The Real Iron Ladies

Display at the National Museum of Scotland. The quote from Thatcher reads: "We English, who are marvellous people, are really very generous to Scotland."

I am unlikely to go to see “The Iron Lady”. I grew up under Thatcher; young, but still. I don’t think I could watch an admiring portrait without a gnawing resentment. I’m Scottish and a lot of Scottish people resent her. Moreover, I begrudge her the title Iron Lady, with its connotations of strength, resilience and the reasoning (pervasive, I find, in the U.S.) that she is admirable and some kind of role model for ambitious women. I hate hearing her name invoked as some kind of feminist symbol. I think Lauren Laverne of Kenickie spoke for many of us when she called Geri “Ginger Spice” Halliwell “tory scum” for embracing Thatcher as “the original Spice Girl.”

Anyway, I was encouraged to read about this protest by the ‘Real Iron Ladies,’ veteran members of the TUC‘s Women’s Action Group including organisers of the 1984-1985 miners’ strike.

From the BBC report:

Toni Bennett, an organiser with the Bolsover Women’s Action Group during the 1984/5 miners’ strike, said the film gave a false impression of Thatcher’s contribution to feminism.

She said: “The film suggests that Thatcher stood up bravely against a male establishment and was a women’s champion.

“Nothing could be further from the truth. Thatcher mobilised every arm of the state against the striking miners and coalfield women who were defending their jobs, their children’s futures and their communities.

“Anyone watching this film needs to be able to distinguish facts from fiction.”

(BBC News 6/1/12: “‘Real Iron Ladies’ stage protest against Thatcher Film’)

Filming Cloud Atlas in Glasgow

Glasgow

Take one book by David Mitchell: My favourite, Cloud Atlas, which begins on a 19th century ship in the South Pacific and ends in post-apocalyptic Big Island, passing through a pre-WWII Belgium, 1970s San Francisco, early 21st century England and dystopian Korea.

Take one gritty Scottish city: Glasgow; the place that visitors are told to skip over in favour of Edinburgh because “it’s so much nicer.” I lived in Edinburgh for two years, but Glasgow might be my current favourite Scottish city.

So, Cloud Atlas. The book is structured in a kind of Matroyshka doll style where elements of the preceeding segment appear in the next and so on. Each segment — the South Pacific story; the Belgian story, dystopian Korea etc… — ends abruptly, sometimes mid-sentence, before being picked up again in the second half of the book as if in a kind of loop.

Unfilmable, I had thought, and yet production started on the movie, directed by the Wachowski brothers, this month. To my surprise I stumbled across part of the film set while walking through Glasgow one chilly evening last week. Checking the newspapers, I learned that Halle Berry had been filming scenes on that spot earlier in the day. She was playing Luisa Ray, which meant that Glasgow was a stand-in for … San Francisco?

Cloud Atlas set, Glasgow

I scratched my head. Glasgow as San Francisco? Well, there are the steep hills and… and I can’t really think of anything else but I look forward to seeing the film and seeing if I can suspend belief enough to believe in old Glasgie as the city by the Bay. In the meantime, this has to be great news for Glasgow; it’s the second Hollywood movie to be shot there in just a few weeks. Brad Pitt was recently in town to shoot World War Z, with Glasgow standing in that time for Philadelphia.

This mural represents some of the book's themes

This Guardian piece has some good notes on Glasgow’s role as film set, past and present, as well as some information on the thinking behind its doubling as San Francisco:

“…it is easy to see how these streets can stand in for San Francisco the layout’s “decidedly San Franciscan effects” are even noted in Andrew Gomme and David Waller’s book, Architecture of Glasgow.”

Although of course there is the inevitable cabbie moaning about heavy traffic.

“The Great Happiness Space:” A Review of a Host Documentary by a Former Hostess

The idea of a host or hostess club may sound strange to Westerners, yet Japan counts hundreds of such clubs as part of its broad mizu-shobai (nightlife) industry.

The role of a host or hostess in a Japanese club is to provide a relaxing space for their customers who have  likely just finished work. The host/hostess is attentive to the customer; he or she refills the customers’ drinks, lights their cigarettes
and most importantly provides light and flirtatious conversation. The hostess’ goal is to become so attractive in the eyes of the customer that he will return often, purchase more expensive drinks, and invite her out to dinner — all earning the hostess a boost in commission.

The hostess club has made its way in to the Western media by means of Kate Casphaw’s character in the U.S. movie set in Osaka, Black Rain, and in scholarly work by Anne Allison and Lisa Louis, two American women who had worked as hostesses in Tokyo and Kyoto. The male equivalent, the host club had remained relatively unexplored until the release of the 2006 documentary The Great Happiness Space: Tale of an Osaka Love Thief.

Directed by British filmmaker Jake Clennell, The Great Happiness Space takes place entirely in Osaka’s most popular host club Café Rakkyo. The main focus of attention is Rakkyo’s number-one host Issei and the female customers who come regularly to spend time with him. Issei is handsome and stylish, and the money he pulls in is extraordinary. Issei talks openly about the tried and tested techniques he uses to make this money. First, he says, he flatters and charms the customers: “Girls tend to appreciate superficial sweetness,” he says. Then “the girls start to open up and trust me… and then “we scold her”. Issei is shown scolding his customers, telling them to grow up and become better people, it appears as though this is out of genuine concern.

Now that he has their trust Issei finds it easier to ask them for the more expensive bottles of champagne and to manipulate his customers into coming to the club more often. When one asks him if he thinks they would ever have a chance at a real relationship outside of the club, he demurs and says that he only knows that his future girlfriend will “have to be a long term customer.”

The next part of the documentary focuses on the Japanese women who visit the club. It comes as a surprise to learn that all of Issei’s customers are also night workers – they describe themselves as fuzoku, translated in the subtitles as prostitute. The depth of connection between their jobs and the host club is revealed when one of the women says that if she had never started going to Rakkyo, she never would have started working in the sex industry. One customer says, “70 or 80 percent of a host’s earnings come from fuzoku clients…we can talk about anything and they don’t look down on what we do.”

None of this has gone unnoticed by Issei and his fellow hosts, despite giving the illusion of always having fun, they all admit to feeling guilty at times. The final part of The Great Happiness Space reveals a shadow over the endless party a host’s work appears to be. We see just how trying the job can be, from dealing with abusive customers to whom the host must not talk back to, to the tolls of drinking (in Issei’s estimation) ten bottles of champagne every night, to the emotional damage the job has left him with: “If there are 100 women in the room I can’t trust one of them.”

The result is a fascinating, in depth and well-balanced view of the Japanese host club. Through Issei and his workmates at Café Rakkyo, we see the good, the bad and the ugly of what might at first seem like the easiest job in the world.