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TheWestminsterNews
Issue 42 - December 2011
Price where sold £0.60
Mayfair • Knightsbridge • Marylebone • Belgravia • Pimlico • St james • paddington
Art & Theatre in The westminster
review Pull-out inside
Facelift for leicester
square ON PAGE 4
eating out ON PAGes 5-6
Collapse of the
Euro deliberate?
A
ngela Merkel and
Nicolas
Sarkozy
desperately try to make
it look on our television
screens as though the
collapse of the Euro were
an accident that could not
be avoided.
by David Noakes
But few things could have
been better planned. It
began with the coordinated
and deliberate deregulation
of the banks, on both sides
of the Atlantic, which of financial regulators,
turned High Street banks in particular the FSA
from prudent investors (Financial
Services
into
wild
gamblers, Authority) in the UK. They
perhaps the wildest being corruptly spend their time
the creation of derivatives. controlling honest people
In this way senior with money laundering
politicians created bubbles regulations, surveillance
that had to burst in computer systems and
everything from houses to swap us in paperwork,
shares to commodities.
while allowing banks
The global value of and the markets to create
derivatives, which are the
greatest
financial
bets on money, assets and destruction in history.
debt, is now $1.44 English And leaving our 17 most
trillion, or 24 times the senior politicians to money
annual income of the entire launder tens of millions in
world. That bubble is yet to EU bribes unchecked.
burst.
They planned to collapse
Destroyed old system
Sterling first, with the
Then they destroyed freemasonry boards of
the old, reliable systems Northern Rock, RBOS
and created the worst and HBOS paid a fortune
now now have the largest
deflation in history. They
have successfully brought
us to the brink.
EU miscalculated
But the EU miscalculated:
they thought they had
destroyed Sterling, but
its ability to float kept it
annoyingly going.
However they had created
the unstable Euro, not with
one economy and one
bank, but with 17 different
central banks, and 17
different economies. That
to destroy their own was designed to pull in 17
banks. Then 33rd degree different directions, with
freemason Gordon Brown, the poorest and weakest
instead of pulling the economies suffering the
account holders out into a most. Collapse was built in.
Greece could indeed
safe bank, and letting those
be
saved
very simply by
corrupt banks go bust,
under-wrote them with allowing them to leave
£850 billion of our money, the euro, go back to the
two thirds of Britain’s Drachma, and devalue.
GDP. That ensured they But if Greece is allowed its
got their bonus billions for freedom, it will be logical
their dirty work, worsening for Italy, Spain and Ireland
the financial instability and to do the same.
And the last thing the EU
banking fraud.
Brown and Cameron, wants is to allow nations to
as the EU’s paid and go free.
Police state complete
controlled agents, printed
The
plan has always been
£200 billion pounds (to
to
collapse
the economies,
30.9.2011) renaming it
then
use
that
as an excuse
“quantitative
easing.” The fact that didn’t cause to force nations into total
massive inflation proves we compliance with the EU
dictatorship.
If they
take that to its logical
conclusion and drive us to
starvation, we will agree to
their new financial system
which will wholly control
us. The EU police state
will be complete.
Then they will allow the
economies to be rebuilt
under the principles of the
Treaty
of 300dpi.pdf
Lisbon
IAC_quarter_July
23/07/2010 (with
13:19:06
which our Queen Elizabeth
illegally abolished Britain
on 1st January 2009,)
namely a three tier
politburo dictatorship with
a sham parliament on the
Soviet model.
And as an EU agent,
David Cameron, even
when he appears to be
opposing the EU, is still
obeying their orders.
C
M
Y
CM
MY
CY
CMY
K
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News
Crossrail still in a hole
over works in Westminster
Although a major long
term benefit to Westminster,
the Crossrail project has been
failing to heed calls to rectify
major problems for Westminster residents, visitors and
businesses. At last weeks meeting of Westminster Council’s
Built Environment, Enterprise
and Volunteering Policy and
Scrutiny Committee, Westminster councillors called on
Crossrail executives to deliver
on promises of action made to
the committee previously.
Following a site visit in June
with the Chairman of the committee Cllr Angela Harvey, the
Chairman of Crossrail, Terry
Morgan, assured councillors that
work would be done to address
issues such the damaging impact
of works on businesses and the
use and design of hoardings. Although Crossrail has done some
work, the outcomes have not
eased the plight of local residents
and small businesses, so councillors last night called for more immediate and considered action to
address these problems.
Proposed Paddington Crossrail
station.
In particular, Westminster
councillors called for action to
rectify poor signage on hoardings, which are having a significant impact on small businesses
in the area. The Star Café on
Great Chapel Street for example
has reported a 40% drop in customers, attributed to the narrowing of the street and poor signage on hoardings. Councillors
urged Crossrail to work closely
with local small businesses to
ensure they receive the same
treatment as their larger rivals.
Issues of parking were also
raised as a major concern for
the Council and for residents,
Entrepreneurs win
backing for market pitch
Two young entrepreneurs
are looking forward to
trading on the world famous
Portobello Market after being
named winners of the Royal
Borough’s Market Enterprise
Launch Pad 2011.
Jo Hawtree, who is starting
a men’s fashion label called
`Gunsmoke & Lavender’, and
Emily Ellen Dell, who sells
bespoke art on canvas under
the name `Girl on a Swing’,
have each won £1,000 in
start-up funds, six months
rent-free market stall space on
Portobello Market, a support
package from the Prince’s Trust
and free business insurance.
The project was funded by the
John Lyon’s Charity and run
by the Council’s Education
Partnership Team.
The announcement comes
on the day the retail guru
Mary Portas launched her
Government commissioned
review of Britain’s High Streets.
Seven young entrepreneurs
were selected to pitch their
ideas to a panel of judges, last
Friday 9 December, including
representatives from the
Council, the homeware designer
Cath Kidston, Circle Sports,
the Prince’s Trust, John Lyon’s
Charity. The judges commented
that it was difficult to select
two winners as all the business
ideas were viable though some
were better suited to a market
environment than others.
Cllr Nick Paget-Brown,
Deputy Leader of the Council,
said: “Congratulations to Jo
and Emily in beating off the
competition and winning their
stalls in London’s finest street
market.
“I know that a stall on the
Portobello Market has been the
springboard that has helped
launch successful businesses in
the past.”
as street works have resulted in
significantly restricted parking
for local residents and businesses. Councillors urged Crossrail
executives to work closely with
the Council to examine the relocation of residents parking bays,
particularly in Soho Square,
where the problem is acute.
Councillors also expressed concern at the direction in which
community liaison groups are
going. Councillors, residents
and businesses are troubled that,
rather than a productive forum
to facilitate action, these are
becoming mere box-ticking exercises and urged Crossrail to
strive to work more closely with
local councillors and residents to
resolve issues.
As a part of the written report
asked for by the committee,
councillors urged Crossrail to
confirm whether the new tunneling strategy being employed
is likely to reduce or increase the
impact on residents in the Westbourne/Paddington area. The
committee also urged Crossrail
to consider increasing their use
of alternative means such as rail
or canal to transport material for
the Crossrail tunnels to the Paddington New Yard sites.
Commenting on these concerns,
Chairman of the Policy and
Scrutiny Committee, Cllr Angela Harvey said: “The Crossrail
project will be hugely beneficial
for Westminster in the long term,
but in the meantime we need to
help our residents and small businesses to survive the short term
implications.
Crossrail have had ample opportunity to deal with the concerns raised months ago by councillors on behalf of residents,
visitors and businesses, however
we continue to be troubled by
their apparent lack of crosscutting approach to the development. Given the growing range
of problems, we look forward to
receiving a written report from
Crossrail detailing how and more
crucially when, these concerns
will be addressed.”
Partner initiative to
help local job seekers
People who find it difficult
to get a job such as young
people, over 50s, ex-offenders
and people suffering from
mental health issues will now
get special help from the
North Kensington Jobcentre
Plus thanks to a Council-led
initiative.
The Government-funded
partnership between the Royal
Borough of Kensington and
Chelsea, Jobcentre Plus,
Kensington and Chelsea
Volunteer Centre, Open Age
and Connexions was launched
on Wednesday 7 December
by Councillor Rock FeildingMellen, Cabinet Member
for Civil Society for the
Royal Borough, at the North
Kensington Jobcentre Plus.
Support on offer will include
one-to-one careers advice,
physical health and fitness
training, work experience
placements and skills training.
Councillor Feilding-Mellen,
said: “This partnership allows
a number of public sector
organisations and charities
to work together to offer a
joined-up approached to the
challenges of finding a job for
a variety of groups of people
in our borough.
“I am delighted to be here
today to mark this occasion
and I am sure that in the
coming months many of the
Royal Borough’s residents will
be helped by the cooperation
this partnership offers.”
Georgette Budhram of
Kensington Jobcentre
Plus said: “The skills and
qualifications gained through
the placements with local
groups will be invaluable for
jobseekers in Kensington and
Chelsea and will give them the
support they need to get back
into work.
“This is a great example
of Jobcentre Plus working
in partnership with local
authorities and charities to give
tailored and specialist support
to jobseekers.”
Anyone wanting to take
part in the programme will
need to be referred by a
Jobcentre Plus adviser in the
North Kensington office.
For more information phone
0845 604 3719.
Tel. 020 8458 3153 / 020 8986 5904
News
Creating a city for the future:
Council launches consultation
on new City Management Plan
W
estminster residents and
businesses are invited
to have their say in shaping
the future of their city, as the
council launches a consultation
on its new flagship City
Management Plan.
Setting out the blueprint
for the city’s future policies
including heritage, housing,
transport, open spaces, and
environmental performance, the
City Management Plan will be
Westminster’s definitive planning
guide for years to come.
The new plan seeks to address
many key issues affecting
residents, whilst successfully
managing the pressures on
the city from its national and
international roles and functions.
It sets out the detailed policies
of how the council will deliver
its Core Strategy, which was
adopted in January this year,
and builds upon Westminster’s
existing policies.
One of the key policy changes
includes the establishment of
stricter controls on residential
basement excavations. These
include a requirement for the
site to be limited to one level, to
not extend into more than 50%
of the rear or front garden, and
to meet zero carbon standards.
Others include the identification
of a new family housing area in
Maida Vale, and the introduction
of
policies
to
improve
building performance, tackling
overheating and air conditioning
to reduce their carbon footprint.
Westminster is a world class
city for UK business, tourism and
heritage, encompassing some of
the world’s most recognised sites
and buildings; however, it is also
home to nearly 230,000 residents,
whose day to day lives rely on
the council effectively delivering
vital local services, including
housing, schools and safer streets.
Cllr Robert Davis, Deputy
Leader and Cabinet Member for
the Built Environment, said:
“For the 230,000 residents who
make the city their home, the
detailed policies outlined in the
City Management Plan are crucial
in ensuring that Westminster
remains one of the most desirable
places to live. Similarly, for
Westminster’s 47,000 businesses
and the 577,000 workers they
employ, sustainable growth and a
clear and fair planning regime are
crucial, so they can continue to
thrive even in difficult economic
Westminster Council warns new
immigration figures don’t add up
New indicative
figures published by
the Office of National
Statistics (ONS) are
failing to accurately
measure migration within
England and Wales,
Westminster City Council
has warned.
The new figures suggest
that Westminster has lost
17% (10,000) of incoming
migrants between 200610, despite the council’s
own data reporting a
rise in numbers paying
council tax. Cities such
as Manchester and Bristol
are also reported to have
lost up to 35% (30,000
people) of their incoming
migrant populations over
the same period, compared
to data previously released
by the ONS.
The ONS report,
‘Improved Immigration
Estimates to Local
Authorities in England and
Wales’, was compiled using
data from the Department
of Work and Pensions
(DWP) database, which
has had an impact on
how migration has spread
across the UK. This new
method for collecting
data is currently under
consultation, however if
accepted it could influence
official figures in 2012.
This is the sixth change
in migration measurement
since 2002, with the most
recent change only being
introduced in May 2010.
Continual changes to how
migration is measured has
severely impacted upon
the future planning of
services and the allocation
of funding to local
government.
Speaking today, Westminster
City Council Leader Cllr
Colin Barrow said:
“These new figures from
the ONS are unreliable,
and should not be allowed
to become official data of
migration in the UK. We
would seriously question
the estimate that less than
4,000 migrants came to
Westminster in 2009/10 to
seek work - we have seen
more people registering
with doctors and more
people paying council tax
in Westminster, so we fail
to understand how the
Government statisticians
can be so wrong. At the
stroke of a statistician’s
pen, Westminster’s
incoming migrant
population appears to
have dropped by 17%
over four years; you
only have to go out into
the bars and restaurants
in the West End to see
that migrants come to
Westminster to live and
work in much greater
numbers than this.
“After four years of work
supposedly improving
migration estimates the ONS
apparently still has little idea
how many migrants are in
the country or where they
live and work.”
conditions. And for the 28 million
visitors, who spend over £5
billion a year and support nearly
65,000 jobs, Westminster must
remain the must?see location.
“This City Management Plan
brings
together
extensive
community consultation. We
are grateful to all those who
have helped us shape the plan,
especially those who spoke at
our consultation workshops
and responded to the issues and
options. We look forward to your
future comments.”
The guide can be downloaded
from the Westminster City
Council website. The consultation
is open until 23 March 2012,
and responses can be submitted
online or by print.
3
the Paddington
Dental practice
17 Craven Road,
Paddington, W2 3BP
www.paddingtondental.co.uk
Call to book an apointment
020 7723 6106
[email protected]
New NHS patients welcome!
Tel. 020 8458 3153 / 020 8986 5904
4
News
Go ahead for North Kensington
Oxford Street works
suspended for Christmas academy and leisure centre
Ambitious plans for a
new school and leisure centre
Following last
pedestrians will be given the
the 1830’s mains and we
weekend’s planned road
additional street space to help
are absolutely determined to
in North Kensington were
closure on Oxford Street
cope with the larger numbers at ensure Christmas shoppers are given the go ahead recently
to ensure public safety,
this time of year. Westminster
able to move freely around the by the Cabinet of the Royal
Westminster City Council,
Council has worked with the
area in the run up to Christmas,
Transport for London, New
New West End Company and
including the VIP weekend”
Chelsea.
West End Company and
London Underground to keep
Richard Dickinson, Chief
After carefully considering
the Met Police confirmed a
a close eye on the numbers
Executive of New West
a number of design and cost
series of measures to ensure
of pedestrians to ensure that
End Company representing
options, the Cabinet committed
that the West End is open for traffic management measures
businesses in Bond Street,
business over Christmas and
are tailored to demand
Oxford Street and Regent
to funding a new academy and
New Year.
throughout the festive period.
Street says: “Oxford Street
a brand new leisure centre.
These measures will ensure
Martin Low, Westminster
should be enjoyed not endured. This decision amounts to a
the safety of Christmas
City Council Commissioner
The planned removal of the
massive £57.8m investment in
shoppers in the West End
of Transportation, says:
work sites is welcomed by
the Notting Barns ward - one
by removing all hoardings
“These measures will help
our retailers and will ensure
of the most deprived parts of
and streetworks surrounding
ease pedestrian congestion
the millions of shoppers who
the Royal Borough.
the London Underground
along Oxford Street. We
visit Oxford Street during
and Thames Water works on
are committed to ensuring
the festive period will be
Demand for school places
Oxford Street by Bond Street
the safety of Christmas
able to move around at ease.
in the north of the borough
tube station from the evening
shoppers and that they have
This weekend Oxford Street
is high, and a new school
of Friday 9th December until
as comfortable a journey as
and Regent Street will be
will help to address this
Monday 9th January, with
possible this festive season. We traffic-free for our annual VIP
shortage. The Government
some work being completed
welcome these collaborative
celebrations - a key event of
has already pledged £17.6m
out of usual shopping hours.
measures and will be keeping a the Christmas season.”
towards building the new
After the 9th January, on-street
close eye on them.”
A Met Police Spokesman
works and hoardings will
Mike Brown, Managing
says: “The Metropolitan Police academy and the Council
be reinstated and work will
Director of London
continues to work with our
has committed an additional
continue until Easter.
Underground says: “We have
partners to make Christmas
£10.4m to ensure the school is
Only one lane of traffic
been working round the clock
shopping in London a happy
built to the same high standard
[westbound] will be permitted
with Thames Water since
and, most importantly, a safe
as Chelsea Academy. Coalong
Oxford Street and News_Kenfaults
havePress
been Ads_Quarter
found with Page_Layout
experience.”
2551R2_L_Westminster
Chelsea
1 07/02/2011 16:47 Page 1
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Golden Charter
Funeral Plans
sponsored by the Council, the
lead sponsor of the academy
is the Aldridge Foundation.
The academy will seek to
embed entrepreneurship and
expressive arts at the heart of
the curriculum.
The Council has also decided
to commit £24.7m towards
building a new leisure centre.
The current leisure centre
was built in the 1970s and
is coming to the end of its
useful life. An option to
refurbish the existing leisure
centre was rejected after
architects estimated that full
refurbishment would cost in
the region of £14m, and would
only extend the centre’s life
by ten years. The brand new
centre should last up to 50
years.
Councillor Sir Merrick
Cockell, Leader of the Royal
Chelsea, said:
“This decision is very good
news for North Kensington and
represents part of the Council’s
ongoing commitment to
the redevelopment and
regeneration of the area.
“We are prepared to invest the
cash necessary to really tackle
the disparity between the north
and south of the borough. This
initiative will not only help to
address the shortage of school
places but give the community
brand new leisure facilities to
enjoy for decades to come.
“However, before we submit
a planning application we
have a lot more work ahead
of us and promise that we will
continue to involve and listen
to people every step of the
way.”
Following the Cabinet’s
decision, Chairman of the
Aldridge Foundation, Rod
Aldridge, said:
“The additional funding
will enable us to provide an
incredible Academy school
for the young people of North
Kensington and parents will
be proud of the high standards
we are aiming for. It will also
be a valuable community asset,
from which the local residents
will benefit.’’
The preferred option also
includes the provision of
some new housing along
Bomore Road. A more detailed
appraisal of this element of the
project will be undertaken in
the coming months.
The Council’s plans for an
academy and leisure centre
will then form a planning
application that the Council
aims to submit in June 2012.
A decision by the Council’s
Planning Application
Committee is then expected in
the summer of 2012.
For more information on the
project please visit www.rbkc.
gov.uk/kalc
Facelift for Leicester Square
Leicester Square today
gets a revamp as over 160
square metres of ‘Leicester
Square: past, present
and future’ hoardings
are installed around the
redevelopment works in
the Square.
Designed to showcase the
best of the iconic square
through time, the new
hoardings are part of an £18
million plan by Westminster
City Council to revitalise the
Leicester Square streetscape.
The improvements to the
street environment around
the Shakespeare statue
and fountain are set to
dramatically improve the
pedestrian experience in
Leicester Square in time for
the 2012 Olympic Games,
ensuring that businesses in
the area can maximise the
commercial potential posed
by the millions of anticipated
additional visitors.
Councillor Robert Davis,
Westminster Council’s
Cabinet Member for the Built
Environment, said: “The
redevelopment works in
Leicester Square are a vital
part of our plan to ensure
that Westminster is at its
best for the 2012 Olympic
Games. An inviting and easy
to navigate streetscape will
ensure businesses in Leicester
Square can make the most of
the commercial opportunity
presented by the additional
visitors to the area during
next year’s Games.”
Leicester Square
redevelopments:
• 167 square metres of
hoardings installed
• Researchers trawled through
thousands of archive images
to find iconic images of
Leicester Square through
time
• 11 images from the last
250 years featured on the
hoardings
• £18 million investment
in the redevelopment of
Leicester Square, part of a
wider West End revamp plan
worth £82.4 million.
Tel. 020 8458 3153 / 020 8986 5904
Eating Out
5
Mela - Shaftesbury Avenue
M
ela is an Indian
restaurant situated
on Shaftesbury Avenue
that offers thoughtful,
progressive Indian cuisine
at affordable prices that
would be suited equally to
a pre-theatre meal, a date,
or a boozy yet sophisticated
evening out with friends.
By Tom Nancollas
Entering the restaurant, we
were shown to a good table at
the back. I wasn’t taken with
the décor at first – a ménage
of ‘traditional’ patterns and
brushed steel and glass that
veered dangerously close
to the dreaded concept of
‘fusion’ – but eventually
I was won over by light,
charming atmosphere. We
were able to see the chefs at
work in the open plan kitchen
that adjoined the bar, and our
appetites were whetted by
Taste India!
Chowki Restaurant
2-3 Denman Street
London W1D 7HA
Tel: 020 7439 1330
Fax: 020 7287 5919
Email: [email protected]
Opening Times:
Mon - Sat 12pm - 11.30pm
Sun & bank holidays 12pm - 10.30pm
spice that lingered on the air.
After poppadums, we
began the meal with Piri-Piri
Prawns (£6.95) and Bhalla
Papdi Chaat (£4.95) – lentil
dumplings
served
cold
(deliberately). Both were
good. Exceptional, though,
was the Murgh Malai Kebab
(£12.95) from the Tandoor
oven, recommended by
our waiter, where pieces
of chicken were delicately
marinated and cooked to
absolute perfection.
The main courses were a
master class in Indian cuisine.
My companion had Saag
Gosht (£9.95), lamb cooked
with garlic and spinach,
which was phenomenal. I
have rarely tasted bettercooked lamb anywhere. I
had Murgh Jalfrezi (£9.95),
chicken with peppers and
onions, which was good
but was overpowered with
ginger that it didn’t need.
Our waiter recommended
an excellent Daal Makhani
(£5.95). Alongside these
dishes we had Peshawari and
Garlic Naans (£3.95 each),
and Jeera Pulao (cumin
and saffron rice, £3.25). All
were faultless. Spice was
handled expertly in each
dish, the level of heat never
overwhelming the flavours.
At Mela, we were served
Indian food cooked with
sensitivity and finesse, and
the service was excellent
– in particular our waiter’s
recommendations.
These
were of such quality that
we wished he had ordered
everything for us. With a bill
that came to around £40 a
head including wine, I would
recommend Mela to anybody
with an inclination towards
Indian cuisine, and even to
those who have yet to be won
over by it. Just make sure
you listen to the waiter.
152-156 Shaftesbury
Avenue, London
WC2H 8HL
Tel: 020 7836 8635
Tel. 020 8458 3153 / 020 8986 5904
6
Celebrate the real flavour
of Indian Cuisine!
Eating Out
Star of India: my return
after four decades
F
ifty seven years of serving
fine
cuisine
in
South
Kensington affords the Star of
India restaurant a distinguished
record that can be matched by
few others.
Established by Sheikh Mahammad
in 1954 at Old Brompton Road,
it is now under the experienced
management of his son Reza
Mahammad and his brother Azam.
Singh Naroula sent a selection
from some of the restaurant’s finest
dishes featuring chicken, marinated
prawns and lamb.
The prawns, Kadak Jhinga, (£8.25)
are dipped in a saffron batter, fried
till crispy and golden and served
with Tamarind chutney. The
chicken dish, Murg til Tikka (£7.00)
is morsels of chicken marinated in
by David Hetherington
Mela Restaurant
152 Shaftesbury Ave.,
London WC2
Tel: 020 7836 8635
Opening hours:
Mon - Fri: 12.00 - 23.30
Sat: 13.00 - 23.30
Sun: 12.00 - 22.30
Haandi
Indian cuisine
Reza took over from his father
in 1991 and has since added the
‘essence of Reza’ to the restaurant
through a sophisticated choice
of recipes and dishes. And his
contribution was evident when I
visited recently to see if the Star of
India, that I had last visited myself
some 40 years ago, matched its
reputation in the locality.
I was a new convert to the delights
of food infused with spices and
herbs when I was there four decades
ago, and though a lot of water has
passed under the bridge since then, I
do remember my two or three visits
there as being most enjoyable.
Today the Mahammad family’s
menu features a wide range of
cooking styles and dishes reflecting
the diverse cuisine of the Indian subcontinent. For starters, chef Virenda
garlic, green chilly, sesame seeds
and a hint of nutmeg, chargrilled
in the tandoor. Both dishes get my
highest rating.
Duck Varuval (£15.50) was the
choice for main course. This is
Gressingham duck breast with
Chettinad spices served with a
tempering of aniseed and curry.
This a sophisticated and satisfying
combination. My partner was
equally impressed with her main
course of Hare Masale ki Machli.
(£16.00). This is Sea Bass fillets
wrapped in a banana leaf with a
marinade of coconut crust, mint,
garlic and coriander then baked
in the oven. Served with a herbed
mustard and yoghurt sauce.
The wine to accompany was a
very light and fresh Chateau de
Campuget 2009. Wines are priced
from £14.75 to £57.50.
We finished off with Chocomosa
(£5.95), a marbled white and plain
chocolate with chenna and roasted
almonds, served with vanilla ice
cream, and Malpua (£5.95) a
North Indian crepe scented with
cardamom and fennel seeds then
drenched in a saffron syrup, served
with cardamom ice cream.
I now know why this establishment
has won several restaurant awards
and been filmed for two television
productions. My wife and I left
wondering why we had left is so
long before going back to eat at Star
of India...
Star of India, 154 Old Brompton
Road, London SW5 0BE.
Tel. 020 7373 2901.
Star of India
Opening hours
Mon-sat 12-2.45 & 6-11.45
Sun 12-2.45 & 6-11.15
7 Cheval Place, SW7
136 Brompton Road, SW3
Tel: 0207 823 7373
Open 7 days a week
Lunch: 12-3pm
Dinner: 18.00-23.00 (Sun-Thu)
17.30-23.30 (Sat)
Private and corporate catering
Established in the early fifties
154 Old Brompton Road
London SW5 0BE
Reservations
020 7373 2901
www.star-of-india.com
Tel. 020 8458 3153 / 020 8986 5904
TheWestminsterReview
Features Editor: Tom Nancollas
[email protected]
Fragments of a masterwork
Leonardo Da Vinci – Painter At The Court Of Milan
Self Portrait (1512-15).
There is a show down at the National
Gallery in Trafalgar Square that is
causing quite a stir. Nine of fifteen
surviving paintings by Leonardo Da
Vinci – including both versions of The
Virgin Of The Rocks - can be seen in one
place, in the most anticipated exhibition
of the year.
By Tom Nancollas
It looks at his time at the Court of Milan,
where the patronage of the city’s ruler,
Ludovico Sforza, allowed him to make great
artistic progress. Sforza wanted to make the
city a new Athens, brimming with aesthetes.
Leonardo’s innovative, mercurial style
spawned many imitators, and consequently
became the artistic voice of the city’s new
golden era.
He was the archetypal renaissance
man, multitalented and unencumbered
by intellectual limitations. Among his
many groundbreaking achievements, this
exhibition demonstrates how he brought
closer together the humane and the divine
in art. His portraits, quixotic essays in the
craft of painting, are tempered with divine
grace. No one ever made humans so sacred,
or virgins so humane.
It’s safe to say that the diplomats of the
National Gallery have brought off quite
a coup. Established works like the two
Virgins, the Musician and the Madonna
Litta are shown with newer, more evasive
works like the Lady With An Ermine and
Salvator Mundi.
Alongside the paintings we are shown
pages from his notebooks, allowing us to
glimpse his restless interest in everything
around him. The anatomical studies were
instrumental in his ability to paint the
human form. The sketches often inform the
paintings, and Leonardo’s talent imbues
both with similar force. Who else could give
such poignancy to a rock, or an arm, with a
few scribbles?
All great men are conundrums, and none
more so than Leonardo. He must have been
hell to work with. He began paintings,
but never finished them. His attitude to
commissions could kindly be described as
‘cavalier’. Rushing from city to city, leaving
behind him a trail of frustrated clients, it’s
almost as if he was a victim of his own
wanderlust. He seemed to have a diffident
attitude to his own talent. For a painter who
regarded painting as the highest possible
form of art, his oeuvre is amazingly slim.
The Portrait of Cecilia Gallerani (The
Lady With the Ermine) is perhaps the best
painting here. She was the sixteen-yearold mistress of Leonardo’s boss, and she
is depicted holding an ermine, which was
at one time used by Ludovico Sforza as
his emblem. That’s the prosaic explanation
- however, it is difficult to see it as being
anything other than a phallic symbol. Its
face, and the way it is positioned, seem to
embody lust, especially when contrasted
with the nubile face of its keeper. Leonardo
also believed that an ermine would rather
die than sully its white fur, making it
symbolize purity, but also suggesting darker,
bloodier feelings.
Her features – particularly her hand – are
beautifully painted. She displays well the
fruits of Leonardo’s anatomical training.
In contrast the left sleeve of her garment,
like the waistcoat of The Musician, is
slapdashly painted. Some argue that many
Portrait of Cecilia Gallerani (The
Lady with an Ermine, 1489-90).
of his works were finished by later, inexpert
hands to account for this. But it’s tempting
to imagine Leonardo turning the full force
of his skill on the parts that matter - the
face and hands that make her human - and
disregarding her fine garments. This in a
time when portraits were often as much
a record of a sitter’s finery as of the sitter
themselves.
On loan from a museum in Poland,
it has an interesting history – lost for
hundreds of years, discovered, stolen by
Nazis, recovered again. It is emblematic
of this exhibition and of Da Vinci’s work –
mysterious, elusive and brilliant. Nearby, the
Portrait of a Woman (La Belle Ferronniere)
is an idealized depiction of a lady, possibly
Sforza’s wife. Here, Leonardo sculpts away
any flaws in her looks to present us with a
more androgenous, geometric portrait of a
lady, though the painting smoulders despite
this. The two works share a similar feeling,
The Musician (1490)
and the two sitters a streak of the divine.
It was said of the welsh poet R.S. Thomas
The Musician, the first painting you
that
his collected poems were ‘fragments of
encounter, shows how Leonardo helped
a
masterwork’.
Leonardo’s genius survives
bring about a revolution in portrait painting
in
many
sketches
and a handful of paintings,
by showing the sitter, a dewy-eyed young
in
an
attributed
limb
here and there. Given
man, turned slightly towards us, rather than
his
scanty
canon,
I
think
the same could be
in strict profile. With his garments picked
said
of
him.
His
brilliance
shines from every
out in rough brushstrokes, the face, which is
scribble
and
brushstroke,
and
we must be
slightly sculptural, is painted with luminous,
thankful
for
this
rare
chance
to
stand before
gentle naturalism. Apparently, Leonardo
so
many
fragments
of
the
master’s
work.
first came to the Milanese court as a singer,
though he believed painting to be a more
Until 5th February 2012, National
superior art, able to endure where song
Gallery, London.
could not. This is the point he is making
here, depicting the singer at the end of his
music. Some have even speculated that it is
a self-portrait.
The exhibition is well laid out, though
it’s hard to pay any attention to the
numerous paintings by contemporaries of
Leonardo. They are good enough but you
realise just how far behind he left them - a
champagne mind among beer brushes. The
works are arranged in loose chronological
order, with the first four rooms being
strong arrangements of paintings and
ART ON PAGE 2
their documentary material. It gets a bit
incoherent towards the end, with the
less well known works like Madonna Of
The Yarnwinder almost chucked in as an
afterthought.
Has the National Gallery done this unique
opportunity justice? Well, res ipsa loquitur.
Personally I could do without quite so much
documentary stuff but I understand its
inclusion. The only real problems are ones
Roux
at thethe
Pembury
beyond its control - the
queues,
crowds,is open from 12noon to 11pm Monday to
Friday,
with
the
new
bar menu available until 10pm.
the ‘gallery rage’. It’s inspiring, though,
that
art can still inspire this level of devotion,
For enquiries please call 0207
334 3737
email
Theatre
ONorPAGE
3 [email protected]
and things of such great refinement are still
www.rouxatparliamentsquare.co.uk
widely valued.
Tel. 020 8458 3153 / 020 8986 5904
2
John Martin: Apocalypse
The Great Day Of His Wrath (1853).
John Martin was a
painter of apocalyptic
landscapes and engineer,
whose artistic output
fed Victorian appetites
for fire and brimstone
at the expense of critical
acclaim, and whose vision
often outstripped his
technical skill.
By Tom Nancollas
This is a timely
exhibition, for the themes
expressed in Martin’s
work - environmental
disaster, religious
potency, blockbuster
melodrama and even
plans to improve
London’s sewers and
railways - resound with
us today.
The show bills these
paintings as ‘the
blockbusters of the Victorian
age’. Large scale works like
The Destruction Of Pompeii
and Herculaneum (1821),
The Great Day Of His Wrath
(1851-3), Balshazzar’s
Feast (1821) and The Last
Judgement (1853) caused
a sensation when they
appeared in public, and still
retain the power to astonish.
It should be said at the
outset that Martin was never
a painter of great technical
skill, though was among
other things a great colourist
and engraver. Never
formally trained, his early
forays into painting are
on display here, and from
them it is hard to see how
he leapt into painting in the
‘apocalyptic manner’.
Martin found his metier in
‘the sublime’ - that is to say,
the ‘terrible and awesome’.
A recurring feature of his
work are tiny, Blakean,
human figures caught up
in apocalyptic disaster. In
his breakthrough painting,
Sadak Searching For The
Waters Of Oblivion (1812),
the tiny figure clinging to an
overhanging rock symbolises
human impotency in the face
of nature. It is immediately
striking.
The Destruction Of
Pompeii And Herculaeneum
(1821) furthers this with
a spectacular depiction of
the demise of these two
cities. Vesuvius’ eruption
is executed in a gamut
of pyrotechnic red, like
an open furnace door. As
well as his talents in this
direction, Martin also
displayed archaeological
maps with the picture,
keen to demonstrate how
accurately he depicted
these cities. The people are
footnotes to the fireworks..
Martin is on finest form
when tackling biblical
subjects. There is no
question that the high
points of this show are the
three paintings depicting
the Last Judgement, which
he worked on in the last
four years of his life. The
Great Day Of God’s Wrath,
The Last Judgement and
The Plains Of Heaven
(1851-3) are dealt with
so monumentally, and
successfully, that it is hard
to believe they are the
product of a single mind
and brush. Never has ‘the
sublime’ been so fitting.
A sound and light show
accompanies these pictures,
a device used in Victorian
times, when they toured
the world and were seen by
millions.
Like many Victorians,
Martin was a man of
multiple energies. A skillful
engineer, he concieved
plans to build a large
sewer to divert waste away
from the Thames (sound
familiar?) and for a railway
strategically circling
London, twenty years
before work began on the
Underground. That neither
were acted upon perhaps is
testament to his failings as
a businessman - an attempt
to create his own publishing
company, to meet demands
for prints and etchings of
his work, ultimately proved
abortive.
Is it strange that in our
sceptical age Martin’s
predominately religious
painting should retain its
appeal? His meditations
on these subjects record
a mindset which perhaps
is now gone for good, at
least in Britain; that of
humility before God, and
nature, and a stronger
awareness of man’s place
in the world. The Last
Man On Earth (1849)
is an imagination of the
view left to the last man
standing after a massive
ecological disaster. If
religiosity has ebbed
slightly, then our anxious
relationship with the
environment is as current
as ever.
John Martin never
achieved great critical
acclaim during his lifetime,
although his mezzotints
for Milton and the Bible
were widely admired.
Generally, his popular
success prompted critical
derision. But, seeing these
mighty images now, who
cares? This is a timely
and revelatory show that
reaffirms Martin as the
visionary genius he was.
Let us hope critical acclaim
comes to him at last.
Sadak in Search of the Waters
of Oblivion (1812).
Atkinson Grimshaw: Painter of Moonlight
An exhibition at the
Guildhall celebrates the
achievements of a very different
Victorian painter. Atkinson
Grimshaw, practicing first in
the north of England and then
in London, painted a series of
affecting landscapes, by daylight
and moonlight, and some ghastly
interior scenes that somehow
manage to make the PreRaphelites seem cutting-edge.
This is a strange exhibition. It has
travelled down from Harrogate,
and is shown in an awkward space
in the Guildhall Art Gallery. The
second half of it is on display in
the Copley Room; a huge mistake,
as it is overwhelmed by Copley’s
gigantic Defeat Of The Floating
Batteries At Gibraltar (1782), and
Nightfall Down The Thames (1880).
measuring 3 x 7.5 meters).
The first half of the show consists
of a series of small rooms lined
with battered flock wallpaper,
clearly well travelled. Although
the rooms indicate separate
chapters in his life and work, no
indication is given of the optimum
route round, and the gallery
assistant seemed to have no idea –
a poor show, if your job consists of
staring at the pictures in question
all day.
The trouble with Grimshaw is
that he is the kind of artist whose
works look intriguing on leaflets
or posters, but who ultimately fails
to deliver. He has moments of
excellence – the moonlit pictures
are affecting (Whistler praised
‘Grimmy’s Moonlights’), such
as Nightfall Down The Thames
(1880), and there are some nice
autumnal landscapes, like The Old
Mill (1869). You feel something
of Grimshaw’s hysteria when
confronted with nature’s finest
works in these images.
However, though he clearly had a
feel for paint, and a near-mystical
obsession with nature, he produced
far too many potboilers. I felt most
of his interior scenes, featuring
women in windswept and
interesting in poses, represented
all that was wrong with Victorian
art – the pictorial equivalent of
fruitcake, looking as if they’d been
unearthed on an episode of Cash
In The Attic.
But there is a strange symbiosis
between Martin and Grimshaw.
Both were second-rate painters
(on a technical level) who enjoyed
a measure of popular success.
Viewed in apposition, they make
an interesting contrast – a painter
of apocalypses and a painter of
moonlight. The Martin exhibition,
though, is more successful, and the
works of this daring visionary are
more satisfying than Grimshaw,
who still feels faintly provincial.
Go to the Martin - there’s more
bang for your buck.
Tel. 020 8458 3153 / 020 8986 5904
3
The Playboy of The Western World
The Playboy of The
Western World is a giddy
and exhilarating play by
J.M. Synge, still fresh
despite being first staged
over a hundred years ago,
which ran until the 26th
November at the Old Vic.
By Tom Nancollas
It tells the story of Christy
Mahon, a mercurial rogue
who appears in a western
Irish community with the
mad claim that he has killed
his father. Commendably
played by Robert Sheehan
in his professional debut, he
is the playboy of the show’s
title, honey-tongued and
brave as a lion.
Set in County Mayo,
the villagers fall for his
ever-taller tales, especially
the daughter of the local
publican Pegeen Mike,
portrayed with intensity
by Ruth Negga, and the
widow Quin (a sultry Niamh
Cusack). However, the
reappearance of his father
(very much alive) finds his
exploits to be a pack of lies,
threatening to sweep away
Robert Sheehan.
the heroic reputation that he
has acquired.
The villagers are infatuated
with the novelty of Christy’s
deeds, and the skill he
has in the telling of them.
The play is perhaps the
ultimate expression of
humanity’s fascination with
rogues – admiration for a
man who killed his father
with a spade. But when
Christy attempts to kill his
reappeared father a second
time in their presence to
justify himself, the villagers
react with disgust and
disbelief.
Whatever the moral
overtone of the play, of
note is the freewheeling,
extravagant language
employed throughout it.
Interestingly, though it
places slightly too much
emphasis on the Irish
thirst, Synge’s dialogue
is stereotypically lyrical.
Kenneth Tynan once
observed that the Irish
‘spend their words like
sailors’, and they are
lavishly spent here.
It was an impressive,
if oddly cast production.
Sheehan’s Christy was
eccentric and waiflike,
an unlikely hero, which
I suppose only bolstered
his mystique. However it
was difficult to believe that
Pegeen should fall for him
so completely, or that he
should exercise such power
over the villagers. Sheehan
was good in the role but did
not allow it to completely
engulf him in the same
way, for instance, that Mark
Rylance plays Johnny Byron
in Jerusalem.
There was nice use of a
revolving set piece - the
interior and exterior of an
old tavern. There was also
music, though it was rather
basic and slightly underrehearsed. Considering
the massive vein of Irish
folk music extant, I felt
more could have been done
here. The production could
also have benefited from
more grit. Literary gravitas
aside, it seemed slightly
lightweight, and unlikely
to provoke the riots that
it did in 1907 when first
staged (though of course
the context then was vastly
different). Nevertheless, an
entertaining production.
The Playboy of the Western
World, by J.M. Synge and
directed by John Crowley,
runs until 26th November
at the Old Vic, Waterloo.
Ruth Negga.
The Veil by Conor McPherson
If Playboy was an
exuberant, ribald tale
then The Veil, a new play
by Conor McPherson, was
the opposite.
A tightly wound
psychological drama set in
nineteenth-century Ireland,
the widow Madeline (Fenella
Woolgar), an English
landowner, has arranged for
her daughter Hannah (Emily
Taafe) to be married into an
English noble family. It is
a means of escape from the
crumbling Mount Prospect,
the family pile haunted by the
spirit of Hannah’s father, who
killed himself, and who only
she can hear.
Both plays concern
themselves with fantasy,
and in the Veil it is of a
paranormal kind. To Mount
Prospect come the Reverend
Berkeley (Jim Norton) and
his oily companion Audelle
(a manic Adrian Schiller),
disreputable characters, to
escort Hannah to England.
Unfortunately they are
captivated by the ghostly
goings-on and perfrom a
séance, after which all hell
breaks loose.
The play explores tensions
- among the English and the
Irish, the Irish themselves,
between this world and the
next. There is also a sensory
aspect to it - why are some
people more susceptible to
the paranormal than others?
The bombast of Playboy is
replaced with taut psychology,
rising in intensity.
On paper this sounds rather
morbid. But there is a strong
undercurrent of humour
that offsets the tension and
frequent moments of high
drama. In particular, the
interplay between Berkeley
and Audelle and the Irish
servants (including a fiery
performance by Peter
McDonald as Mr Fingal).
The language in the play is
more prosaic, and restrained,
than that in Playboy. But
the dialogue has a bounce
that is still typically Irish.
McPherson, who usually
writes about deadbeats in
pubs, has written more
women into this script than
his others, with sensitive and
impressive results.
So - two Irish plays, one
old, one new, by two very
different Irish writers. A line
in the Veil encapsulates the
appeal of these plays, for me
at least: ‘Go back to England.
There’s less magic there, and
more common sense’. These
plays are ebullient, contrary
and magical, and as such
are a welcome presence in
theatreland.
The Veil, written and directed by
Conor McPherson, runs until
11th December at The Lyttleton
Theatre (National Theatre).
Tel. 020 8458 3153 / 020 8986 5904
4
Poems
Stamford Hill Broadway
Stamford Hill Broadway,
The spilled milk and the tears.
The faded footnotes that disappear
On dusty pages with old dog ears
That teach us how we should persevere
Like the tortoise and the hare.
Is just spilled milk and tears.
And the cat that got the cream.
The ‘I-told-you-so’s gather steam,
The shadenfreude can be so mean,
The night’s long gone, it ran rings around me,
And those words you said - they stung.
Now the cat it’s got my tongue.
Let’s settle for the draw.
Your feet are sore from shoes too small,
Your shoulders are freezing beneath your shawl.
If we try and run before we crawl
We’ll just learn how to fall.
I’m playing for the draw.
I really lost track of time,
Lea Bridge Road brought warning signs
At Clapton Pond I got left behind.
The more I look, the more I find
I’m just an absolute beginner
With an injury time winner.
The leopard and its spots,
The bitter words, tequila shots,
Salty cheeks and forget-me-nots
The black outs and the I-forgots
The kettles and the pots,
I guess we leopards keep our spots.
I won’t do that no more,
My Monday morning mumbled mantra,
Keeps my toes in a quiet canter.
The hindsights and the hangovers,
I wont do that any more,
There will be no encore.
No, there will be no encore.
Conor Fahy
Fishy Town
Here lives a man who slithers back and forth
between two wives, one up the lane, one down.
They meet sometimes
these hooked and gutted fishwives, bubbling oaths,
as Bible Christians once faced out the Primitives.
Butcher, baker, chippie, fish shop, bank
and fourteen heaving pubs
sustain a vinegary town, where men
fresh down from Defra
sometimes find themselves and all their quotas
toppled headlong in the quay.
They don’t do romance, here.
Broken bottles, shells, a woman’s lacy pants
reef the gutters in an all-week memory
of hell-up Saturday night. Secrets salt the air.
Hands boiled red as lobsters
make a fist, give the fishy finger;
eyes like slate, or fathoms-deep and dark
watch and wait. And then the sudden strike:
it’s payback time, among the weeds.
Up lanes, shoals of children
flash across the cobblestones, gape at strangers,
disappear as one into their tiny rocky homes.
A man’s voice fills the stair: not stinkin fish again!
I told you woman, no more stinkin fish!
Ann Alexander
A Yard Of Sky
Lay rotted; unthought of atrocities
That look so beautiful collecting,
As a cactus would memories.
Gripped beyond wind and even
An archway,
Slash
Slothe
Slack
Satellites carried through
I reasoned our outside.
I heard a page turn. (I heard the silent reading.)
(What about Venus?
((Ha Ha))
Don’t laugh at him!)
It fell with a glowing halo
And slept upon with curls.
EBT
I Cut My Thumb Opening
A Can Of Tuna
I cut my thumb opening a can of tuna the lid fought, came off
as a cut-edged coin.
I drained the brine and sucked the wound
Holes
My eyes found holes in your jumper
Long before you noticed they were there.
The night we met again,
For the first time
The cutting wind on Archway Road,
And you were wearing it, like an armour
Against the cold.
The sky was dark, dark, dark blue
And your black jumper
Black, entirely –
And without touching, without saying a word,
Just wanting to,
I knew.
But tonight
The sky was pale and purple
And no more held over us like a huge velvet ribbon
Infinitely soft and quiet, unspoken
Words. Words. Words.
Pages.
The silence is broken
Into beautiful pieces. By you and me.
So we’ve opened all the presents
And blown the candles
And now it’s time to go home –
Just so that you know:
I found those holes
Long before you said they were there.
Anna Orhanen
and it tasted like aluminium.
There was no blood on the draining board,
over which I was bent
there was no mayonnaise
and the tuna looked grey.
I thought my thumb was more robust,
my can-opening more handsome.
I should have sewn it up, or
poured the brine into the cut.
Mo Fox
Return
I just never learnt to not look back.
I had to see that face one last time
to know, for sure, that it was her hand
I was holding as we approached the grove,
the distant sunlight shifting in the olive trees.
I turned reflexively and ossified my wife to salt,
my gaze upon her turning all my hopes
to tears. She who was all that was best in me
frozen there with her hand reaching out for mine,
her eyes turned downward to the blackened ground.
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Tel. 020 8458 3153 / 020 8986 5904
Classified
Public and Legal Notices
Licensing Act 2003
Licensing Act 2003: Application for a new Premises Licence
Notice is hereby given that Artist Promotion Management Ltd has applied
to the City of Westminster on Wednesday 14th December 2011 for a new
premises licence for Parade Ground, Hyde Park, London, W2 2UH
The proposed application is to permit the provision of regulated
entertainment and for the sale by retail of alcohol.
Any person who wishes to make a representation in relation to this
application must give notice in writing of his/her representation by 11th
January 2012 stating the grounds for making said representation to:
Licensing Service, 14th Floor, City Hall, 64 Victoria Street, London, SW1
The public register where applications are available to be viewed by
members of the public can be accessed online by visiting at www.
westminster.gov.uk/Licensing and following the link to the public register.
The Licensing Authority must receive representations by the date given
above. The Licensing Authority will have regard to any such representation
in considering the application. It is an offence, under section 158 of the
Licensing Act 2003, to knowingly or recklessly make a false statement in
or in connection with an application for premises licence and the maximum
fine on being convicted of such an offence is £5000.
VENUES FOR CIVIL MARRIAGES
AWAY FROM REGISTRY OFFICES
APPLICATION FOR RENEWAL OF APPROVAL OF VENUE FOR
CIVIL MARRIAGES
NOTICE IS GIVEN THAT DELFONT MACKINTOSH THEATRES
LTD has applied to the Westminster City Council for renewal of approval
of the premises THE PRINCE OF WALES THEATRE, 31 COVENTRY
STREET, LONDON, W1D 6AS (DELFONT ROOM, FOLIES ROOM,
PRINCES ROOM, and AUDITORIUM).
Any person may inspect the application and the plan accompanying it at all
reasonable hours during the working day until such time as the application
has been finally determined or withdrawn, at the address below.
Anyone wishing to oppose the RENEWAL application must do so in
writing BY 14th January 2012 SPECIFYING THE GROUNDS OF
OPPOSITION TO:- Licence Applications, 4th Floor, 64 Victoria Street,
London SW1E 6QP
Cleaning Supplies & Services
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Fire & Chimney Services
Child Care
THE BESPOKE FIRE CO LTD
& CHIMNEY SERVICES
I am an experienced registered male children’s
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15
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16
News
BBC caught faking top documentary
he BBC have been caught
faking scenes in one of their
top documentaries.
Sir David Attenborough has
admitted that some parts of his
popular Frozen Planet programme
used invented scenes and footage.
In a surprising justification for
duping millions of viewers, the
TV star argued that owning up to
splicing archive film with real Arctic
scenes during the programme would
have spoiled the mood.
The Mirror newspaper discovered
that images of shots of a polar bear
and her newborn cubs were staged
in a zoo using fake snow, Sir David,
85, said: “The question is, during the
middle of this scene when you are
trying to paint what it is like in the
middle of winter at the pole, to say
‘Oh, by the way, this was filmed in
a zoo’.
Destroys atmosphere
He told the Mirror: “It ruins
the atmosphere, and destroys the
pleasure of the viewers and destroys
the atmosphere you are trying to
create.
“It’s not a falsehood and we
don’t keep it secret either. But to
say actually in the middle of that
sequence, I mean how far do you
take this?
“Do you say this is a penguin, but
Sir David Attenborough.
actually it was a different penguin
colony than this one and this one is
a different one? Come on, we were
making movies.”
It yesterday emerged BBC
producers also misled viewers about
footage of a frozen caterpillar in hit
seven-part series Frozen Planet.
The footage included a wide shot
of the caterpillar’s natural habitat
above ground, and a close-up of
the creature beginning to freeze
underneath snow and ice. But
some of it was actually filmed in an
artificial habitat – in fact, a box.
A set up
Another scene involving
snowflakes forming at close range
Kensington
Tandoori
We deliver
newspapers and leaflets
carefully to Mayfair, Belgravia, Knightsbridge,
Marylebone, Paddington,
Maida Vale, Notting Hill Gate,
Kensington & Chelsea.
For further details and a
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call us on:
020 8458
3153
was also set up and produced in a
controlled environment using timelapse photography.
In a further blow to wildlife
fans, corporation bosses yesterday
confessed that staging footage was
standard practice in natural history
programmes. They insisted such
editing tricks were necessary to
create the documentaries, and added
the programme met the expected
editorial standards.
A BBC spokesman said: “While the
great majority of footage for Frozen
Planet is filmed entirely in the wild,
on occasion certain sequences need
to be filmed in controlled conditions
– otherwise we wouldn’t be able to
bring these stories to our audiences.
Frozen Planet, watched by an
average 8.7 million viewers, has
been sold to more than 30 countries.
Jim Shelley commented: “No
one wants to criticise Sir David
Attenborough, given the amazing
television he has made and the work
he’s done to preserve wildlife and
educate us about the way we are
destroying the planet.
Duplicitous BBC
But in the case of Polar Beargate,
he would be better to recognise
that what he and the BBC did was
duplicitous and simply apologise.
The dodgy footage was the most
touching scene in Episode Five of
Frozen Planet - watched by some
eight million trusting viewers.
Attenborough’s voiceover for the
footage sighed in wonder: “On these
slopes beneath the snow, new lives
are beginning.
‘The cubs are born blind and tiny.
In two more months polar bear
families will emerge on the snowy
slopes all around the Arctic... but for
now they lie protected within their
icy cocoons.’
This is clearly misleading. And
viewers will be disappointed to find
out that Sir David is yet another TV
presenter they cannot totally trust.”
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