Blog : Posts tagged with 'accuracy'

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Twenty percent of evil

In which we discuss The Turn Of The Screw Coupling


It being Christmastime, there’s nothing quite like a ghost story. Was it Dickens who started the Christmas ghost story tradition, or is it more down to BBC schedulers of the 1970s? Never mind. It being Christmastime, we sat down in front of the telly to watch the latest BBC version of The Turn Of The Screw, by Henry James. It seems like only the other day that it was last made for the TV; but here it is again.

I should admit, I’m not particularly a fan of The Turn Of The Screw, the book, thinking it rather dense and over-written, too wordy to be frightening or atmospheric. Partly this might be because I first read it in a less-than-ideal place: while working in a call centre, between calls. Being interrupted every few minutes by the phone chiming puts a slightly different perspective on your comprehension of mysterious horror and pernicious evil. The book itself begins with a properly seasonal framing story, which the new version ignored entirely, ripping the meat of the story out and sandwiching it within an entirely different framing story set some decades later. It’s now a 1920s tale told to some kind of doctor or detective by some sort of inmate – the narrator of the story proper.

I’m not going to delve into the whole thing; a summary is that the governess of two children becomes convinced that two evil ghosts are trying to attract her wards into their own world. These ghosts were evil when they were alive, we are told, are trying to cast the children into their moulds, and seem to be succeeding: one of the children has just been expelled from school for being unspeakably naughty. But while the governess starts to see the ghosts more and more frequently, and is convinced the children can see them too, noone else in the household thinks that anything at all is amiss. Thousands upon thousands of essays, papers and texts have been devoted to the question of: are we meant to think the ghosts are real, or meant to think they are in the narrator’s imagination. Whole critical careers have been staked on one side or the other of this argument.

For TV, though, subtlety is abandoned. The camera shows us: the children, possibly more of the household staff, know that the ghosts are there and have some idea what they are up to. The nature of Ghost One, Peter Quint’s evil, too, is much more explicit: he’s a Bad Man who has his wicked way with all the ladies. Because that’s often not thought so much of a Bad Thing these days, he’s violent to them too. The nature of the boy Miles’s evil is still left vague and mysterious. Peter Quint is trying to bring him up in Peter Quint’s image, so presumably he’s turning violent and misogynistic; but why would that get him expelled from a 1920s public school?* There’s not really a clear answer to that one, which is presumably why the film-makers left it still unexplained. It’s about the only thing that was.

Now, book and film/TV are different media, and it’s unfair to gripe purely about the fact that they are different media. Adaptations can’t be made unchanged, otherwise we’d hardly need the term “adaptation”. Anachronism, though, gets on my nerves a little bit. There were a couple of scenes in which the governess arrived or departed at their local railway station; I’m fairly sure it was filmed at the very scenic Cranmore station, on the East Somerset Railway, not too far from here.** This is the 1920s, so we should have a 1920s train turn up; at Cranmore, of course, that would be a GWR country branch train in the appropriate GWR dark maroon carriage livery.**** What train does the governess step out of? A 1950s British Rail carriage in 1950s chocolate-and-cream. It’s hardly very suitable; it’s just as anachronistic as a big diesel like this would have been. Or, indeed, as if Peter Quint had worn a James Dean jacket and shades. What’s the point of period drama if you don’t bother with a period set?

* we can presume, from his angelic tousled face, that he’s as yet too young to impregnate his house’s maid, which would be a very Peter-Quintish thing to do.

** At the Shepton Mallet end of Cranmore’s platform there’s an incomplete GWR “cash-register” signal, being slowly-but-carefully restored by the East Somerset Railway’s small signal-restoring team. You can see a picture of part of it here; it’s called a cash-register signal because, at the pull of a lever, a choice of signs will pop up from the black box. I’m fairly sure I noticed it pop up*** in the background of the station platform shots in The Turn Of The Screw, along with some platform buildings that looked rather Cranmoreish.

*** The signal itself, not the signs. Like I said, it’s not finished.

**** I forget the term for the colour; but then, most GWR fans tend to forget about it too.

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Journalistic accuracy

In which the news needs its facts checking


Long-term readers might remember that, back in the mists of time, I upset some busy bees at the Grimsby Telegraph after describing that newspaper as “rather news-thin”. Which, indeed, it is: they don’t have much news in it, because they don’t have the reporters or the money to research much news. I kept meaning to take a random copy, take it apart, and break down its content into “quality” and “filler” – the latter being things like the letters pages, readers’ photos, TV listings, local sports reports* and so on; but, not living anywhere that I can get hold of a copy easily, it has been put on the back burner.

I was gratified to see, though, that its stablemate the Bristol Evening Post may have similar issues. Certainly, job cuts at both the Grimsby Telegraph and the Evening Post were making the news recently; and I’ve since noticed that the Evening Post no longer seems to pay as much attention to the accuracy of what it prints.

On Monday afternoon, a story appeared on their website, concerning a street fight in Bedminster the night before; your average local news story really. Five people were injured, and police closed the street** to search for evidence. As the Evening Post said:

The street has now reopened

Which it has. Unfortunately for the Evening Post, that story is dated 15:35, Monday. In the real world, at 5pm, everything was still cordoned off, as CSI Bedminster’s finest were still going about their jobs: white suits, facemasks and all. Oops.

Earlier in the day the police had said that they’d probably have tidied everything up by lunch-time. Clearly the Post staffer responsible for that story had heard as much, assumed that “probably” meant “definitely”, and didn’t have chance to check their facts before going to press. Which is understandable, given that it’s a small point, and the Evening Post has to get a paper out every afternoon however few reporters it has left. It makes me wonder though; if they don’t check small details like this, what else gets printed unchecked?

“It’s just like you reviewing things you haven’t seen or read,” said K, when we talked about it later.

“You’ve got a point,” I admitted.

“You should be writing reviews for them, then!” she said. Now there’s an idea.

* Most of which, especially if they appear without a byline, are essentially press-releases from the teams involved.

** Here’s a factoid for trivia fans: the street in question is part of the longest road entirely in England.

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