Isobel Buchanan sings “Ae Fond Kiss” from Terence Davies’ brilliant, The Long Day Closes
‘I spent months learning the flugelhorn – and I didn’t even have to play it’
Pete Postlethwaite, who was playing my father, took me down to Grimethorpe a week before filming to talk to locals and let them know this was their story. The miners were reticent at first. Not long before, a TV crew had stitched up the town, getting kids to throw stones at derelict buildings and making it seem as if it was a regular occurrence, as if Grimethorpe had become a wild west town. [ . . . ]
More at source: How we made Brassed Off | Film | The Guardian
he character of Withnail, played by Richard E Grant, in the seminal movie classic Withnail And I, was based on a man called Vivian MacKerrell, with whom the movie’s writer and director Bruce Robinson once shared a flat.Grant never met MacKerrell – he was discouraged from doing so by Robinson. MacKerrell died over twenty years ago and tonight [ . . . ]
Welsh comedian and singer Harry Secombe as “Mr. Bumble” in the 1968 film version of Lionel Bart’s Oliver!
Out on Friday, new British film The Levelling is a breath of fresh air from its very first shot of a country lane. Why? Because this is a film that has escaped the cities with which British filmmakers are so obsessed – and not only that, offered an authentic depiction of our nation’s countryside for once.Our film industry has an awful habit of regurgitating successful movies until way after the dead horse has been flogged. Guy Ritchie’s Lock Stock and Two Smoking Barrels led to a plethora of cheap East End gangster film replicas. As we laughed and cried at Four Weddings and a Funeral, producers Working Title were busy starting a conveyor belt of upper-middle-class metropolitan comedies. Merchant Ivory created a cottage industry around [ . . . ]
Read Full Story: Why British film needs to form a countryside alliance
I saw Diana Morgan’s film Hand In Hand in grade school. It was one of the few non-Disney movies the Sisters of Mercy allowed for us to see on the rare and exciting Movie Day in the school cafeteria. The film is about the friendship between a Jewish and a Roman Catholic child, and their attempts to understand each others’ faith. I believe our parish also presented an “encore” presentation of the film one evening for parents to see, and I remember later discussing the film with my dad. Hard to believe, but Morgan’s film was somewhat controversial in some households, though not with Dad who loved it. Miss you Dad.
– Johnny Foreigner
Just as in other aspects of British life, women were at last getting a chance to do jobs that had for decades been the sole province of men.Women are working lathes making munitions; land army girls bring in the harvest; female pilots deliver spitfires; female crews work canal boats and at least one woman is writing the scripts of patriotic comedy films.I had heard that the inspiration for the new film was screenwriter Diana Morgan, who was one such woman and that the part of Catrin Cole in Their Finest was modelled on her. [ . . ]
Peter Greenaway is dismayed at the standard of movie making and the popular fodder churned out for multiplexes.He said there are few interesting directors at work, and the best of them haven’t made a great film since the 1990s.
Mr Greenaway, famous for a string of acclaimed highly-visual British movies in the 1980s and 1990s, gave his broadside when speaking to The Herald ahead of his appearance at Plymouth Festival of Words.
The world premiere of a new play written by Jerusalem’s Jez Butterworth and directed by Sam Mendes was always going to be big news, so it’s no surprise that The Ferryman, a brooding tale of buried secrets set in rural
Derry in the early 1980s, has become the fastest-selling show in the history of the Royal Court in London.
But the most enticing prospect will arguably be the chance to see one of British cinema’s bravest actors, the 43-year-old Paddy Considine in his stage debut.
It has been almost 20 years since cinemagoers first got an idea of what a performance by Considine might entail: tenderness and volatility shot through with sweet-and-salty humour.
That was in 1999, in A Room for Romeo Brass, written and directed by his old college pal and indie bandmate Shane Meadows
[ . . . ] More at source: ‘He can’t lie’: the uncompromising brilliance of Paddy Considine | Stage | The Guardian
Currently working alongside Gareth Bonello of The Gentle Good, Cardiff-based musician Katell Keineg is playing a one-off show in support of Joan Osborne at London’s Union Chapel. Louder Than War’s Melz Durston caught up with Katell for a chat.
Some stars shine the brightest when out of view, and this would be true of Katell Keineg, BretonWelsh musician who never quite embraced the glaring lights of fame and fortune, despite a voice that soars, and cuts you to the core, and a life lived fully and courageously. You can live your life in an endless wait, or build it high on the present tense, are the words Katell sang on One Hell of a Life, and she has surely lived up to that philosophy.
Born in Brittany, Katell spent the first eight years of her childhood travelling back and forth between there and Wales, where eventually she would settle with her family before leaving to study in London. Propelled towards sonic adventures from an early age, aged 16, Katell and her friend made a pilgrimage to Bron Yr Aur, having identified where Led Zepellin wrote their third album [ . . . ]
Full Story at Source: Katell Keineg – interview – Louder Than War | Louder Than War
National Geographic’s first scripted series features Geoffrey Rush and Johnny Flynn doing strong dual work as Albert Einstein.
Like time or space, criticism can also be relative.
For example: If you were to have told Albert Einstein that something he did was “above average” chances are good that he would whack you upside the head with a violin. If, however, you were to tell National Geographic that a scripted program the network produced was “above average,” well, maybe accustomed to reviews for TV movies based on Bill O’Reilly books about killing historical figures, NatGeo would know how to take a compliment.
Genius, National Geographic’s adaptation of Walter Isaacson’s book Einstein: His Life and Universe, is an above average event series about an extraordinary man. In form and execution, it may be an unremarkable depiction of being remarkable, but it’s also handsomely produced, reasonably intelligent and well-served by paired leading men Geoffrey Rush and Johnny Flynn.
“Time is not absolute,” Einstein says in a 1922 classroom lecture in Berlin. “The distinction [ . . . ]
Read Full Review at Source: ‘Genius’ Review | Hollywood Reporter