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The Thomas Crown Affair (1968) vs. The Thomas Crown Affair (1999)
Hollywood has been remaking movies since the beginning. And with a few notable exceptions, most of these films have failed to capture the magic of the original. Even today directors seem convinced that they can produce Hollywood magic by creating an endless array of sequels, remakes, and reboots. Nevertheless, there still exists that rare category of film screaming to be remade.
One such movie is The Thomas Crown Affair. Neither the 1968 original nor the 1999 remake manages to surpass the other. Whilst the original excels at style and sexual tension, it is overshadowed by the remake’s plot and music score. Both films are essentially “style” movies. They rely heavily upon atmosphere to draw in an audience. The cool jazz of the 1999 remake is a massive improvement over the original. There can be no denying that Nina Simone’s “Sinnerman” is better suited to the film than the original’s “Windmills of Your Mind.”
But what the remake wins in music, it loses in style and sex appeal. From Faye Dunaway’s wardrobe to Steve McQueen’s three-piece suits, the style of The Thomas Crown Affair (1968) has become an iconic part of 20th century style. The tailored suits and designer skirts lend themselves to the film’s upmarket atmosphere and help enhance the sexual tension, which is far more palpable here despite the remake’s decision to show more explicit sex.
The 1999 film makes enormous improvements on the original’s plot. In the original film, the audience is never granted a satisfactory explanation as to why a wealthy, sophisticated gentleman would waste his time organising a bank robbery (the explanation that he does it for kicks barely passes muster). In the remake, the director, John McTiernan and the screenwriters, Leslie Dixon and Kurt Wimmer, decide to make Crown an art thief. It is a crime that makes Crown seem intelligent, cultured, and sympathetic.
At the centre of both versions of The Thomas Crown Affair is the relationship between Thomas Crown and Vicki Anderson (Faye Dunaway)/ Catherine Banning (Rene Russo). In the original film, Crown and Vicki compete as equals causing a sexual tension to pulsate through the entire film. Similarly, in the remake Crown and Banning act as mirror images of one another. Unlike the original, however, the sexual tension quickly fizzles out when the pair form a romantic attachment to one another. At this moment, the erotically-charged battle of wits is replaced with a soap opera-style romance that is, frankly, embarrassing to watch.
In both versions of the film, Thomas Crown is presented as an elegant, sophisticated alpha-male who amassed his wealth thanks to a shrewd business mind and a willingness to take extreme risks. When Crown isn’t making multi-million-dollar deals at the corporate board table, he’s pursing hobbies like polo, gliding, yachting, and golf.
Both Steve McQueen and Pierce Brosnan portray Thomas Crown as a bored millionaire playboy: the type of man with an almost insatiable need for adrenaline. There are, however, marked differences in the way each actor portrays the character. Steve McQueen plays Crown with the kind of roguish charm that made him the “King of Cool” in the sixties and seventies. By contrast, Pierce Brosnan plays Crown as a charmer, the kind of man who feels comfortable in country clubs and golf courses because he’s lived around them his entire life.
As mentioned before, competing against Thomas Crown are the insurance investigators Vicki Anderson and Catherine Banning. Both are largely similar characters. Both have resided in Europe, both are sophisticates, and both come to suspect Thomas Crown merely because they find him attractive. In terms of characterisation, Catherine Banning is certainly the more nuanced of the two.
There is one area, however, where Vicki Anderson excels over Catherine Banning. Sex appeal. At the age of forty-five, Rene Russo (who, it must be said, is a perfectly fine actress) looks too old to be playing the part of a sultry sex kitten who is supposed to be the source of all men’s fantasies. (Faye Dunaway, by contrast, was only twenty-seven and looks every part the sex kitten). Better choices would have been Sharon Stone, Catherine Zeta-Jones, Kim Basinger, Kate Winslet, Emanuelle Béart, and Monica Bellucci.
In 2016, Variety reported that Michael B. Jordan was set to star in a second remake of The Thomas Crown Affair. Those wishing to remake the film should heed the following advice. They should combine McQueen and Brosnan’s portrayals of Crown to create a character a witty, urbane, charming, and roguish anti-hero. They should retain the style and sex appeal of the original film, but follow the remake’s lead when it comes to music and plot. And, finally, they should make absolutely certain that they cast the right actress as the female lead. Only then will we get the film we truly deserve.
On Constitutional Monarchy
I would like to begin this essay by reciting a poem by the English Romantic poet, William Wordsworth (1770 – 1850):
Milton! thou shouldst be living at this hour:
England hath need for thee: she is a fen
Of stagnant waters: altar, sword, and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
Of inward happiness. We are selfish men;
Oh! raise us up, return to us again;
And give us manners, virtue, freedom, power.
Thy soul was like a star, and dwelt apart:
Thou hadst a voice whose sound was like the sea:
Pure as the naked heavens, majestic, free
So didst thou travel on life’s common way,
In cheerful godliness; and yet thy heart
The lowliest duties on herself did lay.
The poem, entitled London 1802, is Wordsworth’s ode to an older, nobler time. In it he attempts to conjure up the spirit of John Milton (1608 – 1674), the writer and civil servant immortalised for all time as the writer of Paradise Lost.
Milton acts as the embodiment for a nobler form of humanity. He symbolises a time when honour and duty played far greater a role in the human soul than it did in Wordsworth’s time, or even today. It is these themes of honour, duty, and nobility that will provide the spiritual basis for constitutional monarchy.
It is a subject that I will return to much later in this essay. But, to begin, it would perhaps be more prudent to begin this essay in earnest by examining those aspects of English history that allowed both constitutional monarchy and English liberty to be borne.
The English monarchy has existed for over eleven-hundred years. Stretching from King Alfred the Great in the 9th century to Elizabeth II in the 21st, the English people have seen more than their fair share of heroes and villains, wise kings and despotic tyrants. Through their historical and political evolution, the British have developed, and championed, ideals of liberty, justice, and good governance. The English have gifted these ideals to most of the Western World through the importation of their culture to most of the former colonies.
It is a sad reality that there are many people, particularly left-wing intellectuals, who need to reminded of the contributions the English have made to world culture. The journalist, Peter Hitchens (1951 – ) noted in his book, The Abolition of Britain that abhorrence for one’s own country was a unique trait of the English intellectual. Similarly, George Orwell (1903 – 1950) once observed, an English intellectual would sooner be seen stealing from the poor box than standing for “God Save the King.”
However, these intellectuals fail to notice, in their arrogance, that “God save the King” is actually a celebration of constitutional monarchy and not symbolic reverence to an archaic and rather powerless royal family. It is intended to celebrate the nation as embodied in the form of a single person or family and the fact that the common man and woman can live in freedom because there are constitutional restraints placed on the monarch’s power.
If one’s understanding of history has come from films like Braveheart, it is easy to believe that all people in all times have yearned to be free. A real understanding of history, one that comes from books, however, reveals that this has not always been the case. For most of history, people lived under the subjugation of one ruler or another. They lived as feudal serfs, subjects of a king or emperor, or in some other such arrangement. They had little reason to expect such arrangements to change and little motivation to try and change them.
At the turn of the 17th century, the monarchs of Europe began establishing absolute rule by undermining the traditional feudal institutions that had been in place for centuries. These monarchs became all-powerful wielding their jurisdiction over all forms of authority: political, social, economic, and so forth.
To justify their mad dash for power, Europe’s monarchs required a philosophical argument that vindicated their actions. They found it in a political doctrine known as ‘the divine rights of kings.’ This doctrine, formulated by the Catholic Bishop, Jacques Bossuet (1627 – 1704) in his book, Politics Derived from Sacred Scripture, argued that monarchs were ordained by God and therefore represented His will. It was the duty of the people to obey that individual without question. As such, no limitations could be put on a monarch’s power.
What Bossuet was suggesting was hardly a new, but it did provide the justification many monarchs needed to centralise power in themselves. King James I (1566 – 1625) of England and Scotland saw monarchs as God’s lieutenants and believed that their actions should be tempered by the fear of God since they would be called to account at the Last Judgement. On the basis of this belief, King James felt perfectly justified in proclaiming laws without the consent of parliament and involving himself in cases being tried before the court.
When King James died in 1625, he was succeeded by his second-eldest son, Charles (1600 – 1649). King Charles I assumed the throne during a time of political change. He was an ardent believer in the divine rights of kings, a belief that caused friction between the monarch and parliament from whom he had to get approval to raise funds.
In 1629, Charles outraged much of the population, as well as many nobles, when he elected to raise funds for his rule using outdated taxes and fines, and stopped calling parliament altogether. Charles had been frustrated by Parliament’s constant attacks on him and their refusal to furnish him with money. The ensuing period would become known as the eleven years tyranny.
By November 1640, Charles had become so bereft of funds that he was forced to recall Parliament. The newly assembled Parliament immediately began clamouring for change. They asserted the need for a regular parliament and sought changes that would make it illegal for the King to dissolve the political body without the consent of its members. In addition, the Parliament ordered the king to execute his friend and advisor, Thomas Wentworth (1593 – 1641), the 1st Earl of Stafford, for treason.
The result was a succession of civil wars that pitted King Charles against the forces of Parliament, led by the country gentlemen, Oliver Cromwell (1599 – 1658). Hailing from Huntingdon, Cromwell was a descendant of Henry VIII’s (1491 – 1547) chief minister, Thomas Cromwell (1485 – 1550). In the end, it would decimate the English population and forever alter England’s political character.
The English Civil War began in January 1642 when King Charles marched on Parliament with a force of four-hundred-thousand men. He withdrew to Oxford after being denied entry. Trouble was brewing. Throughout the summer, people aligned themselves with either the monarchists or the Parliamentarians.
The forces of King Charles and the forces of Parliament would meet at the Battle of Edgehill in October. What would follow is several years of bitter and bloody conflict.
Ultimately, it was Parliament that prevailed. Charles was captured, tried for treason, and beheaded on January 30th, 1642. England was transformed into a republic or “commonwealth.” The English Civil War had claimed the lives of two-hundred-thousand peoples, divided families, and facilitated enormous social and political change. Most importantly, however, it set the precedent that a monarch could not rule without the consent of parliament.
The powers of parliament had been steadily increasing since the conclusion of the English Civil War. However, total Parliamentary supremacy had proven unpopular. The Commonwealth created in the wake of the Civil War had collapsed shortly after Oliver Cromwell’s death. When this happened, it was decided to restore the Stuart dynasty.
The exiled Prince Charles returned to France and was crowned King Charles II (1630 – 1685). Like his father and grandfather, Charles was an ardent believer in the divine rights of kings. This view put him at odds with those of the Enlightenment which challenged the validity of absolute monarchy, questioned traditional authority, and idealised liberty.
By the third quarter of the 17th century, Protestantism had triumphed in both England and Scotland. Ninety-percent of the British population was Protestant. The Catholic minority was seen as odd, sinister, and, in extreme cases, outright dangerous. People equated Catholicism with tyranny linking French-Style autocracy with popery.
It should come as no surprise, then, that Catholics became the target of persecution. Parliament barred them from holding offices of state and banned Catholic forms of worship. Catholics were barred from becoming members of Parliament, justices of the peace, officers in the army, or hold any other position in Parliament unless they were granted a special dispensation by the King.
It is believed that Charles II may have been a closet Catholic. He was known for pardoning Catholics for crimes (controversial considering Great Britain was a protestant country) and ignoring Parliament.
However, Charles’ brother and successor, James (1633 – 1701) was a Catholic beyond any shadow of a doubt. He had secretly converted in 1669 and was forthright in his faith. After his first wife, Anne Hyde (1637 – 1671) died, James had even married the Italian Catholic, Mary of Modena (1658 – 1718). A decision that hardly endeared him to the populace.
The English people became alarmed when it became obvious that Charles II’s wife, Catherine of Braganza (1638 – 1705) would not produce a Protestant heir. It meant that Charles’ Catholic brother, James was almost certainly guaranteed to succeed him on the throne. So incensed was Parliament at having a Catholic on the throne, they attempted to pass the Crown onto one of Charles’ Anglican relatives.
Their concern was understandable, too. The English people had suffered the disastrous effects of religious intolerance since Henry VIII had broken away from the Catholic Church and established the Church of England. The result had been over a hundred years of religious conflict and persecution. Mary I (1516 – 1558), a devout Catholic, had earnt the moniker “bloody Mary” for burning Protestants the stake. During the reign of King James, Guy Fawkes (1570 – 1606), along with a group of Catholic terrorists, had attempted to blow up Parliament in the infamous “gunpowder plot.”
Unlike Charles II, James made his faith publicly known. He desired greater tolerance for Catholics and non-Anglican dissenters like Quakers and Baptists. The official documents he issued, designed to bring about the end of religious persecution, were met with considerable objection from both Bishops and Europe’s protestant monarchs.
Following the passing of the Test Act in 1672, James had briefly been forced to abandon his royal titles. The Act required officers and members of the nobility to take the Holy Communion as spelt out by the Church of England. It was designed to prevent Catholics from taking public office.
Now, as King, James was attempting to repeal the Test Act by placing Catholics in positions of power. His Court featured many Catholics and he became infamous for approaching hundreds of men – justices, wealthy merchants, and minor landowners – to stand as future MPs and, in a process known as ‘closeting’, attempting to persuade them to support his legal reforms. Most refused.
That was not the limits of James’ activities, either. He passed two Declarations of Indulgences to be read from every stage for two Sundays, and put those who opposed it on trial for seditious libel. Additionally, he had imprisoned seven Bishops for opposing him, made sweeping changes to the Church of England, and built an army comprising mainly of Catholics.
The people permitted James II to rule as long as his daughter, the Protestant Prince Mary (1662 – 1694) remained his heir. All this changed, however, when Mary Modena produced a Catholic heir: James Francis Edward Stuart (1688 – 1766). When James declared that the infant would be raised Catholic, it immediately became apparent that a Catholic dynasty was about to be established. Riots broke out. Conspiracy theorists posited that the child was a pawn in a Popish plot. The child, the theory went, was not the King’s son but rather a substitute who had been smuggled into the birthing chamber in a bed-warming pan.
In reality, it was the officers of the Army and Navy who were beginning to plot and scheme in their taverns and drinking clubs. They were annoyed that James had introduced Papist officers into the military. The Irish Army, for example, had seen much of its Protestant officer corps dismissed and replaced with Catholics who had little to no military experience.
James dissolved Parliament in July 1688. Around this time, a Bishop and six prominent politicians wrote to Mary and her Dutch husband, William of Orange (1650 – 1702) and invited them to raise an army, invade London, and seize the throne. They accepted.
William landed in Dorset on Guy Fawkes’ day accompanied by an army of fifteen-thousand Dutchmen and other Protestant Europeans. He quickly seized Exeter before marching eastward towards London. James II called for troops to confront William.
Things were not looking good for James, however. Large parts of his officer corps were defecting to the enemy and taking their soldiers with them. Without the leadership of their officers, many soldiers simply went home. English magnates started declaring for William. And his own daughter, Princess Anne (1665 – 1714) left Whitehall to join the rebels in Yorkshire. James, abandoned by everyone, fled to exile in France. He would die there twelve-years-later.
On January 22nd, 1689, William called the first ‘convention parliament.’ At this ‘convention’, Parliament passed two resolutions. First, it was decided that James’ flight into exile constituted an act of abdication. And second, it was declared a war against public policy for the throne to be occupied by a Catholic. As such, the throne was passed over James Francis Edward Stuart, and William and Mary were invited to take the Crown as co-monarchs.
They would be constrained, however, by the 1689 Bill of Rights and, later, by the 1701 Act of Settlement. The 1689 Bill of Rights made Great Britain a constitutional monarchy as opposed to an absolute one. It established Parliament, not the crown, as the supreme source of law. And it set out the most basic rights of the people.
Likewise, the 1701 Act of Settlement helped to strengthen the Parliamentary system of governance and secured a Protestant line of succession. Not only did it prevent Catholics from assuming the throne, but it also gave Parliament the ability to dictate who could ascend to the throne and who could not.
The Glorious Revolution was one of the most important events in Britain’s political evolution. It made William and Mary, and all monarchs after them, elected monarchs. It established the concept of Parliamentary sovereignty granting that political body the power to make or unmake any law it chose to. The establishment of Parliamentary sovereignty brought with it the ideas of responsible and representative government.
The British philosopher, Roger Scruton (1944 – ) described British constitutional monarchy as a “light above politics which shines down [on] the human bustle from a calmer and more exalted sphere.” A constitutional monarchy unites the people for a nation under a monarch who symbolises their shared history, culture, and traditions.
Constitutional monarchy is a compromise between autocracy and democracy. Power is shared between the monarch and the government, both of whom have their powers restricted by a written, or unwritten, constitution. This arrangement separates the theatre of power from the realities of power. The monarch is able to represent the nation whilst the politician is able to represent his constituency (or, more accurately, his party).
In the Need for Roots, the French philosopher, Simone Weils (1909 – 1943) wrote that Britain had managed to maintain a “centuries-old tradition of liberty guaranteed by the authorities.” Weils was astounded to find that chief power in the British constitution lay in the hands of a lifelong, unelected monarch. For Weils, it was this arrangement that allowed the British to retain its tradition of liberty when other countries – Russia, France, and Germany, among others – lost theirs when they abolished their monarchies.
Great Britain’s great legacy is not their once vast and now non-existent Empire, but the ideas of liberty and governance that they have gifted to most of their former colonies. Even the United States, who separated themselves from the British by means of war, inherited most of their ideas about “life, liberty, and the pursuit of happiness” from their English forebears.
The word “Commonwealth” was adopted at the Sixth Imperial Conference held between October 19th and November 26th, 1926. The Conference, which brought together the Prime Ministers of the various dominions of the British Empire, led to the formation of the Inter-Imperial Relations Committee. The Committee, headed for former British Prime Minister, Arthur Balfour (1848 – 1930), was designed to look into future constitutional arrangements within the commonwealth.
Four years later, at the Seventh Imperial Conference, the committee delivered the Balfour Report. It stated:
“We refer to the group of self-governing communities composed of Great Britain and the Dominions. Their position and mutual relation may be readily defined. They are autonomous Communities within the British Empire, equal in status, in no way subordinate one to another in any aspect of their domestic or external affairs, though united by a common allegiance to the Crown, and freely associated as members of the British Commonwealth of Nations.”
It continued:
“Every self-governing member of the Empire is now the master of its destiny. In fact, if not always in form, it is subject to no compulsion whatsoever.”
Then, in 1931, the Parliament of the United Kingdom passed the Statute of Westminster. It became one of two laws that would secure Australia’s political and legal independence from Great Britain.
The Statute of Westminster gave legal recognition to the de-facto independence of the British dominions. Under the law, Australia, Canada, the Irish Free State, Newfoundland (which would relinquish its dominion status and be absorbed into Canada in 1949), New Zealand and South Africa were granted legal independence.
Furthermore, the law abolished the Colonial Validity Act 1865. A law which had been enacted with the intention of removing “doubts as to the validity of colonial laws.” According to the act, a Colonial Law was void when it “is or shall be in any respect repugnant to the provisions of any Act of Parliament extending to the colony to which such laws may relate, or repugnant to any order or regulation under authority of such act of Parliament or having in the colony the force and effect of such act, shall be read subject to such act, or regulation, and shall, to the extent of such repugnancy, but not otherwise, be and remain absolutely void and inoperative.”
The Statute of Westminster was quickly adopted by Canada, South Africa, and the Irish Free State. Australia, on the other hand, did not adopt it until 1942, and New Zealand did not adopt it until 1947.
More than forty-years-later, the Hawke Labor government passed the Australia Act 1986. This law effectively made the Australian legal system independent from Great Britain. It had three major achievements. First, it ended appeals to the Privy Council thereby establishing the High Court as the highest court in the land. Second, it ended the influence the British government had over the states of Australia. And third, it allowed Australia to update or repeal those imperial laws that applied to them by ending British legislative restrictions.
What the law did not do, however, was withdraw the Queen’s status as Australia’s Head of State:
“Her Majesty’s Representative in each State shall be the Governor.
Subject to subsections (3) and (4) below, all powers and functions of Her Majesty in respect of a State are exercisable only by the Governor of the State.
Subsection (2) above does not apply in relation to the power to appoint, and the power to terminate the appointment of, the Governor of a State.
While her Majesty is personally present in a State, Her Majesty is not precluded from exercising any of Her powers and functions in respect of the State that are the subject of subsection (2) above.
The advice of Her Majesty in relation to the exercise of powers and functions of Her Majesty in respect of a State shall be tendered by the Premier of the State.”
These two laws reveal an important miscomprehension that is often exploited by Australian Republicans. That myth is the idea that Australia does not have legal and political independence because its Head of State is the British monarch. The passage of the Statute of Westminster in 1931 and the Australia Act in 1986 effectively ended any real political or legal power the British government had over Australia.
In Australia, the monarch (who is our head of state by law) is represented by a Governor General. This individual – who has been an Australian since 1965 – is required to take an oath of allegiance and an oath of office that is administered by a Justice (typically the Chief Justice) of the High Court. The Governor-General holds his or her position at the Crown’s pleasure with appointments typically lasting five years.
The monarch issues letters patent to appoint the Governor General based on the advice of Australian ministers. Prior to 1924, Governor Generals were appointed on the advice of both the British government and the Australian government. This is because the Governor General at that time represented both the monarch and the British government. This arrangement changed, however, at the Imperial Conferences of 1926 and 1930. The Balfour Report produced by these conferences stated that the Governor General should only be the representative of the crown.
The Governor General’s role is almost entirely ceremonial. It has been argued that such an arrangement could work with an elected Head of State. However, such an arrangement would have the effect of politicising and thereby corrupting the Head of State. A Presidential candidate in the United States, for example, is required to raise millions of dollars for his campaign and often finds himself beholden to those donors who made his ascent possible. The beauty of having an unelected Head of State, aside from the fact that it prevents the government from assuming total power, is that they can avoid the snares that trap other political actors.
The 1975 Constitutional Crisis is a perfect example of the importance of having an independent and impartial Head of State. The crises stemmed from the Loans Affair which forced Dr. Jim Cairns (1914 – 2003), Deputy Prime Minister, Treasurer, and intellectual leader of the political left, and Rex Connor (1907 – 1977) out of the cabinet. As a consequence of the constitutional crisis, Gough Whitlam (1916 – 2014) was dismissed as Prime Minister and the 24th federal parliament was dissolved.
The Loan’s affair began when Rex Connor attempted to borrow money, up to US$4b, to fund a series of proposed national development projects. Connor deliberately flouted the rules of the Australian Constitution which required him to take such non-temporary government borrowing to the Loan Council (a ministerial council consisting of both Commonwealth and state elements which existed to coordinate public sector borrowing) for approval. Instead, on December 13th, 1974, Gough Whitlam, Attorney-General Lionel Murphy (1922 – 1986), and Dr. Jim Cairns authorised Connor to seek a loan without the council’s approval.
When news of the Loans Affair was leaked, the Liberal Party, led by Malcolm Fraser (1930 – 2015), began questioning the government. Whitlam attempted to brush the scandal aside by claiming that the loans had merely been “matters of energy” and claiming that the Loans Council would only be advised once a loan had been made. Then, on May 21st, Whitlam informed Fraser that the authority for the plan had been revoked.
Despite this, Connor continued to liaise with the Pakistani financial broker, Tirath Khemlani (1920 – 1991). Khemlani was tracked down and interviewed by Herald Journalist, Peter Game (1927 – ) in mid-to-late 1975. Khemlani claimed that Connor had asked for a twenty-year loan with an interest of 7.7% and a 2.5% commission for Khemlani. The claim threw serious doubt on Dr. Jim Cairn’s claim that the government had not offered Khemlani a commission on a loan. Game also revealed that Connor and Khemlani were still in contact, something Connor denied in the Sydney Morning Herald.
Unfortunately, Khemlani had stalled on the loan, most notably when he had been asked to go to Zurich with Australian Reserve Bank officials to prove the funds were in the Union Bank of Switzerland. When it became apparent that Khemlani would never deliver Whitlam was forced to secure the loan through a major American investment bank. As a condition of that loan, the Australian government was required to cease all other loans activities. Consequentially, Connor had his loan raising authority revoked on May 20th, 1975.
The combination of existing economic difficulties with the political impact of the Loan’s Affair severely damaged to the Whitlam government. At a special one day sitting of the Parliament held on July 9th, Whitlam attempted to defend the actions of his government and tabled evidence concerning the loan. It was an exercise in futility, however. Malcolm Fraser authorised Liberal party senators – who held the majority in the upper house at the time – to force a general election by blocking supply.
And things were only about to get worse. In October 1975, Khemlani flew to Australia and provided Peter Game with telexes and statutory declarations Connor had sent him as proof that he and Connor had been in frequent contact between December 1974 and May 1975. When a copy of this incriminating evidence found its way to Whitlam, the Prime Minister had no other choice but to dismiss Connor and Cairns (though he did briefly make Cairns Minister for the Environment).
By mid-October, every metropolitan newspaper in Australia was calling on the government to resign. Encouraged by this support, the Liberals in the Senate deferred the Whitlam budget on October 16th. Whitlam warned Fraser that the Liberal party would be “responsible for bills not being paid, for salaries not being paid, for utter financial chaos.” Whitlam was alluding to the fact that blocking supply threatened essential services, Medicare rebates, the budgets of government departments and the salaries of public servants. Fraser responded by accusing Whitlam of bringing his own government to ruin by engaging in “massive illegalities.”
On October 21st, Australian’s longest-serving Prime Minister, Sir Robert Menzies (1894 – 1978) signalled his support for Fraser and the Liberals. The next day, Treasurer, Bill Hayden (1933 – ) reintroduced the budget bills and warned that further delay would increase unemployment and deepen a recession that had blighted the western world since 1973.
The crisis would come to a head on Remembrance Day 1975. Whitlam had asserted for weeks that the Senate could not force him into an election by claiming that the House of Representatives had an independence and an authority separate from the Senate.
Whitlam had decided that he would end the stalemate by seeking a half-senate election. Little did he know, however, that the Governor-General, Sir John Kerr (1914 – 1991) had been seeking legal advice from the Chief Justice of the High Court on how he could use his Constitutional Powers to end the deadlock. Kerr had come to the conclusion that should Whitlam refuse to call a general election, he would have no other alternative but to dismiss him.
And this is precisely what happened. With the necessary documents drafted, Whitlam arranged to meet Kerr during the lunch recess. When Whitlam refused to call a general election, Kerr dismissed him and, shortly after, swore in Malcolm Fraser as caretaker Prime Minister. Fraser assured Kerr that he would immediately pass the supply bills and dissolve both houses in preparation for a general election.
Whitlam returned to the Lodge to eat lunch and plan his next movie. He informed his advisors that he had been dismissed. It was decided that Whitlam’s best option was to assert Labor’s legitimacy as the largest party in the House of Representatives. However, fate was already moving against Whitlam. The Senate had already passed the supply bills and Fraser was drafting documents that would dissolve the Parliament.
At 2pm, Deputy Prime Minister, Frank Crean (1916 – 2008) defended the government against a censure motion started by the opposition. “What would happen, for argument’s sake, if someone else were to come here today and say he was now the Prime Minister of this country”, Crean asked. In fact, Crean was stalling for time while Whitlam prepared his response.
At 3pm, Whitlam made a last-ditch effort to save his government by addressing the House. Removing references to the Queen, he asked that the “House expresses its want of confidence in the Prime Minister and requests, Mr. Speaker, forthwith to advice His Excellency, the Governor-General to call the member of Wannon to form a government.” Whitlam’s motion was passed with a majority of ten.
The speaker, Gordon Scholes (1931 – 2018) expressed his intention to “convey the message of the House to His Excellency at the first opportunity.” It was a race that Whitlam was not supposed to win. Scholes was unable to arrange an appointment until quarter-to-five in the afternoon.
Behind the scenes, departmental officials were working to provide Fraser with the paperwork he needed to proclaim a double dissolution. By ten-to-four, Fraser left for government house. Ten minutes later, Sir John Kerr had signed the proclamation dissolving both Houses of Parliament and set the date for the upcoming election for December 13th, 1975. Shortly after, Kerr’s official secretary, David Smith (1933) drove to Parliament House and, with Whitlam looming behind him, read the Governor General’s proclamation.
The combination of economic strife, political scandal, and Whitlam’s dismissal signed the death warrant for Whitlam’s government. At the 1975 Federal Election, the Liberal-National coalition won by a landslide, gaining a majority of ninety-one seats and obtaining a popular vote of 4,102,078. In the final analysis, it seems that the Australian people had agreed with Kerr’s decision and had voted to remove Whitlam’s failed government from power once and for all.
Most of the arguments levelled against constitutional monarchies can be described as petty, childish, and ignorant. The biggest faux pas those who oppose constitutional monarchies make is a failure to separate the royal family (who are certainly not above reproach) from the institution of monarchy itself. Dislike for the Windsor family is not a sufficient reason to disagree with constitutional monarchy. It would be as if I decided to argue for the abolition of the office of Prime Minister just because I didn’t like the person who held that office.
One accusation frequently levelled against the monarchy is that they are an undue financial burden on the British taxpaying public. This is a hollow argument, however. It is certainly true that the monarchy costs the British taxpayer £299.4 million every year. And it is certainly true that the German Presidency costs only £26 million every year. However, it is not true that all monarchies are necessarily more expensive than Presidencies. The Spanish monarchy costs only £8 million per year, less than the Presidencies of Germany, Finland, and Portugal.
Australia has always had a small but vocal republican movement. The National Director of the Republican Movement, Michael Cooney has stated: “no one thinks it ain’t broken, that we should fix it. And no one thinks we have enough say over our future, and so, no matter what people think about in the sense of the immediate of the republic everyone knows that something is not quite working.”
History, however, suggests that the Australian people do not necessarily agree with Cooney’s assessment. The Republican referendum of 1999 was designed to facilitate two constitutional changes: first, the establishment of a republic, and, second, the insertion of a preamble in the Constitution.
The Referendum was held on November 6th, 1999. Around 99.14%, or 11,683,811 people, of the Australian voting public participated. 45.13%, or 5,273,024 voted yes. However, 54.87%, or 6,410,787 voted no. The Australian people had decided to maintain Australia’s constitutional monarchy.
All things considered, it was probably a wise decision. The chaos caused by establishing a republic would pose a greater threat to our liberties than a relatively powerless old lady. Several problems would need to be addressed. How often should elections occur? How would these elections be held? What powers should a President have? Will a President be just the head of state, or will he be the head of the government as well? Australian republicans appear unwilling to answer these questions.
Margaret Tavits of Washington University in St. Louis once observed that: “monarchs can truly be above politics. They usually have no party connections and have not been involved in daily politics before assuming the post of Head of State.” It is the job of the monarch to become the human embodiment of the nation. It is the monarch who becomes the centrepiece of pageantry and spectacle. And it the monarch who symbolises a nation’s history, tradition, and values.
Countries with elected, or even unelected, Presidents can be quite monarchical in style. Americans, for example, often regard their President (who is both the Head of State and the head of the government) with an almost monarchical reverence. A constitutional monarch might be a lifelong, unelected Head of State, but unlike a President, that is generally where their power ends. It is rather ironic that the Oxford political scientists, Petra Schleiter and Edward Morgan-Jones have noted that allow governments to change without democratic input like elections than monarchs are. Furthermore, by occupying his or her position as Head of State, the monarch is able to prevent other, less desirable people from doing so.
The second great advantage of constitutional monarchies is that they provide their nation with stability and continuity. It is an effective means to bridging the past and future. A successful monarchy must evolve with the times whilst simultaneously keeping itself rooted in tradition. All three of my surviving grandparents have lived through the reign of King George VI, Queen Elizabeth II, and may possibly live to see the coronation of King Charles III. I know that I will live through the reigns of Charles, King William V, and possibly survive to see the coronation of King George VII (though he will certainly outlive me).
It would be easy to dismiss stability and continuity as manifestations of mere sentimentality, but such things also have a positive effect on the economy, as well. In a study entitled Symbolic Unity, Dynastic Continuity, and Countervailing Power: Monarchies, Republics and the Economy Mauro F. Guillén found that monarchies had a positive impact on economies and living standards over the long term. The study, which examined data from one-hundred-and-thirty-seven countries including different kinds of republics and dictatorships, found that individuals and businesses felt more confident that the government was not going to interfere with their property in constitutional monarchies than in republics. As a consequence, they are more willing to invest in their respective economies.
When Wordsworth wrote his ode to Milton, he was mourning the loss of chivalry he felt had pervaded English society. Today, the West is once again in serious danger of losing those two entities that is giving them a connection to the chivalry of the past: a belief in God and a submission to a higher authority.
Western culture is balanced between an adherence to reason and freedom on the one hand and a submission to God and authority on the other. It has been this delicate balance that has allowed the West to become what it is. Without it, we become like Shakespeare’s Hamlet: doomed to a life of moral and philosophical uncertainty.
It is here that the special relationship between freedom and authority that constitutional monarchy implies becomes so important. It satisfies the desire for personal autonomy and the need for submission simultaneously.
The Christian apologist and novelist, C.S. Lewis (1898 – 1964) once argued that most people no more deserved a share in governing a hen-roost than they do in governing a nation:
“I am a democrat because I believe in the fall of man. I think most people are democrats for the opposite reason. A great deal of democratic enthusiasm descends from the idea of people like Rousseau who believed in democracy because they thought mankind so wise and good that everyone deserved a share in the government. The danger of defending democracy on those grounds is that they’re not true and whenever their weakness is exposed the people who prefer tyranny make capital out of the exposure.”
The necessity for limited government, much like the necessity for authority, comes from our fallen nature. Democracy did not arise because people are so naturally good (which they are not) that they ought to be given unchecked power over their fellows. Aristotle (384BC – 322BC) may have been right when he stated that some people are only fit to be slaves, but unlimited power is wrong because there is no one person who is perfect enough to be a master.
Legal and economic equality are necessary bulwarks against corruption and cruelty. (Economic equality, of course, refers to the freedom to engage in lawful economic activity, not to socialist policies of redistributing wealth that inevitably lead to tyranny). Legal and economic equality, however, does not provide spiritual sustenance. The ability to vote, buy a mobile phone, or work a job without being discriminated against may increase the joy in your life, but it is not a pathway to genuine meaning in life.
Equality serves the same purpose that clothing does. We are required to wear clothing because we are no longer innocent. The necessity of clothes, however, does not mean that we do not sometimes desire the naked body. Likewise, just because we adhere to the idea that God made all people equal does not mean that there is not a part of us that does not wish for inequality to present itself in certain situations.
Chivalry symbolises the best human beings can be. It helps us realise the best in ourselves by reconciling fealty and command, inferiority and superiority. However, the ideal of chivalry is a paradox. When the veil of innocence has been lifted from our eyes, we are forced to reconcile ourselves to the fact that bullies are not always cowards and heroes are not always modest. Chivalry, then, is not a natural state, but an ideal to be aimed for.
The chivalric ideal marries the virtues of humility and meekness with those of valour, bravery, and firmness. “Thou wert the meekest man who ever ate in hall among ladies”, said Sir Ector to the dead Lancelot. “And thou wert the sternest knight to thy mortal foe that ever-put spear in the rest.”
Constitutional monarchy, like chivalry, makes a two-fold demand on the human spirit. Its democratic element, which upholds liberty, demands civil participation from all its citizens. And its monarchical element, which champions tradition and authority, demands that the individual subjugate himself to that tradition.
It has been my aim in this essay to provide a historical, practical, and spiritual justification for constitutional monarchy. I have demonstrated that the British have developed ideals of liberty, justice, and good governance. The two revolutions of the 17th century – the English Civil War and the Glorious Revolution – established Great Britain as a constitutional monarchy. It meant that the monarch could not rule without the consent of parliament, established parliament as the supreme source of law, and allowed them to determine the line of succession. I have demonstrated that constitutional monarchs are more likely to uphold democratic principles and that the stability they produce encourages robust economies. And I have demonstrated that monarchies enrich our souls because it awakens in us the need for both freedom and obedience.
Our world has become so very vulgar. We have turned our backs on God, truth, beauty, and virtue. Perhaps we, like Wordsworth before us, should seek virtue, manners, freedom, and power. We can begin to do this by retaining the monarchy.
I’m Done with Modern Movies
For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.
It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.
This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.
Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.
Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.
Modern Movies Lack Originality
The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.
The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.
A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.
Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.
Modern Movies Lack Artistic Merit
The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.
With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.
Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.
Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.
The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.
Modern Movies are Left-Wing Propaganda
The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.
The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.
Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.
The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.
The Problem With Modern Action Movies
Action movies just aren’t what they used to be. On Saturday night, I watched the film version of the hit 1980s TV show, the A-Team. A part of me hoped for an enjoyable experience, but, just as I had expected, I found the film to be cliched, formulaic, and predictable.
It became evident early on that the filmmakers had taken little to no effort in the making of this story. The plot was boring and predictable, and the characters were two dimensional. Indeed, it seemed that most of the film had been devoted to bad digital effects and over-the-top action sequences.
This is the kind of thing that passes for action movies nowadays. It is a far cry from the greats of yesteryear which, at least in the best of cases, were willing to combine action with intelligence. It is certainly true that these films featured death-defying stunts, mind-blowing special effects, and well-choreographed action sequences. However, it is also true that the best among them also featured complex, three-dimensional characters and clever, intricate plots. Yes, these films often pushed the boundaries of disbelief, but we were more than happy to suspend our disbelief for them anyway.
Any successful movie, particularly an action movie, requires two things: a good plot and good characters. One of the biggest problems with the modern action movie is that they are often boring. The audience finds it difficult to engage with the story because there is no character or plot for them to care about.
Great action movies have great, exciting stories. The problem is that modern action movies have a tendency to recycle the same tired stories over and over again. Audiences have been subjected to an endless array of reboots, remakes, sequels, and prequels. Audiences crave originality. What we need is original stories, not a rehash of a television show that ended over thirty-years-ago.
It’s not as though an action movie’s plot has to be entirely original, either. Most of us are willing to accept a familiar, or even cliched, story provided it’s presented in a new and interesting way. Take, as a case in point, the film Speed. Its plot is essentially a rehash of the Die Hard model, but by placing the action on a bus, the filmmakers managed to gain the appreciation of their audience by presenting them with something novel.
In addition to the importance of plot, it is also equally important to discuss the importance of character. Modern day action heroes often lack interesting character arcs. The audience has not been allowed to care about the characters as people and therefore have little reason to root for them. People like to see characters go through a personal journey. They like to see them grow and develop as a character. Good action heroes have some kind of flaw, whether it be a bad attitude, debris from their past, poor self-esteem, or any one of a thousand different things, that he or she must overcome to complete their mission.
The heroes of great action movies were relatable. The filmmakers knew they had to combine the right amount of vulnerability with the right amount of grit. We had to believe that these people bled, made mistakes, and felt pain.
In other words, these heroes had vulnerabilities. They were not invincible. The audience could believe that Axel Foley (Beverly Hills Cop) spent most of his time busting low-level crooks in downtown Detroit and that he genuinely felt anger and grief over the murder of his friend. In Die Hard, the filmmakers were prepared to take the time to let us get to know John McLane. We learnt that he was an Irish-American police officer, that he was a father, that he was estranged from his wife, and that he was frightened of flying. And when he had to fight terrorists, the Los Angeles Police Department, and the FBI, we genuinely rooted for him because we had been allowed to get to know him.
Equally important, if not more important in many cases, is the film’s villain. Good stories have good protagonists, great stories have great antagonists. There has to be something in a villain that makes him at least a little bit likeable, or even sympathetic. A part of us has to be able to understand his motivations and even root for him. We could understand why Karl wanted to kill John McLane because we had seen McLane kill his brother. And we could understand why Speed’s chief antagonist, Howard Payne, wanted to hold the city of Los Angeles to ransom after we learnt that he had been injured in an explosion working for the LAPD. Heck, even films in which the villain wants money or power, or both, are relatable because we want these things, too.
If the producers of action movies were willing to invest as much time and effort in story and character development as they were on special effects, it is possible that they might someday produce another great action movie. But, with the way things are going, I wouldn’t hold my breath.
NOTE: I apologise for the long delay between articles. I have been in the process of preparing a rather lengthy article on constitutional monarchy.
A Man For All Seasons
It is a rare occurrence to see a film that is so memorable that it implants itself on the human psyche. A film that contains such a captivating story, compelling characters, and profound themes occurs so rarely it becomes etched into our collective unconscious. A Man for All Seasons is one of those films.
Set in Tudor England during the reign of King Henry VIII (1491 – 1547), A Man for All Seasons tells the story of Henry’s divorce from Catherine of Aragon (1485 – 1536), the birth of the Church of England, and the man who stood opposed to it.
During the 1530s, King Henry VIII broke away from the Catholic Church, passed the Act of Succession (which declared Princess Mary (1516 – 1558), the King’s daughter with Catherine, illegitimate) and the Act of Supremacy (which gave Henry supreme command over the Church in England), and made himself the Supreme Head of the Church of England.
In A Man for All Seasons, Henry asks Sir Thomas More (1478 – 1535) to disregard his own principles and express his approval of the King’s desire to divorce his wife and establish an English Church separate from Rome. Henry believes that More’s support will legitimise his actions because More is a man known for his moral integrity. Initially, Henry uses friendship and dodgy logic to convince his friend. It fails, and the so-called “defender of the faith” tries using religious arguments to justify his adultery. When this fails, he merely resorts to threats. Again, More refuses to endorse Henry’s actions.
A Man for All Seasons is really about the relationship between the law (representing the majesty of the state) and individual consciousness. In the film, Sir Thomas More is depicted as a man with an almost religious reverence for the law because he sees it as the only barrier between an ordered society and anarchy. In one scene, when William Roper the Younger (1496 – 1578) tells him he would gladly lay waste to every law in order to get at the devil, More replies that he would “give the devil benefit of law for my own safety’s sake.”
More’s reverence goes far beyond mere man-made law, however. He also shows a deep reverence for the laws of God, as well. After being sentenced to death, More finally breaks his silence and refers to the Act of Succession, which required people to recognise Henry’s supremacy in the Church and his divorce from Catherine of Aragon, as “directly repugnant to the law of God and His Holy Church, the Supreme Government of which no temporal person may be any law presume to take upon him.” More argues that the authority to enforce the law of God was granted to Saint Peter by Christ himself and remained the prerogative of the Bishop of Rome.
Furthermore, More argues that the Catholic Church had been guaranteed immunity from interference in both the King’s coronation oath and in Magna Carta. In his coronation oath, Henry had promised to “preserve to God and Holy Church, and to the people and clergy, entire peace and concord before God.” Similarly, the Magna Carta stated that the English people had “granted to God, and by this present charter confirmed for us and our heirs in perpetuity, that the English Church shall be free, and shall have its rights undiminished, and its liberties unimpaired.”
The central problem of the film is that the legal and political system in England is incapable of allowing More to hold a contradictory, private opinion. Even before he is appointed Chancellor, More expresses no desire to get involved with the debate surrounding the King’s marriage. He will not, however, swear an oath accepting the King’s marriage or his position as the head of the Church of England. More believes that it is the Pope who is the head of the Church, not the King, and he is perfectly willing to sacrifice his wealth, family, position, freedom, and, ultimately, his life to retain his integrity.
The relationship between the law and an individual’s conscience is an important one. What A Man for All Seasons illustrates is just how important this relationship is, and what happens when this relationship is violated. Modern proponents of social justice, identity politics, and political correctness would do well to watch A Man for All Seasons.
Television and Culture
“She’s television generation, she learnt life from Bugs Bunny” muses William Holden in Network, as he confesses his affair with a younger woman to his long-suffering wife. Love it or hate it, television has shaped the way we see the world. And it has been used for years to engineer social change.
It is because of their values that the left has come to dominate the culture. While conservatives value objective facts, those on the left value narrative. This is an important distinction. People develop their worldview based on the stories they are told, not the facts that are presented to them. And while conservatives choose to focus on facts, the left is creating the narrative references that define the world we live in.
As a consequence, left-wing assumptions have come to dominate film and television. And, by extension, it is these assumptions that create the parameters for public discourse. It was through the positive depiction of gay characters in shows like Will and Grace that homosexual relationships came to be more widely accepted. It would be difficult to argue that such depictions played no role in the public’s acceptance of gay marriage. Today shows like Orange is the New Black presents sympathetic transgender characters in an attempt to engineer public acceptance of transgenderism. The left produces television shows and movies that are anti-capitalism, anti-Christian, and anti-West. Unfortunately, the right fails to produce television shows and movies in their defence.
The left embeds its messages through seemingly innocuous narratives and likeable characters. Otherwise morally reprehensible and disagreeable characters are presented in a sympathetic light. By doing this, the creators of these characters are able to coax us into accepting things we otherwise would not. Max Black, one of the protagonists of Two Broke Girls, is a rude, unmotivated, and immoral drug and alcohol user, but she is presented to the audience as a positive role model for women.
Television’s primary power lies in the fact that it allows individuals and organisations to manipulate images, facts, and stories to suit their own purposes. It is through the distortion of facts, impelling narratives, and the creation of morally reprehensible yet sympathetic characters that those who control television have been able to manipulate the public. Whether or not this trend will continue with the advent of the internet is yet to be seen.
Conservatives Don’t Care About Culture, Maybe It’s Time They Started To
Culture is more important than politics. However, in the hierarchy of priorities, many conservatives rank it somewhere between checking their privilege and meeting diversity and inclusion quotas. They simply do see it as being of any importance.
Conservatives mistakenly believe that the culture is less important than politics and economics. In their mind, culture is akin to leisure, something that is relegated to times to relaxation. However, as the late Andrew Breitbart (1969 – 2012), was fond of pointing out: politics is downstream of culture. It is culture – art, film, theatre, literature, sports, video games, news media, and comic books, among other things – that informs public opinion long before policy is announced to the public or even made.
The left has realised this. They have made it a key aspect of their long-term strategy to dominate the culture and exclude conservatives. It has spent decades infiltrating the halls of culture, politics, and academia with little to no opposition from conservatives who, much to their detriment, have failed to realise the importance of these institutions.
To understand the importance of culture it is necessary to understand what culture is. Culture communicates ideas through art, literature, literature, film, and so forth. It is from culture that ideas and beliefs are popularised or dismissed. And it is from culture that our worldview is formed.
The difference between left-wing culture and right-wing culture is that left-wing culture expresses false ideas, whilst the ideas expressed by right-wing culture tend to be truthful.
Just take a look at conservative art compared with left-wing art. Left-wing art champions communism: a political ideology that has killed and enslaved tens-of-millions of people, Conservative art champions Christian values, honour, patriotism, love, and freedom. The Brady Bunch featured a two-parent family (admittedly blended, but that doesn’t really matter) and espoused the virtues of duty, honour, and responsibility whereas a show like Gilmore Girls glorified single motherhood and self-centredness.
If conservatives wish to promote good and truthful ideas, they must be prepared to invest more in the culture. They must be prepared to create businesses, establish grants, and more in order to finance and distribute conservative art. In doing so, they can prevent left-wing censorship and can ensure that good, truthful ideas continue to be promoted.
MUCH ADO ABOUT NOTHING: COMPARING TWO SHAKESPEARE FILMS
The 1993 and 2012 adaptations of Much Ado About Nothing reveal what can be gained and what can be lost when Shakespeare’s plays are adapted to the silver screen. Namely, the 1993 adaptation maintains the integrity of Shakespeare’s literary genius, whilst the 2012 adaptation violates it.
Joss Whedon’s 2012 adaptation attempts to modernise Shakespeare’s works while maintaining its eloquent language. The setting – time and location – of the film do not suit the dialogue spoken. It may be preferable to retain Shakespeare’s original dialogue, but that dialogue can only work if the audience can be made to believe that the characters in that situation would actually talk that way. Otherwise, it distracts from the film’s plot. It would have been advisable to retain Shakespeare’s story but to utilise modern parlance. Joss Whedon’s 2012 adaption of Much Ado About Nothing comes across as a high school media production, and a poorly made one at that. It is precisely what happens when the plays of William Shakespeare are poorly adapted to the screen.
By contrast, Kenneth Branagh’s 1993 adaptation is grand and lavish, being like a breath of fresh air to Shakespeare’s play. Its setting – periodic, though the exact period is hard to confirm, and expansive location (though it takes place in one village, it feels much larger) – means that the audience is more willing to accept the decision to retain the play’s original dialogue. The audience can and does, believe that the characters in the film would actually speak the way they are depicted as speaking. Kenneth Branagh’s adaptation of Much Ado About Nothing is precisely what happens when Shakespeare’s plays are adapted properly to the screen.
SCIENCE FICTION, OR SCIENCE REALITY
There can be little doubt that technology is going to transform our world in ways that will make it unrecognisable to us fifty years from now. Technology is going to transform our lives, our work, and our relationships in ways that we, in our mortal and limited wisdom, will prove unable to comprehend. What we consider science fiction today, we will consider reality tomorrow.
The most obvious clue has been the internet. This medium is, indeed has, changed the world in ways we cannot even begin to fathom. Virtually every home in the developed world has the internet. Most of us carry it around with us in the form of smartphones and tablets. It has revolutionised the way we learn, do business, commit crimes, and communicate with one another.
Then there’s television. The shows featured on mainstream television can be described, accurately, as formulaic, petty, cheap, and shallow. It’s news and current affairs programs provide little in the way of real or, for that matter, interesting information. Likewise, their fictional programming features staid and one-dimensional characters in cliché plots and scenarios.
By contrast, paid subscription services like Netflix and Hulu feature shows that appeal to a wide variety of temperaments and interests. By contrast, the shows on paid subscription services like Netflix and Hulu appeal to a wide variety of temperaments and interests. Their shows captivate the imagination by featuring intriguing plots, complex characters, inspired cinematography, beautiful set designs, and state-of-the-art special effects. Just take a look at some of the titles: Archer, Suits, Spartacus, Mindhunter, House of Cards, Rick and Morty, Game of Thrones, and so forth.
One night of watching mainstream television followed by a single night of watching a paid subscription service should be proof positive to anyone that television is slowly, but surely, fading away.
Finally, there is music. Digital music outlets like I-Tunes and Spotify has revolutionised the way in which listen (and, more sinisterly, steal) music. Where once our grandparents were limited to their vinyl record collection, today’s music lover has access to thousands of songs at his or her fingertips.
Allow me to reiterate what I said before: the high-tech world that pervaded the imaginations of storytellers and filmmakers will no longer be a fantasy, it will be a reality.
I, for one, can easily envision a world in which an omnipresent house computer reads our body temperature and regulates the climate in our home without us being consciously aware of it. I can envision a world where a computer-controlled kitchen cooks our food with little intervention us. I can envision a world of driverless cars, endless self-serve checkouts, and more.
The future will be digital. The challenge for the human race is to be able to embrace this change without losing our individual autonomy.
GREAT EXPECTATIONS (1946)
This week for our weekly cultural article we will be examining the David Lean’s (1908 – 1991) 1946 film Great Expectations, considered to be one of the greatest British films ever made. When it was released in 1946, it was met with glowing reviews. Today, seventy years later, it has been described by Criterion as “one of the greatest translations of literature into film.”
David Lean’s Great Expectations captures the essence of Charles Dicken’s (1812 – 1870) literary genius by juxtaposing his memorable characters with the artful film direction of David Lean. Leans use of black and white to add to the foreboding and melancholy atmosphere of the film. Then there are the numerous dark, creepy, rundown, and ultimately human locations that burn themselves into the memory: the creepy graveyard where a young Pip first meets escaped convict Abel Magwitch, the Kentish marshes, Miss Havisham’s dilapidated and macabre home whose clocks are stopped at the exact time Miss Havisham learnt of her fiance’s betrayal, 19th century London, Mr. Jagger’s offices whose walls are decorated with the death masks of defendants lost to the gallows, the prison where Magwitch dies, and so forth.
Then there are the wealth of memorable characters the film presents to us. The most notable of these is Pip through whom we see all of the tragedy and injustice of early 19th century England. Pip acts as more of an observer to the world around him than an actual protagonist. We first meet Pip (Anthony Wager, 1932 – 1990) as a young orphan being raised by his overbearing older sister (Freda Jackson, 1907 – 1990) and her kindly blacksmith husband (Bernard Miles, 1907 – 1991). It is during this time that Pip first encounters Abel Magwitch (Finlay Currie, 1878 – 1960), a kind yet ultimately decent escaped convict, in the cemetery, and when his heart is broken by the coquettish Estella (Jean Simmons, 1929 – 2010) and the dishevelled and deranged Miss Havisham (Martita Hunt, 1900 – 1969).
As the film progresses, we see Pip grow into a young man, played by John Mills (1908 – 2005), who, it could be argued, was perhaps a little too old to play Pip in his early twenties. This Pip has been bequeathed a large allowance by an unknown benefactor and travels to London with the view of becoming a gentleman. There he forms a friendship with the Herbert Pocket (Alec Guinness, 1914 – 2000) who helps him refine his manners. The adult Pip finds himself corrupted by the ponce and ceremony of the English upper-class and is ashamed to admit that he would have paid money to keep Joe Gargery, dressed in his cheap suit and awkward manner, away. Pip is forced to reexamine his views after discovering that his benefactor is none other than the escaped convict Magwitch, who was so struck by Pip’s childhood compassion that he was inspired to make something of himself and become his benefactor. Magwitch’s kindness and gratitude cause Pip to regain his lost humanity.
Great expectations represents a type of film that no longer exists: one that deals entirely with the human condition. These films are no longer made because they often do not involve exciting elements, but rather present characters that are flawed and suffering and places these characters in stories that are essentially tragic in nature. These films are no longer made because they do not fit into the blockbuster formula. Rather than the larger-than-life heroes of the blockbuster, films on the human condition feature characters that are ultimately flawed and suffering. These characters are placed in stories that are ultimately tragic in their nature. A far cry from the often over-the-top plots of the modern blockbuster. There is something deeply satisfying about films like Great Expectations which shows normal people to be capable of leading a dignified existence regardless of the tragedy and suffering they are forced to face.
King Alfred Press 