Kill the Giggler
6May/110

Short Fridays #5 – The Day Today: “It’s Fine”

Apologies for the lack of action on the blog over the past few weeks – I’ve been hard at work on various secret projects (read: Portal 2 and playing Frisbee) so I’ve neglected you. Sorry about that. There is lots of stuff that I have written which you will be able to read soon hopefully.

For this week’s Short Friday it’s a bit of a first for the column that sets a precedent you may or may not be comfortable with: it's a comedy sketch, from a sketch show. But it is a self-contained mini-film in its own right, and it's from The Day Today, and saying The Day Today is a sketch show is like saying The Godfather is a men in suits go bang-bang film.

I would probably go as far as to say that The Day Today is the only television show I’ve ever seen that I could confidently describe as ‘perfect’. Six half-hour episodes. Every single frame of those six episodes of them incisive, executed with a level of detail that I haven’t seen equaled on television before or since, and funny. Really funny.

Let’s just pause for a moment to look at a selection of some of the things the writers and performers of The Day Today have produced since the show ended.

TV first:

Brass Eye, Jam, Father Ted, The IT Crowd, Black Books, TV Burp, Friday Night Armistice, Stewart Lee’s Comedy Vehicle, The Trip,The Thick of It, I’m Alan Partridge, Knowing Me: Knowing You

Then in film:
Four Lions, In The Loop, 24 Hour Party People, and A Cock and Bull Story.

So that’s pretty much every great British television comedy made in the past 15 years (The Office and Peep Show are the only notable absentees), and unquestionably four of the best British films of the past decade.

Here’s the thing – as fantastic as all of the things I’ve just mentioned are, everyone involved in The Day Today has probably never topped it. That’s how fucking good it is.

Anyway, I was reminded by this particular moment of the show (a skit based around the conceit that in times of crisis, the government will provide an emergency broadcast of a morale boosting film) recently because I've noticed that there’s been a real apocalyptic feel about the news this year. We’ve already had at least four enormous natural disasters, a nuclear emergency, dictators slaughtering their own people, a genuine democratic revolution, crippling public service cuts, the revelation of the total corruption of the biggest conglomerate in the world (and likely corruption in our police force), the spectacular death of the world’s most wanted man, general unrest, rioting and disquiet all across the world, and we’re not even halfway through 2011.

Maybe I’m more sensitive to the news and its implications for the world than I used to be, but it really does feel like this is a year where God or Jebus or whoever has decided to stop arsing around on the pinball tables in heaven, roll His/Her sleeves up and take care of some business. As a result, I couldn’t help but watch the bunting-heavy recent wedding celebrations, (entertaining thought they were) and see it essentially as an extended version of this sketch - England coming together in a flurry of pomp and circumstance during troubled times to unite in 'the brotherhood of flags.’ Eveything’s OK. It’s fine. Look at Harry’s shiny medals, and Kate’s pretty dress, and Pippa’s shiny arse*. Everything’s great!

There’s nothing wrong with a big morale-booster, of course – but if we’re going to have one, before we all slide inexorably into the violent wasteland of the post-apocalypse, I’d prefer it was produced by Chris Morris and Armando Iannucci. Then at least we could have one last belly-laugh before we start harvesting our newborns for energy and precious minerals.

Anyway, congratulations to the Duke and Duchess of Cambridge! May your first child be a healthy, protein-rich child!


*New band name - I call it

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8Apr/110

Some love for Steve James: ‘Hoop Dreams’ and ‘The Interrupters’

I finally got around to finishing Hoop Dreams last weekend, something I’ve been meaning to do for an age for the following reasons:

1) It’s one of the favourite films of my favourite film critic, Roger Ebert
.
2) I love documentaries.

3) I really like basketball, weirdly. I think playing NBA Jam incessantly as a ten-year old might have something to do with it, though.

4) I love basketball documentaries – of the episodes of ESPN 30 for 30 I’ve seen (excellent ongoing sports documentary series), the ones I enjoyed the most were Reggie Miller vs The New York Knicks (very entertaining breakdown of a vicious town rivalry with classic footage of Spike Lee being made to look like a complete tool) and No Crossover: The Trial of Allen Iverson (also directed by Steve James, director of Hoop Dreams). I also has a well-worn copy of a Michael Jordan documentary that I was obsessed with and watched almost every week for a period in time that really wasn't that long ago.

I’ve had a number of attempts at watching it that were all eventually aborted for a variety of reasons – I finally got the time to sit down and watch it in all its nigh on three hour glory, albeit on a terrible quality region-free DVD, the only one available to us saps in the UK (the US has a fancy Criterion Collection DVD that looks enviably feature packed). Watch Siskel and Ebert outline the story here if you're not familiar with it:

Needless to say it was just as good as I’d hoped it would be – director Steve James is an incredible visual storyteller, cherry-picking moments that are alternately tragic and triumphant, horrifying and edifying, and weaving them together into an irresistible narrative that plays more like the plot to the apocryphal Great American Novel than your common or garden inner city documentary. If it wasn't terribly reductive and obvious I'd say this was The Wire of documentaries - a richly compelling cross-section of American life infused with a sweeping, Dickensian ambition and a social conscience that has rarely been equalled in their respective mediums.

Hoop Dreams was a long time ago now (1994): in the nigh-on twenty year interim, Steve James has produced one full length feature (Prefontaine), a couple of TV movies, the aforementioned Allen Iverson documentary, and a selection of praised but little-seen documentaries. Coming up this year, however, he makes his long-awaited comeback to documenting inner-city life with The Interrupters.

The lengthy trailer lays out the premise of the film better than I ever could, so please go and watch it below immediately. It's seriously powerful stuff, and is obviously only a tiny glimpse at what James plans to show us in the full three hour feature. Advance word from festival screenings has been sensational - a brief Twitter exchange with production company Kartemquin has revealed that not only will The Interrupters be coming to a UK fest this year, but that it'll also be screened on the BBC (almost certainly BBC Four, I'd wager) as a Storyville special. If The Interrupters turns out to have anything like the scope, ambition, wit and vitality of Hoop Dreams, then we're already looking at one of the films of the decade.

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