Article
Comment
Justice
Trauma
4 min read

Can life go on after wicked acts of violence?

We can fulfill the law in more ways that just the legal sense.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A montage shows three people, an older man, a young man and young woman.
Ian Coates, Barnaby Webber and Grace O'Malley-Kumar.
Family handout.

It’s an all too human instinct to seek vengeance against psychopathic killers, especially those murderers of children and youngsters. If we’re honest, we can all feel a primal urge to “get our hands on them”, to inflict, in retribution, the pain, death and suffering that they delivered on their victims and their families. 

That must be why, shortly after his sentencing, the murderer of the three little girls at a dance class in Southport - Elsie Dot Stancombe, Alice da Silva Aguiar, Bebe King – was reported to have been beaten to a pulp by fellow prisoners. It went momentarily viral with the help of the likes of former support-actor Laurence Fox, who writes in short sentences because he thinks in them, claiming he’d heard it “on the grapevine”.  

The story was only slightly undermined by such giants of investigative reporting getting the jail where the convicted prisoner is incarcerated entirely wrong. 

It’s a kind of wishful thinking, if a herd can be said to think. It’s also why we have a rule of law in what we aspire to call a civilised country. It’s there to bring such perpetrators to justice, while ensuring that justice isn’t impaired by the wholly understandable desire of victims’ families to tear their killers to pieces and the knuckle-dragging, social-media lynch mob who think they know what justice looks like. 

Hard for anyone to know how to respond to this. It’s perhaps particularly challenging, for fear of being intrusive and trite, to see how a religious faith can respond. But I want to have a go. And to avoid those charges of hand-wringing solipsism, I won’t speak of hope and love and life in this context, which so often feels like throwing a handful of seeds into a raging storm.  

Rather, I think I want to ask what fulfilment of the law might look like. The full 240-page report into the killing In Nottingham in June 2023 by a paranoid schizophrenic of two 19-year-old students, Barnaby Webber and Grace O’Malley-Kumar, and separately a 65-year-old man, Ian Coates, has been published. Not unnaturally, the headline theme has been that the killer “got away with murder” through a series of chaotic failings by the NHS, in its discharges of its patient into the community, in its absent risk management and failures to medicate him adequately. 

Culpability for these crimes is a powerful driving force. But there’s something else going on here. After the report’s publication, the two young victims’ mothers, Sinead O’Malley-Kumar and Emma Webber, went on BBC Radio 4’s Woman’s Hour for an extended interview. And, yes, of course they share a campaigning spirit to change the health system so that this kind of tragedy is less likely to happen again. But Emma said that they’re “not witch-hunting with pitchforks” and Sinead observed with crystal clarity that “systems are made up of people”.  This was about human as well as systemic change. 

The go-to journalistic word here is “dignity” and, yes, these two mothers have it in bucket-loads. But, as I say, there’s something else. Struggling to identify it, I come up with the phrase that life goes on – and not in its platitudinous sense of bucking up and getting on with what’s left to us. There’s a feeling of continuation, not just of ending, dreadful as those endings are for families.  

Asked by interviewer Anita Rani (who, in passing, was first class) what sustained them, where their strength came from, Emma answered in a heartbeat “Barnaby”, adding quickly in a heartbreaking throwaway: “It’s that invisible umbilical cord.” Similarly, Sinead said she was strengthened on a “bad day” by the knowledge that she was “doing it for Grace.” 

They know, absolutely, that they can’t change what happened, but they’re there for each other. And not just these two mothers. Bereaved parents from Southport have been in touch, as they said, in “awful solidarity.” 

A solidarity unconfined to this dreadful cadre of the violently bereaved. When these two mothers visited Nottingham for a vigil for their lost children, they expected “maybe 50” to turn up. In the event, there were “thousands and thousands” in Market Square.  One of the two said simply: “There’s more good than bad out there.” Life goes on. Again, not in the sense of pulling your boots up and making the best of it, but in the sense of acknowledging that this is not all there is, that we’re working towards something infinitely better. 

I think that’s what fulfilling the law might mean. Not solely changes to human systems, but changes in humanity. And perhaps that makes some sense of the gospel line: “I’m come not to destroy the law, but to fulfil it.” Not just to fulfil prophecy; not just to improve legal processes, but to fulfil the immutable laws of humanity for which these two mothers – and so many others around them – work so tirelessly.  

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Review
Culture
Death & life
Film & TV
Trauma
5 min read

Bridget Jones: a brilliant mess of a movie

A fresh expression of lost, stolen, love.
A couple sit on outdoor seats, her resting her head on his shoulder.
Working Title Films.

I cannot overstate how low my expectations were going into this film. I love the first Bridget Jones, a classic of the (specifically British) romcom genre. The two sequels were tedious retreads, and the idea of number four in the series elicited the opposite of delight. I went to see Bridget Jones: Mad About the Boy out of parochial duty – many of the film’s beautiful exterior shots were filmed in my parish, at the church school and the surrounding streets. I wanted to ‘represent the parish’ and show some local pride. I wasn’t alone; I saw many faces I recognised from the school gates, and I ended up sitting next to a parishioner. Thank goodness cinemas are dark!  

You’ll understand by the end of the review. 

The film opens on Bridget, rather disorganised and dishevelled in just the manner we’ve grown to love, getting ready for a night out while also preparing dinner for her children. She and Mark Darcy now have two children, and the house looks like a cyclone has passed through. She calls Daniel Cleaver, who engages in some raunchy chat, and then insists he’s on his way. Oh no! Have she and Darcy divorced? Has that bounder and cad Cleaver wormed his way back in?  

Cleaver arrives at her home…to babysit!?  

Bridget hurries off to her dinner, and as she approaches her host’s front door she smiles. Darcy is walking towards her from the other end of the street. They meet at the door and lovingly complement each other’s appearance. They ring the bell. The door opens. Bridget in standing there. Alone. 

Bridget is a widow and a single mother. Her children are adorable, but hard work. She hasn’t worked properly since Mark died. She is both overwhelmed and yet also numb. She has no life or purpose outside of the chaos of her home. Her friends – especially her gynaecologist – encourage her to re-invent and re-emerge. Go back to work, go back to socialising, go back to dating. 

This is the first five/ten minutes of the film and sets the scene.  

To begin with the positive. The script is very funny. The direction is competent and even throws in a few unexpected and moving tableaux. The cast are on fire! Renée Zellweger could sleepwalk this role, scrunching her eyes in that endearing way on command. Leo Woodall is smouldering and hunky as the young lover, and Chiwetel Ejiofor is pure charisma and chemistry as the new science teacher Mr. Wallaker. Emma Thompson chews the scenery and delivers the best jokes as Bridget’s gynaecologist. The standout is Hugh Grant, who has immeasurable fun turning the roguish lothario Cleaver into the wittiest silver-fox we’ve seen on screen for many a year. He is at the peak of his career, and it is a joy to watch. 

But… 

None of it really hangs together. There is no real plot; there are little comedy sketches and episodes that jump from one to the other – never entirely unrelated, but never entirely coherent. 

This is a film of many subplots. The subplot of Bridget and the mums at the school gate. The subplot of Bridget getting back to work. The subplot of Bridget smoothing the rough edges off Mr Wallaker (who uses a whistle like a weapon). The subplot of Daniel, of her friends from the first film, of her parents, and so on and so on.  

There is the subplot of Bridget developing a new, modern, Tinder romance with a hunky Hampstead Heath ‘ranger’ (the ‘boy’ of the title). It could be argued this is the main subplot: Bridget finding new confidence and a new lease of life via a summer romance with a handsome younger stranger. It is also the most forgettable. It’s shallow, and is really only an excuse to make updated references to the original film. 

The film is a mess. 

And yet… 

I cried. I cried more than once, and proper tears. Thank goodness cinemas are dark, because no priest wants their parishioners to see them blubbing, especially while watching a Bridget Jones sequel! This mess of a film has a single strand that runs through it, gives shape to its episodic nature, and turns it from an ‘okay’ film into a brilliant film.  

Grief. 

Bridget is grieving Darcy. Her children are grieving their father. Cleaver is grieving the life he could have had – so committed to debauchery was he, that he has no one permanent in his life (except Bridget) and he hasn’t spoken to his son for nearly two decades. She and her friends are grieving the passing of the years, and the reality that they are 25 years older. Through the raunch, and crude jokes, and slapstick set-pieces, this film surprised me by being a slow-burn meditation on grief. I won’t say too much more about the film because – and I can’t believe I’m saying this about a Bridget Jones film – this film really does need to be experienced fresh.  

This is a welcome supplement and corrective to the Valentine season: an exploration of love that is lost or stolen away, and is sorely missed. It is a life-affirming bit of cinema, that takes you through the stages of grief (there is even a scene where her friends debate just how many stages there are) and the various methods we have for dealing with them. It even includes a clumsy little science/faith debate, and yet manages to conclude by encompassing all views. 

The film has a truly pastoral message. Grief cannot be avoided. Grief is a sign that love was real, and also that love cannot be snuffed out…even by death. Bridget intermittently has visions of Mark, and by the end of the film she has managed to make peace with those visions. They won’t leave her – her love for Mark won’t leave her – even as she experiences new love. Bridget ends the film recognising that her grief won’t leave her…and she can still live the fullest and happiest life possible. 

Go see it. It’s good to have a cry sometimes. 

4.5 stars 

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