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.
Sunday, March 21, 2010
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
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