Browse content similar to 25/11/2011. Check below for episodes and series from the same categories and more!
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Tonight, celebrity and the media, from Marilyn Monroe to a Prime | :00:11. | :00:19. | |
Minister, blackmailed into bizarre sex, live on TV. | :00:19. | :00:24. | |
In a week when contemporary stars talked about the price of fame, the | :00:24. | :00:29. | |
new film explores Marilyn Monroe's inner demons, and her conflict with | :00:29. | :00:34. | |
celebrity. All people ever see is Marilyn Monroe. | :00:34. | :00:38. | |
The public's appetite for scandal is laid bear in Charlie Brooker's | :00:38. | :00:43. | |
parable of a Prime Minister's terrible dilemma. Do we secretly | :00:43. | :00:49. | |
relish media intrusion. I will be executed. | :00:49. | :00:53. | |
Plus, hidden treasures brought to light at the Ashmolean museum in | :00:53. | :01:01. | |
Oxford. The long lost first novel of Jack | :01:01. | :01:04. | |
Kerouac. "the sea stretching around the horizon, the rich clean sound | :01:05. | :01:12. | |
of the bow spliting the water. Music from Beer Jacket. | :01:12. | :01:21. | |
# The blows hard in your dead heart # Captain of the soul | :01:21. | :01:25. | |
I'm joined tonight by the actress, Maureen Lipman, the journalist | :01:25. | :01:32. | |
Sarfraz Manzoor, writer and critic, Paul Morley, and Sarah Churchwell, | :01:32. | :01:34. | |
Professor of American literature at the university of East Anglia. Join | :01:34. | :01:40. | |
in the discussions at home by sending in tweets, we read each one. | :01:40. | :01:43. | |
All through this week we have heard celebrities and others expose the | :01:43. | :01:47. | |
underhand tactics of the tabloids, but they feed a public appetite, | :01:47. | :01:51. | |
which is hardly anything new. In the 1950s, Marilyn Monroe could | :01:51. | :01:56. | |
barely walk down a street without being mobbed. A new film, My Week | :01:56. | :01:59. | |
With Marilyn, aims to uncover more about the real woman behind the | :01:59. | :02:08. | |
public figure. She's here, said the headlines, | :02:08. | :02:11. | |
everyone now it meant the American film star with the famous shape and | :02:12. | :02:16. | |
wiggley walk. Marilyn Monroe visited the UK only once, in 1956 | :02:16. | :02:21. | |
the world's most famous movie star, boarded a plane with her new | :02:21. | :02:27. | |
husband, Arthur Miller. She had come here to make The | :02:27. | :02:31. | |
Prince and the Showgirl, with the acclaimed actor and director, | :02:31. | :02:34. | |
Lawrence Olivier, it was her first film as producer and star, and | :02:34. | :02:39. | |
crucially, a chance to prove herself as a serious actress. But | :02:39. | :02:44. | |
the production wasn't a happy time for Monroe, who was becoming | :02:44. | :02:46. | |
increasingly addicted to prescription drugs and alcohol. She | :02:46. | :02:50. | |
and Olivier clashed over everything, from her lateness on set to her | :02:50. | :02:55. | |
obsession with method acting. With the marriage to Miller already | :02:55. | :03:01. | |
crumbling, Monroe felt very vulnerable. Enter 23-year-old | :03:01. | :03:06. | |
assistant director, Colin Clark, the old Eatonian son of art | :03:06. | :03:10. | |
historian, Keneth Clarke, who was starting his first job in the | :03:10. | :03:14. | |
business. My Week With Marilyn is based on his memoir of the week he | :03:14. | :03:22. | |
spent with Hollywood's most memorable actress. She and Olivier | :03:22. | :03:27. | |
were talking a dlifrpb language. She decided this wuing man, Colin | :03:27. | :03:32. | |
Clark was someone to trust and befriend, eventhough they had aner | :03:32. | :03:37. | |
rottically charged few days together, she was able to recapture | :03:37. | :03:47. | |
:03:47. | :03:49. | ||
her lost childhood with him. Given this is his first feature film, | :03:49. | :03:54. | |
Curtis has managed to assemble an impressive cast, including Kenneth | :03:54. | :04:04. | |
:04:04. | :04:05. | ||
Branagh, Eddie Redmayne, Dame Judi Devon, and Michelle Williams. | :04:05. | :04:10. | |
knew Michelle Williams was a great actress, but I didn't know what a | :04:10. | :04:13. | |
great dancer and singer she was. It was great to surround her with a | :04:14. | :04:18. | |
great team of people. At the heart of it was Michelle's brilliance. I | :04:18. | :04:23. | |
love seeing her sing the songs from the tripbstripbs and other times in | :04:23. | :04:26. | |
Marylin's life -- The Prince and the Showgirl, and other times in | :04:26. | :04:29. | |
Marylin's life. Does My Week With Marilyn manage to give new insight | :04:29. | :04:35. | |
into the legendary star, or is it just another tribute to a pop icon. | :04:35. | :04:40. | |
# The way that I move # That thermometer proves | :04:40. | :04:47. | |
# That I certainly can Sarah, you have written about | :04:47. | :04:51. | |
Marilyn Monroe, you know her life very well, how well do you think | :04:51. | :04:53. | |
that Michelle Williams manages so capture the essence of the woman | :04:53. | :04:57. | |
and the star? It is a performance that is getting a lot of hype. I | :04:57. | :05:02. | |
have to say I think it deserves it, it is an extraordinarily, | :05:02. | :05:06. | |
technically remarkable performance. She gets not only Marylin's | :05:06. | :05:11. | |
mannerisms, she really gets her voice very well, particularly. She | :05:11. | :05:21. | |
:05:21. | :05:21. | ||
also gets the tremulous that Marylin brought to her performance, | :05:21. | :05:27. | |
she quivered, she was almost like a humming bird. I think the problem | :05:27. | :05:30. | |
for anyone playing Marilyn Monroe, Marilyn Monroe is Marilyn Monroe | :05:30. | :05:35. | |
for a reason, it is like trying to play Cary Grant, there are a | :05:35. | :05:40. | |
handful of people who were transcendant, people use words like | :05:40. | :05:45. | |
"all chem me" and "magic to talk about her, there is no word for the | :05:45. | :05:48. | |
presence she has on the screen. Nobody can do that. However good | :05:48. | :05:51. | |
the performance is, and Michelle Williams can't do that. It is not | :05:51. | :05:54. | |
her fault, it can't be done. close do you think Michelle | :05:54. | :06:04. | |
:06:04. | :06:08. | ||
Williams got to the all can he me? You are being -- you are being | :06:08. | :06:13. | |
asked to play an energy. It is in the middle of a pedestrain film, a | :06:13. | :06:19. | |
film made up of a lot of acting, some acting you will like, you will | :06:19. | :06:22. | |
like Branagh's Olivier, because he brings Olivier to us, you won't | :06:22. | :06:27. | |
like Emma Watson, or the lady who plays Vivien Leigh, and within it | :06:27. | :06:32. | |
is the performance of Marylin, for Michelle Williams it will put her | :06:32. | :06:42. | |
on the Oscar list. Her performance is a photocopy of a photocopy of a | :06:42. | :06:46. | |
rumour someone once said about Marilyn Monroe. If you are up on | :06:46. | :06:51. | |
Marilyn Monroe it is disappointing, if not it is a film of good acting. | :06:51. | :06:53. | |
The clash between Marilyn Monroe and Lawrence Olivier, who you have | :06:53. | :06:58. | |
worked with in the past? I did, and Kenneth Branagh is fantastic. He | :06:58. | :07:04. | |
gets the normality of the man, along with the, the fact is, that | :07:04. | :07:09. | |
period of time, Olivier wanted to do what Monroe could do, and Monroe | :07:09. | :07:14. | |
wanted to do what Olivier could do, she wanted to be a great actress, | :07:14. | :07:17. | |
and he a movie star. He didn't know how to deal with her, she was just | :07:17. | :07:21. | |
was on the screen, and he acted. I think possibly Michelle Williams | :07:21. | :07:26. | |
does work from the outside in. And like Marilyn Monroe did, I think | :07:26. | :07:30. | |
that Kenneth Branagh worked from the outside, like Olivier did, | :07:31. | :07:34. | |
there is these wonderful moments when he says it's like teaching | :07:34. | :07:38. | |
Urdu to a badger, and he goes completically, it is so familiar | :07:38. | :07:45. | |
that, I gets it right. -- completely, it is so familiar, he | :07:45. | :07:52. | |
gets it right. The world of these two huge egos, and then comes the | :07:52. | :07:58. | |
character of Colin Clark, in a sense an outsider? He was the | :07:58. | :08:00. | |
weaker part, Kenneth Branagh is brilliant. Michelle Williams, like | :08:00. | :08:10. | |
you say, it reminded me of Will Smith playing muham med Ali, it is | :08:10. | :08:15. | |
such an incendiary character. In the novel's so campy, making | :08:15. | :08:18. | |
comments, he has interesting thoughts, but the guy who is Clark | :08:18. | :08:22. | |
in the film is bland guy. Firstly, you don't understand why Marilyn | :08:22. | :08:26. | |
Monroe would invest her faith in him, and secondly, this sexual | :08:26. | :08:30. | |
thing, which is this erotically- charged relationship. In the book | :08:30. | :08:35. | |
you realise he has an experience of gay sex in the diary. You think why | :08:35. | :08:38. | |
don't you sleep with Marilyn Monroe if you have the chance. It raises | :08:38. | :08:43. | |
two points, if we believe Colin Clark, it is based on two books he | :08:43. | :08:47. | |
wrote, one published in 1995 and 2000, years after everybody | :08:47. | :08:57. | |
involved was dead. My own sense is this is boardering on apocrophy, it | :08:57. | :09:02. | |
is embellished. There are lots of diaries of Marylin, I have read | :09:02. | :09:06. | |
hundreds of them. It is probably very embroidered. The second point, | :09:06. | :09:10. | |
the film is very, very polite to both of the principals, even in | :09:10. | :09:15. | |
Colin Clark's books, he has a bitchy side, he allows both of them | :09:15. | :09:20. | |
were monstrous, which this film don't. It want them both to be | :09:20. | :09:24. | |
really nice people. It has a Sunday night television quality, the way | :09:24. | :09:28. | |
it is shot, everything is order, the darkness about Monroe doesn't | :09:28. | :09:32. | |
come through. And Olivier. Colin Clark is played almost like, it is | :09:32. | :09:37. | |
a very gentle, very, it is vaguely charming. It is a biopicture, it | :09:37. | :09:41. | |
isn't the whole of Marilyn Monroe's life, it takes a week. And we learn | :09:41. | :09:45. | |
more about her from that week? of course, he, the Eddie Redmayne, | :09:45. | :09:53. | |
and he's very good a cross between Mia Farrow and Andy Murray, he just | :09:53. | :09:57. | |
looms and is adorable. The film is interesting, and you mentioned this | :09:57. | :10:01. | |
with Olivier and Monroe, it does capture a moment where celebrity | :10:01. | :10:06. | |
changes and actors are passed on and stars are becoming, the film is | :10:06. | :10:10. | |
a passing of the torch. Olivier knows his time is gone, and the | :10:10. | :10:16. | |
acting he does is on the way out and the acting Monroe does is there. | :10:16. | :10:20. | |
He goes to the Royal Court and sucks out all the new Osbourne | :10:20. | :10:25. | |
stuff. It is It is a turning point for Olivier it is the stage and a | :10:25. | :10:31. | |
new wave of theatre. Ultimately the take on both of them is fairly | :10:31. | :10:34. | |
superficial, the more you know about Marylin, there is more | :10:34. | :10:40. | |
interesting things, even in the filming of The Prince and the | :10:40. | :10:42. | |
Showgirl, Olivier said terrible things about her from the beginning, | :10:42. | :10:47. | |
before all of that, he was rude to her before. Many of the things in | :10:47. | :10:50. | |
the film could have been told 40 years a there doesn't seem to be | :10:50. | :10:55. | |
any use of our hindsight. It is not a new take. It was about the part | :10:55. | :11:00. | |
of in his downfall. It was very important to Colin Clark, it wasn't | :11:00. | :11:03. | |
important historically, and I don't suppose Marilyn remembered it at | :11:03. | :11:08. | |
all, it was a couple of weeks. claims she called him just before | :11:08. | :11:15. | |
she died. Using this as a small kernal, it was tamely written. It | :11:15. | :11:25. | |
could have been an episode of Downton Abbey. Same casting. Green | :11:25. | :11:27. | |
light casting. Marilyn Monroe did pay the ultimate price for fame | :11:28. | :11:35. | |
with her famous and untimely death from an overdose. To what limits | :11:35. | :11:40. | |
will people go to cling to fame and power. That is a question supposed | :11:40. | :11:48. | |
by Charlie Brooker's new drama, The National Anthem. Script writer, | :11:48. | :11:53. | |
comlumist and author Charlie Brooker, is renowned for his | :11:53. | :11:58. | |
commentry on contemporary culture. With 400,000 followers on Twitter, | :11:58. | :12:03. | |
it is no surprise the social media revolution has inspired his latest | :12:03. | :12:10. | |
TV series. Black Mirror is his take on the Twilight Zone, the American | :12:10. | :12:18. | |
1950s sci-fi drama, which reflected fears about nuclear war and the | :12:18. | :12:23. | |
McCarthy era. So, what are the contemporary British issues which | :12:23. | :12:27. | |
Brooker wants to explore? I was thinking about the relationship | :12:27. | :12:32. | |
between rolling news and things like Twitter, you get these waves | :12:32. | :12:37. | |
of opinion and information, rolling in at you. It is sort of too much | :12:37. | :12:40. | |
to take. Often many days you wake up and think the news has gone | :12:40. | :12:45. | |
surreal today. It feels like nobody is really in charge. The first of | :12:45. | :12:48. | |
three films, The National Anthem covers the hours following the | :12:48. | :12:53. | |
kidnap of a member of the Royal Family. Please don't kill me. | :12:53. | :12:56. | |
Prime Minister is responsible for securing the Princess's release, | :12:56. | :13:02. | |
but the hostage-takers make a rather unorthodox randsom demand. | :13:02. | :13:05. | |
The PM, Michael Callow, played by Rory Kinnear, is forced to question | :13:05. | :13:11. | |
how far he will go for Queen and country. Saving the Princess's | :13:11. | :13:16. | |
bacon would prove his loyalty, but also cause widespread revulsion. | :13:16. | :13:23. | |
The sensational news story spreads rapidly around the country. Forcing | :13:23. | :13:26. | |
traditional media to defy Number Ten's attempts to keep it secret. | :13:26. | :13:30. | |
Technology is a thread running through all three Black Mirror | :13:30. | :13:35. | |
films, and Brooker isam belief lent about our current obsession with it. | :13:35. | :13:39. | |
The first thing I do when I wake up is grab a smart phone and start | :13:40. | :13:44. | |
checking Twitter and e-mail and things like that. Everyone can feel | :13:44. | :13:48. | |
their brain is being rewired in some way. I'm for technology, I'm | :13:48. | :13:55. | |
worried about what it is doing to us, it is a destrubgt jif and de-- | :13:55. | :13:58. | |
destrubgtive relationship. It is described as a twisted parable for | :13:58. | :14:02. | |
the Twitter age. What does it say about how the media shape the news | :14:02. | :14:07. | |
and how we consume it. What now, what is the play book. This is | :14:07. | :14:17. | |
:14:17. | :14:19. | ||
virgin territory, there is no play book. | :14:19. | :14:23. | |
This could be done slapstick and purely for laughs, it isn't like | :14:23. | :14:27. | |
that? It is fantastic. I thought it was an amazing piece of sat tie, it | :14:27. | :14:31. | |
is black and bleak, and it is very -- satire, it is black and bleak | :14:31. | :14:35. | |
and very worrying, it is impecably cast, every actor in it is | :14:35. | :14:39. | |
completely right and good. The timing is so good, the director has | :14:39. | :14:44. | |
done such a good job. It looks amazing, it is quite shocking. It | :14:44. | :14:49. | |
is what satire should be. There is a fantastic twist at the end. Not a | :14:49. | :14:55. | |
twist, it is not fantastic, it is good. Rory Kinnear, is such a | :14:55. | :15:00. | |
talented actor. He plays the Prime Minister, his wife is well cast. It | :15:00. | :15:09. | |
is very funny. You laugh in spite of yourself. Were you as | :15:09. | :15:12. | |
captivated? No, I feel like you are decribing a different film from the | :15:12. | :15:16. | |
one I saw. I agree it is very dark, I didn't think it was remotely | :15:16. | :15:21. | |
funny. I didn't laugh for a second. You didn't laugh at the first sight | :15:21. | :15:29. | |
of the person? No I didn't. The thing for me is a satire, it is | :15:29. | :15:34. | |
called a twisted parable, it needs to be funny, it needs to be like | :15:34. | :15:40. | |
The Thick Of It, it begs comparisons there, or needed to be | :15:41. | :15:45. | |
more twisted. The quote there where he says it is virgin territory and | :15:45. | :15:49. | |
there is no play book, I thought I have seen this a lot of times | :15:49. | :15:53. | |
before. They have pushed it, I don't want to ruin it. But they | :15:53. | :15:56. | |
have just gone further than most people are willing to go. That is | :15:56. | :16:01. | |
not actually to me making it fun or more meaningful. The twist at the | :16:01. | :16:04. | |
end, you say, it is a twist at the beginning, you are avoiding the | :16:04. | :16:07. | |
twist at the beginning because you are not going there at all, you are | :16:07. | :16:11. | |
holding off that to deliver that to the fresh audience. It is a very | :16:11. | :16:16. | |
difficult one. It is not something you want to discuss but you don't | :16:16. | :16:21. | |
want to spoil the splot. It is as if David Cameron is having to have | :16:21. | :16:27. | |
sex with a pig to save Kate Middleton what ultimately turns out | :16:27. | :16:37. | |
:16:37. | :16:37. | ||
to be bleepbleep. It is the blackmail threat. It is a plot to | :16:37. | :16:42. | |
engage with this kind of thing. Possibly the programme that will | :16:42. | :16:47. | |
save Channel 4 next year on the 30th anniversary, at last some | :16:47. | :16:51. | |
intelligent life, a response to where we are, and what is happening | :16:51. | :16:55. | |
to it, from someone aware of it. Charlie Brooker is very good on | :16:55. | :17:00. | |
this world. Even he can make one of the funnyiest lives in it, "it is | :17:00. | :17:06. | |
trending on Twitter", or "it is someone she knows from Downton | :17:06. | :17:10. | |
Abbey", it is something happening lately. It is reality itself | :17:10. | :17:16. | |
changing, and an attempt to respond to that. How the traditional media | :17:16. | :17:21. | |
has been caught out by the Internet, the news spreads. You were mention | :17:21. | :17:30. | |
about The Thick Of It, I was thinking about Day Today and Brass | :17:30. | :17:36. | |
End, news was God, they are talking about the mainstream media held to | :17:36. | :17:39. | |
randsom by Twitter and all that, now everyone is chasing after | :17:39. | :17:42. | |
things. In that sense, the other thing interesting about it, I think | :17:42. | :17:46. | |
it is basically a one-line programme run to an hour. But it is | :17:46. | :17:50. | |
a comedy that has been directed as a political thriller, in that sense, | :17:50. | :17:55. | |
because the acting is so overthe top, and hamy, if you want to put | :17:55. | :18:03. | |
it -- over the top, and hamy and over the top. What that girl does | :18:03. | :18:07. | |
at the beginning is one of the hardest things an act stress can do. | :18:07. | :18:10. | |
Unlike a lot of political satires like this, where the Prime Minister | :18:11. | :18:16. | |
would be a two-dimensional stoodge, we are sympathetic for him and the | :18:16. | :18:20. | |
might. At the end, the resolution with his wife is very unpredictable. | :18:20. | :18:24. | |
The whole thing is. It is beautifully acted. There are people | :18:24. | :18:28. | |
doing things in this that they are not doing in the Shakespeare. | :18:28. | :18:34. | |
view it as a drama. But that to me is what kills the joke. On the | :18:34. | :18:38. | |
contrary, they play it straight, that is funny. It would be if the | :18:38. | :18:43. | |
lines were funny. The problem is. It is trending on twiter, that is a | :18:43. | :18:47. | |
brilliant thing. I think that Charlie Brooker is an incredible | :18:47. | :18:52. | |
writer and I was looking forward to it. What struck me about it n the | :18:52. | :18:55. | |
week of the Leveson Inquiry, was the public attitude towards what | :18:55. | :18:59. | |
was happening and how gripped they were. And how complicit they are in | :18:59. | :19:03. | |
this, which is something we have seen. 140 characters changes a | :19:03. | :19:07. | |
Government. But also I think part of that is this is the relationship | :19:07. | :19:10. | |
that Black Mirror deals with in way that My Week With Marilyn doesn't. | :19:10. | :19:14. | |
It is a two-way relationship, the public can respond to things, and | :19:14. | :19:17. | |
have a view, and what is interesting in fact in Black Mirror | :19:17. | :19:21. | |
is the Prime Minister is constantly being told about on-line polling. | :19:21. | :19:27. | |
His decision making is having to be done based on on-line polling. That | :19:27. | :19:31. | |
is a more reactive world than my week. Definitely tackling a world | :19:31. | :19:35. | |
where the control seems to be in the hands of ordinary people, but | :19:35. | :19:38. | |
in fact they have been given the illusion of control but it is all | :19:38. | :19:42. | |
taken away from them. What is interesting with Black Mirror, is | :19:42. | :19:46. | |
although the narrative is that Twitter, it is trending on there, | :19:46. | :19:49. | |
the blackmailer wants the event to be broadcast on TV. There is still | :19:49. | :19:55. | |
a sense that actually TV does matter. That tension between the | :19:55. | :20:01. | |
mainstream media and the Internet world hasn't been resolved. It is | :20:01. | :20:04. | |
that tension between media and celebrity and what people will do | :20:04. | :20:07. | |
for power. That goes back to what we were saying about Marylin too? | :20:07. | :20:14. | |
One of the things, one of the strix that film misses about celebrity | :20:14. | :20:17. | |
and Marylin's relationship to celebrity, is fame was the great | :20:17. | :20:20. | |
achievement of her life and the proof of her value. When we talk | :20:20. | :20:24. | |
about the way the crowd can control these sorts of discourses, it is an | :20:24. | :20:28. | |
illusion. In part, because so many are chasing fame themselves. Talk | :20:28. | :20:36. | |
to young people today and so many say their goal is to be famous. | :20:36. | :20:40. | |
irony of all irony is the Leveson Inquiry is said to be hijacked by | :20:40. | :20:45. | |
celebrity. The father of one of the 7/7 victims won't appear in front | :20:45. | :20:48. | |
of it because he fears that. Charlie Brooker says in his | :20:48. | :20:52. | |
interview, to respond to a piece of satire or a response to it when the | :20:52. | :20:55. | |
thing itself is becoming more and more surreal. I was watching the | :20:55. | :21:00. | |
DVD in Black Mirror and behind was the Iveson, the two things were | :21:00. | :21:07. | |
merging together, to give a hint. Never has Hugh Grant been more Hugh | :21:07. | :21:12. | |
Grant-like. And Hugh Grant for Prime Minister, was on Twitter. | :21:12. | :21:16. | |
has already played that. To have something that is engaging with | :21:16. | :21:19. | |
dislocation and dissolving of reality is very refreshing. It is | :21:19. | :21:22. | |
very difficult to do. And everyone is very scared of it. It seems to | :21:22. | :21:26. | |
be spoiling the party. You will all get a chance to see Black Mirror if | :21:27. | :21:32. | |
you want on Channel 4 on the 4th of December. Fame beyond the grave was | :21:32. | :21:37. | |
guaranteed in Ancient Egypt by the most elaborate funeral arrangements | :21:37. | :21:42. | |
in his treatment most of it is on show on the first ever public | :21:42. | :21:47. | |
museum, the Ashmolean in Oxford. It was rebuilt some years ago, a | :21:47. | :21:50. | |
series of Egyptian galleries will be open to the public, showcaseing | :21:50. | :21:56. | |
one of the finest archaeological exhibitions in the world. | :21:56. | :22:01. | |
Amassed over 300 years, the Ashmolean collection of Nile Valley | :22:01. | :22:04. | |
art facts reflects the long standing British passion for | :22:04. | :22:10. | |
Egyptling to. Now six new galleries showcase mummies, coffins, shrines | :22:10. | :22:13. | |
and statues, many of which have been hidden away in store for years. | :22:14. | :22:19. | |
The result is a journey tracing 3,000 years of culture in Egypt and | :22:19. | :22:25. | |
Nubia, now Sudan. Featuring some remarkable pieces. This is the | :22:26. | :22:32. | |
shrine of the king who ruled in the 25th dinnasty. Excavated in Sudan. | :22:32. | :22:39. | |
It was sound by the first professor of Egyptology, who packed the | :22:39. | :22:46. | |
shrine away into 150 creates and transported it back to dk cats and | :22:46. | :22:51. | |
transported it back to -- crates and transported it back to the | :22:51. | :22:58. | |
university. This is one of the most iconic piece, the Princess fresco, | :22:58. | :23:03. | |
excavated in the 1890, and an intimate portrayal of the Royal | :23:03. | :23:09. | |
Family, lounging at a palace, including two of the six daughters | :23:09. | :23:15. | |
of the king and his Queen Nefertiti. Behind me were r two huge statues | :23:15. | :23:22. | |
of the fertility God, they were excavated in 183, we have | :23:22. | :23:25. | |
reconstructed them at their original heat. | :23:25. | :23:30. | |
Display cases protect items carefully restored. Modern medical | :23:30. | :23:33. | |
technology has revealed more about some objects in the collection than | :23:33. | :23:37. | |
had ever been known before. Complimenting the ancient exhibits | :23:37. | :23:45. | |
is a new installation, by the artist, Angela Palmer, based on CT | :23:45. | :23:55. | |
:23:55. | :23:55. | ||
scans of a two-year-old boy mummy, died at the end of the Egyptian | :23:55. | :24:00. | |
century. There is contemporary art to allow the public to peer below | :24:00. | :24:07. | |
the bandages. The new galleries show case one of the greatest arbg | :24:08. | :24:13. | |
facts of the period outside of Egypt. How does it help our | :24:13. | :24:19. | |
understanding of this ancient civilisation. | :24:19. | :24:24. | |
You enter these new galleries through what was once the shop, | :24:24. | :24:31. | |
into what was probably the most unusual part of the exhibition, the | :24:31. | :24:34. | |
predynastic work, we are not familiar with that? I loved this | :24:34. | :24:42. | |
exhibition. When you see Egypt you see the blockbuster, the pyramids. | :24:42. | :24:46. | |
They were doing the narrative story, the beginning, the connections | :24:46. | :24:50. | |
between 3,000 years of history, the thing I most loved about it was it | :24:50. | :24:54. | |
was telling you the human story, underneath the civilisation. You | :24:54. | :24:59. | |
keep talking about things like, Egyptian civilisation, pyramids, | :24:59. | :25:04. | |
kings. What was really important the small items about the human | :25:04. | :25:07. | |
stories, the clump of human hair, things that people were buried with. | :25:07. | :25:11. | |
Suddenly you are not talking about civilisations, or thousands of | :25:11. | :25:16. | |
people, it is individuals. I found it incredibly powerful. The things | :25:16. | :25:20. | |
they buried with was their every day life, everything they would | :25:20. | :25:26. | |
need for the next life. wonderful boat carved with 14 | :25:26. | :25:29. | |
different characters doing different things to take them to | :25:29. | :25:34. | |
the rest world. Jewellery, various things, it was just gorgeous. A | :25:34. | :25:37. | |
lovely exhibition. There was a particular piece of jul jewellery I | :25:37. | :25:44. | |
love, a naked woman holding a little bowl. With a ceramic spoon. | :25:44. | :25:51. | |
A spoon for make-up. Exploring back to the predynastic period, pieces | :25:51. | :25:55. | |
of art that looks abstract. Completely contemporary. I find | :25:55. | :25:59. | |
when you go to these exhibitions, as much as you are looking into the | :25:59. | :26:02. | |
past you are looking into the future. An extraordinary sense of | :26:02. | :26:06. | |
how they were making works of art, how they were decribing their | :26:06. | :26:10. | |
feelings, how they were preerpbg for death. Is so un-- preparing for | :26:10. | :26:14. | |
death. It is so modern. It is an extraordinary amount of information | :26:14. | :26:21. | |
to fill in what are inextra ordinary gaps in knowledge. Because | :26:21. | :26:25. | |
the gallery is filled with intimate moments and takes you through the 6 | :26:26. | :26:29. | |
though words in such an intelligent way, you don't feel overwhelmed and | :26:29. | :26:35. | |
you piece together the information. Little laund royalists and sick | :26:35. | :26:45. | |
:26:45. | :26:48. | ||
notes written on -- loyal sick notes written on -- little sick | :26:48. | :26:53. | |
notes written on there. And the idea of knowledge, you could take | :26:53. | :26:58. | |
three or four hours to digest T the first room is a bit deceptive, it | :26:58. | :27:02. | |
is empty, and there are two big statues, it gets more and more | :27:02. | :27:07. | |
intense, and the displays get more filled. You could spend hours. It | :27:07. | :27:12. | |
is wonderful, one of the things I loved about it, we haven't | :27:12. | :27:16. | |
mentioned it. They have done architectural renovations to create | :27:16. | :27:23. | |
parallel spaces, so you can see, as Egypt is evolving, Nubia, or Sudan | :27:23. | :27:27. | |
is evolving simultaneously. They used space to move through time so, | :27:27. | :27:31. | |
you can look across the room and see this is the Sudan at the same | :27:31. | :27:34. | |
time, this is what they are doing. You start to get the sense of the | :27:34. | :27:38. | |
cultural interchange between them. There is a wonderful piece that | :27:38. | :27:48. | |
:27:48. | :27:48. | ||
they had, I loved this, it was a script, they haven't desieveered it | :27:48. | :27:55. | |
yet, they said there -- desieveered this yet, they said there were | :27:55. | :28:00. | |
scolars working on it as you saw T The fact you see how the -- the | :28:00. | :28:06. | |
fact you saw how the Egyptians influenced the rest of the world. A | :28:06. | :28:14. | |
roam boy mummified. And a Roman woman painted on her, she is | :28:14. | :28:19. | |
mummified but this Roman thing on it. She has the criss-cross | :28:19. | :28:24. | |
bandaging with the goldam mulets. The fact that it was in the Roman | :28:24. | :28:29. | |
empire and it carried on. For the first time in that exhibition I got | :28:29. | :28:35. | |
that sense there is Egypt in us now in England. A lot of that is | :28:35. | :28:38. | |
traditional museum curating they have done, I liked they had the | :28:38. | :28:45. | |
guts not to reinvent everything. Not modernising it, they don't do | :28:45. | :28:50. | |
tweets! There are modern touches, the interactive computer to see the | :28:50. | :28:58. | |
CSI, CD video of the thing. Angela Palmer, it plaiks you feel at the | :28:58. | :29:01. | |
end of the exhibition how shocking and sudden and beautiful things | :29:01. | :29:06. | |
were at that time. The colours are still preserved, buetloofl | :29:06. | :29:13. | |
terracottas and blues. -- beautiful terracottas and blues. How did they | :29:13. | :29:19. | |
deal with the idea these are human remains? They do it really well and | :29:19. | :29:27. | |
intelligently. One of the women the mummies they have, had an | :29:27. | :29:31. | |
inscription that was meant to be read out as a memorial. They are | :29:31. | :29:34. | |
encouraging visitors to read it out. That is the ritual she wanted | :29:34. | :29:38. | |
people to be participating in. She wanted to be preserved, they have | :29:39. | :29:42. | |
put her in state-of-the-art preservation, she is lasting longer | :29:42. | :29:46. | |
than she expected. The fact they are portraits, you can see the | :29:46. | :29:53. | |
faces of the woman and man, not just the bound things. I thought | :29:53. | :29:57. | |
they were really people, for the first time I thought. It is a | :29:57. | :30:02. | |
constant theme that has gone on ever since that death is the team | :30:02. | :30:07. | |
of life. You recreate your life in the next life. Something in Egypt | :30:07. | :30:10. | |
that they really went to town in terms of preparing for the | :30:10. | :30:15. | |
afterlife. In terms of just the amount of servants and these mini- | :30:15. | :30:19. | |
bakeries. They create the immortality, we are still looking | :30:19. | :30:25. | |
at those things. They were right. The immortality exists. It is like | :30:25. | :30:33. | |
Marilyn Monroe. Was she a mummy. She had one but wasn't very nice to | :30:33. | :30:39. | |
her. Like Marylin, Kerouac is another of those single words that | :30:39. | :30:43. | |
carry a whole host of associations, Jack Kerouac also died in the 1960s, | :30:43. | :30:47. | |
his profile, too, like Marilyn Monroe, has never faded. Next year | :30:47. | :30:52. | |
we will see a film version of his best known work, On The Road. And | :30:52. | :31:00. | |
this week, Kerouac's long lost first novel is finally published. | :31:00. | :31:06. | |
Jack Kerouac's 1957 novel, On The Road, has axe fired cult stages as | :31:06. | :31:15. | |
its pages incaps late the literary movement that Kerouac dubbed The | :31:15. | :31:21. | |
Beatles. People ask why I -- Beat Generation. People ask why I | :31:21. | :31:25. | |
wrote these books, I wrote what was true and what I saw. Before he took | :31:25. | :31:31. | |
to the road he took to the sea. In 1942 having dropped out of Colombia | :31:31. | :31:35. | |
University, Kerouac completed his first tour in the United States | :31:35. | :31:38. | |
Merchant Marine, the trip fed his love for adventure, and inspired | :31:38. | :31:43. | |
him to keep a journal, detailing the daily routine of life at sea, | :31:43. | :31:48. | |
and the characters of his fellow shipmates. These journal entries | :31:48. | :31:52. | |
forpbl the basis of his first novel. The Sea Is My Brother hasn't been | :31:52. | :31:58. | |
published in its entirety until now. The only reference to his existence | :31:58. | :32:02. | |
lay in Kerouac's private letters. It centres on two men, both of whom | :32:02. | :32:08. | |
share characteristics with the author. One leaves his teaching job | :32:08. | :32:11. | |
at Colombia, following his new friend, the ruthless drifter, | :32:12. | :32:15. | |
Wesley Martin, a man who Kerouac said loved the sea with a strange | :32:15. | :32:20. | |
lonely love. The sea is his brother, and sentences he goes down. He felt | :32:20. | :32:24. | |
the thrill of anticipation as he sat there dosing, in a few days, | :32:24. | :32:30. | |
back on a ship, the sleeply thrum of the propeller chuorning in the | :32:30. | :32:34. | |
water below, the soothing rise and fall of the ship. The sea | :32:34. | :32:39. | |
stretching around the horizon, the rich, clean sound of the bow | :32:39. | :32:43. | |
spliting water, and the long hours lounging on deck in the sun, | :32:43. | :32:47. | |
watching the deck of clouds, ravished by the full, moist breeze. | :32:47. | :32:51. | |
A simple life, a serious life. To make the sea your own, to watch | :32:51. | :32:55. | |
over it, to brood your very soul into it, to accept it and love it | :32:55. | :33:01. | |
as though only it mattered and existed. The book also contains an | :33:01. | :33:05. | |
assortment of other early writings from the same period, as well as | :33:05. | :33:09. | |
letters, sketches and photographs. Is The Sea Is My Brother a valuable | :33:09. | :33:15. | |
record of an author's early efforts, are was is juvenile book, | :33:15. | :33:19. | |
previously unpublished, for a good reason. | :33:19. | :33:23. | |
Did they book deserve to be unearthed? Absolutely, anything | :33:23. | :33:29. | |
that gives a clue of how a great mind was forming. Jack Kerouac has | :33:29. | :33:33. | |
become more a personality, a great American personality. Anything that | :33:33. | :33:37. | |
can remind us he was a great American writer as well is very | :33:37. | :33:40. | |
important. As a brand he gets underestimated as an American | :33:40. | :33:45. | |
writer. I love him as an American writer, I love seeing this happen, | :33:45. | :33:51. | |
in the 1940s you see a young boy, influenced and wants to be a great | :33:51. | :33:55. | |
novelist by all the great writers, but also at the same time, at that | :33:55. | :34:00. | |
moment by Charley Parker and Leicester Young, it is merging | :34:00. | :34:04. | |
together and you are seeing it ferment and bubble. The sentences | :34:04. | :34:09. | |
gets longer during the 1920s and 1930, you see a forming of the mind | :34:09. | :34:13. | |
that remind you that above all EMS he was a great American writer not | :34:13. | :34:18. | |
just a -- else he was a great American writer. What did you | :34:18. | :34:22. | |
think? It is embryonic. The problem is, he wants to be a great writer, | :34:22. | :34:26. | |
but like so many aspiring young writers, he has absolutely nothing | :34:26. | :34:31. | |
to say. Here there is nothing to say here. It is derivative at best. | :34:31. | :34:36. | |
It is a sketch, really. It wasn't published for ran. Kerouac himself, | :34:36. | :34:42. | |
before he died, referred to this novel as a croc. I think we can | :34:42. | :34:49. | |
trust the man's assessment here. At best at flimcy. There is some | :34:49. | :34:55. | |
really bad writing. He does that thing that bad writing 101, won't | :34:55. | :34:59. | |
use the word "said", you runs through other words, he greeted | :34:59. | :35:09. | |
:35:09. | :35:14. | ||
hello, she yawned and then says something, she mild hello. 'S only | :35:14. | :35:19. | |
20 years ol. It is not complete this book, it -- he's only 20 years | :35:19. | :35:25. | |
old. It is not complete this week, it is like an early demo for a band. | :35:25. | :35:29. | |
I never got into Kerouac, I preferred Steinbeck in terms of | :35:29. | :35:33. | |
road movies and novels. I want to say that what is interesting about | :35:33. | :35:38. | |
it is just the fact that he does have this tension between being an | :35:38. | :35:43. | |
intellectual and the physical world. He has that and follows it through. | :35:43. | :35:50. | |
Everheart is an academic builty about being an axe dij. In the | :35:50. | :35:55. | |
sense of -- academic, in a sense of seeing that grow is interesting. | :35:55. | :36:05. | |
:36:05. | :36:07. | ||
had to staple this book to me I found isth almost unreadable. It is | :36:07. | :36:11. | |
so hard to read, so endlessly macho. And cold beers, and people who | :36:11. | :36:16. | |
punch each other in the stomach as a form of greeting, and kick each | :36:16. | :36:22. | |
other up the pants. So American, and misolg sojist. | :36:22. | :36:27. | |
I thought the ambition, the care, the idealism, the belief in | :36:27. | :36:30. | |
something, a lot of things that have gone missing, I saw all of | :36:30. | :36:33. | |
that. Especially with the novel in itself ending with the ship sailing | :36:33. | :36:38. | |
off and it ends there. When the ship is sailing off and what is | :36:38. | :36:42. | |
happening is it is taking high culture with it, he's handing that | :36:42. | :36:48. | |
over to popular culture. That is giving it a lot of credit. I only | :36:48. | :36:54. | |
went to see say for a year. You are delivering a lot of intelligence. | :36:54. | :36:58. | |
It did change popular culture, you see what happened in that period | :36:58. | :37:03. | |
end earth Dylan and The Beatles. It makes it an interesting book. It | :37:03. | :37:06. | |
makes it a book worth publishing. The journal is interesting, the | :37:06. | :37:11. | |
Journal of the Egoist, he's a having that conversation about what | :37:11. | :37:15. | |
kind of write he wants to be. He wants to go an eccentric artist and | :37:15. | :37:20. | |
he wants to do those things. There is something endearing about T | :37:20. | :37:23. | |
is an important manifesto. I don't agree, any creative writing teacher | :37:23. | :37:28. | |
has read this over and again. The fact he went on 15 years later on a | :37:28. | :37:33. | |
drug drag to write one good book. The rest of what he wrote is not | :37:33. | :37:36. | |
good. It does feel like when you are a teenager at school and you | :37:36. | :37:42. | |
want to use the word "picturesque" as often as you can. There is | :37:42. | :37:45. | |
poignancy there. We know what happens, he does and doesn't become. | :37:45. | :37:50. | |
Why do you think the Kerouac phenomenon has survived y is it | :37:50. | :37:54. | |
people want to publish this, and not just the first novel but his | :37:55. | :38:02. | |
letters, his friends, his poetry. His awful peoples. He became a | :38:02. | :38:09. | |
brand -- The poems? He became a brand name, who became famous, | :38:09. | :38:15. | |
beginning as a 20-year-old talking about famous authors. People who | :38:15. | :38:19. | |
like Kerouac don't read the novels but like the idea of him. I thought | :38:19. | :38:22. | |
it strange to condemn the aspiration happening in a 20-year- | :38:22. | :38:26. | |
old, willing it to lap, and then was part of such an important | :38:26. | :38:31. | |
movement to say it should be obliterated. I said it is not good, | :38:31. | :38:39. | |
I didn't say obliterated. I just said it is not good. But in | :38:39. | :38:44. | |
what sense? Part of the guy that became the brand name that creates | :38:44. | :38:49. | |
curiosity, this is who he was as a 20-year-old. You are never going to | :38:49. | :38:55. | |
agree on that one. If a stranger accosts you in the street with a | :38:55. | :39:02. | |
copy of a book, Maureen would be upset if it was Kerouac. It was The | :39:02. | :39:07. | |
Prime Of Miss Jean Brodie, not a literary mugging but an act of | :39:07. | :39:11. | |
generosity, something similar is happening this year, this is how to | :39:11. | :39:14. | |
prepare yourself. This March saw the launch of World Book Night, a | :39:14. | :39:17. | |
new event across Britain and Ireland, which aimed to celebrate | :39:17. | :39:21. | |
the pleasure of reading. A million special low-printed books were | :39:21. | :39:28. | |
given out to members of the public, to pass on to friends, family, or | :39:28. | :39:31. | |
complete strangers. World Book Night was the brain child of | :39:31. | :39:37. | |
publisher Jamie Bing. One million books, a hell of a lot of books, | :39:37. | :39:47. | |
:39:47. | :39:55. | ||
It was the biggest book give away ever, people responded | :39:55. | :39:59. | |
enthusiastically? Reading is the most important thing in my life. I | :39:59. | :40:02. | |
can't think of anything more important to me. It has shaped my | :40:02. | :40:07. | |
outlook on life, it has opened up a lot of safes, tradition, cultures. | :40:07. | :40:12. | |
Most of what I know is through reading. The World Book Night | :40:12. | :40:16. | |
committee recently announced the list of 25 books to be given away | :40:16. | :40:24. | |
at next year's event, which will take part on Shakespeare's birthday, | :40:25. | :40:31. | |
April 23rd. Classics like Pride and Prejudice, to Steven King's | :40:31. | :40:36. | |
psychological misery, and contemporary best sellers, like The | :40:36. | :40:39. | |
Road. You have until the end of December | :40:39. | :40:44. | |
to register. Visit the World Book Night for more details. | :40:44. | :40:47. | |
1234 That website address, along with more details of everything we | :40:47. | :40:51. | |
have discussed tonight are on the web side. Next week Kirsty will be | :40:51. | :40:58. | |
here with a book special, featuring new titles from Alice Marilyn | :40:58. | :41:05. | |
Monroe, and others. Stay tuned for later for Jools and his guests. | :41:05. | :41:12. | |
Thanks to my guests, Maureen, Paul, Sarah and Salfraz. We leave you | :41:12. | :41:18. | |
tonight with the television debut of Glasgow-based music, Peter Kelly, | :41:18. | :41:25. | |
who goes by the name of Beer Jacket. From his new album, the White | :41:25. | :41:29. | |
Feather Trail, this is him. # Marry young | :41:29. | :41:33. | |
# For the need to be alone fl # Sort of swung | :41:33. | :41:36. | |
# And fear of ringing telephones # Into a wall | :41:36. | :41:41. | |
# Who has learned to crow # The winner is the last of all | :41:41. | :41:49. | |
# Carried like soap # To the one welcoming cave | :41:50. | :41:53. | |
# Words stick in your throat # To a fold | :41:53. | :42:02. | |
# The winter is a first of all # Tired like courage | :42:02. | :42:08. | |
# We're losing to an undead past # Tired is courage | :42:08. | :42:18. | |
:42:18. | :42:23. | ||
# By the act # Choosing the booze don't path | :42:23. | :42:26. | |
# No need for glory # Put to song | :42:26. | :42:30. | |
# But undone # Brownen like glass | :42:30. | :42:34. | |
# Into the sun # Into the cold | :42:34. | :42:39. | |
# And shadow meeting with the world # The window is the mover's pole | :42:39. | :42:42. | |
# Tired like courage # To the mast | :42:42. | :42:49. | |
# But losing to an undead past Tide discouraged | :42:50. | :42:55. | |
# By the act -- tired discouraged # By the act | :42:55. | :42:58. | |
# Choosing the booze # Don't act | :42:58. | :43:03. | |
# Wake your heart up # It's dying to trying | :43:03. | :43:13. | |
:43:13. | :43:19. | ||
# Hey wake your heart up # It's dying to start trying | :43:19. | :43:24. | |
# Tired like courage # To the mast | :43:24. | :43:30. | |
# But losing to an undead past # Tired discouraged | :43:30. | :43:37. | |
# By the act # Choosing the bruise don't pass | :43:37. | :43:45. | |
# Hey wake your heart up # It's dying to start to try | :43:46. | :43:51. |