Arts Reviews

The good, bad and ugly in arts and exhbitions

Back to the soil

I have waited several years for this moment — in fact, ever since the late 1990s upsurge in interest in gardening began to fade, the press stopped talking about it as the new sex, and the jeunesse d’orée turned their fickle gaze elsewhere. Now, as partygoers shade their hungover eyes from the glare of financial reality, and householders look in horror at their sky-rocketing bills, the talk is all of letting the holiday home, missing out on the cruise, keeping the old car going for another year, and …and …even growing some vegetables. I am sorry that it has taken an economic downturn to turn some people back to the

On the trail of <em>The Phantom Carriage</em>

If you’re after a profound cinematic experience, then you could do far worse than to invest in Victor Sjöström’s The Phantom Carriage (1921), which got its first UK DVD release yesterday.  The premise of this silent, Swedish film is ripped from a dark fairytale.  Anyone who dies at the stroke of midnight on New Year’s Eve is consigned to spend the next year riding the titular carriage and collecting the souls of the departed.  Cue, then, the brutal death of David Holm – a consumptive drunk, played by Sjöström himself – at the  portentous hour.  The carriage duly arrives, but its current occupant insists on revisiting David’s past life and its many

A daunting experience

Tom Hollander’s first meeting with a theatrical agent didn’t turn out quite how he expected It was the late Eighties and it paid to be brash. But I wasn’t brash I was green. Just down from university and wearing a second-hand double-breasted suit I had a meeting with London’s Most Powerful Agent. On Wall Street, Gordon Gekko. In Soho, Michael Foster. A man whose legendary temper had caused him, telephone in hand, to break his own finger while dialling. The extent of his rages were matched only by the size of the deals he got for his actors — deals rumoured to be so huge that other actors binge-drank at

Be selective

From Russia: French and Russian Master Paintings 1870-1925 from Moscow and St Petersburg Royal Academy, until 18 April Sponsored by E.ON It is a salutary and instructive experience to forego the relatively civilised Press View of an exhibition, when only the denizens of the world’s press and assorted successful liggers are allowed in, and attempt to review a show amid the hurly-burly of an average open-to-the-public day. Especially when the exhibition has been talked up to the skies and punters are queuing to get in. Column inches had helped to create the unsatisfactory and uncomfortable viewing conditions in which I found myself last week, and here I am adding to

Mozart undersold

Die Zauberflöte Royal Opera House A Midsummer Night’s Dream Linbury There is a hard core of central works which any major opera house needs to have, in a production that can survive many changes of cast and conductor, even of obtrusive revival director. Die Zauberflöte is unquestionably among them, a work that we constantly need to remind us of those easily mocked truths about what we should do with our lives, how high we should aspire and what the cost of aspiration may be. David McVicar’s production seems to serve the purpose, if not ideally: the overpowering settings of John Macfarlane are more notable than anything that we see the

Missing the picture

Why would anyone want to listen to a programme about the Oscars? Surely the whole point is to see those ghastly frocks and gimcrack smiles, effortfully put on for-the-camera-only? And yet Paul Gambaccini was sent over to Hollywood to recreate the ‘magic’ of the Oscars for a new Radio Four series (Saturday), And the Academy Award Goes To…He took us inside the tiny room, in the Roosevelt Hotel, where the very first Oscars were awarded on 16 May 1929; from such small things do Versace glamfests grow. Fascinating enough. But it was just so irritating to hear the sweeping score of Lawrence of Arabia (winner of Best Picture in 1962)

Alex Massie

Another reason why mobile phones are bad: editors can find you

Things that make you despair: young journalists who have never read Scoop. In a better world that would be a sacking offence. Clive publishes a reminder of the novel’s glories as part of his excellent Notebook feature: “Come to think of it,” he added moodily, “there’s no point in answering anyway. Look at mine.” CABLE  FULLIER  OFTENER  PROMPTLIER  STOP  YOUR  SERVICE   BADLY  BEATEN  ALROUND   LACKING   HUMAN  INTEREST  COLOUR  DRAMA PERSONALITY  HUMOUR  INFORMATION  ROMANCE  VITALITY “Can’t say that’s not frank, can you?” said Corker. “God rot ’em.” Well, yes, exactly.

In praise of <em>Ashes to Ashes</em>

Aside from news programmes, I rarely stay in specifically to watch something on television (as Hugo has written, boxed DVD sets are a very civilised invention). But last night was an exception: as a Life on Mars fanatic, I wanted to see its much-hyped sequel, Ashes to Ashes. No more John Simm as DI Sam Tyler stranded in the Seventies. In this series, we have Keeley Hawes as DI Alex Drake, shot in our own time and sent hurtling back to the (imaginary?) Eighties. All of which, frankly, is a pretext to get back on our screens the one and only DCI Gene Hunt. The makers of Life on Mars

Just as a change of pace…

…here’s one for all you art-lovers out there: A thief in Paris planned to steal some paintings from the Louvre. After careful planning, he got past security, stole the paintings and made it safely to his van. However, he was captured only two blocks away when his van ran out of gas. When asked how he could mastermind such a crime and then make such an obvious error, he replied, “Monsieur, that is the reason I stole the paintings. I had no Monet. To buy Degas. To make the Van Gogh.”

Lloyd Evans

Grief and groans

Purgatorio Arcola Happy Now? Cottesloe The Lover/The Collection Comedy Purgatorio. Hardly a seductive title and I confess it was curiosity rather than enthusiasm that dragged me to the Arcola in Hackney to see how Ariel Dorfman (best known for his 1992 play Death and the Maiden) had handled the Medea myth. His update transplants the characters to a therapy unit and the play opens with Medea under analysis describing in lacerating detail how she killed her children. Confusingly, her cell is furnished with a kitchen knife which she occasionally brandishes in the analyst’s face. More confusingly, he shrugs the threat aside as if she were waving a lollipop at him.

Pure genius

There Will Be Blood 15, nationwide Juno 12A, nationwide There Will Be Blood (oh, yes) stars Daniel Day-Lewis as Daniel Plainview, a late-19th-century American oilman whose own view could not be plainer: find oil, beat off the competition, buy the land, drill it, get rich. And that’s about it, not that it matters. It’s the genius — a word that should never be used lightly; which is why I hope you can see I just used it heavily — of Day-Lewis’s performance that will keep you with it. Day-Lewis is, surely, every actor’s actor, even though they all probably hate him at some level. ‘If Day-Lewis is making a movie

Unthinking dogmatism

James MacMillan explains why he hates the assumption that he is a liberal left-winger In my travels I see myself frequently described in foreign media as a ‘left-wing and Scottish nationalist’ composer. The latter label is ludicrous, and I just put it down to a foreigner’s ignorance and justifiable disinterest in the parish-pump tedium of devolved Scotland. It doesn’t bother me too much. The first, however, disturbs me much more. I used to be on the Left — I joined the Young Communist League in 1974, when I was just 14. Part of the motivation behind this was no doubt to annoy my devoutly Catholic relatives, who were all Labour

Truffling around

Where do you find your music? Yes, I know, you go to the CD rack and there it is. Or, if you are as obsessed as some of us, you go into almost any room in the house and there is a pile of the stuff, because you can’t get rid of any of it, even the long-unplayed mid-period Elvis Costello CDs of everyone’s worst nightmares. But that’s not what I mean. Where do you find your new music, the stuff you haven’t heard before? There’s a vast quantity out there, waiting to be discovered. Where do you go looking for it? If you have very mainstream tastes, of course,

How soon is too soon?

“Too soon!” went the outcry when the films United 93 and World Trade Center were released, some 5 years after the events they depicted.  Now – as Peter Bradshaw points out in today’s Guardian – filmmakers aren’t even waiting for the “dust to settle” on a news-story before moving-in with their cameras.  A production deal has already been inked for a Securitas heist movie, and a Madeline McCann film has been discussed. There are positives and negatives to the approach.  We might welcome the immediate, first-hand qualities of a short time-lag film (for want of a better term).  Or we might prefer the perspective that a delayed film can bring

Italian treats

A Decade of Discovery Esoterick Collection, 39a Canonbury Square, London, N1, until 6 April This year, as the Estorick Collection of Modern Italian Art celebrates its tenth anniversary, garlanded with plaudits for the loan exhibitions it has mounted, it is time to focus once again on its greatest asset: its permanent collection. This new display, occupying all six galleries, shows the collection to fine advantage, enabling a group of works by Massimo Campigli to be viewed for the first time, along with a couple of new acquisitions, and further enhanced by works loaned from British and Italian collections, mostly private individuals whose generosity must be applauded. The exhibition starts on

Lloyd Evans

Teletubby approach

The President’s Holiday Hampstead The Sea Haymarket The Vertical Hour Royal Court There’s no such thing as a great script idea. Ideas are equally good or bad, what counts is how they’re treated. Take the 1991 coup against Gorbachev. Pretty dramatic, momentous and gripping, I’d say. And here’s Penny Gold to dramatise it. She may well be a Russian analyst, an expert on the intricacies of revolutionary politics and a brilliant diviner of the male psyche but she’s decided to give those specialities a rest. Shunting the whole nasty business of the coup to one side, she focuses on the Gorbachev family cooped up in their Crimean dacha surrounded by

Britten surprises

Peter Grimes Opera North Of all Britten’s operas Peter Grimes is the one I have seen most often, and it remains not only the one that I find it hardest to make up my mind about, but also the one which I still don’t feel I know especially well. There are the famous passages, not only the sea interludes but also Grimes’s monologues, ‘Now the Great Bear and Pleiades’ and his big tune, sung first to the words ‘What harbour shelters peace?’, there is Ellen Orford’s touching, rather less famous Embroidery aria in Act III, which is a passage of genuine repose in this restless and often angry score; and

Reasons for hope

‘Pakistan is a dysfunctional state,’ said the writer Martin Amis in a debate about ideologies and ideologues in our post-9/11 world on Start the Week (Monday, Radio Four). He seemed curiously unaware that he was in conversation with a woman lawyer from Pakistan, Asma Jahangir, who has just been released from house arrest after defying her own government; with someone who has actually experienced the real impact of the rise of global Islamism, and who cannot afford to agree that her country is in chaotic freefall. ‘Pakistan is not dysfunctional,’ retorted the formidable-sounding Jahangir. ‘People are so resilient that, despite no gas, no electricity, they are still continuing to do

Cult viewing

Jonestown (BBC 2); Moving Wallpaper & Echo Beach (ITV); Harry Hill’s TV Burp (ITV)  ‘Shut up and drink the Kool-Aid’ is an American slang phrase — tart, cynical and funny — used for telling people to get on with something they must do but would prefer to avoid. It refers back to the mass suicide of 909 members of the Jim Jones cult in Guyana in 1978. Jones had plenty of cyanide, but he thought it would sluice down more agreeably if diluted with the nasty but very sweet soft drink mix. Whether this was because he wanted to make his followers’ last moments on earth marginally less horrible, or because he thought