The melancholy that settles after watching 70 Up is of a particular, refined sort: the kind that arrives not with a bang but with the quiet certainty of a man who has just realised the party ended several hours ago and the host has been politely stacking the chairs around him. We always knew the ending, of course. That was the entire point of the exercise, launched in 1964 with the Jesuitical certainty that the child at seven would reveal the man. What we did not quite bargain for was how thoroughly the man—and the woman, the few of them they allowed in—would eventually reveal us.
Asif Kapadia, stepping into the enormous shoes left by Michael Apted, has the good sense not to try filling them with anything flashy. He simply walks the same path, more slowly this time, and lets the archive do most of the talking. The result is less a new instalment than a long, elegiac retrospective of an experiment that has outlived several of its own subjects and one of its principal architects. Lynn Johnson is gone. Nick Hitchon, the farmer’s son who became a nuclear scientist and once wanted to know about the moon, filmed his final contribution three days before departing the planet entirely. The screen notes the fact with a restraint that is almost British in its refusal to make a scene. One almost applauds the decorum, then feels slightly ashamed for doing so.
They start as innocent kids believing in happy ever after. That much is true, and the early footage still has the power to wound precisely because it is so unselfconscious. Little Tony wants to be a jockey. Little Neil wants to be an astronaut. Little Suzy does not much care for her expensive school. The intervening decades have performed the usual acts of quiet sabotage. Some of the dreams were simply revised downward into something workable: cab-driving, fostering more than a hundred children, sitting in a French house full of books and mild loneliness. Others were abandoned with the weary pragmatism of people who have discovered that life is less a narrative arc than a series of administrative appointments. The illusion falls away, as the original post observed, before their eyes and ours. The difference is that we have the luxury of watching it happen to other people first.
Kapadia understands that the real subject was never class mobility or the predictive power of the age of seven. It was the slow, democratic erosion of hope. The series has always been most interesting when its participants refuse to cooperate with the hypothesis. Neil’s trajectory—bright boy, homelessness, local politics, solitary contentment in exile—remains the most stubbornly human. Symon’s late flowering as a foster parent of heroic proportions feels like a quiet rebuke to the notion that the die is cast early. Even the ones who more or less fulfilled the expectations of their seven-year-old selves look faintly surprised to find themselves still here, still being asked the same questions by a new director who has the good manners to stay mostly out of shot.
There is something almost comically English about the whole enterprise. A nation that invented the stiff upper lip decided to film its own slow collapse into pensionable reflection every seven years, then sat down politely to watch. We did not turn away. We returned, decade after decade, like relatives who cannot quite bring themselves to miss the funeral. The second half of 70 Up even allows the remaining participants a certain amount of meta-complaint about the process itself—the intrusiveness, the framing, the way Apted’s silences could feel like moral judgements. Fair enough. After sixty-odd years of being national case studies, a little resentment is the least one can expect. The series was always a “little pill of poison,” as one of them once put it, and the patients kept swallowing it anyway.
What remains is the melancholy of recognition. These people are not especially representative, not especially diverse, not especially anything except themselves. Yet they have become our mirrors by the simple, brutal method of ageing in public at regular intervals. The childhood belief in happy ever after did not so much shatter as quietly dissolve, the way a coastal path dissolves under successive winters. We watched it happen to them so that we would not have to admit it was happening to us. Now the cameras have been packed away for good, and the rest of us are left alone with the knowledge that the experiment is over, the data is in, and the results are, on the whole, rather ordinary, which is, of course, the most devastating result of all.