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Authors: Alan Coren

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BOOK: Chocolate and Cuckoo Clocks
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‘You're not going to say nothing dirty to them, are you?' she said. ‘Excuse me for asking, but we have to.'

I reassured her.

‘I'll have to keep your number by me,' she said, ‘in case there's complaints, you know, afterwards, like. No offence meant, but you'd be surprised how many people ring up foreigners and swear at them.'

I agreed, wondering who. Insights were bursting in on every hand. It clearly wasn't all beer and skittles, being a world leader, trying to keep up the balance of payments and build new schools and hold back the opposition, with Englishmen phoning you up all hours of the day and night, shouting ‘Eff off!'

She gave me the Pope's residential number. I dialled direct, 01039 6 6982. It was engaged. Odd. Was he, perhaps, on The Other Line? Or just on the balcony, waving? I tried again, trembling slightly at his proximity – five hundred million subjects under his thumb, and that thumb about to curl over the receiver in response to a far, agnostic call.

‘Allo.'

‘Your Holiness?'

Pause.

‘Wod?'

‘Am I speaking to the Pope?
II Papa?
'

Scuffling.

‘Allo, allo. Can I 'elp you?'

‘May I speak to the Pope?'

A long, soft sigh, one of those very Italian sighs that express so much, that say
Ah, signor, if only this world were an ideal
world, what would I not give to be able to do as you ask, we should
sit together in the Tuscan sunshine, you and I, just two men together,
and we should drink a bottle of the good red wine, and we should
sing, ah, how we should sing, but God in His infinite wisdom has,
alas, not seen fit to . . .

‘Can the Pope,' I said, determined, ‘come to the phone?'

‘The Bobe never gum to the delephone, signor. Nod for you, nod for me, nod for Italians, nod for nobody. Is nod bozzible, many regrets, 'Is 'Oliness never spig on delephone. You give me your name, I give mezzage to 'Is 'Oliness, 'e give you blezzing, okay?'

‘Okay,' I said. A blessing, albeit proxied, was something.

‘Don menshnit,' he said, kindly, and clicked off.

By great good fortune (or even the grace of God: who knows how quickly a Pope's blessing might work?), there was a different operator on 108 when I tried to reach Richard Nixon. He put me on to 107, who got me the White House in three minutes flat, which gave tricky Dicky a thick edge over Mao, Kosygin and Il Papa when it came to accessibility. I thought you'd like to know that, Dick, since I didn't get the chance to tell you myself. Accessibility, as Harry Truman might have said, stops here. Or almost here. The lady secretary at the White House was extremely kind, incredibly helpful and understanding; doubtless because, given America's readiness to empty magazines at those in power, you can't be too careful with nuts who phone up to speak to the President. Fob them off with a ‘Get lost!' one minute, and the next they're crouched on a nearby roof and pumping away with a mail-order Winchester. The President, she said, was down in Florida, at Key Biscayne, where his number was 305 358 2380; someone there would speak to me. They did, and they were just as syrupy and sympathetic, and who knows but that I mightn't have got into the Great Ear if I hadn't played one card utterly wrong? What happened was, the call from the Kremlin, booked, you'll remember, an hour before, suddenly came through on my other phone, and I was mug enough, drunk with bogus eminence, to say to the American voice:

‘Sorry, can you hold on a sec, I've got Kosygin on the other line?'

It was a nice moment, of course, but that's as long as it lasted. America hung up. Tread carefully when you step among the great, friends, their corns are sensitive.

I rather liked the Kremlin.

‘Is that Mister Coren?' they said.

It's no small thrill to think one's name has echoed down the corridors of Soviet power, from room to room, while nervous men, fearful of the punishment that follows bureaucratic cock-ups, have tried to find out who one is, and what one wants with the Prime Minister. After all, so much is secret, so much unknown. I might have been anybody, even the sort of Anybody whose whisper in a top ear could send whole switchboardsful of comrades to the stake. Who was this Coren, this cool, curt international voice who seemed to be on such good terms with Alexi N. Kosygin that he thought nothing of phoning him person-to-person? For men who remembered Lavrenti Beria, no kindness to strangers was too much. Which is no doubt why I actually got to Kosygin's private secretary, who was himself extremely civil.

‘I merely want to present the Prime Minister with my good wishes,' I told him.

He was heartbroken that the Prime Minister was inextricably involved at present, but swore to me that my message would be passed on immediately. And I have not the slightest doubt that it was. It's a long way to Siberia, after all, and the cattle-trains leave every hour, on the hour.

Which left me with just two numbers in my little black book: Havana 305 031 and Cairo 768944. It took me a day to get through to one, and three days to reach the other (all calls to Egypt are subject to censorship), and when I finally did make contact, Fidel and Anwar were, needless to say, busy elsewhere. Both, however, promised faithfully to ring me back, which is why I leave them till last. Courtesy I like. Not, though, that they actually
have
rung back, but who knows? Even now, the dark, dependable forefingers may be poised over their respective dials, groping along the cables for a chance to chew the fat and swop a joke or two. If not, and if they read this first, don't worry about it, lads. It's nothing urgent.

I just wanted to say hello.

17
The Rime of the Ancient Film-maker

There has been much speculation as to why, when Ken
Russell's first film on the Lake Poets was so uncharacter
istically restrained, his second was so characteristically
extravagant.

 

Part I
An ancient director
It is an ancient Film-maker,
meeteth three
And he stoppeth one of three.
viewers about to
‘By thy long grey script and glittering lens,
watch
Match of the
Now wherefore stopp'st thou me?
Day
, and detaineth one.
The telly's doors are open'd wide,
We've got the Guinness in;
There's cheese'n'bacon Krunchimunch,
And peanuts by the tin!'
 
 
He holds him with his podgy hand,
‘There was a film,' quoth he.
‘Eff off! It's Stoke v. QPR!'
Retort the Viewers three.
 
 
He holds one with his glittering lens –
The viewer is
The Viewer stood stock still:
spellbound by
‘Is this for
Candid Camera?
'
the old man's
The film-man hath his will.
Arriflex. There
The Viewer sat down on the step:
may be money in it.
This could be fame at last!
And thus spake on that ancient man,
The mad-eyed cinéaste.
 
 
‘The script was cheer'd, the treatment clear'd.
Mr Melvyn Bragg is
Granada coughed up loot!
hired, and works for
I grabbed my crew and off we blew,
an entire morning.
Bound for the first day's shoot.
The book is
finished.
The Sun came up upon the left,
Into the lens shone he!
A blood-red smear, a crimson tear,
Was all the lens could see!
 
 
The film-maker gets
‘Cut! Print!' I cried; for in that shot
to the heart of
Was all I asked, and more:
Wordsworth.
A sense of doom, in that one zoom;
All Nature steep'd in gore!
 
 
‘Lake poetry is pain and lust
And death!' the old man roared.
‘And—' here the Viewer turned his head,
For QPR had scored.
 
 
Warming to his
‘And then—' the Viewer's head jerked back
theme, he hires six
‘—we cut across to France.
helicopters and
In every scene, the guillotine:
abattoir.
Well, why pass up the chance?
 
 
A sonnet is carefully
The fat heads roll'd, and, green with mould,
interpreted.
The rotting torsos lay;
While, nude, the Eskdale Shepherd gasped
And rutted in the hay!'
 
 
The viewer is
‘Stone me! Is
all that
poetry?'
amaz'd by the sheer
The Viewer cried. ‘By heck!
vision of the ancient
I only know The Boy Stood On
director.
The, wossname, Burning Deck!'
 
 
‘You have to read
between
the lines!
Between the
words
, forsooth!
For what I read is what I know:
There is no other Truth!
 
 
Granada, hearing
But fools' – and here his face grew black –
rumours, despatch a
‘Will ne'er let genius be:
studio spy.
A man was sent from Manchester;
His brief: to check on
me
!
 
 
Each day, he scribbl'd telegrams
Back to Granada's boss;
Each day, his calculator clicked.
His name was Albert Ross.
 
 
The spy, in a vision,
And when he saw what we had shot,
foresees ratings.
His flannel chops turn'd white!
‘You call
this
family viewing, son?
You call
this
Sunday night?'
 
 
Thereafter, sat he with our crew;
Thereafter, every day,
They fawned to do his every whim,
For they had heard him say,
 
 
The spy takes
That if the film did not pass
him
,
control of the
If there was one more shot
project.
He could not show his grandmother,
Then he would scrap the lot!
 
 
The ancient
And they were men with mortgages,
director is sold for a
And they were men with wives:
mess of pottage,
There was no room for genius
plus overtime.
Within their little lives!
 
 
I stood apart, as in a dream,
And let them shoot at will;
They filmed each lousy skylark, shot
Each stinking daffodil!
 
 
 
Yet, while I stood, my brain did not:
 
It, fertile, laid a plan;
 
A perfect crime, to wait the time
 
The film was in the can!
 
 
The ancient director
And, as it left for Manchester,
 
draws his
I left to cut my loss;
 
own conclusions!
And, with a Props Department bow,
 
I shot that Albert Ross!
 
 
 
Part II
 
 
A free man, the
‘The Sun now rose upon the right:
 
ancient film-maker
We went to film Part Two.
 
launches into
The
But when they scann'd the scene I'd plann'd,
 
Rime of the Ancient
Rank terror gripp'd the crew!
Mariner
.
 
 
They look'd behind, to ease their mind,
 
But no fat fink did follow!
Nor any day, with bonus pay,
Came to the film crew's Hollo!
 
 
Sheer brilliance
They did not guess; nor did they press
overwhelms doubt
For further explanation:
yet again.
Since genius brooks no challenge, and
Technicians know their station.
 
 
But Friday came; it brought no cash.
Their nagging made me cross.
And like a fool, I blew my cool:
Confess'd I'd murder'd Ross!
 
 
The film crew are
They shriek'd! They swore! They tore their hair!
deeply stricken by
They fell down in their woe!
news of the poor
For all averr'd I'd kill'd the bird
wretch's death.
That made the cash to flow!
 
 
And when, next morn, I found my teeth,
Arose, and quit my bed;
There came no sound from all around:
The camera crew had fled!
And yet, and yet: my actors stood,
Waiting in serried ranks;
Thank God, I thought, that actors are
As thick as two short planks!
 
 
They stared at me, made-up and dress'd,
With simple, empty eyes.
And what I saw when I stared back
Were blessings in disguise!
 
 
The ancient filmmaker
Who needs a camera crew? I cried;
recognises
Who needs their bleating moan?
his own supreme
I took the kit, and shoulder'd it,
qualities.
And went to film alone!
 
 
And oh, the reds! And oh, the greens!
And oh, the clever angles!
And, bless my wig, is that a twig,
Or something Coleridge dangles?
 
 
The ancient filmmaker
Was ever documentary made
pre-empts
So bravely to defy sense?
critical acclaim,
Is, surely, this not what is meant
wisely.
By sheer poetic license?
 
 
For am I not a poet, too,

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