A week ago I was in a charity shop in North London that was staffed by a single elderly East European gentleman, and virtually all its contents were completely inaccessible. The books were stacked on shelves at head height, and went up to about 10 feet, and as no step ladders were provided, you would either need brilliant nay freakish long sight, or a good pair of binoculars, or even a telescope to read the titles. But then the place was so badly illuminated, your nifty optical instruments might not have functioned, and add to that that a huge immovable carousel with crime paperbacks was lodged in front of and only four inches from the book shelves, so there was no way of getting nearer the focus of your interest.

I am as you’ve probably guessed a second hand books and second hand DVD man, and the DVDs likewise were stacked at a remote altitude, but far flung as they were, I was able to spot the familiar covers of those blockbuster films that monotonously people every single charity shop. Stop me if you haven’t also spotted in Oxfam and Shelter and Scope, industrial quantities of the following: Taken (2008) the action thriller scripted by Luc Besson and starring Liam Neeson, an ex-secret service man whose daughter is abducted in Paris by Albanian sex traffickers; Heat (1995) another bluff one-word titled blockbuster, with De Niro, Pacino and Val Kilmer, which is all about the cop who decides to stop a legendary criminal busy planning his last pre-retirement heist. Finally, of similar historical longevity, and with a two-word title is the 2004 Napoleon Dynamite, a quirky US comedy about an awkward Idaho schoolkid and his attempts to help his friend win the class presidency. The hero Napoleon’s grandma breaks her coccyx in a quadbike accident, so although I haven’t seen it, it does sound a mite less formulaic than other transatlantic high school ‘romps’. Though to be sure, not all of the most popular charity shop films are formula thrillers or goofy comedies, which is to say that on occasion quality really can shine through, and especially if grotesque violence is part of the mix. So it is that with Javier Bardem as the bloodless psycho toting the lethal gas gun, the DVD of that fine movie the Coen Bros’ No Country for Old Men (2007) featuring Tommy Lee Jones as the old-fashioned principled cop, is absolutely everywhere, often 3 copies per charity shop. The same goes for the excellent Amelie (2001) a stereoscopic parable about the comic arduousness of finding real love. Starring Audrey Tautou, whose remarkable talent is as much in her ingenious facial mobility as her words, it might well have been a worldwide hit, but for once, with its idiosyncratic and stylised direction, it actually deserved to be.

I am as you know a world cinema freak, and you might say subtitles are my middle name, but sad to say in certain parts of London that conspicuously are chockablock with top notch posh girls’ grammar schools (whose pupils might notionally wish to learn what e.g. the French and the Italians think about love in all its contradictory aspects) there is not a single subtitled film in the charity shops. High Barnet for example is a prosperous middle-class area and has about a dozen charity outlets, none of which boasts even one foreign movie, not even Amelie. Yet by inscrutable perversity, in other affluent areas where they do actually contravene the stereotypical Brexit mentality, inasmuch as they boast a single foreign movie on their Oxfam or their Shelter shelves, it is nearly always the same one, a brilliant but shocking apocalyptic satire on human greed called Delicatessen directed in 1991 by Jean-Pierre Jeunet and Marc Caro. It is about a leering butcher (Jean-Claude Dreyfus, born 1946) with a busy turnover in handymen as he keeps killing them and recycling them as food. Why I ask myself do these parochial and clearly chauvinistic areas, go for of all things, a tale about a gruesomely homicidal butcher, at least as frequently as they do for the charming and elfin Amelie, someone who has a not a trace of violence in her person and indeed is often taking on bullies and monomaniacs who try to dominate others?

The next post will be on or before Friday 24th January


  1. My experience of the sorts of books and DVDs to be found in charity shops (which I admit is limited) would suggest that the films you mention as ubiquitous are in fact quite unusual. You’re much more likely to find Mama Mia and other similar blockbusters. Either that or numerous ‘straight to DVD’ thrillers with gun toting villains on the cover. That and children’s cartoons. I’ve never seen or heard of most of the books or films you have referred to in your posts. I’ve no doubt they are good recommendations, and I might well be better off for knowing them, but I’ve no idea how to enter or navigate the cultural world you inhabit, at least to the depth you seem to advocate. Which is not to say the films etc are not worth knowing, just that your position vis a vis other cultures is a little unusual even for ardent Remainers.

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