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.
Our move date from city to country coincided with tickets to see Armistead Maupin’s one-man show at Norwich’s Theatre Royal. Maupin is the author of the Tales of the City series of novels set in San Francisco which chronicle the lives and times of an eclectic group of residents passing through the Barbary Lane boarding house turned apartments owned by Anna Madrigal. We love the books (and subsequent TV serialisations) so it was with heavy hearts we had to give Maupin a miss.
Liam was determined not to miss the next big thing – gay
icon-wise – to come along. And they don’t get bigger than the late, great Judy
Garland. Liam is a BIG fan and was virtually hyperventilating as we took our
seats at Norwich’s Cinema City for ‘Judy’, staring the wonderful Renée
Zellweger in the title role. Liam loves a dead diva.
Covering the brief period when the down-at-heel legend arrives in London in the winter of 1968 to perform a series of last-chance concerts, ‘Judy’ is not exactly a feel-good film. We all know what happens in the end and watching Judy’s descent into drug and drink-fuelled hell makes grim viewing. But the film is strangely compelling and Ms Zellweger is mesmerising – interpreting rather than parodying Judy’s magical stage presence – and all in her own voice. No miming needed. I hear Oscar knocking.
I’ve moved a lot in my time – more than most, I reckon. I dropped from the womb in utilitarian army digs in Canterbury then on to a central London military tenement, lots of fun in the sun in tropical Malaysia, down with a bump in damp and grey Hounslow (west London) and onwards to civvy street Wandsworth (south London). And all before I could vote. My flight from the nest took me on a swinging tour of London postcodes – W6, W14, W4, SW19, SW18, E7, E17, interrupted midway by a five-year residency in royal Windsor with a moustachioed man called Mike. Then came the Turkey years – Yalıkavak and Bodrum – before finally wading ashore in old Norwich town. I’ve done old build, new build, Charles the First to Barratt box. When Liam and I embarked on the latest move – my nineteenth – it was a fond farewell to the flash city centre micro-loft and a nervous hello to the village micro-cottage. As Liam said, paraphrasing the indomitable Bette Davis in Now, Voyager,
‘Oh, Jack, don’t let’s ask for the moon. We have the stars.’
Business has been brisk; we’ve been working late to meet immoveable deadlines and we needed a little light relief from our labours. It came in the form of camp and cheery French-language film, The Shiny Shrimps (or Les Crevettes Pailletées).
The story goes like this:
After an Olympic swimming champion at the tail-end of his career makes a homophobic remark on TV to a gay reporter, he is forced to do penance by coaching an amateur water polo team trying to make it to the Gay Games. His charges are unruly, uncompetitive and unapologetically flamboyant. It’s a tough gig but he whips them into shape. Along the way, it’s a journey of revelation and reconciliation to a soundtrack of Bonnie Tyler’s Holding Out for a Hero and Sabina’s Boys, Boys, Boys with a bit of Celine Dion chucked in for good measure.
Billed as a cross between Pride and Priscilla, Queen of the Desert, the film isn’t nearly as good as either and a bit lightweight pathos and politics-wise. Nevertheless, it was feel-good jolly romp at the end of a hard-slog week. Here’s the trailer…
I love the Lion King. I love the original Disney animation. I love the musical. And when I saw the trailer for the ‘photorealistic’ computer-generated remake, the hairs on the back of my neck stood on end. So there was a lot riding on our return to Pride Rock. The film is technically brilliant – a visual masterpiece that dazzles with intricate detail and epic scale. It’s sure to do very well at the box office. But, on the whole, I was left strangely unmoved by the spectacle. The film lacks much of the charm and expressiveness of the ‘hand-drawn’ original. And the re-worked music seemed under-powered, particularly the African chants and rhythms which underscore the story’s very essence. Beyoncé’s breathy rendition of Elton John’s ‘Can You Feel Love Tonight’ was really disappointing. Gifted as she is, the song doesn’t suit Beyoncé’s range and, in my humble view, Elton’s ballads should never be warbled, X Factor-style. But, I guess that’s the modern way and my musical tastes are distinctly old hat.