Review
Culture
Film & TV
9 min read

Love letters to cinema

Yaroslav Walker is warmed, bored, and then revived as he reviews The Fabelmans, Babylon, and Empire of Light.
A cinematic view of a child holding an image that lights up their face.
Sammy Fabelman, played by Mateo Zoryan Francis-DeFord, falls in love with cinema.
Universal Pictures.

This year has seen the release of three very different ‘love-letters’ to cinema. The Fabelmans sees pioneer and veteran of the Hollywood blockbuster, Steven Spielberg, baring his soul as co-writer Tony Kushner pieces together tableaux from Spielberg’s childhood to create a semi-autobiographical project. Mark Kermode once described watching a Spielberg film like sinking into a comfortable leather armchair. Peter Ackroyd called him ‘an extraordinary technician’ whose scenes are ‘as smooth and shiny as lip gloss’. This is the master at work, reminding us just how good he is. The film looks great…it looks gorgeous! From the opening scenes when we see young Sammy Fabelman use his Hanukkah train set to recreate a scene from DeMille’s Greatest Show on Earth (the camera getting down low to follow and witness the terrible toy crash from every angle), through to the final shot of an adult Sammy walking into a hopeful and unknown horizon, Janusz Kamiński’s cinematography and Spielberg’s direction are superb.

In spite of the two and a half hour runtime the film never drags. Every set piece arrives, does its turn, and gives way to the next elegantly. We follow young Sammy and his family as they start in New Jersey and then move home, first to Arizona and then to California. Young Sammy discovers an all-encompassing passion for filmmaking which helps him deal with the many moves and upheavals that come his way.

'The man is able to communicate the fullness of the interior life of any character in a single breath.'

The script is warm and funny and plays the audience like a fiddle - but what else would you expect? The cast all seem delighted to be there. Michelle Williams is wild and ‘artsy’ without ever hamming it up. The young stars turn in solid performances, and Judd Hirsch and David Lynch drop by to chew some scenery and remind us what old-fashioned star power is. However, despite everyone being on top form, Paul Dano takes the day. His face permanently set in a creased expression that is both serious and loving, his entire posture giving a warm glow of empathy, his very breathing draws you into his world and his cares…I’m not joking. Within the last year I have heard Dano exhale as the psychotic Riddler in The Batman and as a heart-broken father and husband in The Fabelmans - the man is able to communicate the fullness of the interior life of any character in a single breath.

All that being said, ‘smooth and shiny’ really sums up the film. It's good looking and entertaining, but forgettable and lacking substance. Hirsch gives an Oscar-baiting speech about obsession and creativity and the battle between art and family, and there is horrific depiction of antisemitism…but these moments just sit in the middle of the film like little islands of profundity.

What this is, is the master-craftsman indulging himself in style. And you know what? Fair play. You should go and see the film. Go and see one of the makers of modern cinema do his thing. It’s a little empty and self-indulgent, but hey…this is the director of Jaws, E.T., Raiders, Schindler’s List, etc (the list goes on and on), he gets to do this; he’s earned it!

3.5 stars

Babylon

A movie star flicks their long hair, backlit by a strong light
Babylon's Nellie LeRoy, played by Margot Robbie, is a 1920s Holllywood It Girl.

Smooth and shiny are also apt words to apply to Damien Chazelle’s Babylon. Others are putrid, dull, and loathsome. In Babylon we are transported to another world, where Hollywood is on the brink of talking-pictures, a party isn’t a party without drugs and sex and elephant dung, and where everyone is a moral vacuum sucking all goodness and beauty into the gaping maw of self-obsession. The film purports to follow Diego Calva’s Manny as he works his way from elephant fondler to studio exec. On the way he falls in love with rising star Nellie LaRoy (she added the ‘La’ herself) and has a brief stint working for Brad Pitt’s leading-man Jack Conrad.

That’s it…that’s all I can say. There’s your summary of three-hours of screen time and three hours of my Saturday night when instead I could have been slowly pulling out my own teeth. The first act or so is a booze-fuelled display of orgiastic excess that wants you to think its self-aware but is really just pornographically gleeful. The middle is a damned slog culminating in a final third which dares to ape (and I don’t care if it intends to, because as far as I’m concerned it does) Boogie Nights (via Dante) - an astronomically superior film which actually has something to say about excess and obsession and  corruption and libertinism.

Every now and then it tries to trick you into seeing something of substance - Jean Smart’s gossip columnist delivers a diverting if vapid speech about the lasting power of art over human ambition and popularity, and Brad Pitt is constantly shouting about how film is not a low art form and really means something - but don’t be fooled. The film is a nihilistic chasm and by the end I really came to loathe it, which now seems ridiculous because it’s so crashingly boring that it really isn’t worth getting upset about. And if I sound like a young-fogey moralist, the film’s black hole where any sort of conscience or soul should be isn’t its worst crime in my opinion. The film is dull. Don’t waste your time.

1 star

Empire of Light

A couple stand on a seafront watching fireworks explode over a beach and pier. Credut
Empire of Light sheds new light on Margate.

After the brutal combination of anxiety and boredom in Babylon, Empire of Light came as a welcome restorative - like a cup of tea the morning after. A calm and thoughtful little film, which sees Sam Mendes doing what he does best: being empathetic. From American Beauty right through to 1917, Mendes has yet to direct a film where I don’t feel he cares about his characters. I don’t think he always likes them, but he really knows them and cares about them.

Olivia Coleman’s Hilary is a quiet and reserved woman in middle-age who works in a Margate cinema. She doesn’t seem to have much about her, although we start to see little cracks in the mundane facade: the odd smile, the odd stare, the sudden explosion of jealous anger. There’s a backstory there, but we only have clues. Her life changes when handsome young Stephen is hired. Stephen is outgoing, charming, intelligent, and sensitive. He and Hilary strike up an unlikely romance which helps both characters open up and connect but faces many challenges, from racism (Stephen is black and the far-right are menacing Margate) to failing mental-health.

It’s lovely, but it could have been so much more. It has a sedate pace, and Olivia Colman (when isn’t she excellent!?) does a lot of heavy lifting with Hilary - a character who in lesser hands would  have been a caricature but whom Colman presents as nuanced and engaging - but it tries to incorporate too much. It looks at loneliness, it looks at middle age, at a slowly declining coastal town, and at the power of cinema, and racism, and mental health… but only ever a snapshot. A film of such serenity - in no small part due to Roger Deakins’ sumptuous cinematography - can’t afford to have quite so many balls in the air. Empire of Light has too much under its placid surface - perhaps a result of Sam Mendes having sole control of the script. I wanted to grab hold of just one idea and run with it. Still, it is a lovely film. Well worth a watch. Also, Toby Jones…Toby Jones is a reason to see any film.

3.5 stars

The loving presentation of the power of cinema

Three very different films united in their loving presentation of the power of cinema - discovering movie-making as a child, being part of the Golden Age of Hollywood, and the quiet joy of the local seaside cinema. They are united, also, in that each centres around characters searching for meaning. Sammy Fabelman is both traumatised and delighted by cinema at a very young age, and then desperately clings to it as a way to find meaning and solace in a difficult world, unwittingly reconciling and exemplifying his parents’ best qualities (his father’s work-ethic and his mother’s creativity). Manny, Nellie, and Jack are all seeking to define their lives. Jack wants to make a lasting impact on art, Nellie wants to find acceptance, and Manny wants be part of ‘something bigger’. In a much smaller way, Hilary and Stephen find in each other another lost soul looking for answers (Stephen the failed student, and Hilary the failed academic?).

The Fabelmans, Babylon, and Empire of Light all have deeper meaning as a question and cinema as an answer. This is obvious in the first two, but even Empire throws this into the mix with mawkish (but expertly delivered) monologues in which Toby Jones’ projectionist waxes lyrical about the magic of film projection, and how technical skill and hard graft and celluloid and a love of one’s craft are what matters. Towards the end of the film Hilary seems to turn a corner when, for the first time, she watches a full film at work and is enchanted and delighted.

A hunger for meaning

All three films lay bare a fundamental truth about the human condition. We are all searching for ‘meaning’, ‘solidity’, ‘truth’ on which we can rely and around which we can build our lives. We live in a culture which more and more suggests that there is no objective truth or meaning, and so this hunger for ‘meaning’ gives us the opportunity to define our lives ourselves and create our own truth and our own meaning of life. All three films also demonstrate just how damaging this can be.

In Babylon it’s obvious; characters create their own meaning and it ends in suicide, drug-overdose, and a figurative descent through the circles of hell (where people still know how to party!?) and exile. The film tries to end with the suggestion that all this pain and suffering in some way led to the brilliance of Singing in the Rain… It didn’t. Empire’s empathy doesn’t stop it from raising some uncomfortable questions. Hilary’s search for meaningful experience with Stephen could be seen as grooming and coercion, and an abuse of power. Toby Jones’ monologues are delivered all while we see a photo of his tragically estranged son in the background. Sammy Fabelman finds solace and meaning in film, while being tremendously self-involved to the point where his sister has to chastise him for his selfishness.

All human beings feel this urge to find definition and meaning. Our cinematic offerings seem to view it as a bug, Christianity knows it as a feature. They see it as a challenge to be overcome, Christianity knows it to be a gift. It is through this longing for meaning - for something more than ourselves - that we can know something of God. St Augustine summed it up beautifully when he confessed of the human condition that ‘our hearts are restless till they rest in thee’. As we long for meaning, we are invited to find it, not create it.

We are invited by Jesus Christ into something bigger than ourselves. But that bigger thing isn’t something we ‘lose’ ourselves in; we ‘find’ ourselves in the bigger reality of God, and as we find our restless hearts coming to peace in God we truly begin to see the world around us and our place in it.

Article
Culture
Migration
Politics
6 min read

It's 2029 and PM Farage has reformed asylum

Are refugees really no longer deserving of our protection?

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

Nigel Farage stands and gestures in front of a flag.
Reform.

The year is 2029 and Nigel Farage has just been elected as the new prime minister of the United Kingdom. 

As one of many sweeping reforms in his first few months in office, the new PM has deported thousands of asylum-seekers to countries including Eritrea, Afghanistan and Iran.  

Upon return to these countries, it has been reported that several of these asylum-seekers have faced arrest, torture, and even execution. 

Now of course this is only a fictional depiction of one possible future, but it is a future that would appear at least conceivable, given recent polling and the pledge of the Reform party leader to deport every individual who travels illegally to these shores, whether or not they may face a risk to life upon their return home. 

Such statements would have been almost universally lambasted not so many years ago, but the current status of our immigration system - and politics - has seemingly rendered them palatable to a growing number of Brits. 

“I don't think it's about hate,” said one caller to BBC Radio 5 Live when Reform’s plans were announced last week. “I think it's about the way [immigration’s] been handled up to now by this government and the previous government, [which has] created a lot of unease.” 

Another caller admitted the issue had divided opinion, but provided a contrasting perspective: 

“This is Nigel Farage all over,” she said. “It's what he's done since before Brexit. What does he need to win in this country? He needs division. And what's the most divisive issue we can come up with? Immigration. And what a privilege we have to live in a safe country where, God forbid, none of us will ever have to pick our children up and flee persecution!” 

All of which brings us nicely back to the particular - and certainly complex - issue at hand: namely, what should be our response to those asylum-seekers who have genuinely fled from persecution and may face more of it should they be returned home? 

The safeguarding of such individuals is at the very heart of the 1951 Refugee Convention, which all Western democracies (including ours) have ratified and long defended, and which includes the principle of “non-refoulement”: prohibiting "the forcible return of refugees or asylum-seekers to a country where they are liable to be subjected to persecution”. 

“Our values have always been that where people are under a real and substantial risk of physical torture or persecution … then we as a country have always been prepared to have them,” former head of the judiciary Lord Thomas explained on another BBC Radio show last week. “I don’t think we should abrogate values embodied in the convention … because that’s part and parcel of our history and our tradition and our standing as a liberal democracy.” 

And yet, as Lord Thomas’s interviewer correctly pointed out, this is precisely what Reform are pledging to do, should they come to power.  

Indeed, an increasing number of politicians here and elsewhere now argue that the Refugee Convention and other similar treaties, such as the European Convention on Human Rights, must be reformed - or even ignored - in light of a much-changed world. 

We are not the only country facing an immigration crisis, of course; nor are we the first to consider drastic measures to stem the tide of asylum-seekers arriving on our shores. 

In his own first few months back in office, the US president, Donald Trump, made good on his own pledge to tighten up America’s borders by, among other things, deporting illegal immigrants

Among them were several Iranians who claimed to have a reasonable fear of persecution should they be returned home, given their expressed conversions to Christianity. 

In May, a US congresswoman proposed that legislation should be amended to protect such religious refugees from deportation, naming her bill, the Artemis Act, after one of the Iranians who had been deported to Panama. 

In June, the issue returned to the headlines when another Iranian asylum-seeker was filmed having a panic attack as her husband and fellow Christian convert was taken away by the US’s immigration enforcement agency, ICE. 

In July, the couple’s pastor - another Iranian Christian who had arrived in the United States as a refugee some years ago - travelled to the White House to conduct a three-day hunger strike in protest against the detention of his church members. 

And in August, in an interview with the director of the advocacy organisation for which I work, the pastor called for “deep reforms” to the immigration system, saying that “most [Iranian Christian asylum-seekers in the US] tried many times to come through a legal way, like a refugee pathway, but there is no legal way for Iranians to become refugees in the United States.” 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” 

A legal pathway for religious refugees is also something that has been called for in the UK, including by the frontrunner to be the next leader of the Church of England - another Iranian former refugee, Bishop Guli Francis-Dehqani.  

So the need to reform the asylum system here and elsewhere is something that would appear to be agreed upon by all sides in the debate. 

Reporting on the plight of refugees was not something that was considered part of my remit when I first joined Article18 midway through Trump’s first term in office. Back then, our focus was only on documenting the persecution Christians were (and still are) enduring in their homeland.  

But as the years have passed and the numbers of Iranian Christians seeking asylum have grown while the opportunities for them to be resettled have drastically shrunk, the issue has become an increasing and ultimately un-ignorable concern. 

In the last two years alone, my organisation has released reports on the plight of Iranian Christian refugees in Turkey, Georgia and, closer to home, Sweden, while concerns have also been raised about Iranian Christian refugees in several other countries, including Armenia, Iraq and Indonesia. 

In each of these countries, as in Blighty, the common denominator appears to be simply that these refugees - however worthy their claims may be - are unwanted and untrusted by their hosts. 

During my research, I came across a refugee support group in Colchester, Refugee, Asylum Seeker & Migrant Action (RAMA), whose director, Maria Wilby, I had the privilege of interviewing, and whose perspective has stayed with me. 

Ms Wilby picked me up on a comment I had made, when I suggested that “one could understand why people may feel less sympathy for economic migrants, but surely not refugees”. 

Her response was not dissimilar to the words of the second caller to 5 Live: 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” she asked. “You’d go to the next country and ask them to feed them. And that’s what it means to be an economic migrant. It’s not about, ‘Oh, I’ve got a nice car, but I want a nicer car.’ These are people who are literally starving, and feel so disadvantaged that they think the next generation will also be equally disadvantaged. And of course then you try and move. 

“And back in the day, it used to be that if you had a child in another country, they would basically be a native of that country. We’ve changed the rules to mean that migration and borders grow and grow. And actually, we’ve created this system – all of us have created this system by standing by and letting it happen – and it’s not right. If I believed in God, God certainly didn’t intend there to be borders. Nobody would. Why would you? It’s an unnatural concept. We are one world, and we should share it.” 

I’m not sure Nigel Farage would agree, but whatever one’s perspective on the need for border control, surely we should all be able to agree that those with genuine claims to have fled persecution should be afforded our help, or at the very least protected from refoulement.

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