March reads

Read four of Mam’s beach novels and The Turning which I got in time for the play (adaption), but only cursorily looked at prior to the performance.

I tried to finish the beach novels before they were required for second-hand bookshops somewhere between Perth and Naxos. The were all quick reads, some more memorable than others.

• Death in Holy Orders by PD James is a Commander Adam Dalgliesh tale set in an theological college on the East Anglian coast. A student is murdered and the ongoing investigation is helped and heeded by the isolated close-knit community.
• Not in the Flesh by Ruth Rendell was an intriguing story about the investigation led by Chief Inspector Wexford when a body is found wrapped in a purple cotton sheet. I thought the novel was going to be a straight forward whodunit, but there was bit more to it than that.
• Piece of My Heart by Peter Robinson was a little more plodding, but the scene of the crime - a rock festival, made it a little more interesting. The threads connecting the present day to aging rock stars is a little tenous though.
• Exit Music by Ian Rankin is DI John Rebus’s last case in the force. A bit of winding up occurs, as Rebus attempts to pass on/fob off his unsolved cases and business to colleague DS Siobhan Clarke. Some of the jobs are not resolved as one would like.
• The Turning by Tim Winton I got from The Book Depository which seems all wrong since Winton is a Western Australian author. But it was just too easy and the price was right. I don’t know why books have to cost so much in Australia in comparison to the UK or USA. Anyway, The Turning read and on the bookshelf means that I have all Tim Winton’s books, so far. Having finished it, I wish I had more to read. The book follows three generations of a family, and each chapter/short story is sort of complete, but sort of keeps you hanging. A certain amount of cringe material and rawness as the place and some periods felt familiar to me.

I thought that uni would slow up my reading, which it did in a way but only from a time point of view. I was just too tired at the end of the day from reading scholarly papers to read some more for entertainment. However, I did find that non-fiction was good for a few hours escape.

read it in the Sunday papers

Deep Water [1] is a docu-drama about The Sunday Times Golden Globe Race, a non-stop, single-handed, round-the-world yacht race run in 1968. The race started one year after the first person had successfully circumnavigated the world with only one-stop in Sydney, Australia.

Fortunately, I only read a little on Wikipedia prior to seeing the film. Otherwise, I may not have been gripped by the tension built up in the documentary. The reason I sought information about the film, is that I wanted to determine that it wasn’t going to be a yatchys’ drama of all things gone wrong with the boat, and hence why they retired from or did not win the race.

When I initially searched for information on the film I ended up quickly scanning the Wikipedia page on Donald Crowhurst [2]. Without taking in much detail, I was satisfied that the film was more about the achievement, tragedy, and psychology of the entrants.

It is difficult to review the film or provide a synopsis without providing spoilers, particularly if you don’t know about the race at all. But I think there is more than enough to keep you on the edge of your seat and to keep you pondering the film for a few days after viewing.

Nine entrants set out in the race [3] to be the first for the Golden Globe trophy and £5,000 cash for the fastest. Only one finishes. The film is mainly about two of the entrants, Donald Crowhurst and Bernard Moitessier. The film is a documentary consisting of original material from the entrants in the form of logs, newspaper articles, audio, stills and video, and interviews with the entrant that finished, family, and others. Very little is recreated for the film, which if it was not a true story could have been described as a psychological thriller or adventure.

The construct of the film was to compare the inexperienced weekend sailor in Donald Crowhurst with that of the weathered and salty philosophy of Bernard Moitessier. The film was advertised as 92 minutes, and having seen many films over two hours at the Perth International Arts Festival, I think I would have liked to see more about the other entrants in the race. Other than that, I think it is a film worth seeing.

[1] Deep Water, official movie site includes production notes and trailer
[2] Donald Crowhurst , Wikipedia
[3] The Golden Globe Race, Boats.com

Friday good

For the first time in years, we have found something to do on the Friday that is part of the Easter public holidays. Usually, everything is closed, dead - nothing happening.

Apart from the relative quiet which is nice because most people have pissed off south or north for the four day holiday, nothing happens in Perth.

Between our picnic and viewing the Perth International Arts Festival films we walked around the UWA grounds and saw a poster for The York Crucifixion, a production by the Happy Dagger Theatre.

I wanted to go just because the poster indicated that bad things would happen to Barbie (TM).

The play was excellent. It was a very hot evening, and while we could fan ourselves with the programme, I felt for the players who in their theatrical costumes were leaving marks of perspiration as they touched the floor.

One of the 14th to 16th Century York Mystery cycle, the play involved five bouffons and their cart which transformed into various pieces of the set. Switching between old style and contemporary text and styles, the play was challenging to both the players and the audience. But I think they wooed the audience - definitely a hit. If anything, got you thinking beyond chocolate bunnies, boiled eggs, and when the pubs were open. It was thoughtful in part, and hilarious in others.

I’m not sure what all the fuss was about considering that at least two women have undergone physical examinations to make sure they are fit for crucifixion. It is a real shame that it was not better attended.

The only difficulty I had with the play is that bad things didn’t happen to Barbie (TM).

The next production is Cyrano de Bergerac, and I would definitely look out for it. The Happy Dagger Theatre company are excellent.

the metropolis

The inaugural lecture by Mark Bould, University of the West of England on The Very Modern World of Fritz Lang (PDF) forms part of the inaugural Institute of Advanced Studies Lecture Series.

We went along as the Metropolis was screening after the lecture. We had seen an earlier version (1984) with music by Giorgio Moroder and were intrigued to see a restored longer version.

The lecture was very interesting, and although I am not familiar with the subject and terminology, I enjoyed the presentation immensely. Bould began his presentation with explaining the Frankfurt School, briefly covered Fritz Lang’s earlier work, then focussed on Fritz Lang’s career in America. The presentation included video and stills from Lang’s films to demonstrate the various film techniques and methods, and quotes from the works of Theodor Adorno for comparison and contrast. Fritz Lang was referred to as a member of the “pulp wing of the Frankfurt School”.

The Metropolis was played from a DVD, but I’m not sure what version it was that we saw. At two hours, it certainly was longer than the 1984 version, and I’m pretty sure I saw 2004 alongside the music credit at the beginning.

One scene that I liked was when the camera focussed on the newly completed robot. The robot’s eyelids closing unevenly as if ’she’ was waking up. They looked very odd, not winking but sultry.

It was good to see a more complete story, and I must admit without Mark Bould’s lecture prior to viewing the film, it could have been less interesting. Although I have read that film buffs were divided on the rock-and-roll soundtrack that accompanied the 1984 version, if my memory is correct, I enjoyed that version more because of the pumping of the music with the machines of the metropolis. But then again, it maybe that I was influenced by the music at that time as I definitely remember Queen and Adam Ant were featured in Giorgio Moroder’s soundtrack. It may be good to see the 1984 version again for a better or near comparison.

simple answer

First day at uni, then off to Limited Edition.

H got to place his first red spot, on a piece entitled ‘Snaked’ (Acrylic on canvas).

I’m not so keen on the frame, but I like the painting because it could be a photograph, textile, or a painting. You have to look up close, and then away, to see what you want to see.

Our next door neighbour kindly collected the piece for us when the exhibition closed the following week. That’s the one annoying thing about art exhibitions. You don’t usually get to walk out with your purchase.

I didn’t realise how difficult it would be to take a photograph of a picture. But here it is out of square, fingerprints and all.

The speeches could have turned the art exhibition into a second wake, but fortunately we were told not to ask how a painting was named or what was the inspiration - as no one alive knows. This made everyone laugh and the tension leaving the room was palpable. Sue went on to say that she thought that Nigel may have enjoyed peoples’ discomfort as they themselves attempted to interpret his paintings. I must admit I enjoy exhibitions more when I can experience it for myself rather than being told.

Beauty in Trouble

With only four films left to see, Beauty in Trouble is the first film from the Perth International Arts Festival 2008 that has stood out from the rest that we have seen for being rather ‘ho hum’.

Apart from the music, it was a bit like Home and Away: The Film. This was one drama that was tedious and drawn out to 110 minutes.

The best that it has going for it, is that we can say that we saw (or will have seen) all the festival films. Yes, we stayed to see the end.

A memorable scene is Evzen (Josef Abrhám) demonstrating that even nice guys have a finite limit to the amount of empathy and tolerance shown to others, especially when their generosity is assumed as a given. Perhaps ‘Beauty in Trouble II’ will be realising that Evzen is still too nice.

five artists five songs

This request was sent to me by anxiolytic.

1. List your five favourite artists
2. List your five favourite songs by those artists
3. Tag five other people to do it

I struggled with ‘favourite’ as a qualifier, as I tend to go for songs and albums, rather than artists. But I narrowed the list down by thinking of the songs that I would be happy to play over and over. In no particular order.

White Stripes
- Fell in Love With a Girl
- Icky Thump
- My Doorbell
- Conquest
- You Don’t Know What Love Is (You Just Do As You’re Told)

Led Zeppelin
- Black Dog
- Stairway To Heaven
- The Song Remains the Same
- All My Love
- Dazed and Confused

Jimi Hendrix
- Red House
- Are You Experienced
- Foxy Lady
- The Wind Cries Mary
- Purple Haze

Lee Sappho
- It’s None of My Business (What You Think about Me)
- Glad To Be Alive
- Stop Sniffin’ ‘Round My Patch
- Mister Mean
- Nobody Loves Me (Like My Old Man)

Ed Kuepper
- Real Wild Life
- Hang Jean Lee
- Yellow Dog
- The Way I Made You Feel
- If I Had A Ticket

Tagging trs80, Celeste, Teri, Anne, and Zanchey.

wouldn’t you like to know

I was intrigued with the film Irina Palm, as I could not imagine Marianne Faithfull playing the part of a middle-aged frumpy woman.

Wandering around Soho in a daze having found out that more money is needed for treatment of her grandson’s illness, Maggie (Marianne Faithfull) applies to be a hostess at Sexy World. Finding out that a hostess does not not make tea and clear up, she declines the position but keeps thinking of the money that she has turned down.

Maggie reapplies for the job, and is so successful that she gets ‘penis elbow’ and earns the stage name of ‘Irina Palm’.

The underlying tension within the family and nosy neighbours in the English village where she lives means that Maggie keeps secret her new ‘profession’ much to the consternation of villagers who are accustomed to knowing everything about everyone. Even about uninteresting Maggie.

The fun begins when her ’secret’ becomes known, and the scenes with her bitchy friends are absolutely fabulous. Resolution with family is a little more renching, but Maggie is more certain and definitely not uninteresting.

The acting seems a little wooden at times, but the change in expression in Miki (Miki Manojlovic) from a scowling club owner that breaks with a smile when with Maggie/Irina Palm is believable as it is endearing.

If you are uncomfortable sitting in a very English living or morning room having tea with your friends and neighbours talking about the subject of wanking men off, then probably this film may not be for you. Having said that, I think people like Maggie’s snooty friends and neighbours are the ones to be worried about.

unreserved standing

For us, Sharon Jones & the Dap-Kings was the last Perth International Arts Festival music concert.

Sharon Jones can ‘move’ and the songs together with the Dap-Kings, well you can’t but help but move too

We decided that rather than sit on the couches at the back of the dance floor that we would go and stand between the stacks. The sound was not super good here, but it was great atmosphere for dancing and watching the band up close. The only thing that spoilt it was the Paris Hilton wannabees, or princessess and pornstars [1] as Emily Maguire calls them. I had a couple push in front of me and stand right in front so that I no longer had room to sway never mind dance. They moved on eventually as the people who were dancing next to me were very indignant on my behalf and called them out and didn’t give way to them. I must admit I thought ‘unreserved standing’ was like ‘unreserved seating’, i.e. once you had your seat or standing room, it was yours until you gave it up.

The non-stop musical performance by the Dap-Kings and Sharon Jones singing and strutting was energetic, and they appeared to be able to do this with little effort. It was only very much later that the Dap-Kings started to look a bit hot in their suits. The brass section was great, trumpet and two sax (tenor and baritone).

The concert was part of the 100 Days, 100 Nights tour, and it was great to see this song performed live having seen it on YouTube. Another song that I thought was cool that I have been able to find online is Answer Me. Other tracks are on the Sharon Jones & the Dap-Kings MySpace.

We didn’t stay for the After Party, there was enough crap on the dance floor to make it positively revolting if not dangerous. There was quite a queue to go into the venue, so with us going out a couple more could go in already barefoot and holding their strappy sandals. Interestingly, as we walked up St Georges Tce to catch the bus, there were a lot of young things making their way down to the Music Box. I found out later that they had come from the Future Music Festival. One of which asked for directions who had become separated from her friends and stated that she was afraid of being ‘mugged’. As H said, this is Perth not New York, and if anything similar is going to happen on St Georges Tce then it would be ‘assault’. Some were rather worse for wear (alcohol must have been cheaper at Future Music), and some carrying water bottles so that they could stay moist.

I think I’ll give festivals a miss for a while. I feel that the tickets are overpriced for what you get. Not sure about the Music Box, but other venues such as the Fremantle Arts Centre do not allow passouts, and there is a limited variety of fastfood and drinks (depending on sponsors). If you were going to an all day or weekend concert, such as the Blues ‘n’ Roots festival, you have to have a certain level of festival fitness.

[1] Princessess and Pornstars, Life Matters, ABC (25.4MB MP3, start 28:12 in)

devotion in black and white

The Tero Saarinen Company and Boston Camerata’s collaboration and production of Borrowed Light was austere but enthralling.

The inspiration for the choreography and music are drawn from the Shakers, with some of the songs transcribed from original manuscripts. The programme explains that these songs had not been performed for 150 years and until Borrowed Light, outside the Shaker community.

When one of the Boston Camerata began to sing the hairs on my arms prickled. I have never been able to comfortably listen to soprano. Fortunately, for the rest of the 70 minute performance the singers did not utilise the high soprano notes. Some of the songs were simple chanting, others were pretty, and others were almost manic and disturbing.

The Tero Saarinen Company dancers performed a number of dancing styles, but mostly it appeared to be in character with the Shaker songs. They sometimes used their costumes as props, for example, their thick brown leather looking belts were used to support and lift each other. The swirling frenzied dancing reminded me of the dervishes, or spinning tops - until they dropped using different levels to great effect.

The stage consisted of a bare dancing floor surrounded by matt black walls. Two of the walls allowed the dancers and music ensemble to climb and stand on platforms on different levels. This added to the atmosphere, particularly when there was activity on the dance floor and movement and sound enamating from the high and low platforms. The light was often on the singer or dancer, but the others were always on stage and appeared as silhouettes.

Although I didn’t listen to the words all the time, some of the songs I found uncomfortable to disturbing. Especially when danced to with such ferocity. It reminded me of the story of The Red Shoes.

I’m pleased that I chose to see the performance of Borrowed Light (programme) although I did not come away with feelings of being entertained. More that I had witnessed a special moment, the amazing result of a collaboration between singers and dancers of an historical event.