This post follows a discussion at lunch and two films which are being shown at the moment. One, Pride, which seems to have been on release since I returned from working in the UK in the middle of September, I saw it on 21 st September as I thought it might not be on much longer. (My local UGC cinema says it is on for the 5th week which would fit. Trailer below).
The other film is one which has just started at the cinema this week and is called “White Bird” here in France but is known as “White Bird in a Blizzard” elsewhere. (Trailer below)
Both films are set in the 1980’s but there the similarity ends. Whilst Pride is about the efforts of members of the gay community to provide support and solidarity to members of the mining community during a long struggle against a right of centre government in the UK in the 1980’s, White Bird is a kind of coming of age of a teenager film set in the USA set against the backdrop of the disappearance of a girl’s mother.
I tried not to like Pride. I am fed up with heartwarming tales of overcoming the nastiness of the Margaret Thatcher government and people on the left coming out victorious. At the time it didn’t feel that we ever won. It is a retelling of history that everyone was against the government of Margaret Thatcher. They weren’t. She won three elections. She beat the Miners. She introduced Section 28 which fostered a climate that was anti-Gay, Lesbian and Transgender people as a time when the start of AIDs and HIV meant we should be working together. As an example of the climate that was fostered at the time, ten years after the film I was an elected councillor in Reading and was one of a number on a committee that gave out grants to voluntary bodies. The local Gay and Lesbian helpline had applied for a grant of less than £1,000 to provide a telephone helpline to people in the area. Not a large amount for a committee that gave out much larger annual grants like that of over £150,000 to the local Council for Race Equality. The Tory spokesperson (Now an MP for the area, pictured right) on the committee, in line with their then ideology, challenged the grant on the basis it was illegal in view of Section 28. Section 28 outlawed the promotion of homosexuality to school children. How does awarding a grant to phone helpline comprise promotion to schoolchildren? Anyway, people were so scared of the prevaling climate that we had to get legal advice and face down the Tory attempt, supported by some people for questionable motives in the Labour Party. (One of whom went on to be a Labour MP, pictured left.) So, I was minded to dislike the attempt at re-writing history. However, it such a well-made film and heartwarming story that it is not possible not to like and enjoy the film.
Leaving the film the colleague who had seen the film with JTO commented that it isn’t really possible for a film to capture just how bad things were for people on the left in the 1980’s. Especially I guess for something that is being made for entertainment.
When I went to see White Bird I hadn’t really known what it was about apart from it being about a teenage girl’s loss of her mother. I hadn’t knowingly seen any other films by the same director. I must also confess that part of the reason I went is that I’ve had something of a thing about Eva Green since seeing her in Casino Royale and particularly liked what I saw of her in Sin City II.
The correctness of the reflection of the late 1980’s and early 1990’s was also the subject of our discussion of the the ‘White Bird’. The soundtrack was written by Robin Guthrie, at the time a member of the Cocteau Twins and sometimes of This Mortal Coil, whose songs open the film and are the third of the 16 songs to feature. I liked the type of music that featured in the film at the time. (In fact I made a spotify playlist of the songs here.) Most of the 16 songs I own on vinyl. The thing about the 16 songs is that they are being played in the film, whether, for example, on a walkman, at an ‘alternative’ disco or just when hanging out. Some of them were from before the time the film was set, but then we all play songs from the past. The music is what an American 17 year old high school student and 21 year old university undergraduate might have listened to at that time. In late 1988 what became know as ‘Madchester‘ bloomed and brought with it clothes different from those of the early 1980’s, baggy trousers and tops. By 1991 though in the UK the music and clothes would have been different. But did those things cross the pond? Would someone who liked UK alternative music in 1988 developed and gone with the changes which took place in the UK too, or stayed frozen with what they liked in 1988. It was something I found unconvincing in the film. Although I enjoyed it.
So, the 1980’s reflected in films has become a story we tell about the time. Plucky, heartwarming leftists overcome nasty, brutish rightists and win, er when they don’t. A teenager who likes UK music and clothes in 1988 doesn’t notice any change in UK music and clothes by 1991 when there has been a massive change. Anyway all that depends upon my memory and how reliable is that?
I end with a quote from Remembering and Forgetting Milan Kundera by Aaron Retica published in the New York Times on April 18, 2011:
“It isn’t simply that “the struggle of man against power is the struggle of memory against forgetting,” as the novel’s most famous line has it. Kundera was showing us not only how one major event sweeps away another, but just how hard it is to remember at all, how disorienting to our own point of view and sense of time it is to try to follow what is going on around us. I get paid to do it and I can barely manage, and events often seem to me to happen in the wrong order, like spasms from an earlier history we thought we’d left behind or from a future we weren’t expecting so soon.”