Talking Movies

November 29, 2017

Filed under: Uncategorized — Fergal Casey @ 7:30 pm

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November 24, 2017

Filed under: Uncategorized — Fergal Casey @ 9:06 pm

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August 24, 2017

Work Suspended… And Other Stories

Filed under: Uncategorized — Fergal Casey @ 4:24 pm
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Some months ago I vaingloriously promised that the blog would be getting back on track. As regular readers might note, it didn’t quite do so.

I explained that I’d been experiencing tremendous logistical and technical difficulties in writing and posting the blog for quite some time, and foolishly opined that they should be resolved in the coming days. Alors… The technical difficulties were overcome, only for more and gravely deeper logistical difficulties to unexpectedly appear, and then as a final coup de grace different technical difficulties cropped up. Making promises is a foolhardy business, so I will refrain from offering any further hostages to fortune. Talking Movies is back on as even a keel as can be expected from it any more. I aspire to update the blog weekly, but I know that I will not always achieve that aspiration. I expect to write less and less as the year goes on, but will try to cover the most important films and plays as practicable.

Now here, at last, are the theatre reviews of then recent productions promised all the way back in March: The Pillowman, Arlington, The Dumb Waiter.

June 16, 2017

Vermeer: Beyond Time

VERMEER BEYOND TIME documentary to screen across Ireland to celebrate forthcoming National Gallery of Ireland exhibition – Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

Vermeer Beyond Time, a new documentary chronicling the life and times of one of the most-loved, treasured and well-known artists in the world today, Johannes Vermeer, will have screenings across the country this summer to coincide with the once-in-a-lifetime exhibition Vermeer and the Masters of Genre Painting: Inspiration and Rivalry at the National Gallery of Ireland from Saturday 17th June, in collaboration with the Musée du Louvre, Paris, and the National Gallery of Art, Washington.

In the feature documentary, Vermeer, Beyond Time, French filmmaker Jean-Pierre Cottet adopts an imaginative and sensitive approach to his subject focusing on the work itself but also explores Vermeer’s family life including his conversion to Catholicism, his artistic contemporaries and the wider world of the short lived Dutch Golden Age of the 17th Century. Cottet’s film explores the individual paintings and teases out what has come to be known as the Vermeer style; the representation of light, the interplay of colour and the effects of perspective across the same themes, places and objects.

Vermeer’s paintings are of a world inhabited by refined and cultivated women; respectful or troublesome servants; charming young people and learned men. His ruthless elimination of objects and things that serve no purpose results in an art that suspends time and that leaves us, the viewer, always wanting to know more. The film adds much to our understanding and knowledge of the painter, while still allowing for the mystery and allure of his art. Vermeer’s death in 1675 is sudden and incredibly sad.  Overwhelmed by poverty, physically weakened and humiliated, he dies at the age of 45.  Soon afterwards, his paintings are sold to cover his debts.  Vermeer disappears from memory.  His rediscovery some 200 years later has seen his popularity soar, claiming both our hearts and our admiration.

James Mitchell of Irish production company Soho Moon produced the documentary and it is narrated by Fiona Shaw.

Cert: PG

Running Time: 91 mins

https://www.youtube.com/watch?v=P5U2hRC0oKU&feature=youtu.be

Vermeer, Beyond Time screens at the following cinemas on Wednesday 21st June – Gate Cork and Light House Dublin; Thursday 22nd June – Mermaid Arts Centre Bray; Sunday 9th July – Tracton The Inkwell Theatre Cork.  For future screenings, please contact Eclipse Pictures – details below

For advance ticket booking for the upcoming exhibition, Vermeer and the Masters of Genre Painting: Inspiration and Rivalry at The National Gallery of Ireland, go to www.nationalgallery.ie.

The exhibition, which had record numbers at the Paris venue and complimentary reviews in the international media, opens in the National Gallery of Ireland on Saturday 17th June and runs through to 17th September.  It will be the major Old Master exhibition in Europe this summer coinciding with the reopening of the National Gallery of Ireland’s refurbished historic wings and new display of the permanent collection which opens to the public on Thursday 15th June.

Conceived by the National Gallery of Ireland, this revelatory exhibition celebrates the work of Johannes Vermeer (1632-1675) and will give new insights into the relationships the artist maintained with other great painters of the Dutch Golden Age.  It will bring together some 60 paintings from major public and private collections around the world. Ten masterpieces by Vermeer will be included representing nearly a third of the artist’s surviving works and the third highest number of works by Vermeer ever assembled. The National Gallery of Ireland’s own Vermeer, Woman Writing a Letter, with her Maid c.1670, which is regarded as one of the artist’s finest works, will be shown alongside other exquisite compositions including Woman with a Balance, c.1663–4 (National Gallery of Art, Washington); Woman with a Pearl Necklace, 1663–4 (Staatliche Museen zu Berlin); The Astronomer, 1668 (Musée du Louvre, Paris) and The Geographer, 1669 (Städel Museum, Frankfurt). Paintings of daily life by contemporaries of Vermeer, including Gerrit Dou, Gerard ter Borch, Jan Steen, Gabriel Metsu, Pieter de Hooch and Frans van Mieris, will also feature.

Dr Adriaan Waiboer, Head of Collections and Research at the National Gallery of Ireland, and curator of the exhibition, says: “Johannes Vermeer is frequently portrayed as an enigmatic figure working largely in isolation, but this exhibition clearly demonstrates how Vermeer’s subjects, compositions and figure types owe much to works by contemporary Dutch artists, including Gerrit Dou, Gerard ter Borch and Frans van Mieris, all of whom were more successful and influential in their time.” The exhibition brings together groups of paintings of domestic scenes – letter writing, in front of a mirror, musical scenes – and the obvious similarity of the compositions shows the interplay between artists – nonetheless Vermeer’s brilliance and originality brings new heights to the subjects and his work takes genre painting to a yet higher level.

March 24, 2017

Work Suspended

Filed under: Uncategorized — Fergal Casey @ 11:23 am
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I’ve been experiencing tremendous logistical and technical difficulties in writing and posting the blog for quite a while now.

Hopefully they should all be resolved in the coming days.

Talking Movies will then return with belated theatre reviews of recent productions of The Pillowman, Arlington, and The Dumb Waiter.

January 25, 2017

That’s “Mr. President The Donald” to you…

Yes, it’s time for one of the regrettable lapses into politics on this blog; occasioned by the vitriol thrown at Donald Trump’s Presidency, which is of dubious historical merit when considered under the headings of mandate, legitimacy, and suitability.

donald-trump-got-only-8-words-into-his-campaign-before-we-found-a-seriously-questionable-fact

MANDATE

Donald Trump got 46% of the popular vote.

Bill Clinton got 43.01% of the popular vote in 1992.

Woodrow Wilson got 41.8% of the popular vote in 1912.

Armando Iannucci is one of many people to claim that Trump has no mandate, because more people voted for someone else.

Well, the only way to ensure that doesn’t happen is to win over 50% of the popular vote, isn’t it?

If a candidate must receive more than 50% of the popular vote to have a mandate, then no Democrat President in the 20th and 21st centuries has ever had a mandate except Franklin D Roosevelt, Lyndon B Johnson, Jimmy Carter, and Barack Obama.

By contrast every Republican President from William McKinley’s 51% in 1896 onward has had a mandate, except Richard Nixon, George W Bush, and Donald Trump; and Nixon and Bush both achieved over 50% of the vote on re-election.

 

LEGITIMACY

The electoral college system is silly, but it’s been silly for a long time now.

Andrew Jackson blew a gasket in 1824 when he was denied the Presidency.

But it wasn’t fixed then.

Rutherford B Hayes ended Reconstruction in 1876 to be let be President.

But it wasn’t fixed then.

Nor in 1888, nor in 2000, because, like AV in England, it is politically insoluble.

If you weep for Hilary Clinton’s near 3 million votes and no Presidency, did you also weep for Nigel Farage’s 5 million votes and only 1 (previously filched Tory) seat in 2015?

Hilary Clinton effectively built up massive and useless majorities in safe seats, while Donald Trump eked out tiny majorities in seats that could be flipped, and so won with equal legitimacy as David Cameron did in 2015.

 

SUITABILITY

Trump as an unsuitable character to be President…

More unsuitable than Johnson, who boasted that he’d had more women by accident than JFK had on purpose?

More unsuitable than JFK, who was so out of control new Secret Service agents were aghast at being assigned hooker detail?

More unsuitable than Nixon and Reagan, who both committed treason to win the Presidency?

Should the Republicans only be allowed to nominate candidates approved by the Democrats?

Would the Democrats then be happy to only nominate candidates approved by the Republicans?

Wasn’t that instinct what led to Watergate – Nixon trying to swing the nomination towards McGovern because he felt, and rightly so, that he could easily destroy him in the campaign proper?

 

BRINGING IT ALL TOGETHER

Donald Trump is the President.

He has more of a mandate than Bill Clinton  in 1992, Richard Nixon in 1968, and Woodrow Wilson in 1912.

He has the same legitimacy as John Quincy Adams, Rutherford B Hayes, Benjamin Harrison, and George W Bush.

And he has fought fewer duels than fellow populist and all round short-fuse exponent Andrew Jackson.

 

All three strands are ahistoric rationalisations obscuring the raw howl  ‘I voted for the other candidate!’.

Well, in a two-party system, there is a 50/50 chance that the other candidate wins every 4 years.

And then you wait for the next roll of the dice in 4 years and place your money on your candidate again.

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