FLORENCE FOSTER JENKINS

Florence Foster Jenkins was an American heiress whose prodigious career as a concert pianist was cut off cruelly short when she contracted syphilis from her husband and it affected her nervous system. She became a generous patron to the arts, taking starring acting roles in tableaux vivant she had paid to stage for private societies.  Events took a turn, however, when she aspired to become an opera singer, hiring pianist Cosme McMoon as her accompanist.  This dream was abetted by her common-law husband St. Clair Bayfield, who loved her, knew she couldn't sing, and kept the audience limited to friends or critics he could pay off.  Nonetheless, when Jenkins aspired to play Carnegie Hill, even Bayfield couldn't prevent the uninstructed audience booing her off-pitch singing, or particularly snide reviews in the press.

This latest retelling of the story is handsomely directed and acted and provides two hours of great fun, stunning costumes but also, unexpectedly, real pathos.  Hugh Grant excels as the charismatic, fun-filled husband: we understand that he truly loves this eccentric woman even while being in a long-term relationship with another woman.  Meryl Streep is similarly charismatic as Jenkins, and it's quite a feat that two characters who might have been off-putting - the enabling scrounger and the narcissistic wannabe singer - are actually desperately likeable.  Moreover, the skill involved in singing badly is quite astounding and the facial expressions she gives to every phrase are masterclass in comic acting and a  delight to watch.  Rounding out the principle trio, we have THE BIG BANG THEORY's Simon Helberg, who plays pianist Cosme McMoon, the audience surrogate who expresses our surprise that no-one has thought to tell Jenkins that her singing sucks.

Nicholas Martin's script takes the view that Jenkins didn't know how bad her singing was: that when she sang she heard a tuneful voice, and that perhaps the syphilis had affected her hearing.  This is a not uncontroversial view.  But then this film is in the business of giving us a tragic love story which hues broadly to the truth but omits some key facts to burnish the reputations of its lead characters, most obviously that Bayfield married his lover once Jenkins died.  Ultimately, this airbrushing of history is irrelevant. We get to the poignant truth of Jenkins and Bayfield's love - her generous patronage of the arts - and the hilarity and exuberance of their life together.  This could we be one of the finest of director Stephen Frears' (THE PROGRAM) recent films.

FLORENCE FOSTER JENKINS has a running time of 111 minutes and is rated PG-13.  The movie is on release in the UK, Ireland and Australia. It opens later in May in Israel and Taiwan; in June in Croatia, Bulgaria, Cyprus and Greece; in July in Argentina, Brazil, Uruguay and France; in August in Canada, Lithuania, the USA, Poland, Philippines, Denmark and Sweden; in September in Portugal, Estonia, Finland, Hong Kong, Hungary, Netherlands, Singapore, Spain, Croatia and Macedonia; in November in Norway, Germany and Austria and in December in Japan.

THE PROGRAM - BFI London Film Festival 2015 - Day Four

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Stephen Frears’ new fictional retelling of the now sadly familiar Lance Armstrong story is NOT a great film, but it does contain a great performance. And if Ben Foster doesn’t win an Oscar for his turn as the disgraced seven times Tour de France cheat, then there’s a really outstanding movie out there that I have yet to see.

Hugely informed by USADA’s investigation, Floyd Landis’ testimony and the heroic David Walsh’s investigative journalism, this film is not a straightforward biopic. We never meet Lance’s mum, or spend time with his wife or children. This movie is, to invert the book title, all about the bike, and all about the dope. We meet Lance as a young racer in the early nineties literally getting mud splashed in his face by dopers he will never beat unless he “gets with the programme” - and that’s the programme of micro-doping, EPO, testosterone and cortisone invented by the ever-proud and morally deficient Michele Ferrari. John Hodge’s script loses no time in taking us on a fast paced tour through Lance’s early failure, cancer, that fateful and contested meeting with Andrieus, and onto his Tour success. We’re an hour in and he’s the ultimate sports hero. But we see vanity cut him down as much as it drove on - both in returning to the Tour and in cutting Floyd Landis lose.

PHILOMENA - LFF 2013 - Day Eight

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PHILOMENA isn't a bad film.  But it isn't a good film.  It's a perfectly serviceable TV weepie with a superior cast. The movie spends a lot of time self-mocking human interest stories for being schmaltzy melodrama designed to cater for the weak and stupid.  But it can't escape the fact that this is basically what PHILOMENA is.  It could've been more.  But bound as it is by the truth of the story, it can't get spiky enough to do anything interesting.

Let me explain.  Philomena (Dame Judi Dench) is a real life Irish woman who got knocked up, consigned to a convent, and had her son forcibly adopted when he was a little boy.  Fifty years later, she enlists the help of an ex-BBC journalist to find him, as it turns out, in America.  There's some interest in seeing a lapsed Catholic of some wealth and cynicism help a woman who has been so obviously wronged by her Church, but still has faith and forgiveness in her heart. We could have had a really fantastically interesting philosophical debate here, but apart from one  scene in which Philomena refuses to confess, the screenwriters seem to shy away from such a controversy.  Similarly, without spoiling anything, there are aspects of the son's life that Philomena, given her faith, could have struggled with.  But no, as if by the shake of a magic wand, she is perfectly fine and understanding and modern and lovely.  And then, take the journalist, Martin Sixsmith (Steve Coogan in an admirably modulated performace).  He could have had to confront some real issues about whether or not to exploit Philomena's story for financial gain.  But circumstances let him off the hook.  

The result is a film in which two basically nice people go on a road trip and any possible issue that might have caused some problems, some fire, some provocation, some debate, some nuance, are neatly handled.   This creates a rather banal and soupy experience better suited to the Hallmark Channel than the London Film Festival. And the jokes that are in the movie - while properly laugh-out-loud - are all in the trailer.

PHILOMENA has a running time of 98 minutes and is rated 12A in the UK.

PHILOMENA played Venice 2013 where Steve Coogan and Jeff Pope won Best Screenplay, and Stephen Frears won the Queer Lion. It also played Toronto and London 2013.  It will be released in the UK, Ireland and Iceland on November 1st, in the USA on November 22nd, in Sweden on December 6th, in Italy on December 19th, in Hungary on December 26th, in France on January 8th 2014, in the Netherlands on February 13th, in Germany on February 27th and in Japan in March. 

LAY THE FAVORITE

Stephen Frears is a perplexing director, who has gone from auteur indie director in the 1980s (MY BEAUTIFUL LAUNDERETTE) to a director-for-hire of bland, rather mediocre films with no consistent theme (THE QUEEN).  He turns up here, helming LAY THE FAVORITE, a movie based on the real-life story of Beth Raymer, a stripper turned bookmaker's runner, who got mixed up in illegal gambling.  

As played by Brit Rebecca Hall, Beth is a sweet, comical, blowsy stripper-with-a-heart, and is it turns out, a cool head for figures. Hall's accent is high-pitched and pitch-perfect - a kind of believable version of Mira Sorvino's Woody Allen stripper.  She comes to Vegas for a better life and ends up book-running for Bruce Willis' typically laconic legal bookie, Dink, much to the chagrin of Dink's insecure wife Tulip (Catherine Zeta-Jones). This gives rise to the one good tragicomic joke of the film - Dink can take Beth back as a runner so long as his insecure wife can have a face lift.  But of course, it doesn't work out and in the second half of the film Beth moves to New York and works for Rosie (Vince Vaughn, also playing himself).   Trouble is, Rosie is operating in a jurisdiction where gambling is illegal, and poor naive Beth is laying herself open to trouble. 

Of course, all ends well. It's that kind of movie. Day-glo bright, in which a young pretty girl will be mildly exploited  but ultimately cared for by good kind people. There's none of the dirt and danger and darkness of a movie like 21, and no real attempt to explain to viewers exactly how the system works. The result is a movie that is, at best, light and frothy. Another opportunity to see Vince Vaughn do his motormouth schtick that he's been doing since SWINGERS. But it's ultimately forgettable and hardly worth the candle. 

LAY THE FAVORITE played Sundance 2012 and opens this weekend in the UK and Ireland. It opens on July 19th in Germany, on August 8th in France, on August 23rd in Denmark, on September 7th in Turkey, on November 2nd in Estonia, on December 7th in the USA,  on January 13th in the Netherlands and on March 28th in Russia.

The movie is rated R and has a running time of 94 minutes.

TAMARA DREWE - who?

Stephen Frears has an odd body of work. He started off with spiky costume drama (DANGEROUS LIASONS), moved to equally spiky contemporary British drama (DIRTY PRETTY THINGS) but then segued into what can only be described as English heritage drama, with the banal MRS HENDERSON PRESENTS and the over-hyped TV drama THE QUEEN. His latest flick - an adaptation of Posy Simmonds Grauniad strip, continues his run of diminishing returns. It's a movie that, for all its lush location work and occasional stabs at spiky social commentary, is dangerously structurally imbalanced.

As far as I can tell, the problems stem from the source material - you can read it all online at the newspaper's site in about an hour. It's apparently based on Hardy's Far From the Madding Crowd, but other than the fact that the central character is sexy and has three lovers, there are very few parallels. Not least because Tamara Drewe simply doesn't hold the centre of our attention in the way any eponymous heroine should.  In the strip, the centre of the story isn't Tamara Drewe at all - but Beth Hardiman, wife of an Ian Rankin-type crime novelist called Nicholas. She's fat, cheated-upon, taken-for-granted and generally quite bitchy. Essentially, she's as much as fault as her lecherous, narcissistic husband for the pitiful state of their marriage, insofar as she enables his shitty behaviour. She likes that he's dependent on her, and smothers him with baked goods and motherly attentions, rather than being his wife. The Hardimans are classic English middle-class yuppies, who've made money, buy a nice run-down farm in the country, and then fill it with Cath Kidston and Waitrose shopping, much to the ire of the locals who are bid out from the local housing market. (I aspire to being such a "banker-wanker"). The farm also serves as a writer's retreat, which suits them both just fine. Nicholas gets fawning acolytes - Beth has more people to mother and feel indispensable for. So basically, the two protagonists at the heart of the strip are pretty unlikeable, but at least you get what makes them tick.

And so the story goes, until Tamara Drewe turns up in hot pants, newly beautified by a nose job, baring all in her self-referential newspaper column. She decides to move into her late mother's house at Winnard's Farm, and write a novel - just like that. In the strip, we read her columns, but never read drafts of her book. We're meant to think she's not much cop at writing, but there's really not much else there. I have no idea what makes the girl tick - and maybe that's deliberate - maybe she's just meant to be a sex object - but that seems a weird authorial choice. Shouldn't we care about, and understand, the eponymous heroine of the strip? Anyways, following Hardy, Tamara has three potential suitors. First up is local gardener, Andy Cobb - earnest, nice, dull - presumably in the Gabriel Oak mould. We have no real understanding why he should be so interested in Tamara or vice versa - they seem entirely unsuited. But maybe I'm wrong - as neither is fleshed out as a character, who knows? Second is minor rock star, Ben aka Sergeant Troy. Except that he's not really a love-rat, and actually an okay guy, and basically, Tamara's never really at risk from him. Third up is Nicholas Hardiman - old, oleaginous author - who is never really at risk from Tamara in the way that Boldwood was at risk from Bathsheba. Yes, after a few quick shags he wants to finally leave Beth, but there's no subterranean violence. And without that deep sexual tension the motive of the plot can't be sexual violence - rather a couple of bored teenage chavs who send a few prank emails, and a herd of bored cows. Deus ex machina have never been as bizarre - okay - maybe Hardy's stampede, and then that odd scene of puncturing sheep's bellies - but the final strips - with two acts of violence that have no build-up, no foreboding atmosphere in the preceding columns - just seem random and insufficiently dealt with.

And so, now, we get the movie. This is, in essence, a very faithful adaptation. All the key characters are locations are there. The houses and farms look exactly like the script, and all of the better, spikier one-liners are kept in. The underlying tension between impoverished locals and wealthy second-home-owners is still there. And the most authentic part of the script - the insecurity and narcissism of writing - and the jealousy between writers - is translated wholesale. But screen-writer Moira Buffini has made several improvements - in particular, several of the characters are more convincingly drawn. Roger Allam's Nicholas Hardiman is far more sinister and slippery and real than in the strip and Tamsin Greig's Beth is less bitchy and more put-upon - in her portrayal of Beth you can see a million failed marriages where the wife has simply lost the ability to conceive of herself alone. Moira Buffini also does a good job in beefing up the role of writers-retreat-ee Glen McGreavey (Bill Camp). In the strip, he's just a contra-Nicholas - an academic, writing obscure books that no-one reads, utterly appreciative of Beth's nurturing - whereas Nicholas writes commercially successful nonsense and takes Beth for granted. In the movie, Glen becomes perhaps the most interesting character of all - standing for integrity and appreciation, but ultimately becoming just as slippery as Nicholas himself. Moreover, he proves once and for all that Beth is a co-dependent - looking for someone to mother and be used by, even when Nicholas is out of the picture.

But the biggest breakthrough - for better and worse - is in the characters of teenage chavs Jody (Jessica Barden) and Casey (Charlotte Christie). In the strip, they serve as a counter-point to the middle class angst at the farm and as a means to the Hardy-esque email that triggers Tamara's affair with Nicholas. They are bored, smoke in bus shelters, and are utterly obsessed with celebrity. But in the movie, partly because of the higher proportion of screen-time they get, and partly because of the quite superb performance by Jessica Barden, they completely steal the show. The angst of being stuck in a small town, knowing that nothing will ever happen unless you back yourself, and then realising that in the real world there are consequences - now that's an interesting story. Jody's journey from fantasist to realist is superbly essayed and deeply engaging.

Now here comes the problem with the movie. Tamara Drewe (Gemma Arterton) and Andy Cobb (Luke Evans) are as thinly sketched in the movie as in the strip. But Jody is far, far more interesting. And so, you end up with a movie wherein the supposed heroine is almost irrelevant, and certainly not the centre of the viewer's attention. No amount of witty one-liners, or glossy location photography, can offset that fundamental structural weakness.

Additional tags: Ben Davis, Mick Audsley, Leo Davis, Bill Camp, Luke Evans, Tamsin Greig, Jessica Barden, Charlotte Christie, James Naughtie, John Bett, Josie Taylor, Bronagh Gallagher, Zahra Ahmadi

TAMARA DREW played Cannes 2010 and plays Toronto 2010. It was released in France in July and is currently on release in the UK. It is released next week in Belgium, in the USA on October 8th and in Germany on December 30th.

CHERI - luscious frou-frou with too sporadic flashes of psychological insight

Stephen Frears is an uneven director. Occasionally he makes devastating, gritty dramas chronicling the savagery of life and love, viz. DIRTY PRETTY THINGS, MY BEAUTIFUL LAUNDERETTE. But most of the time, he makes luscious costume dramas that skate delicately over deeper, unexplored issues, and seem primarily conceived for the heritage industry. They are the cinematic equivalent of those cheap tea-towels and mugs you can buy near Marble Arch and on Piccadilly, embossed with pictures of Princess Diana. In this category, I place works like MRS HENDERSON PRESENTS and THE QUEEN. Very rarely, Frears directs a movie that combines luscious cinematography and costumes with real psychological weight, viz. DANGEROUS LIASONS. So where does CHERI fit into this typography? Sadly, mostly in the luscious frou-frou category, although there are flashes of psychological insight in the final scenes.

Based on the novels by French author, Colette, CHERI chronicles the affair between a middle-aged high-class courtesan, Lea, and a twenty-year old bored fop, Cheri. They live together for six years, up-ending conventional social mores. She pays for and keeps him, organises everything, and takes the dominant role. He is the kept woman. The affair ends when his spiteful mother, a former rival of his lover, arranges his marriage to a wealthy young girl. Lea is gracious and lets him go, even, in extremis, giving him the moral courage to make a life with his wife, knowing that, in her old age, she cannot keep him. But, for both of them, this pragmatic decision will prove a moral disaster - because they really were in love.

The resulting film is beautiful to behold, the costumes, locations and colour schemes speak of luxury, indulgence, over-ripe summers and a true belle-epoque. Alexandre Desplat's score is similarly delicious. One would never tell that the characters were living on the verge of the First World War and in a time of increasingly radical politics. Michelle Pfeiffer looks lovely as Lea, and perfectly captures the fact that a well-preserved fifty-year old can look ravishing but can also, in unforgiving light, look gaunt and care-worn. The final scene, where she coolly appraises her lined face in a mirror, is chilling and touching. Every woman can relate. Rupert Friend is similarly well-cast as Cheri. He is similarly beautiful and captures the cynicism of a dandy who is bored with the champagne life but also too lazy and vapid to commit to anything more profound. He does a tremendously good job of making a superficial character likeable. The supporting characters are also well-cast with the exception of Kathy Bates - a brilliant actress but just not convincing as an ageing former beauty and about 10 years too old for the role.

The substantial problem with the movie is that it skates over the deeper psychological insights of the novel - the torment is too tepid - and makes nothing of the characters' isolated self-absorption as a grand metaphor for the society that would be swept away by the war. Stylistically, there was too much exposition, largely in the form of a clumsy voice-over narration from Frears himself. It seemed to hint at the style of JULES AND JIM but was clumsy, unnecessary and its trite tone undercut the emotional heft of the story.

CHERI played Berlin 2009 and is currently on release in the UK, Belgium and France. It opens in the Netherlands and the USA on June 26th and in Germany on August 27th. It opens in Finland on September 11th, in Norway on October 2nd, in Portugal on October 8th, in Russia on October 15th and in Spain on November 6th.

THE QUEEN - another one for the export market

Stephen Frears' latest movie is yet another one for the export market. It is an over-long re-telling of the week following the death of Princess Diana, contrasting the public's hysterical mourning with the Queen's more dignified and yet brutally-condemned response. Her Majesty comes out of it very well - as a sovereign who is utterly devoted to her people and yet absolutely unable to understand what Her People - people she prides herself on understanding - are up to. The acclaimed British actress, Helen Mirren, gives a superb performance, never descending into pastiche, and managing to convey conflicting emotions behind the ever-dignified famous face. Michael Sheen is also tremendously good reprising his role as Tony Bliar. Blair comes across as an inept twat in the first half hour but gains in stature as the movie progresses - much to my surprise. The supporting cast are less successful, perhaps because their parts are written like watered-down Spitting Image puppets. Prince Philip is a string of rather funny, politically incorrect one-liners and Prince Charles a wet tree-hugging toady.

The primary problem with THE QUEEN is that the movie is far too long and tries to inject drama where precious little existed. Yes, the royal family misjudged the mood of the nation, but who could have predicted the breast-beating of the masses? Within a few days, the royals realised they had boo-booed - no doubt partly thanks to Blair - and came to London. The nation forgave them. Dear lord, this is such a conservative (with a small "c") nation that the monarchy was never really under threat. (The central premise of this melodrama.) Cherie Blair admits as such when she points out to her husband that all Labour Prime Ministers have gone weak at the knees for the Queen. And given the general acceptance of the new Duchess of Cornwall the Diana-related trauma seems awfully old-hat.

A secondary problem is one that I suspect will only affect UK viewers. That is that the script contains an awful lot of basic education on who everyone is and what everything means. You know, one character explains to another the symbolism of the flag being at half mast. It's like British Heritage 101 for interested foreigners.

Overall, despite Helen Mirren's superb performance and a pant-wettingly funny joke at Waiting for Gordo's expense, THE QUEEN feels like a glossy tele-novella that would have been better suited to US subscribers to the Hallmark Channel. I do wish Stephen Frears would get back to more ambitious stuff like DIRTY PRETTY THINGS.

THE QUEEN premiered at Venice 2006 where Helen Mirren won a prize for her perfomance. It is currently on release in Italy and the UK. It opens in the NYC on September 30th and in other parts of the US on October 6th. Finally, it rolls into France on October 18th and the Netherlands on November 30th.

BREAKFAST ON PLUTO - find love, look beautiful, dodge the IRA

BREAKFAST ON PLUTO is another cracking film from Neil Jordan, director of The Crying Game, The End of the Affair, Interview with a Vampire, and the cult-classic, In the Company of Wolves. Covering some of the same thematic territory as The Crying Game - notably political violence and sexual identity - BREAKFAST ON PLUTO is altogether sweeter, and happier in tone. However, alongside the moments of hysterical laughter are interludes of shocking brutality. It is a strength of the film that it can move seamlessly between the two extremes - from brutality to farce - summing up the twin aspects of the "Northern Irish troubles".

The film is an extensive re-working of the novel of the same name by Patrick McCabe, whose work Neil Jordan has previously adapted for the screen. The novel tells the story of Patrick "Kitten" Brady. Kitten was abandoned by his mother on the doorstep of a Catholic Church in Ireland and grew up during the 1970s. All he wants is to be loved and to look pretty. To that end, he goes to London to try and find the mother that abandoned him. On the way, he gets involved with the IRA, the British police, magicians, prostitutes, and other sundry ne'er-do-wells. But he never looses his identity, no matter how brutalising current events.

Cillian Murphy's central perfomance as Patrick "Kitten" Brady is worthy of its Golden Globe nomination. But while his role does provoke belly-laughter, I would have put his performance in the Drama category rather than in the Musical/Comedy category. This is because Kitten is not funny in order to make us laugh. She is funny because if she didn't laugh she would "start crying and never stop". This is as much a story about survival. At the violent hands of the IRA and the British police, Kitten never drops her trans-sexual identity, and the farce of it all shames both the IRA and the rozzers into backing down.

Neil Jordan commented in the Q&A session after the screening that he makes so many films about trans-sexuals because identity was a such a key issue growing up in Ireland. You were defined as a nationalist, a republican, a Catholic, a revisionist - and these tags were inescapable. By contrast, Patrick Brady has created his own identity - which happens to be that of a girl called Kitten. Once in that character, he is never "on" or "off" but inhabits it wholesale. Like Tommy the Clown, he wears his face-paint to the funeral.

In addition, one could read this film as a damning indictment of the war on terror, and on the terrorist project itself. Not that Jordan claims to have made an overtly political film, but he is conscious any films with political over-tones released in the US is now seen as a searing indictment of the Bush administration. Jordan draws a parallel between the culture wars in the US right now and Thatcherite Britain. In the '80s, any vaguely intelligent movie was a searing indictment of ruthless capitalism. He claims his film does not fall into such a narrow political categorisation.

What else is there to like about this film? Plenty. Wonderful production design that takes us back to the '70s on a limited budget. Perfectly constructed cameos from Stephen Rea, Brendan Gleeson, the Wombles, and somewhat improbably, Bryan Ferry. A break-out supporting actress performance by Ruth Negga as Kitten's best friend. And finally, a great sound-track full of 70s classics - most notably the Harry Nilson song - "You're breaking my heart / You're tearing it apart / So f*ck you." This sound-track is more than just a Cameron Crowe-style nostalgic mix-tape: rather, it is a soundtrack that amplifies the story at every turn.

Not that there aren't flaws with this movie. For a start, the picaresque format sometimes leaves us wondering when we'll get back on track toward Kitten's goal of finding his mum. There are a couple of segments that could have been edited out with little harm to the movie, but then again, it is a brave director, who having hired Bryan Ferry and Stephen Rea, will leave them on the cutting room floor. So, overall, while not up there with Brokeback, there are few better films currently showing at your cineplex. Go check it out. And remember you're a Womble.

BREAKFAST ON PLUTO was scheduled for release at Cannes in 2005, but wasn't ready until Telluride and Toronto in September. It went on limited release in the US in November and is released in the UK on the 13th January. There is no scheduled release date for Germany, Austria or France.

MRS HENDERSON PRESENTS an offering for the export market

MRS HENDERSON PRESENTS is a bit of harmless fluff based on a true story that one suspects is somewhat more gritty. It is World War Two and those nasty nasty Huns are dropping bombs on London. How are we to keep up our morale? Why, by making a nice strong cup of tea and taking our clothes off! Spiffing. Mrs Henderson, Judi Dench in self-parody mode, is a rich aristo. widow who buys Soho's Windmill Theatre only to discover that there is little cash in serious plays. So she decides to bring French style buck-naked Vaudeville to the West End. The Lord Chancellor is a bit concerned, but Mrs. Henderson cunningly points out that if the naked girls stand still, rather than jiggling their proverbial "bits", then it is ART not SMUT.This is in essence the entire movie. Nice English girls get kit off. The only other point of note is that Bob Hoskins gets his kit off. However, I am hard pressed to discover what kind of audience THAT prospect would attract to the movie theatre.

This is a harmless, eccentric and mildly amusing film about harmless, eccentric and mildly amusing Brits and I imagine that it is designed largely for the export/costume drama market. Don't look for any deep insight about living in London in the Blitz or about landmark legal decisions on freedom of expression. Like a nice cup of tea, it is vaguely warming and heartening, but the effects wear off after about 10 minutes.

MRS HENDERSON PRESENTS went on general release in the UK on the 25th November 2005. It goes on limited release in New York and LA on the 9th December and on limited general release on Christmas Day. It hits France on the 6th January and Germany unaccountably late on the 23rd March 2006.