In search of the world of the Brothers Grimm

The iconic Plönlein

The tour party flowed into the town square, streaming past their guide, leaving him standing rather lamely on the cobbles holding aloft a little paddle so they wouldn’t get lost; a 21st-century pied piper whose tune had – temporarily at least – lost its power.

There would be little time to see much. If they were quick, they’d be able to snap off a couple of selfies on Plönlein, where the road splits in two and exits the old city through different gates, and in the square itself, where the Rathaus stands on one long side and two large, half-timbered buildings make a perfect medieval corner.

It is doubtful that they would be able to make it into the Jakobskirche to see the wondrous wooden altarpiece by Germany’s Michelangelo, but there would doubtless be the opportunity to nip into one of the town’s many Käthe Wohlfahrt shops to pick up some extremely overpriced Christmas decorations as a souvenir as an arranged part of their trip, before heading back to the coach and the next stop on their whistlestop tour of Germany or Europe ...

Market place – Rathaus to the right

Such tourists bemuse me: it’s the same as with people in galleries, taking selfies in front of famous paintings – what do they honestly get out of it?

There may be a reason that Plönlein comes up as the main result in a Google image search for Rothenburg ob der Tauber.

You could be forgiven for imagining that it was the main (if not only) medieval vista in the old city. But to find some of the others, you have to scroll down further on that search – and you need to spend longer in the city itself than a coach visit will allow.

US travel writer Rick Steves has noted that, while millions visit Rothenburg, far, far fewer spend even a single night in the city.

For those who do, the benefits are obvious: whatever time of the year, after the tour guides pipe their charges back aboard buses, the city is yours as the sun falls.

Steves says that, after dark, you can almost feel the past. I beg to differ, but only ever so slightly: there were moments in the daytime when the centuries seemed to spin past, leaving me almost dizzy with a sense of times long gone.

Markusturm – complete with storks' next

Rothenburg ob der Tauber – there are other Rothenburgs, so its relationship to the river Tauber is important – is somewhat on the old side.

A prosperous, independent city state, it was besieged during first the Peasants’ War and then the Thirty Years’ War, before a subsequent burst of the Black Death effectively halted its development, leaving us with the most perfectly intact medieval city anywhere.

‘Rediscovered’ in the 19th century and, in the 1930s, it was raised by the Nazis to a semi-religious level as a perfect, idealised German town.

In 1945, bombing did much damage, but it was spared worse when the German commander defied Hitler’s orders and accepted a US army promise that surrender would spare the city.

It is one stop on Germany’s Romantic Road, a 350km route through the forests and mountains of Baden-Würtemburg and Bavaria.

Starting in Würzburg, it ends in Füssen, where we spent a few pleasant days last March, walking in the Alps and visiting Ludwig II’s Neuschwanstein – a visit that had led directly to this one.

Old bridge

We left London early on a Thursday evening, and spent the night comfortably in a hotel at Stuttgart airport before setting off the following morning by train – first to central Stuttgart and then, from there, to Bavaria and Rothenburg ob der Tauber itself, via three trains.

Our hotel was in the centre of the old city, just above an ancient gate leading to a park and, after unpacking as rapidly as possible, we set off for a first orientation.

It’s impossible not to be instantly struck by the city. Plönlein actually feels rather understated in medieval terms, such are the other sights to be encountered, but in general, this is like walking through a fairy tale.

Hardly surprising, indeed, that MGM’s Wonderful World of the Brothers Grimm was filmed here in 1961, while the village scenes in Chitty Chitty Bang Bang were also shot in its streets.

A view from the city walls

The latter, incidentally, also saw filming at Neuschwanstein, adding another sense of continuum to this trip.

If Neuschwanstein gave Disney the template for its castle, then Rothenburg gave Hollywood as a whole an architectural aesthetic for fairy tales.

The half-timbered, slanting, sloping, tiled buildings are what you expect. You’ve seen it all before before – on a small or a big screen – but wandering around, you have to keep reminding yourself that this is no theme park, but a real, living town, full of real, living people.

The Markusturm is one of the city’s gates, surrounded by half-timbered buildings in bright colours. Perched atop an adjoining roof is what looks to be a metal wheel, lying horizontally.

Burgator, leading from the garden to the city

In fact, it’s a frame for a stork’s nest: these huge birds have returned to the area in recent years and a couple of days before our arrival, a pair had just returned from their winter sojourn to Africa, triggering excitement among local people.

The previous year, “Mr and Mrs Stork” had produced four chicks, to the evident delight of the community. Another nest, opposite our hotel room, was still awaiting birds when we departed, but the sight of the birds taking off and returning to their nest at the Markusturm could only add to the magical sense of the place.

Anyway, after that initial stroll into the past, our first night’s repast in Rothenburg saw us dine at an old tavern, filled with local people and with a waitress dressed in a dirndl, serving properly hearty German food.

For me, that was a piece of pork shoulder, flaking off the bone and accompanied by red cabbage, gravy and potato dumplings, with a dunkel (dark beer) on the side.

And then we slept in the peace of our centuries-old hotel, dreaming the dreams of fairytales all around us.

Hail the Coens' homage to the golden age of Hollywood

Even a sense of renewed enthusiasm for viewing moving pictures in their natural environment cannot budge me from thinking that Grimsby looks grim, while a reliable source described London Has Fallen as “a horrible, hateful, jingoistic, badly scripted, awfully acted film”.

But not all the latest releases are bad – indeed, there’s one indie peach of film out there to love: the Coen brothers’ latest love letter to the golden age of Hollywood, Hail Ceasar!

To be honest, a first look at the trailer a few weeks ago was enough to grab my interest. I grew up with those films; musicals, westerns and thrillers were the fodder of my teenage fantasies.

And Joel and Ethan Coen have created a camp, funny, deeply loving homage with their latest venture.

It might not have a particularly dense plot, but it doesn’t suffer for that.

Josh Brolin is Eddie Mannix, a studio fixer in the early ’50s whose personal problems involve trying to quit smoking, and being head-hunted by Lockheed.

In between dealing with a pregnant Esther Williams-style star and trying to fit a young cowboy actor into a sophisticated drawing room drama, he finds himself plunged into difficulties when the disappearance of the star hits filming of a Biblical epic – the Hail Ceasar! of the title.

But if it initially seems that Baird Whitlock has gone on a bender, a ransom message sets them straight.

By the time we hit a wonderfully recreated On the Town-style musical number, I could feel my eyes sparkling.

Mind, it gets off to a great start with a neat little riff on The Big Sleep, and if truth be told, I didn’t stop smiling from then until the final credits rolled.

There are things to think about if you’re looking for something a little deeper – the nature of propaganda for one; technology and the future is another.

But that’s not really key to enjoying this film.

It is a wonderful ensemble piece. Brolin holds it all together with a very nice performance as Mannix, but George Clooney is in wonderfully gormless form as Whitlock.

Alden Ehrenreich impresses as cowboy Hobie Doyle; Tilda Swinton is great as bitchily competitive twin gossip columnists modeled after Hedda Hopper, and Heather Goldenhersh does a nice turn as Mannix’s unnamed secretary.

Channing Tatum prove he can sing and dance and Coen Brothers’ stalwart Frances McDormand also crops up as a husky film editor.

In fact, famous and familiar faces abound, including an uncredited Dolph Lundgrun, Wayne Knight – who stole the dino DNA in the original Jurassic Park, and Robert Picardo, who will be familiar to Star Trek: Voyager fans as the holographic Doctor.

Here, he’s a cynical rabbi, in a delightful scene where Mannix tries to convince faith leaders that the studio’s Biblical epic will be spiritually uplifting and theologically sound.

And the casting of Michael Gambon as the narrator is inspired (think Singing Detective).

So, if you want something to put a grin on your face and a spring in your step, take in Hail Ceasar! Because whatever the churlish might claim, it ticks all the boxes on those score.

In search of mythology and ravens: a trip to the Tower

Merlina

Connections, connections; links and connections. Back in November, The Other Half and I spent a few days on the Normandy coast, in Deauville.

Last year’s health-based fun and games had rather left us in need of clean air. But during our stay – the first time either of us have been to that part of the world – we visited Caen.

And there, we saw both the remains of the castle built by William of Normandy and the place where the remains of his remains are said to be buried after originally being disrupted and tossed around a little in 1562, during the French Wars of Religion. This grave now holds a single remaining thigh bone.

For Brits, William is better known as The Conqueror: 1066 and all that.

So it was intriguing to see how differently the French see him (heroically – certainly in that part of the world), as opposed to our rather more conflicted view.

But just over a week ago, with The Other Half away for work and time on my hands, I decided to head back into William territory and to the Tower of London, the iconic fort he founded in 1066.

Crows atop the trees

I haven’t visited since – oh, 1971, on the eve of my family’s departure for Mossley after living for three years in west London.

I remember the Bloody Tower, the crowds and my sister (three years younger) crying so much that we left quickly.

A return – rather longer – visit has been in my mind for some time. But in the event, it was spurred less by the William connection than my growing love affair with Norse mythology and not least, Huginn and Muninn.

Those, for any readers not in the know, are Odin’s ravens. Huginn represents memory and Muninn, thought. The All-Father sent them out to fly around the world each day, yet dreaded that they would not return.

Some scholars speculate that this is an idea of fear of not being able to come out of a shamanistic trace. But for a modern reader, it could also suggest someone afraid of losing their memory and capacity to think in age.

Morning sun over the Tower of London

A god fearing Alzheimer’s or dementia. That is a rather poetic idea: in other words, this is a god who is more than a touch human; not perfect; flawed.

As I really get into reading the Norse myths, that’s one of things I love about them.

The gods are human – and are certainly not the supposedly perfect (and boring) gods of the monotheistic big three from the deserts of the Middle East.

And so it was that, on that Saturday morning, I peeved the cats by getting up early and heading out toward the Thames.

Passing first through a nearby park, it was almost eerily quiet. Rows of crows topped the naked trees, chorusing a cawed greeting that echoed across the grass.

Get inside as early as possible

For a moment, as though on the periphery on my senses, I could almost feel the German woods again.

A short journey on the newish overground train to Whitechapel and then a further two stops on the District line brought me to Tower Hill.

There was a chill to the air and the late winter sun was battling through the clouds as it climbed above the Tower itself – a building that seems squat by comparison with the glass and steel that girds it – as in so much of the capital these days – on three sides, with the Thames flowing past on the fourth.

HMS Belfast is to the left on the far bank, with Tower Bridge just a little to the right.

I was early. Too early, indeed, even for the ticket office. A hot chocolate in one of the surrounding buildings warmed me through, before I started a queue at one of the ticket booths.

A few moments later, I ducked past a gathering of grockles and, after a quick bag check, found myself heading through the gates.

Traiters' Gate

There was hardly anyone around: if you want to feel atmosphere within these walls, then early in the day is when to find it, when it’s still enough so that can almost hear the old stones breathe.

With only a limited idea of which way to head, I turned toward the Bloody Tower’s entrance before being halted in my steps by a deep, throaty call from just beyond a wall nearby.

The ravens were calling.

Backtracking, I made a quick left, then another – to find myself at the foot of the grass that slopes down from the White Tower, facing these magnificent, mythological birds in their smart, new homes (by Llowarch Llowarch Architects and just nominated for the RIBA London regional architecture awards 2016). 

According to some sources, ‘most’ people refer to a group of ravens as a ‘flock’, which is rather unpoetic of them, given that the alternative collective nouns are ‘unkindness’ and ‘conspiracy’.

Armour inside the White Tower

Incidentally, their smaller, park-living corvid cousins are sometimes referred to as a ‘murder of crows’.

It’s a small conspiracy at the Tower: the nation-preserving six, plus two reserves, for safety’s sake.

It was nine, but Somerset-born Porsha died in late January, at the tender (for a raven) age of eight.

It’s indicative of the esteem and affection in which the ravens are held that they are buried within the Tower’s walls.

In the early days of WWII, with Hitler having taken an early lead, two of the Tower’s ravens had to be put to sleep after being badly injured in a bombing raid. It brought the number to just four.

There are those who have speculated that this accounts for Britain’s loss of empire in the years following the war.

All this seems to have stemmed from Charles II’s time when, after complaints from the royal astronomer that a rather larger unkindness of ravens was disrupting the royal stargazing, the king decided that six would be kept and the astronomer royal banished to Greenwich.

White Tower, grey day

They can fly, but since some of their feathers get a regular trim (akin to a haircut), they don’t go far – although a couple of years ago, one did make it as far as Greenwich!

I stood watching them for some time. After an attempt to sketch them – difficult at best and made harder by the cold – I nipped into the nearby ‘ravens shop’, where I discovered that there was no certainty that they would be let out and, if they were, it was likely to be around lunch – some time off.

Looking back at the cages, one suddenly appeared to be empty – for a moment, I wondered whether a large crow was one of the ravens (as did the shop staff) – before one of the shop staff suggested that, if two had been let out, they’d be likely to be up around the ‘coloured cannon’ or on Tower Green.

Off I sped, but to no avail. At which juncture, I decided to have a look around the White Tower, which was engaging enough, as it holds part of the Royal Armouries collection.

Coming out, I was contemplating heading off when I noticed a very large black bird hopping around on the grass slope. Back off around to Tower Green, I arrived in time to see a very big black bird perched on the edge of a bin, rooting around inside.

Merlina rooting (note trimmed feathers)

The bench next to the bin was empty. I sat down quietly, as near to the bin as possible, and got the camera ready.

This, I learned later via the Ravenmaster on Twitter, was Merlina (born in South Wales in 2005).

She rooted for a while until she pulled out a piece of banana, placed it on top of the bin and scrutinised it carefully, before picking it up again, hopping down and taking it to a small pond on the grass behind.

There, she dropped it in the water, twiddled it around a bit with her beak and then retrieved it – doubtless in an effort to assess when that had rendered the banana edible.

'What do you mean this isn't meat?'

Hopping the short distance to Tower Green itself and the site of the scaffold, she hopped around the back of another bench where a young couple were munching crisps, with me in stealthy pursuit.

As I was standing at the side of the bench, she hopped up suddenly onto the arm, sending the crisp-crunching female into paroxysms of squealing terror.

The girl ran – then ran back to grab her rucksack. Her boyfriend went with her.

In the meantime, I – having not run – was snapping away. And as though to reward me for not being a squealer, Merlina stayed on the back of the bench for quite a few moments, allowing me the opportunity to snap some wonderful shots at close quarters.

'She ran away quickly enough ...'

After she’d had enough and hopped off, I – grinning like a loon by this stage – went to take a remarkably crowd-free glance at the crown jewels. They’re quite surreal, to be honest, and I found myself musing that they looked like something out of a theatrical production.

But then again, that’s precisely what they are.

It was an enjoyable and educative visit. But you can keep the bling – I’ll take Merlina and the gang over them any day.

• To follow the Ravenmaster on Twitter, go to @ravenmaster1.