Saturday, April 23, 2005

Exeter Chiefs versus Pertemps Bees, County Ground

The decripitude of the County Ground is such as to make the old Stamford Bridge - or Plough Lane, or even the old Wembley stadium - look like a modern Stade de France; it is appalling.

Of course, the Chiefs are soon to move to their new stadium out at Sandy Park, by the M5 motorway, a welcome improvement though nothing like as grand as the local Express & Echo paper would have you believe. From the plans on the wall in the old clubhouse at the County Ground, it consists of just 2,400 seats in one stand with the rest standing around most of the ground. Nevertheless, today I pay my first ever visit to the County Ground for the purposes of watching rugby.

The approach from Cowick Street, in St Thomas, is flat; you can hear a slight commotion from somewhere and the rugby ground - which dates back to about 1920 - is obviously not far away. The Longbrooke pub will benefit to some small extent, though today the crowd cannot not be much greater than about 2,000. They are mostly spread out around a tiny perimeter, above the speedway track and the banking which is mostly taken up for car parking; about 150 cars line the edge of the track, as well as a Stagecoach bus over the other side.

The old cinder track below remains, offering another year of speedway. The small grandstand is full and, for some odd reason, the only entrances and exits are on the grandstand side; there is no access to Ferndale Road on the Marsh Barton side.

I have no idea where Pertemps Bees are based; how stupid to reveal nothing of your origins in the club name.

Wednesday, April 20, 2005

Exe Island and the Queen Victoria Pub

This lesser known Exeter pub is in one of the oldest surviving streets of the city, Tudor Street, on the edge of the old Exe Island district, just below the city wall. Indeed, it is next door to the famous Tudor House, an Elizabethan town house, one of the oldest buildings in Exeter, long since returned to pristine condition. It is time the Queen Victoria enjoyed the same renaissance.

The old Exe Island district was once a furnace of industry, brewing and squalor. It began just below New Bridge Street, about fifty feet away, where there once stood an older, smaller, arched stone bridge, the sort that you might find propping up a railway line in Cold Blow Lane in Millwall, or anywhere in south London. Altogether, it was an entrance, a border, an escape route and a trap - those above passed happily by, on their way out West; those below entered Exe Island for a day of toil. The newest bridge - a 1970s, streamline slab of concrete - is a measure of how much this whole area has changed since the 1960s.

Exe Island - really a salient of shoreline on a bend in the Exe, as distinct from the ‘true’ islands of Shilhay and Bonhay - was a world away from what exists now. After shaking off the Courteney yoke, the district grew to become the Venice of Devon, its leats, mills and factories like an overfull suitcase, packed in tight by the belts of the river and the city wall. Then it vanished.

Every old building was cleared years ago leaving just this side of Tudor Street as a remnant from the past, facing all of the new arrivals and making a defiant last stand. The Bonhay cattle market left years ago, cast-out to Marsh Barton and then Matford. In a delicate, brilliant sleight of hand, the landlady has placed on the wall an 1889, large-scale Ordnance Survey map; you could spend one hour in the pub looking at this alone, such is the story it tells.

Now, you might wonder what customers are left for a pub here. But the Queen Victoria has been refurbished and re-opened to create a fantastic, metropolitan-style oasis here, down by the river, amidst the dreary 1970s banalities of Renslade House office tower and its like. The new terrace outside should make many new friends come the summer (or even its colder fringes, given the Stella Artois stainless steel gas heat canopies).

From outside, you approach what looks like a typical Dublin bar, its shiny black glass panelling contrasting neatly with the lighter shades of the surrounding buildings and townscape. Heavy, prominent gold lettering proclaims: QUEEN VICTORIA. The pub itself is invitingly set back 15 feet from the pavement.

Passing the usual, obligatory disabled ramp, inside you will find an interior full of wooden floors and wooden panelled walls, fireplaces and balustrades. No expense has been spared (according to the local press, to the tune of £265,000). They haven't used that ghastly, light, shiny and slippery, modern MDF rubbish; here, it is real, dark wood, both relaxing on the eyes and comfortable on the feet (with just the right level of acoustics). It is all part of the authentic 19th century Victorian mini-theme, though in an appropriate, suitably modern rendition. This old pub has fully landed on its feet, though there is no sawdust.

The effect is complimented by a traditional style double-aspect, corner bar, backed by glass hallmarked mirrors – just like in Dublin – housing a well-presented array of liquor. The beer is Whitbread, Worthingtons and the usual lagers. Shame there are no real ales, though; if only they could bring in some Otter or Abbot, the effect would be total.

Once word gets out on this place, it’ll undoubtedly become a part of the pre-club circuit at the weekend, even if it is a slight detour. For the younger element, it has all of the computer games, fruit machines and ‘The Music’ (2 million song internet jukebox). It’s also a handy staging post for a journey from the city centre to St Thomas. In fact, it deserves to become a destination in its own right. Perhaps it could do with Sky football and a pool table, though, in the modern fashion.

There are at least a thousand people - all potential customers - on its doorstep: the mighty Renslade House with its five hundred office workers, the new flats at Powhay Mills (on the old Little Bonhay), and the riverside millionaires of Princess Alexandra Court. And that's excluding Fitness First, the only place of hard labour left on Exe Island. The Queen Victoria must surely hope to draw in some of the 500 lunch-time crowd from the nearby BT premises, too.

Here, the menu is superb, all local meat and vegetables, sourced from Exmoor and other local producers, and reasonably priced (£9.95 for a 10 oz rump steak). Brand new kitchens await the patter of order chitties as a Riley snooker table awaits the arrival of Ronnie 'The Rocket' O'Sullivan at the Embassy World Championships; action is inevitable. The only drawback is the reduced floorspace though this adds to the continental, bistro ambience.

There are numerous little table and chair sets, ideal for either a romantic tete-a-tete in the evening or a business showdown at lunchtime. For a more leisurely, extended drinking session, there are adequate comfy chairs.

This is the closest pub to the city centre that has such a distance before it meets another pub; there is surely no rival within 600 yards. Punch Taverns have done a tremendous job in creating a meeting place of history, leisure and business in this most under-rated corner of Exeter. It deserves major success.

Sunday, April 17, 2005

Perfectionism

I have spent years lost in a maze of perfectionism, never travelling far from the start due to an overwhelming urge to go back to the middle and try all the other routes before even remotely venturing towards the edge. It is a chronic disability.

When I studied film at Exeter College back in 1997/98 – an A Level at evening school, taught by the brilliant Jo Johnson (the best lecturer I have ever had the pleasure of being taught by) – as usual I became caught up in this ridiculous idea that in order to understand film you had to know it from every conceivable angle. Screenwriting, producing, directing, etc. In fact, I had to become a professional screenwriter before I had any chance of becoming a film critic. And that’s ignoring semiotics which, of course, is a whole discipline in itself.

They are all key elements to film if taken as a giant discipline in its own right but it is an approach which is, nonetheless, a ridiculous, impossible perfectionism.

It’s like trying to ferment a vegetable that will never have any alcoholic properties. No matter how hard you try, you will never produce a real drink and will never have any chance of becoming drunk; the best you can hope for is a teetotal, sterile and bland carrot juice drink.

Take John Hurt. He is surely one of the greatest English actors of the last forty years. His performances are incredibly perspicuous - Dr Stephen Ward, Timothy Evans and Winston Smith, to name just three. There is no-one better than him at offering an acute, inner world of his chosen character and then projecting via his exquisite voice and facial nuances. And yet he says he is just pretending; he never got too bothered about mastering everything. He isn't interested in Stanislavski or anything like that. He just goes out and does the job. When he finished at the Royal Academy, he just went out and got his first job within a few days, on The Wild and the Willing (1962).

Just go out and do it. That is the key.

John Hurt interviewed by Geoff Andrew, The Guardian, Thursday, April 27, 2000:
http://film.guardian.co.uk/Guardian_NFT/interview/0,4479,214857,00.html