Nothing slaps you about the face better than God’s wrath in 3-D. I’m a sucker for a Hollywood style Biblical epic, particularly as the fairy tales of the Old Testament lend themselves to stunning special effects. So when Ridley Scott’s ‘Exodus: Gods and Kings’ was released, I was front of the queue. For the most part, the movie delivers on spectacle, making up in drama what it lacks in depth. The plagues sequence is particularly delicious as the God of Moses teaches Rameses a thing or two about divine power. The film has dumped the preachy gravitas of the Cecil B Mille’s 1956 ‘The Ten Commandments’. Christian Bale’s doubting Moses is much grittier than Charlton Heston’s pulpit-style rendition and is better suited to today’s more secular age. Depicting God as a ten year old boy is either inspired or daft (I’m still not sure which). Having the child resemble Damien from ‘The Omen’ is masterly.
According to the BBC, the film has been banned in Eqypt because of ‘historical inaccuracies’ (sorry?) – partly because the movie depicts the Hebrews slaving over a pair of pyramids (the construction of which ceased centuries before the alleged great escape). I’m glad to see that the religious censors are on the ball and standing up for the truth.
A foul afternoon of driving rain pushed us through the doors of Cinema City to catch ‘My Old Lady’, starring Kevin Kline, Kristen Scott Thomas and the incomparable Maggie Smith. We sat in the back row and watched the film above the nodding heads in fifty shades of grey. Kevin Kline plays a penniless, ex-alcoholic, never-to-be-published New York author who inherits a rambling run down Parisian apartment from his philandering father. He thinks he’s in the money but finds out that he’s also inherited a sitting tenant in an equity release arrangement, French-style; she can’t be evicted and he must pay rent to her. Step forward Dame Maggie as the feisty old madame with her foot in the door and Kirsten Scott Thomas as her brittle spinster daughter. It’s a salutary tale of how your parents fuck you up (along the lines of the Philip Larkin poem) and how not to let the truth get in the way of a fine romance. Set in the trendy Marais district of Paris, the BBC production oozes cool Gallic va va voom laced with arty pretensions. The film has had mixed reviews but we found it well worth stepping out of the rain for.
September was a bit of a cultural marathon ending in a theatrical flourish. Liam surprised me with an early birthday present, a broadcast of the musical Billy Elliot streamed live from London. Set in a small mining community in the northeast of England during the 1984/85 miner’s strike*, Billy Elliot is the tale of a young boy’s unusual ambition to become a ballet dancer set against the backdrop of a divided community on the edge of defeat and the inverted snobbery of his family. Obviously, his nearest and dearest get behind him in the end and Billy goes on to play the lead in Matthew Bourne’s Swan Lake. What we didn’t know when we took our front row seats at Cinema City was that the show was also going to be beamed to 554 cinemas in Britain and Ireland and to others around the world – simultaneously across Europe and with time delays to Asia, Australia and North America.
The performance began with a tribute from Elton John (who composed the score), a back stage tour from one of the current quartet of Billys (and our Billy for the day), the incredibly gifted Elliott Hanna, and an introduction by Stephen Daldry, the director of the musical and of the 2000 film on which the stage show is based. The gloriously uplifting finale was a specially choreographed foot-tapping mashup by 25 Billys from past and present. The raw energy and mesmerising talent made me feel distinctively average.
I have to confess that I’m a bit of a Billy Elliot disciple. I blubbed all the way through the film, cried buckets during the stage show (which I saw in 2008) and wept uncontrollably into my large glass of Pinot Grigio through the broadcast. I wasn’t the only one failing to get a grip. The broadcast became the first live event to go to Number 1 at the UK Box Office. It was seeing those hunky miners in tutus that did it.
I leave you with Grandma’s Song (different Billy, same grandma). If you don’t like a little bit of swearing, you’d best change channels now.
*This was the second strike-themed show of our September culture-fest, the first being the fabulous film Pride which we saw at the beginning of the month.
After I survived the surgeon’s knife, I was told to put my feet up and let nature do the healing so I’ve been doing the bare minimum to keep the wheels on the bus of Jack Scott enterprises. I must admit, my lolling about on the sofa has involved a fair amount of daytime TV – a thin diet of magazine programmes, flashy quiz shows, racy gossip, silly soaps, mindless vox pop, meagre news and convoluted whodunnits. It’s all been quite soporific and great for helping me catch up on my sleep. This healing lark is so exhausting.
Occasionally though, a classic grabs my attention and holds it for the duration. Such is the 1974 film version of Agatha Christie’s Murder on the Orient Express with a stellar ensemble headed by Albert Finney in the role of Hercule Poirot, Ms Christie’s fey and fussy Belgian detective. I’ve seen the movie loads of times. It’s hugely OTT and I can only assume that the cast laid down bets during the first read-through on who could ham it up the most. My vote goes to Wendy Hiller as the ageing Russian princess, all lacy widow’s weaves and truly dreadful Romanov accent. She would have given the Bolshies a run for their money. Sadly, along with Dame Wendy, most of the players are now dearly departed – Anthony Perkins, Ingrid Bergman, Rachel Roberts, Denis Quilley, Colin Blakely, John Gielgud and, of course, the fabulous Lauren Bacall who popped her clogs just last month.
It’s rumoured that Agatha Christie wrote at least some of her famous book when she stayed at the Pera Palace Hotel in Istanbul back in its glory days, the digs of choice for princes and presidents visiting the Ottoman capital. I’ve lodged there myself a couple of times during its more recent rundown years. Or as I put it in the new book (cue the plug):
“The Pera Palace was once the opulent end of the line for the Orient Express but had fallen on hard times, a piece of Istanbul’s neglected family silver in dire need of a good buffing.”
It was Liam’s first visit to old Constantinople and we endured four seasons in three days – driving snow, bitter winds, low grey clouds and sparkling sunshine under blue skies. Our room at the Pera Palace was so cold, we were forced to share the huge antique bathtub to keep warm. It wasn’t too much of an imposition. Since then the hotel has been buffed to buggery with a multi-million lira facelift. Even the prolific and profitable Ms Christie might now baulk at the rack rate (if she were still alive, that is).
Thirty years ago, the National Union of Miners (NUM) was in a desperate battle with the Thatcher Government to save their livelihoods and their communities. It was a war of attrition that went on for twelve long months. It was also during the dark days of the gay ‘plague’ with John Hurt scaring the life out of OAPs with crashing tombstones every night on national TV and a certain fire and brimstone chief constable saying that gay people were ‘swirling in a human cesspit of their own making.’ Believe me, it was no fun on the picket line or the dance floor. The Police had a habit of raiding both. At the time, I was living with a quantity surveyor who was neither ‘out’ at work or to his family. What sexuality has to do with counting bricks I shall never know but that was the way back then – most closets were firmly locked from the inside. Society had a habit of making hypocrites of us all. I was his guilty secret (needless to say, he wasn’t mine).
So what do striking miners have in common with dancing queens? Not very much you might think. I didn’t think so either until I saw Pride, a new BBC Film by Marcus Warchus, the new Creative Director at the Old Vic. On general release today, this funny and illuminating movie is based on the true story of a small group of London activists who raised money to help the families of the strikers. They called themselves ‘Lesbians and Gays Support the Miners’ and they did exactly what it said on the collecting tin. Officially, the über-straight, blue collar, backs-to-the-wall-lads NUM weren’t too keen on accepting the support of a gaggle of dirty pervs, even during the worst of times. So the brave pervs took their cause direct to the coal face by sprinkling a little fairy dust (and quite a lot of cash) on a small Welsh mining village. Cue the considerable talents of some seasoned pros (Imelda Staunton, Bill Nighy) who know how to deliver a line or two and some gifted fresh faces to inject a dash of youthful angst and exuberance. The clash of cultures is pure magic. Moving without being sugary, political without being preachy, candid without being gratuitous and clever without being patronising, the film is a joy to watch and one of the best British films I’ve ever seen. Really, it’s that good.
Lauren Bacall died today. I’m not easily star-struck. As a young gay about town along Chelsea’s Kings Road, I worked in Habitat during its heyday. Stars and celebrities were ten a penny. I even had a ding dong with a famous actor once. It was no big deal. But one day, during a frenetic Saturday afternoon on the tills, Miss Bacall breezed in from the street and stopped the traffic. Her name spread through the building like flu and the store froze, jaws dropped and cash registers fell silent. Now that’s what I call a Hollywood moment.
English weather at its worst is a depressing and insipid affair – no drama or performance, just days of persistent damp greyness. A few weeks of low-lying gloom were brightened by a warm front of visitors to the Norwich micro-loft. The high pressure pushed the clouds aside, to leave the flatlands basking in sunshine. First up were vintage friend, Clive and his partner, Angus. The generous day trippers brought booty : a ‘corkcicle,’ a nifty little ice fairy’s wand that magically chills wine in an instant, and a fabulous hand-thrown bowl that Clive lifted from the souks of Marrakesh. From the practical to the decorative; they know us so well. We lunched in Wild Thyme, a vegetarian restaurant with a Dickensian address you couldn’t make up if your tried – The Old Fire Station Stables, Labour in Vain Yard – and bread and butter pudding to die for.
A few days later came Karen, our very own Mrs Madrigal, who, during our Turkey years, stored us in her en-suite loft on our trips back to the motherland. It was a significant birthday for her (discretion prevents me from revealing which) so we dined at the opulent Assembly House, one of the most gorgeous examples of Georgian architecture anywhere.
Spending a penny found us accidentally caught up on a film set with the cast and crew milling around waiting for the cameras to roll. As I emerged from the gents, a familiar face flashed past wrapped in a white towelling robe. A little digging later revealed that we’d stumbled upon the making of ’45 Years,’ a film starring Tom Courtney and Charlotte Rampling. It was the ravishing Miss Rampling, the classy lead of many a Seventies’ film noir who I’d seen rushing to her close up. Men over fifty will remember that, unlike page three stunnas, Charlotte got her baps out for her art and not for their titillation (or so it was claimed).
After dinner, it was back to the loft for a little more fizz and a lot more gossip. At the end of the evening, we poured Karen into a cab which conveyed her to the Maid’s Head Hotel, reputedly the oldest in England. Next day, Karen’s verdict was that, unlike the well preserved Miss Rampling, the depressing old pile is in dire need of a facelift. Time to call in the Hotel Inspector?
Perking the Pansies recovered from a difficult birth at the murderous hands of the Turkish censors, thrived through the terrible twos and survived the transitional threes, ending the year with 60,000 hits for the last twelve months. Thank you to everyone and anyone who’s passed by and glanced at my random witterings. Most blogs burn out after two years so I must be living on borrowed time.
As the sun sets on 2013, in the best Hogmanay tradition, I give you the year’s top ten – a pick ‘n’mix treat of bum cleavage, Turks at the barricades, a shot in the arm, a tender coming out story, a sexy rugger bugger, a book to send you to sleep, an old-time boozer, an olive tree planted in a foreign field and a scratched itch.
Image courtesy of Occupy Gezi on Facebook.
One for the Ladies
The Art of Blogging at St Margaret’s Church of Art
A humble little post about a spectacular discovery in eastern Turkey that just keeps on giving while the archaeologists keep on digging – 8,000 hits and climbing. Who would have thought?
And what of 2014? All I know is that Turkey Street, Jack and Liam move to Bodrum will be out early in the year. Will it be as successful as the first one? Who knows? Not me. Whatever happens, come rain or shine, a happy and prosperous year to all my pansy fans. Thank you for staying the course and for your remarkable support. I’m touched but then, I have been for years.
Another Monday tea time, another free film preview from Virgin Media. This time it was Saving Mr Banks, a Disney flick that chronicles the fandango between Walt Disney and PL Travers, the author of Mary Poppins. The story goes that the snooty Ms Travers refused to entertain the Disneyfication of her book for nearly twenty years until flat-lining sales and looming penury dragged her kicking and screaming to the studio lot. When she got to La La land, she loathed the entire Disney concept – the jolly sing-a-long tunes, Dick Van Dyke as the prancing sweep with the dodgy mockney accent (she got that one right) and dancing cartoon penguins. In fact, she hated animation of any kind. In the end she caved in to the corporate pressure and the rest, as they say, is history. No doubt the bucket-full of cash helped the medicine go down. If anyone offered me a wad of used fivers for the rights to my book I’d bite their hand off and let them do whatever they liked with it – turn it straight, drop it into Benidorm, make me a lap dancing serial killer, whatever. I have no scruples.
The smart and witty film captures the Technicolor Sixties extremely well and the attention to period detail is superb. Emma Thompson as the haughty author and Tom Hanks as Walt are excellent. Ms Thompson does no-nonsense nanny with imperious style and Mr Hanks shines as the folksy charmer with a ruthless streak. Throughout the film there are flashbacks to the author’s childhood Down Under (she was, in fact Australian, not British) and another performance of note came from Colin Farrell as the author’s dipsomaniac father. I’ve always liked the look of Colin (particularly after seeing his saucy sex tape on the internet) but I never thought he could actually act. Actually, he can. And why is the film called ‘Saving Mr Banks’? Well, it seems that Mary Poppins is really all about saving the father (Mr Banks in the story), not his children and the book was inspired by the real father that the author could not save. Who knew? Certainly not me when I was eight and singing along to Supercalifragilisticexpialidocious.
The film went on general release (here in the UK) yesterday. I feel an Oscar coming on.
The nice people at Virgin Media offered us two preview tickets to see Philomena, Judi Dench’s latest flick. The advanced screening was at our local Odeon Multiplex which isn’t my venue of choice – too Las Vegas lounge for my liking. I prefer Cinema City, a nice bar-restaurant with a picture house attached. But, it would have been rude to refuse a freebie. Based on true events, the film is about an elderly Irish woman trying to find the son she was forced to give up to the nasty nuns following a quickie with handsome young buck at a village fair. Well, it was the buttoned-up no-thrills Fifties and unmarried mothers were the whores of Babylon. The film co-stars Steve Coogan (who also produced it and co-wrote the screenplay) as the real-like Martin Sixthsmith, former BBC journalist and Blairite spin doctor who wrote the book upon which the film is based. The movie went on general release today so I won’t add a spoiler. Suffice it to say it ain’t The Sound of Music but it isn’t Angela’s Ashes either. The subtle, gentle and often funny script allows the harrowing story to unfold and take centre stage without the outrage slapping the audience about the face. Dame Judi is, as always, superb and Steve Googan (who is more famous as Norwich’s very own fictitious DJ, Alan Partridge) is surprisingly good. It’s well worth shelling out a few shillings for.
Nothing slaps you about the face better than God’s wrath in 3-D. I’m a sucker for a Hollywood style Biblical epic, particularly as the fairy tales of the Old Testament lend themselves to stunning special effects. So when Ridley Scott’s ‘Exodus: Gods and Kings’ was released, I was front of the queue. For the most part, the movie delivers on spectacle, making up in drama what it lacks in depth. The plagues sequence is particularly delicious as the God of Moses teaches Rameses a thing or two about divine power. The film has dumped the preachy gravitas of the Cecil B Mille’s 1956 ‘The Ten Commandments’. Christian Bale’s doubting Moses is much grittier than Charlton Heston’s pulpit-style rendition and is better suited to today’s more secular age. Depicting God as a ten year old boy is either inspired or daft (I’m still not sure which). Having the child resemble Damien from ‘The Omen’ is masterly.
Perking the Pansies 