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.
Tuesday, May 11, 2010
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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