Talking Movies

December 23, 2019

From the Archives: I’m Not There

From the pre-Talking Movies archives.

Crazy/Brilliant, that’s not an ‘either/or’ approach to this film where you’ll consider I’m Not There to be either crazy or brilliant. No, it’s ‘both/and’, this is one of the best films of 2007; yes, it features one of the craziest concepts ever to cobble together enough financing to get made but its execution is superb in every respect. To even attempt an explanation of the structure of the film would be madness as writer/director Todd Haynes does not follow chronologically the career of Bob Dylan but cross-cuts between different aspects of it. At no point is Dylan’s name mentioned, this is not a biopic, it is inspired by his music ‘and many lives’. It could have been an unholy mess but the intercutting of different actors and settings makes perfect sense in its own deranged fashion.

The story begins with Ben Whishaw as the poet Dylan answering police questions about himself and doing the whole Greenwich Village routine. A guitar-picking black kid calling himself Woody Guthrie is Dylan’s earliest hero-worshipping incarnation, he becomes Christian Bale’s uncanny impersonation of the protest singer Dylan while Heath Ledger’s mumbling actor Jack Rollins is the embodiment of the mid to late 1960s Dylan, drunk on his own fame, married but endlessly womanising and refusing to engage with the world in his songs because it can’t be changed. Richard Gere is the outlaw Dylan trying to escape into a mythical Old West while Bale returns as the late 1970s Dylan embracing evangelical Christianity. Cate Blanchett steals the acting honours by doing a tremendous version of the Dylan that toured England in 1966 and was given the hostile reception recorded in DA Pennebaker’s documentary Don’t Look Back.

Todd Haynes redeems the disastrous hash he made of depicting glam rock in Velvet Goldmine by using this demented set-up as a means to make Dylan’s songs incredibly fresh. Woody Guthrie’s early dirty blues rendition of ‘Tombstone Blues’ sets the scene for terrific use of many songs, probably the best of which is ‘Ballad of a Thin Man’, which is made to seem a sarcastic attack on Bruce Greenwood’s sneering BBC journalist Mr Jones. The song is subsequently dissected by the Black Panthers for hidden meanings. That could be a metaphor for this film. Haynes has produced such a rich ensemble of performances (even minor turns like David Cross as Allen Ginsberg and Julianne Moore as Joan Baez), beautifully re-created film styles, and tremendous evocation of golden-green rural America (as well as capturing the disoriented vibe of Dylan in Britain in 1966 – the moment when the Beatles appear in a Help! pastiche is priceless) that this is a film which will repay subsequent re-watching and that should be seen by all Dylan fans, or people with any interest in pop culture, or…hell just anyone who’s awake!

5/5

October 31, 2019

Notes on Countdown

Countdown was the film of the week for a special PG-13 horror Hallowe’en edition of Sunday Breakfast with Patrick Doyle.

It’s almost hard to believe that Countdown wasn’t produced by Jason Blum. There is a certain Happy Death Day quality to proceedings, although this is far darker in tone; pushing the PG-13 rating to the limit with its demon CGI FX. The cold open certainly puts one in mind of Scream, sketching in the plot and tone of the film with great economy. The dread it generates is replicated numerous times before it starts to lose its effectiveness. Meanwhile Elizabeth Lail continues the odd flashback vibe as she seems to be channelling Kellie Martin’s ER role.

Listen here:

 

October 25, 2019

Any Other Business: Part XXXIX

As the title suggests, so forth.

What Fool Rejigged Jools?

The compulsion to set your stamp on things by making unnecessary, costly and hugely counterproductive changes must be one of the most exasperating habits of incoming management. The inimitable Jools Holland is now to have co-hosts foisted upon him every week, after 27 years of hosting Later… by himself. Why? And why on earth the hideous redesign of the set? You could argue it is a return to the aesthetic of the early days of the show c.1994. Except, that the show moved away from that for a reason, and also that it never looked like this new abomination. The lights were so glaring during Amyl and the Sniffers last night that they reminded me of a cinema which has forgotten to dim the house lights before the film started. For the love of God, after Christmas can we please ditch the co-hosts and turn off some of the damn lights.

September 21, 2019

At least we still have… : Part IX

Filed under: Talking Movies,Talking Music — Fergal Casey @ 2:16 pm
Tags: , ,

As the title suggests, so forth.

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September 8, 2019

The Roaring Twenties

Filed under: Talking Books,Talking Movies,Talking Music,Talking Politics — Fergal Casey @ 2:14 pm

Some time back I speculated that this decade, the censorious Tens, would have to give way to, indeed would provoke, something rather different. I didn’t have in mind an exact historical re-run of the 1920s but now I find we are mere months away from the ever-moving marker of centenaries crossing into the Roaring Twenties. Which it must be said were roaring for the USA, but not quite as much fun for the rest of the world…

The next five years will see the centenaries of:

 

British forces massacaring civilians attending a football match in Croke Park

The Cabinet of Dr. Caligari being released

F Scott Fitzgerald publishing This Side of Paradise

Edith Wharton publishing The Age of Innocence

DH Lawrence publishing Women in Love

Sinclair Lewis publishing Main Street

The USA introducing Prohibition

 

The Anglo-Irish Treaty being signed

The Kid being released

The Sheik being released

The Four Horsemen of the Apocalypse being released

 

The Civil War beginning

The destruction of records and archives at the Four Courts

Michael Collins being assassinated

Nosferatu being released

James Joyce publishing Ulysses

F Scott Fitzgerald publishing The Beautiful and the Damned

TS Eliot publishing The Waste Land

 

The Civil War ending

WB Yeats winning the Nobel Prize for Literature

Shadow of the Gunman being staged at the Abbey

PG Wodehouse publishing The Inimitable Jeeves

Safety Last! being released

The Charleston dance craze sweeping the world

The Bauhaus School moving to its signature building in Dessau

Adolf Hitler staging Beer Hall Putsch in Munich during Weimar hyperinflation

 

Juno and the Paycock being staged at the Abbey

Sherlock Jr. being released

EM Forster publishing A Passage to India

Thomas Mann publishing The Magic Mountain

George Gershwin composing Rhapsody in Blue

August 21, 2019

At least we still have… : Part VIII

The eighth entry in an occasional series in which I try to cheer myself up by remembering what still exists in the world and cannot ever be taken capriciously away.

Bran Van 300 forever

21 years later this still sounds like summer

Epic Love

Logan and Veronica 4EVER

July 4, 2019

5 Works of Americana

For the day that’s in it here’re five pieces of 20th Century American music to score the 4th of July from sunrise to midnight. Shake off your drowsiness with the tremulous clarinet glissando of Gershwin, roll up your shirtsleeves with the frontier rambunctiousness of Copland, go for lunch (will you just go to lunch, George!) with the bustle of Bernstein, greet the evening with the alternating amplitude and frenzy of Gershwin (again), and then hit the energetic streets after dusk with the chromatic, romantic but nervy energy of John Adams.

Rhapsody in Blue by George Gershwin

Rodeo by Aaron Copland

Candide Overture by Leonard Bernstein

Piano Concerto in F by George Gershwin

City Noir by John Adams

 

June 30, 2019

Notes on Yesterday

Richard Curtis’ Beatles rom-com Yesterday was the film of the week much earlier today on Sunday Breakfast with Patrick Doyle.

Danny Boyle may be the director but this is a Richard Curtis film, and it would be much better if it weren’t. A world in which The Beatles have been erased from existence save for the memory of one struggling musician is a high concept comedy, but Curtis insists on making it a ho-hum rom-com. Kevin Willmott’s CSA showed that you have to rein in the butterfly effect for alternate history because everything would become unfamiliar. Would the Beach Boys be as important without Pet Sounds, their riposte to the Beatles? Curtis displays no such interest, save an Oasis joke, in exploring the butterfly effect of his own bloody high concept. Kate McKinnon is the most reliably comic element of this film, and she is lip-smackingly playing a caricature record executive – Hunter S Thompson’s famous jibe mixed with notes of her SNL Hillary Clinton. But then all the characters in this film are caricatures. This poses a problem when Curtis wants you to care about the romance as if it involved characters with some humanity.

The romance is already scuppered by Jack (Himesh Patel) and Elly (Lily James) patently having the chemistry of hopeless dreamer and dutiful girlfriend in the opening scenes, until it’s bafflingly revealed they’re just friends. They do not hold themselves as fast platonic friends like Holmes and Watson in Elementary. When she complains she always wanted more, and Curtis writes improbable scenes doggedly making this fetch happen he, like Nick Hornby in Juliet, Naked, defies the felt experience of human nature. But this aggravating drive to the grand romantic gesture reaches a new low for Curtis. GK Chesterton once quipped that art, like morality, consists of drawing the line somewhere. I draw the line at Curtis; in the vein of his Doctor Who episode in which he shamefully zipped Van Gogh to the future to hear Bill Nighy valorise him then returned him to the past to kill himself to general hand-wringing; resurrecting the murdered John Lennon as septuagenarian sage giving Jack a pep talk to make the finale’s grand romantic gesture. No… No. No. No!

Listen here:

May 19, 2019

Jean Sibelius: 5 Works

Finlandia

Symphony No 5

Violin Concerto in D minor

Valse Triste

Kyllikki

May 6, 2019

R.E.M.: 10 Songs

Talk About The Passion

Driver 8

Fall On Me

It’s The End Of The World As We Know It (And I Feel Fine)

Orange Crush

Losing My Religion

Radio Song

Man On The Moon

Strange Currencies

Imitation Of Life

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