I was fortunate to attend this ground-breaking conference and experience all its delights. Here are a few pictures (the rest on Facebook). Host Matt Melia is looking into publishing the proceedings, so I’ll certainly let you know when that happens. There was a really high ratio of excellence, as might be expected with many people waiting years to have a opportunity like this: really a terrific bunch of folks. I finally got to meet the lovely Lisi face to face and we were all graced with Murray Melvin‘s stellar presence. Yes, I got to hold Ken’s Peruvian madonna.
I am bound for London — well, actually Kingston-on-Thames first for the conference. Never been to this campus before but it looks lovely. I’ll be near Hampton Court so I might finally go there. The Royal Horticulture Society had a big show there: the gardens are bound to be lovely.
Of course the conference ought to be a blast. I really get to enjoy it because I am the first speaker after the welcome! Heh, that makes a difference from going in the last panel of the last day. Far more relaxing. All the papers look interesting — after all, it’s Ken Russell!
I’ll be flying down which is a change. Rail tickets have gone up so much it was actually cheaper (not to mention quicker). Going by way of Surbiton which always puts me in mind of Monty Python.
I will have adventures to share, of course: at least a couple of concerts in London afterward, too. I will doubtless share my opinions here. In the meantime I’m just glad to have my paper finished well before time!
Yes, it is written like that in the title card: no article on Woman. Low budget offering from Western Television, Woman Who Came Back (1945) offers a tale of the past invading the present in the form of a witch burned at the stake who wants revenge. In New England — where of course no one was burned as a witch.
Criminy people: witches were not burned in the US, they were hanged (and occasionally pressed). Also EARLY MODERN ERA was the time of the wild witch crazes: you needed the print era to really get propaganda going on a massive scale.
Anyhoo: this is a fun little no-budget film. Including great creepy vintage Halloween costumes.
The story is simple: Lorna Webster (Nancy Kelly) on a bus returning to her hometown and the man she ran away from at the altar meets an old woman who claims to be Jezebel Trister (Elspeth Dudgeon – best name I’ve heard in a while), the witch who had been condemned by Lorna’s great grand pappy. Of course she’s back to curse his progeny and the bus crashes killing everyone except Lorna and the old woman’s dog who haunts her the rest of the film.
Her paternalistic head-patting fiance (Now Voyager’s John Loder) assures her everything will be fine and the epically old guy pipe-smoking Rev. Jim Stevens (Otto Kruger) agrees. Let’s just all forget this bus full of dead people and get on with our charming New England lives of small town paranoia: Shirley Jackson meets Grace Metalious.
Of course weird things happen: everything Lorna touches dies and it spooks people, like Expositio her housekeeper (okay, her name’s not really Expositio but she does explain a lot of back story before giving notice presumably because the windows won’t stay shut and the curtains billow mysteriously in the ever-present wind).
Naturally, Lorna discovers the truth about her curse from a volume in old grandpappy’s study that just happens to be in a mausoleum in the crypts under the church. The townfolk don’t like these goings on especially when her fiance’s niece falls ill and they react accordingly.
Will they gather into an angry mob or will clearer pipe-smoking heads prevail to show they’ve all been Scooby-Doo’d? It’s only a little over an hour so you can watch and find out for yourself. Hardly a masterpiece, it’s nonetheless fun and goes on my list for the course on witch films I’m thinking about doing sometime in the near future.
I learned about this film from a terrific piece on the folk-horror of Powell & Pressburger’s Gone to Ground.
I just needed some Fosse to get me motivated on finishing grading. Some great stuff but no time to enjoy it all — but I have some really sharp students (of course!). Once all this is done and graduation over, I’ll be updating more frequently. And having a little fun, laughs, and good times.
Music is life. And life is not a business.
When I came out of the theatre there was blood on the pavement and a guy whose face had been smashed by something. It seemed out of place on a quiet Albany afternoon, but not after this film.
The Stooges are a perfect meeting of the mind-bending exuberance of youth and the free-floating impotent anger that often accompanies it when that energy has no place to go. Surrounded right now by a cultural climate that has filled most of the women I know (mostly past that first exuberance of youth) with a rage that has few outlets, it was a good catharsis. It could have been many things — like an Iggy film — but it was tightly bound to the band. Jarmusch, too, stayed out of the way (I hate those big name doco directors who make it all about showing what good taste they had).
The film is stripped down, filling in missing footage with Iggy’s narration and found footage, crazy cultural references and even animation. I can’t even begin to tell you anything rational about it because I was so immersed in it that I wasn’t making mental notes. There was a point where all three of us in the theatre laughed out loud at something so unexpected I couldn’t tell you what it was because the movie clipped right along.
Things that stuck this first time around (because I will be watching this again and again as soon as I can get my hands on it): how weird it was to hear all these mid-Michigan accents I grew up with that now sound totally alien. Every time I hear Iggy talk there’s that dislocation. How the band all lived up to that hippie ideal of ‘communism’ — living communally, sharing everything, even song writing credits. ‘That was before we knew about intellectual property rights,’ he said drily. How the younger girls they met in Washington Square who were a[n unnamed] band were much better than them spurred the Stooges on to want to be better. How they saw the Rock-n-Roll Hall of Fame induction as crowning the coolness of losers. How visionaries like Danny Fields saw their promise and pretty much no one else did — until suddenly every band in the world seemed to be covering the Stooges.
Soupy Sales. James Williamson’s second career!
Near the end of the film, Iggy remembered bringing a bunch of guys from his high school back to his folks’ trailer, trying to get in with them and they made fun of where he lived and how small the bathroom was. And his avowal that he wanted to outlive them and show them and put them in their place (like Tori with ‘I want to smash the faces / of those beautiful boys’).
Anger is an energy, as that other guy said. Let it lift us.
The eternal struggle in Belle Ombre: agreeing on something to watch with my brother. One of the places our largely divergent tastes overlap is in the realm of costume drama, so the other night after one or the other of us voting down this or that film we finally agreed on the 2012 version of Anna Karenina.
I had vague memories of when it came out: Knightly and Law seemed an odd pairing, perhaps I had assumed he was playing Vronsky. He’s Karenin and I thought that was even more odd, but no. I should give him more credit. He was terrific. And of course Aaron Taylor-Johnson made a Vronsky you could imagine any number of people swooning for. Knightly was very good, Matthew McFayden should do more comedy —
— and that reminds me: the big thing I forgot that I ought to have realised at once when I was captivated and amused and immediately won over by the dialogue and the conceit that the whole story was unfolding in the world of a play. Tolstoy, but Tolstoy through the means of Tom Stoppard.
If that doesn’t already make you realise what a gem you also probably missed, let me also say a fantastic cast including Olivia Williams, Kelly McDonald, Domhnall Gleeson, and new to me but amazing Alicia Vikander as Kitty. The whole production design by Sarah Greenwood is superb. Sidi Larbi Cherkaoui who also choreographed for the NT Live Hamlet created such beautiful dance scenes — and the costumes by Jacqueline Durran! Absolutely sumptuous: if Tolstoy wanted to show the evils of uptight nobles, at least this film shows how they luxuriated in their wealth.