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Politics
3 min read

When tradition deserves a break

Upsetting a convention caused uproar, so is it right to break with tradition?
A robed and seated man, in a speaker's chair talks and gesticulates.
The House of Common's Speaker.
Parliament TV.

“Nearly a quarter of a century has passed since a speaker of the Commons stood down from its high chair with dignity and to applause.” Thus wrote Andrew Rawnsley in the Guardian this Sunday. Last week the House of Commons erupted. An unedifying lava-spew of recrimination and anger flowed through the corridors of power as the Speaker of the House, The Right Honourable Sir Lindsay Hoyle, broke parliamentary convention to the seeming benefit of the Labour Party. Memories of his predecessors’ playing fast-and-loose with Parliamentary procedure pushed buttons. The SNP’s Gaelic fury founded a flurry of calls for the Speaker to step-down, and it was not until he gave a near-tearful apology that some calm seemed to be restored. Opponents cried foul - ‘how dare he upend the conventions of the House!?’ - while supporters jumped to his aid - ‘he was just trying to protect MPs from further harassment over the Israel-Gaza debate!’ - and everyone was unhappy…  

The technicalities of this convention (that multiple amendments are not called upon for voting during an Opposition Day Debate) are less interesting to me than the fact that the convention exists. ‘Convention’ is another word for ‘tradition’. Traditions are important. Our famously ‘unwritten’ Constitution relies heavily on tradition, especially for the smooth running of Parliament. Rather than having the process of legislating and governing micro-managed with procedural minutiae, the Commons operate on the basis of nurturing and conforming to its traditions. In essence, the House of Commons operates on the basis of respect - by respecting the traditions of the House, Parliamentarians grow to respect each other as fellow followers of tradition. Exterior action builds-up interior disposition. Practice influences sentiment. 

At least, that’s my romantic take on it. Traditions give some coherence to a society - from the society of elected MPs right through the society of a nation - and allow it to flourish. Traditions bind people together. Traditions unite. You may come from a different part of the country than your neighbour, have different family values, have a different religion or skin-colour or education-level, etc…but you can be united in the traditions you follow. Whether it’s having a roast on a Sunday, going to a Carol Service in December, singing Three Lions in a World Cup year, the traditions you share despite all other differences give you a common cause with those around you. 

This is not to say that traditions can’t have a dark side. Some traditions can alienate guests. Some traditions can stifle creativity and innovation. Some traditions can be maintained purely to bamboozle the uninitiated for the benefit of those in the know. In extremis, some traditions can lead to groupthink, to the othering of those who don’t share them, to jingoism and hatred; St Paul wrote that it was the zeal for the traditions of his fathers than led him to persecute the first Christians. Traditions should never be taken for granted or left unexamined. Traditions are roses - beautiful and sweet-smelling, but always in need of pruning. But let the gardener prune carefully - you want some roses left for the garden. 

When the scribes and Pharisees try to trick and trap Jesus with impossible thought experiments, they often quote their traditions. Jesus always wins the debate. He wins in the face of their traditionalism. He wins by being a radical. RADICAL! His radicalism is not marked by the abandonment of the concept of tradition, but by deep respect for it. The Sermon on the Mount is probably the most famous speech about the importance of tradition - “You have heard that it was said to those of ancient times…But I say to you…” - keeping the traditions of God in the face of the self-serving traditions of men. The scribes and the Pharisees are the White Witch to Jesus’ Aslan: ‘“It means,” said Aslan, “that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of time.”’ 

Not every critic last week will have genuinely cared about the traditions of the House of Commons. Many will have mouthed the words but would have happily stood by if the breaking of convention benefited them. Nevertheless, we must take tradition, and it’s breaking, seriously. Traditions nurtures the relationships of MPs. Traditions nurture the relationships of neighbours and fellow citizens. Traditions nurture relationship with God, as the traditional rhythms of religious practice and Church seasons help order prayer and worship. Perhaps we’ll look back on the upturning of this particular Commons tradition and recognise it as the right rejection of an outdated convention…but let's be cautious. Traditions are important. Break them with care. 

Review
America
Culture
Film & TV
Politics
5 min read

Trump: from apprentice to master of contempt

The Trump biopic is a morality tale for our times
An 1980s business man looks contemptuously at the camera.
Sebastian Stan as a young Donald Trump.
Scythia Films.

He won. Donald Trump is, once again, the President of the United States. The controversial property tycoon, controversial ‘billionaire’, controversial reality TV star, and highly controversial one-term (or so it seemed) President, has done it again! Sweeping not only the Electoral College but also the popular vote, Trump will have another four years to ‘Make America Great Again’…whatever that means. The question on most pundits’ lips today is: how? The man who was written off from the first moments he descended into his campaign on that golden escalator; the man who was guaranteed to lose his first (let alone his third!) Presidential bid; the man who has been mired in sexual, financial, constitutional, and legal scandal…how could he win again!? 

Rather than seek answers in the election coverage of last night I went to an alternative source of information. I popped down to my local cinema to watch The Apprentice, Ali Abbasi’s biopic of Trump’s rise to power and prominence, focusing on his ‘apprenticeship’ under pugnacious, pugilistic, flamboyant, and flamingly foul-mouthed lawyer and mentor Roy Cohn. Whether consciously or not – and believe me, it’s so consciously on the nose as to feel like a punch to the nose – the film draws a ruler-straight line from Trump’s early days as Cohn’s disciple to his electoral success in 2016…and now in 2024. 

How did Trump win, not once but twice…? 

…by selling his soul to the Devil. 

We meet Trump and Cohn in an exclusive New York Members Club. Trump is shy and awkward – none of the bombast we know him for – clumsily trying to impress his date by mentioning how he is the youngest member to ever be admitted. Cohn is holding court with some mob-coded friends. Cohn stares at the handsome, golden-haired ingénue (Trump, not his date) across the room through sunken domes. He invites Trump to join him for dinner. The date has gone to ‘powder my nose’ and seemingly has made a lucky escape through the lavatory window. Trump joins Cohn. Cohn bloviates, always with his hand firmly gripping Trump’s thigh. Trump is enamoured…smitten…in love. Cohn becomes his lawyer and Trump his protégé. 

The film goes on to chronicle how, under Cohn’s tutelage, Trump becomes the man we now know. Cohn is committed to winning – under the guise of being committed to America. He teaches Trump his three rules for success:  

  1. Attack, attack, attack. 
  2. Admit nothing. Deny everything. 
  3. Even in defeat, claim victory.  

There is a nice bit of mirroring in the final scene as we see Trump regurgitate these rules, introduced pithily and wittily in the first 30 minutes of the film, in his final exaggerated and bloviated style to a ghost-writer employed to write The Art of the Deal. This is how Trump wins. Throughout the film we watch Trump evolve from the nervous young man, protective of his alcoholic brother and under-the-thumb of his overbearing father, into a monstrous, ad absurdum form of Cohn…a man who will demand absolute submission to his will. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity.

The film is sickeningly enjoyable. Sebastian Stan gently invites us to root for Trump in his timidity, and transforms with a subtlety which leaves the audience questioning their own culpability. Maria Bakalova brings a good-natured innocence to Ivana Trump (née Zelníčková) which steals the few scenes she’s afforded. Jeremy Strong – always watchable – brings his magnetic charisma to the screen. His Cohn is akin to Pacino’s John Milton in The Devil’s Advocate: delightfully chewing the scenery and ingratiating himself to the viewer while being hateful. The film is just over two hours long but doesn’t feel it. Never dragging, never boring. The soundtrack revels in the period, and the needle-drops are near perfect. It’s a really rather fun watch. 

However. 

The film is not nourishing. It is the cinematic equivalent of the junk food that leads to Trump’s expanding waistline (and the liposuction scene that is so difficult to watch). The film painstakingly draws parallels between Trump’s early success and his later political career. Cohn’s rules, Reagan’s campaigning slogans, the arrogance, the (sexual!) violence…everything we associate with Trump today is found in its nascent form in his 1980s career. Yet, none of it really matters because we have no character we want to attach ourselves to. No one, except perhaps Trump’s mother and his first wife, neither of whom have the chance to make enough of an impact, is likable or redeemable. Cohn is slime personified, until a sudden AIDS related conversion to conscience, and we don’t see nearly enough of the pathetic and put-upon Trump to care about his descent into the demonic realm of absolute self-absorption. The script is razor-sharp, but not incisive. The characters are riotously funny, but nowhere near emotionally engaging enough. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity. Mortality makes Cohn recognise the monster he has been the Dr Frankenstein to, but in about ten minutes. We see a relative innocent made villain, but barely having had the chance to care for him in his infancy. No amount of slick script or genuinely bravura performance (Jeremy Strong deserves an Oscar) can make up for the cold and emotionless lens that the film has. In a sense, this gives us a more realistic explanation of Trump’s victory than the film seeks to muster…disdain. 

Like Trump, I deployed ‘alternative facts’. 

I lied. 

I did watch some of the election coverage in the early hours of the morning. As the Trump victory became inexorable, I watched pundit after pundit – who had been excoriating Trump supporters as either stupid or malign only 24 hours before – earnestly explain that it was a lack of engagement with middle-America which had lost it for the Democrats. Tony Hinchcliffe may have made a predictably unpleasant joke about Puerto Rico being a ‘garbage island’, but it was Biden calling even reluctant Trump voters ‘garbage’ which swung the election. We live in a new polarised age where the genuine concerns of the ordinary man or woman, if they can be associated with someone as aesthetically and morally compromised as Trump, make them functionally fascist.  

The Apprentice, simply by being unable to empathise with anyone not in favour, gives us the secret to Trump’s victory. It wasn’t Cohn’s rules. It was his overactive ability to demonstrate his contempt for everyone, and therefore seem to have contempt for no one. His detractors demonstrated the reverse. In the end Trump hasn’t needed to attack, or deny, or claim illegitimate victory. He simply has had to be himself. 

Saaaad. 

 

**** Stars