Talking Movies

November 19, 2014

Any Other Business: Part IX

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What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a ninth portmanteau post on television of course!

Celtic Noir

It seems I wasn’t hallucinating at the cinema a few weeks ago when I saw a teaser for An Bronntanas; in which a severed arm floated past with dead fish on a conveyor belt, a reveal I’d been expecting from the music and cinematography of the sequence; and immediately thought that was something that belonged in a Nordic Noir. TG4’s Deputy CEO, Pádhraic Ó Ciardha, says the series has broken new ground for the channel by establishing a new genre: Celtic Noir. “The direct audience feedback on social media, as well as in media commentary and reviews at home and abroad, confirms to us that An Bronntanas has hit the spot,” he said. “Regular viewers of our channel confirm that it delivers on their requirement for a súil eile approach to drama. Others remark on the innovative visual style and unique dramatic atmosphere – the Celtic Noir that has grabbed their attention in ways not unlike some recent Scandinavian TV crime drama”. TG4 has, as usual, gazumped RTE in showing the likes of Borgen and The Bridge, so it’s unsurprising that its audience noticed the family resemblance. Series Producer Ciarán Ó Cofaigh says, “We believe that we have delivered a drama series that can compete on a world stage. Personally, it is particularly satisfying to achieve this through the Irish language.” TG4 commissioned Fios Físe, a viewer panel solely comprising fluent Irish speakers, and found An Bronntanas being watched by over 60% of the panel, with approval ratings over 90%. Official TAM Ireland figures show the contemporary thriller has been seen by 340,000 people during the opening four episodes, making it one of TG4’s most popular original drama series ever. The show developed by Galway production company ROSG and Derry’s De Facto Films, cannily cast Cold Case star John Finn (famously unexpectedly fluent in Irish) alongside Dara Devaney (Na Cloigne), Owen McDonnell (Single Handed), Janusz Sheagall, and Charlotte Bradley; and added an impeccable sheen through cinematographer Cian de Buitléir capturing Connemara for director Tom Collins (Kings). The series finale of An Bronntanas airs tomorrow, Thursday 20th November, at 9.30pm on TG4. Check it out – its ambition stands in stark contrast to the drivel being perpetrated by RTE2 these days.

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Bright Lights, Tendentious Theses

I’ve been stewing in annoyance at Bright Lights, Brilliant Minds: A Tale of Three Cities for some months now; and perhaps it’s the fact that rival art historian Andrew Graham-Dixon has lately completed the second of two far superior BBC 4 shows (Art of China, The Art of Gothic) which has finally brought my ire with Dr James Fox’ series to the boil. Fox set out to show that the 20th Century had been shaped by events in three cities in three particular years: Vienna 1908, Paris 1928, New York 1951. So far, so interesting. Fox, however, frequently seemed to be less interested in presenting a coherent argument than in maintaining his snappy title’s cachet. Jack Kerouac, probably the worst case, was shoehorned into New York 1951 by dint of the fact that he wrote On the Road in 1951. On the Road was published in 1957. How can a work be influencing the zeitgeist if it’s not been published? It doesn’t matter when it was written. For all we know JD Salinger wrote the Great American Novel in 1985 but it’s lost in a steam-trunk in his old shed. But if it was published now it would be coming it devilishly high to talk about it as a critical intervention in the culture of Reagan’s America. Kerouac was the worst but by no means only example of Fox’s tendencies: Brando’s 1951 film performance in A Streetcar Named Desire was hailed, and the fact that he’d originated that part on Broadway in 1947 ignored; Lee Strasberg and his Method were hailed, and the fact that his pupil James Dean didn’t become a star till 1955 ignored; the Method was hailed in vague terms, but any in-depth analysis was eschewed – especially the cult-like tendencies of its adoption in America. The Sun Also Rises was too early for Paris 1928, so instead A Farewell to Arms was praised to the skies; despite being verily self-parody, and featuring a heroine rightly dismissed by Richard Yates in writing workshops. Gershwin’s An American in Paris was rendered more important in the scheme of things than Rhapsody in Blue because it fit Fox’s thesis; and to hell with any internal logic between shows as having bowed down to Schoenberg’s atonal serialism in the previous episode Gershwin’s melodicism was now equally valid – what is ‘modern’ is always wonderful, even if it contradicts what was ‘modern’ last Tuesday (which is no longer modern and therefore no longer valid). Fox is absorbing when he talks about art, but when he ventures into other fields he should take Andrew Graham-Dixon’s lead and, instead of creating titles that act as prisons, embrace wide-ranging titles that allow you to link between a few but carefully selected ideas in service of a convincing argument.

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July 6, 2011

On Reading

I’ve just failed, yet again, to achieve one of my long-standing perfect reading scenarios and it’s made me reflect about my various ways of reading novels.

The perfect reading scenario in question involves reading F Scott Fitzgerald’s The Great Gatsby while listening to Rhapsody in Blue and Piano Concerto in F by George Gershwin. This of course involves reading the sparkling prose of the poet laureate of the Jazz Age to the accompaniment of the music of the Jazz Age’s pre-eminent composer, whose works might well have been performed at Gatsby’s parties. This should be done lounging outside in the sunshine; usually possible if done on the 4th of July – which is a vital component of this scenario; and drinking something deliciously iced, but undertaken; as ‘a broken series of successful gestures’ if you will; over the course of an afternoon and evening so that you get to Nick Carraway’s magnificent peroration about night falling on Gatsby’s mansion just as the sun goes down…

Oddly enough, purely by accident, I achieved a perfect reading scenario recently for Wonder Boys by Michael Chabon; in this case the scenario being entirely weather appropriate. I read the first 70 pages outside in the summer sunshine, perfectly suiting the reminiscences by Grady Tripp of his Kerouac wanderlust youth. The second half of the book, however, found me reading and reading on a thunderously wet day even as Grady Tripp, Terry Crabtree and the other characters resolved all their complicated problems during a terribly rain-sodden Pittsburgh weekend. And then, amazingly, just as Tripp achieved a final epiphany during the downpour I heard something. Birdsong. The rain here had stopped, the sun had come out, the birds were singing their relief; and damn if Chabon’s epilogue didn’t immediately return to a sunny small town in Pennsylvania.

That sort of thing, however, hardly ever happens. Most of the time the way I read is decided by the book’s length, not esoteric synchronicities. A short book like I Am Legend or Fight Club I tend to blast thru in one sitting. Meanwhile Robert B Parker’s Jesse Stone novels, masterpieces of pared-down quip-laden pulp fiction, are best devoured in three (one hundred-page) sittings over three days. Kathy Reich’s Temperance Brennan thrillers are longer and more substantial, so they’re best lapped up over two consecutive weekends. Finally there’s the way to read Patrick O’Brian’s Master & Commander novels. A chapter or two at a time, but spaced out so that the entire ten chapter novel takes at least two weeks. Only that way can one truly savour the flavour of each chapter, and O’Brian’s hilarious predisposition to writing chapters that deliberately ignore the preceding chapter’s cliff-hanger.

Nearly all these ways of reading require setting aside a chunk of time for that purpose. But of course one could say the same about writing anything worth reading…

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