Garden in February

 

The first couple of days in February and things in the garden were beginning to happen. The large snowdrop plant has now been joined by more smaller ones. 

Below, the first crocus is in flower.

The start of the last week in February and the crocuses are at their best.

The first daffodils were coming into bud at the beginning of the month.

By the end of the month many are now open.

The clematis had started to sprout it's leaves at the beginning of the month.

Into the middle of February and more snowdrops have arrived.

The Photinia Red Robbin is flowering early this year.

The Honeysuckle is coming into leaf.

And there are the first flowers on the Forsythia.

These are the last flowers on the Viburnum bodnantense that flowers from late autumn.

It was time to turn over a whole years compost heap, following instructions for the first time adding Garotta and water to every layer. That's the pile in the middle. At the far end  of the photo below is the stuff from last years cuttings and mowings and on the left a brand new heap for this year.

Then I turned the pile at the far end and added the Garrota and water. So I can now leave it all until this time next year.

This was how that heap looked in the summer.

Below are the remains of the compost from two years ago now ready for spreading on the borders. Not sure how long I can keep this up.

Have You Seen ....... by David Thomson Part 3 - Singing in the Rain, M and To Live and Die in LA

 

Having watched a number of times that iconic scene when Gene Kelly brilliantly dances through deep puddles in the pouring rain, I was so disappointed with the opening sequence featuring the three stars exactly like the poster above. Not saving it for the big number. But, yes, it is the big number and just flog it. A great movie if you like this kind of thing, but not for me. David Thomson says it was "the greatest of the MGM musicals" so I wont watch any others.

Released in 1931, M  was Fritz Lang's first film with sound. But is the lighting that makes this such an iconic movie. Ground breaking techniques seem to highlight the blacks and whites at expense of the greys. It often takes on a 3D like quality. There are shots from on high that still feel the same  claustrophobia that permeates the story. It's as if there is no daylight in the daytime. Although he is hardly seen, the film belongs to the youngish stage actor Peter Lorre in his first movie. I say young as I only remember him from much later movies. As the serial killer Hans Beckert David Thomson describes him as "a man terrified of himself". But it is the panic, the paranoia and the chase that I will remember. "M is a masterpiece of prison's mood in everyday life".

This is not one of David Thomson's one thousand films to see, and I'm not sure why. Perhaps because he includes director William Friedkin's The French Connection. I wish I had seen this in the cinema, it would have looked marvellous on the biggest screen. The visuals and locations are wonderful. Contrasting with that intimate long counterfeiting  sequence. Lots of car chases including that part through the dry river bed of the LA river. There is some good eighties music of the period. There is a superb review by Cindy Davis at pajiba.com - "20 Facts about To Live and Die in LA". 

The Moon's a Balloon

 In every way as good as all the reviews. There are so many amazing anecdotes from this fascinating man. I thought he almost apologises for the number of famous people he meets along the way, it never feels as if he is bragging. His boyhood and teens are punctuated by pranks that get him into a lot of trouble. He is expelled from Heatherdown private school and was therefore refused by every other public school as a result. That is until the brand new school at Stowe where he just about survives.

On to Sandhurst, never entirely ridding himself of those pranks that were his earlier undoing, and joining the Highland Light Infantry. He is invited to America where his English accent made him. (I remember going to the cinema in the depths of Clearwater, miles away from the tourist spots, where the girls on reception insisted I talk about anything just to hear my voice). In America he lands on his feet, living like a prince with no money.

He becomes friends with Ann Todd whose acting career was booming. (In the fifties she lived in a big house in Holland Park and, having met my father in his shop on Kensington High Street, my brother and I were taken to visit her). Ann introduces Niven to Laurence Olivier who became a lifelong friend. A story about HMS Bounty is hilarious, but is important in that he arrives at the studios and meets the screenwriter and director Edmund Goulding. "I owe more to him than anyone else in the business". (He gave Niven his first screen test and directed him in 1938's "Dawn Patrol".

He turns down the role of Edgar in "Wuthering Heights" but is persuaded to change his mind and on the first day meets the star. Laurence Olivier is accompanied by Vivienne Leigh who is just there for a holiday. But she is seized upon by Hollywood mogul David Selznick to play Scarlett O'Hara in "Gone with the Wind" in front of many leading actresses hoping for the part. In Chapter Eleven, halfway through, Hollywood is going through a "British period" and Niven's Hollywood career takes off. he is meeting everyone famous in the next breathless pages. Sharing a house with Errol Flynn no less, the parties and the parties.

When war breaks out, Niven returns to England. His wartime exploits sees him rise trough the ranks. He marries Primmie and they have two children. I wish I had finished there. Back in America he finds it hard to resurrect his career but eventually succeeds, so much so he is awarded the Oscar for Best Actor in "Separate Tables". And then "The Guns of Navarone", a fitting conclusion for an amazing memoir.

Songs from the Movies

This was first posted on the 31st January 2018. There are a couple of additions to bring it up to date.

When I compiled my list of 131 Songs, I missed this one in the section on "Songs from the Movies". There are those rare occasions when a track fits perfectly with a particular scene. In the film "About Time",  Tim (played by Domhnall Gleeson) sits on a bench in the Kate Moss exhibition, hoping to catch a glance of Mary (Rachel McAdams). The sharp editing is accompanied by the song Friday I'm in Love by the Cure. Not my favourite band, but the whole thing is just brilliant. It still gives me Goosebumps.

Here is my definitive list of similar movie moments:

The Sound of Silence by Simon and Garfunkel from "The Graduate". I love the scene at LAX and believe the reuse of the song at the end does it no favours.

Come Up and See Me by Cockney Rebel from "The Full Monty". The lads in training up on the moor always makes me smile!

Earth Angel by Marvin Berry from "Back to the Future". The edit after they ask Marty if he knows anyone who can play a guitar is the sharpest in movie history.

Time after Time by Cyndie Lauper from "Strictly Ballroom". When Scott and Fran dance on the roof to this song, it gets me every time.

Cat People by David Bowie from "Inglourious Basterds". This is what I posted at the time:

The beginning of Chapter Five "Revenge of the Giant Face"  subtitled  "Night of NATION'S PRIDE Premier" from Quentin Tarantino's "Inglourious Basterds" is definitely my favourite five minutes on film. The first chords of David Bowie's "Cat People" over the captions is only the start. As his vocal comes in, the beautiful Melanie Laurent as Shosanna Dreyfus leans seductively by the  fabulous huge circular window of her cinema, contemplating the terrible revenge she has organised for that night. It is only on repeat viewings that I now see the startling editing which comes next. Four times we gradually get closer to Shosanna, as each shot melts into the other. This is film making at it's peak. I mentioned on a previous posting (11th August 2010) about how Shosanna initially applies rouge as warpaint during the ultra close up as she applies her make up. The song ends as she dons hat and veil and makes her way to the balcony where she watches all her victims gather. (Melanie Laurent was absolutely brilliant in this film, warranting awards and nominations for best actress from a number of film societies.) I cannot think of a more dramatic sequence from any movie. 

Hold Tight by Dave Dee, Dozy, Beaky, Mick and Tich from "Death Proof". While we are on the subject of Tarantino.

You Never Can Tell by Chuck Berry from "Pulp Fiction". And another from the same director. The sequence at Jack Rabbit Slims when John Travolta and Uma Thurman dance the twist.

Love on the Rocks by Neil Diamond from "The Jazz Singer". I can't hear the song without thinking of the sequence in the recording studio.

Let it Snow by Dean Martin from "Die Hard". It was so funny to put this song over the final few seconds and then the titles.

Don't Worry Baby by the Beach Boys from "Deja Vu". I have no idea why they chose this song for the scene on the ferry, but it adds to the drama somehow. Brian Wilson just took Be My Baby by the Ronettes and made it better. For me, the verse is one of the best in the whole of popular music.

Hotel California by The Gypsy Kings from "The Big Lebowski". The scene that introduces us to Jesus Quintana at the bowling alley is quite something.

The Ballad of Lucy Jordan by Marianne Faithful from "Thelma and Louise". If ever a track said it all about the main characters.

Then recently 99 Luftballons by Nena from "Atomic Blonde".

 All the songs from  "Baby Driver" but I was most moved by Unsquare Dance by The Dave Brubeck Quartet as it took me back to the days when I mostly listened to jazz.

The next song doesn't really fit the in the same category as those above, El Matador by Los Fabulos Cadillacs from "Grosse Pointe Blank" plays over the end credits and had me glued to my seat.

Then two songs sung by the actual artists. Anything from "A Hard Day's Night" by The Beatles (I Should Have Known Better if I had to choose) and I've Waited So Long" by Antony Newley from "Idol on Parade". The 1959 film shows my age.

And finally, three songs from TV shows. One Of These Mornings by Moby from "Torchwood" Series 2 Episode 3, Shelter from the Storm by Bob Dylan from "Flash Forward" and last but by no means least, my favourite five minutes of TV: Take the Long way Home by Supertramp from the end of the final episode of "Ashes to Ashes".

Then there are the songs from Call The Midwife. That is why I post the list of songs from that show.

8th February 2018: I can now add another song having just seen the Nick Park movie "Early Man". This is Mud's Tiger Feet now performed by New Hope Club. It might be a homage to the movie "The Full Monty" (see above), but this time the stone age men do a hilarious football training routine. Brilliant. It makes me want to see the film again just for this.

9th February 2018: I was reminded, hearing it this morning, of I'm Gonna Be (500 Miles) by the Proclaimers. It is worth watching the whole of the (quite hammy) movie Sunshine on Leith for this final big outdoor number. There are bits in there that still bring a lump to my throat today. Eat your heart out Danny Boyle.

7th August 2020   From the last scene and final credits of the Pedro Almodovar film Gloria comes the title song performed by the original artist Umberto Tozzi.

And remembering all the great songs from both Mama Mia movies; from which I have chosen One Of Us from the sequel.

From the movie Last Night in Soho comes a brilliant song Don't Throw Your Love Away by The Searchers. It fitted the film so well.

Then from Don't Worry Darling, we have a terrific soundtrack. Here is the fairly obscure but excellent Sh-Boom by The Chords.

26th February 2025

It's quite sometime since I updated this list. But from last week's film Bridget Jones - Mad About the Boy comes David Bowie's Modern Love. It plays over the opening credits ten minutes in. The intro and the first verses are just fabulous and loud over the cinema's big speakers.

Chequers Walk

 

A favourite circular walk (never before posted with photos on this blog) on Friday started at the car park at the top of Coombe Hill. Through the woods the bracken (above photo), which is head height in summer, is now just a carpet. Arriving at Dunsmore, I love this view down to the stables at the bottom of the hill. And Cobnut Farm next door. There is a path through the trees at the top right of the picture which is where I headed next.

 Just up from the stables, I watched this wall of flint stones being built at Ashmore many years ago before I took up running.

The path through the beech woods is one of my favourite places in all the Chilterns. It is long and usually deserted.

It arrives at the top of a hill with Chequers in the distance.

The mud on the path through the Chequers estate had tried but was very clingy. In the distance is the monument at the top of Coombe Hill.

The path then reaches more woods and a tricky descent, now with steps and handrails.

Which brings you out to Beacon Hill and views towards Aylesbury.

At the bottom of the hill is Ellesborough  and the Church of St Peter and St Paul.

Then across a field of drying mud with closer views of Coombe Hill and my destination.

This may well be the last time I try the ascent of Coombe Hill from the golf course below. It is steep and long, not helped by some slippery places. But there is a nice view back to that field above and Beacon Hill top left.

It was a beautiful sunny day when I started off, clouding over later. Chilly to begin with but I was warm by the end. Photos again from my phone so not the best. Will take my camera next time.

Babylon, Tar and The Fabelmans

 

Uneven, magnetic, overblown, erratic, spectacular, incoherent, meandering, shouty and FAR TOO LONG. Why do directors think that the longer a movie, the best chance of awards? Damien Chazelle has looked at early Hollywood as Oscar voters will see their own industry. But a decent story is missing, we just get a succession of set pieces, glorious as some of them are. The last half hour did see some better momentum, but this had nothing to do with the main plot and could easily have been completely cut. 

Brad Pitt does his best to hold the whole thing together, although Margot Robbie's character is way too mad to be interesting. Her shooting of her first talkie was a classic of too many re-takes which end up just boring. But finally she manages a perfect performance. Shame we had to wait so long.

Another awards contender so, yes, far too long once more. Cate Blanchette as conductor/maestro Lydia Tar does put that award winning contribution, but there are too many long one to one discussions (some quite intellectual) that hold up the main theme. Director Todd Field has made something that Peter Bradshaw in the Guardian says is "entirely outrageous, delirious and sensual physchodrama". The best parts were when Lydia actually conducts in rehearsal and the orchestra belts out Mahler's Fifth Symphony from the cinema's speakers. (This is definitely a film to see on the big screen, I would never have been able to watch it at home). Those musical pieces are awesome.  Two English actors are wonderful, first Mark Strong and the Julian Glover, not having to move from his restaurant chair being 87. Both are conductors, the latter having retired from Tar's Berlin Orchestra. He tells Lydia about all the conductors who have fallen from grace for one reason or another. Does she heed the warning? I recognised Noemie Merlant as Lydia's assistant from her lead role in Portrait of a Lady on Fire.

But let's get onto the second half that many critics, though positive, are split in what they saw. What did I see? Something quite unbelievable. I just could not buy in to why Lydia goes downhill. we know early on that she is in some trouble with a former protégé having committed suicide. Any reasonable person would then keep their heads down and work through her final Mahler symphony getting everyone on her side. But no. He egotism means she can do what she likes and promoting a young and attractive cellist (Sophie Kauer, an actual musician in her first acting role, and born in Guildford ) leads to her downfall. Lydia's choice of this brand new member of the orchestra to solo in Elgar's Cello Concerto instead of the orchestra's lead cellist is not realistic. As is the way she ignores her family for this new attraction. But are we expected to take everything at face value, or is this one of those films where it is mostly in her imagination? Maybe that is what the director wanted, for us to worry about what we have seen. For me, just bring on the music.

Another long film (two and a half hours) but this one went in a flash. This dramatised story of Steven Spielberg's childhood starts in the 1950's, he is a couple of years younger than me but from a much more affluent family. He was lucky is this respect as I compared our lives, but not in his parent's divorce. There was a good script and although the story was generally warm, there were occasional awkward and even nasty parts. I tried to spot instances that maybe influences scenes in Spielberg's later movies, the boys on their bikes is one.

Michelle Williams is terrific as Sam Fabelman's  mother, I didn't know that she was a brilliant pianist. Paul Dano as the father is a less attractive personality as an unrecognisable Seth Rogan is captured with Sam's mother on film. Young Sam could have done with a better actor than Gabriel LaBelle. His sisters were far better. David Lynch in a tiny cameo is memorable. John William's score is predictably excellent as were the choices of songs. Especially The Crystals' Da Doo Ron Ron that was cut far too short.

Vincent Littlewood Roberts MA MD

My great grandfather was born on 24th September 1862, so he is thirty one years old in the photograph. He went to Cambridge University and qualified as a doctor of medicine. His early years after qualification were spent in the Eccllesall and nearby Abbeydale districts of Sheffield. By the mid 1890's he was practising in Attercliffe. That must be why my father referred to him as "The Attercliffe Man".

Vincent was very unlucky in his two marriages. He married Ellen Cundy Boyd on 11th August 1888. They were both twenty six years old. But they were married at Ecclesall Register Office, which was very strange. Although Ellen was the daughter of William James Gibson Boyd, a traveller who died in 1865 at the age of thirty one of pulmonary consumption, and the granddaughter of a publican, by the time she married Vincent she was living with her mother and stepfather who was an electroplater and gilder with forty three employees. The witnesses at the wedding were not from either family, so something was not right.

Vincent and Ellen were very happy (Vincent requested in his will that he be buried next to his first wife). Their son Stanley was born on 21st October 1889, but on 12th July 1893 Ellen died of a malignant disease of the spleen after an illness of six months. She was only thirty years old. She was buried at Ecclesall Parish Church.

In 1897, Vincent married Helen Fairburn, this time in Sharrow Parish Church, with family in attendance, including Helen's father Robert, a solicitor. Vincent was thirty five and Helen twenty three. In 1901 their son John Shearwood Roberts was born, but he died a year later. He is buried at Ecclesall Parish Church and there is a monument in the graveyard.

In 1917, Vincent encountered yet another tragedy. His second wife Helen died. She was buried next to their son on 28th December. Vincent went on to live for another 23 years, he never married again. He died on 24th August 1940 at the age of 77 in the air raid shelter of 35 Bradway Road, next door to his home at number 33. His housekeeper, Lilian Burnham, was with him when he died. He requested in his will that he be buried next to his first wife Ellen. However the church records show that he was buried next to his second wife Helen and their son. It may have been that the whereabouts of Ellen's grave was not known (there is no location in the church burial index), or it was wartime, or Helen was confused for Ellen. However, they are all buried in the churchyard of All Saints, Ecclesall.

The following photograph was kindly sent to me by my cousin Lesley Gray. It is dated September 1926 so Vincent is 64 years old.

An even later photo.