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Monday, 22 August 2016

So-called mental-health services : A Venn diagram with three principal, but barely overlapping, sets ?

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


23 August







Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday, 20 August 2016

Some remarks about Mulholland Drive (2001) (and Mulholland Dr. (1999))

Some remarks about Mulholland Drive (2001) (and Mulholland Dr. (1999))

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


19 August

Some remarks arising from a screening of Mulholland Drive (2001) at The Arts Picturehouse, Cambridge, on Thursday 18 August at 9.00 p.m. (and about Mulholland Dr. (1999))


Nowadays, Nicolas Winding Refn¹ seems to want to go by the cypher above (which, one learns, one may not rightly call a monogram)...




However, is he, by curating some films that have influenced him, for participating Picturehouses (@picturehouses), showing that he is not a worthy heir to Igor Stravinsky... ?


Whoever’s work they really were (or were then thought to have been), it seems that Sergei Diaghilev commissioned Stravinsky to turn some libretti and scores that he had from Naples and London, and which had been attributed to Pergolesi, into a ballet for his Ballets Russes. Again, whoever’s music Stravinsky’s Pulcinella (1920) was then thought to have been (or based on – and, not surprisingly, it does not appear that Stravinsky said otherwise), it has been known for at least the last forty years to be his adaptive reworking / re-composition of those originals (as well as being considered the first work of what is usually called his neo-classical period).









The relevance of alluding to Stravinsky above lies in a sentiment that, it seems (and in mutated forms), has been ascribed to, or adopted by, many since before T. S. Eliot, but which is here quoted of Stravinsky :

Igor Stravinsky said to me of his 'Three Songs by William Shakespeare', in which he epitomized his discovery of Webern’s music : ‘A good composer does not imitate ; he steals.’

Twentieth Century Music²



In fact, does NWR, commending films to us such as Mulholland Drive (2001) (which is arguably Lynch stealing from his own t.v. film and other antecedents), really just show that he has not dared to steal, only to imitate ?

In other words, is the faulty notion behind Nicolas Winding Refn Presents... this one ? That it is as if Stravinsky had not only done very little with the Pergolesi materials to re-embody them as his own, but had also, and without good reason, allowed those facts to be known before their time.

Whereas Stravinsky himself was too good a self-publicist¹ for that, and, first allowed the Pergolesi name ‘to stick’ by arranging the work (in collaboration with Paul Kochanski) for violin and piano, publishing Suite d'après des thèmes, fragments et morceaux de Giambattista Pergolesi (1925)³...



Postlude :








End-notes

¹ Interviewed by Danny Leigh (@dannytheleigh) for The Guardian’s Film section (@guardianfilm), in Nicolas Winding Refn: 'I bring the singular, the narcissistic, the high art', NWR told Leigh – seemingly inconsequentially, as Leigh’s next paragraph is about meeting him next in London, a year later – about a young man whom he found bleeding nightmarishly in urban Los Angeles, and whom, along with another man (already there), he attempted to help, but the man died (and He had never seen anyone die before) :

He told me this story a few weeks later, still in LA. I asked if he had felt emotional. ‘No,’ he said. Nothing ? ‘Strangely nothing.’ The next morning ? ‘Nuh-uh.’ He sipped juice through a straw. ‘But later,’ he said, ‘I was happy. Because I got a fucking great idea for a scene.’


² Twentieth Century Music : Its Evolution from the End of the Harmonic Era into the Present Era of Sound, Peter Yates. Random House, New York (1967). Pantheon Books, p. 41.

³ Later, as well as an eight-movement Pulcinella Suite (revised in 1965), he produced arrangements, in collaboration with Gregor Piatigorsky and Samuel Dushkin, respectively, called Suite italienne for cello and piano (1932-1933) and violin and piano (1933).




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Beginning, not with the birds and the bees, but the psychiatrists and the psychoanalysts…

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


16 August

An article in The Guardian (@guardian) sets out to tell us something that its writer thought of serious import, about, despite the elapse of seven decades, the static representation of ‘female shrinks'…



Perhaps, in its tag-line, the description ‘female shrinks’ might just have left it ambiguous whether psychiatry per se is what was really meant here.



However, the words below the tag-line, which introduce the piece, and its opening words (both as quoted*), plainly use the word ‘psychiatrist’ : yet Dr Constance Petersen, in the person of Ingrid Bergman**, is repeatedly and consistently defined by reference to the professional term ‘psychoanalyst’.

So, sadly, referring to 'psychiatry', in this article now, is not exactly interchangeable with talking about psychoanalysis – even if it might once have been in the mid-1940s, with a lesser emphasis on medication ? – and is probably almost on a similar level to calling an astrologer an astronomer (or vice versa)… ?


More to come, where we may actually review the film, or come onto the question whether films ever really represent – or set out to represent – psychiatric practice…


When Matt Damon and Ben Affleck wrote Good Will Hunting (1997) (and both appeared in, the latter as ‘Chuckie’ Sullivan), can we any more just take at face value that Dr Sean Maguire (Robin Williams) really is literally to be taken to represent even some sort of maverick psychologist ?


Can we do so any more than view Dr Constance Petersen (Ingrid Bergman) in Spellbound (1945) as really being a practising psychoanalyst of whatever age, who has never been in love before, but falls for John Ballantyne (then in the mistaken guise of Dr Edwardes) within a matter of hours ?




[...]


End-notes :

* Respectively, Seventy years separates the Hitchcock’s film with [sic - on both counts] the DC blockbuster, but the social attitudes towards women psychiatrists they exhibit have barely altered, and A sexless female psychiatrist, devoted to her work, encounters a fascinating mentally ill man. Suddenly, she is awakened to the joys of love and devotes herself to her patient, abandoning her profession in a sensual ecstasy of criminality. Women psychiatrists : they’re driven mad by love.

** If, just if, Alfred Hitchcock had ever meant us to forget for a second that this was Ingrid Bergman on screen, would he have cast her – and not someone relatively anonymous – to be utterly convincing as this psychoanalyst, who breaks (as far as one can judge, but somehow actually gets away with it) all the professional rules in the book ? !




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Monday, 8 August 2016

Tale of Tales (2015) [Il racconto dei racconti] : A few Tweets from Saffron Screen...

Tale of Tales (2015) [Il racconto dei racconti] : A few Tweets from Saffron Screen...

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


8 August

Tale of Tales (2015) [Il racconto dei racconti] :
A few Tweets from Saffron Screen (@Saffronscreen)...






Salma Hayek as The Queen of Longtrellis [an unnecessarily literal translation, from her title in Basile's Neapolitan text ? - which we never hear]










Post-script :













Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 4 August 2016

Watching Carlo Gesualdo, who is the transgressor ? : Breaking the Rules

The Marian Consort, Gerald Kydd, and Carlo Gesualdo at Jesus College

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


3 August


An evening with The Marian Consort, Gerald Kydd, and Carlo Gesualdo (Prince of Venosa), in the chapel of Jesus College on Monday 18 July at 7.30 p.m.

This piece of writing – by way of an account or review of Breaking The Rules, a gig / event at Cambridge Summer Music Festival 2016 (#CSMF16) – should have been fully written up far more closely to the time, and so would have been more detailed* (and less impressionistic), but it is what it is…


With Breaking The Rules, it took no more than a flick-through of the promotional booklet for Cambridge Summer Music Festival (@cambridgemusic) to establish that The Marian Consort (@marianconsort) were, as a creditable ensemble, working in tandem with an actor (Gerald Kydd), and that their collaboration was likely to provide an unusual experience, with a college chapel as the back-drop :


After all, Cambridge Summer Music Festival has a tradition of such interpretations of composers in relation to their lives and works, one example being a one-man show around a decade ago where, in the chapel of Clare College (@ClareCollege)), we heard a performer embodying Carl Philipp Emanuel Bach (C. P. E. Bach), and playing his work, and - to close and as the light faded - that of his father Johnann Sebastian (J. S. Bach), in the Chromatic Fantasia and Fugue, BWV 903.



Or who can likewise forget I Fagiolini (@ifagiolini), with their theatrical Full Monteverdi, giving us the experience, right in the midst of us, of the love and passion of madrigals (this at a regular Festival venue, Emmanuel United Reformed Church (EURC) - read here about director John La Bouchardière's film, made with I Fagiolini and its music director, Robert Hollingworth) ? Or, in 2011, before presenting her programme Beloved Clara this year - with its insights into the lives of Robert and Clara Schumann and Johannes Brahms - that Lucy Parham (@LucyParham) had brought us, amongst other things, a tea-time talk with Radio 3’s (@BBCRadio3’s) Sarah Walker (@drsarahwalker) about Liszt’s Women, also at EURC, and complete with an element of piano performance ?


[...]


Sometimes as a choir à 5, rather than the full à 6**, The Marian Consort (@marianconsort) was in a sharp and tightly defined relation to the words of actor Gerald Kydd (as to timing, ambience, etc.) and his demeanour as Carlo Gesualdo – or, at least, a version of him (or versions ?), as written by author Clare Norburn (please see below).

That said, one heard afterwards, from asking one of the members of the ensemble’s technical crew, that previous venues had been Lichfield and at Brighton Festival (@brightfest), and thus one gathered that – for all – the experience is accordingly a site-specific one : it had apparently been a joy to light the chapel of Jesus College (@JesusCollegeCam), the venue this night, and from whose nave one could see the colours and shades of the chapel, thus giving energy to the different parts of Gesualdo / Kydd’s story.

Therefore, one assumes, variations to moves and cues – and where and how to project the moving images that were also such a part of the evening – must also have been determined in situ to suit the architecture (or its layout at floor level), with cast and crew then practising and, as they had, making them cogent.

(To an extent true, of course, with any ensemble that is prepared to explore the physical and / or acoustic properties of a place, even if is not (when the ensemble still existed) The Hilliard Ensemble and Jan Garbarek, the latter wandering where he might around St Paul’s (@StPaulsLondon), or the chapel of King’s College, Cambridge (@Kings_College), and weaving magic between their vocal-lines with his alto sax (or tenor).)


Here, the script did not seem highly developed (i.e. 'too polished', since that way can lie slickness), and its raw humanity, and that of Kydd as Gesualdo (‘K/G’) - obliged to re-experience his music through his life, and his life through his music - fed each other : if search for parallels we must, there is an echoing of the structural inter-play of Beckettt’s work for radio Words and Music (Paroles et musique), as to the function and integration of the musical portion.

On another level, when in mid-speech (although we never did know when K/G might summon music - or, vice versa, it summon him away from us), he felt like a Becketttian imagining of one of the souls to whom his beloved Dante had assigned a role in the Inferno, except not the passive repetitive patterns of Beckettt at his most discernibly Dante-esque, in Play* (not least since Gesualdo was not, at this time in the evening, the adulterer), but in the narrative energy of his trilogy of novels, or that of Winnie in Happy Days (Oh les beaux jours). (Even just a very little of Hamm’s superficially self-contented story-telling style in Endgame (Fin de partie) ?)

Once K/G had accused The Marian Consort’s and his explicit audience, we might have thought, wrongly, that there was no easy scope for going back and re-creating an element of the so-called fourth wall (particularly inapt to regard it as one for performance that was, to all intents, in the round) : it may have seemed dramatically ‘unhelpful’ for him to ask, nigh at the outset, who we were to judge Carlo Gesualdo – except that [what we conveniently call] History does nothing but judge him (for ‘Murther’ ou des autres dissounances), and sometimes with the most unlikely accomplices :









More to follow...


















End-notes

* Which is to say, not relying overly on memories that had been meant to be recorded in words on the night, rather than becoming vague with time first...

As it was, it was always going to have these opening two or three paragraphs, which were roughed out then (although then used, in between, in reviewing Nicolas Winding Refn’s The Neon Demon (2016) (@tnd_film)).

** Partly determined by the number of parts and / or getting in position for the effect of 'a voice off', from the choir. (The seating was in the nave and transepts.)




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday, 2 August 2016

Some bollocks about 'saving' the @BBC £150m...

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


3 August
















Postlude :






Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Sunday, 31 July 2016

Poetry in a Tweet : Poem for The Dispossessed

Poetry in a Tweet : Poem for The Dispossessed

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


30 July





© Belston Night Works 2016




End-notes

* A companion-piece to 'You *tease* !' ~ 60-word story...




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 28 July 2016

Cambridge Summer Music Festival (#CSMF16) : concerts with a first-time visitor to Cambridge

Cambridge Summer Music Festival : concerts with a first-time visitor to Cambridge

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


28 July


Some Tweets about four concerts, in three days, at Cambridge Summer Music Festival (#CSMF16), with - and chosen by - a first-time visitor to Cambridge


A follow-up to A quick overview, by Tweet, of I Fagiolini’s programme 'Amuse-bouche' at Cambridge Summer Music Festival...



1. Benjamin Appl (baritone) (@BenjaminAppl), standing in for Louise Alder (soprano) (@louisealdersop), with Gary Matthewman (piano) (@songpianist) at The Fitzwilliam Museum (@FitzMuseum_UK) ~ Monday 25 July at 7.30 p.m.










Interlude (general grumping) :






Resuming with Appl (@BenjaminAppl) and Matthewman (piano) :







2. The Piatti String Quartet at ‘Little St Mary’s’ (The Church of St Mary the Less [Wikipedia®]) ~ Tuesday 26 July at 1.15 p.m. :




3. The Academy of Ancient Music (@AAMOrchestra), directed by Pavlo Beznosiuk, in The College of St John the Evangelist, St John's College (@stjohnscam) ~ Tuesday 26 July at 7.30 p.m.










4. #Gallicantus at The Round Church ~ Wednesday 27 July at 9.30 p.m.












Also from #CSMF16 : A quick overview, by Tweet, of I Fagiolini’s programme 'Amuse-bouche' at Cambridge Summer Music Festival...




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday, 23 July 2016

A quick overview, by Tweet, of I Fagiolini’s programme Amuse-bouche at Cambridge Summer Music Festival

An overview of I Fagiolini with Amuse-bouche at Cambridge Summer Music Festival

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


23 July

A quick overview, by Tweet (and free text), of I Fagiolini’s performance of their programme Amuse-bouche, under the directorship of Robert Hollingworth, for Cambridge Summer Music Festival at Emmanuel United Reformed Church, Cambridge, on Saturday 23 July at 7.30 p.m.


A still from I Fagiolini - Ode à la gastronomie

Directed by John La Bouchardière and made by Polyphonic Films




In both halves, we also heard from Anna Markland (as well as her voice in the ensemble) on piano, with two of Erik Satie’s Gnossiennes (Nos 4* and 6, respectively), and, to close the first half, with Roderick Williams’ arrangement for piano and choir of the central movement (marked Adagio assai) of Ravel’s Piano Concerto in G Major









All in all, whether one wants to relate to the majority of the texts that we heard before the Françaix as surréaliste, or in some other stylistic or genre terms, these composers brought out qualities in them, and likewise the members of I Fagiolini under Robert Hollingworth’s direction, that made them compelling, and highly inviting of our interest :

In his Lieder, Franz Schubert sometimes transformed poems to which one might otherwise not have devoted much attention : here, it was not that the poems of Éluard or Apollinaire were unattractive, but that interpreters such as Poulenc could, in and through their sound-world, cause their visions to open up – in a way that, beforehand, their words on the page, even in the French, did not easily allow one to experience…





To conclude by way of an encore, after the well-received strangeness of Jean Françaix’s text and its treatment, something more familiar still than the Satie pieces : ‘Baïlèro’ from Canteloube’s Chants d’Auvergne.



Very much a Post-script - Schumann, Surrealism, and Satie [in Satie’s Parade] :









One can read more about András Schiff here [from Kirshbaum Associates Inc., his representatives in North America], and Wikipedia® on Parade, Satie's Opus ??, here...



End-notes

* Regarding which the audience, wrongly, seemed almost more enthusiastic than the preceding Sept chansons (by Francis Poulenc)… ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday, 21 July 2016

In a few sentences, casting out NWR¹'s The Neon Demon (2016)

In a few choice sentences, casting out NWR¹'s The Neon Demon (2016)

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


21 July


In a few choice sentences, casting out NWR¹'s The Neon Demon (2016)



Martin Creed ~ Work No. 232 (2000) at Tate Modern (@tate)



With a film, some will want to go into it, already knowing everything about it...




Or having (in its proper sense of reading every word) perused what Little White Lies (@LWLies) – or even Picturehouse Recommends – had to say (or did say, without ‘having to’ say it), and which will have determined them to watch - or to shun².





'when you were young, you dressed yourself and walked where you wanted'
John 21 : 18


Nicolas Winding Refn's (NWR¹'s) The Neon Demon (2016) is very deliberately mannered, and to the extent that his dialogue desires - in massive swathes of overly-delayed reaction - to be portentous. However, alongside its mise-en-scène³, instead it ends up just feeling very ponderous : nigh tediously so, with an affect that aims at insightful awkwardness, but largely conveys leadenness.

Music choices, as ever, are strong, but, having made a graphic point of doing so in Drive (2011), NWR seems unable to do other than try to shock his audience, as if crediting that it will have a lack of interest in the first-blush, well-worn premise of the traps of (the topos of) a beautiful young girl, come to California to trade on attributes that she knows herself to possess.





Prey on her what may - which, of course (and in order to provide the shocks), it duly does...



This is what [some] others said, at more length… :






[...]





End-notes :

¹ Winding Refn is now monogrammed, with the claimed status of the royal or the regal, at the head of his films. (Although, according to Wikipedia®, A series of uncombined initials is properly referred to as a cypher (e.g. a royal cypher) and is not a monogram.)


² Maybe it is the bane of many a film-maker (or distributor) that a book is judged by what is not even its cover, though those in the latter category do not entirely help their cause when a trailer makes an excellent film seem weak, or a poor film worth the watch, because of how scenes, snippets and elements of dialogue have been unrepresentatively mixed up and divorced from their filmic setting, in favour of creating an impression that the work itself does not substantiate (let alone footage that is in a trailer, but did not make the cut to appear in the film itself…).

³ Which obviously heavily evokes Tony Scott's Tarrantino-scripted True Romance (1993) (whose making of which left Tarrantino himself free to direct Reservoir Dogs (1992)).




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Wednesday, 20 July 2016

Starting with @PeterBradshaw1's @guardian 'review', some Tweets at and after Sheffield Doc / Fest about The Hard Stop (2016)

Some Tweets at and after Sheffield Doc / Fest about The Hard Stop (2016)

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


20 July

Starting with @PeterBradshaw1's @guardian 'review', some Tweets at and after Sheffield Doc / Fest about The Hard Stop (2016)














Next, engagement with the Every Film in 2016 review from Neil White (@everyfilmneil ~ http://everyfilmblog.blogspot.co.uk) :




More to come...




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Sunday, 10 July 2016

From the archive : Ma Apsley deputizes at inaugural Cary Grant Comes Home for the Weekend Festival

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


10 July

From Horfield to Hollywood - Guest Review ~ Diana Davis

I was thrown in at the deep end to review the event From Horfield to Hollywood, including a discussion with Laura Rawlings (BBC Radio Bristol) and an expert panel. The reason being that The Agent Apsley [@THEAGENTAPSLEY] was unable to cover the event, owing to another commitment in Cambridge, so he suggested I attend, and Charlotte Crofts, the event and festival organizer, agreed - as I have always been such a fan of Cary Grant...

It will come as no surprise to most Bristolians that the Watershed was packed with fans at 10 a.m. on Saturday morning – even George Ferguson, wearing his trademark red trousers, was there, to herald the start of the Cary Grant Comes Home for the Weekend Festival : to celebrate the transformation of Bristol schoolboy Archie Leach into Hollywood icon Cary Grant, and his endearing relationship with the City.

The film Cary Comes Home was directed by Stuart Napier ten years ago for ITV, and Laura Rawlings kicked off the proceedings by telling us that, on the anniversary of Cary Grant’s birth (18 January) this year, BBC Bristol decided to produce a radio programme about his life, and so invited listeners to contribute tales about him. She received many different stories, because people had met him walking around the City, or remembered him from school. She felt sure that it would be possible to make another film about their encounters in the future.


Dr Kathrina Glitre, Film and Screen Writing Lecturer at UWE, said how she just fell in love with him when she was eight, after watching Arsenic and Old Lace [(1944)], and saw a lot of his films. She was a teenager when he died, and spent the whole day in bed in misery. I feel sure that most women in the audience felt exactly the same, as his charm, elegance and sheer acting skills were mesmeric when he was on screen.


To think, too, that the-then Archie, as a poor child of eight, returned home from Bishop Road school to find his mother just not there must have been heart breaking. To be given no explanation by his callous father, Elias, who had packed his wife off to the psychiatric 'asylum' at 100 Fishponds Road - on what grounds we do not know* - beggars belief.

In a film-clip, a psychiatrist said that, as Archie's mother was quite strict about his appearance, she could have been suffering from OCD [Obsessive Compulsive Disorder]. Archie therefore felt for years it was something he had done that had caused her to go away.


It is commonly known that he helped back stage at the Empire Theatre and the Hippodrome, and, in so doing, met Bob Pender, who gave him the chance to join his acrobatic troupe, since he was impressed with Archie’s skills. So Archie ran away from home in order to do so.

His father tracked him down up north and insisted he returned home to continue his education at Fairfield School - and, when he did so, Archie discovered that his father had remarried. However, Archie’s desire to join the troupe (so the story goes...) made him peep into the girls’ toilets, and thus he was expelled : he then rejoined the troupe, and went to New York City with them, as he was now 13.

In 1935, Cary learned his mother was alive when one of the Kingdon family, his mother’s relatives, saw a film of his and thought that he bore a strong resemblance to the Archie Leach whom he had known as a boy. It was 1939 before Cary was able to make contact with his mother, and another six years before he was able to visit her. He ensured that she was released from the psychiatric hospital, and was the perfect son to her right until her death.



After the interval, Professor Andrew Spicer, a lecturer at UWE [University of the West of England], gave an interesting talk about James Bond (Agent 007) and why Cary turned down the role. Cubby Broccoli, a friend of Cary’s, had wanted him to play the part of Bond in Thunderball [(1965)], but Cary did not want to be tied down for a total of seven films. In any case, he would have been too expensive, as the film had a budget of only one million dollars, and Cary’s fee would have eaten up most of that. It was felt that an unknown actor would best suit the part, and Sean Connery [that unknown then] landed the job !

Stuart Napier’s film on Cary Grant’s life, with Cary occasionally speaking in his everyday voice, was highly interesting. He had been a very astutute man, and had realized, when cast opposite Audrey Hepburn in Charade [(1963)], that - on film - the age-gap between them was too great. He therefore insisted that the scene in the lift be re-written, which meant that he was then able to tell her that she was a child who needed a good spanking, and to behave herself, when she was coming on to him.


In her summing-up, Laura Rawlings referred to the story that Cary [when still Archie] had been playing football in the Bishop Road school-playground, and, when one of his front teeth had been knocked out, there was no money available to have a false tooth. However, mercifully the gap grew over and, as evidenced in a photographic still, he did indeed have only three front teeth. If one had not been told, one would not have realized at all !

There are not many cities whose inhabitants who can boast both about Brunel’s Clifton Suspension Bridge, the s.s. Great Britain, and a Hollywood star whose origins began in their home town of Bristol :

Hurrah for Cary Grant !



To come, in the Festival itself, on 16 and 17 July :




End-notes

But watch carycomeshome.co.uk or @carycomeshome, and this space... ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday, 9 July 2016

Report from Cary Grant Comes Home for the Weekend Festival 2016 : Notorious (1946) at Averys Wine Cellars

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


8 July




This posting will accrete into some sort of collage account of 'A Grand Day Out' in Averys Wine Cellars, Bristol, for the launch event of Cary Grant Comes Home for the Weekend Festival 2016, with a special screening - with wine interludes, and cheese and bubbly preludes - of Notorious (1946)



Attending this event had only been proposed and then booked, on the day, on a train to Bristol Parkway, as a much-delayed birth treat for The Agent's maternal...







When Cary checks his e-mail / voicemail - or gets that text-message ? - we already know the bad news for Ingrid and him...





Andrea Riseborough as Colette McVeigh in Shadow Dancer (2012)







To come, in the Festival itself, on 16 and 17 July :






Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)