Kicking the Pricks

IV

IV This page intentionally left blank EVASION What do you seein those heavy waters ? Iask. Nothing but a bureaucrat from the ministry poisoning the buttercups with a new defoliant. What's that I hear? The sound of Gershwin on his ghetto blaster. What else? The atom splitting, And the whispering ? Half-truths spilling from the minister's case Wriggling in the sunlight. What are they saying? All's well, no comment. Some of them are silent. Ah here's the guard. What's the password? EVASION What else do you see ? Lies flowing through the national grid, and bribery. All's normal then? Yes. Where's Hope? The little white lies have carried her off beyond the cabbage patch. They've murdered her ? Yes. And Tomorrow? Tomorrow's been cancelled owing to lack of interest. You saw the graffiti years ago on the Euston Road, and didn't believe it; What proof do you need the world's curling up like an autumn leaf? 159 The storm's coming to blow it into the final winter. Can't you feel the days are getting shorter? THE LAS T OF ENGLAND FEATURE FILM, 88 MINUTES, 35MM, COLOUR AND BLACK AND WHITE. FILMED IN LONDON, LIVERPOOL, NEW YORK. FOOTAGE FROM THE IQ2OS BY HARRY PUTTOCK, AND FOOTAGE FROM THE 1940S BY LANCE JARMAN. WITH I TILDA SWINTON, SPENCER LEIGH, AND SPRING. DESIGN: CHRISTOPHER HOBBS. COSTUME DESIGN : SANDY POWELL. SOUNDTRACK! SIMON TURNER. CAMERA : DEREKJARMAN, CHRIS HUGHES, CERITH WYN EVANS, RICHARD HESLOP. PRODUCED BY: JAMES MACKAY, DON BOYD, YVONNE LITTLE. WHA T SOR T OF PEOPLE DO YO U THINK WE ARE? INTERVIEW APRIL 15TH1987 The Last of England isn't finished, so it's difficult to tell you what I've made, but I could make a guess. The film is like 160 Phoenix House. December 1986 The Last of England:James Mackay the producer no other; occupying its own space; usually when you're told this it's a publicity stunt; but with this film it's true; but don't think I feel novelty a virtue. I was quite happy to make Caravaggio in a more formal tradition. The Last of England is exciting because it makes all recent British Cinema look very tired. It makes the work of my contemporaries pale into conformity. Whose work ? Greenaway—'Painting by Numbers', Frears—the good craftsman. Whose work do you like? Should I like anyone's? I didn't get into this to like or be liked. But why do you make films? For the camaraderie. I improvised The Last Of England— no script, scripts are the first restraint; the commissioning editor opens the mail and writes his hurried replies: 'Dear Mr Dickens, the script for your new novel Bleak House is much too complex.' And how about: 'Dear Mr Britten, I really think we've had too many requiems, though as you mentioned in your treatment they have had an impressive history, the Board doesn't really feel that splicing them with the Wilfred Owen poems is going to be intelligible to the audience'; 'And as for you, Mr Picasso, the plot for the Demoiselles . . . forget it darling! A cult movie.' After that none of them got made. Some fucker in Hol163 lywood buggered up the 2Oth century to build a bigger swimming pool. Film directors are a cringing bunch; they shout and scream to cover the fact that their hearts have been stolen. Back to The Last of England. Ah, what's it about? About England, a feeling shared with Oliver Cromwell. Let me read you this: His Highness's Speech to the Parliament in the Painted Chamber, at their dissolution upon Monday, January 22 1654. 1. Who is this that cometh from Edom, with dyed garments from Bozrah? this that is glorious in his apparel, travelling in the greatness of his strength ? I that speak in righteousness, mighty to save. 2. Wherefore art thou red in thy apparel, and thy garments like him that treadeth in wine fat? 3. I have trodden the wine press alone; and of the people there was none with me; for I will tread them in mine anger, and trample them in my fury; and their blood shall be sprinkled upon my garments, and I will stain all my raiment. 4. For the day of vengeance is in my heart and the year of my redeemer is come. 5. And I will tread...