Archive for July, 2008

Year in film 23: The Dark Knight

Obviously the very notion of me mustering the necessary critical distance to make a completely objective, considered review of a film with Batman in it is pretty laughable, so I’ll just say it’s bloody good, and I suspect under certain carefully controlled conditions I could even be enticed into saying it was great. My slight reticence revolves around the fact that whilst they completely nail the Joker on every level, Bale, who does a masterful Bruce Wayne, still doesn’t entirely convince as Batman. In many scenes he’s just a bloke in a suit, and one with a rather distractingly silly gravelly voice as well. Conceptually I don’t think they don’t have him quite right either, although this is admittedly getting onto what is a very personal, subjective interpretation of what qualities Batman should or shouldn’t embody. Nonetheless it’s a truly spectacular film, and sets a whole new standard for superheroes on celluloid.

(also went to see Batman: Mask of the Phantasm at BFI Southbank on Monday, my previous favourite Batman/Joker face-off on film)

Weekender

I spent all last week at the University of Sussex, fulfilling the residential school requirement of my Open U degree, of which more later, perhaps. Between that and the recent trip to France, I’ve been feeling a little bit disconnected from London lately, so the good lady and I decided to head into town this weekend and do something, well, London-ish. We eventually decided on the Zoo.

Visiting London zoo as a child is probably my first London memory, actually - I must have been seven or eight, on a family holiday. I vividly recall the reptile house, and also a tiger I managed to get a pretty decent photo of as it stalked up and down its enclosure by the glass screen, as well as elephants, zebras and polar bears, all now relocated to the more spacious environs of Whipsnade. I can’t have been thinking about this too deeply at the time, but the understated, plain-brick 19th century architectures made a powerful impression on me, to the extent I always knew instinctively those other places we went to, the ones with all the garish rides and multiple savoury snack stalls, weren’t proper zoos. Founded by Sir Stamford Raffles in 1823, the gardens still evokes a sense of Victorian rationalism and cold, hard scientific endeavor.

There isn’t a tube that’s particularly close, so we strolled through Regent’s Park first, stopping off at The Honest Sausage for lunch. A relatively recent discovery, The Sausage is nestled innocously between the highways and byways that criss-cross the park, and sells, as the name implies, seriously good sausages. I visited in my lunch hour a couple of weeks ago on the recommendation of the excellent Sausages and Bread and was greatly impressed. After a few choice mouthfuls of pork, fresh bread, gloopy onions and tangy mustard, we were good to go, and made our way round to the Zoo entrance. Rather predictably for a sunny Saturday afternoon in the school holidays, there was something of a queue, but we decided to tough out the 45 minute wait we were told to expect and occupied ourselves by assessing the merits of the free vitamin drinks that were being handed out (we were rewarded by a mere 40 minute wait).

The girlfriend was there in part to hone her photographic talents, so once inside we adopted a leisurely pace which involved us both wandering off quite a bit (my own pedestrian efforts can be seen on flickr). I finally got to see a Komodo Dragon, as Raja was out sunning himself in the hot weather, eyeing my fellow visitors and I dubiously. The lions were both asleep, spectacularly unimpressed by the proceedings around them, and the tigers were in hiding after a lovers’ quarrel. We met the monkeys. In the reptile house, the amphibians put on a pretty poor show by comparison to the obligingly lively reptiles, although the no flash photography rule means this hasn’t really come across too well. Nonetheless, I assure you the cold-bloods were on good form.

The plan had been to amble along the Regent’s Canal up to Maida Vale afterwards to inspect the extent of the damage Gordon Ramsey has managed to inflict on The Warrington, however the girlfriend’s impractical choice of footwear meant her feet hurt too much, and so we retired to the more local Queen’s Head and Artichoke for a couple instead. Of course, after that, the idea of cooking began to sound considerably less appealing than a boozy curry at the local Indian, and so the plan changed again, proving that I am nothing if not adaptable.

Status: reconnected.

Terribilis est locus iste

Rennes-le-Chateau, supposedly laid out in accordance with some ancient occult geometry, sits astride a high, dusty plateau, affording it commanding views of the surrounding landscape. Inhabited since prehistoric times, and littered with dolmens and medieval ruins, it’s easy to invest the impressive panorama with arcane significance; to imagine it as home to secrets, treasure and long dead history.

The once little regarded village is now one of the principle attractions of the Pays Cathare, as evidenced by the presence of the French equivalent of the UK’s brown signs, despite the fact it only enters the Cathars’ story seven hundred years after they become extinct through an act of religious genocide, off the back of what would appear to be a matter of petty fraud by the local padre. In a bizarre reversal of fortune, Sauniere’s theft from his parishioners has proved to be extremely profitable for their descendants. Nonetheless, this place still represents something of a psychogeographical can of worms; a powerful nexus of myth, folklore, conspiracy theory and personal association.

(our guide on this trip is Alan Mattingly’s Walks in the Cathar Region. Interestingly, I notice it’s published by Cicerone Press - the immediate association in my mind is with Robert Aickman’s The Cicerones, in which an English tourist is destroyed whilst visiting a continental church)

As I enter the church (’Terribilis est locus iste‘) I’m acutely conscious I’m seeing things I first saw depicted in comic form (Doug Moench’s Big Book of Conspiracies). I remember the first time I read Holy Blood, Holy Grail, whilst studying in Huddersfield during the 90s; finding distraction in pop conspiracy about medieval heresies whilst idling through a degree in the archtypal grim, northern town. Rennes-le-Chateau was already the province of scam artists and sensationalistic TV researchers rather than the Opus Dei; a mystery to be encountered in comic books, provincial second hand bookshops and late night Channel 5 documentaries. Since then of course, Hollywood has gotten in on the act. The tourists here today are families, elderly couples. I hear American accents. I reflect on how far Sauniere’s come - at one point, he’d merely chanced upon Cathar gold. Nowadays he’s widely credited with discovering Christendom’s greatest secret and wielding a power that could have brought down the Catholic Church. .

The town itself is quiet, and also extremely picturesque; very nearly the Platonic ideal of an idyllic rural French village. Two or three winding streets, around which cluster a handful of crumbling, sun-baked houses. The slopes of the plateau are lush with vines and trees and criss-crossed with paths leading downwards to the towns below. There’s a couple of discreet souvenir stands, an arts and craft gallery, a restaurant that’s not open. The most visible cash-in is the Atelier Empreinte, a bookshop specialising in all things esoteric, cluttered with dusty old hardbacks on masonic ritual and mouldering copies of old French mystery magazines. Were I only able to read French, I expect I could easily spend a quiet few decades there.

Instead, we only stay a couple of hours.

Teevee

Or, when iPlayer goes bad.

Warning - Lab Rats is complete, utter shite. Am currently trying to drink enough to watch Bonekickers with a suitably sedated mind.

Year in film 22: The Mist

I was a bit underwhelmed by this to be honest. The Mist is, for the most part, a fairly faithful adaptation of one of Stephen King’s more successful supernatural tales. The briskly paced novella avoids King’s occasional prolixity, and turns in a simple but extremely effective portrayal of the sudden, violent intrusion of the weird into the lives of small town folk, their subsequent social disintegration and the brutal realisation that their predicament might actually be global in scope, leaving no hope of escape or rescue. It’s apocalyptic horror on a Lovecratian scale, told from the perspective of King’s particular vision of small town America. Frank Darabont has form for producing well regarded adaptations of King’s work in the past, and whilst I’m not really a fan of the rather… odd morality expressed in both The Shawshank Redemption and The Green Mile, he’s certainly an accomplished director. It seemed reasonable to expect something that would be at least mildly entertaining.

Unfortunately it’s all a bit dull. Competent up to a point, but wooden and rather stilted. The weaknesses in the novella, principally some awkward plotting seem all the more glaring here, and the cast aren’t really up to hitting the melodramatic high notes. The Mist also suffers because we’ve seen lots of very similar films to this before. Even back in 1983, King was riffing on the survivalist horror sub-genre. Darabont’s differentiator should have been the monsters, but the strange half-glimpsed entities of the novella aren’t anywhere near as effective here thanks to some profoundly unimaginative design and dodgy CGI.

A lot’s been written about the film’s ending, which differs from the novella rather dramatically. I’m certainly not against downbeat endings per se of course, but Darabont’s denouement just strikes me as badly misjudged more than anything. Possibly he was trying to out-downbeat King, but he really doesn’t succeed - King pretty much destroys the entire world, and leaves his protagonists to a highly uncertain fate they have no reason to be optimistic about. The film’s ending by contrast comes across as cruel and sadistic, the punchline to a rather unfunny joke. It’s not, however, inherently pessimistic in any way. Again, a lot of this may be down to Thomas Jane lacking the emotional gravitas to pull of the scene, but I think the problem runs a bit deeper. In conclusion, very unsatisfying, and something of a wasted opportunity.

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