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Wednesday, 16 September 2020

Three Tweets about Moonstruck (1987)

Three Tweets about Moonstruck (1987)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


16 September


Three Tweets about Moonstruck (1987)


Postlude :





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

Comments on Pinter : Landscape (1968 / 1969) (work in progress)

Comments on Pinter : Landscape (1968 / 1969) (work in progress)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


15 September

Comments on Pinter : Landscape (1968 / 1969) (work in progress)

1. A woman (Beth) is being reflective about both the past, and herself and her qualities, in relation to it.

2. Pinter may not have intended this play for radio, but it was first given there by the BBC¹. Has that earlier identity as - one might think of it - 'a play for voices' been subsumed since Peter Hall, within months of that first production, directed it (alongside Silence) at the RSC ?

3. Peggy Ashcroft played Beth in both productions, Dorothy Tutin in the BBC production directed by Kenneth Ives in 1983 (with Colin Blakely as Duff).

4. The title evokes :

(i) The outside, which the man (Duff) and she largely 'live in' while speaking ;

(ii) The 'landscape of their lives' as a terrain (minefield ?) that they physically, and mentally, occupy ; and

(iii) Who they are (or were) in relation to it - and, through it, to each other.


5. It is also a clue to the word 'rape', which is not at all far from the surface - here, in the short Night¹, or in The Collection (1961 / 1962²).

6. What Duff gives with one hand (That nice blue dress he [Mr Sykes] chose for you, for the house, that was very nice of him), he takes with the other³ (Of course it was in his own interests to see that you were attractively dressed about the house, to give a good impression to his guests) : in the latter, he is arguably as much trying to make facts suit him as needle Beth (again) about her worth.

7. Beth does not need, or does / can not benefit from, his version of encouragement (You should have a walk with me one day down to the pond, bring some bread. There's nothing to stop you.) or, more significantly, his of approbation :

Mr Sykes took to us from the very first interview, didn't he ?

Pause

He said I've got the feeling you'll make a very good team. Do you remember ? And that's what we proved to be. No question. [...]


8. [...]

9. When Beth sets out 'the basic principles of shadow and light' (Shadow is deprivation of light, etc.), we know, of course, that she means something else - as well as telling us, she is seeking comfort, by relating them to herself and to her past, to who she is :

But I always bore in mind the basic principles of drawing.

Pause

So that I never lost track. Or heart.

Pause



[...]



End-notes :

¹ On 25 April 1968 and 2 July 1969, according to the information in the Eyre Methuen edition Landscape and Silence (A Methuen Modern Play), which includes the text of Night, first performed on 9 April 1969.

² Another play that, again according to its Methuen edition, was first presented elsewhere than on the stage (on Associated Rediffusion Television on 11 May 1961).

³ Duff had done so, straightaway in the next sentence, with ?, but 'cannot let it lie' - he has to worry it, because, unspoken, it worries him.




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

Monday, 14 September 2020

Church of All Saints, Eyeworth, Diocese of St Albans : Field-notes

Church of All Saints, Eyeworth, Diocese of St Albans : Field-notes

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


13 September

Church of All Saints, Eyeworth, Diocese of St Albans : Field-notes



The north side of the chancel, and the priest's door






West end of the South aisle, and quatrefoil window




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

Tuesday, 8 September 2020

Κυνόδοντας (Dogtooth) (2009) re-considered

Κυνόδοντας (Dogtooth) (2009) re-considered

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


8 September

Κυνόδοντας (Dogtooth) (2009) re-considered









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

Saturday, 5 September 2020

#AndyWarhol at Tate Modern

#AndyWarhol at Tate Modern

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


5 September

#AndyWarhol at Tate Modern

Andy Warhol produced art at a time of immense social, political and technological change.

This exhibition examines Warhol’s subject matter, his experiments in media
and the way he cultivated his public persona.

It draws attention to Warhol’s personal story and how his view of the world shaped his art.






One of the most significant wall-notes in the whole of the #Warhol show might not even be seen by many visitors (it is in Room 3, opposite the soup, and the Coke bottles)



Notes or observations on the dozen or so screen-tests (compiled and converted to video by ???, the Warhol museum in Pittsburgh, from around 150 in all) :

* Susan Sontag's weeping, and a tear falling down her face, and then from her chin

* From the lively intelligence, eyes twinkling and even cigar-smoking and smoke-blowing of Duchamp to the dullness of Dylan - in medium shot, and resolutely trying to rest his fingers on the right-hand side of his shades (as if even he thinks that he looks / will look good ?), and, all in all, an imposture of posture :

Using both arm-rests, right leg crossed over left, clothing dark (except light jacket), with the fingers of his left hand angled down to be partly hidden behind the base of his right thigh

left hand's * Little like Dylan (wooden, unregal, and as obedient as if 'looking into my light' at the opticians'), Duchamp is so animated that he leans both ways sideways, forwards, and can be seen actively looking, taking in what surrounds him

* Ginsberg is intense, and, but for blinking, a likeable living passport pose - he is shot almost full face, and lit mainly from his left (as the subject)

[...]




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

Friday, 4 September 2020

Live-Tweeting from The 2020 Proms : Anoushka Shankar with Gold Panda, Manu Delago, Jules Buckley and Britten Sinfonia

Live-Tweeting from The 2020 Proms : Anoushka Shankar, Gold Panda and others

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


4 September

Live-Tweeting from The 2020 Proms : Anoushka Shankar with Gold Panda,
Manu Delago, Jules Buckley and Britten Sinfonia































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

Wednesday, 2 September 2020

Live-Tweeting from The 2020 Proms : London Sinfonietta in 'A programme of pulses'

Live-Tweeting from The 2020 Proms : London Sinfonietta in 'A programme of pulses'

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)


1 September

Live-Tweeting from The 2020 Proms : London Sinfonietta in 'A programme of pulses'














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