Putting the pieces together
And then taking them apart
Frustrated by symmetry
And a semblance of art
When all around is confusion
And chaos on demand
The schedule is nightmare
A sentence without remand
I’d like to change the picture
And bring it more in line
But as you know tracking’s touchy
And the bells don’t always chime
Whether we like it or not
This shit’s always on repeat
So don’t bother with the timer
It’ll be on again next week…
And in the furthest reaches of my brain I heard a bell sound and a voice, stark with intensity:
The lucky cat wants to say hi, I think.
Or maybe goodbye?
A farewell to memes, shared themes and cultural icon dreams?
Or a welcoming of clickable debate, pop culture pointers and tales from long ago and far away?
In fact, the feline is a good luck charm and symbol of fortune, often used outside street vendors and commercial enterprises.
All of which stood me in fine stead as I shrugged off a rough night and strode the miles to my temp job for another day of unrelenting similitude.
There is a cat looking out for me, I remind myself.
They are waving a paw and offering good luck.
Something to take to the photocopier, I think.
Robert W Monk
My review of the documentary film Ziggy Stardust and the Spiders from Mars screening across the UK on March 7th is over at Flickering Myth..
In the shadow of Etna
We live, work, die and love
Threat and power loom over us
As a reminder of what could be
But possibility does not impede
Instead, it inspires
To take the time we have
And use it – here and now.
Just released new Blu-Ray/DVD pack of the Corman/Price Shakespearean vehicle Tower of London…
Find my review over at Flickering Myth and below…
What’s the best way to liven up a bit of Shakespeare? Get Roger Corman and Vincent Price involved of course!
Following the pair’s successful experiments with film adaptations of stories and poems by Edgar Allen Poe (The Fall of the House of Usher, Pit and the Pendulum and Tales of Terror) the idea seemed like a pretty good one. It’s certainly one which details many of the reasons why classic chiller fans are so devout to Corman’s genius ability to wring dramatic action out of every available space and dollar, alongside Vinnie Price’s wonderfully entertaining mixture of camp and maniacal performances.
Shot in a sharply focused black and white, the film is a loose remake of the 1939 film of the same title and the English playwright’s Richard III. There’s a bit of the Scottish play in there as well, as Price’s Richard of Gloucester – brother of a dying king – sets about taking out all of his rivals for the throne while also dodging the ghosts of those already slain. Price is, of course, the prime selling point of this movie with the actor at his nefarious best in this ‘drive-in Shakespeare show’.
But does it work? Well yes and no. The film does indeed feature a transfixing Price who is always worth watching and the pace is (usually) high tempo – which was presumably something of a priority when re-imagining Shakespeare. However, some of the scenes seem a bit rushed and conversely far too much time is given over to a disturbing rack torture scene that doesn’t sit too well with the tone of the rest of the film. Horrible yes, and it does set out the ruthlessness of Richard’s pursuit of power but doesn’t fit too well with the pace and takes up a large segment of the total running time.
That aside, much of the film is better judged and aside from a fairly abrupt ending and the scene already mentioned, Tower of London is another release from the Corman/Price stable well worth seeking out for anyone fond of devilish literary inspired goings-on in not so merry olde England.
Whether it be
Fake or Real
Seems to be a reasonable choice right now
As it’s certainly better for the general head-space
But is it a form of ignorance
Of blocking out
To try and pretend
That things are not happening?
Is it just
That we already know
Need to be done?
“Free tissues, sir?”
I glance across the huddled throng of pedestrians to take in the smiling face. I accept the proffered brightly coloured package and nod distractedly.
Sitting amidst the blank office walls I studied the pack of free tissues. It was a slow day. 11am Friday. Nothing much to do.
The neon green packaging was lettered in a disturbingly bold font detailing the following message:
Sick of the sneezing?
Tired of the dripping?
I gave it no more thought and clicked back to the frenzy rating feed.
Work went by and things happened on screen. They gradually changed. Things happened. And then other things happened.
I went to get a coffee. I noticed that the whole office was empty apart from Gordo from Accounts. He was dancing and humming to himself near the photocopier. He was crying. I mumbled “Gordo… are you … ok ?”
He whispered something inaudible so I went back to my desk to get the tissues. I hurriedly opened up the pack and offered him one. He took it and dabbed at his eyes and whispered again. And then the change happened.
Gordo was instantly transformed into a monster. A three headed dragon type thing previously only witnessed in dreams, nightmares, Japanese anime or a sterling combination of all three. Blue flames erupted out of Gordo’s three mouths and that was enough for me. I ran like hell fire.
Out on the street it was mayhem. Upturned cars, burning buses and specific symptoms of death. Thousands of free tissue wrappers lined the road. I could feel a sneeze forming in my snout.
LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/LONG LIVE/
Wiener Dog review below and at Flickering Myth.
A Weiner-dog (or sausage dog in the UK) is another name for a dachshund, and the variously monikered creature is the common feature in this anthology film of four overarching chapters. Brought to the screen by indie-stalwart Todd Solondz, known for acerbic dark comic dramas Welcome to the Dollhouse and Happiness, Wiener-Dog is an oddly unfulfilling affair. Given the themes of depression and disillusionment, this is not entirely surprising, but the project also has the sense of being slightly under-cooked. Without giving too much away, for many the ending will leave a bitter taste, which again, is not too much of a surprise given Solondz’s previous work. It also leaves questions about how much is shock factor and how much is there for its own sake. In response to this, Solondz could simply show the film’s opening credit sequence which displays a Wiener-Dog alone and dejected in a dog pound cage. It’s not as if things started out too well for the character, is it, he may well ask…
In the first chapter, the lonely dog is momentarily freed from her physical imprisonment by a wealthy suburban family looking to offer their terminally ill son Remi (Keaton Nigel Cooke) a new playmate to aid his well-being. Stressed out mom (Julie Delpy) is terrified of the dog messing up their home, which leads dad (Tracie Letts) to soon insist that the dog is kept caged in the basement. Remi is just as imprisoned by his illness as Wiener-Dog is, and the two form a bond of companionship that is bitter-sweet to witness. On a rare release from their cages – Wiener-Dog’s physical and Remi’s emotional – they dance around the smartly decorated home with abandon. Unfortunately, a wrongly proffered granola bar leads to Wiener-Dog getting extremely ill and eventually put down.
In the second act, a nurse, Dawn Wiener, (the protagonist of Solondz’s 1995 film Welcome to the Dollhouse, played this time by Greta Gerwig), brings Wiener-Dog back to health and takes her home. She meets up with an ex-schoolmate/bully Brandon (Kieran Culkin)who convinces her to go on a country road trip with him to visit his brother and brother’s partner. This is the most successful part of the film to my mind, with great performances from Gerwig and Culkin bringing a believable and genuine disjointedness to interpersonal relationships. Dawn decides to leave Wiener-Dog at the sweet couple’s Ohio ranch and moves on with Brandon down the interstate and the rest of their lives.
The third act follows Danny DeVito’s bored and unfulfilled screen-writing professor as he tries to get his own creative work together. DeVito is great as the pained Dave Schmerz, someone who for whatever reason never got what he was looking for. Instead of artistic success, he gets the sack from his workplace after getting poor performance ratings from his students. In response to life’s unfair treatment he looks to make an artistic statement in the wildest of ways; by blowing himself and his dog up to smithereens.
Finally, the fourth act features another case of unfulfilled ambition provided by Ellen Burstyn’s crotchety old Nana. Always in the company of her own Wiener-Dog, lovingly named ‘Cancer’, she is visited by her granddaughter (Zosai Mamet) and her boyfriend – a visual artist named Fantasy (Michael Shaw). It soon becomes clear that her welfare is not top of the youngster’s priorities and Nana is eventually left alone again (with Cancer) assessing her own missed opportunities and life choices.
A difficult melange of the serious and sarcastic, Wiener-Dog ultimately comes across as an interesting idea that outstays its welcome, like a dinner guest trying to impress with self-consciously ‘weird’ jokes and depressing scenarios. Worth watching for the second act, which strikes the right balance of profundity and touching humour, but otherwise the film plays out like much of the characters’ lives; somewhat disappointing.