gold crown on the dashboard of their car - I had to look that one up.
Perhaps someone could explain why it's called Moonlight, too. I was clearly in a minority; everyone else who watched it with me was more touched by it than I was. I actually preferred La La Land, which most people seem to have hated.
Watched in the Common House in Springfield from a version obtained by informal distribution.
Thursday, April 20, 2017
Not helped by the fact that it's really hard to tell who is who - apart from the really florid Asperger-inflected character and the one with anger management issues, and the two jock kids, they all look similar. Not clear who is working for which institution, or about the conflicts of interest within the big banks.
On the plus side it did manage to show that finance isn't separate from the real world - we get to see the families whose houses are repossessed, and there is some talk about the impact on the 'real' economy.
One of the things that made me so angry reading the book was the way that the heroes - the big shorters - made a lot of money, but nothing bad happened to the people who so carelessly created the opportunity for them to do so. The big stupids lost their companies billions, and none of them are sleeping rough. I didn't get that from the film.
Watched via HDMI cable from laptop to TV, obtained via informal distribution network.
Sunday, April 02, 2017
Some beautiful filming, and a reminder of why I didn't actually enjoy visiting India. Hard to be comfortable amidst so much misery.
Watched on TV via cable from PC and informal distribution network.
Wednesday, March 22, 2017
I'd forgotten, if I'd ever known, that Loach was responsible for The Big Flame, a Liverpool film that inspired the inception of the 'Libertarian Marxist' organisation that I hung around in the early 1980s.
There's quite a long section on the 'Perdition' affair, and no sign that anyone learned anything from it. At the time I rather uncomfortably assumed that people who I otherwise admired were contaminated with anti-semitism. I have a rather more nuanced view now, not least because of a rather good documentary about the Kastner affair on which Perdition, and the earlier right wing Zionist 'Perfidy', were based. But I still feel uncomfortable about the stance and the tone of Jim Allen's diatribe against Zionism.
A few observations: Loach appears to feel no irony at being an engaged Marxist on the side of the really poor and wretched, and being lauded by the luvvies at Cannes; and the film has an odd slip into regular luvvie bio-pic with an account of his early career as an actor, complete with dressing-room shots etc. And didn't everyone smoke a lot!
Watched at the Landsdowne Film Club in Stroud.
Sunday, March 12, 2017
The Red Flag
Down by the Riverside
Power in a Union
African Market Place
Down by the Riverside
Power in a Union
African Market Place
Monday, March 06, 2017
It's a film about dreams, but maybe the characters don't stay true to their dreams, and maybe it isn't so important to do that. I think that's the thing that chimed with me at this moment - what if I was able to pursue my own dreams? Is it really what I want to do, or just a thought to distract me from what I am doing at the moment?
Seb (Ryan Gosling's character) has a dream of having his own Jazz club that will be really true to the spirit of the music, but he seems to abandon the dream for a steady job playing in a band that gets recording and touring contracts. It isn't his dream...but maybe the dream is just something you need to help you get through the drudgery of everyday life (earlier, he's a jobbing musician playing stuff that he really despises). And Emily Stone's character almost gives up on her dream of being an actor, and it's only his persistence in dragging her back to one more audition that makes it come true.
I note in passing that the music isn't great, but it's not awful either - I can still remember at least some of the tunes.
Watched on a tablet on train.
A bit more horror than I was expecting; perhaps I am too easily upset by depictions of children losing their eyes, though surely everyone thinks that's upsetting...
There's actually a bit of seriousness in the way it represents the origins of German conservative romanticism as a response to the French invasion. I note in passing that the German village, which is beautifully depicted, looks more Slavic than German, as does the depiction of peasant culture - I'd swear they are dancing to Klezmer at the end rather than something that feels German. Still, whatever.
But I was aware of how little attention it actually gave to the politics. We see that Diego Rivera is a bit of a radical, and that he enjoys pissing off the man as well as sleeping with lots of women, but there's no sense that the politics is actually important to him or to Frida. We see a few seconds of demonstration footage, but there isn't any sense that Mexico was a ferment of genuine revolutionary fervour at this time, or that there was a real civil war going on. Trotksy is a lovely old bloke, but not a very convincing revolutionary, and there is similarly no sense that in giving him refuge the Cardenas government was making a very definite political commitment. It wouldn't have hurt to have given some sight of how huge his funeral procession was.
Not a bad film, but not a great one.
Watched in the Middle Floor at Springhill, from a legitimate DVD,
Friday, February 17, 2017
It's very well done, though. What I really liked about it was the way it conveys how physical playing the trumpet is - you do it with your whole body, but especially your mouth and face and lungs and belly. Early on a bunch of disappointed drug dealers beat Chet up, and they knock out his front teeth; an appreciable part of the film is about him relearning how to play, and with dentures. There's a fair bit of blood and a lot of suffering, and practicing in the bath (must try that, perhaps with my plastic trumpet).
I note in passing:
- In those days being a successful musician did not mean that you were rich. Sure, Chet has a drug habit, but part-successful washed-up rich musicians these days can afford a drug habit and live somewhere better than a camper van. I know that in the 1970s when I was growing up ex-footballers, including members of the winning world cup squad, bought and ran sport shops. Celebrity is more valuable now - part of the increased disparity of wealth?
- Chet meets his girlfriend working on what seems to be a film about his life - but what film can this be? It seems to be being made in the 1960s, but the other Chet film, Let's Get Lost, isn't made until 1988, the year he dies.
- Chet lets the grim and gloomy Miles characterize him as a privileged white boy from California, but he's not - he's actually a poor white boy from a grim family farm in Oklahoma. His dad, who is a bad dad from central casting, is probably a pre-prototype of the ignored people who went on to vote for Trump.
- The girlfriend quite rightly chooses her own career over loyalty to Chet - and when she does turn up for his comeback performance at Birdland it's not a happy Hollywood moment at all, but a [spoiler alert] confirmation that a junkie will always choose junk over everything else.
A great film, highly recommended.
Watched at Landsown Film Club in Stroud.
Thursday, February 09, 2017
A disappointing, plodding, boring film about a subject that ought to have been disturbing and too-engaging. It wasn’t particularly long, but I found myself looking at my watch.
Rachel Weisz plays Deborah Lipstadt as a Brooklyn (Queens actually) bimbo. Although it’s her book that forms the basis of the libel suit that David Irving brings, there’s not much sign that she is an expert at anything. She’s not called as a witness or to testify in her own defence. She supplies none of the critical points of evidence on which the case, as represented in the film, seems to turn. The only historical knowledge is presented as belonging to British elite academics. There’s not much sign of the existence of a complex of deniers, with institutions and organisations – if there had been, it would have started to become political and relevant in a way that this film mainly isn’t.
Penguin Books is cited as a co-defendant, but other than that barely appears, apart from a moment when some executive seems to disinterestedly ask Lipstadt if she plans to fight the case. No internal meetings to discuss how to handle this, no consideration as to whether to settle…
It’s full of cinematic clichés – it’s always raining in London, Lipstadt jogs to the statue of Boadicea, there’s little narrative or cinematic innovation (though Lipstadt sees visions of the dying at Auschwitz for a few seconds when she’s very emotionally engaged).
In the end the day is won by super stiff upper-lipped British lawyers, who know how to play the British legal system – which is ultimately the hero of the film. The lawyers’ decision not to call any eyewitness accounts to dispute Irving’s account is represented as entirely justified, and the only survivor we see actually nods at Lipstadt’s press conference where she retrospectively endorses this strategy.
I suppose there is some justification in making the film in that it packages the episode for earnest sixth form students who might otherwise not know this happened, but it seems flat and not useful in a period in which people not unlike Irving are in office in the most powerful country in the world. In particular it doesn’t much dwell on the way that Irving might be said to have won, even though he lost the case, by establishing that there is a ‘debate’ on the historicity of the holocaust. Climate change deniers pursue much the same strategy.
Watched at the Phoenix Cinema in East Finchley.
Sunday, February 05, 2017
Watched at the proper cinema - the Everyman in Muswell Hill.
Tuesday, January 24, 2017
Watched at Landsowne Film Club.
When a friend told me about this film I confused it with 'The Commune', another Scandinavian filmabout communal living. This one is altogether jollier; there is some funny stuff about the mores and culture of 1970s Scandinavian radicals, but not much of the nuts and bolts of communal living, or about the mechanics of how these people all came to be living together, or what strains it places on the relationships between them.
There's an outsiders' perspective thing going on, because the narrative is about a working-class woman moving to the commune after she runs away from her drunken, abusing husband - so we can see the communards through her eyes, as well as seeing her through theirs. There's also a very straight family next door for a counterpoint. I note in passing that the working class family originally live in what is supposed to be a somewhat soulless flat in a block, of the kind that most working class people in Britain would die for, and that there is no account at all of how the commune has come to be in the rather nice suburban house where it is - is it private rented? Also, there's an old, isolated man that the abusing husband meets as a result of his plumbing job, who talks about the old days when everyone was poor but lived together and were happy. I was surprised to see just how poor 1930s Swedes had been - it sounded like modern poor India.
Watched in the Middle Floor at Springhill, via DVD and projector - with some issues about the frame size.
Monday, January 23, 2017
Excellent critical account about key developments in cities - technology, development, governance - from a great author. There were a few things that rankled a little (I got fed up with the number of people introduced as 'urban theorist' and so on), but this is a really good book. Like all the best, it acts as a gateway to much more, with links and references that are really useful. I particularly like the way it cuts through all the property developer bullshit and tells it like it is for those of us who still retain the loose distinction of citizenship of these cities. I'd have liked even more about the hot money pouring in to London, New York and so on, because that seems to shape my experience of living in my city. But that's not even a quibble. No hesitation in recommending this, and I look forward to reading more by Stephen Graham.
Thursday, January 19, 2017
The scenario and the plot seem a bit garbled - it's got a time-travel component that doesn't seem particularly well thought through, with little interest in paradoxes or forking futures or whatever. There's a sort of underlying nasty Nazis thing too - the monsters are called 'hollow casts', or something like, that there is a suggestion that the grandfather who introduces the boy to all this is actually traumatized by his experiences in wartime Poland (something we are not shown), and we do see the children's home being destroyed by a bomb with a swastika painted on it. Not developed, but rather thrown away - as is the suggestion that this might be all be a hallucination caused by the boy's head-hitting accident early on in the film. Did somebody mean to make more of this and then decide not to bother or to take it out? I see that it's based on a novel that was very successful - is the plot and scenario clearer in that, or less clear in a way that makes it matter less?
It's got an interesting look to it, though considering that it's set in the 1940s it really ought to look less steampunk than it does - Miss Peregrine's dress doesn't look at all Utility, for example, but sort of cod-Victorian. Lots of nice special effects, especially the raising of a sunken ship from the sea bed. It's always nice watching Eva Green, though where did that accent come from and what was it supposed to be?
Watched on a plane to New York - my first long haul flight for several years.
Saturday, January 14, 2017
Watched on TV via Netflix, Android phone, and Chromecast.
Tuesday, January 03, 2017
It's rather well done, with some good creepy characters; Geena Davis is particularly good as the Big Producer of The Amazonian Games, a dystopian fantasy franchise that pits leather-clad women against mutant cloned neanderthals on post-apocalyptic earth; sadly, this doesn't actually exist, though it should.
Watched on our TV via legitimate Netflix subscription.