One of the outcome of the COVID-19 pandemic will be the increase in surveillance of people generally. Agencies are using access to ppl’s phones and facial recognition via CCTV cameras in public for beneficent reasons – to alert ppl to danger. … But when the ‘crisis’ is over, the technology will remain in place.
I wrote that before the launch of the CovidSafe app.
It’s fascinating to trawl through the full cast list of The West Wing—a list of hundreds of actors who had at least one line – or at least a recognisable gesture.
Inter alia: Milo O’Shea, b. 1926. His last screen role was in this, as Chief Justice Roy Ashland. He nearly dies, fictionally, aged in his 80s, in his second ep., in 2004 (when actually 78). And then really did die (in his actual 80s) in 2013.
He was Leopold Bloom in the 1967 Joseph Strick film of Ulysses – which means he will live ‘forever’ – as long as does human culture.
Closer to (my) home, he was also Inspector Bott in Theatre of Blood – the film on which my cousin Coral Browne met her second husband, Vincent Price, of whom you may have heard.
Also in the list: James Brolin, who played Governor Robert Ritchie in 2002. He has apparently been married to Barbra Streisand since 1998. I just watched his performance in Westworld (1973) – all blowwaved hair. Michael Crichton wrote and directed this – which means the ideas are intriguing – but not that it’s a good film.
Another is Armin Mueller-Stahl, who plays the Israeli ambassador – with an unmistakeable German accent. He was David Helfgott’s martinet father in Shine – the film that won an Oscar for the currently ‘disgraced’ Geoffrey Rush.
My cinematic epiphany occurred in 1962. In that year, I saw The Virgin Spring as part of the Perth Film Festival at the Windsor Theatre Nedlands 15-20 January 1962. It changed my life – or at least that part of it concerned with the appreciation of art.
Other films screened that year included The World of Apu, Hiroshima mon amour, L’avventura, and Shadows.
The World of Apu (1959) is the third part of Satyajit Ray’s Apu trilogy. It was probably quite a while before I saw Pather Panchali (Satyajit Ray, 1955) and Aparajito (Satyajit Ray, 1956). Hiroshima mon amour is Alain Resnais’s take on Marguerite Duras’s novel. I didn’t, and still don’t, like either. I was much more impressed with his next film, L’année dernière à Marienbad (1961). Whereas in 1962 we saw the third of Ray’s trilogy, it was the first of Antonioni’s we saw, in L’avventura, which I saw again recently, and still found (somewhat) impressive. Shadows may be John Cassavetes’ best film; it wouldn’t have to be very good – but it certainly made an impression.
The pandemic engenders two kinds of responses, which are usually separate, tho it is possible to bring them together: the response to the health crisis, and the reaction to the economic disaster. In a convenient phrase: life or livelihood.
The PM’s speech today, 30 March, attempted to be presidential (in a good sense – showing leadership with inspiration) as well as indicating good economic management, but it wasn’t well written, the tone was uneven, and there were mistakes of various kinds. It soon descended into hair-splitting financial details.
Tho I think the country generally is doing pretty well on the ‘life’ front, it’s clear – as it always has been – that the PM is still more of a Treasurer than a President. More a manager than a leader.
Derek Rielly, Gulpilil, Macmillan, 2019.
This is like a long obituary (tho a short book) as the subject is so close to death, and much of the book is set in the present (rather than the past as is normal for a biography) as the author is concerned to make clear how intimate he is with his material.
It’s not a great book, but it does cover the actor’s career, and gives a sense of what he is like, and also of what it means to belong to neither of the two worlds: black and white.
Questioners (such as interviewers on the ABC) should routinely end each question with the injunction: “… and don’t begin your answer with the word ‘so’.”
The entirely remarkable Ben Gilmour was interviewed for a whole hour on the ABC the other day. The topic was well worth the time. He’s just published a book about his experiences as an ambo – a paramedic – stationed in Sinny at Bondi. This meant that he and his partner were usually the nearest to be called to a suicide attempt (or success) at The Gap – the most popular spot in the country for offing yourself. I bought the book (which is called The Gap) and read it in a day. It’s one of the most gripping books I’ve ever read.
But that’s only half of my point here. The other half was not mentioned by the interviewer at all (unless I missed the very beginning of the interview) – namely, that Ben Gilmour has directed and had released two feature films! Son of a Lion (shot in Pakistan) was released in 2007, and Jirga was shot in arguably the most dangerous place in the world, Kandahar Province in Afghanistan, and released in 2018.
I think what most preoccupied Tim Winton in working on this novel was getting the voice of the narrator, Jaxie, right. As it’s almost all we hear for the duration, it’s just as well he succeeded. It’s not understood to be written by him, of course—he’s probably barely literate—but it is narrated by him, and the language on the page represents what he ‘would of’ written if he ‘could of’—thus giving examples of the principal solecism which occurs consistently throughout—together with ‘et’ for ‘ate’, which is complicated, but works.
The other main character, Fintan, only appears halfway through, and is represented only by what he says to Jaxie—who does not understand half of it, but records it accurately (of course). Jaxie is the character who is in search of … ‘peace’ is the preferred term, and Fintan is the spiritually advanced character who has perhaps found it.
Then there’s a plot, which is a bit stuck-on-at-the-end, providing closure for the story in a way that is convincing enough. One is usually glad to escape from the world of a Winton novel—he’s often said not to do his endings well—and this one provides a neat half-page summary (almost like a PowerPoint slide) which tidies everything up, and lets us go.
But this novel does not let us go when we have put it down. Its evocation of Jaxie’s universe is so precise and convincing that it will stay in the reader’s mind for some time – well, this one, at least.
I was at first bemused, and then amused at the idea that Jonathan Pryce was being nominated for Best Actor while Anthony Hopkins was only getting the Best Supporting nomination. Makes sense in terms of the proportion of the story occupied with Francis as opposed to Benedict, but not at all in terms of who owns the film in terms of acting. I was totally absorbed in every syllable uttered and every gesture made by Hopkins’s Ratzinger, whereas I was noting where Pryce fell short in charisma, accents, in being generally wishy-washy.
I thought this piece by John Barker on leadership (in Australia) was too good for Facebook. In fact, it should be widely republished.
We have been particularly poorly served by those who presume to be “leaders”. Which would lead one to wonder what we need, want or expect of this function.
Perhaps, two centuries ago, we needed somebody to help us muster courage and articulate a vision of possibilities in an unknown country. But then we just had profiteers and convicts.
Today, we have an educated and continuously informed society that doesn’t need a PM to be a proxy for their reasoning or emotions by offering his thoughts and prayers on their behalf. We don’t need a PM whose words are carefully crafted to “play to their base” in selected electorates in order to eke out a slender majority so that they can impose their idiosyncratic beliefs on us all.
The reality is that although a select few believe that they will be relieved of their mortal coil by the Rapture, the agnostic majority know that we are stuck here, with our children and grandchildren. There is no Planet B, there is no Country B and there is no longer an unexplored frontier in this wide brown and blackened land.
We scarcely need a “leader” – we probably never did. We just need a good “manager” of the “common-wealth” – to continuously review our position and direction with regard to our “sustainability”.
The notion of a “modern manager” would be useful, but alas! Our corporate leaders view themselves as “celebrities”, but are shown to have silver tongues and feet of clay- a self-serving “fourth sector”, distinct from customers, staff and shareholders, more focused on bonuses and golden handshakes after their brief tenure.
Similarly, our political leaders, many of whom become unaccountably wealthy while on relatively modest public salaries, using their tenure as a step towards “soft” corporate roles, undoubtedly trading the knowledge garnered from their privileged public positions.
No – we don’t need “leaders” like these. We just need good managers of the sustainability of the “common-wealth”, so that we aren’t an embarrassment to our grandchildren.