Southcliffe Part 1

Well advertised on almost all Channel 4 side shows, Southcliffe has promised to be up there with the great thriller dramas, leveling up to the brilliantly popular ITV Broadchurch and Luther, and many of us went into it expecting luminous characters, heart rendering story lines and ingenuous plot devices, all of them building up the grand finale of the second part. Unfortunately, this was not delivered.

Whilst the show does boast a variety of characters, from family man and news reporter David Whitehead (Rory Kinnear), to traumatic and grieving Christopher (Joe Dempsie), returning, alongside many others from Afghanistan, and they do play their parts well, the characters themselves all seem relatively 2 dimensional and a little bland. The Afghan traumas are a little overused in TV drama productions, and many of the PTSD portrayals are unoriginal and lacking in depth. The mental health side of the show seems unrealistic as well, with nearly everyone in the village of Southcliffe having some sort of traumatic past, or mental disorder. This makes for a disappointingly depressing viewing, in the way that we are shown no elements of happiness, and the few smiles on the show are increasingly fake.

Another problem I found with the programme is that it was very difficult to pick out a solid central story line, as from the beginning the focus is on so many different people at once, and all of them having quite different lives, the village being the only thing they share. We are, at first, led to believe that the focus is to be on burdening psychotic Stephen and his dementia-ridden grandmother,which then switches to the news reporter's supposed stalking of his ex-wife and child, and then back again to Chris' grief after losing his friend to severe injuries and his privately medicated shell shock.

This, however, is not the biggest disappointment. Whilst Sean Harris, playing ex-war veteran and now psychotic carer Stephen does play a haunting and desperately in need of help man, many of his interactions with the other characters in the show are missed due to a massive case of mumbling. I personally found that so many of his lines, which must have been so carefully written out by the show's writers were impossible to understand and therefore created a lot of confusion in regards to the events happening within the plot.

Meanwhile, the premise of the show; the actual shooting of the victims in the village, is only featured at the start of the the programme, in contrast to the other character's back stories. Therefore, overall, whilst the drama had large amounts of promise, it sadly did not reach it's full potential, and we can only hope that the next part of the series will be a little more fast paced, and a little more exciting than the first.

Mulan

Released in 1998, the story of the young woman who saved her father's life, and pretty much the whole of China, Disney's Mulan is arguably the greatest animated film to come out of the woodwork in the history of the industry. 

And...here's why.

For starters, unlike so many other Disney 'princesses', Mulan isn't typically pretty. Sure, she gets dressed up, and made up, and turned into a glorified geisha, but it could be argued that it's then, and only then, that she messes up, and shows her long sleeved, sweeping skirted flaws to China's most prized matchmaker, who then foreshadows the entire film by shouting at our heroine 'you will never bring honour to your family!' But, of course, she does, and does so brilliantly, without using painted lips, big blue eyes and overly ribboned dresses in the process. This speaks volume about the film in general, as it reveals to the naive and underfed audiences that you don't need to be pretty to be a hero. She isn't unattractive by far, but she might well have been for the lack of difference it would have made. 

In fact, it may have even helped her in her own role in the film, as striding into an army base looking convincingly like a young man was, of course, crucial to the plot, so had she been coyly feminine and petite, she would've been thrown out in disgust; therefore proving that good looks won't get you everywhere, and bad looks can sometimes get you anywhere. 

The gender equality elements to the animation, as well, are specifically brilliant, as yes, it's jaw-dropping that one 16 year old woman can save China, but with three other men dressed as women as well?  And would they have been able to save China without the role of women in China at the time? No. And would Mulan have been able to save the Emperor without them? No she would not. And throughout this entire fight sequence, one song is being sung ‘I’ll make a man out of you’. 

However, ‘man’ is not used in a gender associated sense here, it’s literally used to describe someone’s changing from a male to a stronger male, as well as a change from a female to a stronger female. So we have men, dressed as women, and saving the world, and becoming stronger ‘men’ for it. 

It’s not a feminist film, it’s an equalitist film. Men and women fight well. Men can be strong dressed as women, women can be strong dressed as men. Small dragons can be as powerful as giant spirits. Women can bring pride to their families, both through marriage, and through fighting an army. Neither one is any less important than the other, they’re both just as crucial in making a good person. 

The 'love story' in Mulan is interesting as well, as arguably there are two. The love Shang feels for Mulan once he discovers who she truly is, and the love he already felt for Ping without even knowing so. With it being a Disney film, all homosexual references are, of course, satanic, but it would be ignorant to assume that Shang's feelings for Mulan only began when he discovered she was a woman. As men, the pair have a fascinating relationship, from the unequal beginnings as teacher and failing student, to mutual respect, and compassion for one another. However, this relationship is predictably cut short before it can develop further by Mulan's unveiling as a female due to an injury at her side, something which she gained saving Shang. Upon discovering this, though, Shang is furious, and is even vicious towards her, just because her sex was not the one he believed it to be. It seemed to me as though he missed the illusion of Ping more than he enjoyed the revelation of Mulan, and doesn't that just speak volumes about his characterisation as a 'straight' soldier? 

All in all, though, the love story is only a very small element to the film, with other beautifully lit characters taking center stage in the heroics. A favourite of mine, personally, would be substitute friend, parent, guardian and 'sassy' gay best friend Mushu, who as well as being the comedic spark in the film, also has his own sub-plot similar to Mulan's, one of self discovery and worth, and of simply being proud of himself for once. Another jeweled character for me would be Mulan's father, as he portrays a beautiful weary parent, as well as trying to be the man his country needed him to be, despite his crippling flaws and injuries preventing him from being so. This is a man who would willingly cast aside his life, just to make his family proud of him, and for him to gain some worth in the world, and it's easy to believe Mulan was drawing inspiration from him in her own personal quest to do the same.

To conclude, Mulan is possibly my all time favourite Disney film, and as well as having a multitude of elegant metaphors and social portrayals, it is also thoroughly enjoyable to watch, is also followed by a surprisingly good sequel: Mulan 2, making the franchise an all round success.