The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
If the Fast & Furious team made Casablanca 2 (‘Morocco Drift’) it would be a more artistically credible, better acted, and more entertaining movie than Star Wars: Episode I – The Phantom Menace. Vin Diesel’s Victor Laszlo may have gained an impressive set of guns fighting for the Czech resistance since we last saw him
Imagine for a moment Harley Earl, head of design at General Motors, Detroit’s wizard of kitsch. Standing before him, in his studio, is the cetacean bulk, nipple-coloured pink paint, churrigueresque chrome ornaments and rocket-ship details of his 1959 Cadillac Eldorado Brougham Seville Convertible. He is talking to his acolytes, as attentive as Rubens’ studio assistants
In 1978, shortly before she died, the artist Sonia Delaunay was asked in an interview whether she considered herself a feminist. ‘No! I despise the word!’ she replied. ‘I never thought of myself as a woman in any conscious way. I’m an artist.’ It is pretty obvious, though, that the Sonia Delaunay retrospective at Tate
Overseeing Boris Johnson’s futuristic office, with its spectacular view of the increasingly culinary skyscape of the City of London with its Gherkins and Cheesegraters, is a bust of Pericles, distinctive in his helmet. It is no surprise that the Mayor should hold himself up to the gaze of the Athenian general and politician because he
Out of tune The use of a song, ‘Love Natural’ by the Crystal Fighters, at the launch of the Labour manifesto backfired when the band’s drummer urged people to vote Green instead. Some other campaign songs whose writers disowned the campaign: — Ronald Reagan used ‘Born in the USA’ by Bruce Springsteen for his re-election
A very British thing happened at the dance industry conference last weekend. Three of the UK’s most celebrated contemporary choreographers said British contemporary dance training is not up to snuff. Foreign dancers were better trained from a younger age, they said, were fitter, readier, worked harder. That’s why they got more jobs in British companies
It was called Frankly Speaking and by golly it was. The great screen actress Bette Davis was being interviewed by not one but two men: George Coulouris, with whom she co-starred in Hollywood, and a BBC producer. ‘It’s a little sad for some of us who adore your work that a lot of your best
Blimey, there has been so much good stuff to watch on telly of late: the Grand National, the Boat Race and the Masters; The Island with Bear Grylls; the final of University Challenge (bravura performance from Caius’s Loveday, though how the winning Cambridge team’s hearts must have sunk when they realised that the public intellectual
A Little Chaos is a period drama directed by Alan Rickman and starring Kate Winslet as a woman charged to design and build a grand fountain garden for Louis XIV at Versailles. The film is, I noted from the poster, ‘the official film of RHS Gardening Week’, which may or may not be a hotly
Dead Sheep is a curious dramatic half-breed that examines Geoffrey Howe’s troubled relationship with Margaret Thatcher. Structurally it’s a Mexican bean. It leaps all over the 1980s and it keeps shifting genre from cabaret to tragedy via cheesy political satire. Some actors are impersonators, some are caricaturists, some are neither. James Wilby’s study of Howe
This week, some 200 years since Goya’s ‘The Disasters of War’, almost 80 years after Picasso’s ‘Guernica’, and over 50 since Malcolm Browne won a Pulitzer for his photograph of a self-immolating Buddhist monk, the British media found itself questioning whether art should, or even could, ever represent the horrors of recent history. It was
As if a turtle you have laid your eggs in a bowl of sand. Unlike the turtle you sit next to your own heap overlong considering the wondrous thing you’ve done, the babies wrestling in the gritty dark. And all the while the land cools steadily, a small white light somewhere over the sea, over
Daniel Barenboim is back in town: the South Bank is mounting a ‘Barenboim Project 2015’ in which he’s playing the Schubert piano sonatas and conducting his magnificent Berlin Staatskapelle in Elgar’s Second Symphony and Beethoven’s First Piano Concerto, with Martha Argerich as soloist (if she doesn’t cancel yet again, in which case I assume Barenboim
Late afternoon I speak to Mum on the phone; she’s sorting through her past, four hundred or so odd-sized photographs. ‘Well, you won’t want to do it,’ she says, ‘when I’m gone, I won’t leave you that task.’ We switch tack, not from fear, from silent truth, what can’t come back. We talk of mulish
Astonishing to think That not so long ago First the Brothers Wright Then Louis Blériot Initiated flight. And strapped into a seat Now we can choose a drink, Tomato juice, red wine, Some music or a film At 30, 000 feet. Remarkable to know That aviation fuel, Once vegetable remains, Comes from the earth as
This is a transcript of a speech given at this year’s London Book Fair: Over the course of the last few years, it has come to feel that we bookish types are stuck in our very own world war one re-enactment, in trench warfare over where the money lines are drawn. The skirmishes in the global book
When last Sunday Pope Francis took the brave step of acknowledging the Armenian tragedy as the ‘first genocide of the 20th century’, he knew he was entering a minefield. On 24 April Armenians will commemorate the 100th anniversary of their genocide. There can be no single date for a genocide but that was the day
T.S. Eliot liked to recall the time he was recognised by his London taxi driver. Surprised, he told the cabbie that poets weren’t often recognised. ‘I’ve an eye for celebrities,’ the driver replied. ‘I ’ad that Lord Russell in the back o’ the cab the other day. I said to ’im, “All right, then, Bertrand,
The Lost Child begins with a scene of 18th-century distress and dissolution down by the docks, as a woman — once a slave in the West Indies, for a time a weaver and now an itinerant single mother dubbed ‘Crazy Woman’ by those who might toss a coin in her direction — finally gives up
Since his debut with the Booker-nominated The Restraint of Beasts in 1999, Magnus Mills has delighted and occasionally confounded his loyal readers with a series of novels and short stories about projects, schemes and expeditions that never quite seem to pan out. In these situations, his characters tend to dither politely between cautious enthusiasm and
State-of-criticism overviews and assessments almost always strike a bleak note —the critical mind naturally angles towards pessimism — so it can be worthwhile occasionally to announce that, against expectations, despite everything, literary criticism is still alive and in print. Recent technological and economic threats have not been as damaging as the so-called theory wars of
It’s surprising there haven’t been more novels drawing on London’s fascination with Russian oligarchs. But how to write about them without it all seeming a bit Jackie Collins? Vesna Goldsworthy has hit on the perfect solution with her witty novel Gorsky. If you’re going to write about being nouveau riche, why not model your book
When Ovid was seeking ‘cures for love’, the most efficient remedy, he wrote, was for a young man to watch his girl on the toilet. The American author of The Archaeology of Sanitation in Roman Italy begins with this worrying poetic advice. The evacuation of the human body has had little previous attention from historians
Mystery fans and writers are always looking for new locations in which murder can take place. Attica Locke has an absolute beauty in her latest thriller, Pleasantville. The eponymous district in Houston, Texas, was created in the aftermath of the second world war: ‘a planned community of new homes, spacious and modern in design, and
Can there ever have been another book in which one of the authors (Anne Thurston in this case) so effectively pulls the rug out from under the other? Of course Gyalo Thondup is entitled to tell his story, beginning with his life as a boy in a small town near the Tibet-China border where, in
‘I nauseate walking; ’tis a country diversion. I loathe the country and everything that relates to it… Ah l’étourdie! I hate the town too.’ Millamant’s expostulation about the unresolved pull between rural and urban life has echoed down three centuries since The Way of the World. With Melissa Harrison’s second novel this quandary brings all
Historical fiction is sometimes accused of being remote from modern concerns, a flight towards nostalgia and fantasy. It’s not an accusation you can reasonably level at M.J.Carter’s historical crime novels. The first, The Strangler Vine, was set in an unsettling version of colonial India. Its sequel, The Infidel Stain, takes place three years later in
‘Do it with scissors’ was Alfred Hitchcock’s advice for prospective murderers, though a glance at these two biographies reminds us that scissors are also the chosen implement of the silhouettist. Hitchcock’s profile —beaky nose, protuberant lips, conjoined chin and neck — is emblazoned on both dustjackets like a logo. A logo is what it was.
As words commonly used to write about the visual arts become increasingly useful to advertisers, ‘to curate’ is becoming the synonym du jour for ‘to choose’. For David Balzer however, this shift in language reflects a shift in behaviour. ‘Now that we “curate” even lunch, what happens to the role of the connoisseur in contemporary