People From London

"But I was thrilled to bits just to see them and I asked my mother at the interval whether I could meet them. She asked the theatre manager and he came back with a note. It said: "Yes, but don't bring your mother …" The manager took me to the door of their dressing room and knocked, but left before Hardy answered the door. "Come in, young man," he said. "We have tea and buns on the way for you. This is Stan, by the way, as you can see by his hat. He seldom takes its off, even in bed." I was tongue-tied. But when the tray of tea and buns came in, I tucked in enthusiastically. Whereupon Hardy took a bun from the tray, placed it on his chair and sat on it. It was, of course, squashed flat. I'm pretty sure he did it to amuse me. But you never knew with Hardy, who preferred playing golf to working."

"The Pashtuns invariably used violence to resolve their differences, which led to feuds between families lasting for generations. The Pashtun language even contains a specific word to define revenge between cousins. In many respects these frontiersmen were warriors in the Homeric sense, enjoying fighting for its own sake, often internecine, for the blood feud was central to their way of life. They took offence easily, were jealous of their personal honour and savagely cruel to any opponent no longer able to defend himself. They tortured, mutilated and killed without compunction."

"Throughout his career he has unashamedly hopped from one outside influence to another in an attempt to clothe the content of his films in a form which will surprise and shock. He has sloganised, fantasised and parodied as well as presenting us with neo-realism, documentary and even Chekovian pastiche. But that is only the half of it. His films also show the seminal influence of a great deal of Indian popular and folk culture. He will beg, borrow or steal from anything to form an appropriately striking style and, for all that, still remain resolutely his own man."

"All [[w:Mrinal Sen|[Mrinal] Sen]]'s films, even his most lightweight, have attacked, with undisguised horror and anger, the poverty, exploitation and inherent hypocrisy of Indian society. That is why he has remained a hero for so many of the young, who criticise [[w:Satyajit Ray|[Satyajit] Ray]] for a lack of overt political commitment and wish to see a truly revolutionary Indian cinema undiluted by European classicist and humanist sympathies. Yet, like Ray, he is certainly not a specifically Indian director whose films show no outside influences at work. In fact, it is almost impossible to talk with him – and he is an indefatigable talker – without constant reference to European, Russian and particularly English culture, often literary rather than cinematic."

"Jeanne Moreau was the perfect choice for Catherine: she gives a performance full of gaiety and charm without conveying an empty-headed bimbo. She makes the watcher understand that this is no ordinary woman whom both men adore. It is possibly the most complete portrait of any feminine character in the entire ouevre of the New Wave and it made her an international star."

"Jules et Jim seemed revolutionary at the time, but Truffaut's revolution, unlike Godard's, implied not so much the destruction of the past as a turning back to the humanism of Vigo, Renoir and the French cinema of the 30s. The film's "rondo of love" represents both a backward glance at the best of the past and a forward glance into the cinema's future. Its enthusiasm for what the cinema is and can be is what makes it so special."

"For [[w:Thomas Mann|[Thomas] Mann]]'s interior dialogue is substituted some of the most ravishingly wrought images Visconti has ever committed to the screen. Aschenbach’s arrival at the Hotel des Bains of the early century is meticulously detailed and observed. His first sight of the boy, in the bosom of his Polish family, his sniffing out of the cholera epidemic which suddenly decimates the tourists, his ill-at-ease attempts to refurbish himself with the help of the hotel barber, all these episodes could scarcely be better done in terms of direction, art direction and acting. True, the camera lingers lovingly on what has been created. There are times when Visconti scarcely seems concerned about moving the story onwards. Yet it serves its purpose quite as well at Mann’s prose. It is in the final half hour that one's doubts grow, as the boy smiles and smiles at the man, and the man visibly dies under the untouching assault. Perhaps it is here that Dirk Bogarde's otherwise superb performance shows a bit at the seams. We become aware that he is an actor acting, manoeuvring a mask, and that Visconti is watching him do it, lost in admiration."

"[T]his is the manifesto of Sunset Boulevard and all its awful children. The female star, with her autonomous gifts, is just too threatening to be admired. She must, instead, be pitied, and turned into a cautionary tale for girls: her success is itself a failure, because it is the root of her tragedy. In lesser hands than Wilder's, the message is a call for women to stay mundane: from cinema's most self-hating, and desolate, franchise."

"When I was young, being female was not something to enjoy, but to navigate carefully: there was always a terrible jeopardy in it. When I look back on the mild workplace assaults and the insinuations — so long ago I feel they were directed at a different woman — what strikes me most is how little they had to do with sex. I don't think men who harass women at work want sex: at least not principally. It is a function of inadequacy and the dominion that masks it: putting you on your knees, where you belong."

"It's a truism that every wretch in the village is a king on the day of the pogrom because he is not a Jew. And here is his book."

"His conclusion is darkly hilarious. Corbynism failed because he was not brave enough to defy the cabal: the people needed more antisemitism, and Corbyn denied them."

"Holocaust Memorial Day is 24 hours of shame, but not in the way you think. It was designed to commemorate the victims of the Holocaust, and it falls on the day that Auschwitz-Birkenau was liberated by Soviet forces: January 27, in 1945. This is tragedy enough for the Jewish people, you might think, but HMD — I don't mind giving it an acronym, it deserves one — has changed. It is now an annual festival for the abuse of living Jewish people and the denial of our loss, and we brace ourselves for the memory of the past, and the cruelty of the present. This was the worst year yet."

"I now know my generation of Jews is the luckiest in modern history. I never saw antisemitism in my youth. I know that others did. OK, a boy at my school shouted, "Jew" at me once, but I knew it was lust. Likewise, a boy at my college – a devout Christian – also shouted "Jew" at me once, but I think his DNA test would come up 25 per cent Ashkenazi Jewish at least, and we both knew it."

"I read social media all week, and it is a maelstrom. One man says he laughed on a visit to Auschwitz-Birkenau. Another says the Final Solution wasn't final enough. Yet another says the world is run "mostly" for the benefit of Jews. I'm called a genocidaire, immune to non-Jewish suffering. I present my credentials – a Liberal Zionist, in favour of two states – which are dismissed, since, to some, all Zionists exist in a state of pre-murder. The most sympathetic people are religious Christians, which initially confuses me: I am contrite, and grateful to them. I am not grateful for "allies" who use Jews to pursue their vendetta against Muslims – and if you mention European anti-Semitism, they insult you and withdraw, for you have disappointed them."

"[In the book under review] When left-wing activists — Momentum, for instance? — organise, it is righteous, but when "Zionists" organise, it is sinister."

"I've long thought that monarchy allows us to imagine our kingdom – our national story – as more interesting and singular than it is. Monarchy is attractive but necrotic: it looks backwards by nature. If there was an opportunity for dynamic monarchy – the Norman lawmakers, perhaps, or the Tudor propagandists – we haven't taken it. The instruments of monarchy are imperial, and in daylight they look increasingly odd and piteous. It's a truism of addiction – and many are addicted to monarchy – that the larger your fantasy life, the smaller your real one."

"[T]he Corbynites, who live on fantasies and conspiracies, can convince themselves of anything except their complicity in their own failure."

"Truss did not fall: it is worse than that. Rather, and obediently, she shattered."

"Still, on he goes, glibly, hearing nothing he does not want to hear, and seeing nothing he does not want to see: a god in tiny rooms."

"Hollywood is greedy and prone to self-mythologising to conceal that simple greed: the very faults that [[Citizen Kane|[Citizen] Kane]] satirized. The town's treatment of Kane, the definitive account of American desire and corruption on film, is as ludicrous – and sensitive – now as then. Mank, David Fincher's fictionalised account of the creation of Kane, is up for 10 Academy Awards this weekend. If it equals, or even surpasses, its creation myth, it will be a bleak joke: one that both [[Orson Welles|[Orson] Welles]] and [Herman J. Mankiewicz] would get or, if they had the chance, would have written themselves. (Welles died in 1985; Mank in 1953.) It is, consciously or not – and I would guess not - theft masquerading as tribute and that is the only profound truth it tells. This is a bad habit in Hollywood, and one to which it is increasingly addicted."

"Enter the contemptible George Galloway. After Liverpool won the Champions League on Saturday, the former Labour and Respect MP tweeted his congratulations to the winning team ... then traduced Tottenham Hotspur fans, many of whom are Jewish, by writing: "No #Israël flags on the Cup!" He meant: no sticky Jewish fingers on British football."

"I met [[Liz Truss|[Liz] Truss]] at university, long before she entered real politics, and she mirrors and watches, as if trying to learn a new language. That is why she is stilted and ethereal: that is why she cannot speak easily or from the heart."

"I am afraid now, though it is hard to write about fear because fear is formless and because it offends my pride. I have heard the silence of my non-Jewish friends with horror because they, apparently progressives, should know better. I can't write more, for maybe one day I may want to speak to them again."

"Notting Hill is two cities with two kinds of stories, the dreamlike and the deadly. One Notting Hill contains residents who paid more capital gains tax than three major British cities in 2020; in the other, looms Grenfell Tower, swaddled in rippling tarpaulin. These two depend on each other, because you only need a dreamworld if reality is unjust. Nowhere else in London is so polarised, or practices self-worship like this."

"Celebrity involvement in politics is a wretched thing. It should be consigned to dust, especially post-Jimmy Savile – who spent many holidays at Chequers with Margaret Thatcher, during which he used to write "In case of national emergency, phone Jimmy Savile" on every notepad in the house, should you need a nightmarish image to chew on. Have our leaders not learned to hide from these terrible narcissists? Celebrity is trivial, and when it moves close to power, it trivialises that too. The gongs for light entertainment heroes, meanwhile, insult everybody: a gong for a laugh. Is leering on Strictly Come Dancing and clutching female contestants' arms really a public service meriting a knighthood?"

"[At Gold's third visit to Russell Brand's Trews Musings event] There is a deep vein of savagery inside Brand, something completely animalistic, but its twin is there too: something much softer, and terribly vulnerable. Watching these Brands fight it out is, in totality, his allure. His cult is based on the premise that individualism is destroying us. But he cannot shrug off his own ego. It is a very noisy dichotomy. At the end, he loiters. He has long, slow closed-eye hugs with men and women; the air is damp with lust masquerading as political intent. The Trews is not a political experience, not at all. Brand has founded a small religion, and it will not outlive him. He is an addict populating a space vacated by conventional politics; he is a symptom of the very ennui he hates. And he couldn’t swing an election."

"And so to the church's own holocaust – in Africa. Condoms can protect Africans from Aids. But who can protect them from Ratzinger? The Catholic church has long pursued a no-condoms policy."

"In his actions on child abuse and Aids, Joseph Ratzinger has colluded in the protection of paedophiles and the deaths of millions of Africans. As Prefect of the Congregation for the Doctrine of the Faith (Pope John Paul II's chief enforcer), it was Ratzinger's job to investigate the child abuse scandal that plagued the Catholic church for decades. And how did he do it? In May 2001 he wrote a confidential letter to Catholic bishops, ordering them not to notify the police – or anyone else – about the allegations, on pain of excommunication. He referred to a previous (confidential) Vatican document that ordered that investigations should be handled "in the most secretive way . . . restrained by a perpetual silence". Excommunication is a joke to me, perhaps to you, but to a Catholic it means exclusion and perhaps hellfire – for trying to protect a child. Well, God is love."

"Then Jackie Walker of Momentum said, "Anti-Semitism is no more special than any other form of racism." There was an ovation. I think it was the line they had been waiting for. What did I hear in that small sentence? Perhaps I am oversensitive. My mother is a historian of the Holocaust. She has traveled around Europe since the Eighties, teaching people how to teach the Holocaust in the countries where it took place. I can tell you, without recourse to any reference book, that there isn't a favorable mention of Jews in European literature until Gotthold Lessing's The Jews, in 1749. I can tell you that when Edward I expelled the Jews from En­gland in 1290, a ship captain, having taken their money for passage, dumped some on a sandbank, and left them to die. I did not hear a passing remark. I heard a deep rebuke from Walker that spoke of general, and eternal, Jewish immorality: that Jewish concern for Jewish safety and for the memory of Jewish dead is something tainted."

"Keith Moon flew by the seat of his pants. His skill and imagination allowed him to unconsciously play whatever he felt at the time. The freedom and passion he displayed is one of the most beautiful things I have ever witnessed. This inspires me probably more than any other skill a drummer can, or should, possess."

"After , Keith Moon was one of the first drummers that I heard play where I was left gobsmacked. He had so much freedom in his performing, every time he played you felt like he was right on the edge."

"I think it’s fairly safe to say that Keith was the first man to ever say he loved me, in his last days sadly, but I believed him, and I think he might have been the first man I was able to sincerely tell I felt the same way."

"During the last year of Keith's life, he was attempting to dry out quite a lot, and I was drying out with him. We were, in fact, involved in a mutual project. … I went to his hospital bedside on a couple of occasions just after he'd had a little ... epileptic fit of some description, following withdrawal of alcohol. ... The tragic thing was seeing Keith go back to drinking. You see, he … had never really decided to quit."

"I seem to have met quite a few dangerous people in my time, in one way or another, and one sticks in my mind: a dear, old friend named Keith Moon, drummer for The Who. And I first met Keith at a ... charity soccer match in which Monty Python was playing the rest of the world, and Keith was playing for the rest of the world. And I was rather annoyed at the way that the players in this charity match were taking the game rather too seriously. And I come along dressed as the colonel figure from the series, and just generally strolled around making a nuisance of myself: ordering people about, standing in the goal … and that kind of thing. And Keith must have felt similarly bored with the way things were going that afternoon, ... [for he] left the field himself and drove back on in someone's car, and scored several goals before anyone could catch him. That cemented the relationship between us, I think, and the two of us went off to the bar afterwards and drank very, very, very, very, very, very, very many drinks, and I taught him there a game which I'd like to show this evening because I'm trying to popularise it around the world."

"When Keith played, he had a mix of pure rock ’n’ roll with a bit of American surf music thrown in, and when he played with the Who you were left feeling like there could be a train disaster at any time. Who records were a really exciting listening experience. … I started to look into Keith Moon, and realised that he was totally unique when it came to the way he set his drums up. And then I saw The Kids Are Alright, and [I] could see his drums close up and hear the way he played, and I had to go and buy a bunch of Who records. It occurred to me that, simply, no one else played like him. And I was left with the idea that he never liked to play the same way twice. Which is really how a lot of jazz musicians think and play, with their constant improvisation. Keith had that sort of spirit, too, and at that time it was unique in rock music."

"People expect to be able to use wi-fi on a train in the same way they would use a toilet."

"Lord Ellenborough, the Governor General, made his entry into Ferozpur on the 9th of December, with 120 elephants, 700 camels, and numerous wagons…General Nott crossed the Sutlej with his corps on the 23rd of December, the anniversary of the murder of Sir William M‘Naughten. He brought with him the famous sandal-wood gates of Somnauth, which were covered with red cloth, embroidered with gold, and drawn by twenty-four oxen. It is said that Mahmood the Ghuznevide took these gates with him to Ghuznee, when he destroyed the temple of Somnauth, in 1025; but this splendid Hindoo temple, to which they are to be restored, retains scarcely a trace of its former magnificence, and its remains have been converted into a mosque. The Maharaja, Shere Singh, had not only sent a bodyguard to receive the gates on British territory, but had given a present of a sum of money to the escort. When I went to examine the gates more closely the next day, I found a number of Brahmins, strewing flowers upon them, who assured me there was not the slightest doubt that they were genuine. They are most skillfully carved with stars and arabesques, and bordered with Kufic characters, but unfortunately the gates are so much injured, that scarcely the half of the beautiful work has been preserved."

"It seemed obvious to [Darwin] that, if his theory of evolution [were] correct, fossils ought to provide incontrovertible proof of it, since each stratum should contain links between the species of earlier and later strata, and if sufficient fossils were collected, it would be possible to arrange them in ancestor descendent sequences and so build up a precise picture of the course of evolution. This was not so in Darwin’s time, and today, after more than another hundred years of assiduous fossil collecting, the picture still has extensive gaps."

"Just as pre-Darwinian biology was carried out by people whose faith was in the Creator and His plan, post-Darwinian biology is being carried out by people whose faith is in, almost, the deity of Darwin. They've seen their task as to elaborate his theory and to fill the gaps in it, to fill the trunk and twigs of the tree. But it seems to me that theoretical framework has very little impace on the actual progress of the work in biological research. In a way some aspects of Darwinism seems to me to have held back the progress of science."

"Fossil may tell us many things, but one thing they can never disclose is whether ancestors of anything else."

"I was named after my father and I was knighted in his name because I love my father. I always kept my real name - I'm a very private and family-orientated person."

""My name is Sir Maurice" or "My name is Sir Michael"?"

"I'm both, but I will use Sir Michael Caine."

"My worst roles have been in movies I made solely for the money — like Jaws – The Revenge. I was offered a small part in a fourth of the 'big shark' movies at a tremendous fee, and I took it. I have never seen the film, but by all accounts, it was terrible. However, I have seen the house that it built, and it's terrific."

"[On his father, Maurice Micklewhite Snr, a soldier during World War II] He liberated the Pope."

"[On his National Service] And then when I was 19 they sent me to Korea – which was not a very nice idea for your 19th birthday. I wasn't a big professional soldier, and it wasn't a big war. The Korean War was like the First World War, we all lived in trenches and fought each other in the dark; but I was still s—t scared, as everybody else was. So I understood those things – death and close friends dying and getting injured."

"[On his 50-year long marriage to his wife Shakira] [W]e went to Vegas for my 40th birthday, and we got married. It was where a lot of famous people had got married, because there were pictures of all of them on the wall. I was looking round thinking, f—g hell, I’m getting married where whatisname got married, and so-and-so. And then, at the end, I looked round, and realised every single person on the wall had got divorced. I thought, oh s—t, this isn't going to last long, then."

"But I'm 90. I don't worry about the future. I worry if I'm gonna make it to lunch."

"[On assuming he would never be a star] Because I thought you had to be very handsome and all that – kissing the girls and everything – and I wasn't like that when I was young. I was an ugly, skinny bastard."

"I'm very lucky the whole face has not collapsed."