It's a Wonderful Film

 This wretched flu continues to toy with me mercilessly, one day giving every indication that it's coming to an end, the next surging back with renewed vigour, draining me of all energy. It's been quite a ride. And somewhere along the way, in keeping with Christmas tradition (one not observed for several years), the decision was taken to watch It's a Wonderful Life. This was not wise: I had overlooked the state of emotional frailty the flu had plunged me into. The result was that the titles were barely over before liquefaction set in, and by the end I was a wrung-out emotional wreck of a man, beyond help. The film is notoriously one that can wring tears from the stoniest heart, so a man in my condition was asking for trouble...
  What is it about It's a Wonderful Life? Like A Christmas Carol – with which it has clear parallels, not least in the Scrooge-like character of Mr Potter and in its time-shifting vision of what might have been – it has the power of fable, and it has a Dickensian simplicity. Essentially both A Christmas Carol and It's A Wonderful Life dramatise the same conflict, between a view of the world (Potter/Scrooge's) in which the 'bottom line' is everything and human beings merely interchangeable economic units, and one in which bonds of social and familial affection, custom and ceremony count for more than profit-and-loss and create something of infinitely greater value. George Bailey is a man at the point of breaking under the relentless pressure to surrender to the grinding logic of Potter's ruthless accounting and betray the community that he has done so much to build. Of course we know how it will end, but Frank Capra's storytelling and (in particular ) Jimmy Stewart's performance are so compelling that the film gains power as it goes along, building such a head of emotional steam that by the end... well, there won't be a dry eye or an unwrung heart. Okay, it's sentimental, it's hokey and all the rest, but It's a Wonderful Life is also a cinematic masterpiece of rare potency. 
  By the way, when George Bailey is granted a vision of how 'Potterville' (the former Bedford Falls) would have ended up but for him, the pleasure-crazed asocial dystopia – all cocktail bars and gambling dens and low dives – seemed, mutatis mutandis, sadly reminiscent of the centres of some of our depressed English towns today. This represents, I suppose, the triumph of 'limbic capitalism' – capitalism relentlessly titillating the pleasure centres to keep us coming back for more of what does us no good at all.  

Bug and Bland

 I have been laid low by a pretty vicious dose of flu, which struck, with exquisite timing, on New Year's Eve and shows no intention of releasing its grip just yet. Physical lethargy and mental hebetude reign. However, I note that today is the birthday of the appalling Hubert Bland, first husband of E. Nesbit – and that I wrote about him exactly ten years ago today. So, back to the archive...

'Woman's metier in the world – I mean, of course, civilised woman, the woman in the world as it is – is to inspire romantic passion... Romantic passion is inspired by women who wear corsets. In other words, by women who pretend to be what they not quite are.'
So opined Hubert Bland, born on this day in 1855. A founder member of the Fabian Society, Bland would be an even smaller footnote than he is, had he not also been the husband of the great children's writer E. Nesbit. Clearly no feminist, he was also a rum kind of socialist, holding strongly pro-imperialist views and characterising democracy as 'anti-national and vulgar'. A large, pugnacious and fearsome man, with a voice 'like the scream of an eagle' (according to Shaw), Bland completed a full house of contradictions by joining the Roman Catholic Church in his middle age, though he was barely observant. Nobody seems to have had a good word to say for him, and yet many otherwise intelligent people fell under his spell – including, alas, Edith Nesbit.
 Edith was just 18 when she met Bland, and they married in haste, with Edith seven months pregnant. At first Bland lived partly with Edith and partly at home with his mother and her companion – whom Edith later discovered to have had a son by him. And there turned out to be another woman who believed herself to be Bland's fiancée. But worse was to come later, when Edith discovered that her good friend Alice Hoatson was also pregnant by Hubert, who bullied Edith into taking in Alice and the child. Thirteen years later, Alice bore another child by Hubert, who was also taken in to the household and adopted.
 Bland also found time to father three children by Edith, of whom her favourite son Fabian tragically died at the age of 15 in a botched tonsilectomy. By now Nesbit was launched on the successful career as a children's writer that would support Hubert and the family and enable them to entertain on a grand scale – though Edith was often upstairs writing, sustained by gin and cigarettes. Around 1911, Hubert began to go blind, and Edith, of course, cared for him until his death in 1914. Happily, she went on to remarry – this time to the genial and much less problematic Thomas 'the Captain' Tucker, at the time an engineer on the Woolwich ferry. They ended up living companionably and very happily in New Romney, where Edith died. She is buried in the churchyard of St Mary in the Marsh, her grave marker made by her grieving second husband.