So Danny Boyle’s tough task of having to describe and define Britishness to the world (or at least to itself) seems quickly to be turning into a sort of giant Rorschach test for the nation, with everyone drawing the meaning they want to see in it, or on some counts most did not want to see.
For all the people identifying Voldermort and Cruella de Vil as the Tories attacking the NHS, one commenter on a Guardian thread saw Mary Poppins’ intervention as the private sector saving the NHS from its own failures. And with the Romneyshambles fresh in our mind, it hard not to agree with the New York Times review that who felt it was “most inspired by a scene from the movie Love Actually, in which Hugh Grant, playing the prime minister, explains [to his dislikeable American guest no less] that Britain is still a great nation because it is “the country of Shakespeare, Churchill, the Beatles, Sean Connery, Harry Potter, David Beckham’s right foot.””
It was of course so much more than that: with its cavalcade of cultural references from the shipping forecast to Kes, Elgar to Brookside, it managed to be simultaneously traditional and progressive – even a little subversive. It was flat out bonkers but also strangely moving. Continue reading