If yesterday was a marathon, today was a double marathon! I had not fully taken on board that the first film was three and a half hours long. Then they added a fifteen minute interval (which says a lot about the decision of the director) so my scheduling became critical.
The Plan that came from the bottom up is a documentary about labour relations in the 1970s, seen through the lens of the Lucas Aerospace company. Director Steve Sprung clearly believes in “slow cinema”. There was a huge amount of mood setting, relevant once or possibly twice but not more. The film started in Lisbon, in a terrible fog and then there was a billboard which stated in three languages, Portuguese, English and Chinese, that “you can buy this view”. Following that there was an equally magnificent aerial view of London, with the legend “London, open for business”.
I do not want to trash this film as it is important, both for its message about top down industrial management, about the level of government payback to big business (leaving aside the bank bailout of 2008) and how this affected both the workforce and manufacturing in Britain.
The talking heads were all one-time workers at Lucas. Now retired, (actually they were sacked) but who, when they were shop stewards created a cooperative committee who tried, but failed, to persuade the management that the workers were able and willing to diversify production to more community based products – like wind turbines. Unbelievably, Lucas Aerospace felt that this did not fit with the company image and turned it down, the workers also created a proto-type of an electric bus that could run on rail and road. Also vetoed, although it would save millions in under-developed countries because it would run on concrete, rather than rails, what’s not to like? But no, Lucas preferred making killing machines.
With substantial editing this would be, as it is described above, “a gripping essay”, reflecting on the darker side of capitalism. What is really astonishing though, is the level of behind the scenes collaboration between the Labour government of Harold Wilson and James Callaghan and the management of these vital industries.
There were figures, which I did not copy down, but which showed that after a turnover of tens of millions, what with cost of production and Labour government subsidies, Lucas Aerospace paid only £470,000 to HMRC in tax. Does anyone else immediately think of Amazon and Starbucks?
I wish I could say this was a must see. Maybe a four-part-series on television. Because what it has to say about our choked up cities, about climate change and industry, and the death of manufacturing, is important; because there are people out there who have ideas that would help, if only they had been listened to in the 1970s!!!
It was a rush to get to the next film, which was a shame and this was redoubled by the fact that my neighbour (not the friend I was with but on the other side) seemed oblivious to the fact that a garlicky, chilli wrap followed by smelly, crunchy tacos are not suitable fodder for the cinema. I felt like asking her if she thought she would starve if she waited to eat until after the film.
Bisbee ’17 was not exactly the film I thought it was going to be. 2017 makes it one hundred years since a mass deportation of striking copper miners and other supporters was effected in Bisbee.
The town decides on an re-enactment. This film is the result. And while shining a light on the trauma of a single town, is probably a good thing for the town, I suspect that there would have been better ways to do this for the cinema. It was fractured and over-sentimentalized, which rather drowned the horror of what actually happened.
In July 1917, over 2000 people, nearly all of them Central Americans and Eastern Europeans, were transported into the desert in cattle trucks and left to die. No amount of re-enactment is going to bring to life the absolute inhumanity of that act; yet Bisbee survives – with the visible scars of copper mining all around them and the Mexican border just a short distance away – what better reminder is there?
Finally tonight a beautiful French film set in Paris and India. Two men get off a French Republic flight and are greeted by François Hollande. In spite of public denials, these two are hostages freed with a slush fund, held under wraps for the French Government.
This is another film with a female director, Mia Hansen-Love. Beautifully realised and filmed, but a bizarre choice of music – as Gabriel wanders around Indian cities, throbbing with colour, noise and traffic – we are hearing Shubert – why?
After a few weeks, young Gabriel goes off to India, a country where he grew up until his parents separated. We travel to India with him and it is utterly gorgeous, as he also travels. Starting from Goa, where his godfather has a hotel, he travels throughout the Indian subcontinent.
Maya is both a love story and a commentary upon what tourism is doing to India, to the farming community and to the still unspoiled places, with unscrupulous developers forcing sales of land and houses by fair means and foul. And possibly a gibe at the French government whose aid programme is dwarfed by the funds paid out to rescue French hostages.