Friday 09.11.


Jake Gyllenhaal goes on patrol with the LAPD

Lost in Showbiz

ZZ Top
Beardy surrealists

The Weeknd
Fuzzy feelings

Peter Bradshaw
Ben Affleck’s CIA comedy

Alexis Petridis
One Direction’s secret

Celebrity voting

Lost in Showbiz
Democrat celebrities come out to celebrate Obama’s victory, but there was little joy over in the Romney camp
By Sam Wolfson


ost in Showbiz is not a fan an a of election weeks. When the n boss of the world is being ng chosen, US news networks rks r take a brief respite from m 24-hour coverage of Twilight Breaking kin ing Dawn to return, miserably, to breaking kin ng news. The closest we got to seeing a celebrity was downing too many shots hot ots of “blue state” punch in our election on drinking game and briefly mistaking ng Ann Romney for Monster-era Charlize lize e Theron. But within minutes of Ohio o being declared, attention turned back ack to vaguely famous people and how w they felt about Obama’s re-election. n. Regular viewers of Fox News will be ll e unsurprised to hear that Hollywood d liberals were all over the lamestream am media crowing about Obama’s victory. ory. Beyoncé drew a “Take that Mitches” s” placard. Girls star Lena Dunham, who had spent the final days of the campaign paign helping to get out the elusive hipster ter vote, Instagrammed the little black k dress she went to the polls in. “Send nd us yours!” responded Huff Po. The results weren’t pretty. But it was Naya Rivera, the cheererleader from Glee, who most poignantly antly summed up this historic second term rm best, tweeting: “OBAMA!!!! A BOSS always wins. #ShittedOn’Em.” Shitted tted On ’Em – this year’s Yes We Can. Of course, at Lost in Showbiz, there’s here’s nothing we like more than a sore loser. Especially delicious was Donald Trump, calling for a march on the White House and a revolution in the US, and conservative rocker Ted Nugent, who called voters “soulless fools” and “pimps whores & welfare brats”. But we most delighted in Stacey Dash, best “known” as Cher’s friend Dionne in 90s teen movie Clueless, whose three-page pdf to US gossip website TMZ made the case not only for Mitt Romney, but for rich people in a tight spot everywhere. She began: “President Obama will always be remembered as one of the greatest leaders this United States of America has ever known.” However, she was hamstrung by her own “considerable income” and persuaded by “the simplicity

2 The Guardian 09.11.12


Beyoncé and Lena Dunham had cause to celebrate; porn star James Deen (below) was left feeling blue

of [Romney’s] plan to lower taxes”. Dash’s confusing diatribe suggested she voted for Romney to subvert expectations that just because she’s an African American single mother who believes in progressive social politics and thinks Obama is a great leader, she would automatically vote for him as president. In an attempt to heal the wounds of divisive party politics, Dash at least ended with a sentiment that will surely unite both sides of the aisle: “Ultimately, I know that what Stacey Dash thinks about who will be the next president of the United States isn’t that important in the scheme of things.” It sure ain’t, Mitches. It was a night not just for blue states but blue movies, as male porn stars in

California came to terms with the passing of Measure B, which will force them to wear condoms on set. James Deen, an adult movie star and the most vocal opponent of the law, had already got the news media into a fluster before the election. American network ABC was hot under the collar, describing his “curly brown hair” and “soft blue eyes” while GQ called him “the well-hung boy next door”. Good to see there’s still thorough research being done in journalism. Deen was in a philosophical mood after the vote, but he did raise one of the consequences of the law, perhaps unforeseen by voters. “I am not the correct person to ask exactly what the law says. But the only way that it can be enforced is if somebody actually

On the web Participate in these important debates

does watch porn. Somebody needs to sit there and either review all the content that’s being shot, or they need to sit on set and verify that people are actually adhering to this measure ... That is, as far as I understand, a $52,000-a-year job.” There you go, Romney, you could get a new position in government after all.

Naomi Campbell certainly knows how to do extravagance
As you can imagine, Lost in Showbiz gets invited to a lot of supposedly glitzy dos. But for all the proml ises of glamour and A-listers, somehow we always end up in s the function room of a Best f Western drinking paststits-sell-by-date Red Stripe and listening to Kelly Osbourne whingeing. So this week we praise Naomi Campbell for throwing a horrifyingly extravagant bash: a 50thbirthday party for her fiance, Vladimir Doronin, that genuinely looks as s if it cost more than the he Olympics. Campbell flew guests out on chartered planes to Jodhpur, where she had rented the Mehrangarh arh Fort, a 15th-century palace that sits 400m m above the city. Party people: Naomi Cambell and fiance Vladimir Doronin

The party ran over two nights, with the themes apparently decided by a Bristol uni student just back from their year abroad. On the first, guests dressed in full Indian regalia – bindis included. On the second, they donned tailcoats for a Great Gatsby-inspired black-tie affair. Celebrations included a mammoth fireworks display and a performance by Diana Ross (for which she was reportedly paid £500,000). If guests got sleepy, a vintage Rolls-Royce would ferry them to another giant palace, the five-star Umaid Palace Hotel, where Campbell forked out more than a grand a room. The only thing that marred the decadence was the company Campbell keeps. In her 90s heyday, she would have stayed up for the full 48 with Robert De Niro and Spike Lee. These days, the most high-profile guests included Bob Geldof and Sarah Ferguson. Pictures haven’t emerged yet of Fergie in her Indian garb, but the laywers who deal with Prince Harry’s wardrobe malfunctions are on standby.

Frankie Cocozza masters the art of the sexual metaphor
Next, to poetry news. Lost in Showbiz has spent the week tangled in the vivid prose of Britain’s most prominent genital wart, Frankie Cocozza. Cocozza, you’ll remember, rose to prominence on last year’s X Factor when he pulled down his pants to reveal the tattooed names of eight girls he had shagged on a holiday in Magaluf. He became Gary Barlow’s favourite contestant – a mini Robbie he could scold and control. But things got out

of hand when history repeated itself and Cocozza got cokey. He was kicked off the show and has since spent his evenings sleeping with an array of Z-list reality stars too unfamous to mention. Finally, though, a reformed Cocozza has made a return to his true calling, rock’n’roll. This week saw the release of his first single, She’s Got a Motorcycle. This, readers who got more than level 4 in Key Stage 3 English will understand, isn’t a real motorcycle, it’s a metaphor, although for what, Cocozza isn’t sure. At various points in the song it’s used to represent his penis (“I’ve got a motorcycle, it feels so delightful”), her lady parts (“She’s got a motorcycle, why won’t she let me ride it?) and, in the song’s thrilling conclusion, an anthropomorphised Harley-on-Harley tryst (“I knew one day I’d fill you up, on my motorcycle”). WHAT? Lost in Showbiz had hoped that the video, which features Cocozza stumbling around with his knees bent like a tramp singing Wonderwall, was going to be a daydream, with him waking up at a Shoe Zone checkout. But it just keeps going, his vocals whispier than his facial hair, his face crumpling with every strained note. At the end, he rides an IRL motorcycle through a wall of fire. Our hopes are raised! But he’s fine readers. Absolutely fine.

09.11.12 The Guardian 3

Hello Richard! I like your new film (1). Ooh yes, it’s very good, isn’t it? (2) It’s better than I thought it’d be. That’s exactly what I thought! I thought I wasn’t going to like it at all, but I went with the grandchildren and we had a really good time. What attracted you to Cockneys Vs Zombies? Well, I don’t often get the chance to play someone of my age. I’ll be 80 in January, so I was playing this silly old fool in an old people’s home. I was having a very nice time because the e sun came out, and I was in a deckchair hair doing bugger all. And then people started shouting “There’s a zombie! ! The zombie’s after you!” It was lovely ely for me because zombies are very, very ery slow, so that suits me perfectly. By my calculations, you killed seven en zombies during the film. Is that your ur highest onscreen kill-count? Yes! I’d only killed five people before re in ... oh dear, what was that? I’m just st going to check with my wife ... oh yes, Midsomer Murders! I think I got about out four or five of them in that. I was a mad vicar (3). Suddenly in the past two or three years I’ve popped up to play ay these terrible killers. It’s great. There have been a lot of versus films ms recently. Have you seen any of them? m? Have you seen Monsters Vs Aliens? No I haven’t. Alien vs Predator? No. I’ve got to get hold of that. Strippers vs Werewolves? (4) Bloody hell. You’ve been acting for 50 years now. Do you have any unfulfilled ambitions? Not really. I’ve always been one of the few lucky ones. I’ve always had d an enormous amount of work. And of course, as you probably know, I suddenly stumbled into Kenneth Branagh and started doing all the Shakespeare stuff. The posh stuff. That was rather nice. It changed my y entire life. How did you meet Branagh? You’ve e worked with him an awful lot (5). Well, my daughter, Lucy Briers, adored ored him when she was a student, and used sed to follow him around and be very

30 minutes with... Richard Briers The veteran actor may be killing zombies in his new film – but don’t, whatever you do, call him cool

helpful to him. And then he went and did his season in Stratford and he did Henry V. And my daughter just adored him. She said: “Come and have a chat with him. He must remember you from The Good Life.” We both went round to the stage door, had a very nice chat and from that came Malvolio in Twelfth Night in Hammersmith. Were you disappointed that he didn’t find a part for you in Thor? I don’t think there was anything there for me, really. I don’t know. You’d look quite good in a big helmet and a Nordic waistcoat. h Dressed up as some old ninny. Some Dresse extraordinary creature. But, no, he extrao didn’t ask. I’m rather hurt, actually. Looking back, what have been your Lookin best an worst moments as an actor? best and It’s ter terrible. I can’t really remember them. The best was when I was at Rada a I did a play as an old man, and a Molière play. It was a very funny, Moli eccentric character, and it was the first eccent big laugh I remember getting. That was big lau 50 yea ago. That’s the most exciting years thing in the world, to get your first big i laugh. So that was very good. But the others? Nothing really. I’ve just sort of others stumbled along. stumb I’ve been reading a lot of interviews be with you, and you always seem to bring y up your dislike of the word “cool”. yo yes, cool! Well, I don’t like it at all. Oh, y think I thin it’s so stupid. I mean, hardly anybody’s cool now (6). Everyone’s in anyb a shocking state, I think. And everysh one’s walking about saying: “Cool one man, cool.” That’s bollocks, I think. man What’s next on the horizon for you? Wh Not much. A couple of voiceovers. Not much about. In the old ove days at this time of year you did day pantomime, which was hell. pan Was it? Why? mean I mea it’s awful. The place is full of kids, shouting and screaming. But you could make a living from it. I don’t any more. There are thousands of actors And now. A nobody puts the money up well, so most people seem to be very w badly out of work. quite b What a sad note to end the interview Thanks for talking to me. on. Th That’s very kind of you. Have a bloody Christmas! (7) All the best! good C

By Stuart Heritage

Footnotes 1 Cockneys Vs Zombies, co-starring Honor Blackman. 2 The film has a 69% fresh rating on Rottentomatoes, one better than Dirty Dancing. 3 Death’s Shadow: series two, episode one. He killed a property developer with a sword. 4 The worst ever versus movie, even including Megashark v Giant Octopus. 5 In Henry V, Swan Song, Peter’s Friends, Much Ado About Nothing, Frankenstein, In the Bleak Midwinter, Hamlet, Love’s Labour’s Lost and As You Like It. 6 Take that, Kanye West! 7 This interview took place on 17 October.

4 The Guardian 09.11.12


Jake Gyllenhaal tells Catherine Shoard how spending time on the police frontline for his new movie helped him and his co-star Michael Peña forge an unbreakable friendship

Michael Peña and Jake Gyllenhaal in End of Watch

09.11.12 The Guardian 5


t was Jake Gyllenhaal’s first day of work on End of Watch when the murder happened. He was incognito in the back of an LAPD patrol car, observing protocol on the midnight shift. An emergency call came through. A drugs bust had gone wrong. Theirs was the second squad to arrive. Gyllenhaal opened his door, and a man was shot dead in front of him. He had five more months of ride-alongs still to go. “I have a whole slew of feelings about that,” he says one autumn morning in Toronto, the day after the movie’s premiere, “but it was definitely an awakening. Domestic violence, chasing stolen cars, family disputes … growing up where I did in Los Angeles, I didn’t see anything of this kind of violence.” His Bambi eyes balloon with feeling. “Nor this sort of culture. South-east LA is 95% amazing culture, fantastic food, and it was great to be immersed in that world.” Gyllenhaal has long been big with the outreach. On his 13th birthday, in lieu of a party, he performed a “barmitzvah-like act, without the typical trappings” volunteering at a local homeless shelter. His parents – director Stephen Gyllenhaal and screenwriter Naomi Foner – encouraged him to take regular summer jobs to grit up his minted beginnings. When he adopted a rescue puppy, he named it Atticus, after Finch. Such determined humility could seem icky; up close, that doffed cap is easy to swallow. At a press conference, he bats off queries about his beardy appearance with: “I totally respect the question but it’s very hard for me to talk about hair when I feel like the police officers I worked with have much more important things to talk p g about. I feel I’d be doing them a dis-

service.” (In fact, it’s in aid of a play.) Later, I meet him and co-star Michael Peña, holed up in a hotel basement. Gyllenhaal politely asks if I’d mind them jogging round the room to try to stay sparky. Then he’s concerned I might be cold. Would I like his blazer? I put it on and explain most of my clothes are being fumigated for bedbugs. He blanches only briefly. “Oh, awesome! Well, it was a nice jacket while I had it. And my skin was really nice.” Peña cackles. “Yeah, dude, you’ll be doing that play like this.” He mimes itchy nipples. Gyllenhaal giggles. They stop jogging and laugh harder. Seeing these two together – in sync, if not quite joined at the hip – is curious. For End of Watch’s blue uniforms are a bit of a red herring: this is a cop flick miles more excited by homies than homicide. Those pre-production ride-alongs weren’t just to see the grisly side of police work, but its camaraderie, too – the 12-hour shifts with your best bud, the moonlit heart-tohearts, all that happy yakking. Problem was, when Gyllenhaal and Peña met, they didn’t click. “It’s so weird hanging out with this guy knowing he’s going to be like your brother from another mother,” says Peña. “It puts a lot of pressure on you. David [Ayer, the director] didn’t want us to be actors. He’s like: ‘You guys will die for each other.’ I’m like: ‘Oh, shit. How am I gonna do this?’ We spent so much time together. We were always sparring. And when somebody punches you in the face you realise, like, I’m gonna fight! It wasn’t like any Hollywood shit; it was really getting down and dirty.” In the end, it took five months of roughhouse research for them to bond. When Gyllenhaal would head home y after the 4am ride-along shift finished,

6 The Guardian 09.11.12

“it’d take me a couple of hours to get to sleep. You’re not really involved. Which makes you feel weirdly even more alone. Which is where Michael and I could connect. We would see things happen and say: well, our job is to observe it and then, absurdly, to fake it. Mike and I will always be close because of that.” Peña pipes up. “It changes you a little bit when you see a woman who has been smashed in the face and bleeding, and she doesn’t want to press charges against her husband. And there was this one incident – the crowd were around us and I just didn’t know what was going to go off. That’s the one time that we got along. I knew: OK, this movie can work. I knew Jake would stick up for me.” What’s strangest here is that it must have been at least partly intentional. After all, Ayer went through an exhaustive casting process, and Gyllenhaal was already on board – an executive producer, as well as the lead. Such initial stickiness was forseeable. Both actors may be self-confessed “drama geeks”, but while Gyllenhaal got his first driving lesson from Paul Newman, on a racetrack, Peña literally wrestled his way out of the Chicago ghetto (he was a semi-professional who tried out for WWE). And it’s these divisions that lend the film an interesting friction. “A lot of rehearsal was knowing each others back-story,” says Peña. “I know his sister well and I met his mom – beautiful woman. So, in the car, I was talking to him.” And while End of Watch has its own genre spin (the police are the good guys, not the dirty DIs of Harsh Times and Training Day), it is these scenes behind the wheel, before the film spins off into its plot proper, that mean End of Watch stands out so brightly in a lineup of cop movies. It tackles ethnic difference head on, and with humour – the key promotional clip has the pair sat in the car, Gyllenhaal taking the piss out of the endless quinceañeras his partner must attend, Peña doing the same for a caucasian love of elaborate coffee. There are two trailers, one foregrounding Peña, partly in Spanish, the other playing it as a straight Gyllenhaal vehicle that progresses along well-trod tyre tracks (“They were the city’s top guns …”). Their relationship, then, is a careful construct, deftly peddled – not just with punters, but the LAPD themselves. “It moves them,” says Gyllenhaal, “because it shows so much of why they love the job – and that’s the stuff in the car. My best friends in the world, we express our love for each other through

a whole lot of shit-taking. Romance is important, but to have a friend you can use as a mirror, who can give you an objective response, that’s what’s really important.” Agrees Ayer: “Cops really love taking the piss out of each other. I’ve shown the film to officers all over the county and they all say the same thing: finally somebody got it right.”


uch close ties between filmmakers and their subjects are rare. Ayer, an ex-Navy officer with a voice like a submarine and a build to match, has constructed a career with the police, even if it has been in fictionalising them rather than serving with them. Peña, meanwhile, is in awe of his real-life sibling, who works in a correctional facility in Chicago. For Gyllenhaal: “the film changed my life. I have three really close friends from the production process. The movie to me almost feels like an afterthought.” Such fraternity is also potentially concerning. End of Watch is a terrific film, and, to be fair, our heroes do happen upon some remarkably grisly finds on even the most innocuous housecall, but it will also function as a persuasive recruitment video. Did Gyllenhaal ever worry being embedded with the LAPD might just mean they were in bed with them? “Yes and no. I don’t think you can approach any piece of art with boundaries or rules. I think respect is a very important thing but I also think what

we discover along the way is really important. I think what we were trying to stay true to was the authenticity of what we saw, not the romantic version.” Ayer, too, slightly sidesteps the question, though he’s quick to assure that the LAPD had no editorial veto. So why is the force so well-represented on film? “It’s such a unique department. When they get involved in scandal it’s in a big way. I think it’s the visually coolest agency. They have that classic look – they look like the police. Their demeanour and style; the famous command presence of their officers. Everyone’s always struck by it. Those guys are intense! They’re so confident. They’re like military.” He sighs with appreciation and swigs a Coke. “We Americans greet our servicemen as they come back from overseas and we shake their hands and thank them. Not the case with cops who go into harm’s way.” Why? He pauses. “I think people are intimated by the police. At the end of the day, it’s a secret society. It’s not a place where regular citizens get to see behind the facade.” He doesn’t think there’s any other reason people feel wary? “Absolutely I do believe there is a bit of psychological protection. They can read my mind; they can see my sins. I have pot in my car. I took a Zanax. All our petty faults are writ large.” Once you speak longer with Ayer, seeds of scepticism seem to sprout. He

wouldn’t mind branching out to make a romcom, he says. There are all sorts of limits to the LAPD. “Without them, society would be a fucking disaster. With them they can sorta hold the line clean of the mess. But it’s just triage.” Yes, he says, policing is inherently ballsy; and it’s true that the women in the force as well as the film must mold themselves to be more macho. “It’s aggressive. Are you willing to kill somebody? If you answer ‘no’ then don’t be a cop.” The actors, though, aren’t so sure. They stand up tall in that hotel basement, and they ponder earnestly, eager not to let their colleagues on the squad down. “It’s about putting on an act,” says Gyllenhaal. “Whatever your sex. Cops go into a black neighbourhood and respond differently than if they’re in a Hispanic neighbourhood. They adapt in a way I’ve rarely seen in any other profession besides acting. That’s maybe the only similarity between our jobs – the ability to observe human behaviour and imitate it. Theirs is for survival and ours is absurd in comparison. But maybe ‘brotherhood’ is misleading. It’s a big family. I know that does sound cliched but when you get to its authenticity, it’s anything but.” Time’s up. I hand back Gyllenhaal’s blazer and he slips it on, faint fear creasing the grin. A week or so later I read the first reviews of his play, just opened on Broadway. None seem to mention any unexplained scratching. They all talk about the beard, though.

‘We were trying to stay true to the authenticity of what we saw’ … Peña and Gyllenhaal; (top left) director David Ayers



End of Watch is out on 23 November

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8 The Guardian 09.11.12

e thought: ‘Let’s have a stage the shape of Texas.’” In dark glasses, 10-gallon hat, cowboy boots and – of course – long beard, ZZ Top’s bassist Dusty Hill is remembering the time the band decided to take their home state to the world – or as much of it as they could reach. “There was a screen in the back that looked like the desert. Then, let’s get some animals. We had a longhorn buffalo that came up on hydraulic lifts before and at the closing of the show – you don’t want it up there during the show. Bad idea. Javelina [skunk pigs], which are mean little guys. And a coupla rattlesnakes in a Plexiglass dome. You could put your foot on top of that glass.” This was 1976, and the Worldwide Texas Tour, one of the greatest follies in rock history. “There were six or eight semi-tractor trailers to carry the gear and they were painted in a desert scene, and they were done in order,” Hill continues. “They had to travel down the highway in a certain order so the scene went from one to another.” He reflects for a moment, inscrutable behind his shades, before observing, gently: “If we ever have a problem, it’s not comin’ up with ideas. It’s stoppin’ us.” There may well be plenty of people for whom the notion that ZZ Top are a band of ideas is as ridiculous as calling Skrillex one of our more sensitive singer-songwriters. Are the Texan trio not just the American answer to Status Quo? The band with two members with beards and – get this – one without, but it doesn’t matter because his name is Beard? Well, maybe. But there’s a whole lot more to ZZ Top. Actually, how’s about

this for a notion: ZZ Top are in fact an absurdist modern art project whose chosen medium is the 12-bar blues. “I like that,” says Billy F Gibbons, singer, guitarist, and other beard. “Jim Dickinson, our favourite crazed record producer out of the Memphis area, called me aside and he said: ‘Yeah, ZZ Top. You’re like the Dalí of the Delta.’ I’ll take that. A high compliment in my esteem.” The absurdism is there in ZZ Top’s obsession with the ephemera of US pop culture: the Cheap Sunglasses and TV Dinners of their songs. It’s there in the matching stage uniforms. It’s there in the music, too, in the way they started assimilating new-wave influences from 1979’s Degüello album, in the way their comeback single earlier this year was a cover of a Houston hip-hop song. It’s there in their surrealist approach to the world (when Gibbons was once asked why their 1983 smash-hit album Eliminator was their first record without a Spanish title, he explained it was in fact called El Iminator). Most of all, the absurdism is there in Gibbons – whose every word appears to be the setup to an elaborate practical joke. Even his dressing-room table backstage at Merriweather Post Pavilion in suburban Maryland – where ZZ Top are playing a festival date at the personal request of headliner Jack White – has its concession to oddness: a personalised memo pad headed: “BFG. Friend of Eric Clapton.” “It was kind of a prank,” Gibbons says. “I went in to get a business card printed up at the local Kinko’s. And when I came to collect it they showed me the sample, and said: ‘Shall we run with it? Do you approve?’ I said: ‘I’ll take it.’ OK. That’s Joke No 1.” Joke No 2 begins with

Gibbons being asked to record a part for a solo record by Sam Moore, and leaving his card on the mixing desk in case he was required to return – not knowing Clapton was due in the studio the next day. “Fast-forward to Eric’s seven nights at the Royal Albert Hall. His minder tracked me down and said: ‘Eric would like to see you.’ I saw the show. On the exit, he said: ‘We’re going to see Eric.’ Fine. Go down to the bowels of the Royal Albert Hall, there was a small door, and one small sofa, and Eric was sitting there. He said: ‘I have two requests. I understand the Gibson guitar company is making a tribute to your famous Sunburst. Can you get me in the queue to get one?’ ‘I’m pretty sure. And what’s the second request?’ ‘Can I have one of your business cards?’ Busted!” He laughs delightedly. Gibbons is steeped in the blues but also in art. When ZZ Top were on hiatus in the late 1970s, before Degüello, he went to Paris to pursue it. “I had some buddies from Houston that had started this consortium of new-day surrealism – more than just a tip of the hat to the Dada guys. We were doing Xerox art

made s, ic lift in l ydrau n part h lo on nd take l Hann a t buff sions a ae -bar blues pu ch have ver ver jects. Mi ts of 12 s They -rap co rt pro absurdi a crack inspired eteran v Dada s ZZ Top, meet

and it was not so great, but the effect … If you took an image and then printed it out and then re-imaged that, the more generations you did the degradations started to set in. It was real vivid. From a technical standpoint it was just degradation, but from an artistic standpoint it was an enrichment of a visual experience.” He set himself the challenge of bringing that same combination of degradation and enrichment to the blues. Then punk came along and offered him the means to do so, though not without help from Sir Freddie Laker. In September 1977, Laker launched his Skytrain – a budget-priced flight between New York and Gatwick. When Gibbons saw the flights were

launching for $99, he resolved to take his English father and Irish mother to the British Isles. “So we go and we drop down when this punk explosion was happening,” he says. “One thing I can assure you: I remain open to the effects of the energy events. That really got my attention.” Earlier this year, ZZ Top released their first album for nine years. La Futura is the rarest of things from a veteran band – a record that stands among the best they’ve done. Its guitars roar and growl, Gibbons’s voice a toxic gargle in counter to Hill’s higher, truer yell. And it begins with the year’s most unlikely cover version: I Gotsta Get Paid, a version of DJ DMD’s crackdealing hip-hop anthem 25 Lighters. As with so many things in ZZ Top’s career, it owes as much to chance as to design. They were short one song as the sessions for La Futura came to an end. Gibbons cast his mind back to 1996, when the band’s studio was being refurbished and instead they were recording in a place used by the local hip-hop crews. “The hip-hop guys wanted to know: ‘Hey, how do you

do this guitar stuff ?’ But we wanted to know: ‘Well, how do you program this drum? We like the backbeats!’ The two energies came together. Simple, to the point. No, we’re not going to be a rap or hip-hop group by any stretch of the imagination. What we do is, we’re gonna make it ZZ Top. Bluesy, yeah. But it’s all Houston ghetto.” Next week, ZZ Top’s 43-year stint as one of the world’s most recognisable rock’n’roll bands will be honoured in London, when they pick up the Living Legends gong at the Classic Rock Magazine awards. Watching them on stage in Maryland, you see the affection in which they are held by very different groups of people of very different ages. “If there are people who admire us and what we do, that’s a huge compliment,” Hill says. “As long as it doesn’t get too crazy. People are all the time telling me stories: they named their son after me, or more than likely their dog. Or they got a tattoo. Or had their first sexual encounter when a song of ours was playing. Thank you for the compliment, I really wish I had been there.”

‘If we ever have a problem, it’s not coming up with Ideas’


La Futura is out now on Mercury. A longer version of this article appears at guardian.

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09.11.12 The Guardian 9

nt and Trintigna ean-Louis Riva (below J lle Emmanue in Amour. Far ttom) and bo 959 film a in the 1 right, Riv a Mon Amour Hiroshim


he last time we see Emmanuelle Riva in Amour, she’s lying pale and lifeless on a double bed, petals strewn about her head, the lights turned down low and the shutters closed. The last time we see Jean-Louis Trintignant, he’s the walking wounded, racked by grief and barely there. Michael Haneke’s acclaimed new picture offers such an unflinching portrait of the grubby business of dying – focusing on the final days of an elderly French couple – that it precludes all talk of second acts or miracle cures. To paraphrase Dorothy Parker, there’s no such thing as a happy ending. All of which makes it curious to find the film’s stars abruptly reunited in the airy limbo of a Paris hotel, just south of the Arc de Triomphe. There’s Riva, waxing lyrical about poetry as she pours out the tea. Here’s Trintignant, twirling his walking stick in one hand and gesticulating with the other; taking issue with this and that. The two look so hale it’s disconcerting. Meeting them is like attending a private screening of an unlikely sequel. Amour 2: Life Goes On. Riva is 85 and Trintignant is 81 and they both trail long, illustrious pedigrees. The former is indelibly stitched into French film history thanks to her

French actors Emmanuelle Riva and Jean-Louis Trintignant talk to Xan Brooks about their roles in ook the acclaimed new Michael Haneke laimed Hane film, the problem with Cannes – and e their lifetimes in cinema fetimes

breakthrough role in Alain Resnais’ Hiroshima Mon Amour way back in 1959, though she has also made films for Georges Franju and Jean-Pierre Melville. Trintignant rose to fame as the gauche young pup who pursued Brigitte Bardot in 1956’s And God Created Woman. He went on to star in the freewheeling A Man and a Woman, then shot the gorgeous My Night With Maud for Eric Rohmer and The Conformist for Bernardo Bertolucci. In the early 1990s the pair cropped up in Krzysztof Kieslowski’s acclaimed Three Colours trilogy. Riva played Juliette Binoche’s mum in Blue and Trintignant starred as the judge in Red. “That’s right, we did,” says Trintignant, still twirling his stick. “And actually there a a lot of similarities are Kieslowski between Kieslowsk and Haneke. In fact, I’d put them in the same the family as Bergman and Tarkovsky. They all hav the same have vsky. cent vision of generous, magnific the world.” think Haneke “Yes, but I t happy, more smiis more hap ley,” adds Riva. “Kiesdid lowski di not strike me as a very happy man.” I confess that con Haneke does not especially peciall strike me that

10 The Guardian 09.11.12


way either. This, after all, is the director who put Isabelle Huppert through the wringer in The Piano Teacher, foreshadowed the rise of nazism in The White Ribbon and douses the lights altogether with Amour. There was I thinking he might be a little austere. “No, no, not austere,” insists Trintignant. “Strict, yes, but never austere. I mean, the subject matter is obviously intense. But we had a lot of fun along the way.” Riva rushes to chip in. “So much laughter, so many funny things. I remember once, when I was playing dead, I had to stay quite still. But when the crew went to look at the monitor, they came back laughing. I said, ‘What’s so funny?’ and they told me that my toes were wiggling. My toes! I didn’t even know they could see them. So I had to do the whole scene again and concentrate very carefully. I think my feet have a will of their own.” Rest assured that Riva’s waggling feet do not feature in the final cut of Amour – a film that sticks largely to the same book-lined apartment, keeping pace with its characters as they move inexorably towards the exit door. Haneke’s picture is gruelling, moving and finally transcendent. It scooped the crowning Palme d’Or award when it premiered at this year’s Cannes. In so doing, it thrust its actors back under the floodlights, though it turns out they were not won over. “What I don’t like about Cannes is the competition, the competing with each other, having to defend yourself,” says Trintignant. “I don’t like that. It’s not the directors’ fault, it’s how the festival is arranged. One film wins, one film loses. But you can’t compare works of art in that way. Do it with cyclists, not with film-makers.” “I don’t particularly like it either,” says Riva. “The crowds, the photographers shouting at you. So many flashes going off. It’s crazy, it blinds you. ‘Turn one way! Turn the other way!’ What’s that about? We’re not performing monkeys. I know that some actors love it – they live for it. But I don’t like it. Haneke doesn’t like it either.” “Oh, Haneke doesn’t mind it,” says Trintignant. “He likes getting the pat on the head.” Riva points out that she first went to Cannes with Hiroshima Mon Amour and Trintignant with And God Created Woman. Her feeling is that Cannes was a little simpler, a little sleepier, back then in the 1950s, although Trintignant cautions against turning too nostalgic. Even the great years, he says, only tend to look great with the benefit of hindsight.

‘You can’t compare works of art. Do it with cyclists, not with filmmakers’


Amour is released in the UK on 16 November and in the US on 19 December.

“I remember when My Night With Maud was shown at Cannes in 1969,” he says ruefully. “It went down very badly. Before the screening they played a short film that had a scene in a church and showed a cat that came in and wandered about. And the audience liked that. They went, ‘Ah, how nice, a cat.’ Then we presented My Night With Maud. We also had a scene in a church but this time everybody in the audience burst out laughing because they remembered the cat from the earlier film. ‘Where’s the cat?’ they shouted. ‘We want the cat!’ And they didn’t pay any attention to our film because they were still thinking about the cat.” He twirls his stick in exasperation. “I know that today My Night With Maude is seen as a great triumph. But back then it was a disaster.” Trintignant basically sees himself as having retired from screen acting. He made an exception for Haneke, he

says, because you don’t say no to a film like Amour. But he suspects that’s it; he’s finished with movies. Riva, for her part, remains more game. “If by chance people would still offer me roles, I’d still like to do them. But if not, that’s OK. I love life,” she says. “I love life to death. If I don’t act in another film, who cares? I’m 85, it doesn’t matter. I’m still alive and that feels great.” “There was an advert I saw once,” Trintignant says. “It was an advert for cinema and it said, ‘If you love life, you love cinema’.” “Ah,” sighs Riva. “Yes.” “Well, I don’t think that’s true,” he says. “If you love life, you’re not going to go and sit in the dark in some cinema, are you? Why would you want to do that? Go and live your life instead.” Interview complete, he drains his tea, seizes his stick and prepares to do precisely that.

09.11.12 The Guardian 11


bel Tesfaye, a 22-year-old Toronto-born singer of Ethiopian descent, doesn’t show his face on the cover of House of Balloons, the first of three mixtapes he has released under the name the Weeknd. The image, nonetheless, serves as a self-portrait. Described simply, it sounds like simple fun: a bathroom full of balloons, with a naked woman in the bathtub. But, shot in a strangely dingy black and white, blurred, and with just one dehumanised breast and a pair of arms sticking out awkwardly from behind those balloons, the effect is creepy. Listen to Tesfaye’s narcotised slow-jams and the photograph’s message is clear: partying is an existential experience, sex is fraught with alienation, and everything registers as unreal and unsettling. It might all sound like a massive downer – and would be were Tesfaye’s voice not one of the most compelling of those driving a new strain of R&B. This is a mode of address based not on sleek confidence, but rather a lack of it. If Tesfaye and his cohort are going to seduce you, they’ll do it by telling you how much they are hurting and how many feelings they are feeling: on Twitter and elsewhere the Weeknd suffixes his name with “xo” – as in, a kiss and a hug. There are sex and drugs, lots of both, but scant pleasure to be found in either. Whether over booze – as on Kendrick Lamar’s Swimming Pools (Drank) – or assorted pharmaceuticals, as on Frank Ocean’s Novacane (“fuck me numb/love me none”), the ambivalence runs deep and pervasive. Even famously Adderall-happy rapper Danny Brown confesses on xxx: “I try to escape it, hoping drugs numb a soul.” This new mode is also about a blurring, or extension of the genre’s sounds, as well as its sensibility. The names might be a bit silly (for instance, “PBR&B”, PB as in Pabst Beer – beverage verage of choice for the American hipster), but r), the music is quietly radical, with w ical, work by Miguel (who just released the rightly acclaimed Kaleidoscope Dream) evidence of an ongoing, mutually enriching dialogue between indie and electronic musicians and R&B artists. Frank Ocean, who last summer on Tumblr posted a deeply moving testimony of falling in love with a man, saw Channel Orange, his major label

Abel Tesfaye, AKA the Weeknd. Below, left to right: Drake, Miguel and Frank Ocean Rolling Stone, released last month. Looking hungover or drugged or emotionally spent, he wearily meets the camera’s gaze as though it is a lover who has failed him too often. Fittingly, it was Drake – the seigneur of self-loathing, lotharioed confessionalism (“I’ve had sex four times this week, I’ll explain/Having a hard time adjusting to fame”) – who effectively broke Tesfaye, tweeting endorsement for his fellow Canadian in March last year by quoting lyrics from the Chris Isaakindebted Wicked Games (“Bring your love baby I could bring my shame/ Bring the drugs baby I could bring my pain”). Interest reached such a pitch that when Tesfaye released his third mixtape, Echoes of Silence, last December, his website crashed under the weight of traffic. Since then, he has been asked to remix Lady Gaga and Florence & the Machine and has just finished touring with the latter, who joked she didn’t want to: “burst that mysterious bubble of his so ... I’ll just say I’ve never actually seen him – he’s a hologram!” Two weeks ago, on stage at Manhattan’s Terminal 5, Tesfaye sold out the 3,000-capacity venue, playing to a crowd of mainly teenage couples in an atmosphere of sweat, hormones and marijuana smoke. As he launched into his swooning High For This and sang “trust me girl/you wanna be high for this”, everyone unavoidably was. His demeanour was at odds with his narcotised online aesthetic: irrepressible to the point of puppyish, he looked wholesome in a puffy black ski jacket and performed with the showmanship and stage-ease of an X Factor shoo-in, and greeted the encore-demanding screams with a clowning, exaggerated victory march of a re-entrance. MTV has proclaimed him “the best musical talent since Michael Jackson” – hyperbole given some credence by D.D, an uncanny cover of the King of Pop’s Dirty Diana. And, under one YouTube clip of Valerie, a new track that will feature on Trilogy, the top comment reads: “Michael Jackson never died ...” On Thursday, it was announced that the Weeknd will be appearing on Later ... With Jools Holland at the end of this month, but Tesfaye still isn’t speaking to the press. Perhaps, like Jackson, he is genuinely shy, truly the troubled soul he paints in his lyrics. Or perhaps his press-aversion is a calculated effort to sustain his mystique. Whichever, hopefully he will enjoy his fame well enough, but not well enough to soften any of that creatively profitable angst.


The Weeknd, with his narcotised slowjams and plaintive lyrics, has been an enigma. But now a major label deal is changing that, says Hermione Hoby

Tesfaye first showed his face in a video for Rolling Stone

debut, chart at No 2 in US and British markets – a huge commercial success that resonates with the re-election of a gay-marriage-supporting, African American president. Like Ocean, Tesfaye has earned a fanbase by releasing music online for free – songs built around a fogged, crepuscular production to set off the cr keening perfection of his voice. These ke shadowy sounds were, until recently, sh matched with shadowy presentation: ma Tesfaye withheld his for months Tes But, identity. But like Ocean, his output has led to a major l Next week, label deal. N will Universal w release Trilogy, an album of remixed, rema emastered material from his existing work, plus three wo new songs. Tesfaye n will no longer be an w enigma. e He first showed his face in the typically monoty chrome video for ch

12 The Guardian 09.11.12

Film Pop Jazz Classical Games Television
The Sapphires Page 15 NO MOOD FOR A PARTY

Alice Glass says Crystal Castles’ third album is about oppression


The F&M Playlist

Uncle Obama Sister Deborah Showing the love from around the world, Deborah (from Ghana) announces: “Uncle Obama, I like the shape of your banana.”

yafw (part iii) Beats & Pieces The 14-piece jazz band from Manchester descend on the London jazz festival (which starts today) sounding rather like the future.

Comic Ratking The sound of young New York? Rappers Wiki and Hak sound pretty bothered about something and whatever it is adds up to excitement.

Inhaler Foals It’s a chunkier sounding Yannis Philippakis and co on this single from their mooted third album – chunky yet still with a slick sense of rhythm.

If You Love Me BenZel and Jessie Ware A 90s R&B number (by Brownstone) reworked by a pair of Japanese teenagers and a gorgeous sounding Ware.

09.11.12 The Guardian 13

Reviews Film

Dir: Ben Affleck. With: Ben Affleck, Alan Arkin, John Goodman, Bryan Cranston. 120min. Cert: 15

Ben Affleck’s new movie as a director is an amazing real-life caper straight out of Ripley’s Believe It or Not! It tells the true story of some imaginative derring-do on the part of a brilliant and unorthodox CIA agent called Tony Mendez. This is a watchable, enjoyable film, with some hilarious and nail-biting moments, but it sets its face disconcertingly against satire and mischief with a final lurch into schmaltzy, liberal-patriot piety. It is as if Aaron Sorkin, in his most solemn mood, had suddenly taken over screenwriting duties for the final 10 minutes. The movie is, in effect, based on Mendez’s own testimony; as with all spies’ tales, we’re entitled to our pinch of salt, but his story is just so incredible it compels belief: a startling piece of declassified secret history about a CIA-sponsored bogus film. The moral might be that there’s no business like showbusiness, no showbusiness like the movie business – and you can pretty much rely on everyone uncritically kowtowing to its glamour and prestige. In 1979, six American officials managed to scramble out of the US embassy in Tehran, just as it was overrun by a pro-Ayatollah mob who brutally held the remaining personnel hostage: an ordeal for them and for Jimmy Carter, whose presidency bled to death in the ensuing media furore. The six escapers holed up in secret at the Canadian ambassador’s residence, and back at CIA headquarters, the crisis was handled by Mendez, the agency’s top “exfil” guy – an expert in exfiltration, or getting Americans out of enemy territory. He is played by Affleck himself (pictured), a stolid, unflashy performance: a single shirtless moment is his only self-indulgence. Mendez is shown persuading his superiors to bankroll a crazy, but inspired scheme: he will fly into Iran with seven fake Canadian passports – one for him and one each for his six compatriots – claiming to be a Canadian movie producer, scouting locations for a new sci-fi thriller called Argo. The plan is that these terrified prisoners will then wander brazenly around with him and some Iranian culture ministry officials, posing as producers and cinematographers, pretending to size up the scenery through letterboxed fingers etc, and then they all go home together on a Swissair flight. Mendez makes it look realer than real by getting all the right documentation and hiring real backers

Showbiz exit

With its bogus film shoot cooked up by the CIA to rescue Americans trapped in Tehran, Ben Affleck’s comedy is smart – but it takes an unfortunate last turn

By Peter Bradshaw

– Hollywood makeup technician John Chambers (John Goodman) and veteran mogul Lester Siegel (Alan Arkin) – and they stage a real reading of a complete, preposterous script in an LA hotel, duly reported on by Variety. In short, they’re doing everything that real producers would do, making a real movie. The movie is never going to get made – but so what? That happens all the time, as well. What can go wrong? Argo is partly based on a Wired magazine article called The Great Escape, and that film is a potent influence. Audiences will be waiting for an equivalent of that awful moment when the cunning German says: “Good luck!” in English to Gordon Jackson, and without thinking he says “Thank you!” It also feels like a postmodern spin on pictures like The Producers and Wag the Dog, with practitioners of the showbiz black arts creating tinselly illusions. Playing the wisecracking mogul, Arkin surely drew on Dustin Hoffman’s legendary impersonation of Robert Evans, and the scene showing his pile of possible screenplays surely alludes to the script ordeal of Leo Bloom and Max Bialystock. Part of what makes this headspinning story believable is the fact that it pans out in an oddly uncomplicated way. If it were fiction, there would be more tense encounters with English-speaking Iranian officials, and they would be more suspicious and knowledgeable. And of course, if it were fiction, the movie Argo would actually get made and be a massive hit in Iran. This film is an entertaining, belated footnote to a larger story about a more pervasive and far-reaching “Argo” effect. If Encounter magazine ever carried film news, it might well have taken a supportive interest in this sci-fi adventure: this journal was famously found to be backed and, in effect, created by the CIA, and the historian Frances Stonor Saunders, in her book Who Paid the Piper?, showed how the agency was fighting the good fight against communism through the arts generally. The movie begins by outlining the CIA’s involvement in deposing the leftist Iranian prime minister Mohammed Mosaddegh and installing the shah. An “Argo” leader? Well, the emphasis turns out to be rather different, leading to what I felt was a tonal oddity: a gobsmackingly bizarre adventure that finally has to be rescued from irony and subversion and treated with uplifting solemnity, as if to repudiate any sense that what we have been watching is a comedy. But a comedy is basically what it is, and a good one.

14 The Guardian 09.11.12


Point blank
A Romanian cinema linchpin returns with a daunting existential drama, writes Peter Bradshaw


Dir: Cristi Puiu. Starring: Cristi Puiu, Clara Voda, Catrinel Dumitrescu. 184min. Cert: 12A

Six years ago, Cristi Puiu made a film that came to be regarded as a jewel of the Romanian new wave: The Death of Mr Lazarescu, a tragicomedy showing an old man’s final hours in hospital. Now Puiu has returned with a substantial new feature film – first shown at Cannes two years ago – entitled Aurora, and by substantial I mean dauntingly long: a little over three hours. This is a formidable, enigmatic piece of work in many ways; with control and technique deployed with absolute confidence. It is an opaque existential drama, and Puiu himself stars as Viorel, a middle-aged guy who is apparently at the end of his tether, having endured humiliations at work and at home. And now he has got a gun. Viorel’s accumulating Weltschmerz finds expression in this slo-mo 180-minute explosion: I found myself thinking of Douglas Gordon’s art installation 24 Hour Psycho. He remains impassive, unemotional – actually, his only emotion is repeatedly and disturbingly to take peevish offence at people “taking a tone” with him. Disconcertingly,

intriguingly, nothing is made entirely clear; a formal explanation from Viorel’s own lips is offered only very late on, and that is incomplete. A partial view is all we’re ever offered. Well, that is partly the point. The drama of theatre, cinema and the law court tends to imply that human actions and motivations are clear and legible, whereas in real life they are not. But for someone who has never shot anyone before (we assume) Viorel certainly takes to it like a duck to water. Of course, he could be a stone-cold killer. Or he could be a rather quaintly imagined intellectualised vision of a killer. Like Corneliu Porumboiu’s 2009 Police, Adjective, this has a key scene in a police station, with similar ambient, banal conversations. This does not have the humanity and accessibility essibility of The Death of Mr Lazarescu, but it cu, certainly has a dark, lowering presence ng on the screen.

… a period of Twitter silence on Wednesday morning from Ann Coulter

Great value … Deborah Mailman and Chris O’Dowd in The Sapphires

The Sapphires

Dir: Wayne Blair. With: Chris O’Dowd, Deborah Mailman, Jessica Mauboy. 103min. Cert: PG

Wayne Blair’s The Sapphires is s a likable, uneven feelgood

movie, based on real life: all about a winsome foursome with a lot of soul. Our heroines are a singing group of Aboriginal women in 1960s Australia, who begin their musical lives belting out country’n’western in tatty bars to the disdain of nose-wrinkling white folk. Their final lineup is Gail (Deborah Mailman), Julie (Jessica Mauboy), Kay (Shari Sebbens) and Cynthia (Miranda Tapsell). They are on the road to nowhere until they meet a boozy, chaotic Irishman called Dave, nicely played by Chris O’Dowd, a former cruise-ship entertainments director turned promoter who sees his chance with these talented women, persuades them to try classic American soul and gets them a gig touring US military bases in Vietnam. It’s an amiable film with some great m musical moments and the classic “growing success” montage “grow showing them on the road in south-east Asia. On music, identity and race, the mus film has a big beating heart in the right place. However, the supposed p place. How chemistry between O’Dowd and chemis one particular Sapphire doesn’t p quite fizz convincingly, and some of his big emotional som speeches are a little uncertain. spe But the film shows O’Dowd is Bu a real big-screen player, and r the Sapphires themselves th are great value. PB

The art of film: Watch Love Is the Devil (below) and Caravaggio on demand /film /

Peevish … Cristi Puiu in Aurora

09.11.12 The Guardian 15

Reviews Film


Dir: Yorgos Lanthimos. With: Aggeliki Papoulia, Aris Servetalis, Johnny Vekris. 93min. Cert: 15

Yorgos Lanthimos made a brilliant breakthrough with his disturbing movie Dogtooth in 2009, a film that spearheaded a Greek new wave, including Athena Rachel Tsangari’s equally bizarre Attenberg, in which Lanthimos appeared in an acting role. Yet his new work Alps is for me a disappointment, descending into posture and mannerism: the bizarre behaviour, dysfunctional relationships and alienated sex now look like tired ingredients. The “Alps” of the title is the name of a weird group of people, whose self-imposed mission is to impersonate dead people for a month or so after their death to help grieving families get over their loss. Prominent among them is a young woman played by Aggeliki Papoulia (who was the elder daughter in Dogtooth); it seems she has a very specific psychological reason for wanting to do this, and a very specific deceased person in her own life whose place she is trying to fill. It is a world of strange people whose strange behaviour is somehow rendered less visible and interesting because the whole world is strange as well. The surreal effect is contrived, and any supposed satirical comment on modern Greece is not especially compelling. Lanthimos is such a distinctive filmmaker and nothing he does is without interest – but this is a misfire. PB

the city’s sole black representative. Stephen Gyllenhaal crafts a couple of rousing election-night sequences, but can’t quite make the ending resonate – unless we see Cogswell’s story as the first, faint stirrings of the Occupy movement. Mike McCahill

Misfire … Alps (above); My Brother the Devil (below)

two outstanding. The narrative-short food groups are amply covered: twist-in-the-tale jobs (Douglas Hart’s Long Distance Information has splenetic Peter Mullan forming a surprising telephonic bond one Christmas), pun-films (Dan Sully’s short, sweet urban legend The Ellington Kid; Romola Garai’s straining Scrubber, about a woman juggling dogging with OCD), zeitgeisty star vehicles (Chris Foggin’s agreeably cosy Friend Request Pending, with Judi Dench as a lovelorn silver surfer). The picks are William Jewell’s teasing, stylish feature-in-waiting Man in Fear, which conjures a fatalistic universe around paranoiac Luke Treadaway and no-nonsense copper Tim Healy; and Matthew Holness’s A Gun for George, a tremendously assured, funny-sad portrait of a pulp writer in decline, which envelops great lines in retro detail worthy of Holness’s beloved Garth Marenghi. A most encouraging selection. MM

Mother’s Milk
Dir: Gerald Fox. With: Jack Davenport, Annabel Mullion. 98min. Cert: 15

Here Comes the Boom
Dir: Frank Coraci. With: Kevin James, Salma Hayek, Charice, Henry Winkler. 105min. Cert: 12A


Dir: Stephen Gyllenhaal. With: Jason Biggs, Joel David Moore. 98min. Cert: 15

It sank without trace in the States, yet this true-life ballot-box saga proves very likable, if a little Sorkin-lite. At its heart are two young men trying to reclaim Seattle politics from the pros: Grant Cogswell (Joel David Moore), a self-righteous, somewhat bratty lefty gradually transformed into a sinceresounding alternative, and Phil Campbell (a thoughtful Jason Biggs), the former journalist who raised a small volunteer army to help staff the campaign. Adapted from Campbell’s memoir Zioncheck for President, it’s alert to both the romance of the stump (likeminded, passionate souls on late-night flyposting missions) and the political nitty-gritty: crucially, Cogswell’s genial opponent (Cedric the Entertainer, unusually subtle and effective) was

The latest Sandler-enabled vehicle for Kevin James is a knockabout knock-off of last year’s Warrior: James’s unlikely biology teacher turns MMA fighter to save his school’s cutback-threatened music program. The Wedding Singer’s Frank Coraci retains an endearing fondness for funny-faced bit-parts, but it’s fundamentally formulaic in construction and mediocre in diocre execution. Basically it’s a pretext for t’s James to take further hits to the plums, coupled to some half-meant children-meant are-our-future sentiment. MM ment.

The Joy of Six
Dirs: Chris Foggin, Romola Garai, arai, Douglas Hart, Will Jewell, Matthew Holness, Dan Sully. an, With: Judi Dench, Peter Mullan, Luke Treadaway. 73 min. Cert: 15

A half-dozen shorts care of distributor Soda’s da’s New British Cinema programme, all diverting, ting,

Edward St Aubyn has co-written this movie adaptation of his Bookershortlisted autobiographical novel Mother’s Milk, directed by Gerry Fox. The result looks a bit like television, though it isn’t bad: sparky, boisterous, cynical, a little self-conscious but more grownup and literate than most new British movies. Jack Davenport makes the most of a juicy lead role as Patrick Melrose, a cynical, uppermiddle-class Englishman deeply angry with his ageing mother, played by the now late Margaret Tyzack, in her final role. She has, in her dotage, agreed to gift the family’s beautiful Provençal house to a dodgy guy called Seamus Dorke (Adrian Dunbar) Do as the HQ for his new age therapies. Patrick is taking his family for one h final holiday in this idyllic place, for th a last painful interview with his i mother, who is in a nursing home nearby, and to come to nearb terms with the fact that since the birth of his two children, o the spark of love has left his marriage. The humour is marriage brittle, British and throwaway, but with a tang of real wi poison. poiso There is a sharp cameo cam from Diana Quick, Patrick’s malicious Pat mother-in-law. PB mo

16 The Guardian 09.11.12

h… Glib tos iffer Pfe e Michell Like Us People in

My Brother the Devil

Dir: Sally El Hosaini. With: James Floyd, Fady Elsayed. yed. 111min. Cert: 15

First-time feature director Sally El Hosaini makes a bold and terrifically confident debut, hitting her stride with ith this urban drama set in east London. It’s well made, well acted by a largely non-professional cast and seductively photographed by cinematographer David Raedeker – a muscular and heartfelt film with Stephen Frears’s My Beautiful Laundrette somewhere in its DNA. James Floyd plays Rashid, whose hard-working parents came to the UK from Egypt. He has got involved in drugdealing and gang culture, a world in which supposed tough guys neurotically stay in their “ends”. His brother, Mo (Fady Elsayed), hero-worships his older sibling, and to Rashid’s unease is on the point of neglecting his schoolwork to join him in the drug trade. Rashid entrusts Mo with a courier mission that goes wrong, resulting in a spiralling gang confrontation, but at the same time, Rashid himself is developing new ideas and new alliances. It’s an athletic, loose-limbed piece of moviemaking, not perfect, but bursting with energy and adrenaline. PB

the creature-feature alive for more than three decades – from 1953’s The Beast from 20,000 Fathoms to 1981’s Clash of the Titans –with his facility for stopmotion beasties of all kinds: giant octopi, revivified skeletons and alien reptiles, along with the more conventional Trexes, gorgons and the like. The esteem

with which he is held is evident in the queue of premier-league directors who line up to pay homage: James Cameron, Tim Burton and Peter Jackson among them. Harryhausen emerges as a charming, likable pioneer, a mood helped along by the adoring nature of this profile. Andrew Pulver

People Like Us

Dir: Alex Kurtzman. With: Chris Pine, Elizabeth Banks, Olivia Wilde, Michelle Pfeiffer. 115min. Cert: 12A

This glib tosh must be Transformers scribes Alex Kurtzman and Roberto Orci’s idea of heartfelt grownup work: a baggage-freighted, “dramedy” about a corporate fraudster (Chris Pine, smirking) learning about responsibility via the single mom (Elizabeth Banks, miscast) his late record producer father abandoned. Banks’s discreet tattoos convince as much as Pine’s encomiums to the Clash, and Kurtzman and Orci have a funny idea of what we might identify with: the film’s irrelevant to anyone who doesn’t have severe daddy issues pertaining to the man who discovered Kajagoogoo. Nothing Like Us would have been more accurate. MM

Ray Harryhausen: Special Effects Titan
Dir: Gilles Penso. 90min. Cert: PG

Ray Harryhausen is the genial 92-yearold who, virtually singlehandedly, kept

09.11.12 The Guardian 17

Reviews Pop
By Alexis Petridis

The secret is safe
The scale of their success may still be baffling, but on One Direction’s new album it at least sounds as if they made an effort

One Direction
Take Me Home


It’s not often you encounter a new album that you can genuinely describe as phenomenal, but the adjective fits One Direction’s Take Me Home. If it maintains the quintet’s current upward trajectory, they have every right to call themselves the biggest group in the world. Given that, in the US, its lead single, Live While We’re Young, had the biggest opening-week sales figures for any non-US act in history, it seems almost inconceivable that it won’t. This is remarkable stuff, not just for a runner-up on The X Factor – who can usually expect about 10 minutes in the spotlight before the siren song of Pontins becomes deafening – but for a UK boyband. The last time anyone broke an artist similar to One Direction over there, their mentor, Simon Cowell, was still prosecuting his business out of a converted lavatory in an NCP car park. And yet, from the outside, their success looks a little confusing: why, out of the serried ranks of manufactured British hunks, has the US chosen to clasp cheeky-faced Harry Styles to its bosom? If you’re not an 11-year-old girl or the long-suffering parent of one, their oeuvre will remain a mystery. You might know their breakthrough hit, What Makes You Beautiful, but could you hum the title track of their debut album, Up All Night? Can you offer any intelligence regarding the Australian Souvenir Edition bonus track Na Na Na? Close examination of Take Me Home might unlock One Direction’s secret. Certainly, anyone who views their mentor and his Syco organisation as pantomime villains doesn’t have long

The biggest group in the world … One Direction


Ty Segall – You’re the Doctor Because sometimes only two minutes of noisy, righteous, screw-you garage rock will do.

to wait for a bwah-ha-ha moment. Live While We’re Young rips off the intro of the Clash’s Should I Stay or Should I Go? so brazenly it even includes the sound of a plectrum stroking a guitar’s muted strings three times between blasts of the riff. In an act of nosethumbing contempt, it changes literally one note, presumably to avoid having to pay the Clash any royalties. It’s hard to know what’s more galling: the degree of brass-balls cynicism on display, or the fact that the result is actually quite good. It introduces Take Me Home’s signature style: a peppy, synth-bolstered take on early-80s newwave pop, heavy on clipped rhythms and chugging guitars, which is at least an improvement on the ersatz R&B that was once the grim lot of the boyband. It also introduces a recurring lyrical motif. If a lot of Take Me Home is concerned with pitching harmless romance at its pubescent audience in a style that’s time-honoured to the point of being hackneyed, other parts of it comprise more of an all-out, crotchlevel blitzkrieg than you might expect. Live While We’re Young’s protagonist is tireless in his determination to “get some”, as the song romantically puts it, while Last First Kiss deals with divesting a recalcitrant girl of her maidenhood: “I want to be the first to take it all the way.” You do wonder what parents might make of it. Still, as anyone who’s read some of the more frenzied One Direction-related Twitter feeds will tell you, it’s tame stuff compared with what some weenyboppers are dreaming up of their own accord.

Elsewhere, the material is of variable quality. The chorus of Kiss You is hard to dislodge from your brain, but Rock Me is pretty excruciating, as is perhaps inevitable from a song in which teenage boyband members attempt to strike a note of sepia-tinted nostalgia. “Do you remember the summer of 09?” they inquire, begging the response: Yeah, do you? You must have been about eight. Ed Sheeran contributes two songs, in a pretty canny move on the part of One Direction’s management: aligning them with an artist whose fans believe him to be the diametric opposite of a manufactured boyband. Certainly, the forthcoming single Little Things is noticeably more sophisticated lyrically and emotionally than anything else here. That may sound like damning with faint praise, but there’s something quite touching about its insistence that flaws are what make a person unique. Alas, his other contribution, Over Again, sounds as if he might have fished it out of the bottom of the bin when he heard One Direction had the chequebook out. It isn’t bad as albums by boybands go, and doesn’t have the awful aura of contemptuous this’ll-do common to so much product overseen by One Direction’s dark lord and master. Nor, though, is there anything to transcend its target market – a hit so undeniable its appeal will extend far beyond the girls so nutty with lust that they took it as a compliment when Niall Horan called them “a shower of cunts”. To anyone else, the mystery of One Direction’s success – or at least the sheer scale of it – remains as opaque as ever.

18 The Guardian 09.11.12

On the web Maddy Costa reviews the Lumineers and John Fordham on Norwegian jazz stars Moskus

King Animal


When Soundgarden singer Chris Cornell unveiled his Timbalandproduced R&B solo album three years ago, he insisted that reuniting the 90s grunge kings would risk “tarnishing their legacy”. However, with baffled fans mostly of the opinion that the grunge icon’s crunk opus did just that, Soundgarden are indeed back. Still, their first new album since 1996 makes a surprisingly good fist of plugging back into the sound that made them the moodiest and heaviest of the Seattle grunge bands: anvil-heavy riffs, crunching collisions of punk and hard rock, and psychedelic explorations. With storming opener Been Away Too Long sounding like a manifesto, 52-year-old guitarist Kim Thayil reels off blistering solos with a juvenile’s glee. Grunge-era nostalgia mixes with classic rock and, on the eerie Rowing, experimental mantras. Cornell’s reference to being “born again” on Black Saturday may raise more than an eyebrow, but the rocker-father has powerfully traded twentysomething darkness for middle-aged uncertainty and fear. His confession on beautiful slowie Bones of Birds that “Time is my friend … well it ain’t, it runs out” really is quite touching. Dave Simpson

gallery in Turin, and, aptly, is the kind of contemplative sound-cloud that could be titled Music for Galleries. In fact, Lux owes something to his Music for Airports; it similarly glides along, rarely demanding your attention, until a splash of trumpet, three seconds of mandolin or a sudden guitar chord interrupts the tranquillity. Of the four sections, the last is most striking: the pace slows a bit and a glockenspiel chimes in, creating a stately procession akin to classical music. But it’s only “striking” compared with the rest of the album, on which piano figures endlessly loop and divide and there’s nothing below the surface. Eno now makes iPad apps, allowing anyone to construct Enoesque soundscapes; chances are, a dedicated amateur could come up with an ambient piece that has more heart than Lux. Caroline Sullivan

A very personal kind of misery … Crystal Castles

than its parts. This time, they appear to be making music for montage sequences. The pace is overwhelmingly sombre, the lyrics dwelling on ageing and death and loss – it mentions winter so much that you might wonder if Michael Fish has been drafted in as lyricist. The Carpenter isn’t a total dud, because the Avetts are so skilled with a melody, but the plain-speaking has turned to clunkiness – you’ll search hard before finding a more horrible couplet this year than this one from Paul Newman Vs the Demons: “Truth beyond truth and by our design/ It is very fine, like Newman’s wine.” But how are his salad dressings, fellas? Michael Hann

Crystal Castles


The Avett Brothers
The Carpenter


Brian Eno


Brian Eno’s first solo album since 2005 is a 75-minute wash of keyboards and strings nominally divided into four parts, though it’s so seamlessly soothing that it’s a struggle to distinguish one segment from the next. It grew out of a sound installation he made for a

What a frustrating band rating the Avett Brothers are. others Not for renouncing the uncing hoedowns of their early f independent releases – t you can’t holler your ller love for ever, naturally – r, but for being capable of g touching brilliance lliance without ever r sustaining it. . Their last album, I and d Love and You, u, contained a heartstopping ng gem in its title tle track, whose e plain language and ge unembellished hed music added up to d something greater

Listening to Alice Glass describe Crystal Castles’ third album doesn’t exactly get you in the mood for party jams. “Oppression is a theme, in general … ” she begins, before adding: begi “It feels like the wor is a dystopia world where victim don’t get justice victims and corruption prevails.” corrupt Achieving such a laid-back, A Achieving cheery vib involved the c cheery vibe band trading in the tools tradi (keyboards, FX pedals) used (keyboard on I and II in order to start I afresh w with a new palette of sounds. And yet the sou most affecting songs mo on III don’t sound like a band raging lik at the outside world, a but rather experib encing a very e personal kind of p misery. Sad Eyes m is a case in point, reappropriating EDM re stadium-trance sta into a mournful

09.11.12 The Guardian 19

Reviews Pop, jazz, classical and world

lament: “My sad eyes, you can’t disguise.” Witch House is an obvious influence, and you could question whether the former chip-tune terrorists are still as ahead of the curve as they once were. It hardly matters when they can come up with stuff like Child I Will Hurt You, a dream-state lullaby that is both beautiful and unbearably sorrowful. Tim Jonze

glorious extended lift-off into the clouds of Va-fle-r with a plate of waffles, Smalhans is a veritable feast of grin-inducing dancefloor treats. Alex Macpherson

Miguel Kaleidoscope Dream The latest new R&B action figure to check Iris DeMent Sing the Delta A first album of new material in 16 years, and worth the wait Godspeed You! Black Emperor Allelujah! Don’t Bend! Ascend! Also back, nearly a decade after an indefinite hiatus

Lionel Loueke

Rhodes entwine with growing intensity on Ouidah; Freedom Dance sounds like a Scofield band playing hi-life; Farafina has a stabbing hip-hop feel; and Glasper’s long, evolving Fender break on the hooky Bayyinah confirms what a central presence he occupies in this music. John Fordham


Sonny Rollins Trio
Live in Europe 1959


Earlier this year, cosmic disco figurehead Hans-Peter Lindstrøm made the first real misstep of an otherwise flawless career with Six Cups of Rebel, an overstuffed, wacky mess of an album. Either he’s got the experimentation out of his system or he’s clearly keen to put it behind him: just nine months later comes Smalhans, a concise return to core Lindstrøm dancefloor values: chunky disco basslines, wave upon wave of blissed-out, arpeggiated melodies. Not that it’s merely a retreat to his comfort zone: Smalhans contains some of Lindstrøm’s most playful work, plausibly a result of roping in noted disco-prankster-genius Todd Terje for mixing duties. Vos-sako-rv pitch-shifts wildly and ludicrously until the final emergence of its riff feels like a lap of honour; Eg-ged-osis darts here and loop-de-loops there, an exercise in perpetual motion. Each track is named after a traditional Norwegian dish; while there’s nothing that would directly connect, say, the

There’s more to this world-jazz encounter between African and American sounds than its melliflously ethereal, borderline-smooth vocals first suggest. Beninese guitarist/vocalist Loueke (pictured) has established a ke unique identity (one that endeared him ue to Herbie Hancock) from overdubbed rbie creations of evocative African-choral ions textures spliced with a guitar sound res that joins the jazz styles of Pat Metheny oins or John Scofield to the flowing hn phrasing of a kora. This set features ing plenty of all that, but the personnel y here add a lot more. Robert Glasper produces and plays, er Gretchen Parlato adds hen vocals, and in bassist s, Derrick Hodge and ck drummer Mark mer Guiliana, ana, Loueke has ke a rhythm thm team that can sound ound like a drum and bass ass band at one moment and an ent ambient outfit at ent another. Louke’s guitar her. and Glasper’s Fender


On this this set of live trio recordings from March 1959, the perfectionist virtuoso Sonny Rollins is at a crossroads, established as a star after his 50s albums, such as Saxophone Colossus, but just about to make his famous three-year withdrawal to a solitary life of practice on the Williamsburg Bridge. On bass is the excellent Henry Grimes, while Pete La Roca, Joe Harris and Kenny Clarke share the drumming. The same tunes inevitably recur, but Rollins’ improvisations are so wilfully intuitive that they’re always different. St Thomas gets the full treatment of sweet-andsour, mid-range ponderings and thunderous swinging, while he sounds as tremulous as a clarinet on Stay As Sweet As You Are and surprisingly Ornette Colmanesque on Oleo. The long-unavailable material from a final, pre-sabbatical Aix-en-Provence gig, with Clarke on drums, is an explosively swaggering, time-bending shouldercharge through Woody’n’You, But Not for Me and a lyrical then roaring Lady Bird. The sound quality throughout is pretty good. JF

20 The Guardian 09.11.12

More reviews online Andrew Clements on Kristian Bezuidenhout and Robin Denselow on Jamie Smith’s Mabon

Beethoven: Piano Sonatas Op 2 no 3 and Op 106, etc
Sviatoslav Richter

Debussy: Pelléas et Mélisande
Maurane/Danco/ Etcheverry/ Philharmonia/ Inghelbrecht


An invaluable document of an exceptional recital Sviatoslav Richter gave at the Royal Festival Hall in London in 1975. I doubt that any of us lucky enough to have been there will forget the experience, and this CD taken from the BBC’s recording of the concert conveys the special electricity of the occasion and the power of Richter’s playing more vividly after 37 years than anyone might have dared hope. The two great sonatas that frame this all-Beethoven programme may date from opposite ends of his composing life, yet Richter’s account of the C major Op 2 No 3 seems to contain the germ of what developed 24 years later into the unparalleled scope of the Hammerklavier Sonata, Op 106. But the titanic scale of the playing is always balanced against moments of svelte beauty and breathtaking technical crispness. After three Bagatelles from Op 126, Richter launches into the Hammerklavier, and the tension of the first movement is remorselessly ratcheted up. The scherzo is then an almost throwaway relaxation, the slow movement a gorgeously expansive hymn, and the finale when it arrives, fugue and all, is immense in its grasp of the musical complexity – every voice in the fugue brilliantly characterised, the shape of the whole thrillingly conveyed. If any single disc is going convince sceptics of why so many of us regard Richter as the greatest pianist of the second half of the 20th century, then it’s this extraordinary 80 minutes of music-making. Andrew Clements

rated among the younger generation of British composers. The earliest piece is the bewilderingly discursive Man Shoots Strangers from Skyscraper, inspired by a Buñuel film; the most recent his double concerto, Wonderful TwoHeaded Nightingale, in which the solo violin and viola are bound into a symbiosis, from which they try to extricate themselves. There’s also Or Voit Tout en Aventure, settings of medieval French and Italian lyrics; in them, as in the other works here, Bedford’s ability to place telling, simple ideas in arrestingly imaginative contexts is brilliantly displayed. AC

Greatest pianist of the second half of the 20th century … Sviatoslav Richter; Katy Carr (below)

For many admirers of Debussy’s only completed opera, the recording Roger Désormière conducted in Nazioccupied Paris in 1941 has never been surpassed. Yet between the wars it was Désiré-Emile Inghelbrecht, a close friend of Debussy, who was regarded as the pre-eminent Pelléas conductor. Inghelbrecht never made a commercial recording of the work, but in 1951 he conducted a studio performance with the Philharmonia in London that was broadcast by the BBC. His cast includes a fascinatingly complex Golaud from Bertrand Etcheverry, and Camille Maurane and Suzanne Danco as Pelléas and Mélisande. All three performances are wonderfully detailed, but it’s Inghelbrecht’s conducting that’s remarkable, worlds away in its almost 19th-century grand manner from the cool objectivity of Désormière. The mono sound is perfectly acceptable and every word is crystal clear. AC

Katy Carr

Komsi/Lahti SO/Oramo



Bedford: Or Voit Tout en Aventure, etc
Morton/Power/Scottish Ensemble/Ensemble Modern/Edwards/Ollu/ Booth/London Sinfonietta/Knussen


Luke Bedford was one of the winners of this year’s Ernst von Siemens Foundation Composers awards, which included the funding of this disc. Compiled from concert recordings, it makes a valuable introduction to his luminous soundworld, and goes a long way to explaining why he is so highly

Anyone who has heard the soprano Anu Komsi sing Sibelius’s Luonnotar in concert, often as here with her husband Sakari Oramo conducting, will recognise the epic intensity and theatricality she brings to this miraculously concentrated Kalevala setting. That mythic power contrasts sharply with what precedes it in this collection, all pieces that more accurately justify the e disc’s title, Coloratura. These include Reinhold Glière’s Concerto for Coloratura Soprano, the Bell Song from Delibes’ Lakmé and a very brisk account of the Queen of the Night’s second-act aria from Zauberflöte. Komsi negotiates the shamelessly florid id vocal writing with matter-of-fact brilliance, musical good taste and not a hint of self-indulgence. There’s also John Zorn’s La Machine de l’Etre, his 2000 monodrama based on a drawing by Artaud, whose vocal challenges she e takes on with aplomb. AC

Katy Carr has a mission: to publicise stories of the Polish forces during the second world war. In doing so she has created one of the most passionate and intriguing concept albums of the year. Born in Nottingham to a Polish mother and Anglo-Scottish father, she became fascinated by the era after meeting Kazik Piechowski, who escaped from Auschwitz in 1942. The album opens with her talking to him about his w escape, and with the exuberant and es edgy Kommander’s Car. There are ed other stories about partisans, a bear ot who became a Polish forces mascot, w and there’s a powerful lament for an those sent by the Soviets to camps in th Siberia. Carr’s emotional songs are Si backed by bravely original arrangeba ments featuring her own piano and m ukulele work, plus strings and brass, uk and deserve to be heard far beyond the an Polish community. Robin Denselow Po
To download or buy any reviewed CD, go to or call 0330 333 6840.

09.11.12 The Guardian 21

Theatres London
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Garrick 0844 412 4662 book online

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THE SMASH HIT MUSICAL St James Theatre 0844 264 2140

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Ambassadors 08448 112 334 Mon-Sat 7.30pm, Wed & Sat 3pm Tickets from £10.00 - £49.50

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Source: *TGI Apr 05 - Mar 06


Preview Games


he hype is hard to believe. This game, says the hype, is going to be one of the all-time great things. Right up there in the top 10, ever. Maybe just behind the multiple orgasm, but somewhere in front of both the fresh bacon sandwich and the feeling of brand new socks. This, insists the hype, is the game the world’s been waiting for: the war game to end all war games. It’s hype that, surely, nothing could ever possibly live up to. Least of all a mere first-person shooting game. Right? For the few remaining uninitiated, Call of Duty: Black Ops II (Xbox 360/ PS3/Wii U/PC) is the latest instalment of the biggest franchise in town. Its predecessor, Call of Duty: Black Ops, sold more than 23m copies, and the sequel will be looking to eclipse it. For a franchise that began with three games set in the familiar history of the second world war, and made its name with the transition to modern warfare, Black Ops II, which fast-forwards the action to 2025, is a fairly radical departure from what came before. The story centres on the apocalyptic machinations of a messianic Nicaraguan super-terrorist, the mysterious Raul Menendez, and the attempts of troubled special forces badass David Mason – the son of the previous game’s protagonist – to track him down. Which, unfortunately for Mason, and very fortunately for us players, involves having to kill a few hundred people in various locations across the world, and, in flashback missions, across a sizeable chunk of the past 50 years. Plus a lot of other cool stuff besides – and not all of it violent. The second mission, for example, begins with Mason and his Navy SEAL buddy dropping from a helicopter to a jungle clifftop on a stormy night in Burma, and leaping off the cliffs in batlike wing-suits to fly, through a series of lush ravines, to a ruined temple with a large mercenary army camped outside. That’s not a cut-scene. That’s how you, the player, begin the mission: flying. From there, the assault on the temple is a showcase of the futuristic setting’s new tricks. Among them invisible enemies using cloaking devices disabled with EMP grenades, dog-like patrolling sentry drones, hackable heat-seeking cannons and the millimetre wave scanner, a rifle sight that shows the outline of enemies on the other side of walls. Where previous games were tightly plotted action blockbusters – cinematic but entirely on rails – Black Ops II offers the player choices with a real effect on future missions and the outcome of the campaign. If they’d been courting

Game on Does Call of Duty: Black Ops II live up to the massive hype?

By Tom Meltzer

the pretentious gamer demographic, they could have called it Postmodern Warfare. The other major change is the shift to scorestreaks instead of killstreaks, a variation on Modern Warfare 3’s system. Rather than calling in air support after carefully racking up kills, players are encouraged to get stuck in with objectives and work together. The multiplayer maps are the usual mix of bloodbath-friendly bottle-necks and wide open sniper’s playgrounds, with a couple of early stand-outs. Cargo – a Singapore dockyard complete with moving crates on cranes – ensures guaranteed non-stop action, while Express – an LA bullet train station – has a nasty surprise in store for any player daft enough to loiter on the tracks when the ground starts rumbling. Factor in a bigger-than-ever return for the beloved Zombies survival mode, full, free access to the competitive Elite network, and new levels of customisation, variety and replayability, and Black Ops II may just about be bold and badass enough to live up to that impossible hype. Multiple orgasms better watch out.

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Black Ops II is a fairly radical departure from what came before

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09.11.12 The Guardian 23

Reviews Television

Catch up with the latest on our episode-by-episode blog of The Walking Dead on FX

A week in radio Memories and therapy
Elisabeth Mahoney

Your next box set Luck
When Luck launched on HBO in 2011, expectations were high. After all, this horse-racing drama was written by David “Deadwood” Milch, directed by Michael Mann and starred Dustin Hoffman and Nick Nolte. Nine episodes later, it was abruptly cancelled with only one episode of the second season filmed. The reason? A third horse had died on set. With animal rights activists incandescent, HBO had little choice. Milch, who owns, runs, rides and bets on horses, was devastated. He talked of how impossible it would have been to film without using real horses, and of how that final death was a freak accident unrelated to filming or racing. Most of all, he talked about his love of both horses and horse-racing, and his sorrow that people would think he cared little for the animals. “No racetrack has stricter protocols than [the ones] we imposed in our care of the horses,” he told New York magazine. “If you spend your life caring for horses, it’s not because you don’t like horses. It’s because you love horses.” On the surface, Luck is the story of mobster Chester “Ace” Bernstein, played by Hoffman. He’s just out of jail and working a complicated long con on the men who put him there. From the start, audiences are thrust into a claustrophobic world with little concern for whether they understand what a claiming race is (when the horses running are for sale) or how a multiple forecast bet works (sorry, still can’t help). “What’s the story with us?” a member of a trackside gambling syndicate asks their de facto leader, the

pessimistic Marcus, as they count the spoils from an against-the-odds victory. “ Well,” he replies. “I suspect in the long run, the story is we all go broke.” Luck, driven by Milch’s passion for his subject matter, is more complicated than that. Plotlines are fragmented, with Bernstein’s story often seeming peripheral to the racetrack action. Yet it grows in confidence, marrying Mann’s muscular direction with Milch’s staccato rhythms to create a richly detailed, entirely convincing world. The trainer Escalante, inscrutable in the first episode, is one of the most relatable characters by the last; you start to care, desperately, whether the gambling crew will manage one more big win; and Bernstein is revealed not d as a vengeance-driven gangster but as ut a complicated man who finds himself mself aging and increasingly adrift in world where he once knew the rules. Most of all, for all its interest in racing’s chancers and charmers, Luck’s uck’s heroes are the ones with four legs. . Asked by his doctor: “Do you have e someone you can talk to?” Marcus s replies: “A horse.” When Ace meets ts Claire, who works on a programme me allowing prison inmates to care for or retired thoroughbreds, she tells him: im: “I’ve seen people profoundly changed nged simply by being in proximity to horses.” orses.” And in the first episode, we see the usuhe ally contained Ace tentatively reach out ch to touch the racehorse he has bought. ght. The final episode centres on the he Western Derby and all those human man hopes, dreams and desires that rest on est its outcome. But we care more about bout the two rival horses, Pint of Plain and n Gettin’ Up Morning. Fittingly, when hen that episode ends, it is with a shot ot not of the main characters but of the eventual Derby winner magnificent in ent victory, relaxing in his stable. Sarah Hughes

Above left: Dennis Farina and Dustin Hoffman in Luck. Below: Petula Clark

What a great idea to let the star do the talking in Petula Clark: In My Own Words (Radio 2). Clark has one of those clear, engaging voices and a knack for storytelling that’s a world away from having someone else reading a script, however well. There were minimal contributions from others, pointing out how successful she has been: Paul Gambaccini noted that Clark is the most successful British vocalist in US chart history, with 15 top-40 singles in a four-year period. “No one has even approached that,” he added. But mostly it was just Clark herself telling her remarkable story. She explained where her unusual first name comes from. “Auntie Mabel and Auntie Alice wanted me to be named after them,” she said. When this became a family squabble, her father stepped in and invented the name Petula. She recalled the oddness of being a child star, and working right through her adolescence, when everyone else wanted to keep her as young as possible while she wanted to grow up fast; whil boys were strictly off-limits. On holiday boys in Port Ta Talbot one year, though, she renamed herself Christina and found herself a b boyfriend: “He bought me an engagement ring in Woolworth’s. engage saw him again, but he was I never s Everything was vividly told cute.” E and sparkling, both the anecdotes sp with starry names (“I found myself s under a piano with Sean Connery”) and recollections of her childhood. re Quite why Clark isn’t a Dame really is a mystery after hearing this excelmy lent, well-produced documentary. w Women, success and rewards Wom theme on Group Therapy was a t Radio (Resonance FM), where a panel of guests ponder listener “confessions”. This week conf was about a woman with “impostor syndrome”, feeling im like a fake despite career success. fa A psychologist, comedian and psychol executive coach spoke with presenter Jen Kerrison, noting how common Kerris the woman’s feelings are. It’s a likable woma format: a bit more fun than Radio 4 might make it, but still insightful. ma

24 The Guardian 09.11.12



irstie Allsopp says she’s helping people turn their houses into homes, with a bit of vintage inspiration, their own bare hands, and that little bit of homemade magic. Kirstie’s Vintage Home (Channel 4) it’s called, and she’s starting off with Amber and Colin, a young couple from Edinburgh, who live, like anyone with a baby, in chaos. Cut to the end of the show, and their living room has indeed been transformed – into a beautiful oasis of 1960s chic. The fireplace has been torn out, the carpets ripped up, they’ve got rid of some of their less successful furniture, got some nice new stuff in, new curtains too. And cool Scandinavian string shelving. The whole place has been tidied up, decluttered. It looks brilliant. Most of it seems to have been decided on, and chosen, and done, by Amber and Colin though. Maybe she gave them some advice, but as far as I can tell, Kirstie’s input has been more about some of the smaller details rather than the stuff that’s actually made a big difference to their flat. So what does she do? Well Amber and Colin come down to London to her vintage workshop. Kirsty gets a man called Junior in to show them how to make their own cool concrete table lights. Well, they don’t really make their own cool concrete lights, they help Junior to make his. They mix the concrete a bit, which is poured into the mould that Junior brought along. When it’s set, Junior does all the complicated light fitting bits. I don’t think Amber and Colin can really claim those lights as theirs. They are cool, but I can’t see myself doing them. I don’t have a special vibrating table for one thing. A woman called Zoe then helps them customise a 60s sideboard by stencilling a yellow pattern at one end. This is “upcycling” apparently, through screen printing. I like the sideboard (Amber got it online, nothing to do with Kirstie

All in the detail … Kirstie’s Vintage Home help. Maybe we’ll just buy one, not the right spirit I know ... Right, so Kirsty needs to get properly involved herself. She shows us round some 60s houses, which is interesting. And she takes Amber and Colin to an antiques fair in Newbury, where she helps them find a yellow German vase and some blue glass balls. She’s got some handy tips – “take a shopping list but go with an open mind” and “don’t be afraid to touch things”. Plus the results of a survey they’ve had done flash up on the screen. Like “80% want to shop smart for vintage and antiques”. What does that even mean? Are the remaining 20% not interested in vintage or antiques, or are they just happy to shop stupid? Perhaps with a closed mind, or too scared to touch? A baffling survey to be honest. Finally Kirsty’s going to pass on one of her own craft skills to Colin. She’s bought a couple of cardboard letters, available from all good craft stores, C for Colin, A for Amber. Plus an ampersand, to join them, romantically. And now they’re spray painting them, red, and yellow, and a bit of both for the ampersand. And that’s it, they are now “brightly coloured works of pop art”, she says, “graffiti-inspired sculptures that will look supercool in their sitting room”. Really? Like a DIY Banksy? Forget the bloody quilt, I’m doing that. They’re there, on the top shelf, in Amber and Colin’s living room, for the final reveal – A&C obviously, rather than C&A which would look too much like the logo of old clothes retailer. Well, Amber and Colin are nice people, they couldn’t really not have them there, with Kirsty coming round to tea. The moment she’s gone though I reckon they’ll be following Amber’s new mantra (“if you don’t love it, get rid of it”), and A&C will be going where they belong, in the B.I.N.

Last night's TV The homes look brilliant, but I’m still not sure what Kirstie Allsopp does

By Sam Wollaston
or Zoe). I’m not sure the yellow pattern improves it. And another woman called Lisa helps them make a quilt. No complaints about the quilt. Colin designs the fabric himself. Lisa shows him and Amber how to cut out the squares, iron the seams, pin and sew the sections together. They cut out birds, applique them on. Even Kirstie gets involved, does a few stitches of her own. They add wadding, then weave it all together on the family heirloom ... oh sorry, no, it is now a family heirloom, my mistake. Little Betty will one day inherit it. Perhaps we’ll do a quilt in our house, which looks quite a lot like Amber’s and Colin’s inside, before rather than after. It does seem like a lot of work though; Amber and Colin take weeks to complete theirs, and they’ve got expert


David Attenborough is alive. Given all the celebrations of his life’s work, you could be forgiven for thinking otherwise. He was in the office the other day though – I saw him, looking very well.

09.11.12 The Guardian 25

TV and radio

Film of the day The Godfather: Part III (9pm, More 4) The final part of Francis Ford Coppola’s trilogy followed 16 years after its predecessor, and fails to match the first two films, but boasts searing performances from its superb cast

6.0pm BBC News (S) (Followed by Weather.) 6.30 Regional News Programmes (S) (Followed by Weather.)

6.0pm Eggheads (R) (S) Quiz, hosted by Dermot Murnaghan. 6.30 Strictly Come Dancing — It Takes Two (S) 7.0 The Dark: Nature’s Nighttime World (R) (S) (AD) Justine Evans films a puma’s nocturnal hunting behaviour. Last in the series.

6.0pm Local News (S) (Followed by Weather.) 6.30 ITV News And Weather (S)

Channel 4
6.0pm The Simpsons (R) (S) (AD) Lisa becomes Krusty’s new assistant. 6.30 Hollyoaks (S)

Attenborough’s Ark: Natural World Special, BBC2

Watch this
Unreported World 7.30pm, Channel 4
Wretchedly depressing dispatch focusing on Indonesia’s addiction to nicotine, encouraged by manufacturers and barely regulated advertisers. The costs are monstrous: 90 million Indonesians smoke, and 200,000 of them die of tobacco-related illnesses every year. The case studies here are even more grim, from a six-year-old who has been smoking for four years to the children who are barely paid to pick the stuff. If you were already baffled as to how tobacco execs sleep at night, this will do little to ameliorate your puzzlement. Andrew Mueller hunt a venomous centipede called the scolopendra. However venomous it might be – and it is pretty venomous – it’s an underwhelming creature to kick things off with. The search for the insect is paired with subPalin travel footage punctuated by Monaghan’s annoying mid-Atlantic accent. Ben Arnold

7.0 The One Show (S) 7.30 Nigel Slater’s Dish Of The Day (S) The food writer demonstrates simple dishes that use just one pan, including herby artichoke stew. (Followed by BBC News; Regional News.) 8.0 EastEnders (S) (AD) Kat enjoys a romantic evening with Alfie, but is shocked by an unexpected gift on her return home. 8.30 Outnumbered (R) (S) Comedy, starring Hugh Dennis.

7.0 Emmerdale (S) (AD) Marlon’s dog is hit by Ashley’s car. 7.30 Coronation Street (S) (AD) Marcus feels guilty after his night with Maria.

7.0 Channel 4 News (S) 7.30 Unreported World (S) Investigating a sharp rise in the proportion of child smokers in Indonesia. 7.55 (S)

8.0 Mastermind (S) Subjects include Steely Dan and EF Benson’s Mapp and Lucia novels. 8.30 Gardeners’ World (S) Carol Klein explores the diversity of wild plants on Walney Island in Cumbria. Last in series. 9.0 Attenborough’s Ark: Natural World Special (S) (AD) David Attenborough chooses the 10 endangered animals that he would most like to save from extinction.

8.0 Island Hospital (S) Radiographer and farmer Tess Woodnut juggles two jobs. 8.30 Coronation Street (S) (AD) Marcus breaks up with Aiden.

8.0 Come Dine With Me (S) A quartet of hosts entertain each other in Alicante, with highlights featuring a U2-inspired menu.

Attenborough’s Ark: Natural World Special 9pm, BBC2
We wouldn’t want many more species to go the way of the dodo. So how about appointing David Attenborough as our television Noah, and asking which 10 species on Earth he would insure against future extinction? Cue a return to the warm, knowledgeable presenting that his safari-suited younger self specialised in the 1970s. What follows is cute interaction, and an examination of the painstaking conservation projects that will help creatures such as the Sumatran rhino to survive. John Robinson

9.0 Have I Got News For You (S) Homeland actor Damian Lewis is guest host. With Harry Shearer and UKIP leader Nigel Farage. 9.30 Me And Mrs Jones (S) (AD) Jason is put out when Inca goes on a blind date. 10.0 BBC News (S) 10.25 Regional News And Weather (S) 10.35 The Graham Norton Show (S) Guests are Cameron Diaz, Sarah Millican and Bradley Wiggins. With music by Rod Stewart. 11.20 The National Lottery Friday Night Draws (S) 11.30 Would I Lie To You? (R) (S) With Dave Gorman, Omid Djalili, Davina McCall and Janet Street-Porter.

9.0 Live Who Wants To Be A Millionaire? I’m A Celebrity Special (S) Previous I’m a Celebrity Get Me Out of Here! contestants, such as Vic Reeves and Nancy Sorrell, try to win money for charity. 10.0 ITV News At Ten And Weather (S) 10.30 Local News/ Weather (S) 10.35 Dave (Ivan Reitman, 1993) (S) (AD) Sprightly comedy with Kevin Kline and Sigourney Weaver.

9.0 Derren Brown: Fear And Faith (S) Two-part event in which Brown claims to remove people’s experience of fear through the use of a powerful new drug.

10.0 QI (S) Stephen Fry asks a range of unusual questions on the theme of jeopardy. With Julia Zemiro, Sue Perkins, Ross Noble and Alan Davies. 10.30 Newsnight (S)

10.0 Alan Carr: Chatty Man (S) Jamie Oliver and Jimmy Doherty discuss their new Channel 4 show Jimmy and Jamie’s Food Fight Club. Featuring the Wanted and the Killers.

Wild Things with Dominic Monaghan 8pm, Channel 5
Ex-Hobbit and apparent wildlife nut Dominic Monaghan presents Wild Things, an indulgence of a programme, the first episode of which takes him to the jungles outside the Venezuelan capital of Caracas to

11.0 The Review Show (S) Jo Whiley presents an all-music edition. With Hugh Cornwell. 11.45 Weather (S) 11.50 Later With Jools Holland (S) With Soundgarden and Bat for Lashes.
1.0 Radio 3 Lunchtime Concert. The last of this week’s concerts given at LSO St Luke’s has a Hungarian flavour as the Nash Ensemble plays Haydn’s Gypsy Rondo Piano Trio and Brahms’ Piano Quartet in G minor. (R) 2.0 Afternoon On 3. Louise Fryer presents performances by the Royal Concertgebouw, Combattimento Consort and Residentie Orchestra, including pieces by Schubert, Sibelius, Prokofiev and Stravinsky. 4.30 In Tune. Sean Rafferty introduces live music by jazz legend Jack DeJohnette and a set from the Mike Westbrook Trio, and also visits a new exhibition at the British Library. 6.30 Composer of the Week: Mendelssohn. (R) 7.30 Jazz Voice: London Jazz Festival Opening Concert. Live at the Barbican, John Sessions hosts a celebration of the great songs of the past 10 decades sung by the stars of today. Guy Barker conducts the London Jazz Festival Orchestra. 10.0 The Verb At Free Thinking. Ian McMillan brings his weekly show to the Free Thinking Festival, with guests including Tony Harrison, Don Paterson and the Lake Poets. 10.45 The Free Thinking Essay: New Generation Thinkers. Philosopher Timothy Secret gives a talk exploring how humans react when looked at by animals, recorded at the Radio 3 Free Thinking Festival. 11.0 Jazz On 3. Jez Nelson launches the 2012 London Jazz Festival live from

11.05 Friday Night Dinner (R) (S) (AD) Jonny wants to split up with Liz, but is too scared to do so. 11.35 8 Out Of 10 Cats (R) (S) Jimmy Carr hosts the panel show.

Radio 3
90.2-92.4 MHz
6.30 Breakfast. With Sara Mohr-Pietsch. 9.0 Essential Classics. With Sarah Walker. Including the Essential CD of the Week: Virtuoso and Romantic Encores for Violin, performances by Frans Bruggen and this week’s guest, physicist Athene Donald. 12.0 Composer of the Week: Mendelssohn. Donald Macleod bids farewell to Mendelssohn as the composer’s elation at the success of his oratorio Elijah turns to despair at the death of his beloved sister.

Ronnie Scott’s in Soho, with performances by American trumpeters Terence Blanchard and Ambrose Akinmusire. 1.0 Through The Night. Period ensemble Concerto Copenhagen performs Handel, Corelli and Leclair. Plus Franck, Purcell, Debussy and Rimsky-Korsakov.

Radio 4

92.4-94.6 MHz; 198kHz
6.0 Today. News headlines and sport, presented by John Humphrys and Sarah Montague. 8.31 (LW) Yesterday In Parliament. With Rachel Byrne. 8.58 (LW) Weather 9.0 Desert Island Discs. With Tidjane Thiam. (R) 9.45 (LW) Act Of Worship. Led by Dr Michael Ford. 9.45 (FM) Book Of

26 The Guardian 09.11.12

Full TV listings For comprehensive programme details see the Guardian Guide every Saturday or go to

Channel 5
6.0pm Home And Away (R) (S) (AD) 6.30 5 News At 6.30 (S) Round-up of the day’s headlines from around the world. 7.0 The Gadget Show (R) (S) The team race quad bikes in the Welsh countryside and test torch batteries in the Porth yr Ogof caves. (Followed by 5 News Update.)



6.20pm Come Dine With Me (R) (S) 7.30 Hugh’s 3 Good Things (S) Hugh Fearnley-Whittingstall cooks with kale.

6.0pm House (R) The team tries to determine why an obese 10-year-old girl had a heart attack.

Other channels
E4 6.0pm The Big Bang Theory. Sheldon teaches Leonard about American football. 6.30 The Big Bang Theory. Leonard argues with Penny. 7.0 Hollyoaks. Tony makes it clear he intends to marry Cindy regardless of her affair. 7.30 How I Met Your Mother. Ted learns Lily has been interfering with his relationships. 8.0 Three Men And A Baby. Comedy, starring Tom Selleck, Ted Danson and Steve Guttenberg. 10.05 Underworld: Evolution. Action fantasy sequel, starring Kate Beckinsale. Film4 6.40pm Star Trek VI: The Undiscovered Country. Sci-fi adventure, starring William Shatner. 8.50 Attack The Block Special. Preview of the sci-fi comedy. 9.0 Attack The Block. Sci-fi comedy thriller, starring Jodie Whittaker. 10.45 Scene Stealers Winners. The best entries from the film-making competition. 10.55 Dead Man’s Shoes. Psychological thriller, starring Paddy Considine. FX 6.0pm Leverage. A trainer’s racehorses are killed in a fire. 7.0 NCIS. A call girl is suspected of murder. 8.0 NCIS. A murder is committed while an NCIS employee is moonlighting. 9.0 NCIS. Ziva and Tony try to rescue a US Navy chaplain kidnapped by Colombian rebels. 10.0 The Walking Dead. Merle makes a request of the Governor. 11.0 True Blood. Sookie and Jason visit the site of their parents’ deaths. ITV2 6.0pm The Jeremy Kyle Show USA. The host takes his successful talk-show stateside. 7.0 I’m A Celebrity: Jungle Royalty. The winners of the celebrity challenge. 8.0 The X Factor USA. The competition continues with the first live show. 10.0 The X Factor USA. The results of the first live show are announced. 11.0 Switch. Grace decides to leave the city after she is mugged. 12.0 Kiss Kiss Bang Bang. Comedy thriller,with Robert Downey Jr and Val Kilmer. Sky1 6.0pm Futurama. A starship captain is attracted to Leela. 6.30 The Simpsons. Marge sends Homer to a mental institution. 7.0 The Other Animals 4.0 Married Love 4.15 Strange Meeting 5.0 Old Dog And Partridge 5.30 Up The Garden Path

7.0pm Merlin (R) (S) (AD) Three soothsayers cast a dark judgement upon Arthur, but the headstrong king refuses to take their words seriously. 7.45 Doctor Who (R) (S) (AD) 8.30 World’s Craziest Fools (S) Internet clips and home video footage depicting the mishaps and misadventures of various buffoons.

7.0pm World News Today (S) 7.30 Concerto At The BBC Proms (R) (S) A 2006 recording of Mozart’s Piano Concerto No 23, performed by Richard Goode with the BBC Symphony Orchestra. 8.0 Maestro Or Mephisto — The Real Georg Solti (S) Documentary exploring the legacy of the acclaimed conductor to mark the centenary of his birth.

8.0 Grand Designs (R) (S) (AD) Kevin McCloud catches up with the Sampsons in the Lot region of France, to examine their house, built partly from straw.

7.0 House (R) The maverick medic agrees to oversee the case of a senator who collapsed at a fundraising rally.

Attack the Block, Film 4
Simpsons. Homer joins the power plant’s softball team. 7.30 The Middle. The Hecks panic when hapless Sue receives her learner driver’s licence. 8.0 Modern Family. The friends have fun as they pitch in for a charity yard sale. 8.30 Spy. Tim and Caitlin appear in a recruitment video. 9.0 Trollied. Gavin struggles to find Lorraine’s replacement. 9.30 The Simpsons. Mrs Krabappel looks for love. 10.0 A League Of Their Own. With Johnny Vegas, Charlotte Jackson and Harry Redknapp. 11.0 Road Wars. The Road Crime Unit and the Tactical Aid Group join forces. 12.0 Brit Cops: Frontline Crime UK. A man is reported for threatening people with a knife. Sky Arts 1 6.0pm The Cambridge Folk Festival 2011. With Richard Thompson, Kate Rusby, Mary Chapin Carpenter and Raul Malo. 7.0 In Confidence. Grayson Perry shares his thoughts on conceptual art. 8.0 Monty Python: Almost The Truth. The final years of the comedy troupe. 9.0 Metal Evolution. The roots of thrash metal. 10.0 Hard Rock Calling Festival 2012. Highlights of the Hyde Park festival. TCM 7.05pm Adventures Of Captain Fabian. Period drama, starring Errol Flynn and Micheline Presle. 9.0 Payback. Thriller, starring Mel Gibson. 10.55 Disclosure. Thriller, starring Michael Douglas and Demi Moore.

8.0 Wild Things With Dominic Monaghan (S) New series. The Lord of the Rings and Lost star travels the world in search of unusual and interesting creatures. (Followed by 5 News At 9.) 9.0 The Mentalist (S) The CBI investigates the murder of a diamond cutter who was eviscerated with his own tools.

9.0 The Godfather: Part III (Francis Ford Coppola, 1990) (S) Ageing Mafia don Michael Corleone is haunted by past crimes. Weak and often bewildering conclusion to the epic crime trilogy.

8.0 Blue Bloods (R) (S) Jamie risks ruining his undercover work when he saves a baby from a burning building.

9.0 Unzipped (R) (S) Example and Jerry Springer join Greg James and Russell Kane to investigate British behaviour. 9.45 Russell Howard’s Good News Extra (S)

9.0 Queens Of British Pop (R) (S) Part one of two. Celebrating female singers who have influenced British pop music over the past 50 years, such as Dusty Springfield and Sandie Shaw.

9.0 Boardwalk Empire (R) (S) (AD) Nucky encounters the lawyer who prosecuted him for election rigging. Meanwhile, Gillian begins a feud with Lucky Luciano.

10.0 Castle (S) The body of a woman is found covered in caramel sauce on playground equipment in a park.

10.30 EastEnders (R) (S) (AD) Kat enjoys a romantic evening with Alfie, but is shocked by an unexpected gift on her return home.

10.05 Songs Of Sandy Denny At The Barbican (S) A tribute concert to the singersongwriter, featuring performances by artists such as Maddy Prior and PP Arnold.

10.15 The Wire (R) (S) Chris and Snoop send a message to the New York crew and Michael is dismayed by the return of his mother’s boyfriend.

11.0 Law & Order: Criminal Intent (R) (S) Logan and Wheeler uncover a link involving the death of a rock‘n’ roll chat show hostess. 11.55 Inside Hollywood Magazine show.
The Week: On Wheels. By Michael Holroyd. 10.0 Woman’s Hour. Jenni Murray presents. 11.0 What’s In A Name? An exploration of names in contemporary Britain. 11.30 Polyoaks. New series. David Spicer and Phil Hammond’s satire. 12.0 News 12.04 You And Yours. Consumer affairs. 12.52 The Listening Project. Members of the public share intimate conversations. 12.57 Weather 1.0 The World At One. Presented by James Robbins. 1.45 Foreign Bodies. Boris Akunin’s Erast Fandorin. Last in the series. 2.0 The Archers. Rhys receives an offer out of the blue. (R) 2.15 Afternoon Drama: Moeran’s Last Symphony. By

11.0 Some Girls (R) (S) 11.30 Family Guy (R) (S) A time machine transports Mort Goldman to Nazioccupied Poland. 11.55 Family Guy (R) (S) Peter wins free petrol for a year.
Martyn Wade. (R) 3.0 Gardeners’ Question Time. A postbag edition from the potting shed in Sparsholt, Hampshire. 3.45 Friday Firsts. By novelist Louisa Young. 4.0 Last Word. Obituary series, with Matthew Bannister. 4.30 Feedback. Listeners’ views. 4.55 The Listening Project. Members of the public share intimate conversations. 5.0 PM. With Eddie Mair. 5.57 Weather 6.0 Six O’Clock News 6.30 The Now Show. New series. Topical stand-up and sketches. 7.0 The Archers. Lilian discovers that three is a crowd. 7.15 Front Row. Arts programme. 7.45 (LW) The Righteous

11.35 Fairport Convention: Who Knows Where The Time Goes? (R) (S) Documentary about the folk-rock band as they celebrate their 45th anniversary. Narrated by Frank Skinner.
Sisters. By Jane Purcell. Last in the series. 7.45 (FM) The Righteous Sisters. By Jane Purcell. Last in the series. 8.0 Any Questions? From Co Durham. 8.50 A Point Of View. With Mary Beard. 9.0 Foreign Bodies. Omnibus. 9.59 Weather 10.0 The World Tonight. With Robin Lustig. 10.45 Book At Bedtime: The Cleaner Of Chartres. By Salley Vickers. 11.0 A Good Read. With Neil Pearson and Wilfred Emmanuel-Jones. (R) 11.30 Today In Parliament. Mark D’Arcy presents. 11.55 The Listening Project. Members of the public share intimate conversations. 12.0 News And Weather 12.30 Book Of The Week: On Wheels 12.48 Shipping Forecast

11.30 Don’t Sit In The Front Row (R) (S) Phill Jupitus, Sue Perkins and Josh Widdicombe take turns lampooning the lives of four members of the audience. Presented by Jack Dee.

Kate Rusby, Sky Arts 1
5.30 World Business Report 6.0 World Have Your Say 7.0 World Briefing 7.30 The Why Factor 7.50 From Our Own Correspondent 8.0 News 8.06 HARDtalk 8.30 The Strand 8.50 Witness 9.0 Newshour 10.0 News 10.06 World Football 10.30 World Business Report 11.0 World Briefing 11.30 Business Daily 11.50 Witness 12.0 World Briefing 12.20 Sports News 12.30 Boston Calling 1.0 World Briefing 1.30 World Business Report 1.50 From Our Own Correspondent 2.0 News 2.06 HARDtalk 2.30 World Football 3.0 World Briefing 3.30 The Strand 3.50 Witness 4.0 News 4.06 Assignment 4.30 The Why Factor 4.50 From Our Own Correspondent 5.0 World Briefing 5.20 Sports News 5.30 The 5th Floor

Radio 4 Extra
Digital only
6.0 Orphans In Waiting 6.30 An Illustration Of Modern Science 7.0 Up The Garden Path 7.30 Meet David Sedaris 8.0 The Navy Lark 8.30 The Burkiss Way 9.0 Bristow 9.30 Snap 10.0 My Family And Other Animals 11.0 Married Love 11.15 Strange Meeting 12.0 The Navy Lark 12.30 The Burkiss Way 1.0 Orphans In Waiting 1.30 An Illustration Of Modern Science 2.0 South Riding 2.15 Laurence LlewelynBowen’s Men Of Fashion 2.30 Born Brilliant: The Life Of Kenneth Williams 2.45 A Kestrel For A Knave

3.0 My Family And Other Animals 4.0 The 4 O’Clock Show 5.0 Old Dog And Partridge 5.30 Up The Garden Path 6.0 A Collection Of Bones 6.15 The Matrix 6.30 Weird Tales 7.0 The Navy Lark 7.30 The Burkiss Way 8.0 Orphans In Waiting 8.30 An Illustration Of Modern Science 9.0 Married Love 9.15 Strange Meeting 10.0 Comedy Club: Meet David Sedaris 10.30 Meanwhile With The Bearded Ladies 11.0 Big Town All Stars 11.30 Genius 12.0 A Collection Of Bones 12.15 The Matrix 12.30 Weird Tales 1.0 Orphans In Waiting 1.30 An Illustration of Modern Science 2.0 Bristow 2.30 Snap 3.0 My Family And

World Service

Digital and 198 kHz after R4
8.30 Business Daily 8.50 Sports News 9.0 News 9.06 HARDtalk 9.30 The Strand 9.50 Witness 10.0 World Update 11.0 World, Have Your Say 11.30 Science In Action 11.50 From Our Own Correspondent 12.0 News 12.06 World Football 12.30 The Strand 12.50 Witness 1.0 News 1.06 HARDtalk 1.30 Business Daily 1.50 Sports News 2.0 Newshour 3.0 World Briefing 3.30 World Football 4.0 News 4.06 HARDtalk 4.30 Sport Today 5.0 World Briefing

09.11.12 The Guardian 27


On the web For tips and all manner of crossword debates go to

Quick crossword no 13,262
1 2 3 4 8 9 10 5 6 7

Sudoku no 2,340
Hard. Fill the grid so that each row, column and 3x3 box contains the numbers 1-9. Printable version at
Stuck? For help call 0906 751 0036. Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Free tough puzzles at

5 9 1 2 6 4 7 7 9 3
Medium. Fill in the grid so that each run of squares adds up to the total in the box above or to the left. Use only numbers 1-9, and never use a number more than once per run (a number may recur in the same row, in a separate run). Printable version at guardian.
A great range of puzzle books is available from Guardian Books. To order, visit or call 0845 606 4232.

6 4 9

3 5 7 9 2 1


11 12 13 16 17 18 19 20 21 14 15

Want more? Access over 4,000 archive puzzles at Buy all four Guardian quick crosswords books for only £20 inc UK p&p (save £7.96). Visit or call 0330 333 6846.

Solution to no 2339
9 5 4 8 2 1 6 7 3 7 2 3 5 6 9 1 4 8 8 6 1 7 3 4 9 5 2 5 3 7 9 1 8 2 6 4 6 1 8 4 5 2 3 9 7 4 9 2 3 7 6 5 8 1 3 8 6 2 9 7 4 1 5 1 7 5 6 4 3 8 2 9 2 4 9 1 8 5 7 3 6




1 Fortitude — protection for the spinal cord (8) 5 Unit of measurement of a horse’s height (4) 9 US president, d.1994 (5) 10 Permanent anchor (7) 11 Sky Blues football team (8,4) 13 Drink (6) 14 Canadian capital (6) 17 Place for a cuppa and some surfing? (8,4) 20 Intestinal infection caused by contaminated water or food (7) 21 Use of words to convey the opposite of what they normally mean (5) 22 Omen (4) 23 Wolfram (8)

15 Deliberate insult (7) 16 Experience of sensing something has happened before (4,2) 18 Strip of leather — minimalist beachwear (5) 19 Church song (4)
Stuck? For help call 0906 751 0039 or text GUARDIANQ followed by a space, the day and date the crossword appeared another space and the CLUE reference to 85010 (e.g GUARDIANQ Wednesday24 Down20). Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Texts cost 50p a clue plus standard network charges. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline).

Kakuro no 1,317
4 6 7 23 6 34 8 23 14 23 12 13 16 34 17 14 24 7 14 20 24 17 6 7 3 22 24 6 23 14 17 10 15 6 23 7 14 17 13 16 32 21 24 3 19 24 23 12 7 24 34 27 17 27 20 24 19 32 14 17

1 Former capital of the German Federal Republic (4) 2 Fop — fleshy outgrowth on a cockerel’s head (7) 3 Lab equipment with an adjustable flame (6,6) 4 Idiot (6) 6 Proof of being elsewhere (5) 7 It’s for when one orders too much when eating out (5,3) 8 Tight one-piece undergarment for women (4,8) 12 Plant of the mallow family — such ibis (anag) (8)

Solution no 13,261

17 16

Solution no 1,316
5 9 7 8 9 1 2 8 7 1 9 8 7 5 8 6 5 7 9 2 9 3 7 9 8 5 9 5 1 7 9 2 6 8 5 4 8 7 1 2 4 7 3 1 5 9 5 4 9 2 7 9 4 8 5 3 2 7 1 7 8 8 9 2 6 5 3 8 6 1 6 4 2 4 9 7 6 8 9 2 2 4 1 3 5 2 1 1 9 5 6 7 8 1 6 1 3 7 8 9


3 9 8 1 3 2 5 1


28 The Guardian 09.11.12

Garry Trudeau