1917: Movie Review.


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I have a recurring dream.

It’s a common one.

In it I am a soldier trying to evade the grasp of my enemy in a war zone.  I sneak around fields, towns, villages often being spotted, running for my life.  Sometimes I spot the enemy from afar preparing to attack and a sense of dread overwhelms me.  It last all night.

The dream interpreters, not particularly surprisingly, suggest this reflects some form of conflict one are facing in one’s life.

Today, in the cinema I witnessed that dream come to life, imagined by Sam Mendes in a Hades like no other.

It’s terrifying.

Totally and utterly terrifying.

It’s a true story based on the experience of Mendes’ grandfather, Alfred, who shared a fragment of what happened with his grandson.

Mendes’ career is largely theatre-based, and many film critics believe theatre makers do not make good film makers.  Yes, they might be strong on dialogue and characterisation but they tend to be weaker on cinematography.

One way to resolve this is to create your movies with Roger Deakins, surely the greatest cinematographer in history – given not only his ridiculously great eye but also the technology he has to further enhance his art.

There can be NO doubt that this is as much Deakins’ movie as it is Mendes’.  He was Oscar nominated 12 times before he finally landed one for Bladerunner 2049 (along the way his greatness has blessed No Country for Old Men, Skyfall, The Shawshank Redemption, Faro and The Assasination of Jesse James…). This will be his second.  There can be no doubt about that.

The combination of stunning grading, extremely long takes and unworkeoutable steadycam technique defies logic, description and understanding.  It is mesmerising.

Remember the first 20 minutes of Speilberg’s Saving Private Ryan, arguably the greatest War movie of all time?  Would you agree with me that the remaining 90 minutes is patchy at best?  Well, 1917 begins more slowly, but no less electrifyingly, as we settle into Deakins’ art.  The difference though is that the remaining 90 minutes of 1917 grab you by the throat and do not let off.

It’s completely overwhelming.

Technical movies of this competence don’t always have great acting performances.  And this won’t win George Mackay an Oscar, probably not even a nomination, but he does not let the side down, neither does his supporting actor Dean-Charles Chapman, but although this is SUCH a human story it’s the sheer scale and bravado of the overall thing that is what makes it such a compelling piece of filmmaking.

Some will lament the fact that this is so, but I believe Mendes has found the balance.

One other thing Thomas Newman’s soundtrack is so gripping, so menacing that jeopardy is maintained for it’s entirety, it’s a significant achievement.

He has created a nightmare vision that out-horrors even the likes of The Exorcist, because this is no fantasy, this is reality, and it feels like it.

Truly a seminal cinema experience.  This will only be half the movie on your TV set so get up and get down to your local big screen, before it’s too late.

Peerless.

The movie of the year (although I’ve yet to see Parasite) in an already epic year.

 

 

 

Worth Dying for: The power and politics of flags by Tim Marshall: Book Review


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The title is a statement, not a question.  So is the author suggesting that, yes, flags are worth dying for?

In this terrific book Tim Marshall explores, over about 300 pages, why it is that flags have become such strong semiotic devices across the 21st century globe.

As Amazon says in its splurge; In nine chapters (covering the USA, UK, Europe, Middle East, Asia, Africa, Latin America, international flags and flags of terror), Tim Marshall draws on more than twenty-five years of global reporting experience to reveal the histories, the power and the politics of the symbols that unite us – and divide us.

I absolutely loved this.

Marshall has a nice line in sarcasm although he keeps that to a minimum.  Largely the book is a fascinating historical insight into the power of flags, usually three colours or less.

Why green is so important in Islamic countries.  Why blue can represent sky, sea and many other things.  Why red is typically the colour of blood.  Or, of communism.

Why maybe a half of global flags have a religious significance, almost all of those crosses are, yup, crucifixes.

Why regions congregate around themes.  Ever wondered why all the Scandi flags are left biased crosses, just with different colour ways?  Find out here.

It’s not just political flags either, we read about the chequered flag, the Olympic flag, the red cross and more.

A great read and a great opportunity to increase your score on University Challenge.

 

Upright. New TV series by Tim Minchin.


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I’ll start by confessing that Tim Minchin has done nothing.  NOTHING for me in his fairly long and, largely, highly succesful career, so when it was suggested I watch this I doubted I’d get past episode one.

How wrong could I have been?

By the end of episode eight, binged in two days, the tears rolled down my cheeks.

It’s bawdy, ballsy, rude, ridiculous, hilarious, breathtaking, touching, sincere and is based on a largely unpredictable storyline that twists and turns like a Tasmanian Devil.

It also features a stand out, frankly equal footing, performance by 19 year old Australian actress, Milly Alcock, remember that name, she’s the next Margot Robbie.

A truly excellent TV series, right up there with Succession, Fleabag and Chernobyl as my favourites of 2019.

 

Glastonbury 50. The official story of the Glastonbury Festival: My review.


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The Glastonbury Festival of Contemporary Performing Arts celebrates its 5oth anniversary this June and I will be there, for my fourth festival.

In fact although Glastonbury is 50 it’s only the 36th staging as there was a big hole in the 70’s and several ‘fallow years’.

For me it is the greatest music festival in the world, although it is far more than a musical festival, hence its formal name – The Glastonbury Festival of Contemporary Performing Arts.

Did you know that at 200,000 attendees (135,000 tickets, 65,000 staff and volunteers) Glastonbury is more populous than Bath.  The site is bigger than my home town of South Queensferry.

These coffee-table type affairs don’t usually interest me all that much, but anyone who has been to, and fallen in love with, the festival will, like me, be drawn into every minuscule detail of the event.  I lost two long afternoons over the Christmas break devouring every single word and every single picture that tell the story in just the right amount of detail.

Performers share their, universally enthusiastic, memories (of course – it’s pure fan boy).

The Eavis’ father and daughter impressarios share their highs and (many) lows and we can be as geeky as we like, as readers, in dissecting the line ups and remembered highlights.

For me, my two all time highlights are described, both as it happens by Emily Eavis.

2012’s Radiohead secret gig on the Park Stage in the pouring rain and 2013’s masterful moment during Stagger Lee by Nick Cave and the Bad Seeds, pictured below.  I was about 50 yards away from this.

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Here it is in its entirety.  She rises from the crowd at 7’45”.

I love this comment on Youtube.  Hope it’s true…

To let you all know, I was the one that put the girl on my shoulders. My mate had Nicks foot on his shoulder and the girl in white popped up behind me, she was flustered and asked if i would put her on my shoulders, i accepted. When she came down she said ‘you’ve just made my entire life better’ then gave me a kiss on the cheek and disappeared, not my girlfriend, just a random girl that wanted a moment with nick. 🙂

 

 

Time for Metacritic’s albums of the year, poll of polls.


I love this list because it polls all sorts off music reviewers globally.  From the NME and The Guardian to Pichfork, Drowned in Sound and local papers.

It may represent the mode but there’s enough confidence in this for me to try out the likes of Billie Eilish (interesting) and Weyes Blood (very interesting).

This year I saw Lizzo at Primavera (outstanding – my gig of the year) and Little Simz, also truly brilliant.

I hope to see Lana Del Ray at Either Glastonbury or Primavera (or both) next year.  That will be a treat.  Also hoping to See the imperious Mr Cave again next year.  His album is great but not, IMHO, THAT great.  I think it has benefitted from emotional blinding by the judges.

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The Two Popes: Movie Review


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Blimey, not only are the male actors on fire this year, but so too is Netflix.

This is another cracker in which Anthony Hopkins and, even more so, Jonathan Pryce show that two hours of religious dialogue between a couple of pensioners need not be a great big crushing bore.  In fact far from it.

The movie tackles the challenges that the ailing  and conservative Pope Benedict (Hopkins) is trying to leave behind as he tries to persuade the Argentinian papal prospect to become the incoming Pope.  But he is extremely reluctant (but very popular).  We know him now as Pope Francis  (Pryce).

The acting is extraordinary and the dramatic action is interwoven with multiple documentary sources so that the movie actually moves along at a fair old crack.

One doesn’t feel that one is being subjected to a Catholic propaganda machine, simply a brilliant study of two human beings in the face of monumental decision making, age and fraternal respect.  Against a troubled political background. (Pope Benedict did not cover himself in glory around the whole child abuse scandal.)

Many scenes are shot in the Vatican, especially in the Sistene Chapel, and it has a feel of a decidedly juicy behind the scenes look at something that is actually meant to be a huge secret.

There’s nothing particular in director Fernando Meirelles’ back catalogue to suggest a film of this nature was lying in wait (Both City of God and The Constant Gardener are good movies, but are nothing even remotely like this drama-documentary).

It’s funny, it’s engaging and most importantly it’s a masterclass in acting.

My God, the best actor category this awards season is going to be a hotbed of disappointment for at least three great actors.

Recommended.

 

The funeral of Jack Merritt.


I don’t know if Nick Cave and his wife Susie had a family connection with murdered graduate Jack Merritt, but I do know Cave demonstrated his boundless humanity by playing my all time favourite song, live, at the end of the young man’s funeral.
A song so achingly and nakedly emotional that I can’t imagine how he even got a performance out of himself in such tragic circumstances.
Indeed it is the song that will be played at the end of my funeral too.
I don’t believe in an interventionist God
But I know, darling, that you do
But if I did, I would kneel down and ask Him
Not to intervene when it came to you
Oh, not to touch a hair on your head
Leave you as you are
If he felt he had to direct you
Then direct you into my arms
Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms
And I don’t believe in the existence of angels
But looking at you I wonder if that’s true
But if I did I would summon them together
And ask them to watch over you
Both to each burn a candle for you
To make bright and clear your path
And to walk, like Christ, in grace and love
And guide you into my arms
Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms
But I believe in Love
And I know that you do too
And I believe in some kind of path
That we can walk down, me and you
So keep your candles burning
Make her journey bright and pure
That she’ll keep returning
Always and evermore
Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms