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