Saturday 23 February 2008

Portillo on Thatcher as a Tory pin-up

A BBC documentary reveals the extent of the Tories' love for Margaret Thatcher says David Aaronovitch...

One of Margaret Thatcher's celebrated recent invocations was, at the time, accounted the most disgraceful. It happened in June 2006 when the BBC presenter, Jonathan Ross, asked the new Conservative leader David Cameron whether, as a youth, he had used images of the iron lady as a means of non-ideological stimulation. Many people felt that this was not only a crude impertinence (which it was), but also that Ross was introducing extraneous emotion into an essentially intellectual area.

But, as anyone who watches Michael Portillo's new BBC Four programme The Lady's Not for Spurning on Monday, will soon realise, Ross was on to something. For what Portillo reveals is that many Tories, especially male Tories, were indeed deeply in love with Mrs Thatcher, and could not bear what was done to her - or what they had helped do to her - in the autumn of 1990. The Conservative Party itself, says Portillo, became - and may still be - the victim of their feelings of hatred and guilt.

"We thought she was brilliant," says Portillo, early in the piece. "I entered politics because she had inspired me." Being near her was "exhilarating," he goes on, and many like him felt "captivated". Readers hardly need me to point out that "captivated" is a magical love word, to be used alongside or instead of "beguiled" or "enchanted". So when it was time - just before the second ballot for the Conservative Party leadership in 1990 - to tell this captivating woman that she was about to lose to Michael Heseltine, it became, for Norman Lamont, "one of the most awful moments in my life", and for Michael Howard, "the most emotional discussion that I have ever taken part in." "I was gutted," says ultra-Thatcherite MP Gerald Howarth. "I have never seen so many grown men with tears in their eyes." And then Howarth tells Portillo, in language he may not have used about his own wife, "I am, I was and I will be, utterly devoted to her."

So well does Portillo create the image of the youthful, handsome Oxbridge student's infatuation with something new and blue, that when, in his words, "little clouds of doubt began to appear in our Thatcherite sky," and the music turns anxious, one is reminded of nothing so much as the TV adaptation of Brideshead Revisited. Charles Ryder starts to understand that Sebastian is a drunk, Lady Marchmain is a monster and the house itself is full of unhappiness; Michael Portillo senses that the poll tax may be disastrous and that Margaret treats some of her most important colleagues with a dangerous contempt, but love prevents action.



Of course, not all of this is easy for the non-Thatcherite to grasp. The Thatcherites' instinct was that if you weren't with them, you were against them, as David Mellor recalls. If you weren't in her camp - or if you were in any way opposed to her - if you thought Mandela was the hero and Pinochet the villain, rather than the other way round, then the experience was one of repulsion rather than attraction. Many of us can only be forced to allow that many of Thatcher's reforms may have been necessary through the most painfully gritted of teeth.

What, in the end, made it all so historically tolerable was the way in which Thatcher's character, and the love that her followers had for her, helped to destroy the intolerant, strident, illiberal Conservative Party, as she had also helped destroy our socialism. As Portillo suggests, the bitterness - both hers and her supporters - at her demise, divided Major's premiership, derailed Hague's leadership, promoted the disaster of Iain Duncan-Smith's election, inhibited Michael Howard's caretakership and, even today, haunts David Cameron. It would have been better, Chris Patten tells Portillo, in a quite remarkable change of mind, if she had been allowed to stay on and lose the 1992 election. The poison, he believes, would have been drained. Instead, says Portillo, "blinded by nostalgia", the Conservative Party became an entity with its "eyes off the future, hypnotised by its past."

Though Tony Blair (like Gordon Brown) admired Thatcher's toughness, his over-riding objective, when he considered his own departure, was that it should not be attended by the dreadful legacy of division she left behind. So determined was he to avoid stories about his attitude towards his successor, that he refused even to watch news reports of the formation of Brown's first cabinet, lest his body language be said to reveal something of his inner thoughts. No one has managed to pin a single critical quotation on Blair, about Brown or about any policy, since he departed in July last year. Such was certainly not Lady Thatcher's way. Her icy undermining of John Major and her sponsorship of Hague and Duncan-Smith spoke to a determination to live on after death. Her occasional emanations, as when - alongside Howarth and Lamont - she campaigned for former dictator Pinochet not to be extradited to Spain, were spectacularly unlikely to help change the image of her party.

Only now, 18 years after her departure, does the shadow seem to have lifted a little. If Cameron can somehow park the issue of Europe, then he will have transformed the outlook and profile of his party. But, of course, political life is rarely so straightforward, for it is precisely at this time that television and the movies seem to have decided that Thatcher is safe enough to be historicised and re-imagined - not as the divisive old bat of the last two decades, but as the conviction-Boadicea of our older erotic memories.

The BBC is said to be involved in two Thatcher dramas, The Long Walk to Finchley, about her gutsy fight against a male-dominated establishment to become an MP at the beginning of her career, and Margaret, about her gutsy fight against a male-dominated establishment to become leader and then stay on as PM at the end of her career. And then there is the Pathe drama-documentary on how gutsy Mrs Thatcher took on the Argentinians and won the Falklands war.

Mr Cameron must be hoping that all this Maggifying will see the creation of a Mrs Thatcher the historical figure, and not the reburnishing of Margaret, the Tory love object.

Portillo on Thatcher: The Lady's Not for Spurning, Mon, BBC Four, 9pm

Friday 22 February 2008

From drag to Riches

Over the past 15 years, Caitlin Morgan has interviewed Eddie Izzard at several junctures in his career. And during that time, she observes, people's reactions have changed quite dramatically...

In the early Nineties, before Izzard had really taken off, those who had heard of him would clutch your knee with zeal. “Eddie Izzard!” they would say. “I genuinely think he's the future! Not since Richard Pryor has anyone owned a stage in that way. He kinds of falls to pieces on stage and then pulls it all back again! It's like watching the smoke visions from the Caterpillar's hookah in Alice in Wonderland!”

Two years later, when Izzard was huge - selling out a seven-week run at the Albery Theatre in London, and then doing a 56-date tour - reactions were even more fevered.

“Oh my God, Eddie Izzard!” they would say, clutching both your knees. “He's so hot. Look at him! He's a dyslexic transvestite with a mind like a gin-trap! He improvises half his show every night, manages himself, and does nine minutes of his show in French, in heels! I need to have sex with him, right now!”

These days though, it's a little different. Since the late Nineties, the double Emmy award-winning career of Channel 4's No3 in The 100 Greatest Comedians... Ever has been sidelined - in favour of acting in not terribly well-received roles in films such as Ocean's Twelve and Mystery Men. The current reaction to saying you're interviewing Eddie Izzard is more muted.

“I don't know why he keeps on doing those awful films instead of amazing stand-up,” they say, sulkily. “And he seems to have stopped wearing a dress. I bet the Americans made him do that.”

“Do you know why I think that is - why that reaction happens?” Izzard says, leaning across the table. We're in a café in Soho, at 10am on a Monday morning. Izzard is in a sharp suit and negotiating marmalade on toast and coffee.

“If you do comedy - if you make people laugh - it releases serotonin in your brain,” he says, taking a bite and then talking with his mouth full. “People get addicted to that. Comedians become dealers. Audiences become junkies.” He pauses. “It's like salivating before a meal - there's an expectation of a certain taste. When people see me, they are expecting that high.”

Spending more than ten years provoking a mild disappointment in his public suggests that, unlike most entertainers, Izzard isn't doing all this to make people like him. Your career isn't a convoluted way of saying “Love me, world, love me!”, is it?

“No, no - God no!” Izzard says, firmly. “You'd go crazy if you did that. You can't live your life to please people. You have to move to the beat of your own drum! Dance to the sound of your own disco in your mind!”

And it's not as if Izzard's preferred disco is a wholly unsuccessful one. After 14 years of multitasking political activism (he is an ardent supporter of the EU), multilingual comedy (he has done stand-up shows in English, French and German) and acting, Izzard finally has something that might be worth trading in that “third-best comedian of all time” for.

We're here to talk about the DVD release of Season One of The Riches, the show in which Izzard finally got his lead; and one of the best leads of the year, to boot. In The Riches, a critically acclaimed comedy/drama for the American channel FX, Izzard plays a traveller/conman in the American South.

“For years journalists had been asking me, what role are you looking for? And I never knew the answer. But I do now,” he says. “It was that one.”

As Wayne Molloy - a bullshitting, upbeat antihero with an American accent that Izzard just manages to pull off - he plays opposite Minnie Driver's Dahlia, a cough-medicine-addicted “hot plastic” expert who has just been released from jail. Having stolen a dead man's identity and moved themselves and their three children into the corpse's Louisiana mansion, their motto is “The American Dream - we're going to steal it”. Or, as it says on the DVD cover, “It's a Wonderful Lie”.

The whole Molloy family make a watchable, unusually clever show, but it's the chemistry between Driver and Izzard that's the most notable aspect. Like Homer and Marge before them, Driver and Izzard play heads of a supposedly dysfunctional family who are still crazy about each other, and there's a palpable on-screen sex-hiss between them.

“We're both ambitious - very ambitious,” Izzard says, nodding - as if to encompass just how fast two British actors playing Deep South gypsies would have had to hit the ground running. “You can't fake chemistry. There has to be a fire going on, doesn't there? The writers are very good at... writing out of us, if you know what I mean.”

Commissioned to make a second series, Izzard ideally sees The Riches running to seven seasons, and with average US viewing figures of 5.9 million and critical acclaim - Time had it as one of the Top Ten New Shows of 2007 - there's no reason why it shouldn't.

“Each episode, I get better. I learn,” Izzard says. “Like, you've got to keep [your actions] small, just in the eyes on the close-ups. But then you have to go big for a wide shot. Don't get the two confused, or you'll end up watching back the wide shot and going: ‘Why am I not doing anything here, except subtly blinking?'”

It has to be said here that Izzard is a complete, ocean-going acting nerd. He won't ever open up about his personal life - even an inquiry as general as “Where do you live in LA?” is met with a cagey: “In LA. In a bungalow”. And “What do you spend your money on?” elicits little more than “iPhones. And DVDs of Dancing with Wolves. I just fucking love that film.” But he will talk all night about acting. He is a thespian trainspotter. In the last two interviews that I've done with him, he has - in an informative and impassioned manner - instructed me on classic death scenes, how to take the ideal “intense” publicity shot, the “267 Golden Rules of Acting” and how, for “acting truth”, you have to “kill the funny”.

Today, his amusing mini-lectures are on the wardrobe anomalies in The Great Escape - “All the British actors escaping in the national costume of Switzerland, or wherever. But Steve McQueen's in chinos and a T-shirt. He's escaping into the Alps in the disguise of an American man” - and how best to just “fuck off” after telling one of your heroes that you admire them. At the Baftas, Izzard went up to the film director Ridley Scott and said: “I really admire you,” and then “just fucked the fuck away”.

This nerdiness feeds into one of Izzard's most notable traits - constant analysis. Unlike most creative people, Izzard is constantly analysing what he - as a pro-EU multilingual dyslexic transvestite and stand-up - means, what the world means, and how he can then play the former off the latter to continue a life where he keeps “widening it out, but keep my edge”.

And this penchant for analysis brings good news for those still pining for Izzard's return as the “third greatest comedian of all time”. While, as an actor, he feels around “seven out of ten successful”, he acknowledges that the period he felt “ten out of ten successful” was as a stand-up. “Around the time of the Definite Article show,” he says, “when all ten national newspapers were reviewing it and saying it was, you know...”

Izzard recently turned his mind to working out just why this was his comedic peak, and why subsequent shows, such as Sexie (2003) and Circle (2002), have met with distinctly lukewarm reviews.

“I think it's because at that time - Definite Article and Unrepeatable - I was in one place. They were residencies. So I'm doing an experiment now. I'm going to bed in somewhere for a bit.”

And indeed, having concluded that this is the scientifically proven thing to do, that's what Izzard is off to do - right now. For, in keeping with the ethos of a man who has always chosen the more challenging route, Izzard is using his writers' strike-enforced break from The Riches to do an improvised, stand-up residency. Starting tonight. In New York. On the other side of the Atlantic from this café where we are having breakfast.

“Oh, it'll be easy,” he says breezily, putting on his Second World War-style greatcoat and going off to find a cab to Heathrow. “Try gigging in both Helsinki and LA on the same day, though. Now that one was difficult.”

The Riches - Season One is released by 20th Century Fox Home Entertainment

Wednesday 20 February 2008

After the strike...

With the writers' strike in the history books, networks are rushing to firm their spring schedules with a new crop of episodes to begin filming in late February and early March. Most shows will produce five to nine new installments, set to begin airing in March or April. Until then, expect plenty of repeats.

Some newer series will sit out until fall, and others remain contenders for next season, including Friday Night Lights and Las Vegas.

ABC's Lost is expected to save the last of six remaining episodes to air after a four-week break with five new ones starting in mid-April, moving the show to 10 pm ET starting April 24.

The alphabet net has also decided to go out with a bang on May 22, airing the season finales of Ugly Betty, Grey's Anatomy and Lost one day after the official end of the season.

The latest word on what's coming back, when, and how many new episodes are planned:

CBS

How I Met Your Mother (back March 17, 9 episodes planned)

The Big Bang Theory (March 17, 9 episodes planned)

Two And a Half Men (March 17, 9 episodes planned)

CSI: Miami (March 24, 8 episodes planned)

Cold Case(March 30, 5 episodes planned)

CSI: NY(April 2, 7 episodes planned)

CSI (April 3, 6 episodes planned)

Without a Trace (April 3, 6 episodes planned)

Ghost Whisperer (April 4, 6 episodes planned)

Numb3rs (April 4, 6 episodes planned)

NCIS (April 8, 7 episodes planned)

Moonlight (April 11, 4 episodes planned)

Rules of Engagement (April 14, 6 episodes planned)

Shark (TBA, 4 episodes planned)

NBC

My Name is Earl (April 3, 9 episodes planned)

30 Rock (April 10, 5 episodes planned)

The Office (April 10, 6 episodes planned)

ER (April 10, 6 episodes planned)

Scrubs (April 10, 5 episodes left)

Law & Order: SVU (April 15, 5 episodes planned)

Law & Order (April 23, 5 episodes planned)

Medium (keeps airing, 6 additional episodes planned)

Heroes (fall, 22 or more episodes planned)

Chuck (fall, 13 episodes planned)

Life (fall, 13 episodes planned)

Las Vegas (possibly fall)

ABC

Samantha Who? (April 7, 6 episodes planned)

Boston Legal (April 8, 6 episodes planned)

Desperate Housewives (April 13, 6 episodes planned including 2-hour finale)

Brothers & Sisters (April 20, 4 episodes planned)

Ugly Betty (April 24, 5 episodes planned)

Grey's Anatomy (April 24, 5 episodes planned)

Lost (keeps airing; April 24, 8 additional episodes planned at 10 ET/PT on Thursdays)

Private Practice (fall, 13 episodes planned)

Pushing Daisies (fall, 13 episodes planned)

Dirty Sexy Money (fall, 13 episodes planned)

Fox

Bones (April 14, 2 episodes left plus 4 additional episodes planned; moves to Mondays)

'Til Death (March 25, then 5 additional starting April 16 episodes planned)

Back to You (Feb. 26 and 27, then 5 additional starting April 16 episodes planned)

House (April 28, 4 new episodes episodes planned)

24 (January 2009, 24 episodes planned)

CW

The Game (March 2, 9 episodes planned)

Smallville (April 17, 5 episodes planned)

Gossip Girl (April 21, 5 episodes planned)

Reaper (Continuting, 8 episodes planned)

Supernatural (April 24, 4 episodes planned)

One Tree Hill (keeps airing, 9 episodes planned)

Everybody Hates Chris (March 2, 12 episodes left)

Aliens in America (March 2, 8 episodes left)

Sunday 17 February 2008

Thatcher drama postponed

The Long Walk to Finchley, a drama about Margaret Thatcher’s struggle to get a parliamentary constituency to fight before landing Finchley in 1959, was to have been aired on BBC4 this month. But the transmission has been deferred until later this year because the BBC is worried that the larky portrayal of Thatcher, played by Andrea Riseborough, might upset her. Would dear old Maggie really have a problem with the drama’s budding politician getting her nomination by revealing a bit of leg and using a sexy voice? asks Richard Brooks, before concluding: I think she’d be chuffed.

Instead, BBC4 will wait until it can run programmes based on archive footage on either side of the drama to "put it into context". Perhaps the Beeb is also "frit" – a term Thatcher favoured – because, next week, BBC4 is running a documentary in which Michael Portillo argues that she had a negative effect on her party after its 1997 defeat. Too much for the old girl to take?

 

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