'As Gaude as it Gets':

Oxford Revisited

By James Murphy  

Picture an amalgam of Richard Curtis? romantic comedies, James Bond?s adventures and French art house cinema. That?s a fairly accurate summary of the ?Gaude? reunion at New College, Oxford. It?s a weekend of festivities for those who matriculated (commenced University study) in a select period. In this case, the focus was on 1995-1999, and I was among the lucky alumni invited back. Here?s a scene by scene breakdown of the event, for anyone who fancies a glimpse of life in Oxford.

Chapel. Evensong. 6pm.

The choral music is exquisite. Evensong here is a truly spiritual experience.

Getting into tuxedo / bow tie..

It?s difficult to fasten a bow tie. Luckily, Richard Mason is passing by, and fixes my bow. Richard wrote ?The Drowning People?, a novel whose moral motifs and character arcs haunt and entertain in equal measure. It?s fun chatting to him.

Champagne reception in the Quad.

The reception is glamorous (all present look good and are kitted out very stylishly). It?s classy (count the six figure salaries and ski holiday stories). And I meet graduates who are selflessly giving their talents to social work and state sector education / health. It?s the best of all possible worlds.

Dinner in Hall.

The hall?s walls are bookmarked with portraits of Wardens / College Masters down the centuries (New College is actually one of the oldest Oxford Colleges, which confuses many tourists!). The Fellows (senior academics) arrive at high table.

The food is fabulous and punctuated by port and coffee. Tables are divided according to subject. Mine was Theology, and I am its sole (or should that be soul?) representative. That said, the scientists are great company and Theology is arguably a science.

There are speeches from the Warden and Sub-Warden and one old member. Alas, no speech from the Bursar, David Palfreyman. He?s an expert on law and finance and gives invaluable pastoral and academic advice to countless students so he?d have made an interesting speaker.

The Party: Senior Common Room / Assorted College Locations.

I meet a statuesque psychologist called Tanya. Tanya has hypnotic eyes, a beguiling smile and a great line in banter. Tanya introduces me to Ingrid Oliver, an actress. You may have seen Ingrid in ?Peep Show? and ?Plus One?. She?s a bit like Arabella Weir. Ingrid joins Hugh Grant and Sally Phillips as stars whose comedic crafts were honed at New College.

I move further down the room and encounter Deena, who was one of the cleverest and most beautiful girls in Oxford ten years ago. And she still is, tonight. She looks like a blonde Emmanuelle Beart. I?d love to give her a hug. But I don?t.

I end up with a group of authorities on English literature. We move to another tutor?s room and he?s a great host. An expert on Isaac Newton, the host gives me an impromptu tutorial, while providing generous helpings of alcohol to everyone present.

We also chat about pulp heroes and their connections with the College. James Bond and Simon Templar?s exploits have both been filmed here, notably 1997?s ?The Saint? and ?Tomorrow Never Dies?, with Templar stealing a cold fusion formula and Bond ?just brushing up on a little Danish?.

I look at my watch. Definitely time to go. I thank the host for his hospitality and walk into the Oxford dawn, back towards my room. I bump into the Porter en route. He remembers me from years back. ?You were very serious then, James.? He?s quite right. But I?ve learned to take things less seriously now, as I finally fall into bed at 4 am.

Epilogue: Garden Party, next day

Professor Alan Ryan gives a speech in the Chapel. The theme is the future of education. He hints at radical reformation (?The California master plan?), whilst stepping back to survey the past and present nature of Oxford. It?s fascinating stuff, coming from a respected philosopher.

With the speeches done, it?s time for Champagne on the lawn and lunch in the Marquee. I?m sat with my parents and assorted old members, including Lord Congleton. I also meet a brilliant film maker, Lucy Fyson. Lucy has film star looks, crowned by curly hair. Lucy?s a field documentarian, as comfortable filming in war zones as sipping champagne on an Oxford lawn.

After the strawberries, cream and tea, it?s time to go. It?s been a wonderful weekend. Special thanks to the organisers of the events, their assistants, the Porters, the dining and garden staff, Choir, Warden and Fellows and all old members of New College. I?m looking forward to the next reunion already.

The Howard League for Penal Reform is offering a bursary paying the full time fees of the MA Criminology at Birmingham City University in 2009/10.

The successful applicant will be responsible for all other costs including travel. The recipient of this bursary will also be expected to spend some time with staff in the offices of the Howard League for Penal Reform in London.

Requirements of the bursary:

- Complete the MA in one year between October 2009 and September 2010

- Progress regularly reviewed by the Howard League for Penal Reform

- Research and write-up a dissertation on an issue related to adults in the penal system

- Present their research in a format suitable for publication

Applicants invited for interview require:

- An undergraduate degree with an upper second classification or better, or substantial professional experience

- Student or ordinary membership of the Howard League for Penal Reform.

- Excellent written communication skills

If you are interested in applying for the bursary, you need to submit a standard BCU application form together with a short essay (max. 1000 words) explaining why you should receive the bursary.

For an application form contact Barbara McCalla - 0121 331 6613 / Barbara.McCalla@bcu.ac.uk giving your postal address

If you require further information about the bursary or the MA in Criminology at the BCU, contact Matthew Cremin: 0121 331 6612 / Matthew.Cremin@bcu.ac.uk

Deadline for applications: 7 August 2009

Interviews: Birmingham City University first week September 2009

Good luck!

Hannah

National Student Organiser

THURSDAY morning is the best morning of the week for me.

That's the time when I pop down to the newsagent down the street and pick up the local paper.

I flick through it quickly in the store, take it home and devour it at a more leisurely pace as I eat my Cornflakes.

Like the Sunday papers, the local paper has always been an important, habitual part of my adult life.

It's a thrill to see your friends smiling down at you from the pages, celebrating an anniversary, maybe getting married, or having achieved

something worthwhile.

It's also interesting to see what your neighbours and people you know are up to - are they planning work on their home, have they been up in court for something or are they up in arms about some proposal or the other?

Also, of course, there's the public service the local paper provides - keeping you in the frame over what the local council and businesses are planning and letting you know the latest in BMDs (births, deaths and marriages).

And then there's the chance to pick up a veritable local bargain from the array of classified and display adverts.

But now this valuable source of local news, entertainment, buys and services is under threat as never before.

As The Guardian newspaper so succinctly put it recently: 'For the first time since the Enlightenment, large communities face the prospect of muddling through without any verifiable source of news...their potential disappearance should be a matter of some public alarm.'

Indeed it should - we need a thriving local Press, it is as much a part of the local community as the local police bobby or the library or town hall.

In the 1960s our local railways suffered a similar nightmare of decimation - with local branch lines and service lost for good after the report of axeman in chief, Dr Richard Beeching.

Beeching recommended the cuts to 'streamline' local services but the inevitable result was that there were no services left to streamline after his savagery was implemented.

Ring a bell?

It should do - similar cuts are now being suggested, and implemented, at local level in the world of newspapers.

This is something we should fight against.

Why is it happening?

Essentially, because classified advertising is migrating to the internet - but also because local councils are sticking the boot in by suddenly producing their own freesheets on 'cost efficiency' grounds.

How are they 'cost efficient'?

Well, simple really - their existence means there is no need to spend money supporting local papers, because the jobs and council ads now appear exclusively in their own freesheets.

The council freesheets are invariably dull, poorly produced and full of puffs about how good a job the local council is doing.

They are in no way viable substitutes for the local papers they are replacing and helping sentence to a slow, painful death.

So what can we do about it...how can we help our valuable local papers survive?

We can keep buying them, of course - but that in itself may not be enough.

As far as I can see, we can also explore two other avenues...

We can demand of our local councils that they divert their adverts out of their freesheet and back into the local papers.

And we can demand of the Government that they divert some of the astonishing sums of money we plough into the BBC towards helping the survival of local papers.

They do, after all, provide a more important service to the normal man and woman in the street than say some avant-garde, little-listened radio station or some so-called worthy cause string of programmes on BBC4.

We need to lobby our local MPs and councils - and ask them for their help.

Subsidies and advertising returned to its rightful place may be the key to survival.

Otherwise, Thursday mornings will one day hold a less special affection in my heart.

And probably yours too...

By James Murphy

Men are being emasculated, en masse. This is not an exclusively British problem, but it is quite striking here. The UK media (from soap opera to advertisements) stereotype men as monosyllabic thugs or metrosexual plodders. That insidious trend must stop, because it’s in danger of eroding the very fabric of our society.

What do I mean by masculine? I mean having a sense of honour, decency and probity. I mean a high drive for self - improvement, even if you never quite meet the standards you set.

Social flexibility is good too. The real man is at once classy and classless, at home quaffing champagne with diplomats or sipping a pint with mates down his beloved local.

Success at sports is a bonus. Being the shameless gentleman (opening doors for the fairer sex) is essential, but stand your ground when a lady challenges your beliefs. Bang a table once in a while to make your point, but balance that edge with good humour, charm and a special talent in at least one field.

The above is a counsel of perfection, delivered with tongue in cheek. But the principle is sound and pervades many of the best films ever made. I call them ‘films for blokes’.

They’ll help you unwind, fire you up and make you laugh/cry. And they’ll work their magic with an undeniable style. They show off a skill - the perfect heist, sporting move or survival tactic, saving the world or just saving face by design, through determination and with charm.

They are not solely for male consumption and can be enjoyed by girlfriend de jour, devoted spouse, or magnificent mistress in the same way that a bloke can enjoy a good 'chick flick' (about which, there is another column, just screaming to get out..).

So, in no particular order, here are 21 bloke friendly films and brief summaries of their attraction..

1. The Godfather Trilogy: All about family. And winning.

2. Citizen Kane: The joys of building a news empire.

3. The Italian Job: The art of a perfect heist, in style.

4. The French Connection: Gene Hackman. Great car chase.

1. The Great Escape: McQueen. Theme tune. Bike chase.

2. Master and Commander: Leadership lessons on war, at sea.

3. Casino Royale: James Bond loses in love but wins at cards.

4. Crimson Tide: Gene Hackman v Denzel Washington. At sea.

5. Bachelor Party: One of the funniest films ever made.

6. Dave: A nice man as U.S. President? Far fetched fun.

11.Ransom: Don’t mess with a mad Mel Gibson. Clever.

12. Die Hard: Possibly the best action film ever made.

13. The Paper: The stress and rewards of journalism.

14.Dirty Harry: Clint Eastwood. Magnum. Action.

15. Rocky: Training montages and uplifting story/ theme tune.

16. The Ghost and the Darkness: Build bridges and hunt lions.

17.The Fugitive: Tommy Lee Jones hunting Harrison Ford.

18. Goldfinger: Sean Connery at his coolest.

19.The Untouchables: Sean Connery at his second coolest.

20. Scent of a Woman: Pacino tangos his way to an Oscar.

21. Groundhog Day: Bill Murray at his funniest and best.

There are other great films that brim with machismo. But these are a good sample. Try any of them, whatever their genre. And they’ll remind you of why it’s so challenging, rewarding, important and fun to be a man.

Have a go, if you think you’re hard enough..

DON JOHN

Playing now at  the HALL FOR CORNWALL, TRURO, CORNWALL

CHRISTMAS 1978, the winter of discontent. Strikers in donkey jackets huddle from the cold around an oil drum bonfire and a crackly old radio blasts out the current chart toppers,interrupted by a desperate reassuring bulletin from Prime Minister Callaghan, on the state of the economy. It all creates an eerie atmosphere of Christmas past AND Christmas present under Gordon Brown.

A paper boy, wearing a bobble hat, on a chopper bike, weaves his way stage left to introduce the opening scene. Cornwall's Kneehigh Theatre exploded back on to our stages this week with their intoxicating production of Don John. Based on Mozart’s operatic masterpiece, Don Giovanni, it is the story of a heartless lothario who wreaks havoc on the lives of the women he touches and their menfolk whose human frailties are exposed by his very being. He peddles his all too familiar brand of self-gratifying lust veiled thinly as the ideal of romantic love. Played superbly by Icelandic heart-throb, Gisli Orn Gardarsson, the role is an outstanding piece of near method acting; for Don John is hollow, there is no depth or soul to his machinations, no little boy lost, he is a REAL bastard, just seething, pulsing, lust and disregard for anything or anyone other than his own pleasure. He's ‘all sweat and cigarette smoke' is the way the female characters so aptly convey his illicit appeal. Indeed so complete was his transformation that an 80-year-old lady to the left of me described him as ‘a bit of all right’ and an old married woman like myself pondered to my husband, ‘I wonder what he's really like he's probably really a nice guy?"

He is joined by an equally brilliant cast including Knee-high stalwarts, Craig Johnson as the vicar and Carl Grose, as the hapless lovestruck Alan,who both put in outstanding tragic/comedy performances. Anna the long suffering vicar's wife is played by Nina D’ogg Filippusd/otter, who is par amour to our Romeo in real life. The beautiful Zelina, the Polish cleaner, feisty, clever, book-lover is played by Patrycja Kujawska, who recognises yet also cannot resist the lure of John's satanic charms.

Yet the power of the production is in its ability to relate so intimately with our own wounded psyche, the female audience no doubt transported back to the heady days of their own misspent youth, teenage girls and old women alike swooning to the scent of the lothario's charms,while the male audience shuffled uncomfortably in their seats cursing the ghosts of their own past, the bastard who always got the prettiest girls as they watched on wishing they could be him. Though sex is served up like a smorgasbord, this play's themes are that of neediness, the longing to be loved and accepted - we all feel, it is about human frailty, disappointment and ultimately how we move on from it and learn to love ourselves, others and to be loved.

How perhaps by learning from Don John what love isn't that we're somehow a little closer to learning what it is.

A visual onslaught to rival Baz Luhrmann, a romantic tragi-comedy that echoes Pedro Almendarez, wonderful music by Stu Baker who has worked with Portishead and words by Anna Maria Murphy, dance, sex, violence, death and even murder, Don John will leave you breathless,panting and wanting, more! more! MORE!

Review by ANGELA WORRALL

‘Yes Man’:

A review by James Murphy for YTYC Magazine

Dossier:

Director: Peyton Reed

Starring: Jim Carrey

Genre: Romantic comedy

Running Time: 104 minutes

Certificate: 12A

Still on general release

Summary:

Carl (Jim Carrey) has an uncomplicated but unfulfilled life. Afraid to take risks or break routine, he has settled for a middle management Bank job and avoids social encounters with even close friends. But then he attends a seminar on the power of ‘Yes’. Inspired to accept any challenge, request and opportunity, Carl rediscovers life, love and ambition.

Main Review:

The work of Jim Carrey has always divided viewers. You may love his talking bottom gags and face pulling or find them offensive. You may have been moved by his more serious work, or viewed it as a cynical bid at Oscar glory. I personally like Jim Carrey and his work. I even love ‘The Cable Guy’ (1996), much as that confuses many people. So I went to ‘Yes Man’ with high hopes. I was disappointed.

The film has a simple premise. Carl (Carrey) decides to say ‘yes’ to everything. In turn, his life improves and so do the lives of those around him, from his best friends to his Boss. Critically, he gains a beautiful and inspirational girlfriend (Zooey Deschanel), who teaches him the virtues of art, travel and true love.

Carrey should be at home here, having practically created a sub-genre where he learns the error of his ways c/o a new power or curse. In ‘Liar Liar’ (1997), Carrey had to tell the truth for a day. In ‘Bruce Almighty’ (2003), he had divine powers. But here, he simply says ‘yes’: an unremarkable power/curse, which produces unremarkable comedy.

There are some funny moments, notably Carrey’s staging a fight in a Bar, overdosing on Red Bull and learning Korean. There is also the classic Carrey face pulling, grinning and anti-social behaviour. The problem is that he does not give us enough of it.

Perhaps Carrey would rather have made a straight romance, without the comedy? His scenes with the lovely Zooey Deschanel are certainly effective: moving, sexy, lively and colourful. And Carrey is a handsome and charming leading man, so can play romance easily.

But the romantic merits of ‘Yes Man’ cannot cancel its comic shortcomings. The film has a gag or three that would have worked ten years ago when the ‘gross out’ comedy seemed fresh. But now, the material feels tired. The less said about the scene involving Carrey, a pensioner, false teeth and a ‘favour’..the better!

Matters are not helped by the film’s garbled social politics. Our hero’s actions often help others, but he’s also involved in an unredeemed spot of corporate greed, with irresponsible lending and redundancies thrown in. Not a good move in 2009 and no longer ‘feel good’ film material!

You may enjoy the high concept premise, occasional laughs and genuine romance of ‘Yes Man’. But you’d be better served by renting one of Carrey’s earlier comedies on DVD or waiting for his more serious turn in ‘I love you Phillip Morris’, which is released later this year and has already won praise at previews.

Rating: 2 out of 5. This has all been done before and better. As a romance, it is lovely. But as a comedy, it just fails. You won’t miss anything if you say ‘no’ to ‘Yes Man’ at cinemas...

Report by Natalie McEwan

As inevitable as Christmas itself rolling round every December 25th, the race to be Christmas number one gets under way sometime around the start of the month every year.

The genius mind of Simon Cowell and the unavoidable X Factor, have somewhat impeded on the scramble for the top stop, by winning the accolade every year, no matter how awful an act it has produced?. do you remember Steve Brookstein? Unfortunately I do, and while X Factor has produced some class acts, namely Leona Lewis, it seems to have taken the general fun out of the festive race.

Not to mention people have stopped making Christmas songs, and yes while they may be almost unbearably cheesy and annoying, that?s what the festive period is about, I could hear the normal cheese that is released, anytime of year. I want jingly bells and the sound of children?s laughter.

Take That are in the running this year, but due to an early release date, it shows they can?t really be serious about making it to the top stop. Other releases seem to come from strange places, with former political correspondent and much loved Strictly Come Dancing underdog, John Sergeant releasing his first and hopefully last single. Maybe the only way to beat X Factor from forever taking over and turning Christmas into Xmas is to play it at its own game. And Peter Kay?s latest incarnation, Geraldine, might be the ?woman? to do it, with, Once Upon a Christmas Song, after winning Britain?s Got The Pop Factor And Possibly A New Celebrity Jesus Christ Soapstar Superstar Strictly On Ice. In fact the single is co-written by none other than Gary Barlow, so perhaps it would have been pure greedy to make a more hearty attempt with Take That.

Plus is most cases, although we?ll exclude Mr Brookstein from this, that first single released by the winner of X Factor is always their worst. A song that is written to fit whichever of the aspiring hopefuls should win and normally based around overcoming all odds to reach their goal. After all everyone loves a sob story apparently.

While I can whine on about this, really the problem is who buys these singles to get it to number one. When was the last time you bought a single? It just doesn?t happen anymore, I?m not sure they even sell them in shops. But it?s a different story if you?re under the age of 16, and while they might not pop into Woolworths anymore like I did of a Saturday afternoon, they will be downloading it from whichever internet site they prefer, or maybe buying it as a ringtone for their mobile. It is these same young people that vote in their droves for their favourite on X Factor, and so the inevitable happens again.

Merry Xmas!

Red Robot- 100% Organic!

Eco-clothing review by Natalie McEwan for 'YOUR TOWN YOUR CHOICE' magazine

In an ever increasing ecologically and ethically conscious world, Red Robot Launch as a 100% organic brand.

Gone are the days though when organic meant rough itchy hemp and neutral dull tones, and in its place comes modern, urban street wear.

Launch this autumn by husband and wife team, Gavin and Ruth Wynne, their collection of hoodies and t-shirts take influence from topical events, cult films and music.

Gavin says, ?We aim to develop our brand with the most interesting and coolest designs around. Our first collection brings together our love of music, film and current affairs with fashion that cares. Red Robot is one of the first fashion labels internationally to develop a brand philosophy with sustainable development at its core.?

The brand have created easy to wear clothing but with an edge that?ll have people asking where you got that? Limited edition t-shirts include designs based on the fuel crisis and energy usage. As well as t-shirts with designs taken from cult films Donnie Darko, Reservoir Dogs and Blair Witch Project. While they take their musical influences from bands such as Joy Division and the Arctic Monkeys, showing good taste if nothing else.

The majority of the brands clothing is for men with a limited ladies selection; however they are only just starting out and are sure to expand in the future. Their limited edition collections and topical events give their clothing a one-off feeling, while their designs featuring the Red Robot character give them a strong identity that is vital in the vast consumer market.

www.redrobot.co.uk