Wednesday, 24 October 2018

"The Flight from the Enchanter", by Iris Murdoch

Novel, 1956

A novel which starts with a good deal of energy and potential, but which doesn't entirely succeed under the weight of a large number of characters. Most of these are well drawn and interesting, although it's hard to feel much sympathy or connection with any of them, except - perhaps - Rose. The subsequent dreamy detached atmosphere is perfectly enjoyable, though events drift to an unsatisfactory end. Some great scenes and settings, though overall, not especially riveting.

Sunday, 21 October 2018

"Three Cases of Murder", directed by David Eady, George More O'Ferrall, Wendy Toye

Movie, 1955

Early portmanteau film, combining horror and supernatural themes across three murder stories. The first has an eerie, circular feel; the second is a more straightforward love triangle and the third a political revenge piece. The stories are a little clumsily pulled together by a narrator, although the film as a whole entertains.. The eeriness of the first section, in particular, has an affecting feel about it, with the third section notable for an over-made-up Orson Welles almost skewing the whole piece with his presence. Alan Badel is in every story, although why is a mystery in itself. 

Tuesday, 9 October 2018

"Blades of Glory", directed by Gordon and Speck

Movie, 2007

Daft film, which packs laughs throughout, in following arch rival skaters, also find a loophole and join forces to perform after receiving lifelong bans for a podium punch up. There's little fresh or innovative in this film, but it's solid entertainment, with some odd dance moves and action centered on the ice rink. A perfect film for leaving your brain somewhere else and having your ribs tickled. Some good performances and slight twists in characterisation elevate this film above an even crasser version it could easily have been. 

Sunday, 7 October 2018

"John Coltrane," by Martin Smith

Non-fiction, 2003

A book focusing on the socio-political environment into which John Coltrane emerged in the 1950s and 60s. There are touches of biography and descriptions of the music, though this book's simplicity is its main strength and weakness; the idiocy of racism is writ large, in black and white, although at other times, the simple language struggles to reflect the lyricism and complexities of Coltrane's music. But still, reading is no replacement for listening, and while the book doesn't entirely inspire an investigation into the music and those wonderful orange Impulse! spines, there's plenty to get to grips with nonetheless.