Last week I had an opportunity to pedal for the future when Oxfam held a screening of The Age of Stupid at the Laban Centre off Deptford Road, as our cycling was used to generate power for the film.
The evening kicked off with a short speech by the local MP and Minister of State for Energy and Climate Change, Joan Ruddock, followed immediately by the film itself. This was the second time I have seen the movie, and I was still struck by its opening imagery of central London flooded. Its clear message is that we can collectively do something about climate change, not dissimilar to the campaigns in the last century to win suffrage for women and working men and the ending of apartheid in South Africa. So, while looking at what lies in store for us if we continue with our present way of life, the film does leave you with a sense of hope.
The Q&A session that followed the movie was the first I’ve done after 10 o’clock in the evening! And I was pleasantly surprised at the numbers willing to stay to discuss both the movie itself and climate change issues. The other panellists were Martin Kirk, Head of UK Campaigns at Oxfam International, and Daniel Vockins, Campaign Coordinator of The Age of Stupid, and the session was chaired by Lucy Aitken-Read from Oxfam. We had a number of very informed questions from the floor, which got us all thinking.
On returning from a very wet Lewisham that night I could see a new social trend beginning, where we go to the cinema and have some of the audience pedalling to power the showing of the film. Who says we can’t do some hard labour in today’s comfortable society, in order to reduce our carbon footprint?
Last night l attended a showing of The Age of Stupid at the Tricycle Theatre, Kilburn. The film comes out at an important time – before the G20 Summit in London next month and the Copenhagen meeting of the post-Kyoto negotiations of the UN on climate change in December. It’s certainly worth seeing.
The Age of Stupid is very much in keeping with the times, with its lack of faith in markets and capitalism in its present form. It links its climate change analysis with political events in the Middle East. And it has some useful graphics of how London would look if it was flooded by the Thames (see below).
Because of its subject matter and its documentary format, there is an obvious comparison with An Inconvenient Truth. But The Age of Stupid is a much better film, as it gives far more emphasis to the role of people power rather than key individuals like Al Gore in changing the world.
We shouldn’t forget that for all his green talk, Gore failed to get the US to ratify the Kyoto agreement while getting the rest of the world to accept some tough medicine like tradable permits. So much for ecotoffs! This illustrates well that the campaign over climate change is not that dissimilar to the fight for universal suffrage or against apartheid. To be successful it requires a struggle organised at grassroots level.
After hearing so much about the film from friends, l decided to go and see Slumdog Millionaire. And boy was it a treat, fully living up to its word-of-mouth reputation.
Slumdog Millionaire is a very rare combination of British social realism with the escapism of Indian cinema. The British realism meant that it dealt with the lives of folk in the slums of the mega-cities of South Asia, something South Asian politicians ignore at their peril and which Indian cinema has singularly failed to address. At the same time the film offers some hope in the form of a bit of Indian escapism with the central character winning a TV contest worth millions of rupees.
The film has a novel way of telling the story, with our hero Jamal Malik being asked to explain to the police how a common cha walla like himself could have won the TV contest in the first place, and each question answered involves an episode in his life. In my family we use the term cha walla as a term of endearment to encourage a fellow member of the family to make tea for the rest of us after a meal. Here it is used as a term of abuse and a means of keeping people like our hero Jamal down.
Slumdog Millionaire also broke some of the other rules of commercial cinema, with its use of subtitles which are generally discouraged, and by not having the narrative of the film explained by a white character, as would usually have been the case before in such films set in India. It not only failed to fit the Bollywood formula but Hollywood turned it down as well. Well their loss is certainly our gain.
So director Danny Boyle has done it again, with a film that is the equal of his earlier social realist portrayal of life on a Leith estate in Trainspotting. And Slumdog Millionaire can certainly look forward to winning more awards from the film world and beyond. For Boyle’s next project I would suggest a film adaptation of The Golden Gate by Vikram Seth, a novel in verse based in San Francisco.
