Just Like Honey

BASED UPON the critically acclaimed novel by Sue Monk Kidd, The Secret Life of Bees, directed by Gina Price-Bythewood, follows a young girl’s search for freedom against a harsh and unforgiving South Carolina. Wracked by guilt for accidentally causing the death of the mother she never knew, Lily Owens, (Dakota Fanning), escapes her abusive father and runs to Tiburon with her black house keeper Rosaleen, seeking shelter with the Boatwright sisters at their honey farm.

The film is told from the perspective of Lily Owens, lending the narration a great immediacy. This is the voice of an abused and lonely adolescent, lacking any sense of love and company in her life. This is a film for and about women, and Lily’s mother’s abandonment and then death at the hands of her child, is heart-rending and appealing to a ‘maternal instinct’.

The main narrative overplays the greater issues of the day; namely, the black Civil Rights movement. The Civil Rights Act has just been signed and black Americans have been granted the freedoms that they had fought for. However, in the Southern and conservative society of South Carolina, the hate and prejudice towards black Americans is palpable. The three Boatwright sisters are held up as a shining example of black prosperity, and yet at the same time the film demonstrates that their isolation from society is what keeps them safe and gives them prosperity. In their contact with Lily and Rosaleen, their isolation ends and calamity follows, allowing the wider world and its cares to destroy their peace. The final victory of August and June Boatwright over T. Ray, Lily’s father and a symbol of white Southern prejudice, can be seen to parallel the final acceptance of Southern society of black rights and freedoms.

The real triumph of this film lies in its casting. Paul Bettany makes a truly horrifying and pitiable T. Ray; far from his usual quaint, English manner, to the point that he was near unrecognisable. Sophie Okonedo was touching and beautifully mournful as the depressed Miss May Boatwright, out-shining the larger and forthright performances of Queen Latifah as Miss August and Alicia Keys as Miss June. It is Dakota Fanning, however, who is the real surprise and glory of this film. Her portrayal is not only sympathetic, but also mature, reflecting the weariness of her character. It seems strange to see Fanning in the role of a young woman, and yet her transformation appears to set her as a member of a new generation of great actors coming into their maturity.

This beautifully directed piece would bring tears to your eyes and make you weep with compassion and sympathy for the wronged Lily and her eventual comfort and safety in the hands of the women she so dearly missed in her childhood. However, this may be a tale that only a female audience could find truly moving, as it is that idea of feminine maternity that is appealed to throughout.

 

Terribly Good Terrorism

BAADER MEINHOF Complex, directed by Uli Edel, follows the story of radical left-wing terrorist group the RAF. Built on a tumultuous backdrop of newsreel footage from the Vietnam war and world-wide conflicts, the RAF were determined to end American participation in German politics, and to rid the government of corruption.

Ulrike Meinhof, aptly portrayed by Martina Gedeck, is a disillusioned journalist. Her husband is the editor of an establishment newspaper, and, is unfaithful in their marriage. She deserts him with their children, setting in motion her drift towards leftist politics and activism. The other key members of the RAF, Andreas Baader, (Moritz Bleibtreu), and his merciless girlfriend, Gudrun Ensslin, (Joanna Wokalek), recruit Meinhof as their press secretary. Soon she becomes completely embroiled in their activism. As they are frustrated in their attempts to call attention to the atrocities perpetrated by the Americans, the RAF turn to more extreme measures, finally blowing up the offices of Meinhof’s estranged husband. The original members are jailed, suffering years in solitary confinement and left to slowly go insane as they await trial.

Radicalism begets radicalism, and the violence of the attacks continues to grow despite the incarceration of the original members. The original cause of the group is horribly mutated as they try to give retribution for government action against their activities. They began by trying to show the inhumanity of America’s policies, and in their turn become inhuman themselves, as they turn to terrorism.

Despite being slightly over-long, the film manages to document a large period of time effectively. The use of many different locations emphasises the wider dissent and spread of radicalism, though the audience are left feeling confused on occasion as to where they are and why they are there. This is in itself quite effective, as it sweeps the audience along with that zeal the characters feel. There is no need of explanation for these radicalised students, and so the audience are not gratified with one.

The film is knitted together like a news story, using radio broadcasting and printed articles to introduce new episodes of the history of the RAF. This is particularly effective in keeping the audience on track within the vast time period the film covers. It also highlights Meinhof’s role as the journalist, and brings a constant reminder of what once was, and, now that it is documented in reality, the fact that she can never escape.

The film ends abruptly, reaching no noticeable climax. There is a sense of futility that pervades, and the audience is left feeling unfulfilled. We begin to feel sympathy with these people as we realise how pointless their actions have become in a world characterised by extremism.

The film has caused some controversy with its sympathetic portrayal of the original members. These are not militant terrorists, the audience are made to understand and appreciate their motives, and once these motives are engulfed by militancy and inhumanity, we too feel their sense of loss and regret.

 

Get Ready For Love

Nick Cave and the Bad Seeds

26^th November 2008 at the Edinburgh Corn Exchange

 

Going to see Nick Cave is a kind of religious experience. There are the faithful and the zealous fans, people who have followed the band through sickness and in health. Then there are the people who have been dragged along, having never heard anything other than ‘Dig Lazarus Dig’. This group are the soon-to-be-converted.

The band sweep on stage. There are few artists that have the stage presence of Cave. These may be balding, forty-somethings, but they are the most captivating band I have ever witnessed. Their set opens with a slow bluesy number that segues into the rollicking ‘Dig, Lazarus, Dig!!!’, before climaxing with the disturbing, Revelations-inspired ‘Tupelo’.

The set was hard and fast, with the band modifying a few of their songs to suit the mood. This was, as he himself put it, “Classic Cave”, harking back to the Tender Prey and From Her to Eternity albums. Punk and energetic, Cave jerked and leapt all over the stage in his idiosyncratic dancing style, while Warren Ellis shred his violin bow to pieces with the sheer force of his playing.

Aside from the opening three, the set held many more highlights. The Bad Seeds are not afraid to delve heavily into their back catalogue. Indeed, the audience was given due attention in the choice of set, as Cave took requests. The rendition of ‘Mercy Seat’, turned harsh and loud to the point of screaming, was completely mesmerising. The thrilling ‘Red Right Hand’ and ‘Deanna’ also contributed to the over-whelming tone of hardedge rock. ‘The Weeping Song’ and ‘The Ship Song’ brought the mood down to a melancholy pace, quickly brought back up to speed with ‘We Call Upon the Author To Explain’ from latest album Dig, Lazarus, Dig!!!. By the time that ‘The Weeping Song’ was being played, my friend, who had never heard anything before Abattoir Blues/Lyre of Orpheus, was converted.

The only low point of the main set was ‘Get Ready For Love’, which had been heavily modified and Cave had missed a verse and the pre-chorus. Taken with the rest of the set however, this small omission hardly mattered.

They played for an hour and half, before coming back on for the encore to shouts of adulation and whoops of pleasure. It is tradition with Cave that he plays ‘Stagger Lee’, his dirtiest murder ballad, as the finale to the show. But first, there was some audience participation in ‘The Lyre of Orpheus’, singing the doleful “O Mama” back to Cave’s lead and realising how difficult it actually is to keep time. Then, the moment the crowd had all been waiting for: ‘Stagger Lee’. Cave’s attitude becomes harsher and more arrogant, growling the chilling lyrics before descending into a screaming, discordant frenzy.

This is a band that has survived drugs and disorder to appear triumphant. You may be amongst the youngest people there, as we were, but don’t let that fool you. Despite their respective ages, the Bad Seeds are still very much able to put on the best show you shall ever see. Putting a different twist on every concert, Cave will hold you utterly captivated.