Saturday, 14 November 2015

Plowing one's own furrow

This is a review of a gig that James Farm gave at Saffron Hall

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

15 November

This is a review of a gig that James Farm gave at Saffron Hall on Saturday 14 November 2015

As Joshua Redman (tenor (and also alto) saxophone) made us aware, as spokesman / leader, all of the compositions were by members of James Farm, the sidemen being Aaron Parks (on piano (and Rhodes keyboard)), Eric Harland (drums / percussion), and Matt Penman (double-bass)


Set-list (one undivided set) :

 1. Two steps ~ Matt Penman

 2. If by air ~ Joshua Redman

 3. Unknown* ~ Aaron Parks

4. City folk ~ Joshua Redman

run together with

5. Farms ~ Aaron Parks

 6. Aspirin ~ Joshua Redman

 7. North star ~ Eric Harland
Encore :

 8. Otherwise ~ Aaron Parks




The gig at Saffron Hall (@SaffronHallSW) opened with the full quartet of James Farm (@jamesfarmmusic), because sometimes it dropped down to the classic trio of piano, bass and drums when Redman wandered around to the other side of the stage for a breather, and ‘to listen in’, and with Penman’s (1) ‘Two steps’ : with Harland (drums), Penman laid down a bass-pattern, overlaid by Parks (on piano), and then Redman came in softly on tenor.

 With time, Redman moved to a breathy voice, with a slightly ‘flattened’, melancholic tone, and this was the first in a versatile employment, across the set, of differing tone-qualities and timbres. In this, he was amply matched by Parks, who evoked a rain-drenched mood before, not for the last time with these numbers, this one became syncopated. That paved the way for some bluesy playing from Redman, which was also go-ahead, exploring soulful aspects of the tune in honeyed terms – the overall feel was incredibly loose and sassy as it concluded.


Apart from gentle cymbals, Redman gave a solo statement of the theme of his (2) ‘If by air’, and, as the others joined in, his playing was freely placed and elegiac. As he dropped back, and we heard him more alongside Harland’s drums and Penman’s bass, there was the first of several feelings of being reminded of Keith Jarrett. Whether others sensed that, too, we were being taken, with piano textures underneath, to other places in this gig. A change of pace led into a simple, unadorned statement of the theme, which developed a rhythmic overlay, until there was a holiday / celebratory feel to the whole.

 As leader, Redman gave the impression of a skilled pilot of the quartet, but (as he did when going over to the mixing-desk) of being all right with letting the group form a trio, where Parks could be exploratory : in fact, he was rocking it, and impressing with the colours and dimensions in his playing. As the initiation of a sort of extended coda to the piece, when Redman had come back in, he gave us a style of cyclic repetition, and, with his ripples of scales, James Farm was tearing it up by the close.


At this point, and with some playful irony when saying it (pretending that he had forgotten the venue, etc.), Redman told us that it was a great honour and a true privilege to be at... Saffron Hall (and he had seemed quite surprised at the reception and attention that the first two numbers had received). More seriously, after naming the preceding items and introducing the other players and himself, he alluded to the attacks in Paris over night, and offered, as an antidote to violence and destruction, musical ‘experiences of the moment’, and, in it, the artists baring their souls as part of common humanity.


 Parks’ (3) ‘Unknown’* featured, when he presented its recursive theme solo, a prominently repeated note. Redman, now playing on alto and coming in softly with ‘tapping’ from Harland (who was using soft beaters on the drums), presented a pure, high sax tone first, and then intervallic leaps up and down. As the piece developed, the other members established a solid beat, and with ‘firm’ piano from Parks, for Redman’s warm and rounded tone, and with the energy of the beat for him to lay back on. Over time, it emerged that they were rocking up the tune, until Redman took himself out, and the pace stepped down. When he came in again, he was in a contemplative frame, and less 'bright', and ‘Unknown’ drew to a close, with Parks using the sustaining-pedal to hold a moment in the air.


Redman switched back to tenor for (4) ‘City folk’, and seemed to float notes towards us, as a dance-rhythm materialized (bossa nova ?). Penman began playing in his higher register, and introduced a tap (from the case of his bass ?) – here (as earlier in the set ?), a short unacknowledged solo, which gave way to Parks playing expansively and with drums more prominent. Again, an acoustic space to be punctuated by a feeling of purity from Redman, bringing a ‘straighter’ sound-quality. From this place, we slipped away into a clear solo for Penman, with him up and down the finger-board of the bass, and using a ‘slap’ style of playing.

Then, with cymbal added in, along with Harland clicking the rim of his drum, we heard Parks sounding wide, and nearly ‘lush’ (so the notes say ?), on piano – another spot where Harland, Penman and he just took up as a trio. With Redman’s energetic re-entry, over what turned into Messiaen-like spaced piano-chords, one became aware that the ensemble’s playing resembled a ladder, with a sense of modulating ascent – and, as earlier in the set, Harland could be seen in wonderment at Redman, as he was picking up the number and going with it :

Here, Redman was pushing – and circling – through with his sax, and with a confident and uncomplicated tone, a part of the set that felt truly at its nascent peak, for its elongated elaboration, and the punch and invention of Redman’s performance. Eventually, the number came right down to Harland using the end of his stick on the centre of a cymbal, to the subtle rattle of shells, to percussive space noises, and to minimal contributions of texture from Parks.


As ‘City folk’ ended, it was not with its absolute end, and it became clear that what turned out to be (5) ‘Farms’ (Parks) was arriving. James Farm was creatively talking matters over to itself – and in communion with itself and its thoughts – in this ‘baring of souls’, there on stage, to which Redman had drawn our attention. This is what is at the heart of what the best of jazz means, that it can have a provisionality to it, and, in that, a quality of responsiveness and spontaneity : trying may not always work, or catch the right cadence or mood, but is it not so important that the attempt is made** ?

Here, a new, dance-like riff made itself known (which felt like waltzing ?), and we heard open, ‘sounded’ figures on piano. When Redman came in, he brought a richness of tone, alongside Harland on brushes, and the use of twang in Penman’s bass-notes : his sax was moody, with short runs, accents, and held notes. Perhaps echoing an (as yet) unplaced standard, there was a ‘relaxed’ feel, with Parks balladic, expressive, urbane on piano, until we wound up to tenor to the fore, and on a strong beat. Yet, in the event, a very different ending, with piping from Redman, Harland on brushes, and Parks gently letting chords reverberate.


For Redman’s (6) ‘Apsirin’, Parks switched to a Rhodes keyboard, making sequences of three-chord statements, as if they were spoken utterances (a fall, and then a greater rise). This was a multi-patterned number, with a strong ensemble feel, and which migrated from being flowingly tender to an energized and passionate section.

 Parks now switched to a setting on the Rhodes as if of a chime, with minor bell-like overtones, and the intention, at any rate, appeared to be that Redman and he would alternate, with the former making relatively short, and fluid and increasingly faster, responses to Parks' passages. However, whether cues from Parks were being missed or not clearly given, this section did not often appear to flow, and one must credit the effort and the risk, because Parks and he did get ‘into line’, and the piece could grow, and then end with drums and the triple-chord motif.


Redman, introducing Eric Harland’s (7) ‘North star’ as the closing item, said of him that he is ‘the most optimistic’ person that he knows, and that there is not a sad song of Eric’s : the composition was also quite a challenging one, in that the beat had been multi-divided between time-signatures, with the further effect that there was an integral interruption to it (Harland is, after all, a highly experienced drummer, as well as a composer).

When Harland was laying this pattern down, one could see that the other players, such as Parks, were attempting it, but not straightaway picking it up, so all credit, again, to James Farm for playing this number from their City Folk album live, and choosing to do so as the closer. For a moment, one saw Matt Penman bowing his bass, around the time that Parks passed over to Redman, and the two of them were then left again to explore Penman’s intense bass, with Parks supporting, in the trio.

Redman, whether in response to a sudden inspiration or hearing a pre-arranged cue, then had the conundrum of getting back in from the other side of the stage, because he found that there was no navigable route between drum-kit and the bass-amp, or between Penman and the far end of the piano… When back on (he jumped over, past his own playback speaker), he produced an echoey, transparent tone, and then the drums came up, Penman’s bass became strong, and Redman presented what sounded like strokes in Morse.

Between them, with Redman fleetingly placing notes over the top, Harland and Parks were growing the sound, until they fell back into a quieter mode, to which Redman added a ‘wider’, more open sax-tone, and started blending in and out of the whole. Later, as he moved in and out of the groove, came scales (or fragments of them) and trills, and then the overall sensation became that of pulsation, and of a textured backdrop to a driving force. Just before the close and a decrescendo, Redman started playing more breathily, and we ended with drums, strummed bass-notes, and a short flash of harmonics.


Needless to say, a very appreciative house was intent on making clear that it would not be satisfied without hearing a little more…

Building on his earlier irony, Joshua Redman suggested that it was going to be a surprise that James Farm (@jamesfarmmusic) was going to give Saffron Hall (@SaffronHallSW) ‘another song’ – after all that applause seeking it !

It was (8) ‘Otherwise’, one more by Aaron Parks (and from the new album – or, as Redman put it, from the second of the last two albums - which, he went on to say, are the only two albums – yet...).

Parks presented something funkyish, even slightly spooky, before becoming more rhythmic, and Redman now adopted a more relaxed intonation, but with a hint of angularity. The initial ‘feel’ from the group was as smooth as Henry Mancini’s title-theme from The Pink Panther (1963), but later reminded a little, quite appropriately, of Keith Jarrett : his so-called European quartet again (especially the albums Belonging and My Song), with the rise and fall as of Garbarek on sax, and a swinging piano style and a Jarrett-type ‘punch’.

Redman’s tenor soon became more pulsing in nature, and pushing the song forward with his playing, as well as making note repetition part of his expression – and with Parks using the structure of his chord progressions to create a tension. From that, Redman brought us back into the initial smooth section, and, after momentarily giving us some funk, the very end was sax flutter-notes and drums.


Reluctantly, members of the audience at Saffron Hall accepted that the gig was over, and pretty much on schedule, and queued to buy their CDs and get them signed...









End-notes

* The title ‘Unknown’ chimed with a discussion about names of works and bands before the gig (it has been told that ‘James Farm’ derives from those of the group’s members, which at least seems to hold good for J[oshua] + A[aron] + M[att] + E[ric]), in which one observation had been that, since the start of the twentieth century – and no doubt highly confusingly so for curators ! – ‘Untitled’ has been a prominent label for works of art.

** Indeed, the evening's programme-notes (by Peter Bacon), once they have put the members of James Farm in their jazz and own contexts, go on to provide an overview of the tracks on the City Folk album, and then say :

 But while that may be how it all worked out on the recordings, in live concert it might evolve in a completely different way. Aaron Parks has remarked that the real challenges in playing with James Farm are not only in finding ways to improvise over the song-based structure that the band favours, but also in dealing with the unpredictability of these always adventurous and challenging musicians. […]




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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They moved away the highway : Hitchcock and Herrmann in Psycho (1960) (work in progress)

This reviews Psycho (1960), with live score from Britten Sinfonia at Saffron Hall

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

13 November




This work in progress is a review of a film, with its score played live, at Saffron Hall (Saffron Walden, Essex) : Psycho (1960), performed by Britten Sinfonia, under the baton of Anthony Gabriele, on Saturday 10 October 2015






To be truthful, Psycho (1960) had not seemed Saffron Hall’s (@SaffronHallSW’s) ideal choice for World Mental Health Day (#WMHD = 10 October) – even if a colleague, in mental health, thought it a hoot (rather than a dire mistake that was likely to give rise to great offence)…

In the event, and in crucial respects (to be explored further below), Psycho was not the film that one remembered – as many a film may prove to be, when watched again… ? What the sum of Alfred Hitchcock’s film, Anthony Perkins’ Norman Bates, Joseph Stefano’s screenplay, and Robert Bloch’s original novel did and does is much more nuanced than a merely reductive recollection wanted to say – all of those things make the film far more about culpability / criminal responsibility than about a stereotypically negative view of people in states of mental ill-health. (Does Hitchcock feel much nearer to what he believes in, about the mind, with Marnie’s (Tippi Hedren’s) motivations, and with her being mistrusted and misinterpreted by Mark (Sean Connery), in Marnie (1964) ?)


This part is intended to be non-spoilery*

 Seeing a film after more than thirty years, but having seen clips from it at Cambridge Film Festival (@Camfilmfest) in 2011, when Neil Brand (@NeilKBrand) presented his illustrated talk Knowing the Score, about Bernard Herrmann and his film-scores, one was surprised both by how much, and how little, was recalled :

 As well as the major crime, and what happened in the Bates house towards the end, one recollected well the apparent dénouement, the lengthy exposition by an expert (or an imagined one ?*) just before the closing sequence of shots. However, maybe its significance - in relation to those same shots - had been missed, at the time, or overlooked by more vividly remembering an explanation for what Norman Bates did, and who he was, that seemed tenuous… ?

Indeed, it is tenuous, but in fact that is rather the point of it, and why we might be interested in what follows it in the film. Looking at Robert Bloch’s novel Psycho (first published in 1959**) confirms that he intended something loose and artificial about understanding Bates in that way, because Bates’ view of himself, and how others will see him, from the start pervades how it has been written (which leads up to Chapter Seventeen, the three-page conclusion to the work that the film parallels) : the exact level of Bates' self-awareness (which we might gloss as ‘insight’) may be uncertain, but that of his self-reflexiveness is not.


The film with its score played live

 Psycho (1960) is introduced by music that serves as an overture (over the title-sequence), and which is not only full of swirling motifs (which are suggestive of the hesitation and guilt that are to wrack Marion in the opening part of the film [one notes that, in the novel, she is not Marion, but Mary]), but also presents the pattern of strokes that we are to hear later, when she showers. In this way, Herrmann is (as is so often his way – which is, of course, not to suggest that is not also that of Hitchcock) aurally preparing us for what is to come, just as does the inspired, but frenzied, title-sequence (we may remember the energy of that of Vertigo (1958)).

Just being aware throughout of Britten Sinfonia’s (@BrittenSinfonia’s) skilled string-players, arrayed below the screen, we could already sense Herrmann’s work of composition far more immediately than through any sound-system (although the soundtrack, with the music-tracks stripped out, continued to be heard through the speakers). The ensemble normally has a leader (or director), rather than a conductor, but being under the very experienced baton of Anthony Gabriele (@MaestroGabriele) was needful : having the instrumentalists and him before us really heightened our appreciation of how the film had been scored, both when they were playing, or, by being in waiting, thereby making us aware of how Hitchcock and Herrmann (the man, par excellence, of beautifully disconnecting harmonic progressions) had let silence speak. (One important unscored moment is when Marion has been forced to rest – please see below.)


It is a story which begins, at least, with immense specificity (as a crime-story might ?) : we have panned, and homed in on that building in Phoenix, Arizona, and that very room within it – a precise, named Friday (Friday, December the Eleventh - the year will come later), and even the time in the afternoon within it (Two Forty-Three p.m.). (Perhaps Hitchcock, too, when we are still in the mood for expecting when and where he will make an appearance himself, prepares us for Anthony Perkins as Norman Bates : just in one shot, at the window of the hotel-room, does he momentarily give us a premonition of Perkins ?)

 From Marion Crane’s conversation with her lover Sam (John Gavin), who will be flying back out of her life soon, we judge that (whatever the passion that they have just indulged) they are in an affair that does not seem to be going anywhere : the nearest suggestion (itself prescient ?) that we have that he will ever really be with her is when, referring to the question of alimony, he suggestively says I’ll lick the stamps. (Despite the tawdriness of having to be together in this room, they are dogged by the question of what is respectable - which really means ‘affordable’, because he cannot see any way to afford to leave his wife for Marion.)

Dogmatically, if not purely fatalistically, these establishing sequences of the film have Marion saying that one cannot buy off unhappiness with pills (and we also hear views about what happens When your time is up). All very relevant to society's life since influential books such as Prozac Nation (published by 1995), and yet with increasing numbers of prescriptions of such so-called anti-depressants, for patients expecting to escape ‘unhappiness’. When we meet the client of Lowery Real Estate, the dandy with the boot-lace tie and so significant for the plot, he even declares Unhappiness ? I buy it off ! (whose, one might ask ?) : already, Psycho (1960) has so much to say, for 2015, that we may have overlooked before…


We need to pass over the flirting at Lowery Real Estate, and its connection with power and money (though it is relevant to how Norman perceives / chooses to perceive [the character of] Marion Crane - not least as an ornithological taxidermist). In showing the temptation, and the distinct tease, of the cash in the envelope, which sits on the bed where Marion lives (as if it were a person or a lover : Sam, but suddenly become ‘affordable' ?), Hitchcock – excusably, because inexplicitly ? – plays with us just as much with her, as he also does with and through Alice in Blackmail (1929), and the question whether, if we could, we would try to distance ourselves from the scene of a crime…

What turns out to be Marion’s crime is one thing, and that of Norman Bates another (quite other), but Hitchcock involves us, and engages us, with what possibly connects them. For he keeps unravelling the skein of guilt, but keeps something back – because somehow one is reminded of Macbeth, and Sleep that knits up the ravell'd sleeve of care, in a film where Sleep has a role to play. An idyll of just silence comes when Marion has had to pull over to rest – and, when she awakes to find that she has succumbed to sleep, everything is suddenly tense, because she also finds a traffic-cop looking in at her : he is in intense close-up, and with his expression impenetrably uncertain behind large, dark shades.

This moment, too, serves to set up eventually meeting Perkins, and how he interacts with Marion as Norman, and to inform their conversation both when she is first at the motel, and then in Norman’s parlour, as typified by this exchange :

 Traffic-cop : May I see your license ?

 Marion : Why ?

 Traffic-cop : Please...


Before this moment, arguably the most prominent visual – though much else may have distracted our conscious attention from it – has been Janet Leigh’s (Marion’s) very alert and wide eyes in the car***, intensified by her lashes as we watch her drive. This was in the montage when, over and over, she imagines what has been happening since she left town, which we hear in the intensity of the score, and as voices that are talking about her : an embodiment of a guilty conscience, for her and for us. Almost inverting how, in life lived outside the construct of a film, trying to sleep may be a time when memory crowds in and prevents it from happening (we can find ourselves tired, but not sleepy ?), Hitchcock gives us Marion, needing to press on in the dark, but dispirited and discouraged by these night-time thoughts, which sap her energy and resolve – that is a representation of depression and its exhausting effects (apt for #WMHD2015).


Far, far more could be said about the unfolding of this day on screen, with Marion’s seeking to escape the attentions of the cop (and, thus, her guilt personified), and finally arriving where she does, 15 miles from Fairvale : in all this, Herrmann’s score is naggingly there, with worrying how will what she did with the car help, and how much is she torn – by driving on, and by the darkness and the rain – as to whether she can do, or wants to do, what she is attempting. (In fact, is stopping at Bates Motel just fatigue again, or is it partly that she might plan to contact Sam and ask him here… because she does say to Norman about going into town to eat ?)

Having arrived here, though, there was delicacy now brought out in the Sinfonia’s playing, and also a depth of intonation and feeling : unlike those first audiences of Psycho, probably we know where this is going to unfold towards, but that is not important to watching Hitchcock, because following the craftsmanship in how he takes us there is part of the journey, and the mood of the music is tender, as Marion is shown to her room.



More to come...


 End-notes

 * In a section to come (which may end up as a separate posting on Unofficial Cambridge Film Festival), quotation will be made from Robert Bloch's novel Psycho**.

 ** First published in Great Britain in 1960 (Robert Hale Limited, London).

*** They will remind us of Perkins' eyes, right at the end of the film, as well as of when we last see Marion...




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Thursday, 12 November 2015

Un cane e il cuore ?

This is a Festival review of Heart of a Dog (2015)

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
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12 November (Tweets added, 19 December, 26-28 May 2016)

This is a Festival review of Heart of a Dog (2015)

This is a review, resulting from a screening at Hyde Park Picture House (@HydeParkPH), Leeds, during Leeds International Film Festival (@leedsfilmfest, #LIFF29)



Heart of a Dog (2015) is personal, but universal, and Laurie Anderson provokes us to examine our thoughts and feelings about the mortality of others, and that of ourselves. What we have to know in her film, we will - over time - be told, but we most need to give ourselves over to its visual aspects, which, for some, might be a testing fifteen minutes or so of confusion, unless they learn to be able to yield to the purely cinematic nature of what is to be seen*. For, although there is a narrative to this work, it is not just or even the one that we may take it to be, and images and words are allusive in ways at which we can only later begin to grasp, maybe not whilst still in the cinema.

Hearing excerpts of the soundtrack, through the ministry of Fiona Talkington’s (@fionatalkington’s) recent fortnight on Radio 3’s (@BBCRadio3’s) Late Junction (#LateJunction), had created a little apprehension about what watching Heart of a Dog (2015) - what might it be like, and was it going to be any good ? However, what had been heard was a pale shadow of the film itself, but it did usefully preview some of its meditative and authorial traits, as well as introducing the characteristics of Anderson’s composed sound-world. This film is in the league of complete works of art, which meant that what had been broadcast proved somewhat misleading about the strength of the whole : if one knows Psycho (1960), Herrmann’s score may be divorced from it and evoke its scenes with success (or, for that matter, the soundtrack could – as Scorsese suggests in Hitchcock / Truffaut (2015) – be removed without affecting the power of, and story contained in, Hitchcock’s shots).

Anderson’s principal presence is in a voice-over, which takes a while to materialize, and is sometimes silent for periods at a time. (Perhaps because of an issue with the DCP, or with the audio-system, that emanation did not seem altogether seamless ?) Again, it makes this film hers, but it does so quite without forcing it or her beliefs on us. Although she consults her spiritual teacher, and reports what her teacher told her, this is not even in the nature of confession, or of imparting immutable truth, but as one wanting to understand what it might be for another to die – and, thus, for Anderson herself to die – and to present that as a matter for consideration and enquiry.



That other may (initially) be a dog, and Anderson and others who know Lolabelle may have been guided to decisions with which some might take issue (i.e. as to what was right or clinically best for her), but we should not be put off by that : the question of this death and dying is not an isolated, maudlin one, but opens out to ask what we perceive of life, and what it and reality could consist in. When Anderson talks to us, she is gregarious in this role, and willing to share – whether it is through her wry humour, or by expressing her pain or uncertainty, that is what she wants to convey, rather than any claim to insight or to observations with which we cannot find a relation.

In some moments, where Anderson is choosing to be sparing with spoken words, she lets other aspects of the film talk to us : the richness comes through in a sort of surrender, in which one senses that she probably surrendered her own preconceptions about what this film was to be, along with artistic judgements of a highly conscious kind, to the organizational forces within memory, pattern, and illusion. The images, and recollections as to their shifting shape, colour, and formation, are what remain with us after this film – the strong sense of an artist engaging deeply with issues about our relations with each other, and what, in them and in us, make us who we feel ourselves to be.
End-notes

 * One can read, in the comments on IMDb, the horribly literal expectations of Leviathan (2012) that it is accused of having disappointed…


Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Wednesday, 11 November 2015

The fugitive nature of time

This is a Festival review of Sunset Song (2015)

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
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11 November (Tweet added, 13 November)

This is a Festival review of Sunset Song (2015)

This is a review, resulting from a screening at Hyde Park Picture House (@HydeParkPH), Leeds, during Leeds International Film Festival (@leedsfilmfest, #LIFF29)

Peter Mullan has a conviction to his acting that is palpable, and his character dominates the family in which Chris Guthrie (Agyness Deyn) grows up : because we are frightened of what he will say or do, we believe in her fear or hatred, and that of her brother Will, and we wonder at the life that their father’s wife Jean (??*) has with him. The narratorial voice both guides us to what Chris is to experience, and, at the same time, distances us from it, in prose that is crisp and sharply given, and which reminds of Neil M. Gunn in Highland River.




Do we have hopes for Chris, bright and studious - and adamantly not seeing herself as Chrissy ? Yes, of course we do, but we hear of the almost unacknowledged conflict in her heart between books and the pull of the land, and, in the same way, she affirms knowing that time is fleeting, but yet would deny it : no reason why she, a Latin scholar, should not wish to see things in ways that reflect the thought of the classical period.

Catch them as post-modern thinking wishes to do with its various media**, we hear several times acknowledged here that life will offer wonderful things that are just of the moment, and Chris, knowing that and that things fade, somehow hopes that they will not. Her stance of defiance is against familial and societal expectation, but we see how, when much else in life and nature answers to forces of changeability, she is not proof against them. Chris is left vulnerable, and it is through her story that we learn of the effects of history.

Some may find insufficiency in this film (or its source ?), but Terence Davies shows us what he wants us to see, without forcing us to look. For those with whom he is in tune, and who know that this is his way of working, Sunset Song (2015) opens up, and never feels like a novel or a script, but a fully felt piece of cinema. As sensitive as he has always been to the perspective and voice of women, Davies glosses over nothing that forms who Chris is and how she responds to her situation. At times, such as when learning that he is to be a father, Ewan (Kevin Guthrie) may seem as though he is going through the motions, but, in the most important of matters, he is true to their life together, and what it meant, and her disbelief at what she is asked to believe about him is vindicated.

In filmic terms, Davies has worked wonderfully with his director of photography Michael McDonough on making darkness visible in the many interior scenes. Although he does not aim to overwhelm or seduce us with his visuals, except that care is at the heart of them, he does not deprive us of shots that rest and restore the eye, and he employs an economy of means in his story-telling and in the representation of family brutalities. One hopes that his work commends itself to those who love A Scots Quair, and that he may be invited to adapt the other two novels by Lewis Grassic Gibbon.


End-notes

 * Not for the first time, IMDb (@IMDb) does not help here...

 ** Often enough the representations are inadequate, not least in the face of the glories of a landscape.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Wednesday, 4 November 2015

Splashes of beauty

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
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3 November




Revisiting this film, and finding little that Peter Bradshaw (in the handed-out text of his review) says to illuminate it (although, at least, he just waffles, without wasting time telling the story), one is struck by the amount of death, as well as of life, in it (and by the unnecessary literalness with which it may have been viewed before) : death breaks through and, falsifying Jep Gambardella’s (Toni Servillo’s) standard, cynical take on funerals, forces him to feel something, and shows him doing so to Ramona (Sabrina Ferilli). Dream also breaks in*, and whereas it may have seemed discrete during previous viewings, there is probably more of a blurred, intermediate quality to much of what is shown, which may extend to whether flamingos really do flock and rest on Gambardella’s balcony, and a nun, said to be 104 years old and about to be sanctified, really does fall asleep on his floor ?

 Likewise this conversation between her and Gambardella :

 Sa perché mangio sempre radici ?

 No. Perché ?

 Perché le radici sono importanti.
[Does he know why she always eats roots (40 grammes per day, we are told, when she is in Mali) – because roots are important.]


In narration, Gambardella tells us that he has already, just after his sixty-fifth birthday, realized that he is no longer going to spend time on what he does not need to do – so, he disappears before Orietta can show him her photographs of herself, in which he had perhaps felt himself drawn to feign interest. What he seems to show genuine interest in, and to be moved by, is a photographic installation in an architectural space – instinctively, we may sense that what we see of the installation may have been virtually imposed on the space, but, as we track across the images, we can feel Gambardella’s connection with this theme (even if it might link with Orietta’s self-obsessed Facebook-oriented one ?), and its relation to the past.

 Seeing a film of this quality again is itself an unfolding against one’s uncertain recollections of what comes next (just as Gambardella falters, trying to recall a precious memory), and we have our own Where does that scene fit in with… ? and When does Santa Maria appear… ?, partly tempered by what one remembers the central message to have been, and whether it seems different this time : does it all fit in, or is it only re-emerging in response to one’s memory ? Perhaps losing momentum only momentarily with the child-artist (which, this time around, is maybe one parody too far ?), and what had previously seemed magical in Stefano’s possessing, as a trustworthy person, keys to view Rome’s treasures by night, but which now seems part of Gambardella’s gift to the younger woman, to engage with her, and to show her his life.

Rome has really disappointed me ~ Romano
Whether one wants to see the ending of the film as looping on the beginning, and having (as Bradshaw suggests) teller converge on tale (as if Gambardella finally follows up his novel[ette] The Human Apparatus), seems immaterial, because we have seen hard-bitten Gambardella come to a realization about himself. We have been with him when he tracked down a man, Ramona's father, who had been kind to him, and seen him remember his formative moments and what matters (so that the past enters the present in a bar, and Romano, who says that Gambardella is the only person from whom he sees the need to take his leave on his departure, finds him just before a giraffe is made to vanish), and the coda, silent of speech, remains as strong and significant as before, coasting up to and past Castel Sant’Angelo.

Alongside and within all of this, the principal, gracious thematic material by Lele Marchitelli (which first colours the night-time tour of the palaces), and the use of Arvo Pärt’s My Heart’s in the Highlands and John Tavener’s The Lamb. These pieces of music are an immediate and necessary part of the conception of the whole : in those two settings (of Burns and Blake, respectively) – as well as opening the film a capella with David Lang's ‘I Lie’ (whose work we also hear in Sorrentino's Youth (2015)) – the voices cut through with rawness and intensity, and flood our hearts and souls with feeling.


End-notes

The most exquisite, dream-like image, partly because Gambardella's writerly life-style has him awake in the night, is an uncredited cameo-role for Fanny Ardant : he recognizes her personage as she passes, speaks her name, and she fleetingly acknowledges him, before passing on and away.

A serenity and poise at quite the other end of the scale from the vulgarity of the vibrant birthday-party, after which Gambardella asks not to be woken till 3.00 p.m., and from the Martini sign, which usurps both the sun's place, by rising over the remains of the party (and his editor's slumped form, who seems to have been overlooked, since she tries to alert people that she is there), and that of the moon, by looming over the head of the boulevard that he descends...




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Monday, 26 October 2015

Depression - what is it that anyone means by this word ?

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
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26 October (Tweets added, 1 December)

 Dunno what it - the word 'depression' - might mean to you...




One thing is that you could be unable to sleep, or conversely - which is my experience - sleeping all the time (or wanting to sleep), but the thing that links us is this word (and the use of this word) :

 The reason being that the sleeplessness is not positive or sparky or creative in the way that being unable to rest / stay asleep might be with mania or psychosis or paranoia (at the beginning, at least), but just an inability to get away, into sleep (or stay there), from what feels bad or wrong or uneasy at some level, maybe because of recriminatory or accusatory thoughts or guilt or some deep feeling of guilt or doom or despair - or of worthlessness and nothing mattering, even the people or things who did matter before, irrespective of knowing that they should matter.

For those who can - generally - sleep at such times, it is just that the sleeping feels a whole lot better than all of those alarming and frightening thoughts and feelings / absences of feeling, and so the experience of those who cannot sleep / stay asleep are mirrored - if I stay asleep, I might feel safe, and I can pretend to myself that those things are not there (unless they come crashing in, and I cannot sleep).





For some, a word to cane others for being (without, probably, knowing what it is) - the irony being that one can be depressed without being aware that that is what one is experiencing, because it is a highly inapt, non-descriptive word...






For others, something that they - rightly or wrongly - think that they see in others, and offer advice that might be trite, might be the right thing at the wrong time, whereas comfort, kindness and - above all - not 'concern', but the care that the other asks for, are better ways of being a friend or relative to the person whom you say that you like or love.










 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Wednesday, 14 October 2015

We are living in a material world - and I am a material girl !

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
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14 October



And, as AOL (@AOL) highly pertinently asks, Who owns the world's wealth ?

And, when Madonna flounced around counter-intuitively on a gondola for song / album 'Like a Virgin', did she want us to see her ironic stance, there and in 'Material Girl' [link is to the Official Music Video on YouTube (@YouTube)] ]... ?

Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Saturday, 10 October 2015

For World Mental Health Day 2015 : Where, in me, is Kafka’s Josef K. ?

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
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10 October, World Mental Health Day

A personal vision of trying to relate to the experience of breakdown / psychiatric challenge in the form of ongoing existential / spiritual self-examination

This is not [meant to be], on #WMHD2015, @THEAGENTAPSLEY talking about others as if about the self (or vice versa)*.

Rather, it is more in the nature of a confession, of trying to be honest and open about what breakdown, and admission under section (circa 21 April 1996), deep down meant and felt like, and still does, just now – when the feeling of how I act, and have acted, hypocritically can be keen, as here :






If needed, here is a paragraph from Wikipedia®'s summary of the plot of The Trial**, by way of partial context for those Tweets :

K. is visited by his uncle, who was K.'s guardian. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned that K. is underestimating the seriousness of the case. The uncle introduces K. to a lawyer, who is attended by Leni, a nurse, who K.'s uncle suspects is the advocate's mistress. During the discussion it becomes clear how different this process is from regular legal proceedings: guilt is assumed, the bureaucracy running it is vast with many levels, and everything is secret, from the charge, to the rules of the court, to the authority behind the courts – even the identity of the judges at the higher levels. The attorney tells him that he can prepare a brief for K., but since the charge is unknown and the rules are unknown, it is difficult work. It also never may be read, but is still very important. The lawyer says that his most important task is to deal with powerful court officials behind the scenes. As they talk, the lawyer reveals that the Chief Clerk of the Court has been sitting hidden in the darkness of a corner. The Chief Clerk emerges to join the conversation, but K. is called away by Leni, who takes him to the next room, where she offers to help him and seduces him. They have a sexual encounter. Afterwards K. meets his uncle outside, who is angry, claiming that K.'s lack of respect has hurt K.'s case.


NB Looking back, in that way, to sectioning in 1996 (and again in January 1997), there is no intention to suggest that anyone else does feel, or ought to feel, twinges of conscience that are tied up with their experience of mental-health issues or services.

However, for me, conscience / awareness of feeling a fraud seem in the midst of what happened then, now, and everywhere in between.

If I see a spiritual or existential dimension in my own issues of mental health, it is for me to see – or, more likely, pretend to myself that I am aware of it, when largely I keep it well hidden (at least from myself) : it is all in relation to wanting to work out my paranoia, and why I can, so easily, find accusation in comments, words and texts (mainly from memory, though also in recollected things that people said or wrote, and what they meant / whether they really meant xyz)…


Coda :

And remembering may be, for some, to do with learning not to forget... ? :




End-notes

* As one of Beckettt’s authorial voices says somewhere (in The Unnamable, or is it Company ?), When I say ‘I’, and – having addressed the question whatever / whoever ‘I’ is (and he digresses, as I do, in the fashion of Laurence Sterne’s principal narrator, Tristram Shandy) – he goes on to say just that : when saying ‘I’, he does not intend to talk about someone else (as if it were he).

(Molloy, too, certainly mentions that he may lapse into talking of himself as if of another.)

** Kafka wrote the (incomplete) novel in German, entitled Der Prozeß.



Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Monday, 5 October 2015

A dream-time concert : Schumann and Donohoe

Peter Donohoe performs Schumann’s Concerto for Piano at The Corn Exchange

More views of – or before Cambridge Film Festival 2015 (3 to 13 September)
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4 October (Proof corrected / end-note extended, 13 October)

This is a review of Peter Donohoe’s performance of Schumann’s Concerto for Piano with the Dresdener Philharmonie, under the baton of Michael Sanderling, at The Corn Exchange in Cambridge on Thursday 1 October 2015 at 7.30 p.m.

Peter Donohoe had clearly not done anything as crude as ‘thinking out’ his approach to playing Schumann’s Piano Concerto (in A Minor, Op. 54), but he must know the piece from the inside out, and he could work with it, on the night, to bring out its and his very best (the latter through the former) :




In all honesty, and not wishing to denigrate any specific piano soloists, it is rare to hear this concerto infused with such spark and feeling. (Those qualities, too, typified Michael Sanderling’s conductorship of Brahms’ last symphony*, in the second half of the concert.)


Robert Schumann (1810–1856) ~ Piano Concerto in A Minor, Op. 54 :


1. Allegro affetuoso

2. Intermezzo : Andantino grazioso

3. Allegro vivace



In Schumann’s measured, but lyrically narrative, initial bars, one catches the Grieg concerto (his Opus 16, and also in A Minor). Schumann's concerto was completed barely more than twenty years earlier, and its (1) Allegro affetuoso feels distinctly a series of interludes – yet seamlessly so, as befits having first been a Fantasia (for piano and orchestra).

Very early, a deft trill introduces the theme’s being stated – and, as will emerge, the trill is used for a purpose, not as ornament. Here, there is grandeur, before the theme scales down with a decrescendo, and is quizzically given in a varied form : to which Peter Donohoe brought a singing, ‘placed’ quality, and thus carefully linked to a passage with clarinet and strings.

The poetry and the emotion were evident in scoring and playing, with such features as the ease with which, after Donohoe had been restrained in a short solo section, clarinet passed material to oboe, and Donohoe then took time before an outpouring in the piano voice. It felt unquenchable, but did abate – into a string ritardando, cantabile keyboard work, a clarinet passage, and light arpeggios, which, too, felt held back by Michael Sanderling.

Soloist, woodwind-players, strings, all demonstrated together the real felt emotion, there amongst lighter touches. We heard that, within the notes, Schumann has notes that need to flow, and that a burst from the piano can be experienced within the orchestra (not seeming external to it).


As with the finale, one feels driven inevitability, but that it is coupled with an easiness in using thematic material : the oboe is given a statement, but it is underpinned by brass and woodwind, then handed to the soloist to play with it – and, as Donohoe did, bring out its pianism. Then, just as soon, the pulse moves on : the effect being that our familiarity now, with the structure, allowed the use of underplaying as a way of making the string-effect that followed stronger.

One moment we can have aching engagement with a very Schumannesque subject ; the next, scales or arpeggios that feel more regimented. It is as if we are to glimpse beauty amongst the mundane, and so a formal cadenza can, ushered in by strings, become a tender interlude : those who know the solo piano works will identify a sense of the familiar mixed with the intense, and of pain, but yet also comfort, in outcries (even if they get cut off, by the structural outworking ?).


This is the moment when we realize that the use of trills actually comes across as very emotionally informed – and when, in the context of a pianistic outpouring, reintroducing the trill, and passing over to the woodwind, feels absolutely right in terms of the psyche.

Bass notes in the piano herald a brief coda, and we are led into the movement’s close.


Called an Intermezzo (and typically accounting for less than one-sixth of the length of a performance), the (2) Andantino grazioso may seem inconsequential when it opens, but this is far from the truth : as with many ‘a musical bridge’, it effects our transition to the mood at the close of the work. Breathing and living through the music, Donohoe brought us a moment of exceptional poise with the re-entry of the principal theme, and, not for the last time, some very quiet tones.

Further on, and despite Sanderling bringing up a full Viennese string-sound, we cannot pretend that there is not hurt to be felt here : the balance of the piano against the orchestra was impeccable, and the attentive stillness allowed Donohoe to be daringly pianissimo.

When a repeat came, it did so with the tiny suggestion that it might be perfunctorily attempting ‘to go through the motions’, since what was telling was the sensation that the rhythmicity was swaying a little, and, at the close, of the music wanting to hold back.


In the (3) Allegro vivace finale, both a sense of release and of relative ease, with, for example, a tutti statement, and Donohoe just playing quietly underneath it, but then moving, alongside the other players and through and with Sanderling, to bring out the chordal complexity.

Yet, although Schumann’s heroic sense of triumph may be heard, at one point, in a bold utterance, it dissolves, in the next, into the orchestra, or we enter a semi-questioning episode : the concerto seems to be seeking a different model of pianist / soloist, and one can see how Brahms must have had close regard to it (e.g. with what symphonic ambitions he had (before the Symphony No. 1 in C Minor) for what became his Piano Concerto No. 1 (in D Minor, Op. 15), first performed (by Brahms) in 1859).


Yes, we had Donohoe’s fists raised with the conclusion of a bold assertion, but one senses, now, that the piano is present more in the momentum (and not so much in the hurt or beauty within individual notes), as if Schumann’s writing is drawing rhythmically back and forth, in broader sweeps. Thus, a sense of outreach, and of opening out – although there is still ‘angularity’ in his choice of intervals when he leads up to the main theme, and then gives a feeling of tranquillity (and a sense of purpose – even destiny ?) in the harmonic resolution.

Right at the end, Schumann gives us dance-forms, the cadences of motion against the patterning of a finale. However, after a moment of quiet, timpani (which have been integrated into the concerto throughout) duly propel the concluding chords.


End-notes

* This Tweet aims to amplify the comment :



The fact is that one can hear Brahms played perfectly well, but one may also feel that the experience added relatively little other than (a) unamplified sound, (b) seeing the performers as they interact with each other and with their instruments, and (c) appreciating, at some level, that the totality of what one desired to hear is the result of the interaction at (b) :

Yet, at its least good, this can amount to little more than a fleeting consumer pleasure, i.e. knowing that these men, women and resources are here at the collective bidding of those who have paid the ticket-price (matters of effective concert-promotion apart)... ?

Against which, one might propose counterposing an alternative, the practice of actively engaging with the performance, rather than 'going to hear' a familiar piece of music – of listening agog, or with new ears, maybe as if one had to give an account of what was good or fresh in it to a friend who could not be there ?





Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Saturday, 3 October 2015

How Many Children Had Lady Macbeth ?*

This is a review of Macbeth (2015)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

3 October (End-note / Tweets added, 4 October)

This is a review of Macbeth (2015)




Some of the inventive ways in which the Shakespeare play has been transmuted in this film simply will not have people seeking out the original, because they probably will not conceive that the play (in the form, at any rate, in which it has come down to us) has here been (in places) very much abridged, or that material has been relocated within it (sometimes within an immediate context, sometimes scarcely so, and even to the extent of introducing repetition) : at other times, it will be clear that, under licence, painting with images or with poetry are part of this endeavour. (This will be evident without anyone needing to know that it is those who have edited Shakespeare, over the centuries (and by a process of inference and deduction), who have given us both scene-locations and some of the usual printed stage-directions (e.g. as to who is on stage during a scene, and when he or she enters or exits), and thus that a licence to do something different, if it were needed even in the theatre, can be claimed.)




Where many are most likely to come unstuck, however familiar they may be with the text that we have from the so-called First Folio of 1623, is with the bewilderment that is the film’s ending : none, almost needless to say, of the pat wrapping-up, in however mournful rhyming-couplets (which we might also recall from the close of Lear), but instead much confusion of image and action – of thought, word and dream.

Thereby pursuing, relentlessly and acceleratingly, the blurring of sleeping and waking that builds across the film : just as the verse-speaking, simply gorgeous at the start (and therefore bringing tears at its beauty), becomes more and more degraded by fury, frenzy, and fire. Just, likewise, as Jed Kurzel’s score**, which began with so much heart-breaking keening and Celtic intonation, ends – through partway beginning to incorporate electronica – in quite another mood, and place. [He is sure some relation to director Justin Kurzel, being credited with scoring his Snowtown (2011) (amongst others) ?]).




On all of these levels, then, Macbeth (2015) both is and mimetically embodies a journey into night, and it slips further and further into it, whereas Shakespeare’s protagonist will have it that sleep has become elusive to his ambitious quest :

Still it cried 'Sleep no more!' to all the house:
'Glamis hath murder'd sleep, and therefore Cawdor
Shall sleep no more, Macbeth shall sleep no more!'
Act II, Scene II, 40–42




Except that, in fact, what distinction is there between whatever ‘reality’ is and the distracted snatches of the world that come to us as part of and, to some significant extent, filtered through the medium of Macbeth’s mind, mood, and soul ? (Which makes the screenplay, and its approach to the text itself, quite sympathetic (as, with some musical instruments, ‘sympathetic strings’ are), in wanting to make interpolations and transpositions within it.) Nonetheless, the direction may have strayed, by trying too hard to give us a visible basis for others’ opinion, such as reported here (as well as co-opted from Macbeth’s attempts at self-diagnosis), in the form of montage ? :

Great Dunsinane he strongly fortifies.
Some say he's mad ; others that lesser hate him
Do call it valiant fury
Act V, Scene II, 12–14


With some material, such as the case of merely truncating the interchange between Ross and Macduff (at the end of Act IV) to concentrate on one principal topic, the screenwriters give us Macbeth pretty straight ; with other parts, they bend them very much more to their will, and for a broad variety of purposes, such as :

* In the opening (crimson) captions, as well as explicating the origins and significance of - and forces behind - the conflict that we see, even naming a battle (that of Ellon)

* To clarify how it is that Macbeth becomes / expects to become king (which, it is arguable, is not the strongest element in the idea of eliminating Duncan / committing regicide)

* In doing so, and almost certainly on no naturalistic level (but rather on that of will (again***)), characterizing Malcolm’s impulse to flee – which is exemplified in the text, and at its peak, at the moment when Macbeth puts the witches under obligation****

* To expand Lady Macbeth’s familiar scene with the doctor into the general theme of sleep-walking into the future (which not a few ages have liked as an idiom), and thereby dis-locate time and space****

* In a linked way, to widen the scope and role of the witches so that they permeate the totality : in their two-handed Macbeth (in the building in Cambridge that is known as The Leper Chapel), Richard Spaul and Bella Stewart of in:situ made enchantment and being bewitched central to the production




End-notes

* Quoting the title of the essay by L. C. Knights, ’How Many Children Had Lady Macbeth ? : An Essay in the Theory and Practice of Shakespeare Criticism’ (Explorations, New York University Press, 1964, 15-54).

** It would be so useful to pause the credits (during which so many others, blocking the screen and chattering, leave), because there are also ones for improvisation...

*** Endlessly shown in train, in literature and religious writing (which, from Paddy Considine’s Banquo, one feels that he well knows), from the Cabbalistic tradition of The Golem, and the creation of Adam, to that of Svengali and Trilby (in Trilby), or Frankenstein.




**** We do not directly, audibly witness these words in the film, but perhaps we already know that Macbeth demands information (openly calling it a form of conjuration), even at the cost of chaos – which is what the film, by other means, has us see, sense, and feel :

I conjure you, by that which you profess,
Howe'er you come to know it, answer me :
Though you untie the winds and let them fight
Against the churches ; though the yesty waves
Confound and swallow navigation up ;
Though bladed corn be lodged and trees blown down ;
Though castles topple on their warders' heads ;
Though palaces and pyramids do slope
Their heads to their foundations ; though the treasure
Of Nature's germens tumble all together,
Even till destruction sicken, answer me
To what I ask you.
Act IV, Scene I, 50–61




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