A most irregular columnThe new
Metro is good, isn’t it. “Barney’s rubble” is a great cover line for the
Pavement story, and it’s a great story by Simon Farrell-Green.
Graeme Hunt has an excellent map of Waiheke Island showing where the rich people live. Frances – not Fran – Walsh has a good story taking a different tack from
North & South's on Wither Hills and the wine competitions, with a sidebar in which Simon Wilson explains what a good editor of
Cuisine he was but the publisher just didn’t understand. He may well be right. But usually publishers are – they pay for the Piper-Heidsieck, so they call the tune.
And it’s nice – but sad – to see an obituary for Georg Kohlap. I didn’t know him well but adored him. Plus, he got Warwick Roger and William Chen to do his bidding. Not many people can say that.
The
Listener has been good recently – I can’t understand the 11% drop in circulation. Can you? – but this week’s issue has a dreadful cover, possibly the worst ever. The typography is all to hell, and look at this:
Will the war
on climate
change kill
our trade
& tourism?
Wrong in so many ways, but here’s two: you want the phrase “climate change” to be readable, and “change kill” is just daft. Designed by a designer and proof-read by nobody. Or so one hopes.
But wait, there’s more. On pages 12-13 there’s an interview with Paolo Rotondo, who’s such a nice bloke that they shouldn't have let him say in print that “Maori and Italians have both got a disrespect for authority because of colonisation.” When was the last time the Italians got colonised? The Greeks did them over about a couple of millennia ago and Napoleon had a crack later. But in between there was a little thing called the Roman Empire, and much later there was Abyssinia. A bit more out-colonising than in-colonising there. What’s the Maori for “bollocks”?
Which brings us to Philip Matthews. He’s a terrific writer but he does like to let us know that he’s, you know, politically okay. In the TV Films section, he starts on
The Hollow Man with “Not the long-awaited Don Brash biopic…” Yee-es.
Next, his review of the 2004 remake of
Around the World in 80 Days opens, “The standard version of this Jules Verne fantasy contraption might still be the 1956 version in which David Niven played Phileas Fogg; certainly, it seemed an easier film to make in the fading days of empire (wasn’t 1956 also the year of the Suez crisis?) than now.”
I won’t quibble about that semi-colon, though others might. And I won’t quibble about 1956 being the year of the Suez crisis. But this is an American film, released in 1956 hence almost certainly shot in 1955 at the latest ie before the Suez crisis – which America stopped by making England, France and Israel back off. So what is the point of mentioning it? Something to do with Iraq, I suppose, ie nothing to do with
the fucking film.