Category Archives: Travel

Death *of* Venice.

Venice was pure decadence; it reminded me of the decline of the Amberson family in Welles’s semi-forgotten masterwork, or more aptly the great ball sequence that closes The Leopard (1963). There was a sense about the place that I was walking the streets and traversing the canals of a city on the edge of time, an opulent remnant grasping on to another era. That bygone age becoming more irrelevant and forgotten by the day, it is now eroded by the pernicious intents of globalisation, nowhere more evident than in the installation of garish vending machines in the city’s piazzas.

 

Declared world heritage status by UNESCO, Venice now houses only 55,000 permanent inhabitants who must endure up to 30,000 cruise ship passengers a day, with an estimate 22 million visitors a year swarming into the archaic Republic.

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Revolting scenes. Photo: World Monument Scenes.

Venetians blame this tourism for the miniscule, still dwindling population. The catechism is that tourists’ need for short-term accommodation increases rent prices, with much available property utilised by landlords for holiday rentals as opposed to residents or long-term tenants. It’s an issue of space, and Venice can’t be built *upwards*. As summed up by UNESCO: “The capacity of the city, the number of its inhabitants and the number of tourists is out of balance and causing significant damage to the city.”

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The ‘hordes’.

The Queen of the Adriatic is no doubt in need of more than a lick of paint, such is the deterioration of its buildings and canals through simply too many people cramming into such a tiny lagoon. But without the hordes of holidaymakers, and I am one of these vermin myself, Venice would surely melt away into Atlantis, a world unto itself, and though there’s something bittersweet and fatally beautiful about such a proposition, it demands an economy that ticks, and its permanent residents, however grating the experience, depend upon the premise of tourists spunking their bum bags of cash up the wall (or into the lagoon).

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There’s an argument that as something becomes more accessible it loses its aura, especially where cities are concerned, as if tourism is still the grand pursuit of the elite. Those days (I hope) are over. What must be done – the repairs, the concerted efforts by city administrators to study, manage, and maintain the integrity of its structures – has been thoroughly articulated by UNESCO. Speed limits on motor boats (to prevent wave erosion) and a buffer zone around the lagoon are just a couple of the common sense solutions that have yet to be implemented. A masterpiece needs periodic renovation, constant conservation, and the consultation of its most vital components – its makers.

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For further reading, please check out the following:

Italian Environment Fund: http://www.fondoambiente.it/

Shocking facts: http://theartnewspaper.com/news/conservation/how-italy-stopped-venice-being-put-on-unesco-s-heritage-in-danger-list/

Residents rather vexed: http://www.telegraph.co.uk/travel/news/tempers-flare-in-venice-as-angry-protesters-block-cruise-ships/

 

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Loan and Lém. Saigon, 1968.

If ever a war produced a ‘Decisive Moment’ it’s this Eddie Adams Pulitzer-winning shot straight from the vanguard of photojournalism.

Nguyen Van Lem; Bay Lop

South Vietnamese General Nguyen Ngoc Loan, chief of the National Police, fires his pistol into the head of Viet Cong officer Nguyen Van Lém. Saigon, Feb. 1, 1968.

The image has always stayed with me. It spoke of brutality and a stark disregard for human life; it’s one pretty good encapsulation of death, pardon the oxymoron. I always assumed it was an indiscriminate execution until I read an Eddie Adams obituary article a few years ago.

Lém, the photograph’s victim, had just killed South Vietnamese Lieutenant Colonel Nguyen Tuan, his wife, their six children, and his 80-year-old mother. Loan was a personal friend of Tuan and his family.

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Given this informational context, I view the photograph differently. However perverse this may be, I see Loan as the victim and Lém as the perpetrator. Alternatively, I see the photograph as a tabula rasa.

Loan fled South Vietnam during the fall of Saigon, and subsequently moved to the United States, opening a pizza restaurant in Burke, Virginia. He retired in 1991 after his identity was disclosed.

Adams later apologised to General Nguyen and his family for the effect the photograph had on his life.

Further viewing: https://m.youtube.com/watch?v=bst9mjjiBBo

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Colonel Bogey in Kanchanaburi.

Rocked up to this masterpiece – the Bridge over the River Kwai – in Kanchanaburi three years ago, whistling the Colonel Bogey March with hallucinogenic images of Alec Guinness emerging from the jungle. I was plastered at the time, decked out in Khakis and looking like I’d emerged from the inferno. Transcendental moments.img_20161205_204639

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Idling away in Achiltibuie.

I became so enamoured with the enchanting isolation of Achiltibuie that any innocent impingement upon the solitude was an infection of my harmonious narrative. The mere sight of a stranger (a local) on the horizon had me hiding unceremoniously in a shrub until he exited the vicinity. It was like my own private garden had been badgered. This aside, the stay in the village was an uninterrupted mash-up of aimless rambles, a surfeit of Scotch, and episodic gazing from a minimalist lodge at the terrain … wondering ‘what it’s all about’. Scotland is relaxing.

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Mandatory.

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Achiltibuie stores.

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Locholly Lodge.

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München, Salzburg, Berchtesgaden, Alkohol.

Guten Morgen.

Arriving in Munich, we wander around the Hauptbahnhof before our 17:54 Salzburg departure, stumbling into an assortment of ghetto eateries (for the booze). What is it about train stations and their surrounding streets that attracts the oddballs and the riff-raff? I’ve never felt entirely safe sparking up a ciggy near a railway. One is invariably sniffed by the local hyenas wishing to devour their carcass of tobacco. We escape a verbose gentleman in green dungarees and find our seats on the train. When I finally conduct my Trans-Siberian Express jaunt, I wish it to be just like this, but with several suitcases filled to the brim with liquor.

Salzburg.

The delights of Salzburg. They have some cracking pubs – notably Alchimiste Belge – and a fag machine. And a SPAR selling Bacardi Breezers. What more could one want in a city? Oh, and a born-again Christian outside a nightclub gave me a book about God and things. I endowed it to the hotel for a lucky person to devour.

The wee Sunday market left the most memorable impression. Tiptoeing from stall to stall with a beer in each pocket, I got the sense that I was somehow intruding upon this idyllic community gathering. They all appeared so happy and thoughtful, like this was the day to take stock of the week’s events and indulge in a little R&R. There’s an ersatz ‘German Market’ back home in Edinburgh – it mostly consists of teenagers in tracksuits being very loud. No comparison, really.

Morning entertainment.

A spot of Apocalypse: The Second World War (2009) and a Jägermeister chaser performed their noble role as Room 304’s pre-eminent hangover cure. The hotel were showing The Sound of Music (1965) on a loop, but it’s just not graphic enough for my sensibilities. Julie Andrews doesn’t do it for me; I need proper carnage.

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To Obersalzberg.

Driving to Hitler’s notorious crib above Berchtesgaden and peering up awestruck at its twin delights of the Berghof and the Eagle’s Nest and all the tumultuous, tragic history that was made here, left me with a sense of being quite insignificant. The overwhelming splendour of the milieu merely magnified the feeling that I was an ant ripe for a trampling.

Munich (again).

By the time we reach Munich and go our separate ways after a few more drinky-poos, I’m content to conk out on my bed as Richard Wagner emanates from a tacky Bluetooth speaker. I wake up in darkness and feel my way around the room, realising I’m in Munich and not a lucid dream three minutes into this escapade. I crawl to the shower, then luxuriate in another cheeky nap, and depart at the first sound of a cleaning lady (I presume) patrolling the corridor. In the railway station I get visions of an anthropomorphic dog in a leg-cast playing Daft Punk’s “Da Funk” from a boombox. I don’t know why.

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New York – Twin Cities.

The Big Apple is venerated as the most filmed city in movies, a hustle-bustle urban jungle of possibilities, both magical and harrowing.

It seems there aren’t films made *about* New York City very much anymore; they merely take place there, the protagonists unaffected by the milieu. Perhaps it’s a post 9/11 reluctance to confront the contentious ‘symbolism’ that the city continues to offer. Only Spike Lee’s 25th Hour (2002) confronts NYC in its role as ‘snapshot city’, and attempts to deconstruct its myths and contradictions.

New York is represented in two modes of cinema – it’s a decrepit urban hell or a serene cloud to naval gaze on – guzzle down coffees, discuss Dialectical Materialism, be ‘arty’. The dichotomy is illustrated in two films made three years apart, Taxi Driver (1976) and Manhattan (1979).

Taxi Driver (1976).

If ever the topography of a city mirrored a protagonist’s crumbling psyche it’s Taxi Driver (1976). Travis Bickle here represents purgatory, New York a steaming cesspool of ‘animals’ and ‘filth’. The city is an ill-thought-out maze, a cruel, shallow, uncaring conurbation from gutter to canopy. An utter dump, it’s where people lose their minds.

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Manhattan (1979).

This movie is paradise. I’d love to live like one of these characters. A bloke in it willingly quits his job because he can. He doesn’t worry over council tax or credit card debt or rent or any of that trivial shite – he just spends the remainder of the movie see-sawing between a neurotic journalist and a 17-year-old high school student. The city here black and white, lit up in fireworks and George Gershwin. There is no crime, there are no social problems. There are only parties and conversations. NYC is a lucid dream.

Photography By Brian Hamill

A film-maker from different backgrounds and experiences will of course develop his own vision of metropolis as distinct from another’s, but this city is ridiculous in its contrasting representations to the extent that one wonders if it’s the same place subjected to the camera. The theme goes beyond a depiction of class divide – its wholly disparate districts captured on celluloid – and channels two states of mind. New York is *the* kaleidoscopic dwelling.

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Greyscale.

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Meadowbank Shopping Centre on a Sunday morning. A dour consumer safari park of the most depressing order during the working hours, at first light it reminds me of Gary Oldman’s line in Leon (1994): ‘I like these calm little moments before the storm. It reminds me of Beethoven. Can you hear it? It’s like when you put your head to the grass and you can hear the growin’ and you can hear the insects.’

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