A revenge “western” set in Tasmania 1825.
Feel like I’ve seen a number of the plot twists in other films.
The film graphically shows the stress, injury and pain of those involved.
The plot goes crunch when the opportunity for revenge is inexplicably declined.
Worth seeing. Wiki. Guardian.
Shown at The Contemporary as part of an anti-race hate programme, and discussed afterwards, “Die Welle‘ has previously been shown on British tv and is a drama drawing upon a week of classes and events in a Palo Alto high school in the sixties whereby students, incredulous at how the German people could become Nazis, exhibited Nazi behaviour by the end of the course.
The most startling contrast is with the 2016 Referendum in Britain when the British public were swayed by slogans on the side of buses and a fear of the Turks who might join Europe (and that Turkey was next to Syria).
That, and the lack of an ideology in Britain to convey the tests of what living in a free society is, what a free society entitles you to, and the responsibilities to carry to sustain it.
The Contemporary adjoins the Narrow Marsh, the neighbourhood where much of the then radical campaigns and values of first the Luddites, and then the Chartists came, from some 150-200 years ago.
As Trump is being brought closer to being impeached, and more commentators are talking about his sociopathic behaviour, worth reflecting on the conduct of Johnson (that aura that smiles and never frowns) and Cummings, and how they. have had to withdraw on the proroguing of Parliament, which was found to be illegal.
An opportunity to wallow in sentimentality as I recall the huge impact of the first 3 black players to play together for West Bromwich Albion in the seventies.
I had learnt again of Laurie Cunningham’s story from an ITV documentary (“First Among Equals – The Laurie Cunningham Story (2013)”) and I’m trying to get proof that I saw Cunningham play at the “game of the decade” (that never was) when Liverpool beat WBA at Anfield on 3rd February 1979, and when WBA beat Man U at The Hawthorns on 10th October 1979.
All dramatic portrayals of football suffer with trying to re-create the action, and from commentary to describe the action in superlatives. A shame that the play doesn’t use more of what the player said, or may have said, when describing goals and achievements.
And of course, a football fan spots things like Orient being referred to as Leyton Orient in the ’70s, when they weren’t.
Also some of the political points being made were not clear enough – was Roy Jenkins moving the 1976 Race Relations Act being celebrated, or ridiculed? What was the final scene trying to say? And perhaps the current point to be made is the lack of black managers in the top flights of football – and I remember Cyrille Regis complaining some years back when he couldn’t make a breakthrough.
But for those who don’t know the stories, this play is worth seeing.
The performance at the Theatre Royal is a return “home” for Robert Lindsay, performing as Jack Cardiff, a cameraman, cinematographer, director, a portrait photographer and producer, the most celebrated pioneer the use of colour in film, using techniques of colour separation using a prism, with an emphasis on it being art.
The play draws on the themes of celebrating the stories of lives, the perspective dementia can bring to a life, celebrity and affairs.
The play has to work hard in the first half to set up the second half, and could be re-worked in the first scenes with the son and the new care assistant to depend less on misunderstanding between the characters.
Worth watching “Cameraman The Life and Work of Jack Cardiff”, the documentary on Jack Cardiff’s life (check YouTube), to better understand the achievements. Buy the programme for the photographs.
Cos “It’s True”.
Go see it.
Go see “It’s True, It’s True, It’s True”.
Go see it, Go see it, Go see it.
Go see it cos it compels & startles.
Go see it, cos against those cliched defences against rape charges, actually said, and more, victory.
At Nottingham Playhouse.
Last night – Saturday night.
So much more today – TO BE UPDATED.
“The story is based on an actual lie.”
Seems there’s a tradition not to tell a cancer victim about their prognosis (until close to the very end) in China, or some parts.
In this story, a wedding is contrived to bring the family together to meet the victim.
This seemed the most extraordinary thing – and it kinda felt like a forced marriage. (They. couldn’t have had an engagement party instead?).
Bit of a risk too with the notion of – look how funny the foreigners are. But the intentions are benign and the film entertains.
Instead, perhaps reflect that it wasn’t long ago that not telling cancer patients about the true reality of their condition was more widespread and. not limited to that funny former. most powerful country of the world.
Wiki. Guardian review – 4 stars.)
So what if the way to outdo a believer of an authoritarian ideology and regime is to make them realise that what they believe is ridiculous by showing them the outcome of their believes and make them unbelief?
Not that we have any need for that kind of approach, clearly.
Neat play in the studio at the Lace Market Theatre. Go see – before tickets for Saturday sell out.