Gilbey on Film: can Russell Brand save British cinema?

The UK Film Council wasn't perfect, but we need a high-profile campaign to support home-grown movies

What a rum time for British cinema. Recently it was announced that the latest James Bond film, which was to have been directed by Sam Mendes, has been moved to the back burner because of financial problems at MGM.

Daniel Craig, appearing at San Diego's Comic-Con on Saturday to promote Cowboys & Aliens in which he stars opposite Harrison Ford, would not delve into the matter when a question about the project's status was put to him by a member of the audience. "All I can say is that I want to get going on it as soon as possible," he replied.

Then it was announced yesterday that the UK Film Council was for the chop. The UKFC coughed up some of the money for Roger Michell's adaptation of Ian McEwan's Enduring Love, in which Craig appeared. I wonder what the actor has to say about the decision to scrap a funding body on which so much of the country's film industry depends. It would be good for him and other actors to speak out about it.

So far, it has mostly been directors and producers voicing their objections. This could all go much wider if an A-lister were involved, someone like Craig who could get the story into the tabloids as well as the broadsheets, turning it into some kind of call to arms. Amazing the miracles that can be worked by a little magic dust from a celebrity.

Russell Brand must be busy preparing for his upcoming remake of Arthur, but imagine the attention he could bring to the story simply by mentioning it, let alone flying out to meet the culture secretary, Jeremy Hunt ,and pointing out to him that without the UKFC's help, Brand's own film career might have stalled. (Perhaps it's best if Brand didn't mention that the film in question was St Trinian's. Leave Hunt to believe it was Get Him to the Greek or something.)

Some of the most original and challenging films of the past decade were given a helping hand, financially speaking, by the UKFC: Better Things, Bright Star, The Constant Gardener, Crack Willow, Fish Tank, Gosford Park, London to Brighton, Red Road. (They also put some money into Mike Leigh's forthcoming Another Year.) But as this magazine's Daniel Trilling has rightly pointed out, it would be unhelpful to look upon the UKFC as tireless promoters of experimental cinema when so many of the projects they funded or co-funded were evidently spawned or dogged by commercial second-guessing.

And Alex Cox made some trenchant observations about the fraudulence of this idea of Britishness which comes out in times like these. He called the UKFC's axeing "very good news for anyone involved in independent film. The Film Council became a means by which lottery money was transferred to the Hollywood studios. It pursued this phoney idea that James Bond and Harry Potter were British films. But, of course, those films were all American - and their profits were repatriated to the studios in Los Angeles."

If I were a politician, I might use that dreaded phrase I despise so much and say that we need to open a dialogue. The real brutality here is not that the UKFC is being axed -- perhaps the sums will be shown to make sense; who knows? It's that the death sentence has been passed with no apparent chance of a stay of execution.

Ryan Gilbey is the New Statesman's film critic. He blogs for Cultural Capital every Tuesday

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.