Regeneration: "Not a rebirth, just a little death"

Owen Hatherley and Benedict Seymour talk urban renewal.

That Britain’s unequal and restive cities are in trouble was hardly news to the panel debating urban regeneration at Nottingham Contemporary, but, hey, some of us are still playing catch-up. Participants included one Owen Hatherley, a man whose celebrated architectural tour of the regions "A Guide To The New Ruins Of Great Britain" offered both a scathing journalistic critique of New Labour’s sometimes tragicomic efforts at "Urban Renaissance", and a vindication of the idea that you can learn a lot about the state of a country through its buildings. 

Likewise, a second volume released earlier this year, "A New Kind of Bleak", laid into the coalition’s failure to come up with any viable alternative to cramming former industrial heartlands with unaffordable "luxury flats" and public-private white elephants, and portrayed a "Tory-Whig" government unwilling or unable to move on from a vague neo-liberal hope that the empty aspirational monuments of the "creative industries" might somehow lead the proles to a better life.

Joining him on the panel was Benedict Seymour, a man who, in the early part of the last decade used provocative films and unflinching essays to warn of the "imminent collapse" of the UK’s housing bubble and predicted where "creative" areas like Shoreditch in East London might be headed. In his view, gentrified creative zones represented "not so much the rebirth of the dormant industrial city but its undeath", a hipster contingent lending areas an artsy credibility that, rather than Britain’s cities and dragging them into the "ideas economy", would end up increasing rents and pushing working class locals to the margins. Given the recent arrival of the totally straight-faced, "Avant Garde Tower" just off Brick Lane  he may well have had a point.

Even after a financial crisis that revealed the fragility of regeneration projects built on property speculation, Hatherley argued that town planners remain hellbent on "accelerating a process that in somewhere like Hackney had taken fifteen years". He singled out London’s much-mythologised Heygate Estate, a place currently seeing its 3,000 run-down council homes replaced (a process backed by the strong-arm of Compulsory Purchase Orders) with 2,500 questionably "affordable" homes, as an example of the many councils’ continued regenerate-or-die intransigence. 

"The best thing [Southwark Council] could do," he argued, "is clean the thing up, refurbish the building to level out some of the five million people on the bloody council waiting list. The idea that they would do that is completely implausible, because they would lose so much face for one thing. I think that’s the thing for these [Labour] councils – once you’ve sold your soul you can’t really ask for it back. Most of these people used to be socialists, used to believe in stuff, and that’s still somewhere in the back of their minds but I don’t think they can get back to it."

The coalition government, meanwhile, rests much of its hope for urban renewal on the return of Enterprise Zones, though extensive research suggests their effectiveness has been overstated, with even the supposed success of Canary Wharf more the  result of infrastructural spending and the rehabilitation of unusable land than freedom from onerous regulation. "Everything you thought was dead is resurrected," Seymour warned of the return of Enterprise Zones. "But that doesn’t mean the dynamism supplied by the real estate bubble will be there again."

While the government tries to revive dying cities through a culling of regulations, Seymour argued that this hands-off alternative to New Labour’s clumsy Urban Renaissance itself risks exacerbating their problems, setting a precedent for "hyper-exploitation, lowering of wages and the relaxing any protection of workers’ conditions". "If that is the formula for renewal of the economy for regeneration," he warned, "then you might want to consider whether it is too nihilistic and unpleasant to endorse".

Blueprint Regeneration planner Nick Ebbs, on the panel to prevent it descending into violent left-wing agreement, accepted that the UK is littered with regeneration done badly, but contends that it doesn’t always have to be like this. "I was in Liverpool very recently looking at some of the Pathfinder schemes and these are examples of how absolutely not to do it, perfectly good Victorian streets being compulsorily acquired and then demolished and actually left as wasteland. That’s bonkers." He claims that Blueprint’s plans for redevelopment around Nottingham’s Waterside, though, "will be done incrementally, will involve adaptation and re-use of existing buildings. You know, there are alternative models out there."

Local town planner Adrian Jones, meanwhile, called on local authorities, now able to borrow cheaply and acquire land at knock-down prices, to seize the chance to be bold. "You can see it in Nottingham, all of its schemes have stalled, except for, ironically, the publicly funded schemes which are the transport schemes like the tram and the station, funded by the taxpayer," he said. "There’s only really dogma standing in the way. At the end of the day, the current model for capitalism is basically milking the welfare state. The privatisation model is making money out of the public sector. So why don’t we cut out the middle man?"

Hatherley, romantic old social democrat, agrees, and clearly believes that basic post-war alternatives hastily hurled on the Thatcherite bonfire can still provide a route out of the morass. "No one has tried over the last few years to take a former regeneration site and build public housing on it," he said. "These all sound like relatively small things given the scale of the crisis, but... people aren’t able to think about utopia when even a public housing estate with 200 houses is considered implausible. Of course no one can think about utopia."

"Regenerate Art" was part of Nottingham Contemporary’s Public Programme.

The Silicon Roundabout at Old Street in Shoreditch. Photograph: Getty Images

Matt Foster is deputy editor of Civil Service World and a former assistant news editor at PoliticsHome.

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Pirates of the Caribbean’s silly magic still works – but Johnny Depp doesn’t

This fifth sequel makes no sense, but my former teenage heart still jumped. It’s Johnny Depp who’s sunk. [Aye, spoilers ahead . . .]

“One day ashore for ten years at sea. It's a heavy price for what's been done.”

Ten years ago, Will Turner (Orlando Bloom), having replaced the sprawling villain Davy Jones as captain of the Flying Dutchman, spent his only day on land before leaving his bride, the incumbent King of the Pirates, Elizabeth Swann (Keira Knightley), for ten years, to fulfil his cursed fate and bring the dead at sea to their eternal rest. Jack Sparrow (Johnny Depp) was sailing away to new adventures, again running after his beloved ship, the Black Pearl. It was 2007, I was 14, and the trilogy I had put all my teenage heart into was ending with the third instalment, At World’s End, on a bitter-sweet and loyal salute to the series.

But whatever the posters said, that wasn't quite the end, and what came after was awful.

First, the third film’s traditional post-credits scene showed Elizabeth waiting for her husband’s return, a ten-year-old boy by her side. She, the King of the Pirates, who in the same movie had just led a fleet to defeat the East India Company, had been sitting on the sand for ten years, raising a kid, instead of sailing, even while pregnant, to save Will like a fictional Ann Bonny? I was furious. Then, in 2011, Disney released On Stranger Tides, a sequel so hideous that even this former fan could not bring herself to like it. Bloom and Knightley had moved on, and without the original lovers’ duo, Johnny Depp’s legendary Sparrow had no substantial character to balance his craziness. Somehow, it made money, leading Disney to plan more sequels. Hence the fifth story, Salazar’s Revenge (Dead Men Tell No Tales in the US) hitting theatres this weekend.

Admittedly, it didn’t take the fourth or fifth movie for Pirates of the Caribbean to stop making sense, or just to be a bit rubbish. After the surprise success in 2003 of The Curse of the Black Pearl (young man associates with pirate to save young woman from more pirates and break a curse, adventures ensue), Disney improvised two more stories. Filmed together, there was 2006’s Dead Man’s Chest (couple’s wedding is interrupted, curse threatens pirate, fiancé wants to save his father from said curse, adventures ensue) and 2007’s At World’s End (everyone goes to the end of the world to save dead pirate while piracy is at war with East India Company and man still wants to save his father, adventures ensue). Chaotic plots, childish humour, naively emphatic dialogue and improbable situations quickly lost much of the audience.

Yet I’ve loved the trilogy for it all: the swashbuckling, sword-fighting and majestic ships on the high seas, the nautical myths, the weird magic and star-crossed love story. Everyone knows the main theme, but there are more hidden jewels to Hans Zimmer’s soundtrack. “One Day”, the melody to the couple’s last day together, is a beautiful backwash of nostalgia, as they embrace in the froth. Detailed costumes and stylish sets (At World’s End had stunning shots, such as a Chinese junk navigating the icy waters of the world's end) worked their magic every time.

As expected, there's little subtlety in Salazar’s Revenge. It’s over-the-top comedy and loud action, unnecessarily salacious jokes and copied scenes from the original. Its villain, Capitán Salazar (Javier Bardem), is a parody of a nightmare, but then not everyone can convey terror from under layers of CGI the way Bill Nighy could. It is a story of sons and daughters – Turner’s son Henry is following in the family tradition, trying to save his father from a curse – usually the sign that a series is dangerously lurking into fan fiction (here's looking at you, Harry Potter’s Cursed Child). Praised for being a feminist character, the new female lead Carina (Kaya Scodelario) spends half the film being sexualised and the other half defending the concept of women being smart, where previous films let Elizabeth lead a fleet of men without ever doubting her sex.

But the promise has been kept. Exactly ten years after leaving in a flash of green, Will Turner returns and brings some of the original spirit with him: ship battles and clueless soldiers, maps that cannot be read and compasses that do not point north. Zimmer’s theme sounds grand and treasure islands make the screen shine. The Pearl itself floats again, after disappearing in Stranger Tides.

Yet the one bit of magic it can't revive is in the heart of its most enduring character. Johnny Depp has sunk and everyone is having fun but him. Engulfed in financial troubles and rumours of heavy drinking, the actor, who had to be fed his lines by earpiece, barely manages a bad impersonation of the character he created in 2003. Watching him is painful – though it goes deeper than his performance in this film alone. Allegations of domestic violence against his ex-wife Amber Heard have tarnished his image, and his acting has been bad for a decade.

It should work better, given this incarnation of his Jack Sparrow is similarly damaged. The pirate legend on “Wanted” posters has lost the support of his crew and disappoints the new hero (“Are you really THE Jack Sparrow?”). The film bets on flashbacks of Jack’s youth, featuring Depp’s actual face and bad special effects, to remind us who Sparrow is. He is randomly called “the pirate” by soldiers who dreamt of his capture in previous movies and his character is essentially incidental to the plot, struggling to keep up with the younger heroes. He even loses his compass.

Pirates of the Caribbean 5 is the sequel no one needed, that the happy end the star-crossed lovers should never have had. It is 2017 and no one will sail to the world’s end and beyond to save Depp from purgatory. But all I wanted was for "One Day" to play, and for the beloved ghosts of my teenage years to reappear in a sequel I knew should never have been written. The beauty was in that last flash of green.

And yet the pirate's song sounds true: "Never shall we die". Pirates of the Caribbean has, at the very least, kept delivering on that.

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