I’m talking about sunshine, albeit on a day when the temperature is going through the floor here in Suffolk where the wind blows straight from the Urals. Or that’s what they claim here, every winter. Maybe it’s even true. What is definitely true is that once again, it’s time to book the tickets to the Django Reinhardt festival in Fontainebleau. Which gives me two problems.
Problem One: It’s not there
Sure, there really is a Django Reinhardt festival in Fontainebleau, along with nobody who can remember Robert Louis Stevenson and DH Laurence living there in the artists’ colony at Barbizon. There was last year too, when I went for the first time. But the proper festival is up the road in Samois-sur-Seine, the tiny little ‘Allo ‘Allo town where the man lived the last few years of his life after the war, and where early one morning, walking back from the station and a Saturday night gig in Paris, he collapsed and died.
This was a man who transformed music. A man who as a gypsy, as a Swing musician and often enough in those days as someone who looked Jewish would and by the lights of the times should have ended his short days ten years earlier, in a camp, when the Nazis took Paris. A man who the Nazis ignored, despite people like Heydrich specifically banning pretty much everything that made Swing swing.
The Fontainebleau festival you pay for. That’s not the problem.
Problem two: The Fontainebleau Django Reinhardt festival isn’t about Django Reinhardt
Now for me, this is something of what I’d call a big problem. It’s corporate. They’ve got flags and chairs and army guys with shooty guns walking around a lot, but they go for that stuff in France to post a letter some days. More to the point, the music isn’t Swing. It’s not that it don’t mean a thing if it’s not, but I don’t really see how you can have a festival named after and for a specific musician playing a specific type of music then churn out music that sounded like the theme from Shaft, which was what happened one Saturday night last year. Sure, it was still real and it was still fun, but it wasn’t real fun.
Problem Three, that it clashes with a summer job I really like doing, is even more problematic. I did something to my Achilles tendon last year which solved that problem, but still. It’ll be summer here again soon. The music will be here again soon. And Fontainebleau, and walking in the woods nearby with a friend in a thunderstorm, making the coffee while she got the croissants from the boulangerie, hiring bikes to ride through the woods to listen to that marvellous music, free, at the real festival, all that will be here again soon too.
Another day teaching at what’s described as a High School, a title which now seems to mean simply that it’s not for tiny little children, although some of them physically are. And another day where for all the pious policies in the Teaching Manual, you can’t fight a culture where the majority simply don’t want to learn anything and where there are no sanctions to change their views.
Given I won’t be there after the end of term then luckily that isn’t really my problem for much longer. But it’s sad that so much of what so many kids do actually know is only the internet-sanctioned stuff.
Talking about gun control, nobody had heard of Andy Murray, the tennis player. Not for his tennis, but because he survived the Dunblane massacre, in Scotland. Which they’d never heard of either. Nor knew where it was.
But they could give full-fact disclosure on Columbine.
A few years ago I wrote a book and that. Like Charles Dickens, I used my experiences and memories of stuff that had happened to me and turned it into fiction. I know this has been a hard thing for some people to grasp. Just as presumably, they have trouble with the idea that there never actually was someone called Pip or Bob Cratchett, or a legal case called Jarndyce v Jarndyce, a title which always makes me think of Randal and Hopkirk (Deceased). It’s probably my age or something.
I used a literary technique we writers call ‘Making Things Up’ to some effect; it was one of five winners of the BBC Writers Room competition out of a field of 3,500. After that I wrote another screenplay called Janni Schenck, a fictional story about a real-life character I met once, an old man who had been a young boy in Germany in the 1930s. That was entered for Cannes by the Maison des Scenaristes. I showed it to a friend once. She said she never wanted to read it again. I asked her why. She told me that ‘kids like Janni killed half my family in Vienna.’ The only shred of intelligence I could find stopped me singing ‘this means nothing to me.’ Luckily.
So far so blah. Another two screenplays, one about Hereward, the forgotten Saxon with anger management issues and one about Shingle Street, just down the road from me. And then yesterday a phone call out of the blue. Would I like to meet a TV company on Monday to talk about writing a series for the BBC?
I looked back to the Not Your Heart Away reviews this morning and found the nicest thing anyone ever wrote about my stuff. It went like this:
For those men of a certain age, who grew up in an era of patchouli oil, smoky pubs and vinyl records, Not Your Heart Away is a sort of emotional time machine which instantly, effortlessly and somewhat disturbingly transports the reader back to their adolescence. It would be cliched – and untrue – to refer to this as an age of innocence. Carl Bennett’s nineteen year old protagonist Ben has mostly one thing on his mind and it certainly isn’t innocent. But there is a strange naivete about a pre-satnav and iPod world where driving any distance involved maps and cassette players, and a Zippo lighter, twenty Marlboros and a pint of cider was about as good as it got.
But Bennett’s second novel – which picks up where last year’s debut A Day For Pyjamas left off – is much, much more than a nostalgia trip for middle-aged men the wrong side of 50. Themes of loss – loss of love, loss of innocence, loss of friends – are interwoven with asides and observations on such diverse subjects as UFOs, rolling the perfect joint and the legend of the Glastonbury Thorn. Not many authors could juxtapose Bob Marley and AE Houseman, Patti Smith and Shakespeare, and get away with it, but these characters make it sound perfectly natural. There is a dreamlike, sun-tinted quality to Bennett’s prose which derives in part from his ability to evoke the wide open spaces of Salisbury Plain, the delicious (and never to be repeated) laziness of post-A level summer holidays and the sheer joy of a road trip with friends in a car borrowed from your parents.
And throughout, the aching, the sweating nervousness, the misunderstandings and the real fear of first love. On one level it would be easy to dismiss Not Your Heart Away as a familiar tale of teen angst and unrequited love. Ben’s stumbling, fumbling and ultimately humiliating pursuit of Claire will strike a chord with many of us. But it is Bennett’s gut-wrenching, relentless, visceral ability to put the reader in that place, at that time, with that girl – to enable us to say, “that’s me, that was my story” – which puts the novel in a class of its own.
Not Your Heart Away is not without flaws. Whether deliberately or not, the narrative bewildering switches from past to present tense and back again – sometimes within the same sentence. Ben’s best friend Peter, a key character in the first half of the story, disappears without trace in the second and is never heard of again. Theresa, Ben’s unimaginative and undemanding girlfriend, suffers a similar fate and somewhat conveniently fades into the background. At times, the verbal jousting between characters is confusing and repetitive. The lack of resolution or denouement is strangely unsatisfying and there is no doubt that when, in the closing stages, the story catches up with the present and we encounter the middle-aged Ben, the writing lacks the insight and depth of earlier chapters. Perhaps this feeling of loose ends still unravelled, and fates not yet determined, is deliberate. After all, life rarely has neat conclusions, and more rarely still is there a “happy ending”. Maybe it’s just a ploy to get us to buy the third and final part of Ben’s story.
But these are minor complaints. Not Your Heart Away is, by any standards, a remarkable story. It takes you back to a time and place – not just a memory but a palpable, tangible time and place – just as surely as a whiff of dope or a snatch of Roy Harper. It is both unsettling and comforting, dream and reality, fact and fiction. If you left school in the late 1970s, it is not just Ben and Claire’s story, it’s yours. As Ben himself says, “It’s soul, it’s heartland. It’s where I’m from.”
I didn’t even have to slip him a fiver for the review.
I haven’t written much recently. I’ve been teaching. And I’m not sure there’s anything much to say about it.
I do three kinds: teaching English as a Foreign Language; supply teaching in the rural area I live in and sometimes I teach on film sets. That started the year off busily but it’s tailed off to nothing for the same reason as education in general – people like to talk about how important it is, but they treat it as the afterthought it so often is. On filmsets it’s the law – if you’re under sixteen you have to have a set number of hours of education per day, the same way children on a film have to be chaperoned. There’s no way around it and everybody in the business knows it – without chaperones and teachers you can get your film shut by the local council if they’ve a mind to do it, and all your crew and backers are not going to be pleased with you. Which doesn’t explain why the biggest UK website specifically for chaperones carries so many ads for tomorrow, or next week, apart from the obvious reason: nobody bothered about it until the last minute and now they just realised it’s the law.
And sadly, the same goes for supply teaching. Sometimes it’s a pleasure. Sometimes. But most often it’s exactly what it is – day time childcare that’s only necessary because a regular, salaried teacher couldn’t face going in to school again. Or in the case of a school here, because the County Council cut the education budget because the government cut thier budget and the school is short of three full-time staff. They aren’t going to be hired – there’s no money for that. But there’s also a brainless culture in schools that shows no sign of going away. For kids who can see that nobody much cares about thier education – and don’t try to pretend that anybody who voted Conservative does, the party returned again and again and again here in the fields – the conclusion is obvious for many: it doesn’t matter.
Like a lot of teachers, I come away from a day’s supply teaching sad. Sad that there aren’t any books. Sad that it comes as a surprise to a sixteen year old that a pen or pencil might be something you could usefully have with you. Sad that capital letters and full stops are something that has to be taught to kids who thirty years ago would have been out in the world. But that would be no good – the kind of job you can walk into without knowing how to write a short note to someone have long gone and the unemployment figures aren’t going to fiddle themselves, so every one of those kids is staying in some kind of school until they’re eighteeen, like it or not. And for those that don’t, the ones who never got the memo about those jobs are going boys, and they ain’t coming back, it’s still a waste of everyone’s time.
Or this evening I think maybe they did get the memo. And just couldn’t read it.
About a month ago I got back from heaven. I’d done something I’d promised my self I would do for at least ten years and the thing I was afraid of didn’t happen. It was so, so much better than I could even imagine. And for once, the best things in life were free.
Every year for the past thirty-odd years, jazz manouche fans and musicians make thier way quietly and un-announced to the place where Robert Louis Stevenson, Django Reinhardt and Monet once lived. At different times of course , but the three of them had that in common. Must be funny, Abba told us, in a rich man’s world but Django was never that rich. He was born in 1910. He died in 1952. He came within a whisker of dying several times before that. You can find his history on line but I found him years before the internet even existed, thanks to British Rail.
While Jimmy Saville was feeling-up crippled patients in Stoke Mandeville and leering ‘ow’s about that then, guys and gals?’ an ad agency came up with a better idea than fronting a celebrity pervert: just show some pictures of a train rolling along and play the most complicated, most relaxing, happiest guitar music ever written or played.
And he still spoils everything. He spoils learning and playing my beautiful Hofner Verithin guitar, (the one that makes girls actually stroke the thing) not just because he didn’t much like electric guitars but because even though he only had two working fingers on his left hand he played approximately four zillion times than I’ll ever play. You want to talk about guitar heroes like Clapton or Page? Please do while I die laughing. .Listen to Django Reinhardt play and you can’t switch Radio 1 on for a month or more. Ther’e no moronic repitition. No children’s skipping rhymes masquerading as popular culture. No whiny nonsense about how haters gonna hate but baby you save me, or as they say in Scotland, any a that shite. There aren’t even any words in almost all his songs apart from Nagasaki where as is well-known, the fellows chew tobaccy and the women, well the women wiggy-waggy woo. Until they got atomised, obviously, but the song pre-dates the hiatus.
I went to Fontaineblue with a friend and learned the thing about the Django Reinhardt festival the hard way. It’s not at Fontainebleu. I’d bought tickets for all four days. I won’t be doing that again. Not just because most of the acts, certainly the ones the guests in the corporate hospitality tents had come to hear and be schmoozed over were nothing, absolutely nothing to do with his music, but more because the real festival is free.
We got the Eurostar to Paris then a commuter to the town. We got an AirBnB that we wouldn’t have looked at twice in England. We bought fresh croissants for breakfast and spoke O-Level French and didn’t, for once, buy espadrilles. Luckily, because we did what Django did; we hired bicycles one day and walked the next, 8km past the railway station at Avon, along the banks of the Seine to Soissons.
If you’ve got a thing about stateless refugees, or gypsies, look away now. Django Reinhardt was one. So was his wife. So are most, if not all, the real musicians who pitched-up in the camp on the north bank of the river; so were their ancestors who were put, as Django was going to be, into more sinister camps in the war. These were beautiful, handsome, proud, wistful, quiet people a million times removed from the travellers with dogs on a bit of string shambling around the west country. And they played. They played double bass, violin, melodica and guitar all without sheet music, for hours at the camp and in the village, free. For the joy of it. A whole day’s fabulous music was ours for the price of coffee and pastis and marguez, salad and frites – a bill for all of that music and food for the better part of the day for less than 2 Euros.
In the evening we wandered back to the paid-for festival to hear big names hamming-up what sounded like the incidental music from ancient episodes of Starsky and Hutch. We felt the same then as I feel now, as I’ve always felt Django Reinhardt’s own unique music. There is nothing like it. There never will be again.
Those of a certain age and inclination will recognise the words from Roy Harper’s classic One Of Those Days In England and as he says, those much younger cannot understand by half. He sings about an England I recognise, one I grew up with in the West Country, surrounded by myths and legends and vanishing hitchhikers and UFOs and ponds, with or without swords. Just about an hour’s drive away, not far in miles or epochs, we had Glastonbury, the old pre-festival one of hills and marshes and our once and future king. We took it seriously to the extent that it wasn’t questioned. Once there was a king. He didn’t die, he slept. He will come again, whoever he was, Roman trying to hold back the Dark Ages, Saxon trying to tie the knots of a dissolving empire together again, Jesus allegory, saviour, myth, nonsense: our king in the west, where the sun goes down over Lyonesse. And his sword in the pond, where he threw it, like the Grail at the bottom of the Chalice Well. See, why’s it called Chalice Well if the Grail isn’t in it? Heh? Answer me that! S’obvious.
There’s a pond near me too, but this one holds no swords I know of. About five weeks ago I rescued three goslings stuck the wrong side of a mesh fence and threw them over the fence, into the grass where their parents were frantic. As I threw the last one over I got a jolt off the electrified top strand of the fence that I hadn’t realised was electric. Then I didn’t see them again. I thought they’d died, either bleeding internally from the fall or their little hearts had just given out from too much excitement; either way, they weren’t there when I looked for them, two or three times a week as I walked the fields.
Then just at the end of last week, out in the middle of the pond, almost exactly where I’d last seen the little family, stopped, staring at me, there they were, exactly in the same formation, three goslings and two adult geese, one in front, one behind. Again, staring at me. I thought they couldn’t be the same ones because they’d grown so much, but when I looked closer one of them still had down on its head. As my friend said wisely, almost as if it had had an electric shock.
That little pond where the railway used to be holds something much more mysterious, more precious, than any immortal sword. Three little lives I saved. Maybe it is the Excaliber pond after all.
I should have written more, something JB Priestley probably never said. But I should. I thought, because I was told by my family over and over again, that nobody would want to read anything I wrote. Nobody should.
I started reading books that took me out of my rubbishy, circumscribed world when I was maybe twelve or thirteen. By fourteen I lived in books to an extent that I couldn’t really tell which was their reality and which was mine. I read Lonesome Traveller and loading the bag for my after-school paper round priced-up how much toffee you’d need to buy in the Frome Road post office to keep you going doing that stuff, hi-balling a frieght out of Fresno, whatever that turned-out to actually mean. When Kerouac was writing about being on the road I thought that somewhere down the A361, maybe just over the hill at Farleigh castle, that would be where the desert started, where Springsteen’s passing stranger would put up his sign about counting so many foreign ways to the price you pay. But they didn’t seem foreign to me.
Nor did England when I read Priestley’s English Journey. For me, despite the fact that Jack rode flatcars (we didn’t have those in Trowbridge) and hitchhiked (people still did that then, but not at fourteen) and JB Priestley was chauffered around in a Daimler thirty years before I was even born, the spirit was the same. Both of them looking for the new in the old, the new places and faces and stories locked up in the old brick and smoke and sadness of their times. Both of them had cast themselves as outsiders; I got the idea that maybe both of them weren’t actually that much good with people, or at least the people all around them. Maybe that was why they had to keep moving. I could do that part of being a writer fine well. Gizza job.
And I shared something else with JB that I couldn’t articulate, mainly because I didn’t know about it until this morning when I read in the rubbishy Guardian. Well sorry, but no newspaper has room for sentences like “In it he describes his lifelong search for something ineffable.” None. But there was a JB quote stolen by the ancient male professional hypocrite Muggeridge who bafflingly dominated the TV when I was a kid, alongside Thunderbirds and Crossroads. It was about that feeling I got, a looking for something I couldn’t name, something so nearly under my fingertips. Something I couldn’t name that I’d recognise like it was my own hand or foot when I found it, if only I could say what it was.
“It was waiting for me either in the earth, just below the buttercups and daisies, or in the golden air. I had formed no idea of what this Treasure would consist of, and nobody had ever talked to me about it. But morning after morning would be radiant with its promise. Somewhere, not far out of reach, it was waiting for me, and at any moment I might roll over and put a hand on it. I suspect now that the Treasure was Earth itself and the light and warmth of the sunbeams; yet sometimes I fancy that I have been searching for it ever since.”
Last year I read the same thing written in a different country by someone else who didn’t fit. He liked JB too and put on two of his plays, but his face was the wrong face. The Nazis burned his books because they thought he wasn’t Nazi enough so he joined the Party to keep his head on top of his shoulders. Then they lost and and the Soviets thought he wasn’t anywhere near part of the people’s movement. They made sure he couldn’t be the teacher he’d trained to be, couldn’t be the theatre producer they’d made him be and they weren’t generally that happy with his entire existence. Maybe because reality was all too close he wrote about the First World War, not the Second.
“But he was a young man, and the song of the lark made him blissfully happy, stirring the the old longing thst had accompanied him from Haumont. He felt as if someone was walking behind him with light footsteps, calling his name softly and tenderly. When he stopped and turned to listen, the voice stoped calling out, but when he turned back he felt the presence behind him again, as if it were trying to play a trick on him. Schlump continued on his way, a faint smile on his lips, stroking the ripe corn with his fingers. He didn’t tell anyone about this, and when he was with friends he forgot it altogether.”
That’s how it felt, those times I’d be about to go out, or to start a journey, or just alone in the house I knew and my step-sister knew was haunted, when I’d have combed my hair, done my boots, got the clothes I wanted and suddenly, keys in my hand, knew I had to look for a thing I couldn’t go without, a thing I couldn’t name. It made me smile, but like Hans Grimm, I never found it. I hope he did, before he felt so shut-out that one day he went home while his wife was out and shot himself. It was 1950 and East Germany. He was in the wrong place and definitely in the wrong time. I still look for it occasionally, now and then when the light is right. It still puts a half-smile on my lips.
Esquire ran the story today but I heard it yesterday and one thing that Trump has showed us all is that yesterday counts for nothing; he’ll have told another four lies since breakfast. When he came out with this one at a press conference there was nothing but reverential silence from the crowd of supposedly impartial Clark Kents and Lois Lanes all devoted to truth ‘N’ freedom, Gahd, Mom ‘N’ apple pie.
Donald Trump just met the Korean dictator, or as Fox News put it, two dictators met each other. After saying that he’d make North Korea give up all their nukes or goshdurnit, them Commies would pay the meeting ended with Trump basically saying what a nice guy Kim Yung Un was and how he, Trump, had done a brilliant thing when nobody else could and how everybody loved him. So far, so normal.
As was the Big Lie slipped in. Trump said he’d managed to secure the remains of GI’s killed in the Korean War, a Very Big Deal because, he said, so many of their parents had come to see him to say gee Mr Donald, when you go to that there Korea, could you bring back whatever’s left of Jim Buck, my boy in the 427th?
The details I made up, but the gist was what he said. The problem being, nobody laughed. The whole Press pack soaked this rubbish up in reverential silence as if God himself was sitting there lying.
For better or worse, the Korean War ended in 1953. Anyone fighting and dying in it from the USA would have had to be at least 18 when they fought and fell, which means at a minimum they’d have to have been born in 1935. Even by Southern States’ standards, an average of 20 probably held right for parenting back then, which takes us to 1915. This isn’t any tricky statistics, just boring old maths. And according to President Trump, ‘so many’ people aged over 100 years old not only attended his stump meets but came up to him personally to ask him a favour.
Except they didn’t and everybody knows they didn’t. Except the Press corps dutifully, silently, willingly and without comment soaked-up and repeated this stupid, childish, provable lie. It isn’t good enough that a style magazine gets snide about it the next day. Our problem is the mainstream news happily repeats lies instead of falling about laughing at the liar. Maybe God made Man. Maybe,and maybe the mighty should look on these works and despair. But without any question, the Press made Trump and more than just the mighty need to despair at that.
Everyone likes Krispy Kreme doughnuts, don’t they? So you probably won’t choke on this little daily economic miracle. If they make the series, Johnny Vegas should be in this.
KK are looking for staff down in Somerset. Now Ok, they’re only going to call you a Team Member, but (wink, wink) you’ll be so much more than that. The first bullet point in their job ad says you’ll manage their production line.
Obviously job ads come and go, so I’m going to put this one here, in full. Then I’ll let you into the surprise:
What will I do as a Team Member at Krispy Kreme?
To manage our production line, ensuring doughnuts are made to the specification at the right times
Measuring and mixing appropriate ingredients as per our specifications
Actively adhere to our health and safety and food safety processes
Assist the Production Manager and other Team Members with planning our stock levels and how we produce our doughnuts
Ensure that every doughnut is produced to the highest standard meeting our customers’ expectations
Planning and preparing for the next shift
Understand the production plan and what responsibilities you will have on each shift
Willing to support other areas within the factory when the business needs
Why choose Krispy Kreme?
At Krispy Kreme, you’ll find a company that thrives on the passion, energy and commitment of its people. Whatever your role, you’ll take absolute pride in a job well done, always looking to show your initiative and reach for the highest standards. And above all, you’ll love having a good time – the ingredient that makes a Krispy Kreme moment so magical.
For you it is about working as part of a team on and off the line to create our spectacular doughnuts, ensuring they are always made fresh daily and they meet our product standards every time.
Krispy Kreme takes pride in giving the best experience through great service and quality products. We seek to recognise the achievements of individuals who make this possible. To celebrate your success we have created the following awards:
Employee of the month/quarter/year
Long service award
In store incentives e.g. shopping vouchers, cinema tickets
Annual awards evening
Employee Assistance Programme – support helpline
Opportunity to have your say through engagement surveys
In addition to all of this, we encourage all of our employees to enjoy our products! During your breaks you will be entitled to hot drinks and doughnuts free of charge and if you wish to take home any doughnuts after work you can buy them for a 50% discount. Krispy Kreme also offers great career progression! We really value our people and will provide a culture that allows you to develop your own style and fulfill your potential.
What skills and experience do you need to be successful at Krispy Kreme?
Experience in operating machinery, equipment or processes within a manufacturing environment
Experience of working in a food environment
Experience of working towards and achieving targets/deadlines
Experience of working as part of a team
Good communication skills
Demonstrate a good level of Health and Safety and Food Safety awareness
Proof of right to work in the UK
Applicants must be 18 or over
Isn’t that great? And if you can fit any more doughnuts in your face after your shift then you can buy them at half price!! Just so utterly wow!
So you won’t mind this bit. The pay.
Per hour? Don’t be so utterly ridiculous. Chairmen’s bonuses don’t pay for themselves. What are you, some kind of Communist or something?
£25. Per day. And all the doughnuts you can eat. Let’s face it, you won’t be able to afford anything else.
A long, long time ago, although I can still remember how that music made me smile, that’s not what this is about. Mostly, because if you can remember the music you can remember the rest of it, the clothes you wore, the people you knew, the cold through to your bones, that thing she said and all of it, it’s about the fact there was a film called Radio On.
It was Chris Pettit’s first film. It was made deliberately in black and white and not because they couldn’t afford colour stock. It was released in 1979. And it was made in the country I knew, not just as the A4, as a choice because old cars that were all we could afford and the M4 didn’t always go that well together, not just as a deserted, abandoned garage near Silbury Hill that I used as a fairly creepy public bathroom more than once of a night time, not just as a route I wrote about in Not Your Heart Away, the road I drove up and down to get to London and interviews for university and life, but as a psychic space. There. I’ve said it now.
It was and is an odd film. An English road movie. A man has a job that’s now disappeared as a workers’ in-house radio DJ in a factory that’s now disappeared and drives a car that’s long since gone to the Great Scrapyard in the Sky and was pretty close to it then down the A4 to Bristol, trying to find out what happened to his brother who died after sending him a birthday present of some Kraftwerk and Bowie tapes. The German music was from the Kraftwerk Radioaktiv album, the one that was never, ever discounted. He picks up a half-nuts squaddy on the way and luckily gets rid of him on the road just past Silbury. This was a real issue at the time. Hitching lifts, as people did in those days, I remember a soldier exactly like this, except he was driving, who told me about things that never, ever got on the news, like cross-border fire-fights. There were plenty of them back then. Messed-up squaddies as well as things that didn’t get on the news.
The man drives on to Bristol, lets himself into his dead brother’s house and is challenged by dead brother’s girlfriend, who it turns out the flat actually belongs to. It isn’t mentioned whether it’s bought or rented but the decor was instantly recognisable. Indoor plants and Anglepoise lamps. Ashtrays on the bashed-up stripped pine kitchen table. Think Howard Kirk s/Habitat and you’ve just about got it.
The girlfriend doesn’t much like him; he doesn’t much like her so he goes for a walk in what looks now like an ancient and shattered Bristol, which in large part it was, not least thanks to the war. He meets, because half the film was financed from Germany and Wim Wenders produced it and put his wife in the film, a German girl.
German girls were edgy and cool at the time. There was the war thing, but that was for parents. More so there was the Baader-Meinhof gang, back when the idea that only Moslems are terrorists wasn’t close to government policy, name-checked by the ‘Free Astrid Proll’ graffiti sprayed under the Westway. Knowingly enough, Astrid Proll was arrested when she pulled in for petrol and the guy on the pumps recognised her. As one of the frauleins says, she thought they would sleep together, but now she knew they never would. That was a pretty darned edgy and cool thing to say at the time, especially from a girl.
Instead, Wim Wenders’ ex-wife takes him to her Mum’s in Clevedon, which is a nice period touch. I don’t know if that still happens. It did then. The Mum came over in 1939. She insists on speaking to her daughter in German in front of him, cutting him out of the conversation entirely , so he excuses himself politely enough (despite slouching in his chair – lost parent points there, I can tell you) at which Mum launches into a spiel about how selfish and self-referential and rude young people are, only interested in themselves. It’s a nice touch.
He goes for a drive having nothing much else to do, happily sipping from a can of Guinness which if not expressly recommended in the Highway Code wasn’t entirely unknown back then and ends-up parked in a quarry. There’s quite a lot of casual, low-level, part-of-life drinking in a way I remember but haven’t done for years and years, thankfully. He shares a half-bottle of Haig with the German girl on Clevedon pier. After saying goodbye to her he goes to a godawful pub where he finds out what Jarvis Cocker didn’t mention when he sang about what happens when you want to do what the common people do. If you’re actually a nice middle-class young man they kick your bar stool out from under you and call you names, whereupon you’re not allowed to do the same thing back.
In a superb piece of period detail now, which then was just how things were if you were young and had a car then, sometimes he needed to start it with a handle but he’d parked too close to the edge of the quarry to stick it in. He can’t start his car. It’s probably still there. He hasn’t found out how his brother died or why. He didn’t get to bonk either of the German girls, which seeing the film, I’d find regrettable. Almost nothign happens, all the way through. Except so much does, at the same time. Eventually our hero got on a train and rode off into the 1980s, the way we all did. Maybe it was in colour when he got there, although as I recall, a lot of it wasn’t.
This was England. It was broken and bombed and broke and messy, full of angry and numb people. Some of the buildings and most of the cars have changed. Watch it. You can make your own judgements as to what else changed.