I loved it so much I tuned in to i-Player and watched it all
the way through twice in less than a week, and now I’ve ordered the DVD too. If that isn’t a reason to pull on my patent
lace-up blogging boots and finally write something here again then I don’t know
what is.
It’s the film Arcadia.
Did you see it? I missed it on
BBC Four when it aired a few weeks ago but thanks to the spot-on recommendation
from a good friend who has the measure of my tastes, I turned out the lights, settled
back into my chair at my desk under the stairs (the suitably quirky and shadowy
cubbyhole from which these posts emanate) and treated myself to it on my PC. By the eerie blue glow of the modem I let it
take me into its part-dream, part-real landscape – one inhabited by the monochrome
ghosts of our distant past and the colourful eccentrics of our more recent one,
a place that could only be Britain. Oh I loved it. It’s so far up my street it’s in the front
door and helping itself to tea and biscuits.
I didn’t really know what to expect; none of the reviews I’d
read beforehand could really give me an accurate insight, and so I realise I probably can't give one here either. Perhaps that’s part of the beauty of this film– its
inability to be easily categorized. I
was trying to persuade Mr SDS to watch it with me the second time and found
myself struggling to answer his queries.
“What’s it about?” he asked. I couldn’t explain that one
easily. The British countryside? Nostalgia?
Nature? The changing
seasons? Life and death? Folklore?
Any one of those themes would have put him off, and all were too simplistic, so I had to choose my
words carefully.
Arcadia is about all of those things, but in a glorious, eccentric mash-up. It’s a collage of existing footage, seemingly quite random and yet crafted in such a way as to deliver an unspoken narrative about past, present and future. It’s arty, but not arty-farty. And it taps into something that I can imagine only those of us who were brought up in Britain could really, truly get, if you know what I mean. That could sound worryingly jingoistic; in these horrible times of racism, the rise of the Far Right and Brexit madness I’m almost afraid to mention ‘Britishness’ as a thing – it’s feels almost shameful. But this film somehow gets to that ‘quintessential’ stuff we all recognise, without passing judgement – an innate identity we can’t help but have because of our experience. It’s the Britain of BFI Public Information films, Nationwide, maypoles, Alice In Wonderland, foxhunting, the North/South divide, the Wicker Man, Stonehenge, punk. Mystical, prosaic, carefree, dark, beautiful and brutal - all these contrasting things and more. Actually I was quite surprised to find that its creator,the Scottish film-maker Paul Wright, is only 37, because it’d be easy to presume it came from the experience of someone with a few more years under their belt. (I’m thinking: my age!) I was also put in mind of Julien Temple’s style of montage, which I’ve always enjoyed in his documentary films such as The Filth and The Fury and Oil City Confidential – his characterful way of peppering his work with odd little archive clips.
At least one thing I could tell Mr SDS was that within the first five minutes we'd see some black-and-white footage of the village just up the road from us, where cows were wandering through the deserted main street and where happy-faced women waved to each other across the road from their cottage windows. Like most of the film, there is something deep and dreamlike in this sense of familiarity now so warped by the passing of time. There might even be something from your neck of the woods - if you check out this BFI page for it, you can access the sources from which the clips were taken and it's a fascinating selection - I was deeply side-tracked by this later so be warned...
Arcadia is about all of those things, but in a glorious, eccentric mash-up. It’s a collage of existing footage, seemingly quite random and yet crafted in such a way as to deliver an unspoken narrative about past, present and future. It’s arty, but not arty-farty. And it taps into something that I can imagine only those of us who were brought up in Britain could really, truly get, if you know what I mean. That could sound worryingly jingoistic; in these horrible times of racism, the rise of the Far Right and Brexit madness I’m almost afraid to mention ‘Britishness’ as a thing – it’s feels almost shameful. But this film somehow gets to that ‘quintessential’ stuff we all recognise, without passing judgement – an innate identity we can’t help but have because of our experience. It’s the Britain of BFI Public Information films, Nationwide, maypoles, Alice In Wonderland, foxhunting, the North/South divide, the Wicker Man, Stonehenge, punk. Mystical, prosaic, carefree, dark, beautiful and brutal - all these contrasting things and more. Actually I was quite surprised to find that its creator,the Scottish film-maker Paul Wright, is only 37, because it’d be easy to presume it came from the experience of someone with a few more years under their belt. (I’m thinking: my age!) I was also put in mind of Julien Temple’s style of montage, which I’ve always enjoyed in his documentary films such as The Filth and The Fury and Oil City Confidential – his characterful way of peppering his work with odd little archive clips.
At least one thing I could tell Mr SDS was that within the first five minutes we'd see some black-and-white footage of the village just up the road from us, where cows were wandering through the deserted main street and where happy-faced women waved to each other across the road from their cottage windows. Like most of the film, there is something deep and dreamlike in this sense of familiarity now so warped by the passing of time. There might even be something from your neck of the woods - if you check out this BFI page for it, you can access the sources from which the clips were taken and it's a fascinating selection - I was deeply side-tracked by this later so be warned...
Enhancing it all too is a rather brilliant soundtrack which
comes courtesy of Portishead’s Adrian Utley, Goldfrapp’s Will Gregory and folk
singer Anne Briggs.
Here's a sample of the music to whet your appetite.
Here's a sample of the music to whet your appetite.
Anyway, what am I doing, taking up your time reading this waffle when you could be watching it?! There’s only 7 days left on i-Player.
