Jamie Does… Psychics

In this occasional series, Jamie Does…, I’ll be coming out of my mental, physical and spiritual comfort zones to take part in, learn about and experience all manner of lifestyles, rituals and activities. Pushing myself to my very limits; suffering in the pursuit of knowledge and self-growth; making myself look like a complete and utter bell-end. And hopefully making you bunch of sadists laugh along the way. This time: psychics. 


As I sit at my table waiting for the psychic floor-show to begin, I realise two things: one, that I’m cold – there’s a draught skipping and dancing over my exposed skin – and, two, that I can hear voices, chattering and insistent. Could it be that the dead are already with us, lowering the temperature with their ghostly presence, and whispering on the peripheries? Well, no. There’s a simpler explanation. I’m in a pub in Grangemouth, and the heating is broken. And it’s full of regulars, hence the whispering. Which is less like whispering, and more like hushed shouting. But not so hushed. Yeah, they’re pretty much just shouting. Sorry I lied to you, but I needed to make my ghost-themed intro work.

The only thing separating those of us, like me, who are here for the spirits from those who are here for, well, you know, the spirits, but the drinkable kind, is an invisible partition; that and some reserved signs selotaped to the backs of our seats. I have a good look around. Everything about this special, ticketed event screams ‘cheap’. I hope that doesn’t mean we’re going to get commensurately cheap ghosts and psychic advice. (“Your third-cousin’s former best friend’s grandpa’s brother is here, and he says that blue doesn’t really suit you in a shoe.”)

The firm behind tonight’s voyage into the great unknown is Second Sight, who’ve come to Grangemouth from Paisley, which is a little like travelling from Chernobyl to… well, a different part of Chernobyl. I have a chuckle at their slogan: ‘The Alternative Experience’. Alternative to what exactly? Their mantra’s as imprecise as their craft. Maybe they’re offering an alternative to experience itself? ‘Come join us for a night of formlessness that may or may not have happened that one day soon you won’t remember anyway.’

Every table receives a little slip of paper that can be used to book a private reading later in the night. I laugh again when I see the disclaimer on the slip: FOR RECREATIONAL PURPOSES ONLY. Imagine if you read that phrase on the consent form for your bowel surgery. You’d evacuate immediately.

The pub I’m in used to be a church. Significantly more than half of its inhabitants are pissed. The environment seems sacrilegious enough as it is without angering God any further by attempting to commune with the dead. I wonder how cold it’ll be once the Almighty blows the roof off the place in a fit of Old Testament rage. It comes as something of a relief when I remember that God doesn’t exist. Or ghosts. Or psychic powers, for that matter.

Yes, folks, I’m a die-hard sceptic: an affirmed anti-religionist and pooh-pooher of the supernatural. I’ve no patience for folksy faith beliefs or witchy superstitions, which tend to have a deleterious effect upon common sense, the power of reason and a society’s ability to educate its young. I’ve always preferred to see the world through scientific safety specs rather than misted, mystical goggles. I can’t believe there are people out there credulous enough to believe not only that it’s possible to lay a twinkling fibre-optic cable across the cold canyon of death to have a wee blether with your dead granny, but also that the only people powerful enough to achieve this miraculous feat are retired dinner-ladies and mentally-ill hairdressers.

So what am I doing at a psychic floor-show, you may very well ask? That’s easy. I’m here to take the piss out of it. Here. In this very blog you’re reading now.

Where’s your inquisitive and open mind, Jamie? Ach, been there, done that, got the T-shirt (and the T-shirt says ‘I’m not doing that again, hence this T-shirt’). I’m with Richard Dawkins, Derren Brown, James Randi and almost every other sane-minded, rational thinker on this particular subject.

Still, just because I hold these beliefs in private and occasionally express my thoughts about it through the medium (forgive me) of this blog doesn’t mean that I have to be an absolute asshole to people who do believe these things when meeting them face-to-face. My politeness always over-rides my scorn. Well…

Almost always.

Tonight in this vast, cold space I’m surrounded on all sides by believers and ‘well-there-must-be-something-to-its’. Well, that’s what I believe, anyway. What a plot twist it would be if every single person here tonight, like me, was just here to take the piss. Anyway, I find myself reticent about revealing my true feelings to the rest of the guests, even under direct questioning. To which I’m soon subjected. A lively older woman sitting with her daughters at the table just to my right asks me outright if I’m a believer.

‘I’m a sceptic,’ I tell her, which is entirely true, ‘but I like to keep an open mind,’ I tell her, which is complete bullshit. At least where this stuff is concerned.

I ask her the same question in return. She admits to believing in ‘something’, but isn’t completely sold on psychics. Not all of them, anyway. Some are definitely better than others, she says. I ask her why she asked me about my beliefs, or lack thereof. Was I giving off sceptical vibes?

‘No,’ she says, ‘It’s just you don’t see many guys at things like these.’

She’s right. I’ve noticed the same. Audience and psychic alike are usually mostly female.

‘Why do you think it is that men don’t usually come to these things?’ I ask her.

‘I guess they don’t see it as a manly thing. Like all of this is women’s stuff.’

It’s an interesting perspective. I once talked with a professor of social psychology from Glasgow University about spiritualism, and asked him why he thought many more women than men believed in it. He thought that the impulse possibly stemmed from motherhood; that the ability to create life gave women stronger feelings about death, especially guilt and fear. A sincere belief in spiritualism and the afterlife can go some way towards rendering a mother’s anxieties moot. If all of this is real, then a woman isn’t bringing life into this world just to die. We all get to live forever.

The professor didn’t think it was a coincidence that spiritualism first took hold around the time of the First World War, when hundreds of millions of men – millions upon millions of sons – were sent to their deaths en masse in the most horrifying ways and conditions imaginable.

My deep and solemn thoughts are shattered by a sudden onslaught of music. The words boom out across the pub floor as an old man hobbles past my table on his way to the toilet for a shite: ‘YOU CAN DO MAGIC!’

We’re ready to begin.

The lead psychic takes to the stage. Well, to the floor. Stages are a bit too pretentious for Grangemouth. The psychic’s in late middle-age, and clinging fiercely to the last vestiges of her blondeness. Her accent’s a messy amalgamation of every single English regional accent ever uttered, past, present and future. I can detect a pinch of Scouse here; a dash of Ancient Saxon there; a sprinkling of Terry Tibbs from Fonejacker here. Mercifully, the Paisley brogue hasn’t rubbed off on her. ‘Bored’ and ‘angry’ isn’t a good tonal blend for a psychic to have.

Let’s call this lady Tibbs going forwards so we don’t get confused between her and the other lady. ‘Other’ singular. There are supposed to be three psychics here tonight, but Tibbs explains to us that the third fell ill, and had to pull out at the last minute. Those unforeseen circumstances are a bitch, right? I post this joke on Facebook, and someone on my feed asks me never to do this awful joke ever again. It’s hacky, yeah, but what can I do? It’s not really a joke. It happened.

Unfortunately, it’s the spiritualist medium portion of the triumvirate who’s sick, and if we’re all honest with ourselves – believer and sceptic alike – the medium’s the one we’re here to see. They’re the most entertaining and potentially hilarious of the bunch.

Instead we’ve got Tibbs and her tarot cards.

I’ve never understood the allure or indeed the point of Tarot; why it satisfies people so much. ‘Pick a card, any card, and I’ll stitch together a set of generic probabilities and parcel them up to you like a warning from some supernatural under-writer at a ghost insurance company.’ I could do Tarot, and I wouldn’t need any fancy schmancy cards, either. I’d just do it with a normal deck of playing cards.

‘Ah, the six of clubs. That’s an interesting one. It means you’re going to enjoy some lovely long walks on the beach, and maybe come into some money. Ah, joined by the nine of diamonds. Oooh, bad luck, your sister’s going to die. That’ll be forty quid, please.’

Stand-ups occasionally have to deal with hecklers: boorish loudmouths who think that their obnoxious, booze-fuelled banter is a boon for their act, and almost certainly a gift to comedy itself. This is the first time I’ve seen a heckler at a psychic night. There’s an older lady, big stern specks and shark-like eyes, and built like an angry ostrich, who’s loudly objecting to almost everything that happens.  Her mostly incomprehensible outbursts are accompanied by shushes from one of her two nieces who are sitting across the table from her. ‘Come oan, Aunty Mary!’ they keep saying, in an exasperated, though amused, tone.

Aunty Mary’s having none of it. Like a naughty child, each rebuke only fuels her mischief. If she isn’t downing and slamming pints, she’s laughing hysterically at nothing in particular, or barking out half-words like a dog with a brain injury. She turns around and shouts something at the old lady sitting at the table just in front of mine: ‘How dae ah ken you? Dae a ken you fae somewhere?’ The old lady just sort of shrugs, looking visibly grateful that she doesn’t actually ‘ken’ this cackling, pint-slamming she-beast.

Mary ups the ante: each time the psychic asks the audience for a round of applause, Mary spins around, pulls an angry face and gives her the fingers ‘behind her back’. I have to keep biting my lip. This shit is hilarious. But I really don’t want to catch Mary’s eye. Easier said than done because she keeps turning round to stare at me. It’s unnerving. Like being watched by a giant owl. I feel like I should’ve given my six pounds admission to her:  ‘An Audience with Aunty Mary and Friends: a night you won’t forget, an evening she’ll never remember.’

Meanwhile, Tibbs keeps calling up volunteers and shuffling out supernatural wisdom. She tells one young woman the cards want her to leave her boyfriend; she advises a middle-aged woman she’ll be going to a funeral in the next four months, and she pleads with a young man to sit down more often if he’s feeling tired. If the other side of the existential plane is this achingly dull, I’ll gladly choose oblivion over eternal life; even reincarnation into the body of a scrotal tick would be better. No wonder Mary keeps giving Tibbs the loco sign.

And no wonder Mary doesn’t come back after the first break. I’m devastated, but I can’t blame her.

I head to the bar for another coffee, and come back to my table to jot some things down in my notebook. The lady at the adjacent table, who earlier asked me about my beliefs, now asks if I’m a journalist. I tell her about my blog. I give her the URL and she taps it into her phone. She looks down, shakes her head and smiles. ‘You’re here to take the piss, aren’t you?’ I smile back and shrug.

Our next psychic powerhouse is played to the stage, with ‘THOSE HEALING HANDS!’ booming out across the half-empty pub. Everybody looks thoroughly underwhelmed as a plump, haggard and deeply fed-up old woman slowly staggers towards the microphone. She doesn’t exactly fit the song: a dying walrus crawling towards the stage to ‘Rage Against the Machine’ would somehow feel less incongruous. This lady looks like she’d be far more comfortable having a wee sit down, a cup of tea and an empire biscuit by a three-bar fire than embarking on an exhausting mental battle against the dead.

I look around and smile to myself. This could be bingo night at an Old Folk’s Home (it really could be – we’ve already been sold raffle tickets). I feel like I’m inside an episode of Phoenix Nights, but I’m the only one who realises how funny it is.

‘Hello,’ says the ‘psychic’ (and I don’t have inverted commas big enough to place around that word), and the energy in the room is so palpable you can almost feel it. Her laconic Paisley drawl has a soporific quality. I’m convinced that the dead are only drawn to this woman because they see her as a kindred spirit. It might be worth checking for a pulse, or calling an ambulance.

Or the Ghostbusters.

Suddenly, she’s got a bunch of coloured ribbons in her hand. I’ve never heard of coloured ribbons being used to commune with the spirit realm before. It seems pretty arbitrary. What next? A packet of boiled sweeties? A basket filled with dead octopi? A tub of grout with Smarties sprinkled over it?

One by one, audience members file up to the front, take a ribbon, and sit down again as Paisley Pat throws out some ghost-talk. ‘Who’s got the heart problem?’ ‘Have you decided where you’re aw goin’ fur Christmas Day?’ ‘Are you going on holiday next year?’ I start to wonder if this is a psychic floor show or a fucking haircut.

A group of guys of student age, and appearance, are sitting together at a table fifteen feet or so up the hall from me. One of them has long hair and a grungy T-shirt. Another looks like the kind of guy who enjoys speciality ales and long games of Dungeons and Dragons. The last one looks a little like Andrew Cuanan meets Chandler by way of Seth MacFarlane. When they first arrived in the pub I couldn’t work out if they were full-on believers or sarky sceptics like me. I thought the long-haired guy looked like he might be into druidic runes, or carving spells into his skin with a sharpened thigh-bone, but Chandler and his ale-drinking pal didn’t fit my half-arsed profile.

I watch Chandler now as he’s listening to the ribbon lady, and I see an unmistakable smirk work its way over his face, the same one I’ve been fighting to conceal almost the whole time I’ve been here. I see you, Chandler. It’s especially obvious when he volunteers, and has to fight a laugh as the psychic tells him that he’s got immense psychic powers, too, and he should go to his local spiritualist church, as there’s a message waiting for him there. BT Callminder from beyond the grave. That’s some service.

Before the second and final break, Tibbs come back to remind us to fill out a dream card and pop it up on the stage so she can interpret them for us in the final section. Because I’m unashamedly me, I can’t resist jotting down a dream heavily suggestive of sexual deviancy and mescaline. “I have a recurring dream,” I start to write, “that I’m being chased by a wolf with the face of a budgie that just keeps shouting ‘My milkshake brings all the boys to the yard’. My penis falls off and I wake up wet.”

I’m surprised at myself for keeping it so clean.

I go over to Chandler’s table as the break begins. I want to enlist the students’ help in coming up with lots of weird-ass dreams for Tibbs to interpret. I was right about Chandler. We share a laugh about some of the evening’s more ridiculous elements, i.e. every single moment of it.

The final section begins. The ribbon lady from Paisley is off in a side-booth giving private readings for £40-a-pop, the psychic equivalent of a lap-dancer. Tibbs is back in charge. She picks up a piece of paper, reads the dream to herself and laughs like a tittering schoolgirl.

‘I don’t think I can read this one out,’ she says, almost blushing. Good work, boys, I think to myself. You must have come up with a cracker there. Tibbs apologises for the filth that’s about to fall out of her mouth, then proceeds to read it aloud. ‘I have a dream,’ she says, ‘that I’m being attacked by butt plugs.’

You can almost picture Martin Luther King up there, can’t you?

I find out later that it wasn’t Chandler who wrote this one, but a bunch of women who were sitting next to him. Those heroes.

‘What does it mean?’ I shout, when Tibbs seems reluctant to delve.

‘Well,’ she says, ‘When you have a dream like this, it means that you’ve got something inside of you, maybe a thought or a feeling, that you’re trying to keep inside, that you don’t want to let out.’

‘But what if the person dreaming the dream is Elton John?’ I holler out from the back of the pub.

Chandler bursts out laughing. A few people snigger.

‘That would be an organic dream,’ replies Tibbs, matter-of-factly.

‘An orgasmic dream you mean!’ shouts the woman to my right. The place ripples with laughter.

This is what I came here for tonight. To be the bad boy up the back of the class, causing a rumpus and generating plenty of material.

Tibbs reads out my dream next, the one about wolves and willies and milkshakes. She tells me it means I’ve got trust issues. She’s right about that. After all, I just paid seven pounds to two old women because they said they could speak to the dead, and then spent three hours watching them shuffling cards, twanging ribbons and reading out bits of paper.

And do you know what? I’d do it all again. What a world. What a town.

Movie Review – Joker

Joker is such a gritty and twisted re-imagining of the Batman mythos that the only way Batman could exist in this new world would be as a fascist enforcer in the mould of Judge Dredd, looking to preserve the status quo, and perhaps thump down on the sub-human scum who repaid his father’s benevolence with death and chaos.

Back in the days when Batman first scowled through the comic panes at a generation of youths whose fathers and brothers and uncles and childhood friends were about to go to war, society still clung to its belief in the quintessential goodness of the patrician class and its unassailable right to rule, in all its patriarchal glory.

The masses, particularly the American masses, believed that wealth was an emblem and consequence of hard-work, success and moral probity (many still do). The more money you had, the better you were. These days the left-leaning zeitgeist favours the idea that the ruling elite is inherently corrupt, a view that’s perhaps closer to the truth of human nature than the one that was sold to the war generations.

The fortunes amassed by billionaires like Thomas Wayne are increasingly seen as fortunes stolen from the common man and woman, or at least made upon their breaking and broken backs. The billionaires of the 2000s have been re-framed as walking black holes of greed; sucking out souls, opportunity, money and autonomy from states and whole nations, in the process helping to create the very conditions of inequality, oppression and violence that figures like Batman spend their nights wading through and fighting against.

In this movie, the good guys aren’t necessarily good, and the bad guy’s aren’t necessarily bad. Hence the Joker isn’t some unknowable force of murderous mayhem like Heath Ledger’s, nor a gangster whose evils have been amplified by a vat of toxic ooze like Jack Nicholson’s, but a very real product of his domestic and social environment. This Joker is the most human incarnation of the infamous villain, and all the more terrifying for it.

The intensity of Phoenix’s performance – how he seems to inhabit the very bones of Arthur Fleck; how his face no longer seems his own – makes watching Joker a heavy, visceral, fascinating, and often extremely uncomfortable experience. It’s a staggeringly brilliant evocation of mental illness; a disturbingly detailed and earnest exploration of frailty and rage. Arthur’s trademark laugh, triggered at times of stress and trauma, is chilling to the point of being blood-curdling. Phoenix makes you believe in, and feel for, Arthur Fleck, even when he’s shooting men in the back or bludgeoning the head of a betrayer off a door-jamb. Even at the very apex of his madness, we feel for him.  He’s vulnerable. He’s the underdog. He’s capable of great kindness.

Arthur Fleck’s a good boy. He loves his mother. He loves chat-show host Murray Franklin. He wants to be Murray Franklin; he wants to be respected by him; he wants Murray to be his father. Arthur wants to make people laugh. He wants to be noticed. He wants to be famous. He longs to be a somebody. He wants to be loved.

But piece by piece, slowly but surely, Arthur’s innocence and certainty – his very reality – is stripped from him by the society and institutions around him, as everything and everyone that ever meant anything to him betrays or fails him. Each time a layer of his vulnerable psyche is pulled away it’s replaced by anger and madness until finally, tragically – and, of course, inevitably – all that’s left of Arthur is the raw, open wound of Joker – a name bestowed upon him by his fallen hero, Murray Franklin.

Heath Ledger’s Joker was closer to a trickster God from Norse legend than a living, breathing human being; a creature with no history, or connections: an agent of pure chaos. But his and Joaquin Phoenix’s Joker share, if nothing else, a multiplicity of possible origin stories. Where Ledger’s ever-shifting tales about his disfigurement, his very Jokerness, are borne of lies and delusion, Phoenix’s Joker is composed of a roulette wheel of possible root-causes:  who and what made him?

Was it his mad mother? Was it his own sprawling mental illness? Was it ideological cuts in funding to mental welfare organisations? Was it the harsh realities of a life lived in a pervasive, dog-eat-dog capitalist society? Was it rising inequality between the very richest and the very poorest? Was it our narcissistic cult of celebrity? The emotional toll of being rejected and humiliated by two father figures (Wayne and Franklin)? The broth of resentment, cruelty and hatred bubbling away on the streets?

The rioting, discontented masses of Gotham come to revere Fleck/Joker as the emblem of their violent movement – the hero of the underclass – but the movie is careful not to make that same mistake. Even when Fleck/Joker delivers a speech live on camera, admitting to murder and raging at society, moments before executing Murray Franklin (De Niro’s casting as talk-show host Murray Franklin is a nod both to Taxi Driver, with which Joker shares not only De Niro, but much of its tone and aesthetic, and King of Comedy, in which De Niro plays a crazed narcissist and wannabe comic who holds a talk-show host hostage in order to secure his big TV break) he doesn’t exhibit the confident, steely oratory of a rebel-in-chief. His words are the garbled, urgent outpourings of a man whose brain is electric with grief and madness; a man who only moments ago planned to turn the gun on himself instead of on Murray Franklin.

If you aren’t rooting for and empathising with Arthur Fleck in the film’s first half, then you’ve got no heart; but if you’re still rooting and cheering for Fleck once he’s jettisoned the last of his fragility and humanity to fully become Joker, then you’ve probably missed the point somewhere along the line.

‘Joker’ blends past and the present, fact and fiction, fantasy and reality, infecting us with the uneasy sense of a world, or worlds, constantly shifting beneath our feet: we’re us, we’re Fleck; it’s Gotham, it’s New York; it’s present-day, it’s the 1970s; people are real, people are illusions; Arthur Fleck is a good boy, Joker is a bad boy. The crowds that tear Gotham’s streets apart are products of the hubris and lies of capitalist demagogues like Trump, but their behaviour more closely allies them with the supporters of people like Trump. A bunch of angry clowns. What is truth, what is lie, who must live, who must die?

As Fleck travels through the flaming streets of Gotham in the back of a squad car, he looks like a man who finally gets the joke. The mayhem outside matches the mayhem inside his head. He doesn’t have to fit in anymore, because the world has changed to fit him. Moments later a stolen ambulance thumps into the squad car. Arthur Fleck is pulled from a glass-fringed aperture in the wreck of that rammed and wrecked squad-car. He’s laid on his back on the bonnet, helpless, bloodied and confused. The figure who soon takes his first steps upon the bonnet of that squad car, to riotous bays and cheers, is Joker. Arthur Fleck is dead, all vestiges of mercy and hesitation gone from his flickering mind. He is reborn. While Arthur might have let a friend who showed him kindness walk away from a blood-bath, Joker has no such instincts, as evidenced by the bloody footprints peppering the floors of Arkham Asylum at the close of the movie.

We begin and end the movie in a psychiatric facility. Given how unreliable the protagonist is – how many times we’re fooled by his false perceptions – how much of what we see in the movie is actually real? Is the Joker real… or is he fake news? Are we nothing more than a symptom of Arthur Fleck’s madness? The observers he’s always craved…

“You get what you fucking deserve…” utters the Joker. It’s a line that’s swiftly adopted by the rioters, becoming their mantra and mission statement. It could also be the movie’s; the nihilistic spine that runs throughout.

Did Arthur Fleck deserve what he got: a childhood of poverty, abuse and madness? Did Murray Franklin get what he deserved? Did the Waynes? Did those guys on the subway? Did Gotham?

Batman will one day be the hero that Gotham deserves, but Joker is the villain that it fucking deserves right now.

And it’s the movie we need.

VERDICT: 5 STARS

Jacob Rees-Mogg – By the Nanny Who Knows Him

Jacob Rees-Mogg is without doubt the hippest man on the planet right now. Not only has he recently changed his name to Bae-Club Rees-Vlog, but next week he’s at the MOBOs performing his brand new hip-hop single ‘F*** YOU I WON’T DO WHAT YOU TELL ME!’ (his song about the London Fire Brigade) I can just see him on stage now, twirling his sceptre, cocking his top-hat and drawling something devastatingly polite into the microphone: ‘You know, one is rather fond of severely inconveniencing them bitches, if you’ll permit me a momentary lapse in grammar, all you people out there who fiercely indulge in intercourse with the women who gave birth to you.’

But it wasn’t always thus. Believe it or not, Jacob used to be considered a little starchy.

I know, right?

And I know better than most. I was his nanny. I adored that be-spectacled little ubermensch so much that I decided to stay on in his service even from beyond the grave. I’m his ghost nanny, you see. The perfect nanny for the Rees-Mogg family, as it turns out, because they don’t have to pay me anything (Nanny McNo-Phee).

Jacob’s great-grandfather, Hogg-Lees Rees-Mogg

They’re a lovely bunch, the Moggies, despite the fact that it was Jacob’s great-grandfather who killed me. He’d been drinking French furniture polish and sniffing gunpowder all day, and said he could smell ‘the whiff of the pickaninny about me’ before beating me to death with a copper serving spoon. It was a rare lapse in etiquette for a man who usually comported himself with impeccable manners: he of all people should have known that it’s a grapefruit spoon for murdering servants.

Still, my brutal murder was at least in-keeping with Rees-Mogg family tradition. Jacob’s great-great grandfather blew my mother’s face off with a blunderbuss because she ‘looked at him a bit Chinese’ as she was making him a swan  sandwich. What a character! I just feel disgusted that I never had any kids of my own so that Jacob could one day employ them in some menial position before smashing them to death with a signed copy of the King James Bible.

I’ll never forget when little Jakey was born. His mum and dad were so over-joyed they could barely contain their lips from breaking into a tight, perfectly straight hyphen. Little Jakey slipped out of his mother’s clam-pit without any fuss at all, as nonchalant as a complete bastard of a politician lounging insouciantly on the front benches of the houses of parliament during a crucial debate. I’ve never seen a child look so absolutely, completely, utterly and adorably full of withering indignation and arrogant rage. A wee smasher! The man who would one day write the political best-seller “It’s HIS-Tory, not THEY/THEM-Socialists” was already there in that tiny, pale, baleful little creature.

Not fifteen seconds later, he spoke his first words; an Oscar Wilde quote: ‘All women become like their mothers. That is their tragedy. No man does. That’s his.’ Not moments later, his grand-father beat him half to death with a hickory stick for not having said it in ancient Hebrew.

Jakey was a delight growing up, he really was. It took him a long, long time to wean himself off breast-milk. Even now he still enjoys the odd suckle on my ghostly titties. And sometimes I like to soothe him by turning invisible and gobbling him off in the cabinet room. But that’s just what a good nanny does, by golly.

When Jakey was about six he used to burn ants with a magnifying glass, except instead of ants it was working class people, and instead of a magnifying glass it was a shotgun. Sometimes he’d give them a sporting chance and chase them across his private minefield, promising to let them live if they could guide themselves safely to the other side with the instructions he’d painted on the ground in Aramaic.

He was nice like that, you see. Always trying to better people. He couldn’t help himself. That’s why he became a conservative, of course. So that he could help people more fortunate than himself, so one day they’d help him become as fortunate as them. And then he could just help himself to, you know, whatever the fuck he liked.

I remember his first proper big boy’s bed was made from the pelts of endangered monkeys. Well, not strictly accurate. It was the entire monkeys it was made of, all of them still alive, bound together like a raft. He took great care to angle the monkey anuses away from his face, but if a monkey did happen to shit on him as he slept, he’d just wake up and throw it to the crocodiles. Sometimes the monkeys would get lucky, and the crocodiles wouldn’t eat them, because they were already full from eating too many Malaysian servants that day. Well, I say ‘get lucky’. If a monkey survived the croc pond little Jakey would chase it round the garden and smash its brains in with an ivory cane, before masturbating over its tiny little corpse. Even to this day I can’t take him to the zoo without drugging him first.

Most of the time, though, Jakey would put his erections to good use. Once a week he would get a servant to jerk him off with an antique oven-cosy into a tiny crepe pan, which he’d then order his pastry chef to make into a man-muck omelette for his ground-maintenance staff, reasoning that a little of his DNA in their nutritious snack might make them a bit smarter by-proxy, the self-abusing, crotch-sniffing bumpkins that they were.

I remember as he got older and became a more proficient wanker he started shouting out in Latin at the point of climax. Once he accidentally gibbered out an ancient gypsy curse which he unknowingly placed upon his pet horse, Titus Andronicus. It was a literal gypsy curse in that it turned his horse into an actual gypsy. It still looked like a horse, but you could just tell. Poor Jakey was distraught at having to put it down. Even still he was smart enough to use a harpoon gun so there wasn’t any risk of being contaminated by its filthy gypsy blood.

Well, Jacob is all grown up now, but if you go into his old room it’s exactly as he left it from his wild teenage years: posters of Jesus on the wall; the Turkish hookah filled with orphan’s tears; his extensive book collection, including Enoch Powell’s best-seller ‘Europe Can Suck My Bendy Banana’; his blow-up Maggie Thatcher doll, with stolen-milk stains around the anus; his flared knickerbockers; and his seed-encrusted copies of ‘Murdered Monkey Monthly’.

And, do you know, he’s never stopped making me proud. Just this week he said something that made me tingle with joy. ‘Nanny,’ he said, ‘If you weren’t already dead, I’d jolly well kill you with my priceless antique letter-opener that once belonged to Adolph Hitler.’

The big-hearted, sentimental fool that he is!

Movie Review – Philophobia: or the Fear of Falling in Love

Philophobia: or the Fear of Falling in Love (2019, Gravitas Pictures)

Released Blu-Ray/VoD: November 12th

Director: Tyler Cole

Philophobia: or the Fear of Falling in Love follows Damian Booster (Aaron Burt), a popular LA podcaster and perennial playboy, as he wrestles with his true feelings in the wake of an ultimatum from his non-Bechdel-test-passing girlfriend, Danielle (Emily Pearse): Come meet my mother for brunch in a few days to demonstrate your commitment to commitment, she tells him, or kiss our conjoined, couple-shaped ass goodbye.

One man’s tragedy is another man’s comedy, after all; and one man’s love story is another man’s horror. So why not blend them all together? Damian spends the duration of the movie dealing with a mounting crisis of mind and soul, his fear of falling in love manifesting itself through a succession of scary movie tropes.

Accompanying Damian into this hinterland of horror, hopelessness, har-de-hars and horniness is his visiting friend Alan (David Lengel, who resembles a sort-of elongated David Schwimmer) and a nightmarish assortment of neighbours and nutty, night-time denizens of the town.

First-time film-makers Tyler Cole (the movie’s director and co-producer) and Aaron Burt (the movie’s writer, co-producer and star) also know a little something about suffering for love, having gone through extraordinary struggles to commit their vision to the screen. Between them they’ve sacrificed jobs, homes, savings and sanity. Tyler even sacrificed bodily autonomy by following through on a promise to have his wrist tattooed with the logo of a hire company if they agreed to lend him audio-visual equipment for the movie.

So was the struggle worth it? Will Tyler smile wistfully each time he looks down at his branded wrist, or will he find himself wishing that his inked limb could join the discarded hands of Luke Skywalker and Ash Williams in some fleshy, rotten pile or pit somewhere?

Mercifully, Tyler’s self-vandalism wasn’t in vain. There’s much to enjoy in Philophobia: or the Fear of Falling in Love: it’s fun, inventive, ambitious, creepy, consistently surprising, rarely dull (with the possible exception of a clunky scene in which Damien invites Alan to be a guest on his absolutely abysmal podcast) and occasionally laugh-out-loud-funny. Burt is a down-to-earth lead; a great straight-man who gives generously to his fellow performers, both on the page and on the screen. With his help, and Cole’s, the cast brings a naturalistic, quasi-improvised feel to the movie that really fits its style.

The dialogue can occasionally feel clunky, but when it works, it works brilliantly, especially in those segments when the movie activates the ‘com’ portion of the horr-rom-com triangle. Its greatest assets in the laughter stakes are Nancy (Carly Reeves), a nutty, stream-of-consciousness-spouting wild child from the neighbourhood, and Travis (Darren Keefe Reiher), Aaron’s boozing, belligerent next-door neighbour. Nancy and Travis may be broad characters, bordering on caricature, but they’re so well played, and outrageously funny, that you won’t care a jot.

Burt and Cole have achieved so much in this movie with such limited resources. Visually, some of its finer flourishes wouldn’t look out of place in a low-budget, studio-funded project. Never-the-less, while the film has lofty ambitions, and an undeniably unique and fascinating conceit, it never quite manages to live up to its full potential.

Experimentation with form and content in cinema is to be lauded. Sometimes the weirdest of gambles can push the boundaries of what’s possible, or even re-invent cinema itself. But melding such a disparate trinity of genres into a coherent, meaningful shape is a tall order. Horror and comedy make great bedfellows, as do romance and comedy: it’s the threesome that’s the tricky part.

Ultimately, Philophobia: or the Fear of Falling in Love never quite coalesces into something that fully justifies its Frankensteinian approach to film-making. Instead, we get a very entertaining, mutant mish-mash of The Shining, The Hangover, Swingers and every generic slasher and romance flick of the 80s; well-crafted vignettes that work well in isolation, but rest uneasily when sitting next to each other.

The responsibility for the movie’s structural problems lies more with the composer than the conductor. After all, the success or failure of the movie’s central, genre-busting conceit rests solely upon the shoulders of Damien’s character, and, alas, he hasn’t quite the weight or the heft to carry the burden. He feels more like a cipher than a real guy; a blank-faced agent of plot. As a consequence his breakdown, and subsequent breakthrough, feels hollow and unearned.

It perhaps would’ve served the story better had Damien’s sense of horror been wedded to some disturbing pattern from his or his family’s past, or had sprung from some long-buried guilt or shame. As it stands Damien is nothing more than a mildly narcissistic man-child who’s reluctant to grow up and sheath his shaft, like most of LA’s aspiring entertainers, and, I’d wager, a significant portion of the planet’s male population. His journey, like him, is shallow, whatever he appears to have learned about love by the end of the movie.

Tyler Cole makes up for the short-fall in tone and theme by really throwing himself into his role as director, clearly relishing the opportunity here to flex his creative muscles. He must’ve felt like an actor whose agent had secured him every single role in a movie, the chance to run free and do, and be, everything at once.

As Cole deftly jiggles, juggles and muddles the aesthetics of three distinct genres, it’s hard not to see the finished movie as an extended demo reel for his extensive talents. This could well be Tyler Cole’s ‘Scott Derrickson’ moment (a director whose path led him from Hellraiser: Inferno to Doctor Strange).

Cole’s use of light, and lighting, is particularly strong – bathing the dingy rooms and corridors of Aaron’s apartment complex in the red and blue hues of his shifting moods – as is his understanding of how to build and release tension, all of which serves the eerier moments well. He also knows how to get under your skin with a good jump-scare.

It’s just a pity that the movie makes you feel terror more effectively than it does relief and happiness for the protagonist’s plight.

Who knows? Maybe that’s an apt description for love in the real world, too.

THE VERDICT

Philophobia: or the Fear of Falling in Love might not inspire you to tattoo yourself with its logo, but you won’t come away feeling short-changed.

It begs repeating that this is a first-time movie whose creators should be celebrated for their tenacity and dedication; whose vision and ambition should be applauded. Just because I judge it to have failed in some of its loftier aims, doesn’t mean that I consider it a failure. Far from it. It’s raw. Brave. Bold. Original. Haunting in places, hysterical in others.

It’s clear that Burt and Cole are both going places. Don’t be frightened to join them on the first leg of their journey.

You might very well end up falling in love with their work.

Watch the trailer here