We’ve put Amazon Prime on trial. The retail juggernaut offers Prime free for a month. The jury’s out whether we’ll carry on once the trial is over. Not because it’s rubbish. It isn’t. But because Amazon has got too big for its boots. Just saying.
The trial did give us the chance to check out Prime Video and a couple of movies that took our fancy – ‘Dating Amber’ and ‘Everybody’s Talking About Jamie’. We’d not heard of the former but we’d seen the stage version of the latter beamed from the West End before the pandemic turned off the glitter ball.
Set in Ireland during the mid-90s, ‘Dating Amber’ tells the story of Eddie and Amber, two gay teens who decide to fake a romance to stop the kids at school from banging on about their sexuality. It’s a funny, sweet and touching coming out tale, and perfect for warming a cool autumnal evening.
The musical ‘Everybody’s Talking About Jamie’ was a surprise West End hit, inspired by the 2011 BBC documentary ‘Jamie: Drag Queen at 16’. The show follows the eponymous teenager as he beats the bullies and the bigots to slip on the high heels, sequined frock and big hair as a wannabe drag queen.
The show’s back on in the West End now and Prime recently premiered the film version. We liked the stage show but we loved the movie – gutsy, exuberant and courageous with a sparkling cast, including Max Harwood as Jamie.
And what do these two films have in common (apart from the bleedin’ obvious)? None other than fabulous Irish actress, writer and comedian Sharon Horgan who plays Eddie’s doting mother and Jamie’s tight-arsed teacher. Sharon Horgan’s all over our screens right now, making career hay while the TV sun shines. And who came blame her?
Released in 2010, ‘Made in Dagenham’ is a gritty, evocative and warm-hearted film about the female workers at the Ford car plant in Dagenham, East London, who, in 1968, downed tools to demand equal pay for doing work of equal value. The machinists faced a barrage of patronising and often vicious opposition from every side – from the management at Ford UK, their paymasters across the pond and the Labour government of the day but also from their male co-workers and their union, run – you guessed it – by men. Evidently, solidarity only applied to the hairy-arsed blokes on the assembly line.
It was a time when a woman’s place was in the home and even those who had to work to put food on the table were routinely paid less than men because, well, they were just women, after all. Thankfully, times were a-changing. The strike was ultimately successful and led to the 1970 Equal Pay Act.
A musical adaptation followed in November 2014, opening at the Adelphi Theatre in London. It’s now doing the provincial rounds and we saw the production by the Norfolk and Norwich Operatic Society at Norwich’s handsome Theatre Royal. Am-dram it may have been but top not notch am-dram it was with sparkling vocal performances, light-footed routines and a real sixties vibe. We caught the matinee, joining the grey herd who laughed, gasped and clapped their way through a clever and often very naughty script, witty lyrics and jolly tunes. Mind you, the nice people from St John’s Ambulance were on standby with their defibrillators – just in case it all got too much.
I’m not a big Andrew Lloyd Webber fan and didn’t rate ‘Cats’ when I saw it in the West End. I remember thinking it was okay, that’s all. But when I saw the trailer for the new film version I was amazed. Amazed by its exquisite beauty and amazed by the critical storm that followed. Reviews were overwhelmingly bad and just got worse when the alley cats finally hit the streets of post-war Soho. It must be the most slagged-off release in living memory. It made us determined to judge it for ourselves. Was is that terrible?
Not even close. With a top drawer cast – including Judi Dench doing her regal number and a clowder of superb dancers from the Royal Ballet – ‘Cats’ is a sight for sore eyes on a lousy winter’s day – energetic, inventive, atmospheric and visually stunning. I’m not sure what the catty critics saw but it wasn’t the same film I watched.
It’s funny how things turn out. At the start of 2019 we were loft-living city-style, happy as pigs in the proverbial. By the end, we’d escaped to the country surrounded by the stuff, all quite by chance. Our best laid plans for a move to God’s own county were consigned to the recycling bin. And, my old girl reached her own milestone – turning 90 and still on the fags.
These twin themes were writ large in Perking the Pansies this year. There’s a lesson there somewhere. Also featuring in the top ten were a couple of fairy films, a fine but imperfect city and steely celebrations by the pansies still perking after all this time. Ladies and gents, please give it up for…
As usual, popular classics were of the more salacious kind. For the third year running, Gran Canaria, Sex Emporium from 2012 was the most read blast from the past. And the most clicked image was those naughty but nice boys with their big oars from Catching Crabs.
Shame on you.
Happy New Year to one and all. All we hope for in 2020 is some sunshine. It’s been pissing down virtually every day since we moved.
Despite the decidedly mixed reviews, we threw ourselves into the festive spirit by seeing ‘Last Christmas’, starring among others, the fabulous Emma Thompson (who also co-wrote the screenplay). Set to the music of the late, great George Michael and Wham!, it’s a bitter-sweet quick-witted story of tragedy and hope. It’s a very British film with very British humour which, perhaps, doesn’t always travel. We laughed and we cried – a good sign of a good time in my book.
A rom-com with a subplot for our dark times, there’s a twist in the tail which I really didn’t see coming. And anyone who can make George Michael’s glorious but sometimes gloomy lyrics work romantically is a genius. Despite the bah humbug-ers, I’ve a feeling it’ll become a Christmas classic.