Spider-Man 2 (2004): A Treatise on Grief in the Most Unlikely Place


On Sunday August 24th (today, if you’re reading this on the day I post it), I shall be heading to the stage in a village hall for what has become a yearly concert.  They were twice-yearly once, but that’s not possible these days.  It’s been a weird year since the last one.  There have been the highs of passing my PhD and the lows of a really shit time with bipolar.  When I hit the stage (“hit” makes it sound a little more dynamic than it actually is) this time I shall be singing some old favourites for the first time since my Dad passed away two and a half years ago.  It’s odd singing songs I know he loved, and strange knowing that he won’t hear or see them – not even on videotape.

The day before the show is always a case of “killing time” and not being able to settle to anything constuctive.  So, I sat down in front of the TV and watched the blu-ray of Spiderman 2 from 2004.  The excitement of my Saturday nights hold no bounds.  It’s not exactly a great film, it has to be said, lacking the pace of the first one in the series, just plodding on from one set-piece to another.  However, I did find it interesting given the fact I had been thinking about my Dad, for the film, rather surprisingly, seems to be more honest than most about grief.

The film is set two years after the first, but Peter Parker and his aunt are seen still mourning the loss of his uncle.  It’s an oddly moving element of an otherwise rather vacuous film, not least because of the genuine and touching way in which these scenes are portrayed.  All too often, grief and mourning is dismissed in a film or a book or a play as something very temporary.  Someone dies, people cry, the funeral takes place, everything returns to normal. In a space of two weeks life is back on track.  That, of course, is bullshit.   It’s not the way it works.  Things never really go back to how they were.  We get back into a routine, for sure.  But it’s not the same routine, because there’s always someone missing from it.

Film, at least popular, commercial film, very rarely acknowledges this.  And neither does popular TV or fiction.  When was the last time you watched Midsomer Murders and saw someone really grieving?  It’s hard to tell why such basic human emotions are missing.  After all, most of us like to be able to “identify” ourselves with the character on the screen.  Of course there are arthouse films that are all about grief and mourning and loss.  But there are certain subjects that are avoided in more commercial ventures, it seems, simply because the makers don’t really know how to deal with them.

Over the last couple of weeks, there has been much discussion about mental health issues on TV and the social media.  These are issues that, again, we rarely see portrayed in TV or film dramas.  Like mental health issues, it appears that death and grief is still a taboo – something that people feel remarkably uncomfortable discussing.  And with both of these issues, it’ s  a highly individual experience.  No two people grieve in the same way.  But, if we were to go by Hollywood filmmaking, people just don’t grieve at all.  They wake up one morning, about a fortnight after the event, and everything’s fine again.  It’s not. I miss my Dad now more than I did in the weeks after he died over two years ago.  Is that normal?  I don’t know.  I don’t care.  It’s my normal.

Is it wrong that these emotions are absent on our cinema and TV screens?  I’m not sure about that, but it certainly seems to be an easy option – and something we don’t necessarily notice until we’re suddenly, and unexpectedly, confronted with these scenes in the most unlikely film.  And Spiderman 2 is, certainly, the most unlikely film to deal honestly with the fact that we miss those no longer with us for the rest of our lives and not just until the funeral is over.

Mental Health: Don’t Forget It

depressionA man died this week and suddenly a discussion of mental health issues has started.  There is an outpouring from twitter users, as they retweet messages about depression.  Statuses of support for sufferers of depression are being shared over and over on facebook.  There’s even a multitude of new videos on YouTube on the subject.  The problem is that, last week, most of these people didn’t give a fuck about depession.  And, after the funeral of a well-loved celebrity, the furore over how sufferers are let down by the system and by society will die down to a quiet murmur once again. 

Depression, bipolar and other mental health conditions DO need to be talked about, not least because the lack of understanding about these issues is so severely lacking amongst many members of the public – and it is that stigma that prevents many from seeking treatment or admitting they have a problem.  There is something of a backlash about comments made on TalkSport radio by Alan Brazil (I have no idea who he is) in which he said he had “no sympathy” for Robin Williams.  Shep Smith, a newscaster on Fox News in America, referred to Williams as a coward.  Both men, bizarrely, still have their jobs.  The truth of the matter, though, is that many members of the public have the same lack of understanding of depression as these two men – and twitter and facebook have shown that too in the last few days. 

Suicide is thought to be the biggest killer of men under 50 in the UK.  Mental health issues affect 1 in 4 of us at some point in our lives.  According to the American Foundation for Suicide Prevention, around 30% of sufferers will attempt suicide, and it is thought that around 10-15% of sufferers die as a consequence of the condition. 

A 10-15% fatality rate.

So, what are we doing about it?  Well, we’ll talk about if for a few weeks and then forget it.  Public figures and politicians will tell us that support has to be given to sufferers.  However, mental health budgets in the UK are being slashed.  For example, six weeks ago the BBC reported that the budget for child and adolescent mental health services at Birmingham City Council were cut “from just above £2.3m in 2010-11 to £125,000 in 2014-15, a drop of 94%.”  Mental health trusts have had their budgets slashed by 20% this year.  NHS England has cut budgets for mental health by 2%. 

There has to be a link here between the lack of education on the subject (and thus its perceived seriousness) and the cutting of budgets.  It’s still thought people can “snap out of it” or that it isn’t a “real” illness.  If the condition had the word “cancer” or “disease” at the end of it, we would all be looking at in a very different way.  It is as real as diabetes or heart disease.  The fact it doesn’t show up in a blood test robs it of that reality. 

What I’m trying to say here is that, for a few days or weeks, mental health issues will matter to more people than ever before because someone they liked on the telly has died as a result of it.  But those deaths (and attempted deaths) are happening all the time.  It’s a reality that people and governments need to wake up to.  More than ever it is time to educate, talk, support and treat. 

In the four minutes it took you to read this article, six people will have attempted suicide in the USA alone.  Five of them will have had a known mental health issue at the time. 

Un jour d’été (One Day in Summer) (2006)


I first saw this made-for-TV film about five years ago, and I confess that I was rather mesmerised by it.  Having seen it again just yesterday, I have to say that I still find it a remarkably  fine effort – despite the various reviews of it elsewhere.

The plot is simple.  Almost non-existent.  There are two teenaged friends.  One of them dies after being hit on the head by a goalpost.  The other one struggles to cope.  That’s basically it.  There are various subplots about the family of the dead boy and whether or not the goal post was in some way defective, but these subplots are as inconsequential as the main narrative.

In many respects this is a film that came at the tail end of a cycle of similar french movies about confused teenagers:  Presque Rien, Les Roseaux Sauvages, A Toute Vitesse, Le Dernier Jour.  And perhaps this is why the film has caused some reviewers to scratch their heads a little.  These films all feature homosexual teens as their lead characters or, at least, teens who are sexually confused and that confusion is the driving force behind the narrative.   That isn’t the case here.  Sure, it appears that Sébastien may have feelings for boys, but that’s never made explicit.  It’s hinted at, but nothing more.  Apparently, though, the film was shown at LGBT film festivals in the UK (and was picked up by a DVD distributor specialising in LGBT-themed films) and that has caused more confusion within audiences than within the central character himself.  I can understand that to a certain degree, but this is where the term “queer” really comes into its own.  It may not be a gay-themed film, but it’s certain a queer film.

Anyone who wants to watch this because they think it has gay content will, indeed, be disappointed.  But that’s a shame, for Un jour d’été has so much to offer.  It is, essentially, an elegy – a cinematic study of mourning and loss, and the effect grief can have on family and friends beyond the obvious.  After the funeral, things slowly get back to normal – but, somehow, they are never quite the way they used to be.   This is something rarely portrayed in film, a medium where mourning and grief is so often portrayed as lasting a few days and then everything’s hunkydory.  Un jour d’été portrays quite the opposite of  this in a quiet, plaintive, unassuming way that is both mesmerising and moving without being overly morbid.

Strangely, Baptiste Bertin, who plays the lead in the film has done little movie work since.  This is a shame, for he puts in a stunning performance here as the confused, bemused, sometimes troubled teenager at the heart of the “story.”  His performance alone is worth looking around for a second-hand copy of the DVD (not as easy as it sounds).

In the end, the film has come into criticism in the past because it refuses to be pigeon-holed.  That the boy at the centre of the film is sexually confused and yet that isn’t what he obsesses over day and night seems very hard for some people to understand.  Had the “gay” angle been developed more, it would probably have been received better outside France but, at the same time, it would have lost much of its appeal and much of its power.  The film is as unassuming as its title, but well worth taking the time to watch.

OUT NOW. Elvis Presley: A Listener’s Guide

Elvis A Listener's Guide smaller


I am pleased to announce that my book “Elvis Presley: A Listener’s Guide” is now available – at least in Kindle form!  The paperback will catc up and be along later in the week!

The links for the Kindle edition can be found below.  I have listed the US and UK links, but it should be available in Kindle form at all Amazon’s by now.  The paperback will, alas, be only available within the US, Canada, UK and European Amazons – one of the restrictions of self-publishing, alas.  The picture with this post is of the actual cover.

US Amazon: http://www.amazon.com/ELVIS-PRESLEY-LISTENERS-Shane-Brown-ebook/dp/B00MDVQT3G/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1407108118&sr=1-1#reader_B00MDVQT3G

UK Amazon: http://www.amazon.co.uk/ELVIS-PRESLEY-LISTENERS-Shane-Brown-ebook/dp/B00MDVQT3G/ref=sr_1_1?ie=UTF8&qid=1407107717&sr=8-1&keywords=shane+brown+elvis