and so anyway it turns out the best thing about Harry Brown (2009) is the bit when septuagenarian vigilante Michael Caine, pursuing some criminal yoof across a sarf London estate, has a sudden attack of emphysema and it suddenly becomes Breath Wish…
Nigel Kneale, authorised biographer of (and chief propagandist for) Professor Bernard Quatermass, was always quick to blame it on the militarisation of the British Space Programme, while American analysts tend to pin it on the UK’s lack of frontier spirit and yankee know-how (and there is certainly evidence that Britain tried to recruit some of that – though they ended up with a washed-up alcoholic who spoke so quickly you always had the sense that he was impatient for any conversation to end so he could get to the bar).
The truth, however, is revealed in Stephen Baxter’s Moonseed (1998).
sipped her … tea. Even freshly made, it did not seem hot enough. One of the old clichés of lunar travel, she thought: water boils at lower temperature in low pressure.
And, as this model and the Winnerton Flats prototype reveal, the lunar domes Quatermass intended to build would not have solved the problem.
Basic physics robbed us of the Dan Dare future we were promised. Once it became clear quite how rare a nice cup of tea would be in space, we as a nation – an entire nation – just lost the will to go there ourselves.
However, the story does not end there.
A careful reading of Baxter shows that it was Britons who unleashed the planet-destroying Moonseed, thus forcing the US and Russia to co-operate in the mission that would ultimately lead to the rapid terraforming of the Moon (and then, it is implied, human expansion across and beyond the Solar System). And should anyone doubt that this is ultimately a British triumph, observe what happens on pp.489-90. Henry, the American responsible for setting the lunar expedition in motion and for sneaking along the equipment necessary to make the Moon habitable at the speed (if not quite the absurdity) of Total Recall, knows that his crazy plan has worked the moment it starts to rain on the Moon.
A couple of weeks ago, on the way back from work, it suddenly struck me that I had forgotten that he had died. I even went online when I got home to check that I hadn’t misremembered (or misforgotten, or whatever). Saddened once more, I resolved to finish watching Nichols (1971-72), his western TV series just prior to The Rockford Files (1974-80), before heading overseas for the holidays. The final episode, ‘All in the Family’, produced another affective flip-flop as, in the opening sequence, Nichols is suddenly gunned down by Quinn (Anthony Zerbe); there is a brief passage of what-the-fuck? as the funeral proceeds and it doesn’t all turn out to be one of Nichols’ scams; and then Garner turns up, admirably moustachioed, playing Nichols’ brother, who cons the town into bringing Quinn to justice. You can only imagine my delight when, a few days later in Tucson, we sat down to start watching season three of Maverick (1957-62), and in the opening episode, ‘Pappy’, Garner plays not only Bret Maverick, but also his father, Beau Maverick, and Bret pretending to be Beau. I hope he picked up three pay cheques, because he is always worth that much. (I have no idea what I am going to do about the final two seasons – in season four, Garner is replaced by Roger Moore, playing the Mavericks’ English cousin, Beauregarde; and in five, Jack Kelly carried on alone as Bart, interspersed with reruns of old Garner/Bret episodes. My inner completist is at war with my inner loyalist.)
I am curious, though, about the sensation of missing a celebrity, someone I never actually knew.
Like all right-minded people, I was appalled by the massive manipulation of public sentiment when Princess Diana died,* and scoffed at the miserable attempts to whip up a lacrimae rerum rerun when that vile, gin-swilling elitist, the Queen Mother, finally choked (I guess from having her greedy snout so deep into the public trough).** And despite being washed up alone in a Californian one horse dorp the day Thatcher died, I still managed to find myself partying into the small hours in the one gay bar in town.
On the other hand, but also like all right-minded people, I was bereft for months when Elisabeth Sladen died. Part early object-cathexis, I know; and partly because just as so many of us have a ‘my Doctor’ – mine would definitely be Tom Baker were it not for Peter Cushing – she was always ‘my companion’.
Maybe it was that unexpected feeling of loss that prepared me for Jim’s passing. And the fact that he had always been there – without ever actually being there –since I was a child. (A friend recently caught a late episode of 8 Simple Rules (2002-05) and said how much it made her long for a big living room centred around an open fire. Me, my wishes are simpler: a battered old armchair, from which James Garner comments wrily on my everyday foibles and mishaps.)
Garner was a big, handsome man, with an easy-going and amiable persona, and good liberal politics. He was not hard to like, even when playing an arrogant shit of a corporate CEO in Barbarians at the Gate (1993). But his real appeal, especially when playing Maverick and Rockford (both created by the equally admirable Roy Huggins), was his performance of human frailty. He played heroes who were cowards, gunmen who eschewed guns, a private dick who took plenty of lickings because he couldn’t always avoid a fight, no matter how hard he tried, and was not much good at fighting anyway. He played a cardsharp who did not cheat, except when he did. He pursued money but could not get hold of it. He fell for women he knew were trouble, and was suckered every time, because despite his mercenary instincts he also tended to trust people. Everyone jokes about how The Great Escape (1963) has a claustrophobic tunneller (Charles Bronson) and a blind forger (Donald Pleasence), but they forget that James Garner plays a scrounger with a heart of gold. He refuses to leave the forger behind when the POWs break out of Stalag Luft III en masse, and is finally captured when he refuses once more to abandon his friend.
Ask what Big Jim would do.
* The only good thing to come of it was the Princess Diana Memorial Fountain, and then only because it inspired Stewart Lee’s Princess Diana Memorial Fountain Memorial Fountain Fountain routine.
and so anyway it turns out that the best thing about Chaos is the moment when Jason Statham takes it upon himself to use a word incorrectly in order not merely to correct the grammar of a woman he is questioning but also to demonstrate how annoying such unforced errors are by pointing out that ‘a double negative infers a positive’…