The Dog Stars, One Night Only and Teenage Sex and Death at Camp Miasma

 

There were mixed reviews for The Dog Stars, but I was sold on the combination of the director Ridley Scott movie and the appearance of one of my favourite actresses, Margaret Qualley. She is always great, but here she has very little to do. I'm never sure about the lead actor, Jacob Elordi, but then I could not think of a better actor to play a working-class hero. I had avoided knowing anything about the story, so I was surprised it turned out to be almost a zombie film. Here it's the survivors of a natural disaster who go wild. So it was the scenes that involved the main cast as survivors trying to exist that were the best. 

I liked the introduction to the movie as we follow Elordi through a deserted landscape and the township of Denver, a city gone to ruin. No dialogue, and for me, the best part of the film. Very, very different to what came out of the blue in that big set piece ending. The light and colour of Grand Junction assaulted the senses, so different from the earlier scenes. One review said, "It launches itself off the rails for twenty minutes." A huge contrast to the scenes of Colorado from the air in the Cessna. But it is disappointing when the landscape is better than the story and the script. 

I was pleased to see that I agreed with so much in the review in the Sunday Times. But then it was written by Jake Helm and not Tom Shone. But it was surprising that there is no review in Sight and Sound.

A wonderful New York setting for One Night Only lots of nice shots of the city in the day and night. Especially at the end, a big musical and dance number by the Little Red Lighthouse beneath George Washington Bridge. 

Callum Turner plays the owner of a pizza establishment, and Monica Barbaro is a singer. When she is forced to sing in front of a crowd, her initial reluctance turns into something special. Especially since the song is Yazoo's "Only You". Brilliant. While we were on the songs, I was knocked out when we heard Air Supply's "I'm all out of love". This was Alison's favourite band, having seen them twice in New Zealand.

This type of romantic comedy relies so much on the writing. Here it was first class; we were never bored. Written by Travis Braun and directed by Will Gluck, I liked how we see the main characters in alternate scenes and how they are going about that one night in the year. It's only in the second half their paths cross. And typical of the genre, they do not get on well. Doing everything not to be together. I liked how we followed their attempts to get together with those highly unsuitable partners. There are some great set pieces. 

The reviews were again quite mixed. Simran Hans in the Sunday Times Culture only gave it two stars. I thought it was far better, especially the writing that was punchy and smart. Again, a mainstream movie that is not reviewed in Sight and Sound. There were few in the cinema, especially as it was a wet bank holiday afternoon. Just a last note on the wonderful cinematography, enhanced by that 2.39.1 aspect ratio: an anamorphic widescreen format. It just looked brilliant. Go to CN Traveller for: https://www.cntraveller.com/article/a-new-yorkers-guide-to-the-pizza-places-bodegas-and-night-clubs-in-one-night-only.

 

I'm writing these notes having made sure I saw Teenage Sex and Death at Camp Marisma before reading the dedicated twelve pages (and front cover) in this month's Sight and Sound Magazine. The lead article was the main reason why I searched out (with difficulty) a showing locally. The film, though pretty gory, is actually a parody on the video nasties of the previous decades. So never to be taken seriously. Some of the special effects are gruesome, but the way it's filmed, it just seems ridiculous rather than anything else. There is all that stupid blood splatter from those rubbish movies of yesteryear, but when they are staged against poorly arranged scenery, they all just seem stupid. 

It's basically a two-person show. Hannah Einbinder plays Kris, who is hired to develop and direct "a lucrative origin story reboot of Camp Marisma". This is the fictional franchise of Camp Marisma that has spawned many sequels as they become more and more violent. (Thank goodness we never see these). It's Kris's dream job, as she is an obsessive of all the films in the series. Gillian Anderson plays Billy Presley, the young star of the original film that did so well. Yes, the original Final Girl, but now is far, far weirder. She had turned down parts in the sequels and then was forgotten. Here she is, forty years older, hanging out (is it her home?) at the deserted original set. 

When the two meet, we are in the best part of the film as they get to know each other. And what do they do? Billy digs out an old VHS copy of the original Camp Marisma that they (and we) settle down to watch. Kris has seen this many times in the past, but somehow this time she finds it troublesome. As one critic put it, "Collapsing the distinction between real and unreal." 

Peter Bradshaw, in his five-star review in The Guardian, said, "Gillian Anderson pulls off the trick of inventing an imaginary media phenomenon and treating it with complete seriousness". Then Blake Simons in Sight and Sound Magazine from two months ago said, "A film fit to burst with interplays and entanglements." And then about Billy: "a southern drawl and Schygulla-esque glamour". Whatever that is. And finally, it's "about more than a slasher film fandom"; Schoenbrun "wants us to get out of our heads and enjoy the ride"... "a whole world of visual pleasure and cinematic possibility". 

Yes, it's all quite bonkers, although it's a shame many critics were far less impressed. Me? I thought it was interesting, captivating and impressive, especially the two leads. It did make a huge impression and is quite unforgettable. Yes, it's erratic and messy, but is that deliberate?

A last note about the songs (as usual). Sade's "No Ordinary Love" used to be played and played in our house years ago. There is an instrumental version of The Temptations' "Just My Imagination" by Mark Maxwell and other tracks from Donna Lewis, R.E.M. and Counting Crows.

First rain for eleven weeks: the lawn starts to revive

 

Rain at last. On the 27th August we had the first rain for eleven weeks. And it has rained a little every day since, so the borders are permanently damp, if that will actually help them revive.

The rain has certainly helped the lawn. I cut the grass yesterday for the first time in two months. Yes, there are lots of bare patches, but just to see a bit of green is progress. I thought it might be time to apply some more Pro Kleen Grass Green granules, but underneath the grass are the remains of those I applied at the beginning of June. so that saved me a job.

Somebody To Love

The main feature (with the title above) in this week's Sunday Times Magazine is an article written by Mary Austin, the long-time friend of Freddy Mercury. Although it is to publicise a new book called A Life in Lyrics, it is a fascinating story of their relationship told from her point of view.

There is also an interview with Mary about the book on the BBC iPlayer called Freddy Mercury's Fiancee to Release Book. 

The reason for my post is related to the places she describes where they lived together in Kensington. Mary says, "By January 1971 we'd moved into a tiny flat on Victoria Road, close to Kensington High Street." A stone's throw from Dad's shop, John Buckle. (See post 24th May 2009). Mary and Freddy then "moved to a small flat in Kensington, on Holland Road". Which I must have passed hundreds of times, mostly on the number 9 bus to school. 

Mary describes how in 1976 "We moved into a bigger maisonette on nearby Stafford Terrace." Just off Kensington High Street. When Mary moved out, Freddy had bought her a flat "round the corner in Phillimore Gardens" that overlooked Holland Park. Now a highly exclusive road. (See post 24th May 2009 again). 

Freddy's last house was Garden Lodge in Kensington, "walking distance from my flat". This was the beautiful mansion where he lived until he died in 1991. "He left me his cherished home. His sanctuary became mine."

Garden Lodge is on Logans Place, just off Earls Court Road and very close to St Philip's Church, which we attended on many occasions when we were young. 

The Lawn in August

 

The picture above was how the lawn looked in June. Then below is how it is today.

But it's not just our lawn. Even those large, immaculate front lawns at the end of Worlds End Lane are the same. We had a lot of rain at the beginning of June; my records show there was rain all morning on the 11th. But since then, only a very short shower on the 20th and a few spots one day in August that I didn't even bother to record. So basically two months without rain. There could be some next week, but I'm not holding my breath.

And on the last day of August, all the leaves from the silver birch are falling and covering the lawn. That seems far too early.

The ones at the far end have very few leaves left.

Canon IXUS 285 HS A

My Panasonic Lumix DMC-TZ6 camera is over seventeen years old. The shutter cover has bits fallen off, and the lens is scratched and marked. And it's too heavy to put in a pocket when out for a walk. So time to invest in a new compact, lightweight camera. Unfortunately the Panasonic cameras are now over £500, so I found an alternative at just £300: the Canon IXUS 285 HS. Lots on the internet, but only the odd one with the updated model with that A at the end.

Not only is the camera very light, but there is also the option of transferring photos to my laptop via the wifi button on the bottom left. However, the Canon instruction manual for precisely this model left a lot to be desired. It may be that the mechanics on my camera have been changed as I spent far too long on the process to pair it with my computer. In the end, I guessed using the menu button on the bottom right to input the camera ID number and my email address. I actually gave up yesterday, but with trial and error today, everything is working fine.   

There is a bit of a long process of transferring my photos from my Canon account to where I want them, but this might get quicker in the long run. There is an awful lot to find out what the camera can do, but I shall take this slowly. The point and shoot I'm using seems to be most of what I need. But the clarity of the pictures and using the zoom are fine. I will keep the old Panasonic as a spare.

Movies at Home: The Man Who Knew Too Much, Volver and The Boston Strangler

 

James Stewart, Doris Day and their son Hank, played by a young Christopher Olson, are in Marakesh in The Man Who Knew Too Much. This is Alfred Hitchcock remaking his 1934 film in 1956 with an altered plot. It just looks fantastic in colour, almost 3D in parts. Maybe because certain shots of the actors were superimposed on a screen of the city. I had seen the film some time ago (post 24th August 2020) but could not remember the plot until later on.

Stewart plays Dr Ben McKenna, and his wife, Jo Conway, is a popular singer. Cue Doris Day no less. When their son disappears, it's back to London (on a BEA flight!) where his kidnappers are plotting an assassination. The best part of the film is at their hotel when all their friends arrive, completely oblivious to their plight. A lot of film and TV makers should look at this film and see how it is completely understandable despite many twists and turns, rather than their overcomplicated plots. An assasin and some cymbals.

It was interesting to see the final part staged at The Royal Albert Hall. The orchestra there is conducted by Bernard Herrmann, who actually composed the score. Now we know why an orchestra is the backcloth to the credits at the beginning. 

Volver is another film I had seen before but did not recognise at all. One of Pedro Almodóvar's best. (See post 26th August 2020). One disaster after another, but it is Penelope Cruz who is superb, closely followed by Blanca Portillo and Yohana Cobo. The six main actresses deservedly shared the Palm d'Or at Cannes in 2006, and Cruz became the first Spanish actress to be nominated for a best actress Oscar. The film was also nominated as a best film in a foreign language at the same Academy Awards.

When the supposedly dead mother arrives, the film takes on a surrealist tone. But it all ends happily, and in the end, the film is all their about atonement. The director at the height of his powers.

I wasn't sure I wanted to see The Boston Strangler, but it was based around the reporters covering this evolving story. Keira Knightley and Carrie Coon are excellent as their investigations into multiple murders are gradually taken seriously. Both are very different women, but they get on really well together. They were the only reason I stuck with it, as the film itself is all a bit of a mess. It doesn't really know what it wants to be. The idea of following a reporter was fine, but the mix of her family life felt awkward. All the time we want to get back to the investigation and not lose the thread. 

The portrayal of the detectives in the case cast them as pretty inept, which they were not. All their criticism of Knightley seemed a bit ridiculous. The film then got somewhat complicated with the arrests and the disputed factual resolution. I think if it had stopped at the arrest, it would have made a better film. 

Dolly Parton RIP

 

I would never have posted about the passing of Dolly Parton if I had not seen the film Steel Magnolias only just over a week ago. Here is what I said then: "In the end it's Dolly Parton that I will remember. The glue that holds the thing together." Here she is in the picture with Julia Roberts.

As for her music, I would pick her best composition, I Will Always Love You, that big hit for Whitney Houston, and her best song, Islands in the Stream, written by the Bee Gees and recorded with Kenny Rogers.