Don't bother, they're here
Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
https://www.theguardian.com/stage/gallery/2020/oct/07/pause-for-the-camera-the-best-of-harold-pinter-in-pictures
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“I appreciate the thought, honestly. But given that we were almost killed by a couple of Death Eaters a few minutes ago…”
aka the one with a road trip (and a superfluous extra part)
“Dark and difficult times lie ahead”
aka the one that is weirdly old-fashioned
“This is for a play in the West End?”
Agatha Christie’s And Then There Were None may not have seemed like the most obvious festive programming but Sarah Phelps’ three-part adaptation was an unalloyed success for the BBC. It was a particular surprise for me, as having seen it a couple of times on the stage, most recently in a rather creaky touring production, I wasn’t sure how it could be done well. But Phelps and director Craig Viveiros have managed a remarkable job, transforming the murder mystery into a dark, oppressive psychodrama.
From the off, swooping camera shots (of the Cornish locations standing in for the Devonian Soldier Island) take us out of the dusty drawing room, and haunting flashbacks take perfect advantage of the medium to suggest the oppressive weight of guilt that is being brought to bear here. For those new to the story, a microcosm of English society is invited to an isolated country house, under varying auspices, and once fully assembled, find themselves being picked off one by one by an unknown killer. Continue reading “TV Review: And Then There Were None”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
“I seem to have fallen out of time”
Based on Michael Cunningham’s novel of the same name, I loved 2012 film The Hours from the first time I saw it and still think it a minor masterpiece a three women, each connected by Virginia Woolf’s Mrs Dalloway, try to get through the living of a single day. In the present day, Meryl Streep plays Clarissa Vaughan, a NY society hostess planning a party for her AIDS-stricken poet friend; Julianne Moore plays Laura Brown, a depressed 1950s housewife, unhappily married and pregnant for the second time; and Nicole Kidman plays Woolf herself, battling her own demons whilst writing the book.
From David Hare’s screenplay, Stephen Daldry creates a hugely elegant sweep across time as echoes ripple across the separate narratives – connections built through the smallest of details recurring as each woman variously deals with repressed longing, the fear of a life not lived to its fullest, the hours that keep on passing. Kidman (and her prosthetic nose) may have won the Academy Award and she is very good but for my money, it is Moore’s anguished housewife who should have won the plaudits, such is the intensity she brings to the role. Continue reading “DVD Review: The Hours”
Film of the Year
Boyhood
Birdman
The Grand Budapest Hotel
Ida
Leviathan
Mr. Turner
Nightcrawler
The Theory of Everything
Under the Skin
Foreign Language Film of the Year
Leviathan
Ida
Norte, the End of History
Two Days, One Night
Winter Sleep Continue reading “London Film Critics Circle Awards 2014 winners”
“How can I be too high in rank to dine with the servants but too low to dine with my own family?”
As Avenue Q once counselled us, “you should be…careful when you’re talking about the sensitive subject of race “ and Amma Asante’s 2014 film Belle does exactly that, treading delicately but definitively in telling this real-life story of a mixed race woman who found herself at the heart of English society in the late 1700s. Inspired by a painting of this woman, Dido Elizabeth Belle, and her cousin Lady Elizabeth Murray that hung in Kenwood House, scriptwriter Misan Sagay (and Asante herself too, as reports would suggest) have fashioned a most elegant biography which has a little more bite than your usual period drama due to the inclusion of the slave trade as a significant sub-plot.
Gugu Mbatha-Raw is excellent as Belle, the illegitimate daughter of an enslaved African woman and a British navy captain, who is placed into the care of his uncle Lord Mansfield as a ward. He and his wife already care for another niece and so the two become as if sisters, scarcely aware of Belle’s unique position. For though she is ostensibly a part of society, and upon her father’s death a woman of independent means, she is not permitted to contravene society’s rules – so she may not dine with her family and their guests for propriety’s sake, but she may join them after dinner. And she and Bette start to attract the interest of notable suitors, she becomes increasingly aware of the problems in the world she has been placed in. Continue reading “DVD Review: Belle”