Maudie - or Maudit ?

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

7 August

Some observations, partly by Tweet, about Maudie (2016)

You are determined to put a stain on this family name !

Aunt Ida

This film, however based in reality, could only work on the level of parable -
and it unnecessarily laboured even that

Jacob Apsley

Watching @velvetjoyltd's Sleaford Mods : Invisible Britain (2015), ahead of the @CamPicturehouse Q&A for https://t.co/mxIg0VNu9S (2017)...

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 8, 2017

Film-making that's sparky, spunky - and makes having tolerated all of @MaudieFilm, for Ethan Hawke to grunt at Sally Hawkins, seem prodigal. https://t.co/liFTxlNBZ0

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 8, 2017

One suspects, also, that the tale would have been more slavishly told, if it had not been for an editor who needfully encouraged strong cuts

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 12, 2017

In a parable, told for the good or ill of those in it, Sandra (Kari Matchett) would have been ruthlessly exploiting Maud (Sally Hawkins)...

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 12, 2017

Many shots, and how they were filmed, were just trite in @MaudieFilm, and too much of the awkward - if loving - dialogue excused schmaltz ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 8, 2017

Sally Hawkins is her very best, and Ethan Hawke reprises his act as boor with a heart - but it's just what this overlong film's script lacks https://t.co/9rQqBrjiIL

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 12, 2017

Some film-references :

* Being There (1979)

* Big Eyes (2014)

* Caravaggio (1986)

* Forrest Gump (1994)

* La belle et la bête (1946)

* Mr. Turner (2014)

* New York Stories (1989)

If Sally Hawkins doesn't win Best Actor for Maudie something is seriously wrong with the Oscars.

— Marcos (@Benny57M) July 30, 2017

Something's wrong anyway with @TheAcademy Awards, as we well know.

Sally H. deserves to win, but has always given great film performances ! https://t.co/K9xhdjavff

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 17, 2017

Of course (in #UCFF's view), Sally Hawkins would win @TheAcademy Award not *because of*, but despite, the mawkish script of Maudie (2016)...

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 17, 2017

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

Why is mental-health charity SANE promoting a survey that seems incapable of not using 'psychosis' and 'schizophrenia' interchangeably ?

SANE promotes a survey that uses 'psychosis' and 'schizophrenia' interchangeably

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

5 August

Why is mental-health charity SANE promoting a survey that seems incapable of not using 'psychosis' and 'schizophrenia' interchangeably ?

Have you experienced #schizophrenia or #psychosis? Please complete our survey about services and support in the UK: https://t.co/MzDrsiPPgX pic.twitter.com/N2V7s7mzMc

— SANE (@CharitySANE) August 5, 2017

I did complete it :

However, it excluded me *so many times*, by conflating #schizophrenia with #psychosis - and this from a #mh charity ? ! https://t.co/rbJsz9qIWd

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 5, 2017

Someone who has had episodes of #psychosis may be suspicious or paranoid at times, or wonder what is real, but that isn't #schizophrenia... https://t.co/nrTPXFGYqf

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 5, 2017

SANE= Schizophrenia A National Emergency. Nuff said.

— EndMedicalAbuse (@validconsent) August 5, 2017

Or someone whose experience has been labelled #schizophrenia might talk of that experience, but talk quite differently from such things ? https://t.co/HDNF8K8KlM

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 5, 2017

How awful. @CharitySANE you need to review your practices, approach, thought, knowledge, concept, preconceived ideas of 'mental' health! 🙄

— Ysbryd PPFOB (@Victorias_Art) August 5, 2017

Some pages appeared to require an answer regardless - other, more intelligent surveys, invite you to say more, depending on previous answers

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 5, 2017

If you want to Tweet, Tweet away here

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

Becoming Cary Grant (2017) has its premiere - in England* - in Bristol

Becoming Cary Grant (2017) : A premiere at Cinema Rediscovered at The Watershed

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

29 July (Post-script added, 11 August)

An account of the sell-out screening of Becoming Cary Grant (2017) plus Q&A at Cinema Rediscovered at Bristol's The Watershed

As some introductory words from director Mark Kidel, @charlottecrofts and @msc45 rightly said, the film is about what it's like to be human.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 31, 2017

Festival director Charlotte Crofts with Mark Kidel, director of the Becoming Cary Grant documentary at Cinema... https://t.co/HNxaT8tpXo

— Cary Grant Festival (@carycomeshome) August 2, 2017

So, with @CaryGrantDoc's English premiere at @wshed in 17hrs 50mins, time to reflect on what director Mark Kidel told @carycomeshome... pic.twitter.com/DhNuVqnlUc

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 29, 2017

NB, about this event for @carycomeshome :

An illustrated discussion about the making of the documentary, *not* a screening of the full film

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 15, 2016

For @carycomeshome, hosted by @wshed #CarySailsHome, Mark Kidel kindly shared extracts from his work in progress... pic.twitter.com/XrkdaiqGPI

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 16, 2016

It's the final day of @CineRedis! Let's see it out with a bang - here's what to choose from today: https://t.co/ajBSKwmLNU pic.twitter.com/azHOLHTWqF

— Watershed (@wshed) July 30, 2017

🚨SPOTTED🚨 director Mark Kidel with a familiar face... #CinemaRediscovered #carygrant #premiere @CineRedis pic.twitter.com/PRnVLWa6b6

— CineRedis Reporter (@CineRedisReport) July 30, 2017

Truly - #UCFF only managed Monterey Pop (1968) otherwise, but a comment was heard, on exiting @CaryGrantDoc, that it was the best of the w/e https://t.co/38aLuMs5xX

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 30, 2017

As some introductory words from director Mark Kidel, @charlottecrofts and @msc45 rightly said, the film is about what it's like to be human.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 31, 2017

Loved listening to Mark Kidel intro +Q&A his affectionate Becoming Cary Grant: "He took acid 100 times, which is 99 times more than I did."

— Rose (@rozebaker) July 30, 2017

In @CaryGrantDoc : Betsy Drake introduced Cary Grant to LSD therapy, but her marriage to him does not seem to have been its beneficiary ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 6, 2017

One part of @CaryGrantDoc :

Grant's in therapy because of how he saw (chose to see) his childhood experience as rejecting him per se...

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 1, 2017

Even if Cary didn't acknowledge his resentments in boyhood, it's not likely that his father was unaware of his feelings, on committing Elsie

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 1, 2017

At #UCFF (via Agent A), it was impossible not to take pleasure in @CaryGrantDoc - even in excerpts that Mark Kidel shared at @carycomeshome pic.twitter.com/jF3mIfPMQl

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 30, 2017

Cary, writhing as records play, and lysergic acid diethylamide [LSD] lets him re-enter hidden-away experience : unforgettable @CaryGrantDoc.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 31, 2017

Yet, for hard-core fan-dedication, nothing beats someone who had travelled from Lincoln(shire) to-day, and kindly said hello again before it https://t.co/LcPv6XKP0k

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 30, 2017

Yay! Great to catch up with some regulars! pic.twitter.com/ivF7xGYxd9

— Cary Grant Festival (@carycomeshome) July 30, 2017

Ah, yes - as Tweeted, very glad that this good person made herself known, from last time !

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 30, 2017

Post-script, to try to formulate some thoughts about Archie more succinctly / clearly :

When Mark Glancy's biography of Cary Grant (Archibald Leach) appears, will :

* Archie have complained to his father about his mother ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 11, 2017

Not only because behaviour that she'd reprimanded in Archie 'made her' desert her husband and him - but also since he'd secretly wished it ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 11, 2017

It says, there 'he wishes that his family would disappear. [...] In the confusion and rush [for flights], Kevin is accidentally left behind' pic.twitter.com/R3VYUSt46Y

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 11, 2017

In A Story of Children and Film (2013), @markcousinsfilm rightly directs us to Palle Alone in the World (1949)... :https://t.co/t4ytpjQlFO https://t.co/oWr4bnQIc6

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 11, 2017

End-notes :

* Billed as the film's 'English premiere', this is because it showed at Edinburgh Film Festival last month.


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

Some Tweets about London Korean Film Festival Teaser Bluebeard (2017)

Some Tweets about London Korean Film Festival Teaser Bluebeard (2017)

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

Some Tweets about London Korean Film Festival Teaser Bluebeard (2017)

#LeeSooyeon returns after 14 years to present the labyrinth of the human mind with #Bluebeard https://t.co/UQngbVLrAA #koreanfilm #film pic.twitter.com/Zh9UpL6tll

— KoBiz (@KoreanFilmBiz) July 14, 2017

As Bluebeard (2017) progresses, Lee Soo-yeon's teasing multiple snatches of scenes from different angles subside, into Seung-hoon's ambience https://t.co/cqubYrqbJR

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 27, 2017

Photo credits : Dae-myung Kim (and Jin-woong Jo) (upper image) ;

Actor not credited (by IMDb), and Jin-woong Jo (lower image)

A succinct introduction by Dr Morris both put Bluebeard in its place in the Teasers (and the thinking behind them), and nicely set the mood. https://t.co/vSR0BEstF6

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 25, 2017

Don't miss this opportunity to catch BLUEBEARD, part of the #LKFF Teaser Screenings!#SouthKoreanCinema #Cambridge https://t.co/3lQpIK0MeO pic.twitter.com/59mlZ6gLUW

— Cambridge Film Fest (@camfilmfest) July 24, 2017

Thanks to the friendship of @camfilmfest and @koreanfilmfest, a chance to see Soo-youn Lee's Bluebeard (2017) at @CamPicturehouse last night

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 25, 2017

Photo credits : Jin-woong Jo (upper image) ;

Goo Shin and Dae-myung Kim (centre image)

Jin-woong Jo and Yoon Se-ah (lower image)

Assisted by the score's novelty, as we try to pick our way between clues and snares, do we momentarily think of ? :https://t.co/KEHHdqgYhL https://t.co/EhOc9XcBgf

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 26, 2017

Film-references :

* A Girl at my Door (Dohee-ya) (2014)

* Delicatessen (1991)

* El virus de la por (The Virus of Fear) (2015)

* It’s A Wonderful Life (1946)

* The Handmaiden (2016)

* The Trial (1962)

To-night, what is - except at the lovely time that is @camfilmfest, which was part of it - the rarity of a double-bill at @CamPicturehouse !

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 24, 2017

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

Love changes everything ?

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

25 July

At #UCFFF, @WorldsEndMovie (2013) engaged energies by its employment of delusional experience, and we analysed it :https://t.co/59LWIICBWt

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 26, 2017

Re-seeing @BabyDriverMovie confirms that writer / director Edgar Wright works on several levels here, with lyrics in graffiti, notices, etc. https://t.co/reVxKNAu0V

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 26, 2017

[...]


If you want to Tweet, Tweet away here

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

I didn't know the art world, I didn't know living... artists existed ~ Marc Quinn

This is a review of David Lynch : The Art Life (2016)

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

This is a review of David Lynch : The Art Life (2016)

Conversely, it's perhaps also its main demerit : there's little against which to measure his estimations of times as idyllic - or miserable.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 24, 2017

Truncated, as the time after The Grandmother (1970) is skipped over / ill accounted for. Still, seeing Lynch at work on Eraserhead's a joy !

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 25, 2017

David Lynch with Jack Nance during the making of Eraserhead (1977)

Filmed by someone mysteriously credited as Jason S. (also one of the executive producers), the cinematography's usually nice, often playful. https://t.co/7NPCChYDGr

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 25, 2017

Film-references (in alphabetical order) :

* Calvet

* Heart of a Dog (2015)

* Marc Quinn : Making Waves (2014)

* The Confession (2016)


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

The connections between Beethoven, Schubert, Chopin, and Scriabin with Joanna MacGregor

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

As with @SoundCircusJM last night, The Seasons in Quincy : Four Portraits of John Berger (2016) makes one aware of breathing, of inhaling it

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 20, 2017

Apart from a last Chopin Mazurka ?, a concert with @SoundCircusJM at @FitzMuseum_UK for @cambridgemusic ended in Schubert's immortal D. 960.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

It's hackneyed to quote the closing proposition of The Tractatus Logico-Philosophicus (or the opening one), or talk of journeys, but still ? https://t.co/WGyPKGimV6

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

[...]

Or rather No. 4 !

Anyway, not so for the preceding Mazurka, in A Flat Major and to which @SoundCircusJM made reference after playing all 4.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

[...]

If you want to Tweet, Tweet away here

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

John Berger ~ Always much more than the author of Ways of Seeing*

This is a response to The Seasons in Quincy : Four Portraits of John Berger (2016)

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

18 July

This is a response to The Seasons in Quincy : Four Portraits of John Berger (2016)

Now watched The Seasons in Quincy : Four Portraits of John Berger with @jackabuss :

Evocative, full of life, and thoughtful - that was Jack pic.twitter.com/g07N6BETM2

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 18, 2017

Tilda Swinton shares her friendship with Berger / he his with her : they know they're filmed, but no pretension :https://t.co/1db2h5FC9W

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

Either one keeps one's wits about one, to know more about the unifying, but unobtrusive score, or seeks out Simon Fisher-Turner's credit...

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

To find him in the picture back when Derek Jarman - in league with whom this shoot also took place - was first seen directing Tilda Swinton. pic.twitter.com/IrwfD9Mbgy

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 19, 2017

End-notes :

* Yet, at the same time, we see how much of him - and of his work - rightly came from properly seeing : to encompass 'listening', 'creating', 'being'...

New to the Film Shop this weekend. Get them now! pic.twitter.com/E3vR2xLTx8

— Irish Film Institute (@IFI_Dub) August 26, 2017

Not, if you're so 'early music' that you don't want @orlandoconsort + a film (or wrote this @ConvoCinema card)... but excellent otherwise ! pic.twitter.com/79dYDqnZEW

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 26, 2017

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

A Delayed Service from Beverley I : Dr Dee's Daughter

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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17 July

For now, just posting the notes - as transcribed on the train - from seeing Rust and Stardust and Palisander perform Dr Dee's Daughter at Beverley Early Music Festival on Monday 29 May 2017 at 2.00 p.m.

Our lovely show with Palisander, Dr Dee's Daughter, has only gone and been featured in Gramophone! Looking... https://t.co/2wqJmeJw5O

— Rust & Stardust (@ruststardust1) June 3, 2017

Rust & Stardust‏ @ruststardust1 Jun 3
Our lovely show with Palisander, Dr Dee's Daughter, has only gone and been featured in Gramophone! Looking... http://fb.me/8CrQLCQaR

A quotation from @ruststardust1's show with @Palisander4 :

They spend all their time *talking about* being clever - without *being* clever.

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 12, 2017

@ruststardust1 [http://twitter.com/ruststardust1]

@Palisander4 [http://twitter.com/Palisander4]



Art and Artifice – Entwined


Touching and delightful show


'A father is a friend for ever'


'A true friend is a rare bird'


'Logic and love' versus 'Loss and hate'


'I thought that it would bring back your health, happiness - bring back you'


For those for whom 'knowledge is experience' [experientia - experience, though noon auctoritee]


Spend all their time *talking about* being clever - without *being* clever


An energized and enthusiastic performance - a consummate consort, wonderfully attired, thanks to Katie Sommers


Dramatic, because on stage with Rust and Stardust - the power in the narration and of the enactment


Contrabass - a huge instrument, like an organ-pipe. Scrolls on music-stands

Some staccato (some of it 'chirpy'), and some slurs and run-togethers

Imaginative stage-business, as well as involving Palisander - as well as a match of puppeteers to dolls (two girls, playing with their dolls, but believing in it), players and performers are charging around


The four different winds have different characters, of instrument and of playing


Comfort in recurring themes, but also (with Ludovico) ominous sounds, breathings (some very breathy) and intonations - toothy ?? endentures, and fractured tones


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

Comedy and atrocity : The possible origins of 'The Chuckle Brothers' in The Journey (2016)

Some account of The Journey (2016), watched at Saffron Screen on Sunday 16 July

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

16 July

This may become - hopes to become - some account of The Journey (2016), watched at Saffron Screen on Sunday 16 July at 8.00 p.m.

The film is, with other actors such as Colm Meaney (McGuiness) and Toby Stephens (Blair), so daringly treading a line - comedy and atrocity.

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 18, 2017

[...]

John Hurt RIP and Timothy Spall being in The Journey (2016), and a Good-Friday-agreement setting, was enough to get #UCFF to @Saffronscreen

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 18, 2017

[...]

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

Being given the bumps was [meant to be] no fun - for you...

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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Approaching the eve of my (lucky) 13th birthday*, I decided that it would be otherwise :

Being given the bumps was [meant to be] no fun

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 15, 2017

This loose piece of humanity* was no fun for them :

Dusty as I was, I didn't care, and they soon just gave up

* Or taut (my being changed)

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 15, 2017

End-notes :

* Probably, it was my fourteenth birthday, but the resolve was there - for this day when I ceased being 13 : This is the last time / This won't happen to me again.


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

'What we expect of the young (or the old ?) - and why' [working title]

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Edgar Wright's Baby Driver : A musical, in a Tarantino sort of way ?

This is a review, partly by Tweet, of Baby Driver (2017)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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3 July

This is a review, partly by Tweet, of Edgar Wright's Baby Driver (2017)

Baby Driver (2017) palpably cannot be about what it seems, any more than is writer / director Edgar Wright's The World's End (2013), but did the audience seem to be missing that* ?

Here, there is a quantity of humour - wry, grim, and worse - that, if one is too believing of the film as story, will perhaps not have one snorting, or shaking one's head, at the audacity of the film-making (i.e. concept / script / delivery)... which is unfortunate, because these shots, the quality and precision that Edgar Wright gives us in the framing, wording, and editing, deserve our respect for what they are, i.e. not just part of, say, another 2 Guns (2013).

No doubt that Wright's poking fun of - outright mocking ? - Drive (2011) and Gosling / Mulligan with the pseudo-psychology and 'Wanting out'

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 5, 2017

By contrast, Nicolas Winding Refn's Drive (2011) really does take itself so seriously [as does [ ] The Neon Demon (2016) ?], with Ryan Gosling (credited only as Driver, though one choice of garment** suggests that he models himself elsewhere) as the man who can not only be wholesome to Carey Mulligan*** (Irene = Greek for 'Peace'), but buck an approach to and use of violence based on retribution.

No delusion that this is 'Real', or the film-references chance :

At a significant time, one's in a laundrette where a painterly RYB rotates

— THE AGENT APSLEY (@THEAGENTAPSLEY) July 3, 2017

Nerdist also picked up on that use of colour(s) in its posting about the film's trailer(s) :

If the trailers are any indication, it would seem Wright’s been itching at giving us some beautiful shots with vibrant color palettes and, in the moment Baby and his girlfriend are talking, a shot that just screams 'EDGAR WRIGHT NEEDS TO BE DIRECTING EVERYTHING !'

Centre right, Edgar Wright evokes a grander place than My Beautiful Laundrette (1985)

[...]

As in a musical, the songs of “Baby Driver” come first—it’s the digital version of a jukebox movie. https://t.co/d8dh17AU9o

— The New Yorker (@NewYorker) July 4, 2017

[...]


End-notes :

* In Screen 1, at 6.30 on a Monday evening.

** As mentioned in the #UCFF review.

*** Also known as Mary Culligan... :

Interesting list. Who do you really rate if you're being metacritical? https://t.co/yaMrul8fgW

— EastEndFilmFestival (@EastEndFilmFest) April 28, 2017

Mary Culligan : 'Her top rated films are Inside Llewyn Davis & An Education'

Not just compared to the latter, she's barely in the former ? https://t.co/9YwiYj7mrI

— THE AGENT APSLEY (@THEAGENTAPSLEY) April 28, 2017

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

Catching up with Kristin - and her venerable ma

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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26 June

If My Old Lady (2014) is meant to work on the level of providing revelations, it does not even effectively achieve that of dramatic irony... pic.twitter.com/wQCHNhf6oX

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 27, 2017

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

Time Takes its Time* : Poised to perfection

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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A review, by Tweet and in other text, of John Lill's recital at Thaxted Festival, on Saturday 24 June 2017 at 7.00 p.m., is now accreting here...

[...]

As ever, the range of repertoire - played from memory - and the complete dynamism of John Lill delighted in his recital at @ThaxtedFestival

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 25, 2017

[...]

Opening with Mozart, gracious playing and almost daring gentility (or fragility) - with the repeats, K. 332 claimed Schubertian proportions. https://t.co/4pZtBXgXmD

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 26, 2017

[...]


End-notes :

* The title of a song, by Jacqui Dankworth, from her album Detour Ahead in 2004. In a review in The Guardian (where it was Jazz CD of the Week on 30 May), the song is described thus :

She imparts a mesmeric stillness to her own piece 'Time Takes its Time', and her straightforward 'On the Street Where You Live' is the best jazz version I have heard.


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

Thirty-two years on, My Beautiful Laundrette (1985)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
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22 June

Daniel Day-Lewis (Johnny) and Gordon Warnecke (Omar)

Thanks for My Beautiful Laundrette (1985) last night, @CamPicturehouse !

Obviously, not just of LGBTQ interest - at @camfilmfest [~2013 ?].

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 23, 2017

Moments such as Tania (Rita Wolf) and Johnny (Daniel Day-Lewis), careering on a bicycle, or Day-Lewis and Omar (Gordon Warnecke) at Powders. pic.twitter.com/zmudjkPhxh

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 23, 2017

Here's another image of Rachel and Nasser, taking a spin on the day of the opening of Omar and Johnny's laundromat (which Rachel performs). pic.twitter.com/CqZeETexUo

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 23, 2017

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

Marcel Duchamp and the signed, porcelain urinal called Fountain (1917)

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


23 June

"You don't define electricity you just see the results..."
Marcel Duchamp speaking in 1959, on his theory behind readymades and art. pic.twitter.com/tN4FjTe9Bo

— BBC Radio 3 (@BBCRadio3) June 23, 2017

On Monday on @BBCRadio3, Heather Jones just identified Mutt with Duchamp :https://t.co/z6aUfWvqyb

R. Mutt = Armut [German] = poverty ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 23, 2017

http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573


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

In gross, does music resemble Schumann's Davidbündlertänze ?

A first response to Pierre-Laurent Aimard's Aldeburgh Festival recital

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

16 June

A performance-night response to Pierre-Laurent Aimard's intricate and exact steps around the theme of dance, and how movements work together, at Snape Maltings during Aldeburgh Festival on Friday 16 June 2017 at 7.30 p.m.

Tonight we welcomed back Pierre-Laurent Aimard to Snape Maltings Concert Hall for a typically brilliant programme of dances for piano. pic.twitter.com/eFTsmZ4qxZ

— Snape Maltings (@snapemaltings) June 16, 2017

Maybe an exaggeration (disguising wider principles of how movements were arranged) that the first half was in the minor, the second major ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 16, 2017

Programming the movements in common of the so-called French Suites in C Minor and in G Major (BWV 813, 816) only begs the question 'Why ?'. pic.twitter.com/xzBpitX1hb

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 17, 2017

Schumann's Davidsbündlertänze may be an extreme juxtaposition (or the masks of tragedy and comedy), but do we need Eusebius plus Florestan ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 17, 2017

Not just didactically - and with exactitude not simply of notes, but also of expressiveness and nuance - PLA's playing asks how music works.

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 17, 2017

His phenomenal concentration, vision, interpretative and technical power, and a sense of humanity and connectedness to the music and to us ! https://t.co/4jjpT0cd92

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 17, 2017

Lest we need repeat other comments about PLA's programming and playing, here is the #UCFF review from Aldeburgh Festival in 2014

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

Some Tweets and other text about My Cousin Rachel (2017) (work, once in progress)

Some Tweets and other text about My Cousin Rachel (2017)

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

13 June

Some Tweets and other text about My Cousin Rachel (2017) (work, once in progress)

Whichever way around, 'My Cousin Rachel' is wrong :

Either it should be 'Rachel, My Cousin, shoots pool, etc.', or just 'My Cousin' ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) August 6, 2017

Yes, more's better when one wants a Club sandwich :

Scene-setting feels so drastically foreshortened here - Ambrose is barely present to us https://t.co/5UanPkwuwj

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 14, 2017

Outdated Harmony Hairspray adverts knew the limits of 'Is she ? / Isn't she', which My Cousin Rachel would extend :https://t.co/votnWhjM6Q pic.twitter.com/zMm7GDRjkW

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 13, 2017

Beautiful ?

Compositionally, it looked as though it had been made for t.v., but with an artisan roughness, from odd foregrounding, etc. ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 13, 2017

If one can feast visually on what is less cinematography or filmic than the contrived artisanship of what passes for photographic style ?

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 14, 2017

[…]

One's at a loss to see how the ambiguity ends up signifying :

The end takes us back to the beginning, but Philip and Louise seem unbothered https://t.co/6xXfX8S8t4

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 14, 2017

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

In time, yet out of time : The Tallis Scholars, filling the Minster with light and colour (work in progress)

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


27 May

This is a response, largely by Tweet, to the programme Masterpieces of the Sixteenth Century, given by The Tallis Scholars under their director Peter Phillips during Beverley Early Music Festival*, in Beverley Minster on Saturday 27 May 2017 at 7.30 p.m. (work in progress)

@TallisScholars In des Prez' Sanctus, reminded of a wholly other one in Stravinsky's Mass (1948) :

Not exclamatory cries of intensity, but relaxedly legato pic.twitter.com/KoWfzGkY5U

— THE AGENT APSLEY (@THEAGENTAPSLEY) May 28, 2017

[...]



End-notes :

* Properly called, Beverley and East Riding Music Festival.


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