Reincarnation isn’t such a big deal if you’re the Dalai Lama, Buddhist, or many other religions that believe the afterlife comes back to haunt you, but for ten-year-old Megan (Niamh Dornanin) in contemporary Northern Ireland it could be problematic. Her parents, a young couple, Chris (Martin McCann) Marie (Eileen O’Higgins) have moved next door to Laura (Andrea Riseborough), Brendan (Jonjo O’Neill) and their teenage son, Tadhg (Lewis McAskie). That’s the set up.
I followed a series on Prime in which young children recounted former lives to disbelieving parents that gradually came to believe the impossible.
Don’t Look Now based on a Daphne Du Maurier short story, and starring Julie Christie and Donald Sutherland did something similar in Venice in 1973.
In 2010, Rabbit Hole, Nicole Kidman plays a mother whose child is killed in a car accident, much the same as Laura and Brendan’s daughter. Birth, also having Kidman in the key role of the grieving mother, takes a step backward, or forward when a young boy claims to be the reincarnation of her former husband.
Stephen King’s Pet Cemetery starts with grieving parents bring back their cat to life and then their daughter.
Shakespeare, the dead such as in Hamlet, walk and talk. A poem in the Scottish dialect, I read at school had much the same theme. A grieving family praying that the drowned would return.
What I’m implying is there are lots of ways to go with this. Laura (Andrea Riseborough) the mother carries the burden of making the incredible credible. It’s her we watch to carry the viewer over the threshold of the invisible. Grief can be bent into many shapes. Laura starts as sceptical as us, but convinces herself that there’s probably nothing in it. Megan is like her daughter, but she’s not her daughter. A brilliant performance.
It works for me, but then I began to lose the thread of the plot. The denouement baffled me. I got it intellectually, but…where was the motivation or moving force? You tell me.
Ophelia, based on a book by Lisa Klein, who is also a screenwriter here (my guess that gave her leverage to adapt her novel for cinema/television) tells the story of Shakespeare’s Hamlet from a woman’s perspective, in much the same way Tom Stoppard put centre stage other peripheral figures in the play, Rosencrantz and Guildenstern Are Dead.
I’m not read Lisa Klein’s novel. And I’m not a great fan of Shakespeare’s plays, or theatre in general, which for some people marks me out as a bit of a thicko. And they may well be right. But I’ve speed read the play. I also watched Franco Zefferelli’s version of Hamlet, filmed largely in Scotland. Mad Max, Mel Gibson in the titular role of the Prince of Denmark. Glen Close playing his glamourous mother, with a hint of incest. Alan Bates played the murdering uncle and brother of the king, Claudius. Homer Simpson played my favourite version of Hamlet. Blue-haired Marge as Queen of Denmark.
If Ophelia was in verse such as iambic pentameter then it would have been curtain after five minutes. It starts rather with a more conventional trope, in medias res. Orphelia (Daisy Ridley) drowns herself, as she does in Hamlet. Time spools backwards to her childhood. A bit of a tomboy, she’s taken under the Queen’s wing (Naomi Watts) and made one of the Queen’s Ladies in Waiting.
She grows into a swan. So far, so conventional. She catches Hamlet’s eye (George MacKay) and they fall in love.
A secondary plot involves the Queen consulting with a witch to keep her beauty and aging at bay. The witch Mechtild (Naomi Watts with straggly hair) is also beautiful. Her backstory involves teenage pregnancy with Claudius (Clive Owen) who let her rot and burn rather than admit his own involvement and parenthood.
She might be in league with the devil with her potions, but she’s not in the league of Morgan Le Fey of Arthurian legend. Morgana Le Fey (Helen Mirren) in Excalibur. Merlin, Lancelot and King Arthur should have just given up and taken the knee in homage to such earthy beauty, as Claudius forces Hamlet, in the name of chivalric honour to bow to the new King of Denmark or commit treason.
I’m probably giving too much away, but if you’ve read Shakespeare or watched The Simpsons, you know Claudius gets his comeuppance. Ophelia? That’s for you to find out.
Preti Taneja’s We That Are Young was listed as Sunday Times Book of the Year, Guardian Book of the Year, Spectator Book of the year, all in 2017. Since I’ve just read it, it’s also my book of the year for 2020.
When I say it’s Shakespearian in scope, I mean that as a compliment. I’m not really into Shakespeare and find his plays boring. The usual response I get is along the lines of I don’t really understand his work, which is true. I also don’t really understand the Old Testament or Maths, or people that like broccoli, apart from my granddaughter, Tilly, who chews away at the green stuff merrily. He (or they, will the real Shakespeare stand up?) has been responsible for more neologisms in the English language than anybody else. I’m told if I watch his plays I’d appreciate them better. I’ve watched Kenneth Brannagh’s Twelfth Night, with Richard Briers and Caroline Langrishe; Roman Polanski’s Macbeth with Martin Shaw in the title role; Franco Zeffirelli’s Hamlet, with Mad Max, Mel Gibson as Hamlet and Glen Close as Gertrude his mother. The best version of Hamlet I saw was The Simpsons, with a renegade knight poring poison in Homer’s ear and it finished in less than ten minutes with a sword fight. Homer won. Homer always wins. I laughed at that, out loud. I’ve seen a few versions of A Midsummer Night’s Dream and didn’t laugh once. Not even a chuckle, a hint of that could have been funny. I was sitting an exam and stopped writing about the Fool’s role in Shakespeare’s plays because I realized I was bored with it and didn’t have anything worthwhile to say, or regurgitate. That marks me down as not the right type of person. Not properly educated. A laggard fool.
I found Grigori Kozintsev’s King Lear tolerable mainly for its black-and-white portrayal of the suffering working classes on the bleak moors. ‘Poor naked wretches, whereso’er you are, That bide the pelting of the pitiless storm’. Compare and contrast, ‘shacks become a river which rises, rises, rises. It takes only minutes before the shit flows through the [Kashmiri] hovels, bringing with it rats, big as baby monkeys’.
We all know the story, King Lear dividing his kingdom between his three daughters. The King telling his youngest and favourite daughter, Cordelia, ‘Nothing will come from nothing’. Bend of break and be cut off from parental love and the King’s legacy, which is shared between his other daughters,
Her dying at the end. Lear’s question unanswered, ‘Why should a dog, a horse, a rat have life/And thou no breath at all?’ milked to the full, through the ages, by those of thespian mind.
Preti Taneji does something remarkable. She transports King Lear to modern India and makes me love Shakespeare almost as much as the truncated Simpson episode. The story is the same but it is different. If you know your Shakespeare you know what is coming. If you don’t know your Shakespeare you don’t. But the book also makes sense as critique of modern capitalism. Ideology in action. Self-justification is king. We all know that story all too well. It’s been played out in America and here in Britain.
Taneja begins with the story of Jivan or Jeet, the bastard son of Ranjit returning home from America, where he left his exiled mum and disposable white girlfriend. A first-person account:
‘It’s not about land, it’s about money.’
The United States is on the wane, China on the rise, Indian and new money means the East will overtake the West in the near future. The East is the place to be for an upcoming young man. Devraj’s Company follows the Ford maxim of industrial America. What’s good for Devraj’s company is good for India and vice-versa.
The story of King Lear is also the story of the Earl of Gloucester. Lear has three daughters and no sons. The law of primogeniture, where the people that own the land, own the people on the land is one remove away. Jivan, like Edmond the bastard son of Gloucester, is at the bottom on a heap. No money. No influence. A gerontocracy in which his brother Edgar has at least a future worth having. Worth stealing. Jeet, the son of Saranjit and his half-brother is himself a thief, but with the complicating factor that he is also gay. In Indian society that puts him lower than a dog, or even a woman.
Mrs Gargi Devraj Grover, granddaughter, daughter, wife, and sister. Her birthday is coming up soon. It’s to coincide with the opening of a new hotel complex in the politically poisonous land of Kashmir. ‘ Eldest and dutiful daughter of the Devaraj Company, custodian of the keys to her father’s office.’
‘Sin comes in many forms… doubt is one of the worst sins of all.’ Fanaticism and loyalty. Deveraj told her who to marry and when to marry. Her father’s words were law. No one would go against him. Certainly, not the beautiful Radha her sister, whom Gargi mothers, even as a school girl, having no mother of their own. Devraj, in turn, indulges his youngest daughter, his favourite daughter and sends her to England to study. We that are young is a war cry. But it is Sita, the youngest and most headstrong, that refuses to marry who Devraj tells her, refuses to bow before his mastery. Sita that refuses both the loyalty and the love test. The stage is set for conflict.
To my niece Willow, I was born on the 10th December 1962. Fifty-five years ago not only was my mum Jean alive, but she had given birth and was nursing me back to health somewhere in darkest Braeholm. I wasn’t expected to live. I don’t remember the reasons why. Yeh, we showed them mum. What we showed them I’m not really sure. I’m nearer death than birth now. Life is the miracle. And I’m not likely to forget you birthday, Willow. It’s also the 10th December. And as the Bible, book of Timothy, suggests ‘We brought nothing into the world and we can take nothing out of it’.
So baby Willow, I’m 55 years older than you, let’s play a game in which you sit wherever you are in 55 years’ time and look back and tell me what the world looks like. I don’t remember any of this but we had the Cuban Missile Crisis and later the assassination of the President John F Kennedy. I’m hoping you don’t remember President Donald J Trump. Shakespeare knew his villains intimately. He portrayed Richard of Gloucester as ‘the bottled spider’, vainglorious, treacherous, ruthless murderer and usurper, but nobody’s fool. President Donald J Trump is everybody’s fool. His claim to fame is dropping ‘the mother of all bombs’ in Afghanistan and taking money from poor people and giving it to the rich. I’m not sure why bombs are called mothers. But I hope Willow you see your fifth birthday. Like me, I hope you sleep securely through threats of Armageddon and nuclear winter and the world keeps turning.
Prospero and Brave New World and the closer we get to utopia the closer we get to dystopia is something you’re going to have to live with Willow. George Orwell, I guess got it nearly right with his three shifting blocs. The axis of the world is shifting and I’d guess China is where America was before the start of the First World War. Perhaps there will be a transition, such as Fritz Laing’s Metropolis, but the future is one in which we are equal but some are more equal than others. Deep machine learning and the use of pattern recognition software will serve your needs before you know what they are. Your body will no longer be your own. Behaviour will be monitored. Healthy and wealthy will be conflated into flawless new bodies and flawless new babies in smart cities.
‘Hoist with his own petard.’ I’m of average intelligence and can guess what that means. I google it and see it’s from Hamlet. But intelligence will no longer have any meaning. Machine learning how to play the game ‘Go’ shows it is possible to beat intuition as it is possible to surpass the logic of the best human chess players. Machines will be connected to other machines and humans will be part of that loop. Just as the Wright brothers took off in their flimsy craft, flew and crashed it was possible to predict air flight, quantum machines no longer need to play humans to master the precepts of ‘Go’. Machines play themselves and work out first principles. When, and if, deep learning machines master the problem of consciousness then humans need no longer be in the loop. That’s a different kind of Armageddon.
Willow, what we do know for sure is machines will do most, if not all, of the work we take for granted. How many angels fit on a pinhead? How many doctorates can fit on a subatomic particle? Masters of pattern recognition predict the future and make it happen. Energy usage will be the only transferable currency. All that green crap, waves, wind, water and sun will be the stopgap until the machines figure out something better. Nature will be a treasure trove of a different kind. Picked apart for its lessons and reconstructed. The sea will be harvested as the earth has been.
‘Gentleman, it’s your duty to make yourself rich!’ says one of Anthony Trollope’s characters in The Way We Live Now. It’s your duty to make everyone else poor. Make the world warmer and vast tracts of land uninhabitable. That’s not what Trollope said, but we’ve had our Silent Spring moment with Trump’s refusal to sign the Paris Accord and Global Warming Agreement on fossil fuels. No one can make the super rich do what they want to do. Monopoly holders of data work by their own rules.
But the problem of making everyone else poor, with no work and no surplus value, as they’d say in Marxist ideology is when everyone’s poor and wealth accumulates with the super rich as Thomas Picketty showed in his constant rate of return in his model of Capitalism is stagnation. Not enough money to buy all these surplus goods. But, of course, there’ll be no money. Not as a store of value, but as a shifting energy equation, this will be related to land use and global warming. The problem will be how to find new ways of punishing the poor for being poor.
What is materially damaging to the rich will in an Orwellian way be regarded as an attack on equality of accord. But I lack the scrivener’s art, the means to look into the future Willow. When I was growing up in the 1970s I never imagined the internet, but neither did I imagine Britain regressing to a state where the poor need to go to a church hall to get food to last them a few days, nor that so many children would be living in sub-standard housing and poverty. Four in ten children. I expected things to get better and I hope you’re not one of them. Outside this shiny vision of the end of scarcity is a dystopian vision. When poverty because a digital country and not an economic and social relationship then that’s where we’ll all live and only the rich will float above it. We come into the world with nothing. We go out of the world with nothing, Willow it is compassion which makes us fully human. Live in the here and now and not in a simulation of now. That’s a different kind of Armageddon. The church my mum brought me up in called it limbo. It was a sin to be truely selfish. Put yourself out on a limb, Willow. Dare to be you and not a slice of identifiable code.