I’ve recently seen Tracey Ullman’s comedy from her new show on BBC. I’d forgotten how funny she is. She does great impersonations of Angela Merkel, Theresa May, Dame Judy Dench and more. She’s wonderful.
Tracey as Angela Merkel
It may be time for such a charity.
I thin there is some truth here and that it’s good to laugh at such topics. I don’t think that makes one a racist or oppressor. Some will disagree.
Directed by René Clair, À Nous la Liberté (1931) follows the attempt of two convicts to escape. One man succeeds, but his friend is captured. The man who escapes starts a new life selling phonographs on the street. Soon he’s prospered and owns a store. Not much later he owns a huge factory making thousands of phonographs. One memorable scene shows his workers marching in to work, punching in, taking their seats on an assembly line and working like machines, just as the factory owner had when he was in prison. The striking similarity is not accidental.
Later the factory owner’s friend is freed and by chance meets his rich pal. The film is full of such coincidences but they made me smile rather than roll my eyes. At first the prosperous man is leery. Does his old chum want to black mail him?
No. His old friend Emile is far more sincere, more innocent. Despite the soul-killing monotony, Emile wants to continue working at the factory so he can woo a woman he’s infatuated with. As the rich men’s high society friends talk about him behind his back and are stuffy bores, the factory owner opens his life and his wallet to his old pal to help him win this woman’s heart. Then the wheel of fortune turns against this pair of friends.
The film does use sound, though sparingly. For much of the beginning I thought it was a silent film. It’s a fun, clever film that has an uplifting feel to it. I agree with critic Michael Atkinson who describes as “bouncy with melody, soaked in spring light, wistful about the conflicted relationship between serendipity and love.”
Clair was the first to film a scene where all hell breaks loose when workers can’t keep up with the assembly line. His studio and some critics believe that Chaplin plagiarized À Nous la Liberté when he made Modern Times. Clair didn’t get involved and said since he appreciates so much of what Chaplin’s done, if he did borrow from this film, that’s fine. His studio disagreed and took legal action which dragged on for 10 years. They lost.
À Nous la Liberté has a surprising, positive (or perhaps naive) ending. I can see why the film was on a list of “Most Influential Films” I received at Act One. So glad my library had it.
I finished watching season 2 of VEEP, starring Julia Louis Dreyfes as a frantic Vice President. Created by Armando Iannucci of In the Thick of It fame, this season’s fast-paced wit and craziness equaled season 1. Gary Cole appeared regularly as an officious data-addict, who vexes Selina, the VEEP and her staff. Occasionally, Selina’s ex-husband was on hand to unnerve the staff as they’d like to see this unpredictable schemer as little as possible.
While I enjoyed this season, VEEP isn’t the same caliber as In the Thick of It. The dialogue is great, but they don’t have the creative swearing that you’d find in the British show. Round and round, the characters scheme, mainly to advance their careers rather than to attain any goal for public good. That’s not the problem. I’m not sure what’s missing, but my best guess is that there’s not enough story. None of the people rise or fall. Also, I don’t think Iannucci offers an original critique of American politics the way he does for the UK. That’s essential for satire. He lampoons politicians, but the episodes don’t say anything crucial about politics.
Nonetheless, Julia Louis-Dreyfess is my choice for Best Actress in a Comedy for the 2013 Emmys. For 2014, I hope the show has more meat for her entire cast.
Remember Monty Python? For my summer Library Science course. Evidently, there will be some fun along with the staggering workload.