It may not be the best time of year for the main border, but there has been a change in the last week or so. Starting with the lupin at the very far end.
Then some astrantia and geraniums.
Two foxgloves have appeared, having been planted at least two years ago.
Lastly, the latest addition is a dark purple astrantia.
This was the last in the current series of Classic Movies on Sky Arts. The Lion in Winter was released in 1968 and is the story of King Henry II and the succession to the crown. Set during a cold Christmas time in the 12th century, Neil Norman says it's a "complicated family saga about succession". In those days the king could choose who would be his successor. Henry's three sons arrive for the holiday, as does his queen. Eleanor of Aquitaine has been locked away and only released for Christmas. Peter O'Toole plays Henry, and Katherine Hepburn plays the queen. Christina Newland tells about her history.
So, according to Steven Armstrong, there starts a "vicious bout of politicking". Ian Nathan explains that the film is actually fairly accurate historically, especially how much the crown dominated this country and France. Then it's Steven who explains how "they behave like a twentieth-century family", with all the plotting, backbiting and deals that are so familiar on TV these days. Ian says how the story is adapted by James Goldman from his own Broadway play and that the script "is a thing of wonder". Christina tells us that the play was not that successful.
Neil Norman talks a lot about how the film came about. When one movie that was to star Peter O'Toole fell away, its replacement was partly influenced by the actor. This time directed by Anthony Harvey. Neil continues with how the film has a Shakespearean sound but with a contemporary edge. Ian adds for a historical epic it is "very talky". We hear about the cast: the brothers are Anthony Hopkins in only his second film as Richard, Nigel Terry as John and John Castle as Jeffrey. Timothy Dalton plays the King of France who gets caught up in this family squabble. Christina adds how the family are all in this "complex game" of succession. Neil thinks it has "unbelievable authenticity".
We are then on to the stars. Ian talks about the career of Peter O'Toole and how he played the same role in Becket, then Katherine Hepburn's history. The team agreed that she had the spirit that was exactly right for Eleanor, and she won the Oscar. Ian tells us about all the locations and that it was "the most claustrophobic movie ever made". He gives a special mention for the costumes that matched the cast's personalities by Margaret Furse, who was nominated for an Oscar. And the score by John Barry that won the Oscar for best original score. Steven added towards the end that there were "an awful lot of silences" in the film with long single shots. Ian tells us the film was a great success critically and at the box office. It was nominated for seven Academy Awards, including winning for best adapted screenplay. Neil Norman concludes, "You could put two older stars together and make it box office."
I have already posted about the main border, roses and wildflower border, so here are some different pictures of the garden. The one above is taken through the living room window. On the very far left is the spiraea japonica.
The hypericum below has more flowers than last year.
It seemed strange at the end of England's victory over Croatia in the World Cup to see the team standing at one end of the ground looking at one of the stands. What I did not know was the American TV seemed to refuse to show pictures of the England fans serenading the team with "Wonderwall". In fact, we never saw the bank of English support during the whole match. Because they had flags?
Here they are on YouTube: "Jude Bellingham sings Wonderwall as England fans serenade the team."
https://www.youtube.com/watch?v=BTHtve_n3T4
This is one film that I have seen quite recently, so it was interesting to see what the team thought about Mulholland Drive. (See my review 23rd December 2022). There was so much discussion about writer and director David Lynch all the way through this episode. Ian Nathan started this off with the fact that he is "one of a kind" and that this is his "greatest" movie. Steven Armstrong added that he was a "surrealist filmmaker" and a very successful one.
Christina Newland and Bonnie Greer refer back to Lynch's Twin Peaks (See my posy of 1st November 2025). Steven talks about how Lynch loved the light of Hollywood, and we hear from the director. Neil Norman thinks he is a "surrealist" and a wonderful artist. His films are "great to look at even if sometimes hard to understand". We hear about his early films, including Eraserhead and Lost Highway. The team talks about the location for Mulholland Drive and that now-famous road.
It was interesting that the film started off as a TV programme and only later extended to become a feature film. We hear about the casting of Naomi Watts (now her greatest role) as Betty and Diane and especially the "audition" with the director. The team discusses the other lead actress, Laura Harring, as Rita, and all about her background. An ex-Miss USA. Cast as the director, Justin Theroux was maybe a reflection of Lynch's own woes of Hollywood. "A surreal depiction of the Hollywood scene."
Neil Norman says Lynch is "an incredibly generous filmmaker", as he inserts us into his films as we bring our own interpretation of the story. Ian Nathan adds how Hollywood is inserted into the movie. He adds "a sense of dread is inescapable." I just love the haunting music by Angelo Badalamenti, even if this was never mentioned.
The film became a huge success, much to the surprise of a bewildered Hollywood. Lynch won best director at Cannes but was only nominated for an Oscar. Naomi Watts was surprisingly completely overlooked. Steven Armstrong tells us, "Don't understand it; just feel it." Ian Nathan concludes it "unfolds like a dream", and Neil Norman believes it is a "drop-dead masterpiece".
Today I tried hard to see seven cygnets at Weston Turville Reservoir. But try as I might, there were only six.
But they had grown since those photos of the 23rd May, only three weeks ago.
Another film about movies. Humphrey Bogart plays Harry Dawes, a film writer and director (of course) who has lost his way. So lucky for him he meets the glamorous dancer Maria Vargas, played by Ava Gardner. Her early reluctance to consider going into movies is changed with her friendship with Harry. Bogart has all the best lines, courtesy of a good screenplay from director Joseph Mankewitz.
The film looks good and is well shot, and the locations are splendid. So far so good. However, it's after Maria's success in Hollywood and her eventual marriage to the rich count (who saves her from an ugly scene in a casino) that things go far too melodramatic. Such a shame.
Sky Arts usually follow an episode of Classic Movies with a showing of the film they discussed. So it was interesting to compare the team's thoughts with my views on 3 Days of the Condor. (See post of the 6th June). First of all, it rains a lot in New York, where the film is set, a change from Washington, where the book is located. The story is adapted from the 1974 novel Six Days of the Condor by James Grady.
It stars a blondish Robert Redford as Joe Turner, a CIA researcher on the run after all the people in his office are shot. He is obviously out of his depth and cannot work out who is after him. He's in contact with a senior CIA man played by Cliff Robertson, but who can he trust? Certainly not Kathy Hale, played by the super cool Faye Dunaway, whom he abducts. Their relationship is the best part of the film; she only partly believes his story and would give him up to the authorities given half a chance.
Add in a hitman played by Max von Sydow; this is definitely a stylish thriller, directed at a great pace by Sydney Pollack. Just one note of caution. New crime series on TV now do these kinds of thrillers better.
Another film that was discussed on Sky's Classic Movies show: see my post of the 15th May. It was interesting to see on the opening credits, "Introducing Anthony Wager and Jean Simmons". We know the latter became a big star, but what about the former who plays the young Pip? There is a good article on anthonywager.blogspot.com. This film was his only success.
The film starts with those big skies, remarkable in the great black-and-white photography. These early scenes were a surprise, all about Magwitch, the escaped convict. Only to make sense in the last part of the movie. The part that follows as Pip meets Miss Havisham is still incredible for the wedding banquet left to rot from that disaster years ago. She is also the guardian for bossy young Estella. Unfortunately we do not see enough of Biddy, with whom Pip grew up. The wonderful Eileen Erskine deserved a far bigger role.
Years pass and Pip's secret benefactor gives him those "great expectations" and a career in the law. The older version is played by a young John Mills, demonstrating the promise of future greatness. And with whom does he share the same lodgings but a young Alec Guiness. I have to say the scenes of London are excellent. The newly confident Pip also meets the beautiful older Estella, now played by Jean Simmons. This is some cast.
The final part of the film is that big surprise with the arrival back from Australia of a now wealthy Abel Magwitch. The plot turns into a thriller with Magwitch in danger from the authorities. Then we have that very last scene back at the old mansion, changed from the book to give audiences a happy ending. Director David Lean made a classic movie adapted from the Charles Dickens novel.
