Read Chocolate and Cuckoo Clocks Online
Authors: Alan Coren
Tags: #HUM003000, #HUM000000, #LCO010000
âYou're not going to say nothing dirty to them, are you?' she said. âExcuse me for asking, but we have to.'
I reassured her.
âI'll have to keep your number by me,' she said, âin case there's complaints, you know, afterwards, like. No offence meant, but you'd be surprised how many people ring up foreigners and swear at them.'
I agreed, wondering who. Insights were bursting in on every hand. It clearly wasn't all beer and skittles, being a world leader, trying to keep up the balance of payments and build new schools and hold back the opposition, with Englishmen phoning you up all hours of the day and night, shouting âEff off!'
She gave me the Pope's residential number. I dialled direct, 01039 6 6982. It was engaged. Odd. Was he, perhaps, on The Other Line? Or just on the balcony, waving? I tried again, trembling slightly at his proximity â five hundred million subjects under his thumb, and that thumb about to curl over the receiver in response to a far, agnostic call.
âAllo.'
âYour Holiness?'
Pause.
âWod?'
âAm I speaking to the Pope?
II Papa?
'
Scuffling.
âAllo, allo. Can I 'elp you?'
âMay I speak to the Pope?'
A long, soft sigh, one of those very Italian sighs that express so much, that say
Ah, signor, if only this world were an ideal
world, what would I not give to be able to do as you ask, we should
sit together in the Tuscan sunshine, you and I, just two men together,
and we should drink a bottle of the good red wine, and we should
sing, ah, how we should sing, but God in His infinite wisdom has,
alas, not seen fit to . . .
âCan the Pope,' I said, determined, âcome to the phone?'
âThe Bobe never gum to the delephone, signor. Nod for you, nod for me, nod for Italians, nod for nobody. Is nod bozzible, many regrets, 'Is 'Oliness never spig on delephone. You give me your name, I give mezzage to 'Is 'Oliness, 'e give you blezzing, okay?'
âOkay,' I said. A blessing, albeit proxied, was something.
âDon menshnit,' he said, kindly, and clicked off.
By great good fortune (or even the grace of God: who knows how quickly a Pope's blessing might work?), there was a different operator on 108 when I tried to reach Richard Nixon. He put me on to 107, who got me the White House in three minutes flat, which gave tricky Dicky a thick edge over Mao, Kosygin and Il Papa when it came to accessibility. I thought you'd like to know that, Dick, since I didn't get the chance to tell you myself. Accessibility, as Harry Truman might have said, stops here. Or almost here. The lady secretary at the White House was extremely kind, incredibly helpful and understanding; doubtless because, given America's readiness to empty magazines at those in power, you can't be too careful with nuts who phone up to speak to the President. Fob them off with a âGet lost!' one minute, and the next they're crouched on a nearby roof and pumping away with a mail-order Winchester. The President, she said, was down in Florida, at Key Biscayne, where his number was 305 358 2380; someone there would speak to me. They did, and they were just as syrupy and sympathetic, and who knows but that I mightn't have got into the Great Ear if I hadn't played one card utterly wrong? What happened was, the call from the Kremlin, booked, you'll remember, an hour before, suddenly came through on my other phone, and I was mug enough, drunk with bogus eminence, to say to the American voice:
âSorry, can you hold on a sec, I've got Kosygin on the other line?'
It was a nice moment, of course, but that's as long as it lasted. America hung up. Tread carefully when you step among the great, friends, their corns are sensitive.
I rather liked the Kremlin.
âIs that Mister Coren?' they said.
It's no small thrill to think one's name has echoed down the corridors of Soviet power, from room to room, while nervous men, fearful of the punishment that follows bureaucratic cock-ups, have tried to find out who one is, and what one wants with the Prime Minister. After all, so much is secret, so much unknown. I might have been anybody, even the sort of Anybody whose whisper in a top ear could send whole switchboardsful of comrades to the stake. Who was this Coren, this cool, curt international voice who seemed to be on such good terms with Alexi N. Kosygin that he thought nothing of phoning him person-to-person? For men who remembered Lavrenti Beria, no kindness to strangers was too much. Which is no doubt why I actually got to Kosygin's private secretary, who was himself extremely civil.
âI merely want to present the Prime Minister with my good wishes,' I told him.
He was heartbroken that the Prime Minister was inextricably involved at present, but swore to me that my message would be passed on immediately. And I have not the slightest doubt that it was. It's a long way to Siberia, after all, and the cattle-trains leave every hour, on the hour.
Which left me with just two numbers in my little black book: Havana 305 031 and Cairo 768944. It took me a day to get through to one, and three days to reach the other (all calls to Egypt are subject to censorship), and when I finally did make contact, Fidel and Anwar were, needless to say, busy elsewhere. Both, however, promised faithfully to ring me back, which is why I leave them till last. Courtesy I like. Not, though, that they actually
have
rung back, but who knows? Even now, the dark, dependable forefingers may be poised over their respective dials, groping along the cables for a chance to chew the fat and swop a joke or two. If not, and if they read this first, don't worry about it, lads. It's nothing urgent.
I just wanted to say hello.
17
The Rime of the Ancient Film-maker
There has been much speculation as to why, when Ken
Russell's first film on the Lake Poets was so uncharacter
istically restrained, his second was so characteristically
extravagant.
Â
Part I | ||
An ancient director | It is an ancient Film-maker, | |
meeteth three | And he stoppeth one of three. | |
viewers about to | âBy thy long grey script and glittering lens, | |
watch Match of the | Now wherefore stopp'st thou me? | |
Day , and detaineth one. | ||
The telly's doors are open'd wide, | ||
We've got the Guinness in; | ||
There's cheese'n'bacon Krunchimunch, | ||
And peanuts by the tin!' | ||
 |  | |
He holds him with his podgy hand, | ||
âThere was a film,' quoth he. | ||
âEff off! It's Stoke v. QPR!' | ||
Retort the Viewers three. | ||
 |  | |
He holds one with his glittering lens â | ||
The viewer is | The Viewer stood stock still: | |
spellbound by | âIs this for Candid Camera? ' | |
the old man's | The film-man hath his will. | |
Arriflex. There | The Viewer sat down on the step: | |
may be money in it. | This could be fame at last! | |
And thus spake on that ancient man, | ||
The mad-eyed cinéaste. | ||
 |  | |
âThe script was cheer'd, the treatment clear'd. | ||
Mr Melvyn Bragg is | Granada coughed up loot! | |
hired, and works for | I grabbed my crew and off we blew, | |
an entire morning. | Bound for the first day's shoot. | |
The book is | ||
finished. | The Sun came up upon the left, | |
Into the lens shone he! | ||
A blood-red smear, a crimson tear, | ||
Was all the lens could see! | ||
 |  | |
The film-maker gets | âCut! Print!' I cried; for in that shot | |
to the heart of | Was all I asked, and more: | |
Wordsworth. | A sense of doom, in that one zoom; | |
All Nature steep'd in gore! | ||
 |  | |
âLake poetry is pain and lust | ||
And death!' the old man roared. | ||
âAndâ' here the Viewer turned his head, | ||
For QPR had scored. | ||
 |  | |
Warming to his | âAnd thenâ' the Viewer's head jerked back | |
theme, he hires six | ââwe cut across to France. | |
helicopters and | In every scene, the guillotine: | |
abattoir. | Well, why pass up the chance? | |
 |  | |
A sonnet is carefully | The fat heads roll'd, and, green with mould, | |
interpreted. | The rotting torsos lay; | |
While, nude, the Eskdale Shepherd gasped | ||
And rutted in the hay!' | ||
 |  | |
The viewer is | âStone me! Is all that poetry?' | |
amaz'd by the sheer | The Viewer cried. âBy heck! | |
vision of the ancient | I only know The Boy Stood On | |
director. | The, wossname, Burning Deck!' | |
 |  | |
âYou have to read between the lines! | ||
Between the words , forsooth! | ||
For what I read is what I know: | ||
There is no other Truth! | ||
 |  | |
Granada, hearing | But fools' â and here his face grew black â | |
rumours, despatch a | âWill ne'er let genius be: | |
studio spy. | A man was sent from Manchester; | |
His brief: to check on me ! | ||
 |  | |
Each day, he scribbl'd telegrams | ||
Back to Granada's boss; | ||
Each day, his calculator clicked. | ||
His name was Albert Ross. | ||
 |  | |
The spy, in a vision, | And when he saw what we had shot, | |
foresees ratings. | His flannel chops turn'd white! | |
âYou call this family viewing, son? | ||
You call this Sunday night?' | ||
 |  | |
Thereafter, sat he with our crew; | ||
Thereafter, every day, | ||
They fawned to do his every whim, | ||
For they had heard him say, | ||
 |  | |
The spy takes | That if the film did not pass him , | |
control of the | If there was one more shot | |
project. | He could not show his grandmother, | |
Then he would scrap the lot! | ||
 |  | |
The ancient | And they were men with mortgages, | |
director is sold for a | And they were men with wives: | |
mess of pottage, | There was no room for genius | |
plus overtime. | Within their little lives! | |
 |  | |
I stood apart, as in a dream, | ||
And let them shoot at will; | ||
They filmed each lousy skylark, shot | ||
Each stinking daffodil! | ||
 |  | |
 | Yet, while I stood, my brain did not: |  |
It, fertile, laid a plan; | Â | |
A perfect crime, to wait the time | Â | |
The film was in the can! | Â | |
 | ||
The ancient director | And, as it left for Manchester, | Â |
draws his | I left to cut my loss; | Â |
own conclusions! | And, with a Props Department bow, | Â |
I shot that Albert Ross! | Â | |
 | ||
 | ||
Part II | Â | |
 | ||
A free man, the | âThe Sun now rose upon the right: | Â |
ancient film-maker | We went to film Part Two. | Â |
launches into The | But when they scann'd the scene I'd plann'd, | Â |
Rime of the Ancient | Rank terror gripp'd the crew! | |
Mariner . | Â | |
 | ||
They look'd behind, to ease their mind, | Â | |
But no fat fink did follow! | ||
Nor any day, with bonus pay, | ||
Came to the film crew's Hollo! | ||
 |  | |
Sheer brilliance | They did not guess; nor did they press | |
overwhelms doubt | For further explanation: | |
yet again. | Since genius brooks no challenge, and | |
Technicians know their station. | ||
 |  | |
But Friday came; it brought no cash. | ||
Their nagging made me cross. | ||
And like a fool, I blew my cool: | ||
Confess'd I'd murder'd Ross! | ||
 |  | |
The film crew are | They shriek'd! They swore! They tore their hair! | |
deeply stricken by | They fell down in their woe! | |
news of the poor | For all averr'd I'd kill'd the bird | |
wretch's death. | That made the cash to flow! | |
 |  | |
And when, next morn, I found my teeth, | ||
Arose, and quit my bed; | ||
There came no sound from all around: | ||
The camera crew had fled! | ||
And yet, and yet: my actors stood, | ||
Waiting in serried ranks; | ||
Thank God, I thought, that actors are | ||
As thick as two short planks! | ||
 |  | |
They stared at me, made-up and dress'd, | ||
With simple, empty eyes. | ||
And what I saw when I stared back | ||
Were blessings in disguise! | ||
 |  | |
The ancient filmmaker | Who needs a camera crew? I cried; | |
recognises | Who needs their bleating moan? | |
his own supreme | I took the kit, and shoulder'd it, | |
qualities. | And went to film alone! | |
 |  | |
And oh, the reds! And oh, the greens! | ||
And oh, the clever angles! | ||
And, bless my wig, is that a twig, | ||
Or something Coleridge dangles? | ||
 |  | |
The ancient filmmaker | Was ever documentary made | |
pre-empts | So bravely to defy sense? | |
critical acclaim, | Is, surely, this not what is meant | |
wisely. | By sheer poetic license? | |
 |  | |
For am I not a poet, too, |