Browse content similar to 26/10/2012. Check below for episodes and series from the same categories and more!
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This programme contains strong language. | :00:11. | :00:20. | |
Women all the way tonight. And a couple of old eejit in a pub. | :00:20. | :00:25. | |
James Bond is back in Skyfall, and the Bond girls are now Bond women. | :00:25. | :00:35. | |
:00:35. | :00:35. | ||
Take the bloody shot. I may hit Bond. Take the bloody shot. Is The | :00:35. | :00:40. | |
End of Men on target. Sex in the City is so last century, girls, | :00:40. | :00:45. | |
written and directed by and starring 26-year-old Lena Dunham is | :00:45. | :00:49. | |
the comedy drama everyone is talking about. Are you asking did I | :00:49. | :00:57. | |
always want to have sex with men? Yes. This is Wadjda, the first | :00:57. | :01:01. | |
feature film made inside Saudi Arabia by a woman. Will it have an | :01:01. | :01:08. | |
impact on the Kingdom's conservatives. And two talking men | :01:08. | :01:13. | |
in a Dublin pub, Roddy Doyle's whipcracking piece of prose, Two | :01:13. | :01:17. | |
Pints. We're joined in the pink corner by | :01:17. | :01:26. | |
the economist columnist, Anne McElvoy, and Tim Samuels, the | :01:26. | :01:32. | |
award-winning writer, who hosts Men's Hour. We begin with a hero | :01:32. | :01:38. | |
who has come to embody impossible levels of pulling power, an icon of | :01:38. | :01:44. | |
Britishness, with Scottish linage. James Bond a bit mashed up and | :01:44. | :01:50. | |
whiskey-soaked, that is to the administrations of a nurse, and the | :01:50. | :01:55. | |
Bond girl Naomie Harris. Three months ago you lost the drive | :01:55. | :01:58. | |
containing the identity of every agent embedded in terrorist | :01:58. | :02:01. | |
organisations across the globe. made a judgment call. In Skyfall, | :02:01. | :02:07. | |
the future of MI6 is in jeopardy, following a botched assignment. In | :02:07. | :02:12. | |
her 7th appearance as M, Judi Dench has been placed at the centre of | :02:12. | :02:18. | |
the action for the first time, as she directs new Bond woman, Eve, | :02:18. | :02:23. | |
played by Naomie Harris, on her first assignment. I do not have a | :02:23. | :02:29. | |
clean shot. Repeat, I do not have a clean shot. | :02:29. | :02:33. | |
Tunnel ahead, will lose them. you get into a better position. | :02:33. | :02:41. | |
Negative, there is no time. Take the shot. I say take the shot. | :02:41. | :02:48. | |
can't, I may hit Bond. Take the bloody shot. An astonishing act of | :02:48. | :02:52. | |
terrorism in the heart of London forces M to relocate the agency. It | :02:52. | :02:55. | |
pits her against the chairman of the Intelligence and Security | :02:56. | :02:59. | |
Committee, played by Rarph Fiennes. Other star turns include Ben | :02:59. | :03:06. | |
Whishaw, as the reinvented Q, and Ashraf El-Baroudi as Bond's latest | :03:06. | :03:16. | |
:03:16. | :03:19. | ||
them -- Javi re, Bardem as Bond's latest nemisis. I do hope that | :03:19. | :03:25. | |
wasn't for me. No, but that is. The action sequences move from | :03:25. | :03:31. | |
tunnels beneath London, to Shanghai skyscraper, and the wilderness of | :03:31. | :03:37. | |
the Scottish Highlands. With director Sam Mendes, assisted by | :03:37. | :03:42. | |
cinematographer Roger Deakins. At the film's heart is the | :03:42. | :03:46. | |
relationship between 007 and M, both displaying a new vulnerability. | :03:47. | :03:50. | |
007 reporting for duty. Where the hell have you been? Enjoying death. | :03:50. | :03:55. | |
Many are hailing Skyfall as the best Bond yet, has Daniel's Craig | :03:55. | :03:59. | |
latest outing as the most enduring action hero in cinema, left our | :03:59. | :04:09. | |
:04:09. | :04:14. | ||
panel shaken and stirred. That 12-minute opening sequence, is | :04:15. | :04:19. | |
it the best Bond yet? It is hard to judge, because Bond is very hard to | :04:19. | :04:24. | |
separate from your childhood, and the childhood Bond you saw, are | :04:24. | :04:28. | |
always imbued with a mystery. This was great. This will be a huge hit. | :04:29. | :04:33. | |
This felt like taking very long bath of testosterone. You quite | :04:33. | :04:37. | |
like that? I need that. When we get to this I'm done for, and he's in | :04:37. | :04:44. | |
trouble as well. But it felt like a man when you came out, until the | :04:44. | :04:49. | |
neurosis came back. You felt a sense of Britishness, it felt this | :04:49. | :04:53. | |
was a Bond which fits this year. We have done the Opening Ceremony, | :04:53. | :04:59. | |
which felt like Britain doing what it does best, wit, irremember | :04:59. | :05:04. | |
regins, not trying to be American - - irreference, and not trying to be | :05:04. | :05:10. | |
American. It was the same sort of Bond in on the gag, not overcooking | :05:10. | :05:14. | |
it, as in the Opening Ceremony. What Sam Mendes needed to do was | :05:14. | :05:17. | |
move on the criminality, there is a different kind of evil, | :05:17. | :05:23. | |
cyberterrorism, did that actually feel shoe-horned in, or was it a | :05:23. | :05:26. | |
good new evil character in Javier Bardem? He's fantastic. He has it | :05:26. | :05:32. | |
all going for him, the peroxide hair, the strange teeth, his | :05:32. | :05:35. | |
playful way of dealing with Bond, in a sexualised way of approaching | :05:35. | :05:39. | |
him and trying to undermine his manhood. But I think what is | :05:39. | :05:43. | |
interesting about the film, and you see it when you see that clip that | :05:43. | :05:49. | |
you showed there of M, Judi Dench, looking over the cop fins draped in | :05:49. | :05:51. | |
union jacks, people will think about Iraq and Afghanistan. The | :05:51. | :05:55. | |
sense that you are trying to do the right thing in the world, and it | :05:55. | :05:58. | |
just keeps going wrong. And the evil you are fight something here, | :05:58. | :06:01. | |
it is there, it is everywhere, it is very hard for the Intelligence | :06:01. | :06:04. | |
Services to get it right. It gives them the benefit of the doubt in | :06:04. | :06:08. | |
terms of intent, it also says how easy it is to get everything wrong. | :06:08. | :06:12. | |
In this film everyone at the outset is in a pickle, everyone has done | :06:12. | :06:17. | |
something wrong. I rather like that, it is a feeling. It is | :06:17. | :06:20. | |
destablising? It beset politicians and the Intelligence Services and | :06:20. | :06:28. | |
they can't say it to us openly. you like the whole Bond film? | :06:28. | :06:31. | |
thought it was a very knowing film. It was brazen the way they lifted | :06:32. | :06:38. | |
from so many other great male- orientated films Apocalypse Now, | :06:38. | :06:43. | |
Jaws, Silence of the Lamb, it opens with a scene from the Great Escape. | :06:43. | :06:46. | |
There was moments I was nearly crying from the emotion of it. What | :06:46. | :06:51. | |
Anne is talking about is really how fantastic the film looks. There is | :06:51. | :06:59. | |
so many different scenes. Roger Deakins is cinematographer par | :06:59. | :07:04. | |
excellence. You are always looking at it, as well as the plot. It was | :07:04. | :07:09. | |
a clever thing that it was a 12 I took my 11-year-old son, and he | :07:09. | :07:15. | |
thought it was fantastic. The finale is Bond and the two grey | :07:15. | :07:19. | |
warriors. Don't give away the end. His allies are clearly of the | :07:19. | :07:24. | |
generation who first watched the Bond films. There are good gags | :07:24. | :07:28. | |
about the early gadgetry and so forth. It seems to me, but Sam | :07:28. | :07:34. | |
Mendes brought to this film as well, Rory Kinear and Ben Whishaw, from | :07:34. | :07:39. | |
the stage. He plays this wonderfully whip-smart. He's every | :07:39. | :07:43. | |
intern you ever wanted to get rid of in your office. He comess and | :07:43. | :07:46. | |
tells you are out of date, he makes you feel 20 years older than you | :07:47. | :07:52. | |
are. In the end he's going to play a fairly pivitol role t won't be | :07:52. | :07:57. | |
done with exploding pens any more. That is a great line. Did you feel | :07:57. | :08:00. | |
that Sam Mendes has pulled a switch into a new Bond, or will it be hard, | :08:00. | :08:08. | |
moving into this era, when you have a cybergeek, as your Q? It was very | :08:08. | :08:12. | |
believable. Every week anonymous people hack into another network, | :08:12. | :08:18. | |
that was totally feasible. If you look at the Iranian nuclear | :08:18. | :08:21. | |
programme being set back by a computer programme. That was a one- | :08:21. | :08:26. | |
off, or the whole idea that we will be doing cybercrime in future | :08:27. | :08:33. | |
Bonds? I think this has rebooted Bond T had come out of a slightly | :08:33. | :08:37. | |
shaky phase, it is re-rooted and re-anchored Bond and placed had him | :08:37. | :08:42. | |
back in Britain and who he was. With Daniel Craig he can go off and | :08:42. | :08:50. | |
do the lavish adventures over seas. Has Daniel Craig come better in | :08:50. | :08:57. | |
this one? He owns it. The last films were rom-coms with a few | :08:57. | :09:02. | |
stuoints. This is a cross between Peter Reid and Sid James, he looks | :09:02. | :09:05. | |
too rough to be a member of the British establishment. I thought | :09:05. | :09:08. | |
the matter of sex thing is largely gone from the film. If anything I | :09:08. | :09:12. | |
rather miss it, SAS we have said for years, we have had all the | :09:12. | :09:17. | |
pieces about the terrible treatment of Bond girls. Can we have more | :09:17. | :09:22. | |
glamorous sex. It is aimed at the kids, 12-year-olds. People are more | :09:22. | :09:28. | |
prudish, I remember seeing the Bond films very young and there was more | :09:28. | :09:33. | |
sex? You remember in scam diamonds are Forever, with the zip going | :09:33. | :09:39. | |
down the back. At 13 that was turned off. They wouldn't have been | :09:39. | :09:44. | |
a 12. Is a trick missed without the sex, I know it is a grown up film | :09:44. | :09:48. | |
with the mummy fixation. He did have sex in it. There was a | :09:48. | :09:53. | |
brilliant sex scene between the two male leads. It was much more | :09:53. | :09:57. | |
homoerotic. This film is there to set the store out to the kids | :09:58. | :10:01. | |
reading the young Bond books. was a nod to taking a film. This is | :10:01. | :10:04. | |
a new generation in love with the character. We can talk about the | :10:04. | :10:09. | |
fact that the film then goes to Scotland. You have concerns about | :10:09. | :10:13. | |
that. Is that tied into the whole British thing? The British thing | :10:13. | :10:17. | |
needed a bit more work, it was confused. Remember the bit when he | :10:17. | :10:20. | |
says nationality, and he says English, the whole rest of the film | :10:20. | :10:24. | |
was him to Britishness, as Tim was referring to the British cars, | :10:24. | :10:30. | |
slightly the Del Boy nation that makes the way in the worlding, and | :10:30. | :10:35. | |
is bucaneering, and some how gets through it t and Judi Dench reads | :10:35. | :10:41. | |
them a bit of Tennyson, in the briefing, as you do, then we move | :10:41. | :10:46. | |
into the Scottish last 45 minutes t even has a game keeper with the | :10:46. | :10:50. | |
rifle cocked over his arm. I don't know what you felt, felt you were | :10:50. | :10:53. | |
being slightly sent up in the parody of Scottishness to explain | :10:53. | :10:56. | |
he comes from a different part of the country. I did feel a bit of a | :10:56. | :11:05. | |
sag there. There has been an extent where Bond get flirbed out, you get | :11:05. | :11:08. | |
theer in row sis, struggling with the work-life balance, the | :11:08. | :11:13. | |
addiction, he's made into a three- dimensional character. Then you | :11:13. | :11:20. | |
have the new woman and she will whip himself in shape. Bond in | :11:20. | :11:26. | |
therapy. You heard it here first. James Bond is an alpha male, and | :11:26. | :11:34. | |
according to a new book with an apocalyptic tightle title there is | :11:34. | :11:38. | |
very few left. And men have been failing to adapt to the economic | :11:38. | :11:42. | |
climate, and it is the women, who are more plastic, but some of them | :11:42. | :11:49. | |
can't stand having to drag a useless man along with them. The | :11:49. | :11:55. | |
contribution to the gender debate by Jo Roswell has brought countless | :11:55. | :11:58. | |
column inches and brought much discussion. It draws on interviews | :11:58. | :12:01. | |
to chart the demise of the traditional breadwinner, a change | :12:01. | :12:05. | |
which has conversely benefited women, who readily adapted to their | :12:05. | :12:13. | |
new roles in the work place. Roswell names these new MoD -- | :12:13. | :12:21. | |
Rosin names these new models Plastic women ska cap cardboard men. | :12:21. | :12:25. | |
The Full Monty highlighted the emasculating effect of the death of | :12:25. | :12:32. | |
industry on a set of steel works. The steries, section in the City is | :12:32. | :12:36. | |
a changing attitudes in women, eschewing the traditional route to | :12:36. | :12:41. | |
marriage and kids in favour of a career and financial security. | :12:41. | :12:46. | |
it when you are the only single at a dinner party and they look at you | :12:46. | :12:53. | |
like you are a lose, lep, whore. Rosin calls this a see-saw marriage, | :12:53. | :12:59. | |
a merging of the roles between care childcare and work, equally shared | :12:59. | :13:04. | |
between men and women. Despite the rising numbers of female college | :13:04. | :13:07. | |
graduates and women as sole providers of household income. | :13:07. | :13:12. | |
Working women take on the lion's share of chores, inflexible office | :13:12. | :13:17. | |
hours still rule, and the gender pay gap is still an issue. Is the | :13:17. | :13:21. | |
claim "the end of men", still a long way off? | :13:21. | :13:26. | |
I do want to ask you if you feel under attack, but first of all, is | :13:26. | :13:31. | |
it about the -- does the book live up to the title? The title spoils | :13:31. | :13:38. | |
it, it reduces it to a level of boys versus girls t should be | :13:38. | :13:44. | |
titled "In Praise of Women", and a title that promotes women, men | :13:45. | :13:49. | |
don't care. We know women are great at doing things. I don't have any | :13:49. | :13:54. | |
issue with the premise, I thought the book was really dated. There is | :13:54. | :14:01. | |
a book called Stiff, made the same point 14 years ago, with a better | :14:01. | :14:04. | |
narrative. This is layer, upon layer of research and acedemia, it | :14:04. | :14:07. | |
is so focused about the lives of college women. To be honest, it | :14:08. | :14:13. | |
reminded me of the days when I edited Loaded magazine, and I spent | :14:13. | :14:17. | |
all night being hectored at the feminist student on campus, and at | :14:17. | :14:22. | |
the end she asked me if I fancied a shag. Did that happen always? | :14:22. | :14:26. | |
Frequently it lacked charm. Actually I found it really | :14:26. | :14:29. | |
insulting, this was supposed to be a worldwide perspective, all the | :14:29. | :14:33. | |
women in countries like Cuba and China. Cuba and Russia, places | :14:33. | :14:38. | |
where women have always been equals in the work place. There is a film | :14:38. | :14:41. | |
we will talk about later, that really puts into perspective, that | :14:41. | :14:45. | |
this book is really about New York academic life. It seems what she | :14:45. | :14:50. | |
does do, a bit like, she brings anecdote to this, the worlds in | :14:50. | :14:54. | |
which she moves, and the corporate lawyers, the financial world, where | :14:54. | :14:59. | |
you do get women who are incredibly powerful, they are in the minority. | :14:59. | :15:06. | |
It is a real stinking piece of journalism. It selects any half | :15:06. | :15:16. | |
:15:16. | :15:16. | ||
Apology for the loss of subtitles for 255 seconds | :15:16. | :19:31. | |
baked theory that men can't take It is the closest diagnosis to the | :19:31. | :19:35. | |
Way We Live Now, in terms of where I think the employment balance is | :19:35. | :19:39. | |
changing, and the dangers to men, particularly those who do not get | :19:40. | :19:48. | |
the education they are going to need. Anything to do with plastic, | :19:48. | :19:52. | |
I think Barbie and cardboard. thought the tone was a bit gleeful, | :19:53. | :19:56. | |
setting men up against women when everyone is a sort of on the same | :19:56. | :20:01. | |
side. Do you really think when you're female colleagues go out in | :20:01. | :20:06. | |
broadcasting that we do not feel... He thinks the only difference | :20:06. | :20:10. | |
between men and women is how women respond to shampoo adverts. That | :20:10. | :20:20. | |
:20:20. | :20:24. | ||
might even be in that book, for all we know. 15 years since the first | :20:24. | :20:28. | |
series of the glossy sex in the City, time for Carrie Bradshaw and | :20:28. | :20:33. | |
company to totter off. The girls are here. They are smart, smutty, | :20:33. | :20:38. | |
struggling and engaging in very sticky and graphic sex. It starts | :20:38. | :20:42. | |
on Sky Atlantic on Monday and comes from a talented 26-year-old who | :20:42. | :20:52. | |
:20:52. | :20:56. | ||
writes, directs and stars. The central character's | :20:56. | :21:00. | |
quintessentially middle class parents reveal they will no longer | :21:00. | :21:05. | |
support her group B lifestyle. more money. He tracks a succession | :21:05. | :21:09. | |
of humiliating episodes in her life, beginning with the tough lesson | :21:09. | :21:14. | |
that even as an unpaid intern, she is far from indispensable. | :21:14. | :21:19. | |
circumstances have changed and I can no longer work for free. I am | :21:19. | :21:24. | |
so sorry to lose you. I was just going to start you on Twitter. You | :21:24. | :21:31. | |
have just the voice for it. I am not quitting. I know that someone | :21:31. | :21:41. | |
was hired, so I thought... knows Photoshop. Accidental drug | :21:41. | :21:44. | |
taking and abortions are just some of the subjects considered fair | :21:44. | :21:52. | |
game for satire. You are pregnant but you don't want to be, so common | :21:52. | :22:02. | |
:22:02. | :22:34. | ||
generation, and if so, who is she speaking for? If sex And The City | :22:34. | :22:40. | |
was super-smooth, this is rougher, isn't it? Did you have a sharp | :22:40. | :22:44. | |
intake of breath? I had to have a cup of tea halfway through the | :22:44. | :22:54. | |
:22:54. | :23:01. | ||
You get your killer heels on and it is a great adventure and you | :23:01. | :23:07. | |
celebrate with your girlfriends. Your 20s are not like that, it is | :23:07. | :23:10. | |
the time with the messiest sex and all the wrong decisions. There was | :23:10. | :23:14. | |
this terrific economic insecurity, of these rather privileged girls. | :23:14. | :23:20. | |
And a very particular set of girls too. Life-long interns. They are | :23:20. | :23:23. | |
all someone's daughters. All the actresses are from a particular era. | :23:23. | :23:27. | |
It is a view of liberal arts college girls, it is enough to make | :23:27. | :23:31. | |
you send your daughters off to the Midwest to do Bible studies. It is | :23:32. | :23:35. | |
very, very funny. There is a lot you absolutely recognise. It is | :23:35. | :23:40. | |
very tightly packed in. What did you make of it? I thought it was | :23:40. | :23:47. | |
very clever. It is Sex in the City with Converse not Manolos, if The | :23:47. | :23:50. | |
Strokes had made friends, that is what it is. She will become a huge | :23:50. | :23:54. | |
hero for probably loads of women, women who wished they were still 24. | :23:54. | :23:58. | |
I identified with her mother. The sort of intolerance of seeing these | :23:58. | :24:02. | |
girls who actually, they want the authority of adulthood, but not the | :24:02. | :24:07. | |
responsibility or the jobs to pay for it. The scene when the mum just | :24:07. | :24:13. | |
loses it, and says "I want a fucking Lake House, she's playing | :24:13. | :24:18. | |
you, she as an expert player", that is the moment I came in. Would you | :24:18. | :24:22. | |
spend time in the company of the women? I would try to snog Marn irk, | :24:22. | :24:26. | |
and crash and burn there. I would like to hang around with Hannah. | :24:27. | :24:32. | |
Hannah for me transcended the genders. The others were more | :24:32. | :24:35. | |
updated versions of Sex in the City, Hannah felt there were male traits | :24:35. | :24:45. | |
:24:45. | :24:47. | ||
there, she belonged to a linage with woody Alen. And Norah Ephron | :24:47. | :24:51. | |
and Tina Fey. She was the breakthrough character, the one you | :24:51. | :24:57. | |
could relate to, the awkwardness, ridiculous things. If you can | :24:57. | :25:05. | |
relate to her mum. Hannah is Lena Dunham, whose series this is, this | :25:05. | :25:15. | |
:25:15. | :25:16. | ||
is her worrying about being really fat. Ra, rara. I think your stomach | :25:16. | :25:23. | |
is funny. I don't want my stomach to be fun. Three or four pounds you | :25:23. | :25:27. | |
can lose that. I don't lose it from my stomach, it is from my face. | :25:27. | :25:31. | |
Have you tried a lot to lose weight. No I don't, because I have other | :25:31. | :25:36. | |
concerns in my life, I apologise. It does push the envelope, doesn't | :25:36. | :25:40. | |
it. One thing I found a bit lacking, there are no credible male | :25:40. | :25:46. | |
character in there. You have the Emo boyfriend who is a bit odd | :25:46. | :25:50. | |
caricature, there is the really sapy poi friend, there is a guy who | :25:50. | :25:58. | |
won't sleep with virgins. The female characters have authenticity. | :25:58. | :26:01. | |
She has had made it easy to like her ahead of everyone else in the | :26:01. | :26:06. | |
programme. She's not an obvious role MoD. She's dumpy, she has bad | :26:06. | :26:11. | |
tattoo, she doesn't dressle well, she hasn't got a job -- dress well, | :26:11. | :26:15. | |
she hasn't got a job. There is abortion, rape, a lot of dark | :26:15. | :26:18. | |
stuff? It is not just the dating world, is it, or the celebration of | :26:18. | :26:22. | |
the female flesh, which I really liked. The thing about the men, | :26:22. | :26:29. | |
which I think she has a serious point to make is the porn culture. | :26:29. | :26:32. | |
It transcends the half boyfriend, who can't be bothered if she's | :26:32. | :26:38. | |
there or not, unless they are having sex, and imposes his | :26:38. | :26:41. | |
pornographic fantasies on her with no desire on her part. What worries | :26:41. | :26:46. | |
about that, it will come in the future, I'm sure, her insecurities | :26:46. | :26:51. | |
are allowing her to be manipulated. It is clever she's doing it now, | :26:51. | :26:56. | |
you need a big fightback? She does need a big fightback, or have we | :26:56. | :27:02. | |
come to the point where the freedom to have sex with you who you like, | :27:02. | :27:08. | |
you ought to then. They seemed to be having free-wheeling sex all the | :27:08. | :27:11. | |
time. There is probably a subliminal pressure on that | :27:11. | :27:15. | |
generation of being offered a hook- up and having to take it. What do | :27:15. | :27:19. | |
you feel about that, all the neurosis and the obsessions of the | :27:19. | :27:23. | |
early 20s, the fact that the men are all crap, it might get better. | :27:23. | :27:28. | |
In order for this to drive forward, it just can't be about sex? It will, | :27:28. | :27:31. | |
there relationships will develop, they will get older, their work | :27:31. | :27:35. | |
relationships will change. I think she is laying the seeds of | :27:35. | :27:39. | |
something which, if she plays it right, and if she doesn't get too | :27:39. | :27:44. | |
distracted from the multimillion pound book deals. She has a book | :27:44. | :27:51. | |
deal of �3.25 million for her advice book. She has done something | :27:51. | :27:57. | |
not dissimilar to when I launched Loaded, she sees what women are | :27:57. | :28:01. | |
perceived to be about, and created a programme about what her friends | :28:01. | :28:05. | |
are like. She has open the door of how a lot of women are. They are | :28:05. | :28:09. | |
girls that go to work after spending a night to have sex. They | :28:09. | :28:13. | |
haven't gone home to put expensive suits on and done themselves up. | :28:13. | :28:16. | |
They are quite like women really are. What about the whole idea that | :28:16. | :28:21. | |
it's going to have to develop and change and there's going to have to | :28:21. | :28:26. | |
be big storylines, they can't be interns forever, is my point? | :28:26. | :28:30. | |
don't think it needs big storylines. They live in a self-obsessed New | :28:30. | :28:33. | |
York, Brooklyn frame of mind, it is the microstories that make up your | :28:34. | :28:37. | |
life. You don't need the overarching plots. People like and | :28:37. | :28:42. | |
can relate to the microstories and self-obsession, it will run this | :28:42. | :28:45. | |
one. And the hierarchy of social network, it was face book, and then | :28:45. | :28:49. | |
something else, oh my God you could speak to somebody, but that doesn't | :28:49. | :28:54. | |
happen often? It feels to me more like a snapshot, has the urgency of | :28:54. | :28:59. | |
a snapshot at the moment. I'm not sure that the characters the | :28:59. | :29:05. | |
interrelations as an ensemble will work. She of right in the hierarchy, | :29:05. | :29:11. | |
is it Facebook, tweet them, text them, and calling someone is a big | :29:12. | :29:16. | |
deal. From sexually liberated Brooklyn to the conservative | :29:16. | :29:20. | |
kingdom of Saudi Arabia. A country where cinema is officially banned. | :29:20. | :29:28. | |
On several counts, a new film from a female Saudi director, a first | :29:28. | :29:32. | |
full-length feature shot there. This is the deceptively simple tale | :29:32. | :29:39. | |
of Wadjda, who want to buy a bike. Wadjda is the bright, bold ten- | :29:39. | :29:44. | |
year-old schoolgirl at the sender of Haifaa Al-Mansour's film. Wadjda | :29:44. | :29:47. | |
pits herself against the constraints of the conservative | :29:47. | :29:53. | |
society in which she lives, and becomes a rebel force to be | :29:53. | :30:03. | |
:30:03. | :30:12. | ||
Wadjda forms a strong bond with a young boy in her neighbourhood, and | :30:12. | :30:18. | |
watches him enjoy a level of freedom that she can only dream of. | :30:19. | :30:22. | |
Abdullah rides a bicycle, an activity forbidden to young women | :30:22. | :30:27. | |
and girls, for fear it will ruin their virtue. Owning a bike becomes | :30:27. | :30:37. | |
:30:37. | :31:02. | ||
the ultimate symbol of freedom for She observes her parents' | :31:02. | :31:06. | |
relationship disintegrating, due to her mother's inability to bear her | :31:06. | :31:13. | |
husband a son. Does the film's release mark a turning point for | :31:13. | :31:20. | |
female artists in the Middle East, or is it an assault on Saudi | :31:20. | :31:23. | |
Arabia's patriarchal society? Tim, were you absorbed by the story | :31:23. | :31:29. | |
itself, or more the fact that what you were watching was an | :31:29. | :31:32. | |
extraordinary feat any way? first half I was thinking, this is | :31:32. | :31:36. | |
amazing, it has been shot and directed by a woman in a country | :31:36. | :31:40. | |
where women can't drive or travel, people are flogged when they are | :31:40. | :31:44. | |
rape victim, it is, ordinary this film has been shot there. It is a | :31:44. | :31:47. | |
bit slow, yeah. But by the second half it had switched, and I thought | :31:47. | :31:52. | |
this is a really lovely film. It is funny, it is witty. The girl jokes | :31:53. | :31:59. | |
about, if I get to heaven will I get 70 bicycles instead of 70 | :31:59. | :32:03. | |
virgins. The parents are threatening to marry her if she | :32:03. | :32:07. | |
doesn't behave. It stood alone for me as a good film. But set against | :32:07. | :32:10. | |
the context of Saudi Arabia and what the director would have been | :32:10. | :32:14. | |
up against, it was all the more special. James you have this | :32:14. | :32:20. | |
wonderful character, Wadjda, who Yanar Mohammed herself tund up for | :32:20. | :32:25. | |
the auditions in her -- turned up for the auditions in her Converse | :32:25. | :32:30. | |
and she had attitude? I think you are being too polite, I think you | :32:30. | :32:35. | |
are letting the fact that it is important for the women who made | :32:35. | :32:38. | |
the film and politically that the first half is really dreery. It is | :32:38. | :32:43. | |
not a 90-minute film, Anne is nodding, it was really dull. There | :32:43. | :32:47. | |
were lots of long, lingering shots on stairwells and concrete things, | :32:47. | :32:51. | |
when you get that out of the way, it is a really sweet film. I didn't | :32:51. | :32:56. | |
know that some of the things you said about Saudi women, I didn't | :32:56. | :33:01. | |
know they weren't allowed to drive. It needed editing, really. It is a | :33:01. | :33:06. | |
40-minute play. The thing is, you can see films in Saudi Arabia, they | :33:06. | :33:10. | |
will show this on television, so the message will get across. | :33:10. | :33:13. | |
Saudi Arabia you can see films in secret film clubs at the moment. | :33:13. | :33:17. | |
This has a number of releases around the world, and maybe on the | :33:17. | :33:20. | |
television, and lots of people go to Bahrain to watch stuff for the | :33:20. | :33:24. | |
weekend. Didn't you like the idea of the story unfolding, that you | :33:24. | :33:27. | |
really got to know the wee girl and her mother and their circumstances? | :33:28. | :33:32. | |
I would have started with the little boy chasing the girl around | :33:32. | :33:35. | |
the street. How the relationships in the second half of the film | :33:35. | :33:39. | |
become really full, and there is a deep meaningful message. The first | :33:39. | :33:44. | |
half was a documentary, you are here is an amazing glimpse into the | :33:44. | :33:51. | |
landscape and the bleakness, and the institutional misogyny of Saudi | :33:51. | :33:58. | |
Arabia and the drama kits in. bicycle is the metaphor for free | :33:59. | :34:04. | |
and everything, in the ironic conversation of before, when she | :34:04. | :34:09. | |
falls off the bike her mother is, oh no, you have damaged your | :34:09. | :34:14. | |
virginity, and these girls in New York are all about losing it. James | :34:14. | :34:18. | |
is perfectly rise about the pacing ts an experience you want them to | :34:18. | :34:22. | |
get on with it. When you think about the constraints to have the | :34:22. | :34:25. | |
film made, it has a made for television feel. What she's | :34:25. | :34:29. | |
pointing out, the one thing I had had forgotten I ever knew, that | :34:29. | :34:33. | |
these girls are not only suffering, they are not only repress, they | :34:33. | :34:39. | |
have spirit, they want to do things. We come up with the kind of wheezer. | :34:39. | :34:43. | |
She's a hustler, she moves things around. That time when you were 10, | :34:43. | :34:48. | |
11, 12, she thinks she knows how to get it, she will win the Koran | :34:48. | :34:52. | |
contest. For me the film came to light, and the beauty of the Koran, | :34:53. | :35:01. | |
that she has to learn to sing to win the money for the bike that | :35:01. | :35:06. | |
she's not allowed to have, and it was the use of the Koran to impose | :35:06. | :35:09. | |
these things on the women t gave the film heart. You talk about the | :35:09. | :35:13. | |
fact that the first 40 minutes you think are so exorderry, the | :35:13. | :35:17. | |
landscape we had never seen -- extraordinary, the landscape we had | :35:17. | :35:23. | |
never seen. When you look at the performances, these are complete | :35:23. | :35:30. | |
engenues, they might have seen a little bit of TV, you think of the | :35:30. | :35:35. | |
Iran yeen balloon using children to make films a lot. She commanded the | :35:35. | :35:39. | |
film, she commanded the film. actress, the young actress was | :35:40. | :35:44. | |
extraordinary. She almost had a slight high school American | :35:44. | :35:51. | |
attitude. Had her Converse been real Converse instead of fake | :35:51. | :35:57. | |
Converse, you could see her in high school, evolving into one of the | :35:57. | :36:02. | |
people in Girls. The fact is when she gets to puberty her life will | :36:02. | :36:09. | |
shut down even more? Saudi Arabia is a bleak place, someone was | :36:09. | :36:13. | |
beheaded there for sourcery, this is the first year women were | :36:13. | :36:19. | |
allowed into the Olympic, women will be allowed to drive. The money | :36:19. | :36:23. | |
for the film was given by one of the members of the Saudi Royal | :36:23. | :36:29. | |
Family. It is opening up. Some of the stuff was surreal, budge | :36:29. | :36:34. | |
together girls, don't let the devil through you, at school. I found | :36:34. | :36:37. | |
that informative, I didn't know it was like that. It is often through | :36:37. | :36:42. | |
culture change is made, it there a definite change, with the Olympic, | :36:42. | :36:47. | |
driving next year, they are allowed to vote in municiple elections? | :36:47. | :36:53. | |
have had the shock of their life, the extremism, and the Wahabyism, | :36:53. | :36:56. | |
they are balanced between their role as the bank rollers of the | :36:56. | :37:00. | |
Middle East, but also the place where they have embraced | :37:00. | :37:03. | |
fundamentalism. This film has sneaked out into the gap. I don't | :37:03. | :37:08. | |
think it can change Saudi Arabia overnight or any time soon, it is | :37:08. | :37:12. | |
great contribution. Wadjda will be released in cinemas in the spring, | :37:12. | :37:18. | |
put it in your diary. Finally this evening, to a new book from Booker | :37:18. | :37:23. | |
Prize winner Roddy Doyle, which eavesdrops on two men putting the | :37:23. | :37:26. | |
world to rights over a drink. Roddy Doyle is probably best known for | :37:26. | :37:31. | |
his Boca that was turned into the smash hit film, The Commitments. | :37:31. | :37:35. | |
you not get it, the Irish are the blacks of Europe, and Dubliners are | :37:35. | :37:39. | |
the blacks of Ireland, and the north side Dubliners are the blacks | :37:39. | :37:46. | |
of Dublin, so say it once, say it loud, "I'm black and I'm proud". | :37:46. | :37:51. | |
has penned nine acclaimed novel, including the Booker Prize winner, | :37:51. | :37:56. | |
Pady Clarke HaHaHa. In Two Pints he brings a series of two | :37:56. | :38:01. | |
conversations of two men in a Dublin pub, and their musings on | :38:01. | :38:11. | |
:38:11. | :38:35. | ||
news stories between 2011 and Which desert? The fucking sandy one, | :38:35. | :38:41. | |
ask fucking Peter O' Toole. James, did you get to read there | :38:41. | :38:45. | |
through in a oneer. To read it all in one go is to spoil it. You do | :38:45. | :38:50. | |
not want it all in one go. This is a one-a-day, it is really hard not | :38:50. | :38:54. | |
to, you pick the momentum up, you start laughing. It is like reading | :38:54. | :38:59. | |
a daily cartoon, it is three boxes of a cartoon strip. It is really | :38:59. | :39:03. | |
funny, there is through the bottom of the glass view of the idiot | :39:03. | :39:07. | |
philosopher. It is not a two-pint book, it is when you have drunk | :39:07. | :39:11. | |
yourself back soberer, you spent all night talking rubbish and it | :39:11. | :39:21. | |
:39:21. | :39:24. | ||
starts to make sense. It goes from the end of the Celtic Tiger to | :39:24. | :39:29. | |
MaeveBinchy's debt. Its about affording Magnums rather than | :39:29. | :39:36. | |
Cornettos, and if you can't afford the Magnu it's over. If you are | :39:36. | :39:41. | |
going to ration it or make cuts at the BBC, put a camera in a pub in | :39:41. | :39:45. | |
Ireland and get the best context. How long would you be awake for? | :39:45. | :39:49. | |
was thinking it was the half pint book, I was happy to sample a bit | :39:49. | :39:52. | |
of it, and then I thought that's enough of that, thank you very much. | :39:52. | :39:56. | |
He was shoe horning in any news story just to get a line out of it. | :39:56. | :40:00. | |
He has a fantastic ear for dialogue, you could hear it there. It sounded | :40:00. | :40:03. | |
like a draft of dialogue written for a much better work by the | :40:03. | :40:07. | |
author. It is so good. You thought why are you wasting your time with | :40:07. | :40:12. | |
this. It is like walking into a conversation. For men it is a | :40:12. | :40:17. | |
perfect representation of a certain part of a fantastic night out. | :40:17. | :40:19. | |
what end. A conversation you won't remember | :40:19. | :40:28. | |
in the morning is the answer? Last of the Summer Wine meets | :40:28. | :40:31. | |
trainspotting. In real life these guys are smarter and then they come | :40:31. | :40:37. | |
over in this. That is the funny bit. They try to get a one-downmanship | :40:37. | :40:42. | |
on what they know which is funnier? Did you believe them as characters? | :40:42. | :40:46. | |
I didn't think they had had any life. They are real people. As | :40:46. | :40:50. | |
someone who edits a lot of copy, you can read the ones where he has | :40:50. | :40:53. | |
an ear for dialogue, some of them are real things he has heard. Other | :40:53. | :40:57. | |
things are he has set himself the discipline to responding to a big | :40:57. | :41:00. | |
news story every week, you can tell the ones where he has had to make | :41:01. | :41:07. | |
the dialogue up. The humour is so acute. Whitney Houston's death, | :41:07. | :41:13. | |
when his wife takes all the money out of the Credit Union to go to | :41:13. | :41:18. | |
Whitney's funeral? And still there a fortnight later. The one with a | :41:19. | :41:24. | |
storyline, he has made them up. The ones that come out of nowhere, when | :41:24. | :41:30. | |
they decide who they are going to vote for in the euro elections, | :41:30. | :41:36. | |
they won't vote for mart again McGuinness, because he won't -- | :41:36. | :41:39. | |
Martin McGuinness, because he won't exploit the money. There is all the | :41:39. | :41:45. | |
Sinn Fein stuff. There is one gag about the grandson Damien, who gets | :41:45. | :41:51. | |
weirder and weirder pets, magic realism off key. It worked best | :41:51. | :41:55. | |
when it is really a satire about the way in pubs, people in pubs | :41:55. | :42:00. | |
talk about world events, that was very, very good. The euro cry Isis, | :42:00. | :42:04. | |
the way people talk -- crisis, the way people don't understand what is | :42:04. | :42:08. | |
going on but discuss it in the pub. If it is a little thing like | :42:08. | :42:13. | |
Damien's weird pets, who gives a toss. Do you? Find out, Two Pints | :42:13. | :42:18. | |
is published next week. Thank you very much to my two guests tonight. | :42:18. | :42:23. | |
Next Friday, as the US presidential election approaches I will be | :42:23. | :42:27. | |
joinedly Lionel Shriver and others to review one of the greatest | :42:27. | :42:33. | |
novels from one of America's chroniclers, Tom Wolfe, and look at | :42:33. | :42:37. | |
an Obama documentary drawing huge audiences in the states. We're | :42:37. | :42:40. | |
playing out tonight with our own music and what could be more apt | :42:40. | :42:45. | |
for the theme of gender in tonight's show, than a classic clip | :42:45. | :42:47. | |
from The Rocky Horror Picture Show, which is back in cinemas for | :42:47. | :42:52. | |
Hallowe'en, from all of us, good night. | :42:52. | :43:02. | |
:43:02. | :43:12. | ||
# I'm just a sweet transvestite # From transsexual transvainia | :43:12. | :43:19. | |
# I'm just a sweet transvestite from transsexual Transylvenia | :43:19. | :43:24. | |
# So come up to the lab # And see's what on the slab | :43:25. | :43:34. | |
:43:35. | :43:35. | ||
I see you shiver # With antica-pation # But maybe | :43:35. | :43:38. |