Showing posts with label Terry Johnson. Show all posts
Showing posts with label Terry Johnson. Show all posts

Thursday 21 September 2017

You never loved me. (Slight pause) You just loved how much I loved you.

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)


21 September

This is less a review than an angry dismissal of mother ! (2017), by Darren Aronofsky, the person responsible for the direness that is Black Swan (2010)



Welcome to Aronofsky World - the Parade of Plaster-Saints !





[Accreting list of] Film-references and other references :

* Alien (1979)

* August : Osage County (2013)

* Biedermann und die Brandstifter [The Fire-Raisers] ~ Max Frisch

* Das Schloß [The Castle] ~ Franz Kafka

* Der Prozeß [The Trial] ~ Kafka

* Don't Be Afraid of the Dark (2010)

* Hysteria ~ Terry Johnson

* Melancholia (2011)

* On the Road (2012)

* Pan’s Labyrinth (2006)

* The Baby of Mâcon (1993)

* ‘The Circular Ruins’ ~ Jorge Luis Borges







One suspects that one would, again, benefit more by watching Hepburn and Tracy in Adam's Rib (1949) rather than doing any more than groan at Aronofsky's levering the topos into his Weltanschauung... (Yes, there was clearly - from the start - more to the relationship between Bardem and Harris than presented : it did not make for dramatic irony, but for the effect of an inept screenwriter, playing with 'big ideas'.)








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

Friday 7 September 2012

This is a farce that makes you think (according to The Guardian)

This is what the theatre says was written about Hysteria by Terry Johnson

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


7 September

This is what the theatre says was written about Hysteria by Terry Johnson

Johnson is best known to me as having written the play on which the film Insignificance (1985), directed by Nicolas Roeg, was based, but may also have directed the performance that I saw of One Flew Over the Cuckoo's Nest (taken from the novel), and almost certainly did that of Shelagh Stephenson's The Memory of Water.

I do not know Johnson's earlier play, but what do we have here ? : the fictionalization of a real meeting between the inventor of psychoanalysis and one of the world's most eccentric artists of the twentieth century. In Insignificance, Marilyn Monroe famously meets Albert Einstein (though I don't think that they ever did).

But this is not Michael Frayn with Copenhagen, Nils Bohr, Werner Heisenberg and Bohr's wife Margrethe circling like sub-atomic particles on the stage. Frayn's play is not exactly in the vein of scientific speculation (e.g. The Cambridge Quintet, and nor could Johnson's be imagined to be.

If you could see the last five to ten minutes before the first five to ten minutes you might simply not bother to watch what follows, it is as simple than that - any creative work that does not at least do what Through the Looking-Glass and What Alice Found There to maintain the magic may not be worth the watching.

For does the play actually give rise to the thinking that is attributed to The Guardian? Not beyond thinking that three characters depicted might represent Freud's id, ego and super-ego in a dream, and that just is not that interesting. It is also not interesting that, at the end of his life, Freud might have contemplated again, and regretted having rejected the idea of sexual abuse in the infantile period as the basis of his patients' psychiatric problems - as I reflected on this conceit, I realized that I already knew of this rejection, and that the notion did not add very much.


A great advance on the play filmed as Insignificance? Not really.