:00:13. > :00:19.Tonight on the review show, everything from luminous Leonardo
:00:19. > :00:23.to brutal Bronte. Director Andrea Arnold brings a
:00:23. > :00:29.modern sensability to a much-loved classic. But do we need another
:00:29. > :00:32.Wuthering Heights? What will be his name? Heathcliff. The national
:00:32. > :00:35.gallery assembles the biggest collection of Leonardo's paintings
:00:35. > :00:39.ever, is there anything new to learn. We have never had the
:00:40. > :00:47.opportunity to study his aims and ambitions, his extraordinarily huge
:00:47. > :00:54.ambitions for the art of painting. Vikram Seth is famous for his epic
:00:54. > :00:59.tones, can his new, lighter offering, please plans. "joy came
:00:59. > :01:02.and grieve, love came and loss, three years. Error Morris tells an
:01:02. > :01:07.extraordinary tale in Tabloid, is the master at the height of his
:01:07. > :01:11.powers. I could never understand the public's fascination with my
:01:11. > :01:13.love life. Plus Liz Green joins us live in the studio to play you into
:01:13. > :01:22.the weekend. # So we're standing in line
:01:23. > :01:28.# With our pots and our pans Joining me in the hallowed halls of
:01:28. > :01:35.Review this week, are four panelists who couldn't be less
:01:35. > :01:39.tabloid, Patterson from the Independent, Anne McElvoy, James
:01:39. > :01:43.Purnell and John Mullan, professor of English at University College
:01:43. > :01:47.London. You can loudly agree, disagree or disabuse our panel on
:01:47. > :01:52.Twitter, do be aware they do sometimes bite back. First up
:01:52. > :01:57.tonight, it is the much anticipated new film from Arnold, who made so
:01:57. > :02:02.much noise with her last film, Fish Tank. She has turneder attention to
:02:02. > :02:08.the wild and wind swept lovers, who have haunted and terrorised so many
:02:08. > :02:13.English students over the years. Emily Bronte's only novel,
:02:13. > :02:19.Wuthering Heights, must be the most well read and highly analysed books
:02:19. > :02:23.in the English language. And a favourite for the creative types,
:02:23. > :02:28.from Lawrence Olivier to Kate Bush. # Heathcliff
:02:29. > :02:33.# It's me a Cathy It has inspired a multitude of
:02:33. > :02:38.dramatic adaptations, each with its own unique signature and style.
:02:38. > :02:43.go it's mine. What children they are. I wouldn't change my life for
:02:43. > :02:48.their's. Even if I go throw Joseph off the roof and paint the house
:02:48. > :02:53.with Hindley's blood. Now acclaimed director Andrea Arnold brings her
:02:54. > :02:59.inter pretation to the big screen. Arnold chose to tell the tale with
:02:59. > :03:04.the same gritty realisim as past films, Fish Tank and Red Road.
:03:04. > :03:14.Focusing the film on Heathcliff's troubled boyhood. Arnold tells the
:03:14. > :03:14.
:03:14. > :03:23.story from his point of view. I will cleanse you. What will be
:03:23. > :03:29.his name. Heathcliff. Heathcliff, do you reject Satan, come on.
:03:29. > :03:37.struggle now. Arnold's near fanatical commitment to
:03:37. > :03:41.authenticity, left the unknown actors, filming in the gruelling
:03:41. > :03:51.conditions of autumnal Yorkshire. There was the minimal amount of
:03:51. > :03:54.
:03:54. > :03:59.dialogue. Ungrateful little. Whilst the two Cathys, breerbreerbreer and
:03:59. > :04:04.Skins actress, Kaya Scodelario, have to portray a transformation
:04:04. > :04:07.from muddy child to elegant lady of the house.
:04:08. > :04:12.Arnold's minimalism extended to largely hand held filming, and the
:04:12. > :04:20.almost total absence of the score, choosing the natural sounds of the
:04:20. > :04:24.landscape to set the scene. Cathy, Cathy.
:04:24. > :04:33.The director herself has admitted any attempt will never do the book
:04:33. > :04:37.justice. So was she right to try? He's gone.
:04:37. > :04:39.Andrea Arnold said earlier this week that the world needed another
:04:39. > :04:42.adaptation of Wuthering Heights like a hole in the head, but the
:04:42. > :04:46.material was singing to her and she couldn't resist. Do you think she
:04:46. > :04:51.should have? Yes, I do. I mean because I don't think it is an
:04:51. > :04:55.adaptation of Wuthering Heights, indeed my usual president dantic
:04:55. > :05:02.pleasure at noting all the things - - president dantic pleasure at
:05:02. > :05:09.noting all the things got wrong were denied me by the film. It says
:05:09. > :05:13.it is based on the book by Emily Bronte. It is based on all the bits
:05:13. > :05:18.that are dealt with perfubgt actually in the book itself. Half
:05:18. > :05:22.the film is the child Hoo and the childhood relationship in --
:05:22. > :05:26.childhood and the childhood relationship with Heathcliff and
:05:26. > :05:33.Cathy, which is dealt with in a small way in the book. There is a
:05:33. > :05:38.point that we need to understand their childhood stories that are so
:05:38. > :05:42.important. This book takes the ferocity of the spirit of the book,
:05:42. > :05:44.and reimagines it visually and orally, there is no music in the
:05:44. > :05:49.book, you hear every little sound and every bit of the weather. The
:05:49. > :05:52.weather is in the camera, it really gets into the camera. It is
:05:52. > :05:55.absolutely visually extraordinary. The best thing about it, it might
:05:55. > :05:59.make you want to read the book again. Do you share her obsession
:05:59. > :06:09.with the lives of the children, before they become their adult
:06:09. > :06:10.
:06:10. > :06:14.selves? I loved this film, I absolutely loved it. I think it
:06:15. > :06:19.caught the spirit of the book in a way nobody has done. The cruelty
:06:19. > :06:27.and the hostile English landscape that anyone of us has ever seen. It
:06:27. > :06:33.is awash with mud, and lashing winds and just so elemental, I
:06:33. > :06:38.thought it really gave a sense of where this terror and cruelty and
:06:38. > :06:42.passion came from. I felt it was absolutely right to focus on the
:06:43. > :06:48.childhood in those ways. Those actors were absolutely phenomenal,
:06:48. > :06:53.Solomon Glave, you know, mixed race, we haven't raised the race thing,
:06:53. > :06:56.as a mixed race child, that was inspired. I thought it just sort of
:06:56. > :07:00.reinterpreted the whole thing, it brought it brilliantly alive. I
:07:01. > :07:04.loved it. Everyone is focusing very much on the fact that she cast a
:07:04. > :07:09.mixed race Heathcliff, does it work for you? It did work, you were
:07:09. > :07:15.going to have him in the foreground. She decided to primarily tell it as
:07:15. > :07:19.his story. It is perfectly alongside the book. He's derided
:07:19. > :07:23.racially from the moment he arrives. She lays it on too thick, there is
:07:23. > :07:29.barely a scene when Hindley doesn't call him a ligger. This constant
:07:29. > :07:32.use of a word, which you feel is put there to alarm and offend
:07:32. > :07:35.modern audiences is used again and again. You get the point pretty
:07:35. > :07:40.well that Heathcliff is an outsider and distrusted, not least because
:07:40. > :07:44.of his race from the start. The real problem I have, I completely
:07:44. > :07:47.agree with Christina, the childhood bits, the presexual bits, the bond
:07:47. > :07:51.between them, and the blossoming sexuality, it was fantastic. There
:07:51. > :07:54.were scenes that stuck with me all week, they were so tender and
:07:54. > :07:58.passionate. When they grow up it is a disaster. Two different actors,
:07:58. > :08:01.and what happens then, it turns into Jane Austen. You find yourself
:08:01. > :08:06.looking at the curtains and thinking that is a nice dress. They
:08:07. > :08:10.lost it. Perhaps it is too much to do, to put all this intensity on to
:08:10. > :08:14.the young couple and say no we will look at what happens and cut it off
:08:14. > :08:18.before the end of the novel. I thought that was really where I
:08:18. > :08:23.lost it. It was game of two halves, as the footballer commentator, and
:08:23. > :08:28.the second one failed. It may be Jane Austen and looking
:08:28. > :08:33.at the pretty dress. Three films into Andrea Arnold we are getting a
:08:33. > :08:39.sense of the things she likes to do and hear, we have hand held cameras,
:08:39. > :08:49.a mystifying 4: 3 ratio, slow plays, lack of a soundtrack, do these
:08:49. > :08:49.
:08:49. > :08:56.things work for you? I like the 4:3, I like the way it look, and gives a
:08:56. > :09:02.1970s feel, realist but arty thing that you get from the display. I
:09:02. > :09:08.thought it was more authentic than a lot of Wuthering Heights. I hate
:09:08. > :09:12.the 1939 Lawrence Olivier one, it is sack cin and they distort the
:09:12. > :09:17.story. I loved it with the love affair from the start, you really
:09:17. > :09:21.believe it. I didn't quite buy it, she made Heathcliff too soft, he's
:09:21. > :09:31.almost a wimp in the second half. No he isn't, he's hanging animals
:09:31. > :09:35.on fences half the time. But the animal thing, That is all the way
:09:35. > :09:40.through, and the hanging of the dog it is almost made as that is what
:09:40. > :09:50.people do. He's given an excuse for everything he does. The thing in
:09:50. > :09:52.
:09:52. > :09:57.the book he is a torturer but is tordturd. Do you think she should
:09:57. > :10:06.have gone all the way to the end where we see Heathcliff as torturer
:10:06. > :10:12.come into his own? The 1939 didn't have that, and this one doesn't,
:10:12. > :10:17.you don't have his horribleness to Harton, and without the ghost you
:10:17. > :10:23.lose the madness. Other films made the decision, they may have made it
:10:23. > :10:26.for quite good reason. We want to see Catherine laid down, and after
:10:26. > :10:29.that what happens to Heathcliff, though fatastically important in
:10:29. > :10:34.the book may be less important. That puts the weight on the actor
:10:34. > :10:41.in the second half of the film. is something to take a literary
:10:41. > :10:44.classic and cut all the dialogue. It is extremely wordy book, and
:10:44. > :10:47.Heathcliff is an articulate wordy person, and even as a teenager.
:10:47. > :10:53.Some of these disagreements are almost by the board, they are the
:10:53. > :10:58.kind of disagreements one usually has about a costume drama
:10:58. > :11:00.adaptation of a drama. Should they have left in this and that. This
:11:00. > :11:10.film is an extraordinary reimagining, which makes lots of
:11:10. > :11:11.
:11:11. > :11:19.decisions I wouldn't have made. I wouldn't have had Heathcliff as
:11:19. > :11:22.monosyllabic as she z but she has made the decisions with a kind of
:11:22. > :11:27.fierce conviction that makes it completely unlike any other costume
:11:27. > :11:31.drama I can remember seeing. takes little themes in the text,
:11:31. > :11:36.she mentions fleetingly that Heathcliff can't cry as a child.
:11:36. > :11:40.And then there is the scene when he sees Cathy crying and he puts some
:11:41. > :11:44.grit in his eyes to create artificial tears, in itself that is
:11:44. > :11:50.very moving. Some scenes later we have Cathy kissing the wounds on
:11:50. > :11:56.his back, and then for the first time in his life real tears go down
:11:56. > :12:01.his back. I think she's licking him. Being gentle with him, and kissing.
:12:01. > :12:05.He is just, I was tremenduously moved by that. I thought there was
:12:05. > :12:10.a delicate touch like that. And the way the camera would linger on a
:12:10. > :12:14.moth or some flowers. There was an incredible senuality of the
:12:14. > :12:18.landscape. You were saying earlier that you thought the landscape was
:12:18. > :12:23.for bidding and cruel. I'm a northern girl, in the English
:12:23. > :12:30.context, I was aching to go back to the Dales when I saw this. The
:12:30. > :12:35.cinematographer deserves a huge applause. A won didn't he. It is
:12:35. > :12:39.worth watching because it is so beautiful regardless. The endureing
:12:39. > :12:44.appeal of Cathy and Heathcliff as lovers to audience and readers is
:12:44. > :12:50.obvious. What do you think she's trying to bring in in tepls of an
:12:50. > :12:55.audience, casting an actress like Kaya Scodelario, known from Skins,
:12:55. > :13:05.is she bringing in younger people, it is an art house film? I don't
:13:05. > :13:07.
:13:07. > :13:14.know what is art house about it. If you see the film it has a 70s feel,
:13:14. > :13:19.it feels quite hip. It has a mix of elemental and 1970s, I think it has
:13:19. > :13:24.a timeless quality. I think it is just about passion. That surely is
:13:24. > :13:28.timeless, isn't it. On that passionate note. It loses a bit of
:13:28. > :13:32.the horror. Passion, horror, Wuthering Heights has it all, on
:13:32. > :13:37.general release. Puppy lovers beware. If you have ever visited
:13:37. > :13:41.the Mona Lisa in Paris, you know the crowds that flock to a single
:13:41. > :13:45.painting by Da Vinci. Imagine the frenzied excitement when nine of
:13:45. > :13:50.his works are assembled in one place. Our panelists managed to
:13:50. > :13:55.beat the crowds and get a sneak peek. It is the ultimate
:13:55. > :13:58.blockbuster art show, with more than 60 works by the Italian
:13:58. > :14:03.Rennaissance master, many on display in Britain for the first
:14:03. > :14:10.time. The curator aimed for a contrast to previous exhibitions,
:14:10. > :14:15.which have often focused on other parts of his prodigious output, as
:14:15. > :14:19.scientists, engineer and craftman. This is about Leonardo the painter,
:14:19. > :14:23.we have had the scientist and draftsman, but we have never had
:14:23. > :14:29.the opportunity to study his aims and ambitions, his extraordinarily
:14:29. > :14:32.huge ambitions for the art of painting before. Perhaps those
:14:32. > :14:37.ambitions limited him, only 15 completed paintings are known. This
:14:37. > :14:40.exhibition is a rare chance to see so many in one place. He was a
:14:40. > :14:43.great non-finisher, we have to ask ourselves why. I think it is
:14:43. > :14:47.because he had such an extraordinary idea of what he
:14:47. > :14:51.wanted to achieve in his head, times that was simply uncould be
:14:51. > :14:59.tainable. The national gallery has managed to secure collections from
:14:59. > :15:04.around the world. A task that required more than a little
:15:04. > :15:08.diplomacy People don't lend Leonardos lightly. Some were very
:15:08. > :15:11.easy, and others were diplomatic and needed intervention from the
:15:11. > :15:15.arts minister. But in the end it is right that each of the decisions
:15:15. > :15:20.that various lending institutions made, had to be considered over a
:15:20. > :15:25.period of months and years. secure those loans is undoubtedly a
:15:25. > :15:28.coup, but rather than merely assembling them, this show aims to
:15:28. > :15:33.illustrate a deeper thought. What you are seeing best is the move
:15:33. > :15:37.from a painter who considered himself to be essentially the
:15:37. > :15:42.mirror of nature, to precisely observe what you could see around
:15:42. > :15:46.him. Just somebody who thought that his own act of creation was some
:15:46. > :15:51.how like that of gots God's. So he's creating in a way that is, he
:15:51. > :15:55.could see as being sort of divine in an odd sort of way. You can
:15:55. > :16:00.follow that journey in the nine works. He thought of his own
:16:00. > :16:03.creative skills as being akin to those of God. He saw his talent as
:16:03. > :16:07.being God-given. It was almost miraculous, I think. Already
:16:07. > :16:11.launched to critical acclaim, and selling as fast as any show on
:16:12. > :16:21.record, the exhibition is an undoubted hit. Does it make the
:16:22. > :16:22.
:16:22. > :16:31.case for Leonardo's position at the very Zen it of art hiry? --
:16:31. > :16:37.history? It is a hit this show, does it add
:16:37. > :16:44.up to the sum of its parts? parts are pretty amazing. I found
:16:44. > :16:48.myself on the front picture with the lady in the ermine, open
:16:48. > :16:51.mouthed in the sheer beauty. You don't need to get to the
:16:51. > :16:55.explanations behind it, there is fascinating things about how he's
:16:55. > :17:00.trying to understand God through nature, to overtake nature, to
:17:00. > :17:04.leech to God. His inspiration between different forms of
:17:04. > :17:10.philosophy. Actually you just sit there for so many of the paintings
:17:10. > :17:13.just completely blown away. To have that pure, absolutely gut wrenching
:17:13. > :17:20.feeling is something that is incredibly exciting. These were the
:17:20. > :17:29.years that really made him, when he turns up in Milan, he's not yet the
:17:29. > :17:34.resonance sans polymath we see today. Rennaissance polymath we see
:17:34. > :17:38.today. We are asked to leave our other ideas of him and see him just
:17:38. > :17:42.as a painter. Is it possible to do that? It is, it is so jofrpb
:17:43. > :17:45.womening it is a lifetime treat. I hadn't realised that I hadn't --
:17:45. > :17:49.overwhelming, it is a lifetime treat. I realised I hadn't looked
:17:49. > :17:57.at his paintings in detail until I got there. This is the rich
:17:57. > :18:01.tapestry laid out before us. They are not in -- full works, but the
:18:01. > :18:06.allure of the time sent me to read up on the beautiful women. What are
:18:06. > :18:10.the things you realise, a lot of them were mistresses of his patron.
:18:10. > :18:15.I love that the drama, the way the wife is staring at the mistress.
:18:15. > :18:19.don't know it is the wife. We like to think it is. I just want to make
:18:19. > :18:24.one point. One of those women is 16. They have these confidence and
:18:24. > :18:29.bearing, it is also a painting about position and power. Everyone
:18:29. > :18:33.mentions beauty proportional -- proportion and all the things's
:18:33. > :18:38.famous for, their position is precarious, in 15 years it is
:18:38. > :18:42.someone else, at the heart of all the paintings. The poise? Still so
:18:42. > :18:46.beautiful. Rough time for women, but to be in one of those, fine.
:18:46. > :18:50.Extraordinary, as he works to create this ideal of beauty, at the
:18:50. > :18:57.same time, every one of those human beings is credible as a human being,
:18:57. > :19:01.I think, as a soul. That is why we find it so moving. The exhibition
:19:01. > :19:05.is skillfully curated, it is about Leonardo the man, the process
:19:05. > :19:09.behind him making these works. It is very well guided. Immediately we
:19:09. > :19:13.walk into the exhibition, a sense from a tiny drawing that you might
:19:13. > :19:17.go past, the eye, about how it creates creativity in the soul.
:19:17. > :19:21.Very early on the painting of a young musician that was a quiet
:19:21. > :19:24.revolution. For the first time he turns the portrait around. How did
:19:24. > :19:28.you respond to that sense of the way that Leonardo's mind was
:19:28. > :19:31.working? I have to say, it has been so heavily hyped this exhibition.
:19:31. > :19:36.It is hard for an exhibition to live up to the hype. I found it
:19:36. > :19:42.really quite an overwhelming experience. From the moment I went
:19:42. > :19:50.in and saw that first picture, it is about the ventricles of the
:19:50. > :19:55.brain and perception. I felt overwhelmed. You see the different
:19:55. > :20:00.sketches of hands, or drapery, there was one of a child's torso,
:20:00. > :20:06.that makes you want to cry. You want to pick up that child and
:20:06. > :20:09.cuddle it. It is only a tiny segment of a torso, there is more
:20:09. > :20:13.humanity in that segment, than you would find in a thousand artists
:20:13. > :20:19.put together. For me, one of the many things that moved me about
:20:19. > :20:25.this, this sense of endless quests for perfection. Although he was
:20:25. > :20:31.unbelievably lace yeen when it came to -- lazy when it came to painting,
:20:31. > :20:36.he only painted 15. One deadline took him 25 years to meet. We all
:20:36. > :20:42.relate to that. I love the line about how freelance life didn't
:20:42. > :20:47.suit him. But you see the effort he put into what he did do. Then you
:20:47. > :20:53.see the paintings, and you just want to weep. For me it was the
:20:53. > :21:00.lady with the ermine, that and weirdly the Burlington cartoon,
:21:00. > :21:06.more than the Madonnas. But you look at those paintings and you see,
:21:06. > :21:10.you can really only call the human soul, a humanity and soul that I
:21:10. > :21:16.can't think of another artist that reaches. Lots of people are talking
:21:16. > :21:23.about this in rather religious terms? It is a semi-religious
:21:23. > :21:28.experience. I'm not sure I'm quite the zealot that everybody else is?
:21:28. > :21:34.Why? Because I'm not sure, I think it is a wonderful exhibition. I'm
:21:34. > :21:38.not sure I find all the paintings as immediately humanely
:21:38. > :21:43.understandable as everybody else seems to. Because to me there is
:21:43. > :21:53.something strange as well as human about them. What's fantastic about
:21:53. > :21:57.the best ones, the lady the er -- Lady with the Ermine is fantastic.
:21:57. > :22:00.What Christina is saying about it is true, it is this strange art
:22:00. > :22:05.fact of Rennaissance perfection. He believes in perfection in way we
:22:05. > :22:08.don't. It is not like going to see an exhibition by a great artist
:22:08. > :22:11.from later centuries, where you are always thinking this is a
:22:11. > :22:15.particular person. It is a person, but it is also strangely not her,
:22:15. > :22:20.it is also an image, conjured. We don't know what she looked like,
:22:20. > :22:23.but it is an image of sort of almost, yes, religious
:22:24. > :22:28.contemplation, as well as a particular individual. That's
:22:28. > :22:34.what's extraordinary about it, and what makes it, makes some of the
:22:34. > :22:38.art works strange and distant as well as wonderful. Sorry, we have
:22:38. > :22:41.so much to say, if you want to see perfection or as close as we will
:22:41. > :22:46.come to it, the exhibition is on at the national gallery, 500 tickets
:22:46. > :22:52.are held back every day to sell on the door. Please do set your alarm
:22:52. > :22:56.clocks early, it is really worth the wait. If Leonardo is the
:22:56. > :23:05.quintessential Renaissance Man, Seth is also a man of many --
:23:05. > :23:14.Vikram Seth is also a man of many talents. Seth is a man of many
:23:14. > :23:21.talents, with The Suitable Boy, he also writes poetry. In The Rivered
:23:22. > :23:27.Earth, he combines writing with his long-term passion, music. His novel
:23:27. > :23:34.An Equal Music, experimented with musical forms, in The Rivered Earth
:23:34. > :23:39.he connects with music more directly. It contains music by
:23:39. > :23:46.accompanying composer, Seth's own kal Liffey adoorns the pages, it
:23:46. > :23:52.takes us all over the world, from China to his Salisbury house, where
:23:52. > :24:00.the English poet George herb bet lived and died. Shared ground is on
:24:00. > :24:10.the fact Herbet and I shared the ground, his having been here almost
:24:10. > :24:15.400 years ago. He's a gentle spirit, it is possible to live in his house,
:24:15. > :24:22.he doesn't bully you. Not a hindrance, but encouraging spirit.
:24:22. > :24:28.His ghost, his soul is here. He will change my style. But you could
:24:28. > :24:34.do worse than rent his rooms of verse. Joy came, and grieve, love
:24:34. > :24:42.came and loss, three years, tiles down, moles up, drought, flood.
:24:42. > :24:48.Though far in time and faith, I share his tears. His hearth, his
:24:48. > :24:58.ground, his mut, yet my host stands just out of mind and sight, that I
:24:58. > :25:02.may sit and write. This month sees the release of the CD Shared Ground,
:25:02. > :25:10.the musical component of the collaboration between Seth,
:25:10. > :25:14.composer Alec Roth and a violinist. Do his talents extend to the
:25:14. > :25:18.musical realm? This is being published as a stand
:25:18. > :25:22.alone literary work, it is asking to be judged first and foremost on
:25:22. > :25:28.those merits, do you think that is right? I think that is trickery. It
:25:28. > :25:33.works when you get the music and the big coral sound, which is very,
:25:33. > :25:38.very well engineered, in a musical sense. That works extremely well,
:25:38. > :25:42.you think now I want to read this libbret toe in detail. The problem
:25:42. > :25:48.with the book is it tells you far too much about how he set about
:25:48. > :25:51.working on it and his relationship with Alec Roth, it is the
:25:51. > :25:57.equivalent of watching sasauges being made. You want to get on and
:25:58. > :26:01.read it. You read it, and the spare poetry, it reminds me he's a bridge
:26:01. > :26:04.builder between cultures, that sense of the old Chinese and Indian
:26:04. > :26:08.poetry, where there is nothing at the end of your life, just you and
:26:08. > :26:13.the place you are. That comes over very, very well. I think some of it,
:26:13. > :26:22.frank frankly, is a bit windy, the music covers that up, get the music
:26:22. > :26:28.alongside the book. Musical sausage making? Agree with Anna. In the
:26:28. > :26:33.book he's a connoisseur of his creativity. Not a lovable thing.
:26:33. > :26:39.He's a very, clever old thing. He can do the metres, he can do the
:26:39. > :26:48.rhymes, and these kind of lots of languages, then he writes Chinese
:26:48. > :26:58.translations and you think others do this and brilliantly, this is OK.
:26:58. > :27:01.
:27:01. > :27:07.He imitates the stanziac forms and well, but why not set the George
:27:07. > :27:16.Herbet to music, and don't worry about translating and adapting them,
:27:16. > :27:20.go to George Herbet, he was a genius. The aim was because he
:27:20. > :27:25.lived in George Herbet's house. They have made some elevated
:27:25. > :27:30.comparisons, there is a lot of talk about Bach, Schubert and Herbet.
:27:30. > :27:34.Are they setting themselves up for a fall? Genuinely is if one
:27:35. > :27:39.mentions Bach! I must say I think I like this more than you two did. I
:27:39. > :27:46.agree the peoples are uneven. It is a hotch potch, the book is
:27:46. > :27:51.described as libretto and peoples, it can't be both. Unless you buy
:27:51. > :27:58.the Bob Dylan is a poet-genius argument, that is a whole other
:27:58. > :28:02.deal. Are they peoples or lyrics, it is a miscellaneous job lot. Some
:28:02. > :28:06.of the Chinese translations I read 20 years a he didn't meet his
:28:06. > :28:13.deadline. Then you have the shared ground peoples, I really like those.
:28:13. > :28:16.The spirit of Herbet does pervade them in way that works very well. I
:28:16. > :28:21.think what Vikram Seth does beautifully, when his peoples work
:28:21. > :28:28.they have a real clarity and simplicity. The lyric is his form.
:28:28. > :28:33.I think that those Herbet inspired peoples do work beautifully. With
:28:33. > :28:39.the music, no it is not Bach, but it is actually very beautiful coral
:28:39. > :28:49.music. With this really haunting ethey areal quality. I'm not in a
:28:49. > :28:50.
:28:50. > :28:55.position to judge whether it is great music. I loved it. Without
:28:56. > :28:59.the book in front of you and gazing with the lyrics, it would seem like
:28:59. > :29:06.an expensive thing that you wouldn't know the results. It does
:29:06. > :29:13.make one want to have been there, to hear them in sit tu. With the
:29:13. > :29:20.intro to The Traveller, he said he needed a grand entrance, why not
:29:20. > :29:24.all human life. That might be preposterous arrogance, coming not
:29:24. > :29:31.from Leonardo Da Vinci or Vikram Seth. As a boy he did cover the
:29:31. > :29:36.gamit. Do you think a writer of his undourtable powers, do you think he
:29:36. > :29:41.should be -- undoublable powers, do you he should be turning his hand
:29:42. > :29:45.to this kind of offering? The music, sitting there listening to it
:29:45. > :29:50.whilst reading was incredible. I thought the rest of it was uneven.
:29:51. > :29:58.There may be an explanation in the way he describes the process. Sends
:29:58. > :30:06.in a more worked through multilayered people called Fire,
:30:06. > :30:12.then the composer said it is too e elliptical to be set to music. They
:30:12. > :30:20.are to too makish. He makes the difference between a text and a
:30:20. > :30:25.people. Are we to judge them as a libret toe or a people. The
:30:25. > :30:28.translations were published many years ago, do they stand alone now?
:30:28. > :30:33.I don't think so. There is a terrible tendency to bathos in a
:30:33. > :30:43.lot of them. There is the border line which is to do with reading
:30:43. > :30:46.
:30:46. > :30:51.from anticity, you are not sure if it is very profound or very obvious.
:30:51. > :30:55.The book is available in all good bookshops, the CD released next
:30:55. > :31:01.week. Error Morris is one of the world's most celebrated documentary
:31:01. > :31:05.makers, with a string of work in the Thin Blue Line and The Fog of
:31:05. > :31:09.War. Now he brings his investigative eye to a rather more
:31:09. > :31:14.tawdry tale. Tab is the extraordinary story of
:31:14. > :31:18.former beauty Queen, Joyce McKinney, and her mysterious tempt pestous
:31:18. > :31:24.relationship with a young Mormon from Utah, and what happened when
:31:24. > :31:28.he went on a mission to London back in 1977. I did what every American
:31:28. > :31:35.girl would do if her fiance vanished into thin air strikes I
:31:35. > :31:39.looked for him. McKinney describes a weekend of food, fun and sex,
:31:39. > :31:43.resulting in charges of imprisonment, and three nopbts in
:31:43. > :31:49.Holloway Prison and a covert escape. This is the beginning of a whole
:31:50. > :31:57.new idea in the media, the self- invented celebrity. The person who
:31:57. > :32:02.has created this strange public image of herself, using tabloid
:32:02. > :32:07.newspapers. Now we see Joyce McKinneys everywhere. In the 1970s,
:32:07. > :32:11.she was something new. While some newspapers portrayed McKinney as a
:32:11. > :32:18.romantic victim, others searched for a more shadey past, and
:32:18. > :32:22.suggested she was a depraved sedubgt trees. You have two
:32:23. > :32:30.newspapers You have two newspapers fighting over Joyce McKinney and
:32:30. > :32:33.whether she's a virgin or aer who. Crazy. The clear interest is not
:32:33. > :32:43.who is Joyce McKinney, the interest is whatever story we will put
:32:43. > :32:44.
:32:44. > :32:51.together to sell newspapers. Tabloid is Joyce McKinney's chance
:32:51. > :32:56.to reply. Filmed using Morris trade mark teretron, a device which
:32:56. > :33:00.allows direct eye contact with the subject on camera. It calls into
:33:00. > :33:05.question firsthand accounts. I could never understand the public
:33:05. > :33:11.fascination with my love life, I was a human being caught in an
:33:11. > :33:18.extraordinary circumstances. All of us are involved in narrating
:33:18. > :33:26.a story to ourselves and to others. Joyce is a perfect example of that.
:33:26. > :33:32.She's a person with a strong romantic vision of herself. That
:33:32. > :33:37.has remained intact, no matter what has happened to her over the years.
:33:37. > :33:44.That does fascinate me. While Tabloid sells a remarkable tale, is
:33:44. > :33:50.it anything more than a bit of eccentric fun.
:33:50. > :33:55.Error Morris turned documentary film making on its head with The
:33:55. > :33:59.Gates Of Heaven, many of the techniques are standard operating
:33:59. > :34:02.procedure for him, does it pack a punch? It is an extraordinary punch.
:34:02. > :34:05.You have documentaries about really important issues but not that
:34:05. > :34:09.interesting to watch. This is fascinating to watch. I'm not sure
:34:09. > :34:13.if it is about a really important issue. He manages with not a lot of
:34:13. > :34:18.archive, to keep you gripped all the way through. The story flips
:34:18. > :34:24.back wards and forwards, lots of time, like the best thrillers. The
:34:24. > :34:29.whole thing about how we perceive her, how she perceives herself, how
:34:29. > :34:32.it is interpreted through different people. And how her feelings change
:34:32. > :34:37.throughout it. It is an emotional rollercoaster, and great to watch
:34:37. > :34:41.from start to finish. I'm not sure it sheds an awful lot of light on
:34:41. > :34:47.celebrity now, I enjoyed watching it. He insists at its heart it is
:34:47. > :34:52.about a love story. Is that completely disingenious? Does he
:34:52. > :34:58.really insist that. Clearly that is completely disingenious. It is a
:34:58. > :35:08.rollicking good yarn. As I think it is one of the journalists who says
:35:08. > :35:09.
:35:09. > :35:18.it is the perfect tabloid story. It is, the man keled norm man meets
:35:19. > :35:26.the women. The words are flashed across the screen, manacled Norman,
:35:26. > :35:31.and spread eagled. The story is so gripping and she's such a mez
:35:31. > :35:36.merising performer, performer she is, I know she is taking legal
:35:36. > :35:42.action. Error Morris said if there was a catagory for Best Performance
:35:42. > :35:52.in a Documentary, she would win it. I do think all that vintage footage
:35:52. > :36:00.
:36:00. > :36:04.and 50s kitchen, All of this adds a different slant tonally from all
:36:04. > :36:09.the other Error Morris films I have seen. Normally he allows the voices
:36:09. > :36:13.to build up into a symphony that speaks for itself, here he is
:36:13. > :36:18.commenting on the story. It is not just a rollicking good yarn, it is
:36:18. > :36:22.one that we are all invited to snik snigger at. It is fine, but a
:36:22. > :36:27.different enterprise. It makes the whole question of tabloid
:36:27. > :36:34.journalism more complicated. He has called it Tabloid, he is a self-
:36:35. > :36:40.professed laufr of tabloids, gets - - lover of tabloids, he's a lover
:36:40. > :36:44.of tabloids. Shall we not talk about tabloid, and comlum inchs and
:36:44. > :36:52.air time. Do you think it works as an investigation into how
:36:52. > :36:57.journalists are operating then and today? It is an innocent era in
:36:57. > :37:07.tabloid journalism. It is the moerm mans who tap the phones? Gone are
:37:07. > :37:07.
:37:07. > :37:12.the days you could find an American girl tying moerm mans to bed. In
:37:12. > :37:22.those 1970s tabloids they spriankled gold dust on newspaper,
:37:22. > :37:27.people who -- spriankled gold dust on newspapers. Mab they wouldn't
:37:27. > :37:30.have tapped your phone, these were entertaining blokes you would want
:37:30. > :37:34.a drink with. I'm not sure it tells you something you wouldn't know.
:37:34. > :37:38.You know there will be a fight over the memoirs. This film shouldn't be
:37:38. > :37:43.called Tabloid, it should be Joyce. She's so fan tais particular, and
:37:43. > :37:53.will be played by McAllister son Steadman at some point. --
:37:53. > :37:58.
:37:58. > :38:02.McAllister son Staed man at some point. Tab -- Alison Steadman at
:38:02. > :38:04.some point. It only works if you zoo can see yourself in it.
:38:04. > :38:07.says an important line about telling a lie long enough and
:38:07. > :38:12.believing it. She's not talking about herself. Moving on from Joyce.
:38:12. > :38:17.Is she a worthy subject for a at the momentry of this length?
:38:17. > :38:22.not sure -- a documentary of this length? I'm not sure she is. I felt,
:38:22. > :38:28.as Christina felt, I think, that I had a bit of a bad taste in my
:38:28. > :38:31.mouth by the end of it. Half way through I was really enjoying t I
:38:31. > :38:39.agree very much she's an extraordinary performer, and the
:38:39. > :38:49.bit part characters are good as well. The iconic old ex-hack, and
:38:49. > :38:55.
:38:55. > :38:59.the gay, born out of moerm mannism, ex-moerm man mormanism, who tells
:38:59. > :39:03.you what it is all about. It is a tabloid, the pursuit, in
:39:04. > :39:08.the end, it felt like a pursuit, it became a bit too much. The joke has
:39:08. > :39:13.an effect. You start feeling, I'm complicit in actually not just
:39:13. > :39:17.finding her entertaining, but actually, yes, laughing at her.
:39:17. > :39:22.Because she's not a character but a human being. I have to stop you all
:39:22. > :39:26.there. We cannot have a serious conversation about Tabloid without
:39:27. > :39:33.talking about Boeg er. The reason I don't agree with that, I would
:39:33. > :39:38.agree if they went on and on about the moermmans, the fact she has
:39:38. > :39:43.engineered this tabloid speak, and asking can a woman rape a man, it
:39:43. > :39:49.is like putting a marshmallow in a parking meeting. She is up to the
:39:49. > :39:59.game. She's not a victim. You want to talk about the dog, she clones
:39:59. > :40:02.
:40:02. > :40:08.her dog. What more could you ask. Tabloid went on general release,
:40:08. > :40:12.today. Liz Green will be here to play us out in the studio. You can
:40:12. > :40:16.become your own Error Morris, with the BBC's massive documentary
:40:16. > :40:19.project. Britain grab your cameras, between midnight tonight and
:40:19. > :40:24.tomorrow, the BBC are asking you to film something that captures the
:40:24. > :40:33.intimacy and singularity of your life, and to upload it to a
:40:33. > :40:42.dedicated channel on YouTube. Last year Ridley Scott and Kevin Scott
:40:42. > :40:47.looked at the footage of film taken on the 24th of July, it brought a
:40:47. > :40:51.film edited, and brought from 92 nations.
:40:51. > :40:56.Now Scott is collaborating with the BBC to create a snapshot of Britain.
:40:56. > :41:02.40 years ago I went out and filmed my day. That is what led me to do
:41:02. > :41:09.what I do today. Post monthly make it personal, whatever you film.
:41:09. > :41:13.will be a unique portrait of 24 hours in the UK. A 0-minute feature
:41:13. > :41:16.length film, directed by award- winning Morgan Matthews. Whether it
:41:16. > :41:20.is with your phone camera, or something fancier, capture
:41:20. > :41:27.something that is you in your life and become part of our nation's
:41:27. > :41:30.story. You can find out more on the website.
:41:30. > :41:40.Maybe you could film yourselves watching Review again on i player.
:41:40. > :41:42.
:41:42. > :41:47.That is it for tonight. Thank you to my guest, send us your lovely
:41:47. > :41:52.appreciative comerpbts on Twitter, they warm up a cold -- comments on
:41:52. > :42:00.Twitter. They warm up a glos Glasgow evening. Mark Kermode will
:42:00. > :42:07.be here with Kerry Shale and others, to discuss the Twilight series. Up
:42:07. > :42:17.next is jools Holland. First to get your feed tapping is Liz Green with
:42:17. > :42:24.
:42:24. > :42:30.Bad Medicine, from her album, # The words of an old blues man
:42:30. > :42:33.# Wrote was in time with his soul # Though his face be cracked and
:42:33. > :42:38.worn # Like age old summer soil
:42:38. > :42:41.# You know he gave you his hand # To lift him off the ground
:42:41. > :42:44.# No-one wants a hand # That's rough to touch
:42:44. > :42:48.# From the ship it has been carrying round
:42:48. > :42:51.# Every man wants more than he # Ever did before
:42:51. > :43:01.# He still has no way out # We have no way out
:43:01. > :43:02.
:43:02. > :43:06.# No way out # We've got no way out of this
:43:06. > :43:10.# Well he walks through town # Like a Bible prophet
:43:10. > :43:13.# Knows he owns it all # But sometimes he doesn't bother
:43:14. > :43:18.# Sometimes he doesn't bother # For Lord
:43:18. > :43:24.# Well he knows the dark hearts of # He's been there before
:43:24. > :43:30.# He won't go there again # No he won't go there again
:43:30. > :43:33.# For every man wants more than he # Ever did before
:43:33. > :43:38.# He still has no way out # We have got no way out
:43:38. > :43:42.# No way out # We've got no way out of this
:43:42. > :43:47.# So if my eyes turn black # And my teeth fall out
:43:47. > :43:55.# Or my hair is caught up in ration # Don't give me none of that
:43:55. > :43:58.medicine # For I'll spit it right back out
:43:58. > :44:03.# Well he tried so hard # To fit in
:44:03. > :44:05.# But he never really got a chance # Before he spoke
:44:05. > :44:09.# They burnt him # Roped him
:44:09. > :44:12.# Cut him # And finally put him in the ground
:44:12. > :44:20.# He said I've been through war # Been through law
:44:20. > :44:22.# Climbed that hill so cold # I've been through more than
:44:22. > :44:25.# You'll ever know # They won't let me go
:44:25. > :44:29.# Every man wants more # Than he ever did before
:44:29. > :44:34.# We have no way out # No way out
:44:34. > :44:38.# We have no way out of this Mill my eyes turn black
:44:38. > :44:41.# And my teeth fall out # May hair's caught up in ration
:44:41. > :44:45.# Don't give me none of that medicine
:44:45. > :44:48.# For I'll spit it right back out # I will spit it right