Full text: David Cameron's new year's message

"We are on the right track" he says. Are we?

David Cameron's new year's message (see video below) is unusually pugnacious: even his parting shot "so happy new year" sounds like he's banging a table whilst saying it. It's a broad defence of the government's actions this year, and their plan for the next - but hardly a proper one, as it fails to mention any of the highly publicised slip-ups comprising the omnishambles which was Cameron's 2012. Leveson, the series of U-turns (pastygate, petrol tax, caravans tax), Rebecca Brook's horse, are all ommited. Neither does he mention the EU, or Syria, or the rise of UKIP, or even Nick Clegg's autotuned apology for the rise in tuition fees.

He concentrates on defending the government's approach to the economy, pointing to increased employment and a £13bn fall in the deficit this year. He says "we are on the right track. On all the big issues that matter to Britain, we are heading in the right direction and I have the evidence to prove it."

But Labour vice chair Michael Dugher is not so sure. In response to the message he said:

"It's a case of more of the same from David Cameron. In his New Year message, Cameron talks of people who work hard in this country but he's the one hitting hard-working families on lower and middle incomes whilst cutting taxes for millionaires.

David Cameron stands for the old divide and rule Tory approach of the past - he can't be the One Nation Prime Minister Britain needs.

Cameron promised change but nothing is changing for the better. Britain's economy is failing under his policies over the last year, with nearly one million young people out of work. Prices are still going up faster than wages and borrowing is going up not down, over 7 per cent higher this year than last year. This Prime Minister is out of touch, he stands up for the wrong people and he's failing to deliver for working people."

Here's the full text from Cameron's speech today:

"2012 was an extraordinary year for our country. We celebrated our Queen with the Jubilee. And with the Olympics and Paralympics we showed beyond any doubt that Britain can deliver. It was a great year. But, if we are honest, it was a tough one too. We are still dealing with debts that built up over many years. And for many families, making ends meet is difficult. So to anyone starting this new year with questions about where we are heading and what the future holds, I want to reassure you of this: we are on the right track. On all the big issues that matter to Britain, we are heading in the right direction and I have the evidence to prove it.

This government inherited a huge budget deficit that was dragging our country down. Well, this New Year, that deficit is forecast to be £13bn smaller than last new year, down by one quarter since we came to office. We inherited a welfare system that was frankly out of shape, that paid people not to work. So we made some big changes, and this new year almost half a million more people are in work than last new year. That is real progress. We inherited an education system where too often mediocre was deemed good enough and discipline in many schools was slack. We said we need more discipline, tougher exams and more academies because those schools consistently get better results. Well, this new year we’ve got more than 1,000 academies open than last New Year. The numbers studying science and languages are going up. And teachers have more power over discipline than they’ve had for years.

This is, quite simply, a government in a hurry. And there’s a reason for that. Britain is in a global race to succeed today. It is race with countries like China, India and Indonesia; a race for the jobs and opportunities of the future. So when people say we can slow down on cutting our debts, we are saying no. We can’t win in this world with a great millstone of debt round our necks. When people say we’ve got to stop our welfare reforms because somehow it is cruel to expect people to work, we are saying no. Getting people into good jobs is absolutely vital, not just for them, but for all of us.

And when there is a fight on our hands to change our schools, we are ready and willing to have it because having a world-class education is the only way our children are going to get on in this world. And we know what we are doing all this for: not just to get our country up the rankings in some global league table but to get behind anyone who likes to work hard and get on in life. It’s for those people that we made changes to our tax system in 2012, cutting the income tax bills of 24 million workers. It is for them that we have frozen the council tax for three years in a row, to keep bills as low as we can. And we did the right thing by our pensioners too, in 2012, bringing in the biggest ever increase in the state pension.

This is what this government is about: making sure Britain succeeds in this global race and, above all, helping our people succeed, the people who work hard and aspire to a better life for their families. So this is my message to the country at the start of 2013. We can look to the future with realism and optimism. Realism, because you can’t cure problems, that were decades in the making, overnight. There are no quick fixes and I wouldn’t claim otherwise. But we can be optimistic too because we are making tangible progress. We are doing what’s right for our country and what’s best for our children’s future. And nothing could be more important than that. So happy new year and best wishes for 2013."

Cameron delivers an unusually pugnacious message. Photograph: Getty Images.
Warner Brothers
Show Hide image

Nigel Farage's love for Dunkirk shows how Brexiteers learned the wrong lessons from WWII

Film has given Britain a dangerously skewed perspective on World War II

For months now it’s been hard to avoid the publicity for what seems like an epidemic of new World War Two films for 2017. June brought us Churchill (starring Brian Cox), which concerns Operation Overlord and the allied invasion of Normandy in 1944. A month later, in July we were pushed back four years, to Dunkirk, with Christopher Nolan’s film of the evacuation of Allied troops from French soil in the summer of 1940. April had already brought Their Finest, a comedy about making a - let us not let the irony go unacknowledged -  stirring film about the evacuation of Dunkirk in the event’s more or less immediate aftermath and November will bring us Darkest Hour, some events in which will predate all three earlier films, as Gary Oldman’s Churchill struggles through the earliest days of his war premiership.

This glut is peculiar. There are no significant round anniversaries to commemorate (e.g. Dunkirk is 77 years ago, the Normandy landings 73). More, we’re meant to be in the middle of a series of commemorations of the horror and waste of the Great War of 1914-18, but that seems to have slipped away from us in the political turmoil that’s engulfed this country since 2014. Instead, it’s to the Second World War we return yet again. To modern Britain’s founding myth.

It’s a coincidence, of course, that these films should come along together, and at a seemingly odd time. They were developed separately, and films takes so long to conceive and produce that no one could have anticipated them arriving together, let alone arriving in a toxic Brexit Britain where they seem like literally the least useful things for anyone in the UK to watch right now. As works that will inevitably, whatever their own creative intentions and merits, be hi-jacked by a press and political culture that is determined to gloss its opposition to the UK’s membership of the European Union, and its appalling mishandling of the process of exit with garbled references to, the conflict the films portray.

This is an impression that is not exactly dismissed by Nigel Farage posting to twitter of an image of himself standing next to the poster for Dunkirk, along with a statement in which he encourages all young people to see the film. For what reason, we’re entitled to wonder, does he make this encouragement? Does he admire the sound design? Or the aerial photography? Or is he just a big fan of Mark Rylance and Harry Styles? Or perhaps he is, inevitably, indulging in a behaviour that some might call "nostalgic"? Of pining for the past. Except, of course, nostalgia requires an element of pain. The suffix "algia" the same as employed when referring to chronic conditions. For Farage and his ilk there is no pain in this behaviour, just the most extraordinarily banal comfort.

Farage is asking us and asking the young who voted against his chosen cause by an overwhelming majority, and who are are sickened by where he and his ilk have brought us - to share in his indulgence. To enjoy, as he does, those fatuous analogies between the UK’s isolation between Dunkirk and Pearl Harbour with its imminent failures in European politics. To see that "escaping from Europe with nothing is at least better than not escaping at all". Or to believe, once again, in a "plucky little Britain, standing up against the might of a wicked mainland European tyranny, its back against the wall".

All this, confused, indeed nonsensical, as it is, is being invoked, as surely as the anti-EU right have always invoked Churchill. This is despite his own family recognising him, as the EU itself does, as the fervent pro-European he was. Indeed, he was one of the founding fathers of the whole post-war pan-European enterprise.

What Farage and his behaviour demonstrates, yet again, is that British culture, in many ways, learned not merely the wrong lessons from the war against Hitler, but exactly the wrong lessons. It’s a lesson that found its most enduring, poisonous expression in Margaret Thatcher’s breathtaking assertion that the European Union was a "third attempt" by Germany to take over the world.

In contrast to the rush of war films in cinemas, television has recently given us glimpses into theoretical worlds where Nazism did succeed in conquering the planet, in Amazon Prime’s The Man In The High Castle and BBC One’s SS-GB. There are lessons too, in these alternative histories, proper lessons that we have collectively failed to learn from the real one. Which is that fascism or authoritarianism are not diseases to which anglophone countries are somehow miraculously immune due to [insert misunderstood historical fetish of choice].

The Man in the High Castle, particularly in its more subtle first series, goes out of its way to show Americans that their lack of experience of collaboration with Nazi occupation is a result of circumstance, even luck. Not because collaboration is a peculiarly European tendency. SS-GB also worked hard to demonstrate the helplessness of occupation, and how that leads to the sheer ordinariness of collaboration. Both show the understanding that while fascism from the outside is funny accents and funny uniforms, fascism from the inside is your neighbours informing on you and the absence of the rule of law.

That experience of occupation, of subsequent complicity, and humiliation, felt by many other other European nations, is absent in Britain. Farage’s fellow Leaver Liam Fox, without anything resembling self-awareness, asserted that "the United Kingdom is one of the few countries in the European Union that does not need to bury its 20th century history". Fox’s remark summed up, again seemingly unintentionally, the oafishness of the principle Brexiteers. A group who exemplify a culture that boils a vast and unimaginably complex conflict down to the title sequence of Dad’s Army - an animation in which a Union Flag is forced off the European continent by a trio of Nazi triangles, and after returning home bobs around defiantly. A group who, in a strange and witless inversion, have fantasised themselves into a position where they see the Britain’s membership of the European Union as the occupation the country once avoided.

This is the UK’s postponed tragedy. At a timethat European countries experienced national humiliations which fundamentally reconfigured their understandings of their place in the world, the UK got yet another excuse to shout about how much better it was than everyone else.

I’m a child of the very late Seventies. I grew up in a world where (British) boys’ comics were dominated by war stories rather than science fiction or superheroes, where literally everyone knew several people who had fought in World War Two - and almost everyone someone who could remember World War One. That war was the ever-present past. I am, as a friend who teaches history neatly phrased it "Of the last post-war generation." After me, the generations are post-post-war. They are free. The moral clarity of the war against Hitler has, in the end, been a curse on British culture - a distorting mirror in which we can always see ourselves as heroes. 

But, not, of course, all other generations. The war generation collectively (I make no claim that there were not exceptions) understood what the war was. Which meant they understood that the European Union was, and is, its antonym, not an extension of it. Unlike their children and the eldest of their grandchildren, they had real experience of the conflict, they hadn’t just grown up surrounded by films about how great Britain was during it.

The Prime Minister who, or so he thought, had secured Britain’s European destiny had also, as he related in his autobiography, seen the devastation wrought by that conflict, including by shells he himself had given the order to be fired. Like Helmut Kohl, whose worshipped, conscripted older brother died pointlessly fighting for Hitler, and Francois Mitterrand, himself captured during the fall of France, his experience was real and lived, not second hand.

This can be seen even in the voting in 2016 referendum. That the young principally voted Remain and the old voted Leave has been often noted. But if you break that over-65 vote up further, there’s a substantial flip to back towards Remain amongst the oldest voters, the survivors of the survivors of World War Two. After all, someone who is 65 today was born nearly a decade after the war ended. It was their parents’ war, not their own. A war that has been appropriated, and for purposes of which those who fought in it would, collectively, not approve.

Let’s return to Dad’s Army, after all, BBC Two does often enough. Don’t Panic! The Dad’s Army Story (2000) a cheerful history of the sitcom great written and presented by Victoria Wood contains a telling juxtaposition of interviewees. The series' surprising continued popularity is discussed and Wendy Richard (born 1943) expresses a nostalgia for the war years, and how people banded together during them. This is a sentiment which Clive Dunn (born 1920) bluntly dismisses. “Like most people I had a foul war,” he says, and disgust and horror briefly pass across his face.

It’s the difference between those who remember war, and those who only remember war films.