One of my favourite moments from the last seven episodes, Series 7
… illustrates the need, for the mainstream, to have some sort of romance in film or music.
Not all the time, not based on it for its main plot but definitely in there. Not two bits of meat slapping against one another in one night stand after one night stand but a more ongoing connection with a slow, even feisty start but a powerful bond at the end of it.
The greatest films have almost all had romance but we are so far removed now from the greatest film era. I’m not sure if people analyzed it this far but one of the reasons Casino Royale was so satisfying and Quantum of Solace was not was that the first had the subplot of the begrudging, developing romance and the tragic end to it, whereas the second was all about her “empowerment” and kick-butt. He helps her out and she’s oblivious – her empowerment is the only goal.
And the last one – Skyfall – how do they use Berenice, the French siren? They make her a whore who gets beaten about and then murdered. Charming. Though Bond was a dinosaur in his womanizing, at least OHMSS and Casino Royale made an attempt at romance and were all the better for it.
It’s all a twisting of romantic love nowadays, just as is Moffat’s attempt at putting gay yukkiness into Doctor Who. When he drops all that PC bullsh and lets it go back to what it should be, e.g. in the last episodes of Season 7, it’s far, far better.
It’s almost as if people have lost the plot these days – that mutual dependence, give and take, love for that other person having given way to a porn view of relations, minus any commitment, minus the pleasure which comes from that. Commitment is seen as a trap now, even genuine romances on film have an ending, they’re not seen as leading to anything solid and worthwhile.
How much this reflects society’s inability to commit or how far it causes that is a matter for debate. The erotic has its own renaissance tradition, the appreciation of the female form unclad but that’s over there and romance in film and music is over here. This one is the real deal, though the PTB wish to prostitute society and make the former the model for relations. Subtle slides the whole time.
And it need hardly be mentioned, no, that one of the reasons for lack of commitment is that the female is such a poor specimen today with her carping over empowerment and victimhood and glass ceilings, whereas the man is giving way to his worst instincts of putting it about cheaply … and so many women are following that model themselves and becoming the new yahoos.
And ultimately, it is not satisfying. You only need experience a mutual relationship of give and take [before it goes sour over the unreasonableness of one of the parties] at least once to know it gives an added piquancy to sex which no amount of porn can ever replace.
There needs to be romance in film and music, with genuine mutual sacrifice and support, there needs to be some beacon up there that people can at least aspire to. Yet where are the filmmakers who understand this principle?
In this last series of the Doc, there really is something going on between the two – all those little looks of naughtiness or anguish, all those things the PTB wish to snuff out – and that is, frankly, great. It’s part of the fightback against the new barbarism.
The unprostituted, untwisted, undefiled use of the word “pink”:
And one last thing – why must we resort to the Latins for romantic film and music, such as Piaf? Where are the great English romantics? Or is that an oxymoron? One hopes not.