Competition: The Debt

Win a pair of tickets to see Helen Mirren in a new thriller at the Front Line Club.


To celebrate the release of the political thriller The Debt, starring Helen Mirren and in cinemas on 30 September, the New Statesman is offering one lucky reader the chance to attend, with a companion, an exclusive preview screening of the film at members-only London media club The Frontline on 8 September.

The Debt was filmed on location in Tel Aviv, the UK and Budapest. The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize.

The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds, who also appears in the upcoming film adaptation of Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared "Surgeon of Birkenau", in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait.

At great risk, and at considerable personal cost, the team's mission was accomplished - or was it? The suspense builds across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands.

The Debt is released in UK cinemas on 30 September
More information on The Frontline Club here.

For your chance of winning this prize, answer this simple question:
Name the Academy Award nominee director behind The Debt:
A) John Madden
B) Woody Allen
C) Ron Howard

Email your answer to

Entries close at 5pm on 5 September


© 2011 Universal Studios / Focus Features LLC. All Rights Reserved.
Terms and Conditions
- Competition open to UK residents only
- Prize does not include accommodation or travel
- Preview screening will take place in London's The Frontline members only club at 7pm

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How the radio stations reacted to Bob Dylan's Nobel Prize

For its part, Radio 1 was too absorbed by the Duke of Edinburgh’s Awards to mention the proclamation on Newsbeat.

Bob Dylan’s Nobel Prize in Literature inspired a bewildering gamut of radio responses. At first, proof of his talent was abundantly forthcoming, Andy Kershaw yelling down the line for World at One from a motorway services on the M6 within ­moments of the announcement. (“I can’t understand why they didn’t give this to him 41 years ago!”)

However, a full six days after Talk Radio excitedly reported the event on its home page (“a pivotal part of the cultural revolution of the 1960s”), the online feature has yet to attract a single comment. That’s zero talk. For its part, Radio 1 was too absorbed by the Duke of Edinburgh’s Awards to mention the proclamation on Newsbeat, though Heart FM firmly quoted the chair of the English faculty at Oxford (“The Tennyson of our time”), and pencil-suckingly dissected lyrics (“Ain’t talkin’, just walkin’/ Up the road . . .”).

Is it poetry? Is it literature? You could tell it was doing everybody’s head in. But when, on Radio 4’s Front Row, Billy Bragg praised Dylan for “bringing a literary and poetic thread into pop music”, the argument sounded terribly old.

The whole battle about Dylan being as great a poet as Tennyson is a hangover from an ancient battle, from a time when it actually had to be pointed out that this pop-music stuff can be brilliant and clever. A time when boring people battled for respect and prestige for an obvious genius. Over on Radio 2, Mark Goodier cheerfully played “Tangled Up in Blue” (“Major, major prize for Bob today. If that isn’t a decent excuse to play a song, I don’t know what is”). But by Sunday, on Radio 4’s Broadcasting House, the gloves were off and guests were declaring that they couldn’t stand Dylan’s voice (cliché, pathetic).

By Monday Simon Armitage was saying that Dylan’s lyrics had no more sophistication than something composed by a child. Is it poetry? Is it literature? Well, it kind of is. But it kind of isn’t. And it doesn’t matter very much, except to the likes of Dylan – and only a long, long time ago. Now he hardly requires the approbation. The Nobel Committee has given the prize to the one writer in the world who doesn’t need it. 

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood