I went to see this the other day with my daughter. We both knew that nobody else in our family would want to see it, but we had each other. Considering it was a late-afternoon performance on a Tuesday there were more people there than I'd expected, so others obviously had the same idea.
It had had terrible reviews in most of the papers, and Australian critics had savaged it apparently, for trotting out every single Australain cliche in the book However, all these reviews completely missed the point. The people who did like it, including (of course) my favourites, Mark Kermode on FiveLive and the Observer's Philip French got it immediately. A film can be rubbish on one level, but that doesn't in itself make it bad, or unwatchable. Yes, Australia does trot out every Australian cliche in the book, but it remains hugely watchable and enjoyable. It's the way Lurhmann says all the way through, lets not go over the top, lets go way beyond that. The final scene, in which Nicole Kidman and Hugh Jackman are reunited and the half -Aborigine boy goes off into the outback with the native shaman to learn the ways of his ancestors has the soundtrack of, get this, Elgar's Nimrod as a soundtrack, surely the most glaringly inappropriate use of music ever committed to celluloid. But it works, well, sort of, and anyway, it puts a smile on the audience's face.
We have the outback, cattle drives, the carpet bombing of Darwen in WWII, the lot, all ladled on with a huge spade. Austarlia itself is depicted in all its glory, and, having been there for one unforgettable trip, I can vouch for the wonder of the landscape. The country itself is the star, which I suppose was the intention.
Kidman and Jackman enter wholeheartedly into the spirit of the film - Kidman, impossibly, scarily thin, bustles around elegantly, and her transformation into a rancher is more convincing than her earlier elegant English county persona. Jackman is suitably taciturn and surly, and the little boy is suitably charming. All in all, a good evening out - very satisfying.
Thursday, 8 January 2009
Monday, 29 December 2008
Women's Lib
Something reminded me the other day about the Women's Liberation Movement (I think it was a newspaper article about how today's young women are indifferent to feminism, finding it irrelevant). Looking back I see it as something that was a fashion, something you did, because everyone else did. I know that I was very enthusiastic , buying The Female Eunuch and marvelling at it. I also read Kate Millett and some others whose names I can't quite remember at the moment, though I'm sure I'd recognise them if someone reminded me. Oh, I know - Jill Tweedie in the Guardian and of course pioneers like Mary Stott.
Anyway, I started to trawl my memory - I went along to weekly meetings of the local Women's Lib group with a couple of friends, one of which was a New Zealander, Heather, who arrived on our doorstep at the squat in Oxford that myself and my boyfriend had just moved into. She'd been looking for somewhere to live and someone had told her. She was, at the time, a radical feminist, dressed glamorously in an ankle-length ex-Nazi leather coat she'd picked up in an Amsterdam flea-market. She was as thin as a rake and stood on our doorstep, smoking a roll-up. 'Hi - I'm Heather', were her first words, in the broadest Kiwi accent. I'd never met anyone like her before. and her direct, down-to-earth Antipodean good sense soon sorted our flaccid hippy haven.
She introduced me to the burgeoning feminist movement and, along with a few others, went along with Heather to the early meeitings of the local Women's Liberation group. It was in a small church hall type of place and we all sat round in a circle and talked, and sometimes shouted. Our boyfriends would come along with us and sit in the garden of a nearby pub waiting for us, with an air of amused tolerance. Anyway, I don't remember much of what we discussed, except one occasion when someone brought along a film of miners' wives, and the support systems they'd created to help their husbands and their communities during the recent miners' strike (this was around 1973-4, so we were right in the middle of the ill-fated Heath government). This film caused a right storm - I think the woman who'd brought it along had intended to show us that working-class women were as capable of organisation as us middle-class types, but someone got up and angrily asked the group why we sitting watching stuff about a load of housewives, who, of course, were slaves to servility. There was a huge row about the direction feminism should go in - anywa, it was all pretty unedifying, and as someone, probably the only person in the room apart from Heather, also from a humble background, who had some personal experience of working-class life. I don't remember any other meetings, and we soon lost interest in going, though not before we'd participated in an event that still brings me out in a cold sweat every time I think about it.
The group had heard that the students at St Catherine's College, Oxford had hired a stripper to 'perform' in their Junior Common Room (JCR), so it was decided that we'd infiltrate the event and disrupt it. Although the college was all-male in those days, the students had been allowed to bring women to this event so it was pretty easy to get in and sit there unnoticed. What transpired was truly scary - the stripper got going and this was the cue for us to stand up and start shouting things like 'this degrades women' and chanting. There were quite a few of us, but the room was crowded and there were a hell of a lot of students. They went ballistic and chased us out - I don't know what happened because I fled into the nearest ladies' loo and cowered until the mayhem died down and I could slink out unnoticed. The noise was terrific and what was most scary was the bile and viciousness that emanated from the thwarted crowd. I suppose they'd worked themselves up into a state of high sexual anticipation and excitement, and we'd thwarted them. Anyway, I was terrified, not only of the students, but of being found out by my braver colleagues and labelled a coward, which of course I was. The whole episode told me that political activism was not for me and I went on to have babies and acquire the status of the dreaded housewife.
I wonder what happened to everyone there? I know that one of the group went on to marry a vicar and become a well-known writer, and Heather went on to forge a great career at the Australian Broadcasting Corporation after many ups and downs, becoming an Australian in the process. She's stayed a good friend and we've kept in close touch, but I sometimes think about all those other young feminists and wonder where they are....
Anyway, I started to trawl my memory - I went along to weekly meetings of the local Women's Lib group with a couple of friends, one of which was a New Zealander, Heather, who arrived on our doorstep at the squat in Oxford that myself and my boyfriend had just moved into. She'd been looking for somewhere to live and someone had told her. She was, at the time, a radical feminist, dressed glamorously in an ankle-length ex-Nazi leather coat she'd picked up in an Amsterdam flea-market. She was as thin as a rake and stood on our doorstep, smoking a roll-up. 'Hi - I'm Heather', were her first words, in the broadest Kiwi accent. I'd never met anyone like her before. and her direct, down-to-earth Antipodean good sense soon sorted our flaccid hippy haven.
She introduced me to the burgeoning feminist movement and, along with a few others, went along with Heather to the early meeitings of the local Women's Liberation group. It was in a small church hall type of place and we all sat round in a circle and talked, and sometimes shouted. Our boyfriends would come along with us and sit in the garden of a nearby pub waiting for us, with an air of amused tolerance. Anyway, I don't remember much of what we discussed, except one occasion when someone brought along a film of miners' wives, and the support systems they'd created to help their husbands and their communities during the recent miners' strike (this was around 1973-4, so we were right in the middle of the ill-fated Heath government). This film caused a right storm - I think the woman who'd brought it along had intended to show us that working-class women were as capable of organisation as us middle-class types, but someone got up and angrily asked the group why we sitting watching stuff about a load of housewives, who, of course, were slaves to servility. There was a huge row about the direction feminism should go in - anywa, it was all pretty unedifying, and as someone, probably the only person in the room apart from Heather, also from a humble background, who had some personal experience of working-class life. I don't remember any other meetings, and we soon lost interest in going, though not before we'd participated in an event that still brings me out in a cold sweat every time I think about it.
The group had heard that the students at St Catherine's College, Oxford had hired a stripper to 'perform' in their Junior Common Room (JCR), so it was decided that we'd infiltrate the event and disrupt it. Although the college was all-male in those days, the students had been allowed to bring women to this event so it was pretty easy to get in and sit there unnoticed. What transpired was truly scary - the stripper got going and this was the cue for us to stand up and start shouting things like 'this degrades women' and chanting. There were quite a few of us, but the room was crowded and there were a hell of a lot of students. They went ballistic and chased us out - I don't know what happened because I fled into the nearest ladies' loo and cowered until the mayhem died down and I could slink out unnoticed. The noise was terrific and what was most scary was the bile and viciousness that emanated from the thwarted crowd. I suppose they'd worked themselves up into a state of high sexual anticipation and excitement, and we'd thwarted them. Anyway, I was terrified, not only of the students, but of being found out by my braver colleagues and labelled a coward, which of course I was. The whole episode told me that political activism was not for me and I went on to have babies and acquire the status of the dreaded housewife.
I wonder what happened to everyone there? I know that one of the group went on to marry a vicar and become a well-known writer, and Heather went on to forge a great career at the Australian Broadcasting Corporation after many ups and downs, becoming an Australian in the process. She's stayed a good friend and we've kept in close touch, but I sometimes think about all those other young feminists and wonder where they are....
Monday, 22 December 2008
Woollies
The news of the demise of Woolworths brought back many memories for me. I haven't set foot in Woollies for years so it was hardly part of my emotional landscape, but it provided me with my earliest work experience, so I have some long-ago, fond memories of the place.
I was 14, and in those days you could work legally for 2 hours a dayso I did Friday evenings. It was a small branch in a typical 60s shopping precinct and opened until 7pm on Fridays only in those far-off days before extended opening. Even that was considered pretty revolutionary.
The staff consisted of a handful of embittered regulars and the rest were schoolgirls. We had few customers, and our most frequent visitors were a gang of Rockers (we're talking about the mid-60s, so there were still Mods and Rockers, in the days before there were hippies) who would loaf around, shoplift and drop off stink bombs.
My memories are pretty fragmentary, but I seem to have spent most of my time there working on the biscuit counter, where we had those old-fashioned tins ranged in front of us, and we'd sell them loose. And of course there were the famous tins of broken biscuits. It seems unimaginable now, but people used to buy them! Why can't we be as frugal nowadays? I suppose we may have to be in the coming months as the credit crunch starts to bite, but Woollies will be long gone.
After we'd finished work, we used to go over to Lewis Separates which stayed open a bit later, and spend all our wages on clothes. We were Mods, of course, or tried to be - anyway, clothes, and music (increasingly) were all we thought about (boys weren't quite so important). Looking good, and knowing the latest dance steps were what was really important. I do remember vividly the exhilarating feeling of having my own money after years of a few coins pocket money and the unconfined joy of spending it on whatever I wanted - bliss! I felt I had the world at my feet.
So, while I can't feel much emotion at Woollies demise, I have fond memories, and I'm sure I'm not the only one as not many places were willing to employ girls as young as us. I know my brother found it much easier to work, and he seemed to have loads of jobs.
Anyway, once I was 15 I graduated to working all day Saturday, but that didn't last long. I got a much-coveted job usheretting at the Oxford Playhouse, but that's another story.....
I was 14, and in those days you could work legally for 2 hours a dayso I did Friday evenings. It was a small branch in a typical 60s shopping precinct and opened until 7pm on Fridays only in those far-off days before extended opening. Even that was considered pretty revolutionary.
The staff consisted of a handful of embittered regulars and the rest were schoolgirls. We had few customers, and our most frequent visitors were a gang of Rockers (we're talking about the mid-60s, so there were still Mods and Rockers, in the days before there were hippies) who would loaf around, shoplift and drop off stink bombs.
My memories are pretty fragmentary, but I seem to have spent most of my time there working on the biscuit counter, where we had those old-fashioned tins ranged in front of us, and we'd sell them loose. And of course there were the famous tins of broken biscuits. It seems unimaginable now, but people used to buy them! Why can't we be as frugal nowadays? I suppose we may have to be in the coming months as the credit crunch starts to bite, but Woollies will be long gone.
After we'd finished work, we used to go over to Lewis Separates which stayed open a bit later, and spend all our wages on clothes. We were Mods, of course, or tried to be - anyway, clothes, and music (increasingly) were all we thought about (boys weren't quite so important). Looking good, and knowing the latest dance steps were what was really important. I do remember vividly the exhilarating feeling of having my own money after years of a few coins pocket money and the unconfined joy of spending it on whatever I wanted - bliss! I felt I had the world at my feet.
So, while I can't feel much emotion at Woollies demise, I have fond memories, and I'm sure I'm not the only one as not many places were willing to employ girls as young as us. I know my brother found it much easier to work, and he seemed to have loads of jobs.
Anyway, once I was 15 I graduated to working all day Saturday, but that didn't last long. I got a much-coveted job usheretting at the Oxford Playhouse, but that's another story.....
Sunday, 7 December 2008
stationary
I was thinking about stationary the other day as I was writing my diary. My diary's a beautifully designed moleskin-bound thing from Paperchase, with an elastic bookmark. It's heavy, luxurious, and perfectly-formed. I'm about to start on my second one - though I've been writing a diary for a few years using other designs, I finally discovered these lovely objects in the Paperchase concession in Borders.
It got me thinking, and reminiscing about stationary. Now, I'm one of those people who love stationary, who have a bit of a fetish about it. I know that it's a syndrome as I remember reading an article about stationary-addiction, so I know I'm not alone. In fact there was an article in The Times the other day about a love, no, need for lovely leather-bound diaries in today's era of email and text.
Anyway, stationary-addiction can be defined, if such a thing can be defined, as a love of paper, pens, diaries, and all ancillary items. Computer stuff does not count. But where does this love of everything to do with writing come from?
I can only speak for myself, but I can trace it right back to childhood. I would go into town with my parents, and rather than drag me round Sainsbury's or the Co-Op, they would leave me in a wonderful emporium which I don't think had changed since the Edwardian era, called something like Oxford Educational Bookshop. At least I think it was called that but I may be wrong, but it was something like that. It was a two-story emporium - dark and overflowing with stationary stuff. The ground floor was relatively uninteresting, full of rubbers and pencils, but upstairs was where the action was. Or rather, inaction. It was usually empty of people, apart from me and the occasional browser, but it was full of piles of paper, exercise books - stationary. I would wander its aisles, such as they were, fingering the stuff, looking at it, stroking it, reading it, and, I guess, fetishizing it. I would spend hours there. And I could. No-one ever challenged or questioned my right to be there, in fact I don't remember the presence of any staff.
The funny thing is, when my daughter left school at 18, and decided that she wanted to work for a year to save up enough money to go to Australia for a year, she ended up working in - guess what? A stationary shop! And it was a wonderfully old-fashioned place that hadn't changed in decades. Not quite the Edwardian emporium of my memory but a 1970s-type of place with absolutely no 80s ambience at all. Anyway she spent a very happy year there, and still returns every now and again to see the staff. And it still hasn't changed. Though whether it'll survive the economic storm that's coming remains to be seen.
Anyway, one thing I've found in adulthood is that I'm definitely not alone - in fact I imagine that it may become more prevalent as stationary becomes a bit of an endangered species. Nothing can possibly replace the joy of pen on paper, especially moleskin-bound paper. And of course, the pen has to be a green Pentel rollerball pen with black ink. I've just discovered the WH Smith website so have been able to buy a big job lot of them. It's one of my biggest secret terrors that they'll be discontinued. Along with black notebooks!
It got me thinking, and reminiscing about stationary. Now, I'm one of those people who love stationary, who have a bit of a fetish about it. I know that it's a syndrome as I remember reading an article about stationary-addiction, so I know I'm not alone. In fact there was an article in The Times the other day about a love, no, need for lovely leather-bound diaries in today's era of email and text.
Anyway, stationary-addiction can be defined, if such a thing can be defined, as a love of paper, pens, diaries, and all ancillary items. Computer stuff does not count. But where does this love of everything to do with writing come from?
I can only speak for myself, but I can trace it right back to childhood. I would go into town with my parents, and rather than drag me round Sainsbury's or the Co-Op, they would leave me in a wonderful emporium which I don't think had changed since the Edwardian era, called something like Oxford Educational Bookshop. At least I think it was called that but I may be wrong, but it was something like that. It was a two-story emporium - dark and overflowing with stationary stuff. The ground floor was relatively uninteresting, full of rubbers and pencils, but upstairs was where the action was. Or rather, inaction. It was usually empty of people, apart from me and the occasional browser, but it was full of piles of paper, exercise books - stationary. I would wander its aisles, such as they were, fingering the stuff, looking at it, stroking it, reading it, and, I guess, fetishizing it. I would spend hours there. And I could. No-one ever challenged or questioned my right to be there, in fact I don't remember the presence of any staff.
The funny thing is, when my daughter left school at 18, and decided that she wanted to work for a year to save up enough money to go to Australia for a year, she ended up working in - guess what? A stationary shop! And it was a wonderfully old-fashioned place that hadn't changed in decades. Not quite the Edwardian emporium of my memory but a 1970s-type of place with absolutely no 80s ambience at all. Anyway she spent a very happy year there, and still returns every now and again to see the staff. And it still hasn't changed. Though whether it'll survive the economic storm that's coming remains to be seen.
Anyway, one thing I've found in adulthood is that I'm definitely not alone - in fact I imagine that it may become more prevalent as stationary becomes a bit of an endangered species. Nothing can possibly replace the joy of pen on paper, especially moleskin-bound paper. And of course, the pen has to be a green Pentel rollerball pen with black ink. I've just discovered the WH Smith website so have been able to buy a big job lot of them. It's one of my biggest secret terrors that they'll be discontinued. Along with black notebooks!
Saturday, 29 November 2008
Of Time and the City
I went to see Of Time and the City recently, directed and narrated by Terence Davies. It's his paen to the Liverpool of his childhood, and was received with great acclaim at Cannes in the summer.
I went with a group of friends, one of whom was someone who'd grown up in Liverpool at around the same time, the post-WWII period. He was deeply moved by the film, appreciating Davies's grasp of Liverpool, not as a geographical entity, but as a place of imagination and feeling. I feel very much the same about Oxford - the place where you grew up becomes part of your DNA, a place that you feel rather than see. I visited Oxford a couple of years ago - the first time for quite a while. I'd left at the age of 32, after spending virtually my whole life there, and had only returned a few times, but walking round the streets of the city, it was as if I knew every paving stone, every brick in the wall. Even though much in the city has changed beyond recognition, everything is still there, not just in my memory, but in my unconscious, in every fibre of my being.
So I recognised where Davies was coming from, and so did my friend. On Mark Kermode's film review slot on Radio 5, he talked about the torrent of mail he'd received after he'd praised the film to the skies the other week. Many people had gone to see it after hearing his recommendation, but had ended up bored, or hating it. Though there were some who'd loved it. Davies's voice was a problem for some, and it's not a normal one - like other Liverpudlians he had elocution lessons (Beryl Bainbridge is another) as the L'pool accent was seen as a massive handicap before the Beatles came along and made it fashionable. So his voice is fruity and posh, with an acerbic, but yearning tone which encapsulated the act of memory, of return, of looking back, perfectly
The film is a collection of found footage woven together to form a tapestry of Liverpool then and now. And that's basically it, though I cannot overemphasise that it's actually much, much more. I will certainly buy the DVD when it's released as I think it will be a film that I'll return to over and over again. Thank you, Terence
I went with a group of friends, one of whom was someone who'd grown up in Liverpool at around the same time, the post-WWII period. He was deeply moved by the film, appreciating Davies's grasp of Liverpool, not as a geographical entity, but as a place of imagination and feeling. I feel very much the same about Oxford - the place where you grew up becomes part of your DNA, a place that you feel rather than see. I visited Oxford a couple of years ago - the first time for quite a while. I'd left at the age of 32, after spending virtually my whole life there, and had only returned a few times, but walking round the streets of the city, it was as if I knew every paving stone, every brick in the wall. Even though much in the city has changed beyond recognition, everything is still there, not just in my memory, but in my unconscious, in every fibre of my being.
So I recognised where Davies was coming from, and so did my friend. On Mark Kermode's film review slot on Radio 5, he talked about the torrent of mail he'd received after he'd praised the film to the skies the other week. Many people had gone to see it after hearing his recommendation, but had ended up bored, or hating it. Though there were some who'd loved it. Davies's voice was a problem for some, and it's not a normal one - like other Liverpudlians he had elocution lessons (Beryl Bainbridge is another) as the L'pool accent was seen as a massive handicap before the Beatles came along and made it fashionable. So his voice is fruity and posh, with an acerbic, but yearning tone which encapsulated the act of memory, of return, of looking back, perfectly
The film is a collection of found footage woven together to form a tapestry of Liverpool then and now. And that's basically it, though I cannot overemphasise that it's actually much, much more. I will certainly buy the DVD when it's released as I think it will be a film that I'll return to over and over again. Thank you, Terence
Tuesday, 25 November 2008
Dylan again
I watched my videos of the BBC's collection of programmes they screened a few years ago the other day (I think they're from about 2005). I watched them when they were first shown, and I taped them all as I knew I'd want to see them again. The first was Martin Scorsese's No Direction Home which one of my sons has on DVD and I'd borrowed it from him a few months ago. but I couldn't resist seeing it yet again for the third time.
Here is an artist at the height of his powers, but who's clearly realised that everything's beginning to get out of control. I was struck this time by how acutely intelligent and perceptive Dylan is during this period (early-mid-60s). It's as if he has a kind of X-Ray vision and sees stuff no-one else can. He's a sponge, and soaks up everything that's going on around him. No Direction Home is interspersed with snippets of recent interviews with him and he's at great pains to tell us, as he has done throughout his life that he has no interest in politics or attitudes, or opinions. This was horribly at odds with 60s attitudes, and got him into much hot water as he repeatedly came up against people who wanted him to be their spokesman and a mouthpiece.
Dave van Ronk says in No Direction that he somehow tapped into the collective unconscious of the early 60s and could see that there was a fundamental sea-change going on (as evidenced by his famous 'something is happening and you don't know what it is, do you, Mr Jones?'). He was a cultural magpie, and his endlessly fertile brain soaked up everything around him like a sponge. This, together with his fascinatiopn with words, and their power, enabled him to produce epics like Hard Rain in which vast spaces and distances open up - giving us new visions with a myhtic, epic quality that have never been surpassed.
Tambourine Man was a kind of catalyst (it certainly was for me). Its wild, poetry took off into the stratosphere, taking us young folks who were ready and waiting with it, giving us a feeling that there wasn't anything that we weren't capable of. His quicksilver mind always outwitted the clumsy preconceptions of his interviewers, who were left trailing in his wake of his fierce intelligence.
There's wonderful footage of his performance at Newport in 1965 with the Paul Butterfield Band. The coruscating guitar of Mike Bloomfield begins Maggie's Farm, and in a way, it's even more cataclysmic than his later stuff with the Band. Boos and jeers ring out, and people who were there queue up to try and distance themselves from the hatred and rancour that greeted him. Few are prepared to admit now how much they loathed it all.
I remember clearly hearing Like a Rolling Stone for the first time and feel privileged to have been able to do so. It was on Radio Luxembourg, with its dodgy reception and Horace Batchelor
ads. What a time that was! To me, it remains his greatest period - Bringing it All Back Home, Highway 61 and Blonde on Blonde. His motorcycle accident happened soon after, but he was still able to produce the magisterial John Wesley Harding. Then something happened - and out came the dismal Nashville Skyline and although I dutifully bought it, Dylan was never the same for me.
I've just started reading Greil Marcus' Invisible Republic, about the Basement Tapes, so perhaps that'll shed some light. I'll post more when I've finished.
Anyway, No Direction is a wonderful picture of an artist at the height of his powers and Dylan has atremendous chronicler of his life in Scorsese. More please!
Here is an artist at the height of his powers, but who's clearly realised that everything's beginning to get out of control. I was struck this time by how acutely intelligent and perceptive Dylan is during this period (early-mid-60s). It's as if he has a kind of X-Ray vision and sees stuff no-one else can. He's a sponge, and soaks up everything that's going on around him. No Direction Home is interspersed with snippets of recent interviews with him and he's at great pains to tell us, as he has done throughout his life that he has no interest in politics or attitudes, or opinions. This was horribly at odds with 60s attitudes, and got him into much hot water as he repeatedly came up against people who wanted him to be their spokesman and a mouthpiece.
Dave van Ronk says in No Direction that he somehow tapped into the collective unconscious of the early 60s and could see that there was a fundamental sea-change going on (as evidenced by his famous 'something is happening and you don't know what it is, do you, Mr Jones?'). He was a cultural magpie, and his endlessly fertile brain soaked up everything around him like a sponge. This, together with his fascinatiopn with words, and their power, enabled him to produce epics like Hard Rain in which vast spaces and distances open up - giving us new visions with a myhtic, epic quality that have never been surpassed.
Tambourine Man was a kind of catalyst (it certainly was for me). Its wild, poetry took off into the stratosphere, taking us young folks who were ready and waiting with it, giving us a feeling that there wasn't anything that we weren't capable of. His quicksilver mind always outwitted the clumsy preconceptions of his interviewers, who were left trailing in his wake of his fierce intelligence.
There's wonderful footage of his performance at Newport in 1965 with the Paul Butterfield Band. The coruscating guitar of Mike Bloomfield begins Maggie's Farm, and in a way, it's even more cataclysmic than his later stuff with the Band. Boos and jeers ring out, and people who were there queue up to try and distance themselves from the hatred and rancour that greeted him. Few are prepared to admit now how much they loathed it all.
I remember clearly hearing Like a Rolling Stone for the first time and feel privileged to have been able to do so. It was on Radio Luxembourg, with its dodgy reception and Horace Batchelor
ads. What a time that was! To me, it remains his greatest period - Bringing it All Back Home, Highway 61 and Blonde on Blonde. His motorcycle accident happened soon after, but he was still able to produce the magisterial John Wesley Harding. Then something happened - and out came the dismal Nashville Skyline and although I dutifully bought it, Dylan was never the same for me.
I've just started reading Greil Marcus' Invisible Republic, about the Basement Tapes, so perhaps that'll shed some light. I'll post more when I've finished.
Anyway, No Direction is a wonderful picture of an artist at the height of his powers and Dylan has atremendous chronicler of his life in Scorsese. More please!
Monday, 10 November 2008
The Leopard
I watched this film twice (my latest DVD rental) - I'd always wanted to see it but had never managed it so finally caught up with it. I'd long had a fascination with Italian cinema ever since I did an Open University course in post-war French and Italian society which had a substantial component on Italian neo-realist film.
Visconti was an especially interesting character - a Marxist, homosexual aristocrat who made one of the earliest neo-realist films, Ossessione. We were sent a video with various film clips as part of the study pack and there were several clips from Ossessione, but I soon obtained it on video, and even went to see it at the cinema a few years ago. I can't remember why it was on, but there was a one-off screening at the Watershed one Sunday afternoon, so I couldn't possibly miss that. It had become one of my favourite films - gritty, in black-and-white, it depicted the underside of Italian society for the first time ever. It was made during Mussolini's regime - I don't know how Visconti managed it, but it was an act of great courage. He went on to make La Terra Trema a seminal film in the neo-realist canon, but post-war, his career path followed a highly individual trajectory.
The Leopard was released in 1963 and by then Visconti was making large-scale epics about Italian history, notably Rocco and his Brothers in 1960, which I remember my father going to see on his own. It was about a family of boxers (my father was a huge boxing fan) and of course it had subtitles. Dad's hearing had been damaged in the war, so the subtitles made a huge difference. He didn't go to the cinema much, so this must have been pretty special for him, though I have no idea what he made of the film.
Senso, which was set in the mid-19th century, dealt with the Italian aristocracy, a subject of which Visconti had a feeling for, and knowledge of which was unsurpassed. I haven't seen Senso, so it'll go straight on to my rental list. Later he made The Damned which was about the German upper classes' complicity with Nazism, and starred Dirk Bogarde. I did see that a long time ago, but my appetite has been whetted so that'll go on the list as well.
The Leopard was graced by Burt Lancaster in the leading role as Prince Don Fabrizio Salina, the head of a decaying Sicilian family, buffeted by Garibaldi's revolution. I written about Lancaster before, and although he's dubbed here, his presence illuminates the film from begininng to end. Dubbing is perfectly normal in Italian cinema, even Italian dialogue is often dubbed for Italians, so it doesn't really seem out of place. It does enable actors such as Lancaster, Bogarde, and Alain Delon, another Visconti favourite who features here, to feature quite comfortably in Italian films. Anyway, Lancaster's performance is masterly. His character knows and accepts that he and his class are doomed to pass away, and the final scene, in which Salina leaves the grandiose ball alone, on foot, leaving everyone else to drive off in ther carriages, and slowly wanders the darkened streets, stopping and quitely genuflecting as a religious procession passes by, manages to be deeply moving. I can't possibly explain why - Lancaster's in long shot, the camera's withdrawing and letting the action unfold - but after nearly 3 hours in his company, both he and Visconti have managed to make us care about him.
It's full of glorious set pieces, the centrepiece the ballroom scene at the end which is a full 40 minutes. I suppose many would consider it goes on for far too long, but it lets us in to the heart and soul of Sicilian society - magnificent.
I must mention the music. Visconti uses music a great deal, in fact his films are operatic. It's yearning and emotional, and pretty old-fashioned. I loved it - it's elegaic, emotional and full of longing and sadness. It's by Nino Rota, who was responsible for the music for The Godfather. I can imagine it wouldn't be to everyone's taste, but it's a perfect marriage of sound and vision.
Italian cinema nosedived in the 1970s but appears to be on the brink of a resurgence - ;et's hope so, the Italians have a rich cinematic tradition. Meanwhile I'll revisit some of its greatest hits.
Visconti was an especially interesting character - a Marxist, homosexual aristocrat who made one of the earliest neo-realist films, Ossessione. We were sent a video with various film clips as part of the study pack and there were several clips from Ossessione, but I soon obtained it on video, and even went to see it at the cinema a few years ago. I can't remember why it was on, but there was a one-off screening at the Watershed one Sunday afternoon, so I couldn't possibly miss that. It had become one of my favourite films - gritty, in black-and-white, it depicted the underside of Italian society for the first time ever. It was made during Mussolini's regime - I don't know how Visconti managed it, but it was an act of great courage. He went on to make La Terra Trema a seminal film in the neo-realist canon, but post-war, his career path followed a highly individual trajectory.
The Leopard was released in 1963 and by then Visconti was making large-scale epics about Italian history, notably Rocco and his Brothers in 1960, which I remember my father going to see on his own. It was about a family of boxers (my father was a huge boxing fan) and of course it had subtitles. Dad's hearing had been damaged in the war, so the subtitles made a huge difference. He didn't go to the cinema much, so this must have been pretty special for him, though I have no idea what he made of the film.
Senso, which was set in the mid-19th century, dealt with the Italian aristocracy, a subject of which Visconti had a feeling for, and knowledge of which was unsurpassed. I haven't seen Senso, so it'll go straight on to my rental list. Later he made The Damned which was about the German upper classes' complicity with Nazism, and starred Dirk Bogarde. I did see that a long time ago, but my appetite has been whetted so that'll go on the list as well.
The Leopard was graced by Burt Lancaster in the leading role as Prince Don Fabrizio Salina, the head of a decaying Sicilian family, buffeted by Garibaldi's revolution. I written about Lancaster before, and although he's dubbed here, his presence illuminates the film from begininng to end. Dubbing is perfectly normal in Italian cinema, even Italian dialogue is often dubbed for Italians, so it doesn't really seem out of place. It does enable actors such as Lancaster, Bogarde, and Alain Delon, another Visconti favourite who features here, to feature quite comfortably in Italian films. Anyway, Lancaster's performance is masterly. His character knows and accepts that he and his class are doomed to pass away, and the final scene, in which Salina leaves the grandiose ball alone, on foot, leaving everyone else to drive off in ther carriages, and slowly wanders the darkened streets, stopping and quitely genuflecting as a religious procession passes by, manages to be deeply moving. I can't possibly explain why - Lancaster's in long shot, the camera's withdrawing and letting the action unfold - but after nearly 3 hours in his company, both he and Visconti have managed to make us care about him.
It's full of glorious set pieces, the centrepiece the ballroom scene at the end which is a full 40 minutes. I suppose many would consider it goes on for far too long, but it lets us in to the heart and soul of Sicilian society - magnificent.
I must mention the music. Visconti uses music a great deal, in fact his films are operatic. It's yearning and emotional, and pretty old-fashioned. I loved it - it's elegaic, emotional and full of longing and sadness. It's by Nino Rota, who was responsible for the music for The Godfather. I can imagine it wouldn't be to everyone's taste, but it's a perfect marriage of sound and vision.
Italian cinema nosedived in the 1970s but appears to be on the brink of a resurgence - ;et's hope so, the Italians have a rich cinematic tradition. Meanwhile I'll revisit some of its greatest hits.
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