James Graham

Brexit: The Uncivil War

31/05/20

Netflix

As an unabashed remainer (and a sore loser), I didn’t bother to seek this out on its theatrical release. But enough political water has passed under the bridge for it to pique my interest when I spot it still lurking on Netflix. Besides, it’s interesting to look back on this story at a time when Dominic Cummings has become arguably the most loathed man in the UK. He’s played here by Benedict Cumberbatch, who doesn’t look anything like the real McCoy, but who delivers a pretty good impersonation nonetheless.

Any fears I might have that the film would portray Cummings as some kind of maverick hero figure are soon dismissed. It’s clear that writer James Graham has no particular love for his subject. Indeed, Cummings is depicted as a self-serving nihilist, a man handed a difficult job, plus complete autonomy, who is determined to win at any cost, no matter how many lies and misdirections he needs to spin. The Cummings depicted here has no political convictions whatsoever, just the all-consuming need to demonstrate that he knows how to bend the voting masses to his will.

The film does a pretty good job of nailing the sequence of events that led to the ‘Leave’ victory and uses a combination of lookalike actors – Richard Goulding is a pretty convincing Boris Johnson and Paul Ryan spot on as Nigel Farage – with occasional glimpses of some of the real players thrown in for good measure. It’s left to Rory Kinnear as Craig Oliver, leader of the ‘Remain’ movement, to portray one of the few sympathetic (if inept) characters in this story. His bewilderment as he sees the possibility of winning the campaign rapidly slipping away from him is palpable and there’s a lovely scene where he and Cummings have a pint together and realise just how much of a game-changer the referendum has been – and how little the two men have in common.

It’s to the film’s credit that it never really takes sides. The Remain campaign is shown to be out of touch, unable or unwilling to change its traditional approach to suit the social-media-dominated times. Leave voters aren’t demonised either – they demonstrate legitimate concerns about the way they’ve been increasingly sidelined over the years.

If nothing else, this is eloquent proof that Cummings, a man who cares not a jot about political values might have no hesitation in flouting a set of rules he helped to create – and why Johnson and his crew might be so desperate to hang onto him, no matter what the cost to their credibility.

While I can’t say I enjoy this film – it feels suspiciously like having my nose rubbed in something rather nasty – it’s a thoroughly decent investigation of recent political history. And those seeking answers will find them here.

4 stars

Philip Caveney

 

This House

27/03/18

Politics. What’s it all about, eh?

Well, a viewing of This House will certainly make you feel a lot more informed on the subject. Not so much the more visible aspects of it – the ministers themselves –  as those who wheel and deal behind the scenes: the party Whips. There’s a live band up in the gallery, who offer a couple of spirited Bowie songs that eerily echo what’s happening down on the stage and, lest anybody assumes that politics inevitably make for dour viewing, please be aware that this is a lively, engaging piece, utilising humour to illuminate some grim facts. Ultimately, what the production does best is to demonstrate what an outmoded farce our political system is, and it’s very entertaining in the telling.

This play is a fiction, though it references many real players and actual events. It is the whips’ job to ensure that as many members as possible make themselves available to come in to the Commons and vote on the latest motion set before the house. Sometimes, they are called upon to make near superhuman efforts in order to effect a win – in some cases, even calling MPs in from their hospital beds! First performed at the NT’s 400 seat Cottesloe Theatre (or the Dorfman, as it’s now called)  in 2013, This House‘s success has created such demand that it’s now playing much larger venues, which obviously has something of a distancing effect, and I find myself envying the select band of spectators who are seated on green benches on the stage (in the House of Commons chamber) so that they’re woven into the very fabric of the piece. 

The action takes place in the years 1974 to 1979, when the UK famously had a ‘hung’ parliament and where the absence of a single voting member might result in the ruling Labour party having to vacate its seats. Everyone on the red side of the house is horribly aware that a certain Mrs Thatcher is waiting in the wings for her chance to rule the world… Oops, sorry, I mean, country. Obviously.

If the characters on both sides of the divide occasionally come across as caricatures – the Labour team all ‘eh up, lad, what’s ‘appenin’?’, the Tories as suave and slick as their Savile Row suits – I feel that’s entirely intentional on the part of writer James Graham. With such a big cast, it’s crucial that those time-worn divisions are made as broad and accessible as possible. In this, he succeeds admirably. With everybody on stage working their respective socks off, it’s difficult to single out individual performances, but I do like Martin Marquez’s turn as cockney wide boy, Bob Mellish, and Matthew Pidgeon’s ultra-groomed toff, Jack Weatherill, is also eminently watchable. Natalie Grady makes a big impression as the labour team’s ‘token’ female, Ann Taylor, ready to correct anyone who has the temerity to underestimate her abilities.

So, grab tickets for this and, if it’s at all possible, get yourselves as close to that stage as you can – perhaps, if you’re really lucky, even on it. Interestingly, it doesn’t cost more. You just need to ask when you make the booking.

4 stars

Philip Caveney