully invoking the atrocities committed by the Nazis, he also, towards the end of the book, addresses the issue of the violent excesses of the Red Army, particularly when it breached the borders of the Reich itself from 1944 onwards, including the well documented mass rape of German women. But, as he points out, these excesses were an ad-hoc, though brutal affairs, where individual soldiers and units did what conquering warriors, filled with the adrenalin of victory in battle have always done, took their fill of revenge and the spoils of war. This is not, Clark makes clear, to excuse these actions. But it was of a different order to the actions of the Nazis, whose ideology led them to see the destruction of entire races of people as not only justifiable in times of war, but as desirable in and of itself. There was no ideological; justification for the rape of German womanhood by Soviet soldiers, and we at least have instances, though not enough, of such departures from the norms of socialist morality being swiftly and severely punished by the political commissars of the CPSU, when and if such actions became known to them.

Without explicitly stating the case, which might have proved difficult for such a firm believer in Thatcherite ‘free’ market economics, Clark’s account of the vital industrial dimension of the conflict reveals the superiority, at least in times of war, of Soviet centralised planning over the rather chaotic mish-mash that operated in the Third Reich, at least until the belated, too belated, embrace of ‘Total War’ which was signalled by Goebbels following the catastrophic defeat at Stalingrad in early 1943. Despite massive early losses, in machinery as in human life, the Soviet Union, with workers often dismantling entire plants and transporting them eastwards as they were forced to retreat, were soon turning out weapons of war on a scale that the German economy was never able to match, even with the vast resources of slave labour that their victories afforded them access too. It is also a historical fact, though it is beyond the scope of Clark’s book, that the British coalition government under Churchill succeeded in committing more of the industrial capacity of the UK to the needs of war than was managed by the Nazi regime in Germany, largely because Churchill sensibly left economic matters mainly to his temporary Labour Party partners. Hitler’s ideological aversion to the idea of women working, still less fighting, again until too later in the war, was also a factor, albeit one of many, in their eventual defeat.

It wasn’t only a question of bare numbers when it came to the Soviets production of the material needs of war either. These were weapons of a very high calibre. Clark shows very well, from the point of view of the ordinary German soldier as well as of the military High Command and the Nazi leadership, the initial shock when their seemingly invincible Panzer divisions first encountered, during the first great Soviet counter-offensive of December 1941, the brand-new Russian T-34 tanks. For a Wehrmacht whose morale was already being sapped by their first Russian winter, for some of them the first of four, for which they were ill-prepared both psychologically and in terms of clothing and equipment, this was final confirmation, if any was needed, that the USSR was not France.

Indeed, Clark expresses the opinion that even if there had been no Western Front, if this had been a straight fight between the Soviet Union and Germany, such was the terrain, the climate, and the vast reserves of manpower and resources at the disposal of the former, ultimately the Red Army and their civilian axillaries would still have triumphed, or at the very least fought the Wehrmacht to a bloody stalemate.

If he were alive today, I believe Alan Clark would, as German tanks once more burn on the Steppes of Ukraine, be strongly warning Europe of the folly in following the United States in risking an escalation of the current war in the into a wider conflict between Russia and NATO.

The Donkey’s was seen as ‘Revisionist’ history when it was first published, though its central thesis of brave warriors being needlessly slaughtered through poor leadership, on both sides, is now standard. Barbarossa too does not always follow the received wisdom, either of the time it was first published or of the present day. This is particularly true in Clark’s assessment of Hitler as a military leader. Most historians see the German Fuhrer as an untrained dilettante whose military meddling’s severely damaged the cause of the Wehrmacht’s campaign in the East, perhaps even costing it victory through his decision to divert the main thrust of his forces towards the oil fields of the Caucuses, rather than making straight for Moscow late in 1941. Clark’s view is that military commanders are generally more cautious than they need to be, that Hitler’s contrary elan was usually more successful than would have been the actions advised by his Field Marshal’s and Generals, and that in disputes between the Nazi leader and the German High Command, Hitler was in general more often right than wrong. On the question of Moscow, he points out that such was the level of resistance mounted by almost the entire population in the major cities of Russia, there is no guarantee that German forces would have triumphed there any more easily than they triumphed at Leningrad or Stalingrad. All that can be said with certainty about an early Battle for Moscow, according to Clark, is that its result, whichever way it went, would likely have ended the war much earlier than it did eventually end.

Clark also addresses the standard ‘Mad Dictator’ thesis, showing through excerpts from the regular, eventually nightly, military conferences, that apart from in the very last weeks of the war, when he had become completely delusional, moving now largely none-existent Divisions around his map in his bunker conference room, Hitler remained completely rational throughout hostilities. He wasn’t always right, but based on the available transcripts, the military decision-making of Hitler, that ‘terrible-titan’ as Clark describes him, was based on rational, understandable, sound logical reasoning.

There is less about Stalin in the book, I suppose because less is known, or at least was known at the time it was written, about Stalin’s role in the leadership of his armed forces. He does praise the Soviet leader’s foresight and guile in keeping back reserves for future use even when it seemed there would be no future in which to use them. But all in all, it seems, despite his purge of the leadership of his armed forces before the war, once it began, unlike Hitler, he was prepared to leave military matters to the experts. Any political threat his Generals might pose could be dealt with as and when required, as of course happened with the Soviet Union’s greatest of all military leaders, Marshall Zhukov, who was initially acclaimed a Hero of the USSR, then disgraced, then rehabilitated, before finally ending his days quietly and modestly, once more out of favour with the Soviet leadership. In the Soviet Union, unlike in Germany, no old-school military establishment managed to sustain itself through the years of totalitarian dictatorship. A Soviet equivalent of the July 1944 bomb plot against the head of the Party and the Nation, would have been unthinkable.

The conflict which began on June 22nd 1941 was, as already stated, the most brutal and titanic conflict in the history of warfare. It takes a great book to covey, even in the smallest way, some inkling of what it must have been like to have been involved, and even to live through it was to be involved, in that conflict. It also takes a great book to make the minutiae of military tactics and the hardware produced and deployed in pursuit of victory exciting to a reader, like me, who has little experience of reading of such matters. In Barbarossa Clark succeeds on both counts, as well as conveying superbly the vital and fascinating political and industrial dimensions of the struggle.  Magnificent, to use one of Clark’s favourite words.

And for anybody who has fond memories of the author as a political speaker, the voice throughout these thrilling pages is unmistakably that of the late, great Alan Clark.

Anthony C Green, June 2023

Cover of 'The Angela Suite' by Anthony C. Green, featuring legs and feet in the foreground with a cityscape in the background and the text 'BUY NOW' prominently displayed.

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Costa Blanca News

costa-blanca-news-1

Costa Blanca News. Serving the English speaking community in Spain for over 40 years.

Costa Blanca News

Costa Blanca News
TOWARDS the end of last year some of my extended family and I spent a fortnight near Allicante on the Costa Blanca. The Costa Blanca – the ‘White Coast’ – itself covers around 120 miles of beautiful Mediterranean coastline in South East Spain. It runs from from Dénia in the north to Pilar de la Horadada in the South. It’s known as Spain’s most popular year-round holiday area.

According to one popular English language web-site (1) the Costa Blanca runs “along the province of Alicante, it can be divided into two clearly distinct areas of scenery: to the North, a curtain of mountains running closely parallel to the sea, dropping away to form sheer cliffs and secluded pebble coves: to the South, a vast plain of sands, dunes, palm groves and saltpans make up a backdrop for the beaches.”

One day, and out of the blue, we decided to visit Benidorm – sometimes called the ‘Manhattan of Spain’ because of its skyline – which was about 20 odd miles away from where we were staying. As noted in an earlier review (2) of the well-known holiday resort, “I’d heard a lot about this popular holiday resort – good, bad and indifferent – and I wanted to see what it was like first hand.” However, I was disappointed with Benidorm. For me, it had “just about enough to remind us that we were in Spain.”

However, one bright spot was the number of English language papers available. I get myself into a bit of a routine when it comes to picking up local papers. As I noted sometime ago, it doesn’t matter “where the paper is from – anywhere in the English speaking world does me just fine.” (2)

Allicante, Anti-PC, Battles, Benidorm, British, Buildings, Capitalism, Castles, CB Live, Celebrations, Charities, Clubs, Costa Blanca, Costa Blanca News, Counter Culture, Cultures, Customs, Danish, Darkness, Dénia, Albert Einstein, English, Enlightenment, Exploitation, Finestrat, Governments, Gig Guide, Globalism, Harmonious, Heritage, History, Indigenous, It's All In Your Mind, Jihadis, L'Alfàs del Pi, Leftist, Liberal, Lies, Loose Women, Los Alcázares, Losing You, Rosa Luxemburg, Manhattan, Manipulation, Market Days, Karl Marx, Med TV Guide, Mediterranean, Mod/Punk, Moors and Christians Festivals, Multicultural, Oppression, Parades, Pilar de la Horadada, Politically Correct, Posers, Racism, Rotherham, Sex Abuse Gangs, Spain, Spanish, Sport, Joe Strummer, Theatre, The Brit Scene, The Clash, The Jam, The Movement, The Who, Third Millennium Fascists, Traditional, Truth, Vox Pop, War, Paul Weller, What’s On, White Coast, World, Barry Wright, You Tube

A Spanish travel guide’s map of the Costa Blanca. Because of its climate it is one of Spain’s main holiday destinations.

Probably the best paper that I came across on my visit to Benidorm was the Costa Blanca News. Produced on a weekly basis it has going for over 40 years and serves “the English speaking community in Spain.” My issue covered the period 5 – 11 September 2014. At €2 for 110 pages plus a free 32 page Med TV Guide I thought that it was fantastic value.

Like all local papers, the Costa Blanca News covers a little bit of everything – and more! I was really surprised at the number of features it carried. These included The Brit Scene, Vox Pop and Loose Women. I was also particularly impressed by the dozen or so pages devoted to both Spanish and British sporting events. And although the paper seems to be predominately centred around what’s happening in Benidorm, I was pleased to note that small towns – such as L’Alfàs del Pi, Finestrat and Los Alcázares – were also featured in a news round up.

Of great interest was the What’s On guide. It consisted of nearly 30 pages and was sub-divided into several sections including an alphabetically arranged town listing section, market days, gig guide, theatre, clubs and charities.

Two features in the Costa Blanca News stood out for me – The Brit Scene by an unnamed author and CB Live by Barry Wright. The former included an anti-PC polemic whilst the second was a look at the oh-so ‘right on’ Danish mod/punk band, The Movement. Ironically, both took what appeared to be diametrically opposing views, but I enjoyed them none-the-less!

The Brit Scene’s first two paragraphs set the scene of its anti-PC article:

“The World is a dangerous place to live; not because of the people who are evil, but because of the people who don’t do anything about it.

This – or something very similar – was said by Albert Einstein and it is very significant in today’s climate of sex abuse gangs, jihadis, weak governments and the liberal pursuit of a harmonious multicultural society.”

The article expanded on these themes and in particular how the fear of being called a ‘racist’ effectively paralysed all state agencies thus allowing the Rotherham sex scandal to continue unchecked. I found much of this article very interesting – although it didn’t say anything that I didn’t know – but sadly it didn’t prescribe any cure to any of Britain’s ills.

The feature on The Movement also caught my eye. A highly political band, the trio’s musical influences include The Jam, The Who and The Clash. Politically their influences “range from Rosa Luxemburg and Karl Marx to Joe Strummer and Paul Weller.”

I enjoyed their polemic on Globalism: “There’s a new and constantly growing generation of young kids interested in political questions, expressing deep fundamental criticism and rejection of the global effects of capitalism and its mechanisms of exploitation, war and oppression – young people searching for truth and enlightenment in times of total manipulation, lies and darkness.”

Despite this The Movement offered no answer to the menace of Globalism! Are they just anti-Capitalist posers, full of ‘leftist’ empty rhetoric? (Personally, some of the most strident critiques of capitalism that I’ve read recently have come from people who’d describe themselves as ‘Third Millennium Fascists.’) Maybe they should just stick to music – check them out on YouTube, and look out for excellent tracks like Losing You and It’s All In Your Mind

When I was in Benidorm I looked out for any signs of history, heritage and culture but couldn’t find much on offer. Therefore I was intrigued to read in the Costa Blanca News about the Moors and Christians Festivals. (4) The pictures and reports looked amazing – this is something that I’ll have to see in person!

I love the various indigenous cultures of the world. Indeed, I think that articles looking at famous battles, castles, buildings, traditional parades and celebrations around the world would make an excellent mini-series for Counter Culture. Maybe we should kick off with a report of the forthcoming Moors and Christians Festival in September? Indeed, I think that I’ll use that as an excuse for visiting the Costa Blanca again! Until next time then …

O YOU can check out the web-site of Costa Blanca News here http://www.costa-news.com/ its Facebook page of here https://www.facebook.com/pages/Costa-Blanca-News/152894188104472 and follow its Twitter feed here: https://twitter.com/costablancanews
(1) http://www.in-costablanca.com/
(2) http://countercultureuk.com/2014/10/20/two-weeks-in-spain/
(3) http://countercultureuk.com/2013/10/26/majorca-daily-bulletin/
(4) http://www.travelinginspain.com/spain_festivals/moors_christian.htm

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