Minggu, 23 Januari 2011

Neds – review


Eight years ago in The Magdalene Sisters, his second movie as writer-director, Peter Mullan took up the cudgels against the repressive cruelty of a Catholic institution for girls in the Ireland of the 1960s.

He has now turned to, and on, a similar subject on the other side of the Irish Sea, the insensitive brutality of a Catholic boys' school in Glasgow and the conditions that lead to the near-destruction of an intelligent, lively, working-class lad.

What with the idle, negligent teachers, a brutal, alcoholic father (Peter Mullan), a cowed mother and a violent, antisocial brother, it's not entirely surprising that John McGill (Conor McCarron) throws in his lot with local gangs for reasons of personal survival and self-respect, and ends up among the eponymous acronymous Neds (ie non-educated delinquents).

This angry film is a forceful slice of life, clearly indebted to the realism of Ken Loach, in whose My Name Is Joe Mullan starred, and to whose Kes it nods. One also detects something of Terence Davies's films about growing up in working-class, Catholic Liverpool. Mullan's performance recalls the drunken domestic tyrant played by Pete Postlethwaite in Distant Voices, Still Lives.

The realism is disrupted by the occasional touch of surrealism, most especially a sequence in which a statue of Christ comes to life for the hallucinating hero, a recurrent trope of Catholic movies.


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Get Low – review

Get Low – review: "

Set in rural Tennessee in the 1930s and inspired by a local legend, this curious comedy-drama stars Robert Duvall as Felix Bush, a twinkle-eyed old curmudgeon out of Faulkner. After living as a recluse since the 1890s, he decides to invite suspicious neighbours to attend his 'living funeral', where they'll have the chance to win his 300 acres of land in a raffle. Bill Murray gives a superb performance as the undertaker, an opportunistic but essentially decent man, who organises the event when the pastor turns it down. And an intriguing air of mystery is built up around the revelations Felix plans to make on this bizarre occasion.

But though handsomely shot and designed, this ponderous film is a disappointment. Winston Churchill famously described Russia as 'a riddle wrapped in a mystery inside an enigma'. Get Low proves to be a platitude wrapped in a banality inside a mystery.


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Simpan sebagai Konsep

Gobo. Digital Glossary – review


ICA, London

Akhe Engineering Theatre defies categorisation. Presented under the banner of the 2011 London International Mime festival, its latest piece, Gobo. Digital Glossary, offers an exploration of humanity's powerlessness in the face of the chaos of existence. At the centre of the performance is the elusive notion of Gobo, a concept definable only by its absence. Ironic references to heroism and the hero suggest that Gobo might be some kind of ordering principle, perhaps based on antique notions of virtue. A self-deluding dream that a Beckett character might cling to.

Or not, because this event resists all efforts at interpretation. The hour-long performance is almost entirely mute, except for the occasional brusque Russian imprecation, but there are cryptic references to 'Judith from Catford' and 'Susan from West Ham'. Lasers zip across a stage littered with detritus, reflecting off spoons and illuminating a fish tank in which a Big Ears puppet is ritually drowned. A man in a chair raises his leg by means of chains and pulleys and briefly sets himself on fire. Another, with rubber bands wrapped tightly around his face, is pummelled by a plastic boxing kangaroo. A book is laid on a bed of nails, flogged with a scourge and dismembered with a saw.

Maxim Isaev and Pavel Semchenko, the piece's authors and performers, enjoy a certain notoriety in their native St Petersburg as the orchestrators of absurdist "happenings" staged in public spaces and apartment stairwells. That their work leaves spectators flummoxed is part of the point, as is its physical integrity. "If the fire is burning, then it's hot and painful," Semchenko told one interviewer. "We don't want to rely on tricks."

This was a week in which ballet invaded the cinema. On Wednesday the Royal Ballet's production of Giselle, with Marianela Nuñez in the title role and Rupert Pennefather as Albrecht, was relayed live to cinemas all over the world. Entering into the spirit of the event, audiences tweeted each other effusively. 'Lovely first act from my tiny cinema in France. Really like the production, apart from the pas de six,' wrote the online critic Bella Figura. 'Love, love Marianela,' agreed Ashley Bouder, principal dancer with New York City Ballet.

On Friday it was the turn of Black Swan, Darren Aronofsky's gothic psycho-flick in which Natalie Portman plays a ballerina in meltdown. That the film retreads every negative ballet cliche has troubled some dance fans, as has the fact that Portman, with her wonky port de bras and soft, citizen's legs, clearly can't dance to save her life. 'It makes what we do look so naff and laughable,' Royal Ballet star Edward Watson told the Guardian.

It does, but perhaps only to the trained eye. Michael Powell's 1948 film The Red Shoes, which culminates with the star dancer's suicide, sent an entire generation ballet-mad, and while Moira Shearer is beautiful throughout, the supposed ballerina played by Ludmilla Tchérina is laugh-out-loud ludicrous and Robert Helpmann quite startlingly camp. So dance insiders should take the long view, ignore the stereotypes and count the column inches. Is it just a coincidence that the Royal Ballet's new season of Swan Lake opened at Covent Garden yesterday? Well, yes, it probably is. But the fact that it's running alongside Black Swan can only be good news for the box office. And if there's less lurid self-harm and girl-on-girl action in the Royal's version, you do get to see Sarah Lamb's port de bras.


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It's too simplistic to blame mothers for anorexia | Barbara Ellen


The suicide of Marie Caro raises troubling questions about this killer

How terrible that Marie Caro has committed suicide out of 'guilt'. She was the mother of Isabelle Caro, the French anorexic model, who posed naked, bones jutting, skin stretched, eyes sunken pools of horror, for the 2007 'No Anorexia' campaign. At her worst, Isabelle weighed 3st 13lbs and ate two squares of chocolate and four or five cornflakes a day. She died last November, aged 28, after being admitted to a French hospital suffering from dehydration.

Marie is said to have taken her own life, consumed with guilt. Isabelle's stepfather says this was because it was his wife who insisted that her daughter go into the hospital. (In a case still pending, the Caro family believes the hospital failed Isabelle.) Aside from this, you wonder if, for Marie, guilt had become a way of life, the default guilt that's the lot of almost every mother, capped by the guilt of Isabelle's illness and death.

In her book, The Little Girl Who Didn't Want to Get Fat, Isabelle said her mother didn't want her to grow up. 'I wanted to have the body of a child for ever, to make my mother happy.' This belief is seemingly contradicted by her mother's subsequent battles with her over food, but who are we to know?

What we do know is that other mothers of anorexics have come forward to talk of their own crippling 'guilt'. This seems odd when anorexia has long been classified as a disease. If a mother would not blame herself for her child's cancer, then why would she take the blame for her anorexia? Because society dictates that she should?

If so, what rot. Anorexia is a disease, an issue of mental health, with myriad and complex triggers which, in a long list, can include family dysfunction. What it is not is: 'Something Mummy does to you!' Despite this, there often seems this undercurrent in cases of food disorders in girls. If we are not blaming magazines and skinny models, it's Mum's diets, body consciousness, vanity, their selfish, screwed-up example. Too much bad influence, too little vigilance – for the mother of an anorexic, there is always a way to blame herself.

One presumes a lot of this information about mothers was gleaned from medical interviews with sufferers, the majority of whom are young girls. The problem is that young girls are likely to plant the blame on their mums, not just about anorexia, but about anything. There's a possibility that you could ask some girls about global warming or Iraq and they would find a way to pin it on their mothers. They're not being horrible, they're not even being anorexic, they're just being young girls. It doesn't make what they say true, but it does make for an impossible burden of guilt for mothers of anorexia sufferers everywhere.

In truth, blaming mothers, even partly, doesn't make sense. If anorexia is a disease, then would a different mum, a non-dieting, non-oppressive mum, have made much difference? Moreover, if maternal influence were really this powerful, then why do these girls not get better when mums, along with the rest of the family, do their best to get them to eat?

Indeed, the real amount of influence these mothers have over the onset of this condition seems all too evident in how pitifully little they have over its cure. It seems to me that where the dark dance of anorexia is concerned, the sufferer pirouettes alone, a twisted, broken ballerina. Meanwhile, the mother stands aside, forced to play wallflower, with the rest of the world.

Was this Marie Caro's story – crushing guilt, accepted and absorbed, but for no real reason? It seems that it's high time we took the maternal guilt out of anorexia in order to see it more clearly. If we accept that anorexia is a killer, what we have here looks like a double homicide.

Politicians dyeing? It's a grey area

What's with all the 'hair McCarthyism' towards male leaders at the moment? David Cameron and Barack Obama have both been 'outed' and denounced for dyeing their hair. Shots of them greying have been gleefully juxtaposed against more recent ones of them, looking furtive, with 'darker hair'. When they say 'darker', they mean 'trying to look younger'. Did you get that?

Personally, I prefer both men with the more 'pebble-dashed' look, or, should I say, distinguished. When 'darker', Cameron, in particular, takes on a ghoulish 'Westminster meets Twilight' air. All of a sudden I can imagine him sporting a black net kerchief at a 1980s goth disco, and dancing to Soft Cell nonchalantly. Not a great look for a prime minister.

As for Obama – things being the way they are, it makes a lot more sense for him to be ageing in front of our eyes. After all, the same thing happened to Tony Blair, whose boyish looks disappeared in office, to be replaced by someone so raddled he looked as if three ghosts were visiting him in the night. Every night.

Ed Miliband has yet to acquire the hot politico look of 'prematurely greying desperation', but give him time. One thing is for sure, there must be a more edifying way forward than the thought of Obama and Cameron sitting in hair salons, towels around necks, having Vaseline dabbed around their ears to avoid 'staining', reading old copies of Take a Break.

With this in mind, tipping a bottle of Nice'n'Easy 'natural medium brown' on to politicians' heads to make them look younger, fresher, more electable, could be viewed as counterproductive. If grey hair is the price of leadership then the dignified thing is not to fight it.

For a silent birth, we're hearing an awful lot about it

John Travolta's wife, Kelly Preston, is said to have undergone 'silent birth', in keeping with her religion, Scientology. Personally, the idea of 'silent birth' seems creepy, woman-hating, and just plain wrong.

Whether intentional or not, it's as if Scientology itself is intoning: 'You are a woman. Only you are biologically equipped to give birth, I suppose we are going to put up with that. Just so long as you don't make too much of a fuss. While you are passing this new human being through your birth canal, we don't want to hear a peep out of you, for um, spiritual reasons – is that clear?'

Why is Preston buying into this tragic quasi-macho rot? Why is Travolta, for that matter?

Moreover, Scientology, like many other religions, has its sanctimonious, pompous and freaky sides – but if these rituals are really so sacred and divine, then why do they feel such an urgent need to broadcast every detail?

Do they get the Scientology equivalent of Blue Peter badges for this kind of thing? It seems a bit ironic that the only thing 'non silent' about Ms Preston's birth was all the bragging she's done since.


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The Portuguese Nun – review


Even by arthouse standards, the French director Eugène Green's minimal, formalistic films are an acquired taste, and his latest work, which centres on a beautiful French actress in Lisbon to shoot a film version of the 18th-century novel about the affair between a nun and a French naval officer, is fairly characteristic. There are only two outright jokes, one being Green himself as the film's director, Denis Verde (ho! ho!), the other a hotel desk clerk mocking pretentious French films.

Otherwise, it's a solemn, portentous affair, dramatically, verbally and visually, where everyone talks in an uninflected manner. This does have its payoff in an oddly moving, all-night encounter in a chapel between the actress playing a nun and an authentic Portuguese religieuse, in which they discuss the nature of secular and spiritual love.

Watching the movie two days after the death of Peter Yates, the versatile British director best known for Bullitt, Breaking Away and The Dresser, I was reminded of one of his most enterprising works, the 1964 screen version of NF Simpson's absurdist play One Way Pendulum. In his only big-screen role, Jonathan Miller played a young man who (for reasons too complicated to go into here) is obsessed with teaching a group of speak-your-weight machines to sing the 'Hallelujah Chorus' from Handel's Messiah. Had he persisted a little longer, his choir might have auditioned successfully to play the lead roles in The Portuguese Nun.


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Morning Glory – review


This deeply dislikable comedy of embarrassment, which uses rock music like narrative Polyfilla, stars Rachel McAdams as Becky, an unintentionally unprincipled, motor-mouthed TV producer. An acerbic New York TV executive at the fictitious IBS network (Jeff Goldblum, the film's one major asset) gives her a job on a failing breakfast show and she takes it further downmarket with the speed and determination of a Stuka dive-bombing a column of refugees.

We are expected to stand up and cheer as she does so. We are also invited to admire a self-satisfied, over-the-hill celebrity anchorman and prize-winning journalist (Harrison Ford), first for standing up for traditional journalistic standards and then for becoming a good sport and joining Becky's bid to keep the show on the air by doing a weekly cookery spot. The film's British director and his American screenwriter, Aline Brosh McKenna, don't quite understand what Preston Sturges was getting at in Sullivan's Travels.


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Twelfth Night; Tiger Country; The Painter – review


Cottesloe; Hampstead; Arcola, all London

To celebrate his 80th birthday, Peter Hall has returned to the building he once ran and directed a sweetly autumnal Twelfth Night. His breeches-and-farthingale production, set under a canopy flecked with russet-coloured leaves, doesn't break much new ground – there's hardly a moment when it shows you something you'd never suspected was there – but, at its best, it does better than that: it seems completely natural.

Take Simon Paisley Day's icily exact Malvolio, who walks as if he were skating, and whose head lies so still on his ruff that it could be a severed bonce on a platter. Or his polar opposite, Simon Callow's Toby Belch: pink-faced, wobbly cheeks, a belting old fruit. He is every flabby inch the ramshackle roisterer, who announces the keynote of his unbuttoned, spilling-over performance in his spluttering rejection of the notion that he 'confine' himself. Yet just as that looks too easy, he finds another register.

Usually it's the wistful absurdity of Andrew Aguecheek's 'I was adored once' that brings a plaintive note into the clash of tankards. Here, though, it is Callow's crumpling face, as he declares that Maria adores him, that ushers in a sudden change of temperature.

There are some duff stretches. The yellow stockings sequence is neither funny nor disturbing. David Ryall's Feste is not so much melancholy as down-in-the-dumps: he wanders on like Mole after a bad day's spring cleaning in The Wind in the Willows. And as Orsino, Marton Csokas is preposterous: a wrist-bending, knee-pleating, over-expostulating, neck-bridling gazer into the middle distance, he seems to be taking off a Victorian pantomime villain.

Still, the centre of the play is gracefully delivered by the daughter of the director, Rebecca Hall. Her velvet-voiced androgyny supplies its tender heart. Lightly soulful as she trembles between tearfulness and merriment, she looks, in knickerbockers and buckled shoes, like an older version of the boy in When Did You Last See Your Father? A question to which she could provide the right answer.

As could her brother, Edward, the newish artistic director of Hampstead. It's taken Hall the Younger a little time to show the fighting form needed to put his beleaguered theatre on the new-writing map. Still, with Nina Raine's medical play, directed by the dramatist, he has something that can be judged by the high standards set by the Royal Court. On press night people were swearing they could smell disinfectant wafting from the stage.

Tiger Country was actually started before Tribes, which remains Raine's best work so far. It has the metro wit and banter of her first play, Rabbit, but a bigger canvas and more elaborate movement. Set in a big London hospital, it closely observes diagnostic skill, failed attempts at resuscitation, a bungled operation, great gentleness in dealing with a dying patient, and an impatience with the idea that 'caring' means a caressing manner. This is not an obviously political play. It is not about NHS cuts, though it does have things to say about shortage of time and staff, and about constant fatigue: 'I'm losing patience with the patients.''

Alongside zeal and high spirits, it shows bullying, frustration and prejudice among the clinical staff: an Indian doctor, fresh from sneering at a West Indian nurse, complains that she has spent her career trying to sound hyper-British and to behave as if she were a man. It also drops little nuggets of information. A young doctor hoards swabs to take off her makeup; a surgeon explains that the same neurones in our brains are activated by eating sugary things and by settling a score: 'In other words, revenge is sweet.'

You are in tiger country in an operating theatre when you take a knife close to an artery. Raine's achievement is to stage a world governed by the laws of that country. Everyone rushes; everyone is on the edge. Huge images of a pumping heart swim around the walls of the stage as if in an underwater landscape; characters in sea-green gowns weave frantically around each other. And when they take off their gowns (and settle down to watch Doctors on the telly), their love affairs are arrhythmic, as if they too are moving to a hospital beat.

Follow the director and impresario Mehmet Ergen and you're likely to end up in the theatrical thick of things. In 1993 he helped to found Southwark Playhouse, on a South Bank that was innocent of edgy theatre; he slept in the building. Nowadays you can't move there for dramatic life. Eleven years ago he snatched an old textile factory in Dalston, east London, from the hands of developers who wanted to turn it into a snooker hall and founded the Arcola, to the dismay of some critics who considered the area alarming.

That building is now being turned into deluxe flats, Dalston has become a transport hub, and Ergen has taken his vision – which includes programmes for schools, and plays designed to encourage co-operation between local Turkish and Kurdish residents – into a beautiful industrial mansion: an 1868 factory built by Reeves, the paint manufacturers, a vaulting space with exposed brick (and currently rather over-exposed lavs), iron pillars, a smell of sawdust and possibility.

Here he has directed Rebecca Lenkiewicz's play about JMW Turner, who used the cakes of paint made by the firm. As a series of historical vignettes, The Painter is a fine thing. Rumpled, furrowed Toby Jones works at his golden sunsets and swirling storms in a studio meticulously but not too doggedly reconstructed in Ben Stones's design with bottle-green stove, clutter of paints and chamber-pot-concealing screen; the brickwork and rough floorboards of the new Arcola wire the 19th century into the 21st.

Alongside the artist, though never quite impinging on him, are his mother, who goes mad and is taken to Bedlam; Sarah Danby, by whom he had two children, who cleaves to him; an ex-prostitute (impressive Denise Gough) who befriends him; and his father, who cooks for him. Turner talks of the sublime; others talk of the pleasures of wig-making, the fascination of snake-swallowers ('you just pinch their tail and they'll hop in there') and the ploy of putting leeches inside young prostitutes to make clients think they are having a virgin.

Adrienne Quartly's soundscape sends husky notes from a bass clarinet curling between episodes; superb lighting by Emma Chapman makes each scene a small adventure in illumination and obscurity. What's odd is that the different light of Turner's own paintings doesn't infiltrate the play. The gap between domestic life and activity on the canvas is hinted at but not explored. The play drifts. Not so much The Fighting Temeraire as a trim little dinghy.


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