LAU at The Stables with Midnight and Closedown

Some Tweets about Lau (@LAUMusic), in performance at The Stables, Milton Keynes

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
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24 February

Some Tweets about Lau (@LAUMusic), in performance at The Stables (@StablesMK), Wavendon, Milton Keynes, on Sunday 24 February 2019 at 8.00 p.m.

The tracks listened to, and amazed by, are Iris, and make black white : this effects-pedal, sampling and looping, and sound-manipulating, Lau may not be to everyone's taste, who expected fiddle, guitar (and voice), and accordion, but it's a pleasure to watchand hear ! :)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 24, 2019

* #UCFF's now possessing what seems to be a Lau / Karine Polwart EP, that is not an inapt connection / comparison, because the former artefactually created and used a very specific performance-space, too...

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 25, 2019

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

Two Tweets in initial astonishment at the vividity and richness of image and meaning in Orphée (1950)

Astonishment at the vividity and richness of image and meaning in Orphée (1950)

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

18 February

Astonishment at the vividity and richness of image and meaning in Orphée (1950)

The latter and her stunning performance - as well as the female fetishwear* - hitting all the right Servalan-type chords !

* Quite aside from which, the cleverness of the conception / script, the shots, the locations, the immersion in these worlds, the effects, the ambience...)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

Jacqueline Pearce RIP (Servalan)

Épilogue :

Freudian slip ?

'To do or die for' ? ;)

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

To an extent also true of their Bound (1996), one can see how Lilly and Lana meld with the world(s) of Orphée (1950) in The Matrix (1999) : a proto-Trinity, mirrors aplenty, Neo as dreamer, appearance and substance....

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 19, 2019

End-notes :

* Seen at Saffron Screen (the community cinema on the premises of Saffron Walden County High School, Saffron Walden, Essex).


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

Titanic (1997) : revisionism, after the fact ?

Titanic (1997) : revisionism, after the fact ?

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

10 February

Titanic (1997) : revisionism, after the fact ?

Via AOL [https://t.co/Dhzj97VAlp]

‘Titanic fans have long wondered why Jack (DiCaprio) couldn't climb aboard Rose's (Winslet's) door-turned-raft at the end of the 1997 movie.

‘Now, director James Cameron is addressing those "dumb-ass arguments" on BBC's Movies That Made Me.’

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 10, 2019

'Plumb interjected "It's called...", as James added, "writing". The pair then laughed.'

To get shot (if omitted), the scene had been written. Decades on from Titanic, one can be revisionist of the director's career / films - but not let him unfairly bemoan 'dumb-ass arguments' ? https://t.co/ZFUQUT3AcC

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 10, 2019

In the RMS Titanic version of Verona, a member of the Montague family would not have been travelling steerage, and, although Cameron believes that his lovers, Jack and Rose, somehow mirror Shakespeare's couple, it is hard to see how :

Act V, Scene 1 (ll. 34-86), is spent on obtaining the poison. Shakespeare follows the source The Tragicall Historye of Romeus and Juliet (Bandell trans. Brooke), Seeing Juliet (Scene 3, ll. 85-120), he does as planned, and takes the poison.

2 / 3

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 10, 2019

Shakespeare omits detail from Brooke, including a prayer (ll. 2670-2688). Does Cameron ask Romeo to be 'smart' by knowing what only Friar Laurence does, that his wife is not dead, and that she could use his dagger ?

3 / 3

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) February 10, 2019

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

What did Ezra Pound’s typewriter say to Dorothy Parker’s ? (work in progress)

Jottings about Can you Ever Forgive me ? (2018) (work in progress)

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
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4 February

Jottings about Can you Ever Forgive me ? (2018) (work in progress)

Non-spoilery observations :

* Based, as Molly’s Game (2017) was, on Lee Israel’s own account of what happened*, one inevitably asks : Is being Based upon a true story a good enough reason to make a film ? **.

* The character of Lee Israel is not dissimilar to that of Oscar Isaac’s in Inside Llewyn Davis (2013) - does one want to be inside her that much (even if the film better slants our understanding of her than that of The Coen Brothers) ?


The rest :

* She chucks away the typewriters and the other material (as if one, i.e. the Feds, could not infer their existence from the various artefacts that she produced, but they do not seem interested anyway) – yet, at the end of the film, Israel still has the note-paper that she had printed for Dorothy Parker (and the look-alike)

* Jack goes into one of the bookshops with the real letter from ?? in the collection at Yale (on his suggestion that she leave one of her copies there, and sells the genuine item), but he accepts only $300 for it – more inexplicably, as if the Feds could have been waiting for him there, he is next shown (after cutting away to Israel, waiting) being interviewed by them on the premises


End-notes :

* With, seemingly none of the consequences that were attendant upon Molly Bloom’s publication of her book…

** Since Big Eyes (2014) showed that a good reason is not a sufficient reason, and the screenplay has to / ought to make the story worth the telling.


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