Liam Fox: somebody give this man a new job. Photo: Oli Scarff - WPA Pool/Getty Images
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Commons Confidential: The fantastic Liam Fox

The North Somerset MP’s wife calls his phone “Teddy” – he takes it to bed with him.

Labour’s wannabe leaders are accusing the party of profiteering in the scramble to wear Ed Miliband’s tarnished crown. One of the four grumbled that it’s daylight robbery to charge candidates £5,000 to access the party’s 240,000-strong membership list.

Another moaned that the costs add insult to injury when the official hustings seem designed to prevent debate. Rigid rules and stopwatch answers favour prepared lines over free discussion. Banning clapping, hissing and booing by members – to save time – turns political meetings into church congregations.

The party counters that the hustings are fully booked, but the sense that an important competition is a sideshow, failing to engage most of the electorate, doesn’t augur well for Labour’s future.

Liam Fox, the Tory former defence secretary, is putting out feelers to find out if David Cameron will reward his loyalty by making him chair of the intelligence and security committee. The backbencher has rarely rocked the Tory boat since his cabinet resignation in October 2011 over his unofficial adviser Adam Werritty’s access to the Ministry of Defence and Fox remains plugged in to US defence networks.

Colleagues mutter that the restless Fox, who apparently continues to use a BlackBerry instead of an iPhone because the email is considered more secure, needs a job. The North Somerset MP’s wife calls his phone “Teddy” – he takes it to bed with him.

George Loveless and the Tolpuddle Martyrs would be thrilled. The Trades Union Congress museum in the Dorset village has a wedding licence. Unison’s Lynn Barrer is to tie the knot with Gary Kilroy of the Transport Salaried Staffs’ Association at this month’s festival, then pose for photos under the sycamore tree where Loveless, a Methodist preacher, and his fellow agricultural labourers met in 1834 before landowners had them transported to Australia. A honeymoon closer to home, in Spain, will follow.

The Blackpool North and Cleveleys MP, Paul Maynard – the parliamentary bag carrier for the Energy Secretary, Amber Rudd – is not the brightest spark in the department. The Tory’s dimmest idea was to ask Labour MPs to contact his office “to share your supplemental or topical question” before quizzing Rudd in the Commons. The opposition, unsurprisingly, declined.

Tessa Jowell’s friends (as we call them in the trade) whisper that her hubby, the corporate lawyer David Mills, would prefer her not to run for London mayor. Mills was burned by the public fallout of a conviction, subsequently quashed, for allegedly receiving a £380,000 bribe from Silvio “Bunga, Bunga” Berlusconi. The Labour couple separated but are reconciled and Mills shuns the limelight. This contest could get tasty.

Kevin Maguire is the associate editor (politics) of the Daily Mirror

Kevin Maguire is Associate Editor (Politics) on the Daily Mirror and author of our Commons Confidential column on the high politics and low life in Westminster. An award-winning journalist, he is in frequent demand on television and radio and co-authored a book on great parliamentary scandals. He was formerly Chief Reporter on the Guardian and Labour Correspondent on the Daily Telegraph.

This article first appeared in the 01 July 2015 issue of the New Statesman, Crisis Europe

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In Snowden, Joseph Gordon-Levitt seems to absorb the spirit of the whistleblower

Gordon-Levitt makes Snowden’s mot­ives transparent without ever fully dropping his guard. It is reassuring that a film in which people are spied can still have a protagonist who remains essentially unknowable.

Laura Poitras’s Oscar-winning 2014 documentary Citizenfour captured the precise moment at which Edward Snowden turned whistleblower after quitting his job at the NSA. Is there room for another film on the same subject? Oliver Stone’s fictionalised account, Snowden, would suggest not. In effect, it admits defeat from the get-go by using the making of Citizenfour as a framing device, incorporating flashbacks to show what led Snowden to commit the security breach that exposed the extent of US government surveillance. Cooped up in a Hong Kong hotel room with him as he spills the beans are Poitras (Melissa Leo) and the Guardian journalists Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson), who put on their best ­listening faces and try to forget that all of the most interesting scenes are happening in other parts of the film.

What Snowden has in its favour is an economical performance by Joseph Gordon-Levitt which is mysterious without being aloof, cool but never cold. The actor gets the voice right (it’s a benign rumble) and though he is physically dissimilar to the real Snowden, that need be no barrier to success: look at Anthony Hopkins in Stone’s Nixon. Gordon-Levitt is absorbed by the role like water vanishing into a sponge. When the real Snowden pops up to stare wistfully off into the distance (there’s a lot of that here), it can’t help but be a let-down. People are so bad at playing themselves, don’t you find?

Gordon-Levitt makes Snowden’s mot­ives transparent without ever fully dropping his guard, and it is reassuring that a film in which people are spied on through the webcams of dormant laptops can still have a protagonist who remains essentially unknowable. The script, written by Stone and Kieran Fitzgerald, pulls in the opposite direction, allowing every character to deliver a remark of nudging innuendo. When Snowden is discharged from the army after injuring himself, a doctor tells him: “There are plenty of other ways to serve your country.” When he is approved for a job at the CIA, Snowden tells his employer: “You won’t regret this.” What we have here, give or take the strip club scene in which a pole dancer is filmed from an ungallantly low angle, is a more sober Stone than the one who made JFK and Natural Born Killers but he still can’t resist giving us a few deafening blasts of the old irony klaxon.

Though we know by now not to expect subtlety, Stone’s storytelling techniques are still surprisingly crude. When Snowden’s girlfriend, Lindsay (Shailene Woodley), complains that he has become distant, that he doesn’t touch her any more, the viewer is likely to wonder why that point had to be expressed in soap-opera dialogue rather than, say, action or camera angles. After all, the film was more than happy to throw in a superfluous sex scene when their love life was hunky-dory.

But when Stone does make his points visually, the cringe factor is even higher. He used carnivorous imagery in Nixon – a bloody steak stood in for murder – and the new film doesn’t take the vegetarian option either. Snowden is already starting to be alarmed by surveillance tactics when he goes hunting with his boss, Corbin O’Brian (Rhys Ifans). The pheasants they kill are barbecued in sizzling close-up, providing a buffet of symbolism. Snowden is going to be grilled. His goose is cooked. He’s dead meat.

An early scene showing him establishing contact with Poitras and Greenwald by an exchange of coded phrases (“What time does the restaurant open?” “Noon. But the food is a little spicy”) suggests that Stone intends to have fun with the story’s espionage trappings. The movie falls between two stools, however, lacking either the irreverence of satire or the tautness of a well-tooled thriller. At its most effective moments, it floats free of irony and captures a quaint, tactile innocence. We see Snowden communicating in sign language with an NSA colleague to avoid being eavesdropped on, or sitting in bed with a blanket over him as he taps away at his laptop. He is only hiding his passwords but he looks for all the world like a kid reading comics by torchlight after his mother has said: “Lights out.”

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.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump