Christopher Nolan is one of my favourite movie directors. He doesn’t patronise his audience, he expects you to pay attention and keep up. He always provides everything you need to know in the visual and spoken narrative, but he’s always one step ahead. That’s what makes him such a great craftsman and storyteller.
Nolan took five years to write the screenplay for Tenet after deliberating on the concept for over a decade, so the audience is always going to be playing catch-up. Some see this a weakness. For me, I relish having my mind stretched and blown, it’s what I love about his movies. Other 10/10 examples are Memento and Inception, where repeated viewings reveal what you missed the first time, but even then present you with ambiguous endings.
In Tenet, Nolan takes an idea central to science fiction and gives it a new twist. I don’t want to give anything away, other than to say it’s an action thriller unlike any you’ve seen before. The DVD cover says: ARMED WITH JUST ONE WORD – TENET – and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.
If you don’t fully understand it first time, don’t worry – just enjoy the stunning visual feast.
Nolan always baffles and leaves you pondering further possibilities. His creativity inspires and empowers me, stretching my brain and expanding my thoughts – like all good art should, be it music, art, poetry, or prose etc.
This was my top track on Spotify in 2020 that was actually released in 2020, and my favourite single of that year.
A remarkably assured piece of work from such a young musician. A truly amazing James Bond theme song, sung by Billie Eilish and co-written by her and her brother. Great music with a depth of meaning in the lyrics. Different, yet obviously faithful to the oeuvre, with the complex ‘Bond’ chord at the end. I absolutely love it.
Yes, Die Hard was released in July 1988 as a summer blockbuster, but everything about it shouts CHRISTMAS. It’s both a Christmas movie AND a movie set at Christmas. It’s been criticised for its swearing, violence and moral ambiguity, but it does contain themes of forgiveness, redemption, reconciliation, healing and transformation. It also ends with the characteristic warm glow of Christmas movies. The latter being emphasised by the end credits music Let It Snow! Let It Snow! Let It Snow! and Beethoven’s Ode to Joy, a recurring thematic and musical motif throughout the movie.
Die Hard has acquired status as a Christmas movie over the years since its release, although others would totally disagree with this attribution. Both sides can be very vocal when expressing their view, some allowing no discussion – it just IS a Christmas movie, end of.
Let’s consider the evidence. Christmas is integral to the story, John McClane (played by Bruce Willis) was in Los Angeles because of the season. The Nakatomi Plaza (where the action takes place) only had minimal staffing because of the Christmas break, this being the reason why Hans Gruber (played by Alan Rickman) chose Christmas Eve to take over the building. There was a Christmas party happening in the building with the head of the corporation present. One crucial scene features a gruesome, yet humorous reference to Father Christmas, and another references a miracle because it was Christmas. Finally, McClane’s wife is called Holly, and the start of this poem is quoted, ‘Twas the night before Christmas.
All things considered, the action had to take place at Christmas. For me, and for many others, it feels like a Christmas movie, that’s the time of the year I watch it. Therefore, it IS a Christmas movie, end of.
On this day (18 May 1980) Joy Division lyricist and singer Ian Curtis took his own life, a tortured star whose influence both at the time and since has been immense. Actor Sam Riley brilliantly portrays Curtis in Control, Anton Corbijn‘s 2007 film of the Joy Division singer’s life and suicide.
Although there have been those who have sought to glamorise his death as a rock and roll suicide, in reality it was a consequence of his lack of control over many aspects of his personal life. The debilitating effects of epilepsy, the deception of having an affair, the almost inevitable breakdown of his marriage, and the prospect of separation from his year-old baby daughter. As he sang, “All the failures of the modern man”.
The classic and influential album Unknown Pleasures (released in 1979) revealed a profoundly dark poet and a starkly grim realist, a very different voice in music at the time, one who added deep insight and intelligence to the post-punk movement. It’s one of my influential albums.
The clues were there though. In the track Shadowplay, Ian Curtis sings, “In the shadowplay, acting out your own death, knowing no more…” and in New Dawn Fades, there’s one in the very title as well as the words, “The strain is too much, can’t take much more”.
Once the truly shocking news broke that Ian Curtis had taken his own life, there came the full realisation that his writhing and twisted dancing on stage wasn’t simply performance art, he was genuinely wrestling with his emotional and physical demons, as well as reflecting how hopeless, meaningless and inhuman he felt our world had become.
Tragic as any death is, we’re often drawn to those in public life who take their own lives, and there are many examples. Listening to the album Closer (released soon after his death) was uncanny and slightly unnerving, a feeling that persists four decades after his death.
So this is permanence, love’s shattered pride What once was innocence turned on it’s side A cloud hangs over me, marks every move Deep in the memory of what once was love
Oh, how I realized I wanted time Put into perspective, tried so hard to find Just for one moment I thought I’d got my way Destiny unfolded, watched it slip away
Excessive flash points beyond all reach Solitary demands for all I’d like to keep Let’s take a ride out, see what we can find Valueless collection of hopes and past desires
I never realized the lengths I’d have to go All the darkest corners of a sense I didn’t know Just for one moment, hearing someone call Looked beyond the day in hand, there’s nothing there at all
Now that I’ve realized how it’s all gone wrong Got to find some therapy, treatment takes too long Deep in the heart of where sympathy held sway Got to find my destiny before it gets too late
I remember a survey from a few years back revealing that more people take their own lives in May than in any other month. Apparently, “the juxtaposition between a literally blooming world and the barren inner life of the clinically depressed is often too much for them to bear”.
We remember Ian Curtis because of his musical influence and legacy, but there’s also many thousands of young men who take their own lives each year, and I particularly remember one whose funeral I conducted a few years ago. A reminder to do all we can to reduce the stigma of mental illness in society, and to support those who are suffering. On this tragic anniversary, a fitting way to remember Ian Curtis.
Having criticised ITV2 the other day for showing Contagion, Naomi and I watched it on Netflix last night. The plot is very topical and concerns the spread of a novel virus transmitted by fomites, the attempts by medical researchers and public health officials to identify and contain the disease, the loss of social order in a pandemic, and the introduction of a vaccine to halt its spread.
At times it felt like watching a documentary as well as a narrative story. The movie has several interacting plot lines, making use of the multi-narrative hyperlink cinema style, and finishes with a very thought-provoking ending. I gave the movie 8/10 on IMDb. It would have been higher had the movie better conveyed a sense of fear and dread, but we’ve got plenty of that in real life right now.
Naomi and I watched Baby Driver recently and thoroughly enjoyed it, although it’s somewhat violent and sweary at times (not for the faint-hearted or easily offended). Overall it’s very stylish, stands out from the crowd and keeps your attention, although the script was ordinary and some of the characters could have been better defined.
A talented, young getaway driver relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams, Baby sees a chance to ditch his criminal life and make a clean getaway. (Bing search).
I particularly appreciated the soundtrack as this was an integral part of the storyline in a way I’ve not come across before, rather than (as is usual) accompaniment to the action and helping to set the mood.
It appealed to my inner geek, as well as my interest in science and space exploration, but what completely sold it to me was an endorsement by a real-life astronaut Chris Hadfield: A book I just couldn’t put down! It has the very rare combination of a good, original story, interestingly real characters and fascinating technical accuracy.
If I had the time I would have probably read it in one sitting, but I’m currently half-way through it. It’s fast-paced, in fairly short chapters, with brief sections, and this all makes for an easy read. I’ve known about the book and film since they came out, so I’m a little late to the party, but better late than never! I look forward to finishing the book and catching up with the film sometime.
Update: I finished the book (a really gripping read) and Naomi bought me the DVD, so we snuggled on the sofa to watch it. All in all, a great book and film. Oh, and I was finally able to return the book in August 2019 and enjoy lunch and a coffee.
Although I’d seen it before, I watched I, Daniel Blake with Naomi (watching for the first time) last night. Like the first time, it made me sad and angry in equal measure, as well as bringing tears to my eyes.
Daniel is unable to work because of his health situation, and he has to battle a welfare system that should work for him, but which in reality works against him. There is one lady (within the system) who tries to treat him with dignity and help him, a little like a flower growing through a crack in hard concrete; sadly, the weight of the system comes down on her, like a heavy boot.
He makes profound statements of his humanity in two very powerful scenes; one depicted above, the other in the final scene (which I’ll leave for those who haven’t seen it). This is a must-see movie (directed by Ken Loach) if you have a heart for the vulnerable within our society and our common humanity.