Gilbey on Film: Sacha Baron Cohen is back

This time as dictator General Aladeen of Wadiya.

To the Royal Festival Hall on London’s South Bank, at the behest of a certain General Aladeen of Wadiya. As the invitation puts it: “His Excellency Admiral General Aladeen Would Like to Pleasure You at the World Premiere of The Dictator.” Perhaps it is this unusual promise which brought all these shiny orange people onto the red carpet on a dismal, rainy Thursday evening prior to watching the latest film from Sacha Baron Cohen. You would think their stylists would have warned them that tangerine doesn’t go with red, but here they are anyway, the cast of The Only Way Is Essex, illuminated still further in the sheet lightning from fifty photographers’ flashbulbs. No, strike that - the people behind me are saying it’s the cast of Geordie Shore. We’ll go with that. Thank you, people behind me.

Next is an abrasive wee fellow named Louis Spence. I don’t know who he is or what he’s done to warrant a place on the red carpet, but Alex Zane, the red-carpet interviewer with scissor legs, is mighty pleased to see him. What would Louis do if he were dictator of his own country? “Spit at people with speech impediments,” apparently. Oh dear. Is that an in-joke? Alex laughs, but it’s the fearful laughter of a man who sees his every media moment through the prism of the Jonathan Ross/Russell Brand scandal, wondering: “Who will be next? Could it be me?” Moving along, he interviews one of several comics currently named Russell (not Brand), who tells him that what makes Sacha Baron Cohen so brilliant is that “he finds the line and thrusts across it …He totally, schizophrenically inhabits who he becomes.”

Right on cue, here comes the film’s star as General Aladeen, arriving in front of the venue waving from the driver’s seat of an orange Lamborghini - a clamped orange Lamborghini, that is, mounted on the bed of a City of Westminster tow truck. I like his habit of only giving press interviews in character (see this email exchange with Dennis Lim of the New York Times). Even if you don’t find it funny (though personally I’m tickled by his in-character assertion that “The Arab Spring is just a silly fad, like ‘mood rings’ or ‘human rights’”), you have to concede that it’s preferable to celebrities talking about the spiritual journey which they embarked upon with their latest role. Imagine if everyone gave interviews in character. Wouldn’t that be something? Unless it was Jodie Foster in Nell, obviously. Clearly there would need to be exemptions.

Just after the lights go down, Baron Cohen appears — still in costume and in character — in a spotlight in the balcony, greeting the audience with cries of “Hello, hello, death to the West!” and “Hello, English devils”. He says he has been enjoying his red carpet experience. “Usually when I am on a red carpet it is because I have just beheaded someone in my living room.”

That’s the general tenor of the material in The Dictator, which has at its core the novel idea of an essentially innocent oppressor: a naïve, mollycoddled man who just happens to be a vicious murderer. It’s really the same joke that held together Baron Cohen’s last two films, Borat and Brüno — wide-eyed naïf comes to the US and exposes inadvertently that country’s hypocrisy and small-mindedness — but with the twist of making him a psychopath rather than merely a buffoon.

Watching The Dictator, which begins with the dedication “In Loving Memory of Kim Jong-Il”, I missed the genuinely dangerous edge of Borat and Brüno; those pictures placed Baron Cohen in volatile, real-life scenarios where his provocations almost led to violence against him. There’s no way to fake or replace it. On the other hand, that species of comedy can’t go on forever, not least because the actor is now a widely recognisable superstar, unlikely to be able to orchestrate pranks of the same scale. At least The Dictator is often wildly funny, particularly when General Aladeen, stripped of his uniform and beard, and wandering New York for reasons too convoluted to recount, has to take work in a Brooklyn feminist co-operative “for people of all or no genders” (as the store worker Zoe, played by the impish Anna Faris, puts it).

The film has teeth, which it bares occasionally. I’m not thinking so much of the bad taste gags—a terrorism Wii game, which offers Aladeen options such as “Tokyo Subway” and “London Underground” before he opts for “Munich Olympics,” drew a shocked gasp from the audience, while there’s a running gag involving a severed head, which was done better in the horror-comedy Re-Animator. But it succeeds in finding a rich vein of humour in post-9/11 paranoia. And it turns the tables on both liberalism (in its lively mockery of Zoe and her co-op pals) and the west, the latter skewered in an inspired monologue which has Aladeen showing how the US advocates at home the same cruelty it decries in foreign regimes.

"The Dictator" is released 16 May.

Sacha Baron Cohen arrives at the premiere of The Dictator (Photo: Getty Images)

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.

Screenshot of Black Mirror's Fifteen Million Merits.
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How likely are the plots of each Black Mirror episode to happen?

As the third series is on its way, how realistic is each instalment so far of the techno-dystopian drama? We rate the plausibility of every episode.

What if horses could vote? What if wars were fought using Snapchat? What if eggs were cyber?

Just some of the questions that presumably won’t be answered in the new series of Charlie Brooker’s dystopian anthology series Black Mirror, somewhere between The Twilight Zone with an app and The Thick Of It on acid.

A typical instalment takes an aspect of modern technology, politics, or life in general and pushes it a few steps into the future – but just how plausible has each episode been so far?

Series 1 (2011)

Episode 1: The National Anthem

Premise: A member of the Royal Family is kidnapped and will only be released unharmed if the Prime Minister agrees to have sexual intercourse with a pig on live television.

Instead of predicting the future, Black Mirror’s first episode unwittingly managed to foreshadow an allegation about the past: Charlie Brooker says at the time he was unaware of the story surrounding David Cameron and a pig-based activity that occurred at Oxford university. But there’s absolutely no evidence that the Cameron story is true, and real political kidnappings tend to have rather more prosaic goals. On the other hand, it’s hard to say that something akin to the events portrayed could NEVER happen.

Plausibility rating: 2 out of 5

Episode 2: Fifteen Million Merits

Premise: Sometime in the future, most of the population is forced to earn money by pedalling bikes to generate electricity, while constantly surrounded by unskippable adverts. The only hope of escape is winning an X-Factor-style game show.

In 2012, a Brazilian prison announced an innovative method of combating overcrowding. Prisoners were given the option to spend some of their time on electricity-producing bikes; for every 16 hours they spent on the bike, a day would be knocked off their sentence.

The first step to bicycle-dystopia? Probably not. The amount of electricity a human body can produce through pedalling (or any other way, for that matter) is pretty negligible, especially when you take account of the cost of the food you’d have to eat to have enough energy to pedal all day. Maybe the bike thing is a sort of metaphor. Who can say?

Plausibility rating: 0 out of 5

Episode 3: The Entire History of You

Premise: Everyone has a device implanted in their heads that records everything that happens to them and allows them to replay those recordings at will.

Google Glasses with a built-in camera didn’t work out, because no one wanted to walk around looking like a creepy berk. But the less visibly creepy version is coming; Samsung patented “smart” contact lenses with a built-in camera earlier this year.

And there are already social networks and even specialised apps that are packaging up slices of our online past and yelling them at us regardless of whether we even want them: Four years ago you took this video of a duck! Remember when you became Facebook friends with that guy from your old work who got fired for stealing paper? Look at this photo of the very last time you experienced true happiness!

Plausibility rating: 5 out of 5

Series 2 (2013)

Episode 1: Be Right Back

Premise: A new service is created that enables an artificial “resurrection” of the dead via their social media posts and email. You can even connect it to a robot, which you can then kiss.

Last year, Eugenia Kuyda, an AI entrepreneur, was grieving for her best friend and hit upon the idea of feeding his old text messages into one of her company’s neural network-based chat bots, so that she and others could, in a way, continue to talk to him. Reaction to this was, unsurprisingly, mixed – this very episode was cited by those who were disturbed by the tribute. Even the robot bit might not be that far off, if that bloke who made the creepy Scarlett Johansson android has anything to say about it.

Plausibility rating: 4 out of 5

Episode 2: White Bear

Premise: A combination of mind-wiping technology and an elaborately staged series of fake events are used to punish criminals by repeatedly giving them an experience that will make them feel like their own victims did.

There is some evidence that it could be possible to selectively erase memories using a combination of drugs and other therapies, but would this ever be used as part of a bizarre criminal punishment? Well, this kind of “fit the crime” penalty is not totally unheard of – judges in America have been to known to force slum landlords to live in their own rental properties, for example. But, as presented here, it seems a bit elaborate and expensive to work at any kind of scale.

Plausibility rating: 1 out of 5

Episode 3: The Waldo Moment

Premise: A cartoon bear stands as an MP.

This just couldn’t happen, without major and deeply unlikely changes to UK election law. Possibly the closest literal parallel in the UK was when Hartlepool FC’s mascot H'Angus the Monkey stood for, and was elected, mayor – although the bloke inside, Stuart Drummond, ran under his own name and immediately disassociated himself from the H’Angus brand to become a serious and fairly popular mayor.

There are no other parallels with grotesque politicians who may as well be cartoon characters getting close to high political office. None.

Plausibility rating: 0 out of 5

Christmas special (2015)

Episode: White Christmas

Premise 1: Everyone has a device implanted in their eyes that gives them constant internet access. One application of this is to secretly get live dating/pick-up artistry advice.

As with “The Entire History of You”, there’s nothing particularly unfeasible about the underlying technology here. There’s already an app called Relationup that offers live chat with “relationship advisers” who can help you get through a date; another called Jyst claims to have solved the problem by allowing users to get romantic advice from a community of anonymous users. Or you could, you know, just smile and ask them about themselves.

Plausibility rating: 4 out of 5

Premise 2: Human personalities can be copied into electronic devices. These copies then have their spirits crushed and are forced to become the ultimate personalised version of Siri, running your life to your exact tastes.

The Blue Brain Project research group last year announced they’d modelled a small bit of rat brain as a stepping stone to a full simulation of the human brain, so, we’re getting there.

But even if it is theoretically possible, using an entire human personality to make sure your toast is always the right shade of brown seems like overkill. What about the risk of leaving your life in the hands of a severely traumatised version of yourself? What if that bathwater at “just the right” temperature turns out to be scalding hot because the digital you didn’t crack in quite the right way?

Plausibility rating: 1 out of 5

Premise 3: There’s a real-life equivalent of a social media block: once blocked, you can’t see or hear the person who has blocked you. This can also be used as a criminal punishment and people classed as sex offenders are automatically blocked by everyone.

Again, the technology involved is not outrageous. But even if you have not worried about the direct effect of such a powerful form of social isolation on the mental health of criminals, letting them wander around freely in this state is likely to have fairly unfortunate consequences, sooner or later. It’s almost as if it’s just a powerful image to end a TV drama on, rather than a feasible policy suggestion.

Plausibility rating: 2 out of 5

Series 3 of Black Mirror is out on Friday 21 October on Netflix.