Mutter, mutter, mutter – La La Land

Let’s start with a point that I am sure we’d all agree with, a movie is not real life, and, however much we suspend our disbelief when watching a film, deep down we know we are watching a fiction. Now let’s consider musicals. Loosely, that is films where, at the drop of a hat, characters move from speaking to singing and dancing to tell the story. Now, here, we are in no doubt that we are watching a fiction. Some folk like musicals, some do not. Oddly, for some time there has been this strange situation that ‘the Hollywood musical’ has been viewed as passé and naff yet musical theatre in the West End (London), on Broadway and around the world, has been extremely popular. Apparently, if you believe all the hype, change is coming. The latest Hollywood musical ‘La La Land’ is going to make screen musicals popular again.

Written and directed by the youthful, Damien Chazelle, ‘La La Land’ presents a 21st century musical version of the Hollywood dream scenario. It opens with an energetic, fast-paced, one-take, song and dance routine in the midst of an LA traffic jam. Then the focus tightens and we are introduced to Seb and Mia, played by Ryan Gosling and Emma Stone (two major Hollywood stars), who will then sing, dance, play the piano and act out their tale for us.

A musical is fiction in capitals. Now, with that in mind, and taking into account that there are sequences of true flights of fantasy in this film, was it too much to ask that the two leads could actually sing and dance! I am a huge fan of Ryan Gosling, but honestly he can’t sing. It is really impressive that he learnt to play the featured piano pieces for the film but this ‘jazz’ playing must have had true jazz aficionados stuffing their fingers in their ears. I understand that Damien Chazelle is passionate about the old musicals (The Umbrellas of Cherbourg as well as the big Hollywood hits, Singing in the Rain, et al) so why wouldn’t he celebrate the essence of ‘the musical’ which is the music, the singing and the dancing. I’ve heard well-known film critics explain that using stars that aren’t tiptop song and dance people gives an authentic feel to their performances. Mmmm, really? – I just feel so sad for all the young, talented musical theatre trained performers, wannabe film stars, grinding their teeth as they watch this.

However, I admit, I seem to be in a very small minority on this one. I was not impressed. All the knowing, clever, referential ‘homage to the great musical’ fell rather flat for me when the film’s leads turned out to be musical lightweights. What is the point of a musical if the stars can’t carry it (or a tune!)? I’ve heard and read plenty of reviews of this movie and cannot for the life of me understand what’s going on. Is this a postmodern and then post-ironic musical? One reviewer went as far as noting that there is ‘the charm of amateur singers’!!

I think we are living in unnerving and challenging times at the moment and people are looking for ‘warm glow’ escapism. I went to a Monday afternoon, big screen showing with a fair sized audience and there was a palpable feeling of disappointment at the end of this film.

*

*

*

I wrote the above on Monday evening and originally concluded my mutterings with “Something just didn’t feel right about it for me.”

Since then I’ve read these two, interesting and powerful, slightly less mainstream articles . . .

‘The Unbearable Whiteness of La La Land’ by Geoff Nelson

and

‘La La Land’s White Jazz Narrative’ by Ira Madison III

 

Advertisements

I think I was there!

I recently exhibited at an art fair in Chelsea, London, and the promotional video has now been uploaded. A little word of warning it does contain several seconds of extremely fast cut rate – I’m guessing something to do with fitting images to the soundtrack. Along with myself there were over 50 artists exhibiting and this video certainly shows how busy and crowded the event was showcasing fine art, drawing, photography, sculpture, ceramics, textiles and jewellery.

Sadly, the most outstanding, beautiful pieces are not shown at all – that was a range of glorious blue ceramics by a woman from the west country. And, that isn’t just my opinion. It was the buzz from quite a few of my fellow talented and knowledgeable exhibitors. Looks like the ‘craft’ part didn’t make the cut.

 

The Disintegration of Hilarion – a wall hanging

There was no doubt about it, most of the people that stopped to talk to me at the Parallax Art Fair last weekend were curious about my slightly unusual wall hanging. Older visitors remembered their grandmothers hooking or progging rag rugs during World War Two and recognised the technique, but were not used to seeing luxurious fabrics in rich colours to make such textiles.

Interestingly, several overseas visitors, particularly from North America, paused to chat explaining about their tradition within folk art for hooked rugs and hooked wall art that is still popular.

Design for Hilarion wall hanging is drawn out onto hessian.

Gradually more and more of the silk, velvet and wool is hooked into the hessian.

For my work it felt quite natural to start using all the painted silk off-cuts I’ve kept over the years. I suppose I could have made sewn, patched pictures, but I was more interested in achieving a deep, tactile surface. And, having said that, most people did ask if they could touch this wall hanging.

More than one visitor enquired whether it could be used as a rug. Technically it could, but I don’t think the silk areas would wear very well as the fabric is quite fine. Of course, if I had made it entirely of wool and cotton it could be a rug. I still use my recycled blanket wool rag rug my late mother prodded (or progged in some regions) for me – 11 years on my kitchen floor and still going strong! But this piece made with velvets, silk taffeta and my painted silk remnants has really been designed to hang on a wall.

Curiously, I have found it very difficult to photograph and for once it really does look better in real life.

‘The Disintegration of Hilarion’ (150 cm x 67 cm) finished. It shows a deliberately damaged, defaced area and gives the appearance of the paint and gilding falling away revealing the panel beneath (actually that is dyed hessian with lines of metallic paint).

For sale at Agnes Ashe.

 

 

Revival of ‘The Ruling Class’ – bitingly funny

Last week my daughter, half Scottish, and I went to see James McAvoy’s latest West End theatre performance in ‘The Ruling Class’. I read in the programme that Mr McAvoy had appeared in ‘Breathing Corpses’ at the Royal Court in March 2005, but my daughter was still in primary school and so we missed seeing this ‘exciting young talent’ (that’s a quote from the time by the theatre critic of The Independent). However, since then we have been lucky enough to see him star in ‘Three Days of Rain’ (2009) and then terrify us as ‘MacBeth’ (2013). And now, we have enjoyed watching him lead a strong cast through the revival of the 1968 satirical play ‘The Ruling Class’ by Peter Barnes.

Superb ensemble headed by James McAvoy taking their bows at the end of ‘The Ruling Class’.
Directed by Jamie Lloyd.

The play has not been given a 21st-century updating, but deliberately offers us the looks and, more importantly, the voices of the 1960s, all strangled received pronunciation (aka the Queen’s English or BBC English). Although I’m not old enough to remember the class politics of the late 1960s, I did recognise and understand the overall context and its resonance for a 2015 audience. As a piece essentially poking fun at the British class system I wondered what many of the younger, overseas visitors made of the play. I was sat between my daughter (21) and a lady who I think had seen the original 1968 production. I think the older lady and I enjoyed the whole experience considerably more than my daughter.

Electrifying – Forbes Masson and James McAvoy.
‘The Ruling Class’ publicity photograph by Johan Persson.

James McAvoy’s performance as Jack, the 14th Earl of Gurney, grabs the audience round the neck and shakes it this way and that as he energetically channels his immense charisma into this larger than life character. The play is funny, the humour dark and vicious, and McAvoy appears to relish playing such an unstable, fluid character. It is no wonder he has been nominated for a Best Actor Olivier Award. Almost equalling McAvoy’s mesmerising performance is another Scot, Forbes Masson, who was both versatile and brilliant in the various parts he played. Indeed, the whole talented cast made for a highly entertaining evening particularly if you enjoy a dose of black humour. The play is on until April 11, 2015 at Trafalgar Studios.

And, finally, if you would like a straight from the horse’s mouth comment on the current controversy about elitism in theatre – have a look at this two minute video filmed at the opening night.

To review or not to review

I’m sure like me if you do a little shopping on the Internet from time to time you are requested to add a review for a product or a service you’ve recently purchased. I have mixed views about this reviewing process. On the one side I definitely read what past customers say if I’m wavering on whether or not to buy one brand over another especially if it’s an important purchase. And, on the other side when I get a reminder to offer a review myself I think have I the time, can I be bothered?

As I type this I’m having fun working my way round an intermittent fault on my serenely antique monitor. I’m finding photoshopping any image at the moment has become a daily trial, me against the machine – unbelievable. Time, I think, to replace the failing device.

My old 3rd-hand monitor. Previously used by my daughter and before that originally bought and used by my father.

So, this is a thank you to all those folks who take the time to type out a review on a product or service – especially those people who’ve had a monitor for more than a year and have updated the world on how it’s still working or not (very useful information)!

And finally, as somebody who sells her work online a thank you to the lady who took the time to write this generous review for one of my scarves.