Friday 27th June 2025
Blog Page 1928

The reel deal

0

I’ve been tasked with stating the case for how and why movies trump those palpable, pulpable things they call books. This might all get too technical, but fear not – this article is being adapted for the big screen, starring Morgan Freeman as a misunderstood student film critic. He’s so wise.

First up, the obvious: film films the world. What’s on the reel is real, and so what we see has a very deep connection with the literal. This changes the relationship between the literal and the allegorical, when compared with literature.

The literary trick of smuggling extra meanings under the folds of language isn’t much of an option, so films have to communicate meaning to their audience through images. A downgrade, you might think – but this is precisely the case in real life. Reality provides us with no narrational paragraph explaining what’s on someone’s mind when we’re with them. And, barring the occasional voice-over, it’s the same in film. It is our world; the world of exteriors, wherein to read another human isn’t to be given a legible code, but a mixture of their speech, their actions, their universe. Cinema is the moving image of psychology.

Narrative literature then, in its telling of events entails a translation of media (from the visual, audible and physical to the linguistic). Film has to make no such leap, and moreover its narrative mode is arguably far richer. The novel, with few exceptions, is told from either the third or first person.

And film? Well, it’s a weird hybrid: narrational point of view in films doesn’t step out of them to describe the action – it is the action. It goes beyond depicting realistic circumstances to commenting on them.

Take The Social Network – it’s Mark Zuckerberg’s story, so the camera often sides with him. But it’s also a movie about social surveillance – shown by a critical distance of the camera, which then becomes an (inevitably judgemental) onlooker. So cinema’s unique contribution to narrative is its subtle blend of subjectivity and objectivity.

There’s also the factor of actors – think about Johnny Depp. Watching Charlie and the Chocolate Factory, you’re never able to forget that this is Depp’s rendition of Willy Wonka; it is his borrowing of the role, just as Gene Wilder wore it before him. In film then, character and actor are intertwined. Film is not just about characters, but the performance of characters. Various layers of consciousness and self-consciousness are chewed up in a giant Wonka gobstopper of reality and fictionality – hence our girlish giggles as movies import the character of their performers.

To claim a picture is worth a thousand words may be a cliché, but it’s rooted in truth. Only a fraction of what we feel, communicate and understand is through language: movies pick up the slack. As David Lynch put it, when asked what one of his movies meant, ‘If I could express it with words, I’d have written a book.’

Futureball

0

The use of technology on the football pitch elicits vociferous debate, now and always. Should we initiate goal-line replays, so referees can take a second look at events that are, in truth, almost impossible for the eye to capture? Or, assuring even greater certainty, should we deploy a robot army of sensors and laser-fields and microchips, eliminating the capacity for human error quicker than you can say Graham Poll?

Lampard’s ghost-goal against Germany did enough to swell public opinion in favour of increased technological assistance, but a voice still exists for those who see controversy and injustice (and, hopefully, eventual karmic retribution) as integral fluctuations in the grand drama of the Beautiful Game. The referee and his oft-hapless team of officials are essential to the whole damn spectacle, it is tragi-comically suggested.

It is what it is. We will enjoy the sport with equal passion, I think, whether a man or a machine is awarding that crucial penalty or brandishing that devastating red card: the fan is surprisingly adaptable to changes in the game. As such, recycling the old issues, the well-worn pros and cons of dragging football into the 21st century (at the risk of sacrificing its soul), seems redundant: what will be will be.

What we should praise and discuss and celebrate, though, is the improved technology in how we watch and experience a match itself: I’ve been brought to such rapture by the glorious, life-affirming introduction of 3-D football. Avatar is nothing compared to this. James Cameron shrinks next to the top production guy at Sky Sports. Sky has lit the path of innovation for decades: remember the dawn of the red-button? Highlights and statistics on demand represented a monumental advancement for the armchair supporter, even if little was affected on the pitch. One small step for players, one giant leap for fan-kind.

But back to the future: 3-D. The ball, unleashed from its screen-cage, zips around the pub as if you, you yourself, pint in hand, could rise towards a Giggs cross and meet it with the flying header or volley that you always know you’ll pull off. Repeat for 90 minutes, every week, ad infinitum. Isn’t that more important than the occasional blown decision about a fractional offside? Never, ever before has watching football divulged such intensely vicarious pleasures.

Now you see me…

0

Ever wished you could slip out of sight? Invisibility cloaks, for a long time the staple of magic and sci-fi, are inching closer towards reality – and unsurprisingly, getting a lot of attention for it.

Proposals for precisely how to build yourself a cloak vary, but almost all the suggestions currently on the table utilise the possibilities of metamaterial – artificial materials which have been designed to have properties not usually found in nature. In particular, it’s possible to engineer the surface in such a way that it possesses some very odd optical properties. After all, the optical properties of an object are simply down to the way in which light bounces off the atoms which make up its surface.

Up until now, we’ve had to more or less take an object’s optical properties as given. For example, if you wanted a different colour of car, then your best option was to cover it with something possessing the desired surface structure and absorption properties (or in other words, paint it!). But modern technology is now at a point where these modifications can be made directly, allowing us to change the colour of substances such as gold, simply by changing the structure of the surface at an atomic level.

But the optical possibilities don’t stop there. For some time now, scientists have been investigating metamaterials whose atomic-level structure bends light as it passes through them in the opposite direction to natural substances such as glass or water. Using these materials, it could be possible to build ‘superlenses’, which may be used to ‘cancel out’ the light reflected from an object. The idea is to put the metamaterial ‘cloak’ very near to the object we want to hide. The light scattering off the object could interact with the surface of the cloak, causing it to reflect back light waves of a similar frequency, which would then interfere with and destroy those which bounced directly off the object, effectively rendering the object invisible.

An alternative approach is the idea of a ‘carpet cloak’, first suggested by Professor Sir John Pendry of Imperial College London in 2006. This utilises a different metamaterial oddity – their capacity to exhibit different, and finely controlled, refractive indices in different parts (i.e. different areas of the metamaterial bend the light by different amounts). In principle, it should be possible to place such a cloak around an object to make light flow around it undisturbed.

In spite of the significant technical hurdles for such a project, progress in this area has been made. A breakthrough came last year, when American researchers succeeded in creating a tiny, two-dimensional cloak (albeit for near-infrared, rather than visible light). The scientists took a sheet of silicon, and carefully drilled it with tiny holes. As each hole was less than the light’s wavelength, the light was only sensitive to the overall density of the sheet, which the researchers could control by drilling more holes. The more holes, the less silicon there is to bend the light, and therefore the less the light is bent as it passes through. By introducing changes in density and therefore in how much light is bent in a particular region of the sheet, the scientists succeeded in coaxing the light to flow in a curved line around an object.

And earlier this year, the concept was extended to a three-dimensional cloak by a team from the Karlsruhe Institute of Technology in Germany, who constructed a polymer crystal made up of tiny rods. By varying the thickness of the rods, it was possible to tailor the extent to which different parts of the material bend light as it passes through, allowing an object to appear invisible from a viewing range of around 60 degrees. This is a big improvement on the holes in the silicon sheet, which only hide an object from light travelling in the same direction as the drilling – with the result that the cloak will only be effective if you’re hiding from someone standing very still and directly in front of you!
The science of invisibility continues to develop, as just this week, it has been shown that it is theoretically possible to open up a time gap in a light signal in which nefarious activities can be hidden. Still, there’s a long way to go for invisibility cloaks yet. The biggest challenges are scaling the cloaks up (both the silicon and polymer cloaks can only hide micron-scale objects) and getting the wavelength down (to pass from the near-infrared spectrum to the higher-frequency radiation visible to humans). However, researchers are increasingly optimistic about overcoming these challenges – so invisibility may well be worth keeping an eye on.

Preview: A Streetcar Named Desire

0

With over 90% tickets gone two weeks before the show opens, and the first 3 performances sold out, it is clear why the team behind A Streetcar Named Desire decided they didn’t need an official press preview.

Director Anna Hextall says that she has been trying to shield the cast (and by the sounds of it, herself) from the ticket sales and excitement surrounding the play for fear of overwhelming them. “They’re a very talented cast, but they’ve got to have the confidence to be fearless on stage”, she explains. “Stanley, for example, has got to be full of raw emotion, but he can’t throw himself around. It’s very important not to overplay it and James [Corrigan] has got that”.

Tennessee Williams’ iconic play, which won him the Pullitzer prize in 1948 revolves around Blanche DuBois, a Southern Belle, whose arrival in New Orleans to stay with her sister Stella and husband Stanley, a member of the rising industrial class, generates a clash of cultures. As Blanche’s delusions and Stanley’s animalistic brutality spiral out of control, and as Blanche’s past begins to catch up with her, the consequences lead to tragedy.

This is clearly a different kettle of fish from some of the recent student Playhouse productions, which have of late become one epic ensemble piece after another – visually stunning, but perhaps lacking the script to support it. “Obviously parts of Streetcar are surreal,” Hextall admits, “but I much prefer the natural grittiness and depth that you get with such a great script. It’s such a sexy, beautiful, vibrant piece, but at the same time very moving and shocking”. The Playhouse had suggested she take an original spin on such a well-known play, maybe by putting Stanley in a wheelchair, but she eventually decided against this. “I’m just not that kind of director, and the play is enough of a challenge – you don’t need to do anything crazy like switching gender roles”.
But although it might not have Royal Hunt’s gold leaf or The Odyssey’s epic fight scenes, Streetcar’s set is not being overlooked by any means. Designer Anna Lewis and her team of 17 set builders will be in the Playhouse workshop 9 hours a day for the next week, and the famous spiral staircase which is currently lying in 110 pieces is estimated to take between 2 hours and a day to put together. Hextall shows me photos and models of the set, which have been carefully thought through to look like a real house. “I wanted a functional set, one where you open a drawer and there really are forks and spoons inside. When we move into the theatre, I’m going to get the cast to practice running up and down the stairs and sitting on the chairs and beds. They’ve got to instinctively know the heights of all the surfaces – there’s nothing worse than watching actors move around a ‘house’ they’re supposed to have lived in for 20 years as though they hardly know where anything is”.

Making it realistic and believable is evidently an important aim of the production. The New Orleans setting, with two of the characters from the Deep South, makes the accents a big hurdle for the cast to overcome. As Hextall says bluntly, “either an accent sounds real, or it doesn’t”. But with the help of OUDS voice coach Margo Annet, books, videos and recordings, the medley of accents seem to have come together. Blanche (Ruby Thomas) and Stella (Hannah Roberts) have as good as perfected the southern drawl, in contrast with the men’s New Orleans’accents; the divide particularly significant in the final scene (which I watched being rehearsed).

Ruby Thomas, who has already starred in TV show Lewis and blockbuster Wild Child as well as a dozen plays in Oxford, confesses to being “really nervous” about playing lead Blanche DuBois: the accent, the size of her part, and the extent of her character’s experience. It is one of the potential difficulties with the play: a challenging and controversial role because of Blanche’s past and the events that take place towards the end of the piece, which has also been played by the likes of Vivien Leigh, Rachel Weisz and Cate Blanchett. Hextall too says she can’t let herself think about the magnitude of the production: “I’ve got to keep my head over the water”.

But despite the fears, it seems that the hype is not unjustified. It is hard to judge how the play will turn out from a snippet, but the final scene, even when still in rehearsal, is genuinely moving – those who know the end of the story will realise how tricky that is to carry off. The last moments of the relationship between Stanley and Blanche, with Ruby Thomas unable to hide her fragility against Corrigan’s domination of the stage, made me want to witness the events that led up to such a conclusion. Of course one scene doesn’t make a production, but it certainly looks gripping – and at this rate the remaining tickets aren’t going to last long.

When more is more

0

II’m risking falling into a southern Californian colloquialism here, but the upcoming production of Dennis Kelly’s play Love and Money is intense. Sure, it’s success has been attributed to its prophetic treatment of the debt crisis and credit bubble that have become the miasmic tragedy which has become emblematic of our generation.
But Chris Adams’ production owes its intensity not to the play’s timely relevance but to the performance of the actors across the board. Kelly’s dialogue is direct and, more often than not, delivered directly to the audience. In the mouths of the protagonists David, played by Jeremy Neumark Jones, and Jess, played by Sarah Perry, it is impossible to escape the hard-hitting emotional intensity of the themes. The story, in brief, is a non-linear telling of David and Jess’ awe-inspiring love and their equally awe-inspiring ruin through their descent into debt, mental illness and murder.

Neumark Jones’ bleary-eyed portrayal of David is enough to provoke our sympathies but at times you wish to see him as more of a fighter, resisting despair as he becomes a victim to it. Felix Legge and Louisa Hollway provide one of play’s only humourous hiatuses, albeit darkly, with their perfect depiction of parents negotiating the finances behind burying their daughter.

The counterpoint of their dialogue is exact and, a rarity in Oxford drama, they actually seem to embody the middle-aged middle class with a well-balanced touch. Etiene Ekpo-Utip shines in as some sort of con-artist and gives bubbling energy to a scene wherein he repeatedly pushes his business card to Isabel Drury’s Debbie.
But ultimately it is Sarah Perry’s depiction of Jess that both gives this play its beating heart and ultimately keeps it from falling into a despairing portrayal of materialism, debt and the price of love. Her final monologue is delivered in an air of breathy hopefulness but it is her physicality and embodiment of Jess’ character beyond her words that makes her so utterly convincing.

This production’s only risk is that it promises to be exhausting to watch. Each scene has the actors thrown into the height of emotional intensity, with little reprieve in the textual banality that usually makes emotional moments in theatre all the more powerful. But this ensemble carries off the constant emotional high with flying colours and ultimately serves Kelly’s language to the utmost. Love and Money is a meditation on the two conflicting motivations for every young person trying to make their way in the world and deserves to be seen simply for the reason that it paints the picture of the world our generation is scrambling to find a place in. You may leave this show emotionally exhausted but unlike most Oxford student drama, you will leave having intensely felt something worth feeling.

Restaurant Review: Ashmolean Dining Room

0

The Ashmolean’s had something of a facelift recently, and the relaunch was accompanied by such an impressive fanfare of publicity that it was almost impossible not to notice it. But the transformation is impressive, and succeeds in making Britain’s oldest public museum into something that you’d actively want to visit.

The most welcome of all the additions, though, is the Ashmolean Dining Room: perched right at the top of the vast building, it advertises itself as ‘a celebration of food and wine alongside art and culture’. The Pre-Raphaelites aren’t exactly hanging in the restaurant itself, which is probably wise, but they’re undeniable close by – and any celebration of food and wine is worth at least one look.

Visiting the restaurant outside museum hours feels a little like going in via the tradesman’s entrance: the door is tucked discreetly away on St. Giles, and there’s a lonely porter sat behind a reception desk just inside. But once you’ve reached the restaurant itself, the benefits of this slightly circuitous and shady entrance route become abundantly apparent. The dining room – a single large space, with views over Beaumont Street on one side and the full-height stairwell of the museum on the other – does feel like a proper restaurant, and a rather sophisticated one too. There’s no hint of the museum cafe about it, and no sign of a giftshop around the next corner.

The dark woods, steel and glass lend a note of modern class which is in keeping with the rest of the museum’s new aesthetic, but it’s not overbearing and the low-backed chairs contribute to the convivial and faintly communal atmosphere. It is, altogether, a rather pleasant place to dine.

The food is even better. The menu is surprisingly limited – there’s only about ten main courses, and four or five desserts – but this makes choosing easier rather than harder. It’s clearly aimed at a lunchtime as well as an evening crowd, but this doesn’t feel like a hindrance or a let-down. Our starter was a sharing platter of olives, artichokes, quails eggs and spinach and mozzarella risotto balls. It was beautifully presented and the portions were generous: crucially, it had enough substance to feel like a proper course without spoiling our appetites.

A roast suckling pig was served with more lentils than even the most committed hippy could possibly ever eat, but was delicious none the less. Better too many than too few. The whole sea bass, however, made the leap into the category of genuine excellence. The pork was very good, so it says a lot that I regretted not ordering the sea bass instead. The small range of puddings feels like it’s missing a light, refreshing option, but a shared – blame the lentils – chocolate mousse with gran marnier and orange confit was nonetheless very good. The wine list is about ten times the size of the menu, but it starts at reasonable prices and good quality. Our waiter – french, amusing, helpful, generally the epitome of good service – selected our wine for us with some style and great success.

The Ashmolean Dining Room seems to have pulled off a clever trick. It’s smart enough, and the food is certainly good enough, for a proper celebration or occasion, but it’s also very clear that they wouldn’t turn their nose up if you ordered only a bowl of soup and a glass of water. It will, inevitably, be a honey-pot for the coachloads of cultured OAPs who fill the Ashmolean, but the atmosphere and the surroundings felt welcoming to students, too. The bill for two people, for three courses and a bottle of wine, was ninety pounds, so it’s probably more somewhere for the parents to take you if you want the full evening experience. But it’s classy, and its got more character that lots of other Oxford eateries, so I advise that your parents visit in the near future.

We don’t need no…

0

University education. It’s not all its cracked up to be. Historians like me don’t have to do any work, so we indulge ourselves in more frivolous pursuits – running the country, say, or watching a Some Mothers Do ‘Ave ‘Em boxset. Surely this says something about how pointless university is. It must mean something.

My great-grandfather had to wake up at 4am, cycle ten miles to the pit, do ten hours’ hard manual labour, and cycle back again. I have to wake up at 4pm, cycle ten minutes to the Bod, do two hours’ reading about marginally interesting things and then brass off to the King’s Arms.

The Government, as you may know, is considering abolishing state humanities funding. In truth we don’t need it. Even at Oxford – the best undergraduate history course in the world – it would be possible to complete the work within a year of dedicated study, and moreover to complete it without the bother of attending university.

This idea’s a bit radical, but it certainly would work. If you live near to a good library and travelled to visit a tutor once weekly, then that’s your degree right there; motor board on, and real life to look forwards to. My point is that Humanities teaching should be abolished at universities. It’s organised reading. A list of books, the odd tutorial, and occasional public lecture is all that’s honestly required.
(This is ignoring the purposeless decreptitude of much of the reading itself. Academics are nonce writers. We ought to be sticking to the good stuff, not JStoring outdated bollocks from the 70s that no-one really cares about.)

Anyway. What should we do with the old colleges? Turn them over to masses – no. Turn them over to the scientists – hell no. Turn them over to the city of Oxford- you must be out of your mind. Nah, we should make them into hotels. Big, shiny hotels where the City dwellers can come and gloat over the city dwellers below. Move over Randolph, the Oxonian Ritz-Carltons are incoming. Effectively, it would be one big orgy where all the former humanities students can come and hold their lavish banquets and trendy ‘up in the clouds’ debates. That’s what they basically already are, anyway. Let’s make it official.

The week that was: The London Demo

0

What happened?

You know that thing you totally meant to go to? Well, 30,000 people did. Incensed by the tripling of tuition fees and Higher Education cuts proposed by the government, hordes of angry students descended on the capital. The placards were seriously impressive. ‘We’re not the only ones willing to take it up the arse Nick Clegg’ from the LGBT socs; the immortal ‘Down with this sort of thing’ and ‘We’re not Sam Cameron, you can’t fuck us’ added wit and bravura to the march. Irreverent as this might sound, it got rather serious later on when over a hundred anarchists and students starting smashing up the Tory HQ – burning, looting and generally making it all the more difficult for the rest of us to make our voices heard. The rowdy ‘children of the revolution’ eventually made it onto the building’s roof, brandishing the red flag. The police finally brought the whole afternoon to a close as a van loads of riot officers took back the Tory stronghold.

What the papers say

The Mail’s take was actually fairly accurate. Not even it would deny that the smashin’ was ‘the actions of a disgraceful minority of balaclava wearing Left-wing agitators.’ Liberal papers were more sympathetic, largely because their esteemed editors wish they were doing this sort of thing while actually sitting behind their desks with only the Wire to look forwards to. Guardian: ‘the protests may be a lightning rod for wider public unease with the government’s public spending strategy.’ In other words, the Tories should be ousted. How nice that our press is so objective.

What now?

It won’t make a blind bit of difference. Nick Clegg is not going to change his U-turn merely because he is told to by a unruly mob of fire-extinguisher throwing activists. Defections are not made lightly. And unless every single Lib Dem MP rebels (and, even less likely, every single Labour member votes against) the fees will go through the House of Commons. Students walking about outside the Palace of Westminster will not change the hard realities of politics. Vandalism and battery don’t get you far either: the po-po have already arrested over 60 for the Tory headquarters cock-up. What has happened, though, is to give some tabloid publicity to what was otherwise a dull and largely middle-class bitch-slap of the ruling powers. It’s not often student issues get on the front of the Sun (apart from the occasional Lacrosse initiations), and arguably any publicity is good publicity, so even the violence had an advantage. But lets not pretend it was a good idea.

It’s the students what won it

0

In the past week there have been many articles printed in the mainstream press which attempt to discredit the movement against Higher Education cuts and increased tuition fees. This weekend saw The Mail on Sunday’s latest session of protester-bashing with a piece slating the ‘hypocrisy’ of the demonstrating middle classes, which, quite predictably, took Oxford students as its main targets. Aside from the numerous falsities and misquotations, the questionable techniques used to gain information, and the weakness of the conclusion, which showed little more than that some protesters went to good state schools, the argument itself – that people whose families would be able to afford the proposed tuition fees are nothing but hypocrites if they fight against them – is deeply flawed. With this mind, it is simply wrong to suggest, as do The Mail and others, that protesters who campaign against something which will not directly affect them cannot have any worthy reason to demonstrate; protesting in solidarity with less privileged students, or on the basis of principle is not an option – according to them.

The tabloids seem unaware of the irony at work when they criticise the Millbank activists as hypocrites. In all the excitement of the recent manhunts for those who broke the windows of Tory HQ, the real hypocrites and criminals seem to have escaped unscathed. Could anyone stand as a better example of self-contradiction than Nick Clegg? Perhaps only fellow Oxonian, David Cameron, can match his level of duplicity. In his extreme reaction to the events at Millbank, (a reaction disproportionate to the breaking of a few windows), Cameron seems to have conveniently forgotten not only his own Bullingdon club days of smashing and trashing, but also the fact that the proposed cuts are a violent and destructive act against an entire nation. His vehement defence of the innocent, fragile panes of glass at Millbank only highlights, in contrast, his neglect of millions of the country’s poorest and most vulnerable who will be massively hit by the cuts; he wants activists to face “the full force of the law” for glass damage but takes no responsibility for the lives he is about to destroy. Why is the media not holding the real guilty parties to account?

The Daily Mail’s attack on middle class campaigners follows an early media attempt to characterize those involved in the direct action at Millbank as ‘professional agitators’ and ‘rent-a-mob lefties’, always up for a round of random vandalism and thuggery. Photographs of random protesters (often seemingly under the age of eighteen) were printed in a wave of name and shame style articles designed to instill fear in protesters and incite the public to turn against what they called the tiny independent group of extremists. But last week’s direct action was not conducted by a ‘small extremist faction’, as is shown by one of the best photos of the demonstration, taken from the roof of Millbank. Pictured are crowds of thousands below in the courtyard, and the caption underneath reads, ‘The tiny rogue minority. Can you spot it?’ Similarly, there has been media outrage that the protest was “hijacked by a load of anarchists – not even students!” as if the terms ‘anarchist’ and ‘student’ are somehow mutually exclusive. There is no evidence at all that the activists at Millbank were not students anyway, and going by sight only (unless students have developed some common physical feature by which they can all be identified) it is highly misleading to suggest that it was possible to know this.

And it is precisely this point, that we are not one small identifiable group of people that makes our movement strong, and really threatens the Government. Far from being detrimental to the cause, the fact that school, sixth-form, and university students, teachers, lecturers, tutors, unionists and workers from all professions marched together, in unity, is not only an incredible sight in times of apparent political apathy, but is also absolutely essential if cuts are to be successfully resisted. Historically, solidarity has, like civil disobedience been extremely powerful in winning campaigns against the state. At this very moment for example, the campaign against regressive changes to pension laws in France, are massively strengthened by the active support of thousands of lycéens.

It is convenient for both the media and the Government to characterize the direct action of the 10th November as the work of one confined social or political group, be that the middle classes or the ‘anarchist layabouts’. Conflating the different groups and individuals involved provides them with one clear target, and aims at dismissing the very real threat which the movement poses to the powers attempting to enforce the cuts (the powers that is, with whom Aaron Porter has so keenly attempted to stay in favour in order to secure his own future career). More than four thousand people from all ages, backgrounds, professions and political affiliations have now signed the statement in solidarity with those arrested at Millbank. Unfortunately for the coalition Government and the mass media, we have diversity, solidarity and unity; this is only just the beginning of great resistance to come.


OxfordEducation Campaign has called on Oxford students and lecturers to participate in the national day of walk-outs against the cuts, assembling at the Carfax Tower next Wednesday 24th November, at 12 noon.

F**king the government with a small g

0

Michael Crick is not what I expected. As a journalist who moves through Parliament Street like a shikari through the Kashmiri cloud-forest, and as the only man ever to have been both President of the Oxford Union and Editor of Cherwell, I had imagined Michael Crick to be the hackiest hack in Britain. Avuncular. Utterly at ease. Perhaps ever so slightly condescending.

The man in front of me is none of these things. He orders himself a slim-line tonic, citing two large glasses of wine at lunch earlier. It’s November 10, but he’s not wearing a poppy. Instead, an enormous and immaculate Ralph Lauren scarf – more of a stole, really – splashes scarlet over his chest. Little things matter in Crick’s world.

We make small talk about the student protests a mile away in Westminster. Crick mentions he went down to London for just this kind of demonstration in 1976; I ask if he would be out there now if he were 21 again. He dodges the question, a little awkwardly.

Well then, I continue, are the late 70s coming back? Rising unemployment, crashing cuts, simmering race issues, polarised politics – is Britain about to become an interesting country again? “I doubt it,” says Crick confidently. “Maybe a bit. But I don’t think you will see the level of unrest on anything like the scale that you saw in the 60s, 70s and early 80s.

“Although certain uninformed journalists” – I blush – “might say ‘aw, we’re back to the 70s’, these rallies are just token gestures. I don’t think we will return to the unrest that we saw in the 70s. I know you’ve just come from one of these demonstrations, and I’m sorry to disappoint you, but it ain’t gonna be like it was then.”

At this precise point in time just as Crick is speaking – I checked when I saw the news – 200 protesters burst through the police cordon into Millbank Street, heading for the Conservative Party HQ with grim determination. Just saying.

So. I have one of the most influential journalists in the country sitting opposite me, a man with more contacts in his little black book than Arnold Goodman, and more leads in Westminster than the National Grid. What shall we talk about? Journalism, of course.

And, surprisingly, Crick is both deprecating and proud about his profession. Its biggest failing, he begins, is its shallowness. “It’s a very imperfect profession,” he says. “The number of journalists who can read a balance sheet or understand company accounts is few.” Finance, science, Islam: all burning questions of the day that require a specialist knowledge beyond the average journalist’s expertise. So they are not held to account.

Crick is sceptical of the media’s power and reach: “We are one of the checks and balances in a free society. Parliament…the legal profession…the lobby groups – there are various forces at work holding people in power to account. I had an editor on Newsnight years ago who used to come in every morning and say, ‘right, how can we fuck the government today?’ He didn’t mean the then Labour government, he meant the government in the sense of ‘small G’, the people running, er, the world.”

So just how much has Crick buggered up the system? “I don’t know how successful I have been in fucking the government. I mean, I think I’ve probably irritated them, I know I’ve irritated them. There are times when they wish I wasn’t there.” Just in time, he comes over a little bashful. “I’m pretty sure I haven’t, you know, brought about any huge changes in government policy.”

This is partly modesty. Wikipedia tells me that during the elections earlier in 2005 somebody said the five most terrifying words in English were “Michael Crick is in reception.”

One of the most charming things about Michael Crick is his frankness about where he has been right and where he has been wrong. A life-long and ardent Manchester United fan, Crick is more forthcoming about The Betrayal of a Legend, his attack on the club’s spendthrift new management under an arrogant rookie called Alex Ferguson, than he is about his more political works on Jeffrey Archer and militancy in Britain.

“The ultimate judgement that my co-author and I reached was utterly wrong,” he says, “which was that so long as you are obsessed with money then you won’t be successful on the pitch. United then went on to prove me totally wrong. But it was revolutionary in that nobody up until that point had ever applied the normal kind of journalistic scrutiny you would apply to all sorts of other organisations to a sporting institution like that.Lots of modern politics really is sport. And we do cover it increasingly like sport. You know the Match of the Day highlights followed by the panel discussion? Well that’s how we cover politics these days. Since politics became, y’know, non-ideological in the last 20 years, it has really been a contest between the Blues and the Reds.

“The policies pursued by the Blues and the Reds are almost interchangeable- y’know, the Blues pursue one policy on, say, tuition fees” – his eyes sparkle – “and the Yellows decry it. Then they swap jobs and the Blues and the Yellows come into power and adopt that very policy, and then the Reds decry it.

“It is increasingly a sporting contest between two tribes who, like United and City fans, just hate each other. But the significant division between them is nothing like as great as it used to be.” You get the impression Crick would have loved the chariot-racing politics of Imperial Rome. His version of politics is about people, not policies, and, listening to him, you get the feeling that the back-stabbing rabble-rousing puppet-mastering machinations of the Senate never went out of style in the western world.

Meanwhile, the far left has had its teeth pulled out. “Polls suggest that most of the public do feel the time has come to cut public expenditure,” says Crick, “and I don’t think we’re going to see this government’s activities halted by industrial unrest. As for poor students and demonstrators, why should anybody take any notice of them?”
He giggles. 30 Millbank St burns. But in the long run, it looks like Crick will be right. Politics ultimately comes down to a group of men and women sitting around a table and compromising furiously. The hoodie-wearing placard-wielding student in me hates him for it, but Crick understands the nature of power better than any other man I have ever met.