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Showing posts with label England. Show all posts
Showing posts with label England. Show all posts

Sunday, August 24, 2025

Down and Out in Paris and London, a review

         


        Editor's note: George Orwell is known primarily for two novels: 1984 and Animal Farm. But Orwell was a prolific writer, one who deservedly has a cult following. Other novels include Coming Up for Air, Burmese Days, Keep the Aspidistra Flying, and The Road to Wigan Pier. Orwell wrote many essays, including How the Poor Die and Killing an Elephant. Your author has penned a review of his favorite Orwell novel, Down and Out in London and Paris.

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        George Orwell was more than just a novelist and an essayist. He was also a skilled reporter and observer who, through his experiences, crafted several books that reveal styles of life distinct from most 1930s readers. In “Homage to Catalonia,” he brings the failed Spanish revolution to readers. The hard life of coal miners is the subject of “The Road to Wigan Pier.”


        Orwell’s finest piece of reportage, however, is captured in “Down and Out in Paris and London.” Inspired by “People of the Abyss,” Jack London’s melodramatic tale of turn-of-the-century London slums, Orwell entered the life of the poor in Paris and London. “Down and Out...” is likely a blend of Orwell’s experiences, observances, and literary license. In Paris, he was a penniless writer who worked 17-hour days as a dishwasher to afford rent, drinks and food. In London, while waiting for a job, he existed as a tramp, walking miles a day with other unfortunates, sleeping on the public dole, or when he had a few cents, in lodging houses that were semi-flop houses.


        Orwell’s tales in the different cities are a fascinating mix of narrative and social commentary. In Paris, the first-hand reports of a high-class restaurant in an expensive hotel is great reading. The employees, horribly overworked and underpaid, exist in a frenzy of organized chaos. The appearance of great service -- rather than great service -- is the goal of these workers. As a result, a smart looking, six-course turkey dinner may look great on a waiter’s tray, but its origins were more dirty. It was produced in a filthy subterranean portion of the hotel infested with cockroaches and rats. As Orwell puts it, “Everywhere in the service quarters dirt festered -- a secret vein of dirt, running through the great garish hotel like the intestines through a man’s body.”


        Life in the Paris slums is described in great detail. From the bug-infested rentals, to small, dark bistros, to Saturday night drinking “blowouts” and desperate visits to officious pawnbrokers to sell shabby clothes for food. Sprinkled throughout the narratives are great life anecdotes of the characters the young Orwell meets. Charlie, a shiftless youth, recalls a visit to a high-priced brothel. An old miser dies of regret and misery after he discovers that cocaine he purchased to sell is face powder.




         There is a funny scene where two Mormon missionaries try to deal with a rowdy crowd while preaching in Tower Hill. Orwell’s writing style is calm, sometimes with amused skepticism. After enduring a religious service in a lodging house in London, Orwell writes, “It is curious how people take it for granted that they have a right to preach at you and pray over you as soon as your income falls below a certain level.”


        A Paris scene has Orwell and a buddy, Boris, go to see about becoming circus hands. The job involves allowing lions to jump through your legs. When they arrive, there is a long line of applicants already waiting. “There is some attraction in lions, evidently,” Orwell dryly observes.


        The London scenes are memorable for the reports of the dirty conditions of the “shilling” lodging houses in London of that time. Also, Orwell brings readers into the lives of the unfortunate men who were forced -- through unemployment and lack of funds -- to tramp the English countryside for miles each day just to sleep in a charitable “spike” -- free lodging in a workhouse. Their many depredations are calmly described: forced religious services in return for a free meal; the petty shortchanging done by clerks at tea shops when they used a “food ticket”; the impersonal, bullying treatment at a “spike”; and the refusal of London police to allow a homeless person to sit down or sleep on the ground or the bench while outside.


    Orwell writes, “A beggar, looked at realistically, is simply a business man, getting his living like other business man, in the way that comes to hand. He has not, more than most modern people, sold his honor; he has merely made the mistake of choosing a trade at which it is impossible to get rich.”


    As mentioned, Orwell detours from his narrative at different times to offer his theories on why hotel workers are underpaid and why thousands of homeless men are forced to tramp the countryside. He also offers some solutions to the problems. His solutions are a blend of socialism and common sense. “Down and Out in Paris and London” is great reporting and one envies readers who get the opportunity to explore this a first time.

- Doug Gibson

Originally published a generation plus ago in the now-defunct Salt Lake City alternative weekly, The Event.

Saturday, February 9, 2019

Stan and Ollie a soul-inspiring tribute to Laurel and Hardy

Review by Doug Gibson

I wasn’t going to post a review of Stan and Ollie, the recently released film on the comedy team Laurel and Hardy, but two weeks after I saw it, it still resonates with me. It’s a wonderful, soul-inspiring film of the love and respect the two comic geniuses had for each other, and exemplifies their efforts and dedication to prevail over tough professional odds and poor health.


The film starts with the pair at the height of their fame, making “Way Out West” in the late 1930s and then segues to 1953 in England, and the aging pair’s last tour together. It starts as a disaster, but rallies to success after both subject themselves to a physically grueling publicity campaign. Both harbor a hope, based on flimsy promises, that a film version of Robin Hood awaits them afterward.


The secrets to the film’s success are the stars: Steve Coogan as Stan Laurel and John C. Reilly as Oliver “Babe” Hardy. They are perfect. These are not imitators; they have captured the spirits of the comic legends. After a few minutes you feel you are watching Laurel and Hardy. The classic routines seem as well done as the originals. Coogan has received BAFTA recognition. Reilly, who I think captures Hardy even a tad more than Coogan captures Laurel, deserved an Oscar nomination he did not get.


A couple of scenes help to capture the poignancy of this film. Reilly’s Hardy, desperate to buy his soon-arriving wife a nice jewelry gift, bets on a longshot horse in a shoot-the-moon ploy to gain the money. He rushes to a newsstand for the results. His face falls with dejection as he learns the horse lost. Totally dejected, he spots a group of young fans staring at him. He breaks into character, delighting the fans with his iconic antics.


In another scene, Coogan’s Laurel, is sitting in the office of the producer who had claimed he would fund the Robin Hood film. He’s been rebuffed repeatedly but soldiers on, hoping to achieve a goal he knows in his heart is likely hopeless. The producer disrespects him, keeping him waiting for hours, and eventually sends him a flunky to tell him the deal’s off. Despite his despair while waiting, Laurel still has the moxie and enthusiasm to do skits for a cold secretary who doesn’t appreciate the efforts.


Director John S. Baird creates effectively the London of the early 1950s. It’s a great period piece and one appreciates the stark contrasts between the early, cheap digs and theaters of the tour compared to grandeur of the London hotel and West End theater later in the tour. Shirley Henderson (Moaning Myrtle of Harry Potter films), as Hardy’s wife Lucille Hardy, and Nina Arianda, as Laurel's wife, Ida Kitaeva Laurel, are both very good in their roles. They share tender scenes with their husbands that show the love and support in the marriages. Rufus Jones is also strong as the supportive, but also flaky and kind of weaselly, producer of the stage tour.


Of course, the bond between the comics as portrayed by Coogan and Reilly seals the deal for this film. I won’t give too much away but Laurel and Hardy fans will shed a tear near the end as the comics gamely try to make it through the grueling tour. Some historical license is taken; a decision by Hardy to act with another partner many years ago supposedly causes Laurel lingering resentment. That resentment didn’t actually happen, but, hey, dramas need conflict, and this apocryphal bit doesn’t wound the film. Danny Huston and Richard Cant have small roles as Hal Roach and comic Harry Langdon, who made the aforementioned film, Zenobia, with Hardy.

This is a beautiful memoir of two iconic stars, with wonderful performances and recreations of classic acts. I’m so happy it’s an unexpected hit in England and even here. Laurel and Hardy more than deserve it. Memo to the BBC: make a similar film about then-faded star Bela Lugosi's final tour of Dracula earlier in the 1950s, which also occurred in England. There's already a fascinating book on it.