Follow The Money: X&HT watched Inside Job


It’s telling that Charles Ferguson’s Oscar-winning documentary Inside Job hits UK screens in a week when no less a figure than the head of the Bank Of England has made it clear that the blame for our financial woes should be placed squarely on the shoulders of the banks. Telling, and in some ways heartening, although the conclusion Ferguson reaches in his film isn’t at all comforting.

Like a financial version of An Inconvenient Truth, or a less schmaltzy Michael Moore, Inside Job makes no attempt to be objective. It’s a film that has no interest in painting the leading monetary figures behind the 2008 bust as anything but ogres or incompetents. Ordinarily, I’d be bothered about the fact that so many of the key players declined to be interviewed. But in these arena that doesn’t really matter. It’s the numbers that count, and Ferguson does a good job of showing how the venality of the banking sector tried and failed to skew those numbers in the interest of quick and massive profit.

It’s a film that demands your full attention. One point that the bankers who are seen in Congress sessions make time and again is that the situation is and remains way too complex for we mere mortals to understand. Ferguson uses graphics and a measured, careful narration from Matt Damon to ensure that we can.

We are taken though a history of financial deregulation since the Reagan era that led to investment banks packaging loans that were designed to fail, and betting that they would in the quest for spiralling short term profits and bonuses. It is complicated, I’ll admit. I’m a complete doofus when it comes to money, and I found myself squinting more than once at the screen to make sure I got it. But it’s worth the effort.

The end picture is clear. The banking industry in the US (and although it’s not mentioned, I realised there was a direct correlation to the UK bailouts of Lloyds and Northern Rock) has systematically engineered a structure in which it can operate without regulation or any real restraint, and with the clear understanding that they will be bailed out by government funds if they should screw up.

The failure to appear by most of the big noises in this perfect storm begins to look less like a flaw, and more like an admission of guilt. It’s a dirty journalistic trick, to be sure, and Ferguson doesn’t come across as a sympathetic interviewer. But the silence at the heart of the film speaks volumes, and you get the feeling that these guys very definitely have something to hide. Something that Ferguson’s simple, clear graphs and extensive research winkle out with mathematical precision.

In short, no-one in this story gets away clean. When the rot even extends to the compromised state of the educators at Harvard and the Columbia Business School (who, while they should have taken the Fifth that their smarter colleagues invoked, also provide some wonderfully squirm-inducing moments) you have to wonder if there’s anyone you can trust with your money anymore.

Inside Job is a brutal indictment of an awful situation that has been allowed to fester for years. Sadly, as Ferguson points out, not only are the banks in question unlikely to be punished for their misdeeds, many of the key players are still in power, and in many cases in central roles that will enable them to dictate US and hence world financial policy under the Obama administration. It’s not an easy or fun watch, but I think it’s essential, and left me wanting to know more. There’s a lot of cant and waffle about the state we’re in, and we need more work like Ferguson’s to at least begin to answer the unasked questions.

I wonder if George Osborne’s seen it.

Cerise Sauvage: A History

I’ve mentioned in the past how a long walk will often suggest characters or situations to me. It’s a process I’ve likened to having someone fall into step with me and start to tell their story as we go.

I had a hospital appointment this morning, and afterwards decided to take a stroll back through Southwark, across the river to St Pauls and up the Strand, revisiting a few old haunts. Damned if I didn’t get a companion, murmuring in my head as I strode up Carter Lane. She had a name which I’d heard before.

I wrote down the things she told me in a couple of caffeinated jolts in shops along the river. I haven’t told the half of it. The name Westinghouse is mentioned at one point. Astute members of The Readership might recall I’ve talked about her before.

Meet Cerise Sauvage. She has a soundtrack that you might find appropriate.

Continue reading Cerise Sauvage: A History

Oscar analysis from someone that didn’t watch the show

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The usual pointless farrago of asskissery and balls-out flint-eyed marketeering fancied up with a couple of handfuls of pink frosting, but a few points sprang to mind on a brief spin through the results.

1. Boy, the producers of True Grit must have really pissed someone off. Not a sniff of a golden dildo. I would have laid money on Roger Deakin’s luminous photography getting the nod, and I’m on record about my admiration for the acting skills of Hailee Steinfeld as Mattie Ross.

2. when it comes to supporting actor/actress, bigger is clearly better. In terms of performance, that is. I thought Christian Bale sailed pretty close to the wind in The Fighter, but Melissa Leo ran up all her flags and bared her fangs at the storm. Cartoony performances go down well with Oscar, and Leo’s role as the Ward matriarch was as broad as it gets. I thought Amy Adams was better, frankly.

3. The only reason anyone’s disappointed that Exit Through The Gift Shop didn’t win? It would have been fun to see what Banksy would have come up with. Inside Job is this week’s cinema trip, and by all accounts it lives up to the high reputation it’s received.

4. SF films have to make do with technical Oscars. The Awards Committee is full of actors who look to script and performance rather than the whole package. It’s blatantly clear that they’re not interested in films with a fantastic bent, and Inception is just the latest example of this tiresome snobbery. These films will get a pat on the head for looking and sounding pretty, then sent off to play while the grown-ups take the stage.

5. The King’s Speech should have won the award for Film Most Likely To Tickle The Academy’s Fancy. Historical drama? Check. Historical drama featuring Brits with plummy accents? Check. Historical drama featuring BRITISH ROYALTY? Check-o! Historical drama featuring a British royal with a disability? OMG Checky Checkington III! It was so blatantly tooled to the Academy’s proven weaknesses that the other nine nominations might as well just not bothered turning up.

Once again, there will be crowing about what a great day this is for British film. No, it’s not. British film is in a real state, and tosh like The King’s Speech only puts a pretty mask on an increasingly withered and ugly old trouper. There was no official British presence at the Chermont International Short Film Festival this year, despite a strong independent showing. British short film is blooming, as Shaun Tan’s deserved Oscar in the Short Film category made clear, but otherwise things are looking grim. I shudder to think what representation or support there’ll be for Brit film-makers at Cannes. The King’s Speech shows the idea of a British film becoming caged up into a shrinking pool of acceptable subjects. Funding for films that fall outside this net will only become more and more difficult to achieve, in a market that’s vanishing day by day.

Meanwhile, over at the Razzies, I was delighted to see M. Knight Shamalangadingdong’s Last Airbender get the thorough kicking it deserved. Until I saw that it had taken $360million worldwide, despite the fan-hate and critical pantsing the movie had endured. That means the rotten thing actually made a profit. It also shows that Oscar is meaningless. In it’s way, Last Airbender was as successful as any of the Oscar winners last night, in that it accomplished it’s primary objective. It made money, and without any of the posturing and shmaltz that the rest of the industry had to put up with last night.

Having an Oscar is great for marketing purposes, but if you can make a buck without it, you have to question the point of the whole exercise.

 

(EDITED, once I realised I was claiming that there were no British short films at Chermont. Very not true, and X&HTeamate Nick Scott was there flying the flag amongst many others.)

The Accidental Shareholder

I was pleased to see that the Lloyds Banking Group has posted pretax profits of £2.2 billion. It’s cheering to see a publicly owned company announcing healthy returns on our investment.

However behind the headlines, the news isn’t all so rosy. Despite the increase, shares in Lloyds have dropped sharply, and their profit forecasts for 2011 have been downgraded. The group as a whole has also dropped over 26,000 jobs in it’s quest to cut costs – in a week when it’s departing chief executive, Eric Daniels, pockets a £1.45m bonus, and is in line for another £6m payout based on shares he already owns.

Let’s not forget, this is the guy who railroaded through a toxic merger with HBOS at the height of the banking crisis. This is the guy that saddled the group with billions of pounds of bad debts, and still seems to think it’s a good investment. It’s thanks to Daniels that the UK taxpayer is a major shareholder in Lloyds. We should all be worried about his financial acumen, and loudly question his bonus.

The profit announcement also serves as a reminder not to swallow the Coalition Koolaid, and believe the line that our current financial difficulties are due to overspending in the public sector. It was the bailouts of banks like Lloyds and Northern Rock that did for the deficit, not the NHS. If the Tories were in power at the time, they’d have had to do exactly the same thing.

Bail-in protests are going on this Saturday, turning HBOS banks across the country back into publicly owned and run spaces. These actions are great at pointing out the wild disparity between the profits that huge financial institutions make and the bonuses they pay, while vital services are being cut to the bone. Check out the UK Uncut site for more info, or follow @ukuncut on Twitter for the news on the ground as it happens.

Meanwhile, I’m going to find someone to help me dump these toxic shares I’ve been saddled with.

 

The Friday Foto: Leake Street

Leake Street in Lambeth is for the most part a pedestrian access tunnel that runs under the old international hanger at Waterloo Station. It used to be a dank, grim and depressing place. Until, in 2008, the Cans Festival was held there. In conjunction with a ton of high profile graffiti artists, Leake Street become a free expression zone – a safe place for writers to show what they could do without fear of prosecution. It’s a showcase for world class freestyle work.

The rate of change at Leake Street is frantic. New work is thrown up almost daily, over the top of what’s already there. So if you see something you like you’d better have a camera on you. It’ll be gone the next time you show up. The tang of volatiles from spray cans is always thick in the air. Leake Street is a heady, dizzying place, and I make a point of visiting whenever I’m in the Waterloo area. If you’re at all interested in street art, you should check it out.

You can view my latest Flickr set of the art in the tunnels here.

Gaddafi’s Role Models: Five SF & Fantasy Despots

As Libya is on the verge of shrugging off the chains of the most comic-book of the villainous Middle Eastern dictators, I thought it would be fun to look at some slightly more fictional varieties of Gaddafi et al. With his elite guard of female killers and penchant for a fancy costume and ranting speeches, I reckon he’d fit in nicely amongst this lot.

Continue reading Gaddafi’s Role Models: Five SF & Fantasy Despots

A doco kinda day

Just a quickie for now, although I may well update later. On a train into That London, for to meet with the mysterious docoBanksy.

The project that has taken well over three years of our life is now close to completion. A virtually complete version is going out to film festivals worldwide. We meet today to plan, strategise and plot our next move. We’re pleased and excited about the end project, and hope you will be too.

In 2011, docoBanksy will have you.

Protest In Your Pocket

It’s looking more and more likely that Libya will be the latest of the domino nations to shrug off an oppressive regime, and hopefully find a better alternative. The power of social networking will be heavily cited as a prime factor in the destabilisation of hitherto unbudgeable despots like Mubarak and Gaddafi. Or, if you’re Malcolm Gladwell, nothing whatever to do with it.

Continue reading Protest In Your Pocket