The third and final part of the Millenium trilogy is a mixture of satisfaction and disappointment. Let me deal with the latter
first. The opening chapters of Salander's time in hospital and the gathering of the forces against her seem to provide rather
more information than is necessary and the need for a strong editor is shown by the repitition of the emails between her and
Blomkvist as they are given both when she sends them and later when he reads them, an unnecessary duplication. The
main disappointment is the inclusion of the chapters dealing with Erika Berger's change of employment and her return which
add nothing at all to the plot line. Allowing that the elaboration of the inner machinations of the Swedish Secret Service had
to be as detailed as they were and accepting the coincidences, the book as a whole does provide a satisfactory conclusion to
the events which began several hundred pages earlier with Blomkvist hiring Salander. I must admit that after the number of
novels with courtroom scenes in the USA, the informal Swedish approach took me aback - the proceedings were more akin to
a round table discussion, albeit a very serious one, at times though they were engrossing.
The trilogy as a whole is very good while having faults which bring it down somewhat from the very best
Sunday, December 19, 2010
Thursday, November 11, 2010
Cain, Chelsea: Heartsick
A serial killer novel with a difference and a less usual location. Set in Portland, Oregon, the novel deals with the police search for a killer of teenage schoolgirls with the task force being led by a detective who had captured a different serial killer two years earlier - or rather, had been captured by the killer and tortured almost to death before she chose to give herself up.
This has given him some degree of celebrity and he has agreed to be the subject of an extended profile written by a woman
reporter in her twenties. The present-day search is interspersed in the book with details of his capture and torture. He also
visits his captor every Sunday in part to learn details of other killings (he was the 200th victim apparently). The story moves along easily even with a number of apparently irrelevant digressions though it is not that well written (as is the case with many such novels). An interesting twist at the denouement which is just about believable. I won't go out of my way to find
anything else by this author but would read her again.
This has given him some degree of celebrity and he has agreed to be the subject of an extended profile written by a woman
reporter in her twenties. The present-day search is interspersed in the book with details of his capture and torture. He also
visits his captor every Sunday in part to learn details of other killings (he was the 200th victim apparently). The story moves along easily even with a number of apparently irrelevant digressions though it is not that well written (as is the case with many such novels). An interesting twist at the denouement which is just about believable. I won't go out of my way to find
anything else by this author but would read her again.
Thursday, November 4, 2010
Larsson, Stieg: The Girl Who Played With Fire
The second book in the trilogy continues where the first left off with Salander, of course, as the focus while Blomkvist has a
less central role. Opening with her holidaying in the Caribbean, Salander returns to Stockholm to become the prime suspect in three murders. The book becomes the story of the police investigation which is helped by her previous employer who has
a separate motive in trying to find out if it is Salander who is guilty with Blomkvist running his own search. The book is nearly 600 pages long and this does show. The pre-Stockholm sequence is superfluous to this book and the mechanics of
Salander's setting up home secretly and then the minutiae of the police investigation create a slowly paced feel. For example, Salander has access to, among others, Blomkvist's computer but will not meet him so he works out that he can send
her messages by creating a file on the computer which she will read; this she does in the chapters focussing on Blmokvist's
efforts but this is repeated verbatim when the focus changes to her. The villains of the piece are truly scary and the action
well done once it occurs with the pace and vigour of the closing chapters much in contrast to what has gone before. Despite
the imbalance in the book, it kept me engrossed and I have decided to read the final book very shortly.
less central role. Opening with her holidaying in the Caribbean, Salander returns to Stockholm to become the prime suspect in three murders. The book becomes the story of the police investigation which is helped by her previous employer who has
a separate motive in trying to find out if it is Salander who is guilty with Blomkvist running his own search. The book is nearly 600 pages long and this does show. The pre-Stockholm sequence is superfluous to this book and the mechanics of
Salander's setting up home secretly and then the minutiae of the police investigation create a slowly paced feel. For example, Salander has access to, among others, Blomkvist's computer but will not meet him so he works out that he can send
her messages by creating a file on the computer which she will read; this she does in the chapters focussing on Blmokvist's
efforts but this is repeated verbatim when the focus changes to her. The villains of the piece are truly scary and the action
well done once it occurs with the pace and vigour of the closing chapters much in contrast to what has gone before. Despite
the imbalance in the book, it kept me engrossed and I have decided to read the final book very shortly.
Glauser, Friedrich: The Chinaman
Glauser is always better when writing about events around Bern and the Bernese Oberland where this excellent thriller is set.
Sergeant Studer meets a man he calls the Chinaman because of his appearance even though he is a local man returned home after years away. The man tells him he is going to be killed within three months, something Studer does not accept but this
does happen when the man's body is found shot dead across the tomb of the wife of the local poorhouse superintendent who
had died on gastric flu, supposedly, a while before. Studer establishes firstly that the man did not shoot himself and then that the dead woman had also been murdered. Over a number of chapters which seem at times tangential to the plot, Studer gets his cast of suspects, all related to the dead man who turns out to have been fairly wealthy, and proceeds to eliminate them as such or help them incriminate themselves. The language is spare yet telling with the different characteristics of the
suspects and others coming through effortlessly. Studer himself is decidedly idiosyncratic in his methods without neglecting to follow proper procedure when he deems it best. Overall, it is easy to see why Glauser is held in such high esteem.
Sergeant Studer meets a man he calls the Chinaman because of his appearance even though he is a local man returned home after years away. The man tells him he is going to be killed within three months, something Studer does not accept but this
does happen when the man's body is found shot dead across the tomb of the wife of the local poorhouse superintendent who
had died on gastric flu, supposedly, a while before. Studer establishes firstly that the man did not shoot himself and then that the dead woman had also been murdered. Over a number of chapters which seem at times tangential to the plot, Studer gets his cast of suspects, all related to the dead man who turns out to have been fairly wealthy, and proceeds to eliminate them as such or help them incriminate themselves. The language is spare yet telling with the different characteristics of the
suspects and others coming through effortlessly. Studer himself is decidedly idiosyncratic in his methods without neglecting to follow proper procedure when he deems it best. Overall, it is easy to see why Glauser is held in such high esteem.
BFI London Film Festival 2010
With only 10 films seen from the hundreds on offer it is unreasonable to make comparisons although, following much the same criteria as before, I found my overall reaction was that there was not as much to excite. Having said that, 'La Princesse de Montpensier', 'Biutiful' and '13 Assassins' were very good with 'The Book of Masters' deserving a special mention as well.
The others were disappointing to a greater or lesser extent with 'End of Animal' taking the wooden spoon closely followed by 'Kaboom'. The remaining four had some good points but were not really satisfying. Best actress - Melanie Thierry in 'La
Princesse de Montpensier' in which Lambert Wilson almost gets Best Actor though this must go to Javier Bardem in 'Biutiful'.
Best cinematography a three-way tie between my top three films. Weirdest performance - Gerard Depardieu in "Mammuth'.
Most gratuitous nudity - 'Kaboom'. Most desirable female - Melanie Thierry with a close second in Roxane Mesquida in 'Kaboom'. Most boring film - 'End of Animal' even if I did sleep almost as much in 'Sleeping Beauty'. Oddest single scene by a leading player - Janet Gaynor's dance in 'Sunny Side Up' which film also claims the most outre scene in 'Turn Up the Heat'
The others were disappointing to a greater or lesser extent with 'End of Animal' taking the wooden spoon closely followed by 'Kaboom'. The remaining four had some good points but were not really satisfying. Best actress - Melanie Thierry in 'La
Princesse de Montpensier' in which Lambert Wilson almost gets Best Actor though this must go to Javier Bardem in 'Biutiful'.
Best cinematography a three-way tie between my top three films. Weirdest performance - Gerard Depardieu in "Mammuth'.
Most gratuitous nudity - 'Kaboom'. Most desirable female - Melanie Thierry with a close second in Roxane Mesquida in 'Kaboom'. Most boring film - 'End of Animal' even if I did sleep almost as much in 'Sleeping Beauty'. Oddest single scene by a leading player - Janet Gaynor's dance in 'Sunny Side Up' which film also claims the most outre scene in 'Turn Up the Heat'
Wednesday, November 3, 2010
Kaboom: Gregg Araki (LFF)
Pulled from this year's Frightfest by the director, the film tells of a bisexual college student sharing a room with a surfer stud
with a lesbian best friend at the same college. She takes him to a party where she immediately goes off with her latest desire
and he is almost as immediately approached by a girl who is sick over his shoes. While cleaning these in the men's room, he
is accosted by another girl who wants to fuck so he does. The film goes down from there with his having weird dreams, seeing the girl who was sick over him kidnapped by men in animal masks, having sex with the second girl frequently while his
best friend finds she cannot stop her sexual activities either. Brightly lit with reasonably good-looking females and an out-of-sight plot, all that can be said in the film's favour is that it is fairly short, well lit and pacy.
with a lesbian best friend at the same college. She takes him to a party where she immediately goes off with her latest desire
and he is almost as immediately approached by a girl who is sick over his shoes. While cleaning these in the men's room, he
is accosted by another girl who wants to fuck so he does. The film goes down from there with his having weird dreams, seeing the girl who was sick over him kidnapped by men in animal masks, having sex with the second girl frequently while his
best friend finds she cannot stop her sexual activities either. Brightly lit with reasonably good-looking females and an out-of-sight plot, all that can be said in the film's favour is that it is fairly short, well lit and pacy.
Biutiful: Alejandro Gonzalez Inarritu (LFF)
A strong and inspired central performance by Javier Barden playing a hustler who is dying of cancer holds the film together.
He cares for his two children on his own while dealing with illegal African immigrant street sellers, Chinese sweatshop workers and labourers and a divorced wife with a bi-polar condition. The cinematography in the poorer parts of Barcelona add to the downbeat tone of the film which Bardem's efforts at treating the immigrants fairly fail to overcome. There is a
more coherent film to the film because it focuses on Bardem then was apparent in Inarritu's last two films 21 Grams and Babel
but this is more a film to be admired than liked.
He cares for his two children on his own while dealing with illegal African immigrant street sellers, Chinese sweatshop workers and labourers and a divorced wife with a bi-polar condition. The cinematography in the poorer parts of Barcelona add to the downbeat tone of the film which Bardem's efforts at treating the immigrants fairly fail to overcome. There is a
more coherent film to the film because it focuses on Bardem then was apparent in Inarritu's last two films 21 Grams and Babel
but this is more a film to be admired than liked.
Sunny Side Up: David Butler (LFF)
A 1929 film starring Janet Gaynor and Charles Farrell, this is considered the first musical that had a story line, albeit a rather
stilted one. It is the 4th of July and preparations for the celebration in Yorkville are contrasted with those at a house party in
Southampton where Farrell, the rich son of Mary Foster, leaves the party in annoyance at the behaviour of his fiancee.
As the Yorkville celebrations reach the evening peak, Farrell drives in and causes a ruckus though this is not his fault as he
has crashed his car to avoid and young girl in the street. He hears Gaynor sing and decides she should go to Southampton to sing at an upcoming charity concert his mother has organised with the aim of having her make his fiancee jealous in the process. He pays for her to be suitable dressed, for her three friends to join her as her servants - butler, maid and chauffeur - and rents the next door mansion for them. The plot succeeds though Gaynor has fallen in love with him so is not too happy at this. On the evening of the concert, one of the local socialites overhears two of the friends let slip that Farrell is
paying the rent next door. The whispers start and, following a bizarre routine with 36 of the local girls dressed in furs before
they appear in swimming costumes and fountains play (shades of Busby Berkeley to come), Marjorie White tells Janet Gaynor to leave immediately. Gaynor does, however, sing her song first and then goes back to Yorkville to mope. She realises she has left her diary behind so she goes off by train while her three friends try to catch up with her by road. For some reason,
White goes to the rented house, finds and reads the diary and realises she has wrongly maligned Gaynor. So it all ends
happily. What is proved without doubt is that Gaynor can neither sing nor dance, Farrell could not act and speak in the same
film and second leads in musicals then seemed to bellow! The songs are standards - Sunny Side Up, If I Had a Talking Picture of You and I'm a Dreamer, Aren't We All the main ones - and these save the film from what otherwiss would be well-
deserved oblivion.
stilted one. It is the 4th of July and preparations for the celebration in Yorkville are contrasted with those at a house party in
Southampton where Farrell, the rich son of Mary Foster, leaves the party in annoyance at the behaviour of his fiancee.
As the Yorkville celebrations reach the evening peak, Farrell drives in and causes a ruckus though this is not his fault as he
has crashed his car to avoid and young girl in the street. He hears Gaynor sing and decides she should go to Southampton to sing at an upcoming charity concert his mother has organised with the aim of having her make his fiancee jealous in the process. He pays for her to be suitable dressed, for her three friends to join her as her servants - butler, maid and chauffeur - and rents the next door mansion for them. The plot succeeds though Gaynor has fallen in love with him so is not too happy at this. On the evening of the concert, one of the local socialites overhears two of the friends let slip that Farrell is
paying the rent next door. The whispers start and, following a bizarre routine with 36 of the local girls dressed in furs before
they appear in swimming costumes and fountains play (shades of Busby Berkeley to come), Marjorie White tells Janet Gaynor to leave immediately. Gaynor does, however, sing her song first and then goes back to Yorkville to mope. She realises she has left her diary behind so she goes off by train while her three friends try to catch up with her by road. For some reason,
White goes to the rented house, finds and reads the diary and realises she has wrongly maligned Gaynor. So it all ends
happily. What is proved without doubt is that Gaynor can neither sing nor dance, Farrell could not act and speak in the same
film and second leads in musicals then seemed to bellow! The songs are standards - Sunny Side Up, If I Had a Talking Picture of You and I'm a Dreamer, Aren't We All the main ones - and these save the film from what otherwiss would be well-
deserved oblivion.
13 Assassins: Takashi Miike (LFF)
In the dying years of the Shogunate, the council of elders decide they must act against Lord Naritsugu who is the present
Shogun's favoured successor, a position which allows him to behave as he will. They instruct a retired samurai to assemble
a team to make him disappear when he next returns to his domain. He does this even though a former dear colleague is now the head of Naritsugu's troops. His usual route to his domain is blocked by a nobleman who resents his behaviour so he
has to detour but is then persuaded to take a less direct route which throws the assassins' plans out. They go cross country
but get lost until they meet up with an outlaw who leads them over the hills to the town of Ochiai through which Lord Naritsugu musr pass. They chase the inhabitants out and fortify the town so that when he turns up with his escort of 200 men they are able to isolate them into smaller groups and mayhem ensues. During the extended fight, the assassins are
killed off one by one until only three remain though by now they are fighting near enough the same number. The lead
assassin fights and kills his former friend and then the evil lord before dying from his wounds. This leaves his young protege and the outlaw who has become the unfficial 13th assassin alive in the ruins of the town. A slowish build-up though not
without interest is more than offset by the prolonged battle in the final reels. Brilliently executed.
Shogun's favoured successor, a position which allows him to behave as he will. They instruct a retired samurai to assemble
a team to make him disappear when he next returns to his domain. He does this even though a former dear colleague is now the head of Naritsugu's troops. His usual route to his domain is blocked by a nobleman who resents his behaviour so he
has to detour but is then persuaded to take a less direct route which throws the assassins' plans out. They go cross country
but get lost until they meet up with an outlaw who leads them over the hills to the town of Ochiai through which Lord Naritsugu musr pass. They chase the inhabitants out and fortify the town so that when he turns up with his escort of 200 men they are able to isolate them into smaller groups and mayhem ensues. During the extended fight, the assassins are
killed off one by one until only three remain though by now they are fighting near enough the same number. The lead
assassin fights and kills his former friend and then the evil lord before dying from his wounds. This leaves his young protege and the outlaw who has become the unfficial 13th assassin alive in the ruins of the town. A slowish build-up though not
without interest is more than offset by the prolonged battle in the final reels. Brilliently executed.
Surviving Life: Jan Svankmaier (LFF)
A married man dreams of a beautiful woman and goes to a psychcoanalyst to try and resolve his confusions. Following the
usual Svankmaier mix of paper cut-outs, claymation and real life action, there are a series of surreal scenes during which his
mental state is explored. Probably well up to standard but I was in the wrong frame of mind for it.
usual Svankmaier mix of paper cut-outs, claymation and real life action, there are a series of surreal scenes during which his
mental state is explored. Probably well up to standard but I was in the wrong frame of mind for it.
The Sleeping Beauty: Catherine Breillat (LFF)
A sort of feminist update on the fairy tale with the princess being cursed to die at 16 but three young witches, first seen in
the nude bathing, convert this to falling asleep for 100 years, being able to move around in her dreams and then for the curse to run from 6 to 16 as childhood is the boring part of life. This happens and the young princess goes through a series of
adventures, falling in love with a young lad who is taken by the Snow Queen, living with gypsies and other events until she
reahces 16 when she wakes up and meets someone she takes to be the long-lost boyfriend but is actually his great-grandson. She is now old enough to do something about the love she had as a 6 year old for a protective older boy which she does to end up pregnant - end of film. Boring.
the nude bathing, convert this to falling asleep for 100 years, being able to move around in her dreams and then for the curse to run from 6 to 16 as childhood is the boring part of life. This happens and the young princess goes through a series of
adventures, falling in love with a young lad who is taken by the Snow Queen, living with gypsies and other events until she
reahces 16 when she wakes up and meets someone she takes to be the long-lost boyfriend but is actually his great-grandson. She is now old enough to do something about the love she had as a 6 year old for a protective older boy which she does to end up pregnant - end of film. Boring.
The Book of Masters: Vadim Sokolovsky (LFF)
A fairytale princess out picking flowers with her grandmothers touches a magic stone which turns her into a Stone Queen who
is trapped in a tower for eternity so she vows revenge on all humans and creates an army of stone warriors who lay waste to
the surrounding area. It turns out that there is a resolution to the curse which involves a stonecutter remodelling the magic stone though this can, if done wrongly, give the Stone Queen the ability to end the world. A rather dopey looking boy has
followed his father's trade and learns all there is to know about stone cutting having read the Book of Masters. After a number of adventures including a beautiful young maid with whom he, of course, falls in love, he ends as the hero of the hour and all live happily ever after. The production does from time to time cut from live action to a printed page which then
comes to life to move the story on - very effectively done. A charming film.
is trapped in a tower for eternity so she vows revenge on all humans and creates an army of stone warriors who lay waste to
the surrounding area. It turns out that there is a resolution to the curse which involves a stonecutter remodelling the magic stone though this can, if done wrongly, give the Stone Queen the ability to end the world. A rather dopey looking boy has
followed his father's trade and learns all there is to know about stone cutting having read the Book of Masters. After a number of adventures including a beautiful young maid with whom he, of course, falls in love, he ends as the hero of the hour and all live happily ever after. The production does from time to time cut from live action to a printed page which then
comes to life to move the story on - very effectively done. A charming film.
End of Animal: Jo Sung-Hee (LFF)
A girl is travelling by taxi to her mother's home in the country and agrees to give a hitch-hiker a lift. He seems to know all about the driver and the girl as well as forecasting some sort of disaster. This duly happens and the driver goes off to find
help, leaving the girl in the cab. The stranger vanishes and the girl finds herself in a twisted loop where she is bullied by
others and gets nowhere until finally giving birth by the roadside - although her pregnancy is established early on, she does not look that advanced at the start. The stranger, who has appeared again from time to time, turns up again and takes the baby leaving the girl sitting by the roadside reciting a list of things she wants. I confess i fell asleep at times during this very odd film in which so little actually happens. The director is overly fond of over-long distance shots which make Bela Tarr come across as almost an action helmer.
help, leaving the girl in the cab. The stranger vanishes and the girl finds herself in a twisted loop where she is bullied by
others and gets nowhere until finally giving birth by the roadside - although her pregnancy is established early on, she does not look that advanced at the start. The stranger, who has appeared again from time to time, turns up again and takes the baby leaving the girl sitting by the roadside reciting a list of things she wants. I confess i fell asleep at times during this very odd film in which so little actually happens. The director is overly fond of over-long distance shots which make Bela Tarr come across as almost an action helmer.
Mammuth: Benoit Delepine, Gustave Kervern (LFF)
The previous two films by these directors were more than a little odd, one a wheelchair road movie and the other a mixed up revenge movie. The attraction here is the two leads - Gerard Depardieu and Yolande Moreau. They play a married couple with his retirement from the local abattoir kicking the film off. He discovers that he needs to obtain paperwork from previous employers to get a pension and the film becomes a combination of a road movie and nostalgia. The opening fe
scenes are farcical, especially the ones in the local supermarket but the film seems to lose its way though there are several
amusing sequences - and at least one very sick one. Isabelle Adjani appears as a ghost from the past with her face rather
damaged which turns out to be the result of Depardieu having crashed his motorbike while she was a passenger - he lived,
she didn't. Mammuth, incidentally, is the make of bike he rode which turns out to be worth a lot of money. A strange and
somewhat disappointing film.
scenes are farcical, especially the ones in the local supermarket but the film seems to lose its way though there are several
amusing sequences - and at least one very sick one. Isabelle Adjani appears as a ghost from the past with her face rather
damaged which turns out to be the result of Depardieu having crashed his motorbike while she was a passenger - he lived,
she didn't. Mammuth, incidentally, is the make of bike he rode which turns out to be worth a lot of money. A strange and
somewhat disappointing film.
La Princesse de Montpensier: Bertrand Tavernier (LFF)
Based on a story by Madame de Lafayette, this historical film is set during the religious strife in 16th century France. The
cinematography is excellent both in the outdoor and indoor scenes and the acting, particularly by Melanie Thierry in the
eponymous lead and by Lambert Wilson, her tutor, first rate. She is in love with her cousin though engaged to his brother
but is marroed off to another noble for political reasons to further her father's ambitions. Needless to say, although she tries to be faithful to her husband she has sex with the cousin she loves and also develops a strong attachment for Lambert
Wilson. The film ends in tragedy after a number of well-constructed and highly charged scenes both at her husband's castle and at the royal court. A really good film.
cinematography is excellent both in the outdoor and indoor scenes and the acting, particularly by Melanie Thierry in the
eponymous lead and by Lambert Wilson, her tutor, first rate. She is in love with her cousin though engaged to his brother
but is marroed off to another noble for political reasons to further her father's ambitions. Needless to say, although she tries to be faithful to her husband she has sex with the cousin she loves and also develops a strong attachment for Lambert
Wilson. The film ends in tragedy after a number of well-constructed and highly charged scenes both at her husband's castle and at the royal court. A really good film.
Tuesday, October 12, 2010
Two German silent films
Schlagende Wetter (Firedamp)directed by Karl Grune, is a restored 1923 film about a marriage saved by a mine explosion. The story is straightforward - a girl becomes pregnant and her lover runs away and she is kicked out of the family home.
She meets up with a miner in Sankt Anton who marries her but it turns out that the runaway father is also here and he tries to rekindle the flame though she resists. A fire down the mine results in the erstwhile lover's demise and the couple's reconciliation. The film is rather incomplete but has some solid performances and interesting effects.
Die Wiesse Holle von Piz Palu (The White Hell of Pitz Palu) dates from 1929 and has two directors. Arnold Fanck who also wrote the story and Georg Wilhelm Pabst. One of a considerable number of mountain films of the 20s, several featuring, as does this one, Leni Riefenstahl, the film is considered by some to be the best mountain film of all. Again, marriage is at the heart of the film, one current and one forming the opening sequence with the loss of the wife. The widower meets
up with the second couple and they climb the eponymous peak together only to be caught in an avalanche when the weather turns. The widower sacrifices himself to save the couple. A somewhat trite melodrama which is saved by the excellent
photography both of the panoramic scenic shots of the mountains and, particularly, of the partly underground scenes of the
resuce party's efforts, the latter being extremely well done. What is of interest in comparing the two films is the amount of
development in equipment and the techniques that this allowed in the few years that separate the two. Even allowing for the fact that the older film is incomplete, the contrast is really striking.
She meets up with a miner in Sankt Anton who marries her but it turns out that the runaway father is also here and he tries to rekindle the flame though she resists. A fire down the mine results in the erstwhile lover's demise and the couple's reconciliation. The film is rather incomplete but has some solid performances and interesting effects.
Die Wiesse Holle von Piz Palu (The White Hell of Pitz Palu) dates from 1929 and has two directors. Arnold Fanck who also wrote the story and Georg Wilhelm Pabst. One of a considerable number of mountain films of the 20s, several featuring, as does this one, Leni Riefenstahl, the film is considered by some to be the best mountain film of all. Again, marriage is at the heart of the film, one current and one forming the opening sequence with the loss of the wife. The widower meets
up with the second couple and they climb the eponymous peak together only to be caught in an avalanche when the weather turns. The widower sacrifices himself to save the couple. A somewhat trite melodrama which is saved by the excellent
photography both of the panoramic scenic shots of the mountains and, particularly, of the partly underground scenes of the
resuce party's efforts, the latter being extremely well done. What is of interest in comparing the two films is the amount of
development in equipment and the techniques that this allowed in the few years that separate the two. Even allowing for the fact that the older film is incomplete, the contrast is really striking.
Krajewski, Marek: The End of the World in Breslau
A middle-aged police detective has to solve some singularly unpleasant crimes while dealing with a younger unfaithful wife.
He seems to spend much of his time eating and drinking throughout the day so that he is more often than not either drunk or
suffering a hangover. He deduces that the crimes are linked to a Russian seer who has proclaimed that the end of the world
is nigh with ancient crimes being repeated and proceeds, with others, to search through the archives to find the originals of the present crimes and then to work out which comes next. The whole story is told in flashback as a form of deathbed confession though the device seems unnecessary. A well written curiosity in many ways which evokes the underworld of the
former capital of Silesia and its inhabitants more than adequately.
He seems to spend much of his time eating and drinking throughout the day so that he is more often than not either drunk or
suffering a hangover. He deduces that the crimes are linked to a Russian seer who has proclaimed that the end of the world
is nigh with ancient crimes being repeated and proceeds, with others, to search through the archives to find the originals of the present crimes and then to work out which comes next. The whole story is told in flashback as a form of deathbed confession though the device seems unnecessary. A well written curiosity in many ways which evokes the underworld of the
former capital of Silesia and its inhabitants more than adequately.
Sunday, September 26, 2010
Frightfest 2010 Redux
As an exercise, I thought I would post a series of short comments on the filmss seen which may or may not reflect what I
thought of them.
Hatchet 2 - bury it!
Primal - anything but first!
Eggshells - better not hatched.
The Clinic - not for hypochondriacs
Finale - at least it's over!
Wound - either coming loose or a cut beneath depending on the pronunciation
F - no... B+
Christopher Roth - not a patch on Tim
Fanboys - preferred the fan girl
13 Hrs - Went quickly enough
I Spit On Your Grave - Should not have been resurrected
Monsters - rather a harsh description of the leads
The Pack - two queens and a joker beat the rest
Outcast - should be cast out
We Are What We Are - more's the pity
Amer - a bitter pill to swallow
Buried - see I Spit On Your Grave
Video Nasties - sweet!
After.Life - needed livening up
Bedevilled - you can't bank on a banker
Red White and Blue - flagged badly
The Last Exorcism - good job there was only one!
thought of them.
Hatchet 2 - bury it!
Primal - anything but first!
Eggshells - better not hatched.
The Clinic - not for hypochondriacs
Finale - at least it's over!
Wound - either coming loose or a cut beneath depending on the pronunciation
F - no... B+
Christopher Roth - not a patch on Tim
Fanboys - preferred the fan girl
13 Hrs - Went quickly enough
I Spit On Your Grave - Should not have been resurrected
Monsters - rather a harsh description of the leads
The Pack - two queens and a joker beat the rest
Outcast - should be cast out
We Are What We Are - more's the pity
Amer - a bitter pill to swallow
Buried - see I Spit On Your Grave
Video Nasties - sweet!
After.Life - needed livening up
Bedevilled - you can't bank on a banker
Red White and Blue - flagged badly
The Last Exorcism - good job there was only one!
Stansberry, Domenic: The Big Boom
The return of the large-nosed PI, Dante Mancuso, who is asked to find a former sweetheart, daughter of an old San Franciscan
Italian family. She is found dead and the novel unfolds in a series of short, sometimes, disconnected chapters with the ending of the dot.com boom as background and, as it turns out, the reason behind the girl's death. A pleasant read which
manages to convey both the breaking down of old neighbourhoods and the slump following the boom - as one character puts it: "You think abour something long enough, you imagine it, after a while it does exist. You bring it into being." He continues by saying that the aim is to hang on to centure capital until the idea becomes real and thereby hangs the motive for the various killings. Not one of my favourites but readable.
Italian family. She is found dead and the novel unfolds in a series of short, sometimes, disconnected chapters with the ending of the dot.com boom as background and, as it turns out, the reason behind the girl's death. A pleasant read which
manages to convey both the breaking down of old neighbourhoods and the slump following the boom - as one character puts it: "You think abour something long enough, you imagine it, after a while it does exist. You bring it into being." He continues by saying that the aim is to hang on to centure capital until the idea becomes real and thereby hangs the motive for the various killings. Not one of my favourites but readable.
Thursday, September 23, 2010
Hughes, Dorothy B.: The Blackbirder
Having read four novels some years ago in a noir series, I was curious to see how the author translated those sentiments into
a spy thriller in this book set during World War II. The heroine is American by birth though raised in France and illegally returned to the USA to escape the Germans in Paris. She is seeking her childhood sweetheart, the son of the couple who has
raised her, though she believed he was for the Free French whereas his parents were decidedly pro-Nazi. From New York where she sees an acquaintance murdered she flees to Santa Fe, in and around which the action takes place. There is a lot
of duplicity, uncertain trust and numerous twists of fate during the course of the novel. The heroine has developed survival skills during her flight to safety from Paris and she needs these to keep herself alive. Unlike the traditional noir which has a
hero beset by a faithless woman, this has a heroine who finds she has a faithless hero though the final chapters which rely
(as often is the case) somewhat on coincidence do tend to the sentimental. However, reading this has prompted me to buy
'In a Lonely Place' which is perhaps her best-known novel.
a spy thriller in this book set during World War II. The heroine is American by birth though raised in France and illegally returned to the USA to escape the Germans in Paris. She is seeking her childhood sweetheart, the son of the couple who has
raised her, though she believed he was for the Free French whereas his parents were decidedly pro-Nazi. From New York where she sees an acquaintance murdered she flees to Santa Fe, in and around which the action takes place. There is a lot
of duplicity, uncertain trust and numerous twists of fate during the course of the novel. The heroine has developed survival skills during her flight to safety from Paris and she needs these to keep herself alive. Unlike the traditional noir which has a
hero beset by a faithless woman, this has a heroine who finds she has a faithless hero though the final chapters which rely
(as often is the case) somewhat on coincidence do tend to the sentimental. However, reading this has prompted me to buy
'In a Lonely Place' which is perhaps her best-known novel.
Kirino, Natsuo: Out
A woman murders her good-for-nothing husband and enlists the help of workmates on the night shift at a fast food plant to
help her avoid detection and conviction. While that is the basic short version of the story, the interest lies in the varying reactions of the workmates, the willingness to ignore morality for financial advantage and the course that events take in the
aftermath of the murder. As with the other of her books I have read, there is a dispassionate tone with often gruesome and illegal activity presented without condemnation almost as if the entire world was alienated from itself. It did take me quite
some time to read the 500 plus pages as there is a definite density to the work though this does not prevent its being a very
readable work. I don't think it was enjoyable though this is hardly surprising considering the subject matter.
help her avoid detection and conviction. While that is the basic short version of the story, the interest lies in the varying reactions of the workmates, the willingness to ignore morality for financial advantage and the course that events take in the
aftermath of the murder. As with the other of her books I have read, there is a dispassionate tone with often gruesome and illegal activity presented without condemnation almost as if the entire world was alienated from itself. It did take me quite
some time to read the 500 plus pages as there is a definite density to the work though this does not prevent its being a very
readable work. I don't think it was enjoyable though this is hardly surprising considering the subject matter.
Crossways (JuJiro): Teinosuke Kinugasa
This 1928 Japanese silent is described as one of the milestones of Japanese cinema following the director's earlier 'A Page of Madness'. The story is one of a profligate young man, besotted with a whore, who thinks he has killed a rival for her wares
and takes refuge with his sister to hide from the consequences. The film reflects the German expressionism of the period and is deliberately not filmed sequentially but with a mix of the now and the then to illustrate the tortured mind of the lead.
The film was preceded by a somewhat unfluent (if there is such a word) introduction aiming to put the film in the context of
Japanese cinema at the time. I thought the film was of interest but not quite up to the level of the better German and other
films of the period and not as interesting as the earlier film.
and takes refuge with his sister to hide from the consequences. The film reflects the German expressionism of the period and is deliberately not filmed sequentially but with a mix of the now and the then to illustrate the tortured mind of the lead.
The film was preceded by a somewhat unfluent (if there is such a word) introduction aiming to put the film in the context of
Japanese cinema at the time. I thought the film was of interest but not quite up to the level of the better German and other
films of the period and not as interesting as the earlier film.
Frightfest 2010: Day 5
The last day of the marathon opened with a documentary 'Video Nasties: Moral Panic Censorship and Videotape' directed by
Jake West which did, at times, seem very familiar though this was its world premiere. I suppose there are, talking heads apart, a limited number of clips that can be shown - and several of them appeared more than once during the hour of this film. Interesting but rather old hat.
'After.Life' has Liam Neeson as a funeral director, Christina Ricci as a frequently naked body who may or may not be dead and
Justin Long as a suffering fiance (again). Agnieska Wojtowisz-Vosloo directs this stylishly filmed effort which was not that
scary but it was quite effective.
'Bedevilled', a Korean film directed by Jang Cheol-soo, tells of a young female banker who is sent on leave and goes to the island of Moodo where she has a property left her by her grandparents. Her one-timefriend there is the only young woman on the island and is treated as a sexual toy by the men and a slave by the women. Though shocked by this, the banker will not get involved as she had not done so over the years by ignoring the many letters her friend had sent her. The death of
her daughter turns the island girl crazy which leads to an extended and very bloody denouement. Good(ish)
'Red White and Blue' directed by Simon Rumley has Noah Taylor as a veteran of the Iraq war who befriends a slut who has started work at the same plant. Despite her promiscuity both at work and elsewhere, he forms an attachment to her which
ends abruptly when one of her night-time liaisons goes wrong. He proceeds to take revenge for her death before riding off
into the sunset. So What!
Danial Sramm's 'The Last Exorcism' was the closing film which, true to form, started a good 30 minutes late so the ending was
missed. A mock documentary about a Southern Baptist preacher who has followed his father by performing exorcisms which
are all faked, exposing this being the reason for the documentary. The twist is that his last one which is to form the centre of the documentary turns out to be one of genuine possession..... at which point we made our excuses and left.
To summarise the weekend fairly is not easy - even though these reviews are nearer the event than those of last year, there is a definite blurring of memory - and one or two complete or near-complete lapses. As I said a year ago, the earlier films have
tended to be the better remembered and reviewd though this is not completely so. There was nothing this year that stood out though there were several that, one way or another, might bear a second viewing. Firstly, a few words on the rationale for choosing the Discovery Screen over the main one. The quiz, the Hooper interview and re-run of 'The Hills Have Eyes' were natural gaps in the main arena with British films 'Isle of Dogs' and 'Cherry Tree Lane' adding to the time available. As well as the late night films, the missed films were "Burning Bright' and 'Higanjima: Escape from Vampire Island' on the Discovery Screen and 'Red Hill', 'Damned by Dawn', 'The Tortured' and 'The Dead' on the main screen. The films seen ranged
from some goodish ones - 'The Clinic','F', '13 Hrs','The Pack' and 'Monsters'- through some oddities - 'Amer' and 'After.Life' - to some that were anything but good - 'Eggshells', 'We Are What We Are', and others. Nothing stood out in the way that last
year's 'The Girl with the Dragon Tattoo' and the previous year's 'Let the Right One In' did and I amnot sure that some of those
I did like will remain so in a year or two's time. However, all in all a worthwhile experience but next year I think it will pay to
spend money on hotel accommdation and cut back on the travelling.
Jake West which did, at times, seem very familiar though this was its world premiere. I suppose there are, talking heads apart, a limited number of clips that can be shown - and several of them appeared more than once during the hour of this film. Interesting but rather old hat.
'After.Life' has Liam Neeson as a funeral director, Christina Ricci as a frequently naked body who may or may not be dead and
Justin Long as a suffering fiance (again). Agnieska Wojtowisz-Vosloo directs this stylishly filmed effort which was not that
scary but it was quite effective.
'Bedevilled', a Korean film directed by Jang Cheol-soo, tells of a young female banker who is sent on leave and goes to the island of Moodo where she has a property left her by her grandparents. Her one-timefriend there is the only young woman on the island and is treated as a sexual toy by the men and a slave by the women. Though shocked by this, the banker will not get involved as she had not done so over the years by ignoring the many letters her friend had sent her. The death of
her daughter turns the island girl crazy which leads to an extended and very bloody denouement. Good(ish)
'Red White and Blue' directed by Simon Rumley has Noah Taylor as a veteran of the Iraq war who befriends a slut who has started work at the same plant. Despite her promiscuity both at work and elsewhere, he forms an attachment to her which
ends abruptly when one of her night-time liaisons goes wrong. He proceeds to take revenge for her death before riding off
into the sunset. So What!
Danial Sramm's 'The Last Exorcism' was the closing film which, true to form, started a good 30 minutes late so the ending was
missed. A mock documentary about a Southern Baptist preacher who has followed his father by performing exorcisms which
are all faked, exposing this being the reason for the documentary. The twist is that his last one which is to form the centre of the documentary turns out to be one of genuine possession..... at which point we made our excuses and left.
To summarise the weekend fairly is not easy - even though these reviews are nearer the event than those of last year, there is a definite blurring of memory - and one or two complete or near-complete lapses. As I said a year ago, the earlier films have
tended to be the better remembered and reviewd though this is not completely so. There was nothing this year that stood out though there were several that, one way or another, might bear a second viewing. Firstly, a few words on the rationale for choosing the Discovery Screen over the main one. The quiz, the Hooper interview and re-run of 'The Hills Have Eyes' were natural gaps in the main arena with British films 'Isle of Dogs' and 'Cherry Tree Lane' adding to the time available. As well as the late night films, the missed films were "Burning Bright' and 'Higanjima: Escape from Vampire Island' on the Discovery Screen and 'Red Hill', 'Damned by Dawn', 'The Tortured' and 'The Dead' on the main screen. The films seen ranged
from some goodish ones - 'The Clinic','F', '13 Hrs','The Pack' and 'Monsters'- through some oddities - 'Amer' and 'After.Life' - to some that were anything but good - 'Eggshells', 'We Are What We Are', and others. Nothing stood out in the way that last
year's 'The Girl with the Dragon Tattoo' and the previous year's 'Let the Right One In' did and I amnot sure that some of those
I did like will remain so in a year or two's time. However, all in all a worthwhile experience but next year I think it will pay to
spend money on hotel accommdation and cut back on the travelling.
Frightfest 2010: Day 4
'The Pack', a Franck Richard debut feature, starts with Emilie Dequenne driving south through the French countryside with her
picking up Benjamin Biolay as a protection after a run in with three bikers. Stopping at Mama Spack's truck stop (though it
did seem rather off the road) for refreshments, she finds her companion has gone missing. Mama Spack, the incomparable
Yolande Moreau, does not help at all and she soon finds herself captive, having been the victim of a plot to lure her there.
The stop is near an old mine which has long since closed down following a major disaster and her presence is required to sate
the appetites of the dead miners who return. After many twists in the plot she survives. A dark film with an interesting plot and some nice touches.
Colm McCarthy has directed 'The Outcast' which deals with Celtic myth on a Scottish housing estate. Despite a cast of well-known British actors who acquit themselves as well as can be expected in the circumstances, this was not really involving.
We Are What We Are' is Mexican, directed by Jorge Michel Grau, about an urban cannibal family facing the problem of getting their food when their father dies in the middle of a shopping mall. Perhaps I might have enjoyed this more had it been on earlier in the weekend's showings but, apart from the opening sequence which was nicely filmed, it pressed no buttons and
certainly did not ring any bells.
'Amer' is a Franco-Belgian feature directed by Helene Cattet and Bruno Forzani. Although the setting and filming were very
interesting, the story of three episodes in a woman's life starting with childhood provided an example of style without substance. An hommage to the giallos of the 1970s, it was a rather plale imitation of the best of that decade.
'Buried' was a substitute for 'A Serbian Film' which ran into censorship problems and was withdrawn. The film has a single actor playing a captured American soldier buried in a coffin somewhere in Iraq. He can communicate with outside world and
the film is a slow unfolding of the apparents efforts to find and rescue him before he dies. Wow(?)
picking up Benjamin Biolay as a protection after a run in with three bikers. Stopping at Mama Spack's truck stop (though it
did seem rather off the road) for refreshments, she finds her companion has gone missing. Mama Spack, the incomparable
Yolande Moreau, does not help at all and she soon finds herself captive, having been the victim of a plot to lure her there.
The stop is near an old mine which has long since closed down following a major disaster and her presence is required to sate
the appetites of the dead miners who return. After many twists in the plot she survives. A dark film with an interesting plot and some nice touches.
Colm McCarthy has directed 'The Outcast' which deals with Celtic myth on a Scottish housing estate. Despite a cast of well-known British actors who acquit themselves as well as can be expected in the circumstances, this was not really involving.
We Are What We Are' is Mexican, directed by Jorge Michel Grau, about an urban cannibal family facing the problem of getting their food when their father dies in the middle of a shopping mall. Perhaps I might have enjoyed this more had it been on earlier in the weekend's showings but, apart from the opening sequence which was nicely filmed, it pressed no buttons and
certainly did not ring any bells.
'Amer' is a Franco-Belgian feature directed by Helene Cattet and Bruno Forzani. Although the setting and filming were very
interesting, the story of three episodes in a woman's life starting with childhood provided an example of style without substance. An hommage to the giallos of the 1970s, it was a rather plale imitation of the best of that decade.
'Buried' was a substitute for 'A Serbian Film' which ran into censorship problems and was withdrawn. The film has a single actor playing a captured American soldier buried in a coffin somewhere in Iraq. He can communicate with outside world and
the film is a slow unfolding of the apparents efforts to find and rescue him before he dies. Wow(?)
Frightfest 2010: Day 3
Again the Discovery Screen for 'Christopher Roth' by Max Sender (Maxime Alexandre) in which the eponymous hero is a successful thriller writer who wants to change direction and takes a villa in Umbria to find the peace he needs to do so. He
and his wife find a neighbour (though not exactly next door) is a fan and they dine together at times. A series of local murders by a serial killer called The Boar because his victims have wooden tusks forced through their cheeks complicates his
life and leads to a reality as scary as anything he has written. With a non-English cast (apart from Ben Gazzara in a cameo as the writer's New York agent). this seemed rather a Euro-pudding film with, as one would expect, beautiful cinematography.
'Fanboys' sees a bunch of teenage Star Wars fans setting out to steal a copy of George Lucas's 'Episode One - The Phantom
Menace' before it is released so that they can claim to be the first to have seen it. A series of adventures on the way to the Lucas ranch make this an example of the road trip genre, mildly amusing and predictable with Kristen Bell as the feisty girl who is one of the boys but really after love. What the ... was it doing here?
'13 Hrs' sees Isabella Calthorpe return to the family mansion after some time in this Jonathan Glendening film, another World
Premiere. Cut off by a storm, she and her family less the mother who is away purportedly either for work or with her lover
depending on who is telling it, plus an ex boy friend and a current girl friend, the bounteously endowed Gemma Atkinson,
are attacked by an unseen but bloody animal which proceeds to kill them off one by one, starting with the father. There is an
unexpected explanation which is revealed only after most of them are dead as are a local policeman and animal trapper. An
interesting premise well done and, for once, set in a milieu that is neither urban nor rural slum.
Steven R Monroe has directed a remake of the classic 'I Spit On your Grave' and has followed the basic story line but added at
least one twist which did not really improve matters. The humiliation and rape of Sarah Butler, the lead, are effectively done without much prurience and the revenge sequences show a certain imagination but the expansion of the film from the original does not enhance but rather diminishes.
Gareth Edwards debut film 'Monsters' is a road movie of sorts with a sci-fi basis. Alien lifeforms from a NASA probe have led
to much of Mexico being quarantined and a large wall built along the border with the USA. A reporter in Central America is
tasked with getting his employer's adult daughter back to the USA safely in order to keep is job. The film is the tale of their
journey which is far from straightforward and which, inevitably, leads to a romantic attachment before the end. The monsters of the title are almost incidental but are necessary to provide the pitfalls which befall them until the deliberately ambiguous ending. The mix of genres may tell against the film which is well made.
and his wife find a neighbour (though not exactly next door) is a fan and they dine together at times. A series of local murders by a serial killer called The Boar because his victims have wooden tusks forced through their cheeks complicates his
life and leads to a reality as scary as anything he has written. With a non-English cast (apart from Ben Gazzara in a cameo as the writer's New York agent). this seemed rather a Euro-pudding film with, as one would expect, beautiful cinematography.
'Fanboys' sees a bunch of teenage Star Wars fans setting out to steal a copy of George Lucas's 'Episode One - The Phantom
Menace' before it is released so that they can claim to be the first to have seen it. A series of adventures on the way to the Lucas ranch make this an example of the road trip genre, mildly amusing and predictable with Kristen Bell as the feisty girl who is one of the boys but really after love. What the ... was it doing here?
'13 Hrs' sees Isabella Calthorpe return to the family mansion after some time in this Jonathan Glendening film, another World
Premiere. Cut off by a storm, she and her family less the mother who is away purportedly either for work or with her lover
depending on who is telling it, plus an ex boy friend and a current girl friend, the bounteously endowed Gemma Atkinson,
are attacked by an unseen but bloody animal which proceeds to kill them off one by one, starting with the father. There is an
unexpected explanation which is revealed only after most of them are dead as are a local policeman and animal trapper. An
interesting premise well done and, for once, set in a milieu that is neither urban nor rural slum.
Steven R Monroe has directed a remake of the classic 'I Spit On your Grave' and has followed the basic story line but added at
least one twist which did not really improve matters. The humiliation and rape of Sarah Butler, the lead, are effectively done without much prurience and the revenge sequences show a certain imagination but the expansion of the film from the original does not enhance but rather diminishes.
Gareth Edwards debut film 'Monsters' is a road movie of sorts with a sci-fi basis. Alien lifeforms from a NASA probe have led
to much of Mexico being quarantined and a large wall built along the border with the USA. A reporter in Central America is
tasked with getting his employer's adult daughter back to the USA safely in order to keep is job. The film is the tale of their
journey which is far from straightforward and which, inevitably, leads to a romantic attachment before the end. The monsters of the title are almost incidental but are necessary to provide the pitfalls which befall them until the deliberately ambiguous ending. The mix of genres may tell against the film which is well made.
Frightfest 2010: Day 2
Tobe Hooper was the star attraction this year and the first film of the day was his debut feature 'Eggshells', set in the Austin of 1969. Very much of its time, the kindest thing one can say about this is that it is a student effort which shows some promise amongst one hell of a lot of rubbish.
Switching to the Discovery Screen for the second film of the day produced 'The Clinic', another Australian effort directed by
James Rabbitts whose first film this is. Aided by a strong cast led by Tabrett Bethell, he has produced a fine effort with a
strong but simple story. Pregnant women are drugged, taken to a deserted abattoir, given a Caesarean to remove the foetus,
and then killed with the babies sold to couples who want healthy children. The horror is created by the attempts of the few
women there trying to escape, in no small part thwarted by one of their number who has been promised freedom if she is the only one of the current intake to survive. A nice twist at the end which I shall not reveal. No pyrotechnics but a solidly made
and effective film.
'Finale' directed by John Michael Elfers was also on the Discovery Screen. A mother refuses to believe her son committed suicide and investigates his death which starts to threaten both her sanity and her daughters' life. Creepy and confused but
not memorable (after the three weeks since Frightfest I had trouble recalling the film).
'Wound' directed by David Blyth was the third Discovery Screen film of the day, a shocker from New Zealand, and this was a really confusing mess of a film.
'F' helmed by Johanne Roberts had its World Premiere today in the main auditorium. Set in a 6th Form College, it deals with
the events of one evening following an opening sequence in which David Schofield, the lead, is attacked by a student whose
work has been marked F for failed. The consequences of this when the School Board do not back him (you do not fail pupils but tell them to try harder next time to avoid being sued by irate parents) are his gradual disintegration and the break-up of his marriage. On the evening in question, he has put his daughter in detention (the only false note in the film is that this is happening after 6.00pm) when the school is invaded by faceless youths who proceed to main and kill. Schofield is forced to
react to save his daughter which he does though, again, there is a final twist which leaves his efforts in question. A fine effort all round.
Switching to the Discovery Screen for the second film of the day produced 'The Clinic', another Australian effort directed by
James Rabbitts whose first film this is. Aided by a strong cast led by Tabrett Bethell, he has produced a fine effort with a
strong but simple story. Pregnant women are drugged, taken to a deserted abattoir, given a Caesarean to remove the foetus,
and then killed with the babies sold to couples who want healthy children. The horror is created by the attempts of the few
women there trying to escape, in no small part thwarted by one of their number who has been promised freedom if she is the only one of the current intake to survive. A nice twist at the end which I shall not reveal. No pyrotechnics but a solidly made
and effective film.
'Finale' directed by John Michael Elfers was also on the Discovery Screen. A mother refuses to believe her son committed suicide and investigates his death which starts to threaten both her sanity and her daughters' life. Creepy and confused but
not memorable (after the three weeks since Frightfest I had trouble recalling the film).
'Wound' directed by David Blyth was the third Discovery Screen film of the day, a shocker from New Zealand, and this was a really confusing mess of a film.
'F' helmed by Johanne Roberts had its World Premiere today in the main auditorium. Set in a 6th Form College, it deals with
the events of one evening following an opening sequence in which David Schofield, the lead, is attacked by a student whose
work has been marked F for failed. The consequences of this when the School Board do not back him (you do not fail pupils but tell them to try harder next time to avoid being sued by irate parents) are his gradual disintegration and the break-up of his marriage. On the evening in question, he has put his daughter in detention (the only false note in the film is that this is happening after 6.00pm) when the school is invaded by faceless youths who proceed to main and kill. Schofield is forced to
react to save his daughter which he does though, again, there is a final twist which leaves his efforts in question. A fine effort all round.
Frightfest 2010: Day 1
The opening film was the world premiere of "Hatchet II' directed by Frightfest favourite, Adam Green, which follows on directly from the first film. The female survivor enlists the help of Tony Todd who assembles a motley crew of hunters to kill Victor
Crowley, the killing monster, while helping the girl retrieve her relatives' remains. What follows is a series of inventive and
bloody killings as Crowley outwits his hunters until the final scene. Despite the hype, a relatively mundane example of the
genre despite the imaginative deaths - one example is a new version of losing your head over a woman!
A second world premiere, "Primal' directed by Josh Reed, followed. Set in the Australian wilds, the film follows a small party
of friends looking for Aboriginal relics which they find - but the area is infected by a primordial evil. Some are infected by this and kill others to provide food for the evil entity leaving, as so often, one female survivor. A nice touch is that she is
teased early in the film to utter the c... word but will only do so when appropriate: guess what her final word is after killing
the last 'baddie'. Am I wrong to say this was not bad for an Australian film.
Crowley, the killing monster, while helping the girl retrieve her relatives' remains. What follows is a series of inventive and
bloody killings as Crowley outwits his hunters until the final scene. Despite the hype, a relatively mundane example of the
genre despite the imaginative deaths - one example is a new version of losing your head over a woman!
A second world premiere, "Primal' directed by Josh Reed, followed. Set in the Australian wilds, the film follows a small party
of friends looking for Aboriginal relics which they find - but the area is infected by a primordial evil. Some are infected by this and kill others to provide food for the evil entity leaving, as so often, one female survivor. A nice touch is that she is
teased early in the film to utter the c... word but will only do so when appropriate: guess what her final word is after killing
the last 'baddie'. Am I wrong to say this was not bad for an Australian film.
Wednesday, September 1, 2010
Welsh, Louise: The Bullet Trick
Although a review refer to her earlier novel 'The Cutting Room', I found this rather different from my memory of that novel which was dark and Gothic in time. Another review says "reaches new depths of depravity" which makes me wonder what
the reviewer had read as, despite the seedy background of a Soho club with two girl strippers in a private performance and
a Berlin 'erotic cabaret', there is nothing shocking. The main female does appear to be something of a whore but there is
only one relatively mild incident. London in the recent past kicks the story off though this is related in backflash from a
contemporary Glasgow with the Berlin episode at the heart of the tale. The protagonist is a stage magician who is sinking
physically and mentally because he has killed the girl who assisted him in Berlin; complicating this is his possession of a photo which implicates a senior policeman in the mysterious disappearance of a criminal's wife some decades earlier.
The writing is smooth and clear with a light touch despite the rather heavy subject matter and the whole fits well - I am not
overly fond of novels which intercut between the now and the then but it works here. Even the surprise ending is not out
of place.
the reviewer had read as, despite the seedy background of a Soho club with two girl strippers in a private performance and
a Berlin 'erotic cabaret', there is nothing shocking. The main female does appear to be something of a whore but there is
only one relatively mild incident. London in the recent past kicks the story off though this is related in backflash from a
contemporary Glasgow with the Berlin episode at the heart of the tale. The protagonist is a stage magician who is sinking
physically and mentally because he has killed the girl who assisted him in Berlin; complicating this is his possession of a photo which implicates a senior policeman in the mysterious disappearance of a criminal's wife some decades earlier.
The writing is smooth and clear with a light touch despite the rather heavy subject matter and the whole fits well - I am not
overly fond of novels which intercut between the now and the then but it works here. Even the surprise ending is not out
of place.
Wednesday, August 25, 2010
Camilleri, Andrea: The Paper Moon
Another chapter in the life of Inspector Montalbano with the familiar wry musings and the usual complex plot with the implied
presence of the Mafia (not that this is ever specifically named). The murder of an informer which is the name given to independent sales reps for pharmaceutical companies involves three beautiful women, the mystery of the dead man's wealth and incidental connections with dead politicians and drug trafficking. Written clearly with the musings of the Inspector well to the fore, the story keeps moving apace up to the denouement. I have seen references to the way in which the translator
has handled the speech of one of the policeman who, I assume, speaks with a heavy local accent with a tendency to malapropisms. I think this is well handled in the context. Possibly a little lighter in tone than some of the other recent Italian crime writers but not hiding the evils involved, Camilleri continues to provide a highly entertaining and satisfactory read.
presence of the Mafia (not that this is ever specifically named). The murder of an informer which is the name given to independent sales reps for pharmaceutical companies involves three beautiful women, the mystery of the dead man's wealth and incidental connections with dead politicians and drug trafficking. Written clearly with the musings of the Inspector well to the fore, the story keeps moving apace up to the denouement. I have seen references to the way in which the translator
has handled the speech of one of the policeman who, I assume, speaks with a heavy local accent with a tendency to malapropisms. I think this is well handled in the context. Possibly a little lighter in tone than some of the other recent Italian crime writers but not hiding the evils involved, Camilleri continues to provide a highly entertaining and satisfactory read.
Thursday, July 29, 2010
Mercier, Pascal: Night Train to Lisbon
A middle-aged teacher of Latin and Greek suddenly leaves Bern and travels to Lisbon as a result of picking up an old book inPortuguese, a language he does not know. In Lisbon, he investigates the life the dead author and meets with members of his family and friends before finally returning to Bern (though there is one brief return soon after his initial arrival, This is a beautifully written book (again, praise to the translater) in which not a lot happens either in the present day or in the relating
of the life of the dead author some decades earlier. The writings and the teacher's reactions to them in which he questions his own life provide the novel's impetus providing a slow, thoughtful, read.
of the life of the dead author some decades earlier. The writings and the teacher's reactions to them in which he questions his own life provide the novel's impetus providing a slow, thoughtful, read.
Tuesday, July 13, 2010
Vargas, Fred: This Night's Foul Work
The ghost of a nun, butchered stags, disturbed graves, a brilliant pathologist and a new member of Adamsberg's squad who
is looking for revenge are only some of the elements of this brilliant thriller. How they come together with the rest of the
story is gradually and suspensefully laid out by a writer who must surely now rank among the very best crime writers of the
present day. Not only is there are tortuous plot which is resolved only at the end but also a depth of characterisation that is so often taken for granted in crime novels. The various elements reveal a considerable depth of, presumably, researched
knowledge of a great variety of subjects: while some of this could be omitted it does enhance rather than embellish.
is looking for revenge are only some of the elements of this brilliant thriller. How they come together with the rest of the
story is gradually and suspensefully laid out by a writer who must surely now rank among the very best crime writers of the
present day. Not only is there are tortuous plot which is resolved only at the end but also a depth of characterisation that is so often taken for granted in crime novels. The various elements reveal a considerable depth of, presumably, researched
knowledge of a great variety of subjects: while some of this could be omitted it does enhance rather than embellish.
Wednesday, June 30, 2010
Wilson, Robert: A Small Death in Lisbon
What starts as an investigation into the brutal killing of a teenage girl in Lisbon develops into a patchy history lesson which
starts in Nazi Germany in 1941 and continues to the 1990s. A factory owner is forcibly enlisted into the SS and given the task of securing an increasing amount of wolfram from Portugal for the German war machine. To do this, he uses a local
peasant leader and the two of them become rich and powerful, more so when his task is changed to receiving and hiding
bullion. The two of them set up a bank and get rid of the SS men involved in the scheme (though one escapes). By the 1950s, the peasant has become a respectable banker with the German being involved in dealing with overseas branches.
On a return to Lisbon he has sex with the peasant's wife and later boasts of this though this leads to his being convicted of
murder (of the escaped SS man) and imprisoned. Jumping forward, one of the peasant's sons is a society charmer and well-
placed to run his father's business while the younger one joins the Portuguese secret police. Later, when the Salazar regime is overthrown, the latter leaves Portugal for some years but returns under an assumed name when his father dies. He becomes involved in the bank again, eventually taking over when his brother is killed in a car crash. Almost in passing, he
is shown to have regular sexual liaisons on a Friday including, unexpectedly, the rape of a legal secretary delivering papers to
the office he uses solely for that purpose. In the course of investigating the murder, the detective in charge is transferred when he seems to be treading on important toes. The murdered girl is the daughter of the lawyer who had handled work for the bank set up with the SS gold and the detective eventually finds that she had been buggered by the younger son who is
then convicted of murder and, simultaneously, the German, now released from prison, provides evidence of the bank's origins. The twists in the tail are that the younger son had raped the fiancee of the lawyer a week before their marriage and
the murdered girl was his daughter; he was not the murderer but had been set up for this by the lawyer who had discovered the relationship but there was no way of proving this in addition to which the lawyer was well protected by the powers that be.
The above misses out a lot of sub-plots and is released not straightforwardly but in smaller sections jumping back from the
present investigation to the past with the links only becoming obvious near the end. Reasonably wel written and certainly
holding the interest despite the necessary coincidences along the way. It would possibly have been less successful without the detailed inserts from the past though reading just the parts dealing with the murder and investigation provide a satisfactory enough story on their own.
starts in Nazi Germany in 1941 and continues to the 1990s. A factory owner is forcibly enlisted into the SS and given the task of securing an increasing amount of wolfram from Portugal for the German war machine. To do this, he uses a local
peasant leader and the two of them become rich and powerful, more so when his task is changed to receiving and hiding
bullion. The two of them set up a bank and get rid of the SS men involved in the scheme (though one escapes). By the 1950s, the peasant has become a respectable banker with the German being involved in dealing with overseas branches.
On a return to Lisbon he has sex with the peasant's wife and later boasts of this though this leads to his being convicted of
murder (of the escaped SS man) and imprisoned. Jumping forward, one of the peasant's sons is a society charmer and well-
placed to run his father's business while the younger one joins the Portuguese secret police. Later, when the Salazar regime is overthrown, the latter leaves Portugal for some years but returns under an assumed name when his father dies. He becomes involved in the bank again, eventually taking over when his brother is killed in a car crash. Almost in passing, he
is shown to have regular sexual liaisons on a Friday including, unexpectedly, the rape of a legal secretary delivering papers to
the office he uses solely for that purpose. In the course of investigating the murder, the detective in charge is transferred when he seems to be treading on important toes. The murdered girl is the daughter of the lawyer who had handled work for the bank set up with the SS gold and the detective eventually finds that she had been buggered by the younger son who is
then convicted of murder and, simultaneously, the German, now released from prison, provides evidence of the bank's origins. The twists in the tail are that the younger son had raped the fiancee of the lawyer a week before their marriage and
the murdered girl was his daughter; he was not the murderer but had been set up for this by the lawyer who had discovered the relationship but there was no way of proving this in addition to which the lawyer was well protected by the powers that be.
The above misses out a lot of sub-plots and is released not straightforwardly but in smaller sections jumping back from the
present investigation to the past with the links only becoming obvious near the end. Reasonably wel written and certainly
holding the interest despite the necessary coincidences along the way. It would possibly have been less successful without the detailed inserts from the past though reading just the parts dealing with the murder and investigation provide a satisfactory enough story on their own.
Wednesday, June 23, 2010
Hammesfahr, Petra: The Sinner
A young woman kills a man one sunny afternoon in full view of her family and others and is arrested and, quite naturally,
confesses. The Police Commissioner in charge refuses to close the file and starts his own investigation to find out why she
did it. The book gradually exposes her past piecing together often confusing recollections from the woman herself. Her
descent into madness is excellently teased out in this excellent novel which has reminders in its tone and content of the
work of the great Patricia Highsmith though this book is definitely more intense and disturbing.
confesses. The Police Commissioner in charge refuses to close the file and starts his own investigation to find out why she
did it. The book gradually exposes her past piecing together often confusing recollections from the woman herself. Her
descent into madness is excellently teased out in this excellent novel which has reminders in its tone and content of the
work of the great Patricia Highsmith though this book is definitely more intense and disturbing.
Tuesday, May 11, 2010
Glauser, Friedrich: In Matto's Realm
Another Sergeant Studer story which finds him investigating in a mental hospital (Matto's Realm quoting the Italian for mad).
As with the other books of Glauser that I have read, there is not a lot of action for much of the time but a gradual unfolding of the psychological states of mind amongst the various characters. Something I had not noticed in other books, possibly as it
was not present, was the not infrequent comment on the various accents - "Jutzeler spoke with the lilting accent of the Bernese Oberland", 'thick Swiss dialect" and so on - as well as occasional deliberate misspellings to indicate, presumably, the
way of speaking. As with the earlier books, it is easy to understand why Glauser was hed in high esteem and Bitter Lemon Press are to be congratulated for reintroducing him to the English reader.
As with the other books of Glauser that I have read, there is not a lot of action for much of the time but a gradual unfolding of the psychological states of mind amongst the various characters. Something I had not noticed in other books, possibly as it
was not present, was the not infrequent comment on the various accents - "Jutzeler spoke with the lilting accent of the Bernese Oberland", 'thick Swiss dialect" and so on - as well as occasional deliberate misspellings to indicate, presumably, the
way of speaking. As with the earlier books, it is easy to understand why Glauser was hed in high esteem and Bitter Lemon Press are to be congratulated for reintroducing him to the English reader.
Zafon, Carlos Ruiz: The Shadow of the Wind
A complex book which partly parallels the history of Barcelona in the first sixty years of the 20th century with the city itself as
very much a character. The son of a bookseller is taken by his father to the Cemetery of Forgotten Books where he finds, or is found by, the eponymous title by a writer called Julian Carax. He then tries to find out what he can about the author and
his efforts to do so are, to some extent, a parallel with the writer's life though less tragically. The story unfolds episodically,
moving between the present of the young man and the present of the writer though it is quite late in the novel before there is
a relatively full version of the writer's life. The late chapters develop the Gothic nature of the novel which has earlier been noted only in smaller scenes. The writing is very clear and uncomplicated without being as terse as, for example, Hemingway. While certain aspects of the unfolding story both current and past may seem far-fetched, they fit and the possible strangeness is due to the different customs and moralities of the periods in question. A really excellent novel.
very much a character. The son of a bookseller is taken by his father to the Cemetery of Forgotten Books where he finds, or is found by, the eponymous title by a writer called Julian Carax. He then tries to find out what he can about the author and
his efforts to do so are, to some extent, a parallel with the writer's life though less tragically. The story unfolds episodically,
moving between the present of the young man and the present of the writer though it is quite late in the novel before there is
a relatively full version of the writer's life. The late chapters develop the Gothic nature of the novel which has earlier been noted only in smaller scenes. The writing is very clear and uncomplicated without being as terse as, for example, Hemingway. While certain aspects of the unfolding story both current and past may seem far-fetched, they fit and the possible strangeness is due to the different customs and moralities of the periods in question. A really excellent novel.
Sunday, March 21, 2010
Nine: Rob Marshall
This did not have what a musical should have - memorable music or,since this is now over two decades old as a show, familiar tunes. The staging was good and much of the acting more than adequate, especially from Marion Cotillard who was more deserving of a Best Supporting Actress nomination than the sexy Miss Cruz who all but fell out of her costume in her
main number. Day Lewis, despite the accent, Loren and Dench were OK as was Fergie, the Black-Eyed Pea but Hudson and Kidman could have e-mailed their parts in.
main number. Day Lewis, despite the accent, Loren and Dench were OK as was Fergie, the Black-Eyed Pea but Hudson and Kidman could have e-mailed their parts in.
Stross,Charles: The Jennifer Morgue
This is a continuation of the adventures of Bob Howard in a world where zombies, withcraft, aliens and the like are everyday occurences to the Laundry, the paranormal British Government service for which he works. From a seemingly bureaucratic
meeting in Darmstadt, he is linked with a part human, part fish being who is controlled by the US equivalent body using a soul-feeding entity inside her to do so. With a lot of computer experise which is probably correct and a lot of other scientific jargon (which may not be as solidly grounded) our hero has a James Bond-like adventure in the Caribbean where he becomes the central character in a geas created by the multi-billionaire baddie. However, after numerous trials and tribulations, he survives even through the coda (the bit in the films when everyone thinks all is well but there is still one baddies seeking revenge). A very well written book with a lot of humour in it as well as some chillingly scary moments.
meeting in Darmstadt, he is linked with a part human, part fish being who is controlled by the US equivalent body using a soul-feeding entity inside her to do so. With a lot of computer experise which is probably correct and a lot of other scientific jargon (which may not be as solidly grounded) our hero has a James Bond-like adventure in the Caribbean where he becomes the central character in a geas created by the multi-billionaire baddie. However, after numerous trials and tribulations, he survives even through the coda (the bit in the films when everyone thinks all is well but there is still one baddies seeking revenge). A very well written book with a lot of humour in it as well as some chillingly scary moments.
Avatar: James Cameron
The biggest film ever in terms of box office receipts and a great visual treat in 3D - I think the 2D version would be more than a little tedious. I did find the elongated blue-skinned Navi somewhat off-putting but the special effects and the remarkable visual imagination thata went into the film made it a fine experience - though not one I went to repeat.
Alice in Wonderland: Three versions
1903 directed by Cecil Hepworth.
A hardly viewable print that had been considerably restored with the usual Hepworth family casr including a rather old Alice and an unco-operative family cat. The BFI archivist introducing the film was enthusiastic about the film but took as long to
show this, which he did admirably, as the film itself.
1933 directed by Norman Z. McLeod.
A showcase for the Paramount Studios contract players which conflates the two Alice books with a rather colourless Alice going through the looking glass first and only later down the rabbit hole. The interest is in spotting the different players who are, fortunately for present-day audiences, listed at the start. The more recognizable ones are Cary Grant as the Mock Turtle, W.C. Fields as Humpty Dumpty and Gary Cooper as the White Knight though the latter does seem to get rather more than his fair share of screen time. A decided curiosity.
2010 directed by Tim Burton.
A 3D version which is really a return to Wonderland by an Alice on the day of her engagement party. Returning to Wonderland which she does not recognise at first it has all the expected characters with a glorious performance from Helens
Bonham Carter as the Red Queen an inspid one from Anne Hathaway as her sister, the White Queen, and a rollicking turn from Johnny Depp as the Mad Hatter. A lot of fun though I thought Alice was all but a cipher and Anne Hathaway's make-up made
her look rather odd (her mouth matches that of Julia Roberts for size and is even larger here).
A hardly viewable print that had been considerably restored with the usual Hepworth family casr including a rather old Alice and an unco-operative family cat. The BFI archivist introducing the film was enthusiastic about the film but took as long to
show this, which he did admirably, as the film itself.
1933 directed by Norman Z. McLeod.
A showcase for the Paramount Studios contract players which conflates the two Alice books with a rather colourless Alice going through the looking glass first and only later down the rabbit hole. The interest is in spotting the different players who are, fortunately for present-day audiences, listed at the start. The more recognizable ones are Cary Grant as the Mock Turtle, W.C. Fields as Humpty Dumpty and Gary Cooper as the White Knight though the latter does seem to get rather more than his fair share of screen time. A decided curiosity.
2010 directed by Tim Burton.
A 3D version which is really a return to Wonderland by an Alice on the day of her engagement party. Returning to Wonderland which she does not recognise at first it has all the expected characters with a glorious performance from Helens
Bonham Carter as the Red Queen an inspid one from Anne Hathaway as her sister, the White Queen, and a rollicking turn from Johnny Depp as the Mad Hatter. A lot of fun though I thought Alice was all but a cipher and Anne Hathaway's make-up made
her look rather odd (her mouth matches that of Julia Roberts for size and is even larger here).
Deep End: Jerzy Skolimowski
Re-seen recently on a Royal Navy (!) print which left something to be desired. John Moulder Brown plays a school leaver in his first job at a public baths (the old type where cubicles for regular baths as well as a swimming bath are) and becomes infatuated with Jane Asher who already works there. She is older and has a boy friend but flirts with him which leads after a number of episodic events to tragedy. While Moulder Brown conveys the inanity of his infatuation, though he is not as naive as he appears, it is hard to believe in his character as his accent is too well-bred both for this environment and for his parents who appear in one of the episodes. Diana Dors appears as an overweight sex-starved woman, a far cry from her heyday as the leading British sexbomb (not in my eyes though). Jane Asher was probably at her most gorgeous in this film and both her looks and her performance carry the film. An oddity in many ways which I was gald to see again
Monday, March 15, 2010
The Patsy: King Vidor
This comedy with Marion Davies in the lead is a film I have seen before but, until it had been running for several minutes I did not remember it. It was shown as part of the Birds Eye View Film Festival celebrating the work of women in the cinema and
boasting a new score by Gwynneth Herbert. The film itself held up well with fine performances from all concerned and witty
inter-titles which was fortunate as the score and it performance were bad. The trio led by Ms Herbert were to the side of the stage in front of the screen but, even from my seat right in the centre, their presence impinged on the projected film. I
shudder to think what the view from the right of the auditorium was like. Ms Herbert's song ahead of the screening was
pleasant enough though my recollection of the lyrics is that they were rather simplistic but the accompaniment to the film was anything but acceptable to me. The trio were using a variety of unconventional instruments so the noises were possibly less familiar to the ear than usual though this did not disturb me. What did was the clumsy way the noises used supposedly stressed the activity on screen - a strange moaning hoot when Marie Dressler was expressing annoyance, for instance. Where this did not work was the failure of the music to match the rhythm of the dance at the country club: surely for trained musicians it is not that difficult to play compatibly with on-screen silent music when appropriate (I have noticed, however, a similar failing when the accompaniment has been piano only). Film music is surely not mean to try and replicate noises on screen but rather to convey and enhance mood and atmosphere - solemn, slow chords for death, mourning and funerals,
sweeping violins for romance, descending brass a la Tchaikovsky for fights and the Post Horn Gallop or similar for chases.
What I find far from acceptable is attempts at onomatapoeia.
boasting a new score by Gwynneth Herbert. The film itself held up well with fine performances from all concerned and witty
inter-titles which was fortunate as the score and it performance were bad. The trio led by Ms Herbert were to the side of the stage in front of the screen but, even from my seat right in the centre, their presence impinged on the projected film. I
shudder to think what the view from the right of the auditorium was like. Ms Herbert's song ahead of the screening was
pleasant enough though my recollection of the lyrics is that they were rather simplistic but the accompaniment to the film was anything but acceptable to me. The trio were using a variety of unconventional instruments so the noises were possibly less familiar to the ear than usual though this did not disturb me. What did was the clumsy way the noises used supposedly stressed the activity on screen - a strange moaning hoot when Marie Dressler was expressing annoyance, for instance. Where this did not work was the failure of the music to match the rhythm of the dance at the country club: surely for trained musicians it is not that difficult to play compatibly with on-screen silent music when appropriate (I have noticed, however, a similar failing when the accompaniment has been piano only). Film music is surely not mean to try and replicate noises on screen but rather to convey and enhance mood and atmosphere - solemn, slow chords for death, mourning and funerals,
sweeping violins for romance, descending brass a la Tchaikovsky for fights and the Post Horn Gallop or similar for chases.
What I find far from acceptable is attempts at onomatapoeia.
Cox, Michael: The Meaning of Night
This novel has taken me several months to finish, partly because of its dense weave and partly because its size limited the
times when I was able to read it. A very atmospheric Victorian Gothic style work, it starts with the protagonist carrying out a murder simply to establish that he is able to do so. From here it returns to his childhood, his schooling where his arch-enemy is introduced, into his adult life where he gradually becomes aware of his real identity - the reason for his wanting to commit murder. Although I read it in small doses, the slow development of the plot and the detail of the writing made this
acceptable as the actual story could be told in one or two sentences if all the embellishments were removed. A rather unusual feature of the book is the use of footnotes to explain or augment the text in various ways - details of the London of the time, e.g. the Clarendon Hotel is mentioned with the footnote stating it was on Bond Street, the slang and criminal jargon
of the period, a lot of bibliographical detail and references to literary and biblical quotations. Once the basic premise that is the start of the plot is accepted, the rest of the story follows more or less logically though not straightforwardly as there are
several detours on the way. Move the whole story forward a century, changing the detail and removing the more arcane
passages, and the book could almost be transformed into one of the classic thrillers by Woolrich or Hammett. A very good
book indeed.
times when I was able to read it. A very atmospheric Victorian Gothic style work, it starts with the protagonist carrying out a murder simply to establish that he is able to do so. From here it returns to his childhood, his schooling where his arch-enemy is introduced, into his adult life where he gradually becomes aware of his real identity - the reason for his wanting to commit murder. Although I read it in small doses, the slow development of the plot and the detail of the writing made this
acceptable as the actual story could be told in one or two sentences if all the embellishments were removed. A rather unusual feature of the book is the use of footnotes to explain or augment the text in various ways - details of the London of the time, e.g. the Clarendon Hotel is mentioned with the footnote stating it was on Bond Street, the slang and criminal jargon
of the period, a lot of bibliographical detail and references to literary and biblical quotations. Once the basic premise that is the start of the plot is accepted, the rest of the story follows more or less logically though not straightforwardly as there are
several detours on the way. Move the whole story forward a century, changing the detail and removing the more arcane
passages, and the book could almost be transformed into one of the classic thrillers by Woolrich or Hammett. A very good
book indeed.
Turner and the Masters
In complete contrast to the National Gallery's exhibition, this one at the Tate Britain was a delight. The paintings were displayed in spacious airy surroundings which enhanced the viewing pleasure. 'Masters' was taken somewhat loosely since, as well as the comparisons with earlier artists such as Rembrandt, Van Ruisdael and Claude, there were examples of some of
his English contemporaries such as Girtin. The versatility that Turner showed and the development from the early works
which were at times almost copies of earlier works to the much freer expression in later years was well illustrated.
his English contemporaries such as Girtin. The versatility that Turner showed and the development from the early works
which were at times almost copies of earlier works to the much freer expression in later years was well illustrated.
'The Sacred Made Real
Where does the time go? I had not realised how long it has been since I last wrote.
I went to the National Gallery Exhibition of Spanish painting and sculpture of the 17th century and was a little
disappointed. The sculpture was probably good but this art form is not one that inspires or moves me with
a few exceptions. The paintings were disappointing but I put this down to the sepulchral lighting used
throughout the various rooms. Possibly this was meant to engender feelings of respect and solemnity but
I just found it created a negative atmosphere. The works by Cana and Zurburan were fine but the overall
gloom left me unsatisfied
I went to the National Gallery Exhibition of Spanish painting and sculpture of the 17th century and was a little
disappointed. The sculpture was probably good but this art form is not one that inspires or moves me with
a few exceptions. The paintings were disappointing but I put this down to the sepulchral lighting used
throughout the various rooms. Possibly this was meant to engender feelings of respect and solemnity but
I just found it created a negative atmosphere. The works by Cana and Zurburan were fine but the overall
gloom left me unsatisfied
Wednesday, January 13, 2010
Moliere: Laurent Tirard
A well-performed and beautifully staged romp purporting to be the story of Moliere's career before he found royal favour.
The leader of a theatrical troupe, he is engaged by a merchant, delightfully played by Fabrice Luchini, to help him perform a self-written play to win the affections of a spoilt Countess, Ludivine Sagnier, even though he has a beautiful wife, Laura Morante. Moliere is purportedly in the household as a tutor to their teenage daughter but is not accepted by the wife at first though she later succumbs to his charm in more ways than one. The daughter is going to be married to the son of the nobleman supposedly helping the father's efforts at seduction though she loves her music teacher. Eventually, Moliere is able to devise a plan whereby this marriage is called off by the nobleman, the daughter marries her lover and husband and wife are re-united. Moliere departs with his debts settled and rejoins his troupe to spend the following years touring and honing their skills. Although he wants to write tragedies, he accepts that comedy is his metier and becomes a court favourite by the film's end. Romain Duris in the lead role gives a sparkling performance which is matched by both Luchini and Morante.
The leader of a theatrical troupe, he is engaged by a merchant, delightfully played by Fabrice Luchini, to help him perform a self-written play to win the affections of a spoilt Countess, Ludivine Sagnier, even though he has a beautiful wife, Laura Morante. Moliere is purportedly in the household as a tutor to their teenage daughter but is not accepted by the wife at first though she later succumbs to his charm in more ways than one. The daughter is going to be married to the son of the nobleman supposedly helping the father's efforts at seduction though she loves her music teacher. Eventually, Moliere is able to devise a plan whereby this marriage is called off by the nobleman, the daughter marries her lover and husband and wife are re-united. Moliere departs with his debts settled and rejoins his troupe to spend the following years touring and honing their skills. Although he wants to write tragedies, he accepts that comedy is his metier and becomes a court favourite by the film's end. Romain Duris in the lead role gives a sparkling performance which is matched by both Luchini and Morante.
Anna M: Michel Spinosa
In the eponymous lead role, Isabelle Carre yet again gives an outstanding performance of a disturbed woman. While out walking the dog, she steps in front of a car - an unexplained action which does bring Gilbert Melki into the film as the doctor who treats her. She becomes obsessed with him even though he is married and shows her no more than the kindness one might expect of a doctor. There are one or two scenes involving the two where he should have been more circumspect but
by then her infatuation has become clinical. With the help of a girl friend she appears to have been cured but the closing shots leave this in doubt. Well supported by the rest of the cast, this is very much a tour de force by Carre. I only hope she is able to extend her range in films we have yet to see.
by then her infatuation has become clinical. With the help of a girl friend she appears to have been cured but the closing shots leave this in doubt. Well supported by the rest of the cast, this is very much a tour de force by Carre. I only hope she is able to extend her range in films we have yet to see.
Rampo, Edogawa: Beast in the Shadows
In the same book as 'The Black Lizard', this is a more conventional thriller with the protagonist being a writer of detective stories which he considers are of two kinds - those where the crime and its commission are all that matter and those where the motives and psychological background come to the fore, the sort of which the narrator is one. He becomes involved with a beautiful young wife of an older successful businessman because she is being threatened by a lover from her past who is also a writer of detective stories but of the former kind. She is greatly disturbed by receiving letter which describe her home
life in intimate and exact detail with the stated threat of revenge for her having jilted her lover. The latter has been very successful but has always been a misanthrope and recluse with his wife being the contact with the outside world. Efforts to find him are unsuccesful and the threat to kill her husband is carried out which leaves the narrator even more determined to bring the killer to justice - he has also by now become emotionally and physically involved with the widow. Excellent plotting brings the story to an unexpected conclusion though the ending is logically presented and completely realistic. I found this the more satisfying of the two tales possibly because it is much closer to the usual detective stories being written in Britain and the USA at the same time and later.
life in intimate and exact detail with the stated threat of revenge for her having jilted her lover. The latter has been very successful but has always been a misanthrope and recluse with his wife being the contact with the outside world. Efforts to find him are unsuccesful and the threat to kill her husband is carried out which leaves the narrator even more determined to bring the killer to justice - he has also by now become emotionally and physically involved with the widow. Excellent plotting brings the story to an unexpected conclusion though the ending is logically presented and completely realistic. I found this the more satisfying of the two tales possibly because it is much closer to the usual detective stories being written in Britain and the USA at the same time and later.
Rampo, Edogawa: The Black Lizard
Considered the grand master of mystery, Hirai Taro flourished in the years leading up to the Japanese wars of the 1930s and
later wrote adventure stories before, finally, writing for children until his death in 1965. This novel is the story of the conflict between a master female criminal who is first seen at a New Year's Eve party dancing erotically in the nude and her nemesis, a master detective. Both seem to be excellent at disguising themselves to avoid capture or exposure though this does, at times, seem rather hard to accept as the detective, especially, seems to be able to appear in close contact with others for extended periods. Rather a pot-boiler as the overall tale is somewhat far-fetched but an interesting read.
later wrote adventure stories before, finally, writing for children until his death in 1965. This novel is the story of the conflict between a master female criminal who is first seen at a New Year's Eve party dancing erotically in the nude and her nemesis, a master detective. Both seem to be excellent at disguising themselves to avoid capture or exposure though this does, at times, seem rather hard to accept as the detective, especially, seems to be able to appear in close contact with others for extended periods. Rather a pot-boiler as the overall tale is somewhat far-fetched but an interesting read.
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