A few nights ago we watched Julien Temple’s super film, Keith Richards: The Origin of the Species, covering the guitarist’s early years, from birth to 18, following it with Jon Savage’s film, 1966: The Year the Decade Exploded, based on his expansive book which I’ve just finished reading.
Who would have thought it? The reprobate Keith Richards re-imagined as an avuncular national treasure? Temple’s film was a delight; I don’t think I stopped grinning once. Cleverly weaving Keith reminiscing about his childhood and family connections into an intricate montage of archive newsreel, TV commercials, old public information films and dramatic reconstructions in monochrome, Origin of the Species successfully evoked what it felt like to be part of the generation born in the 40s who grew up in the still grey and hidebound 50s. Continue reading “Keith Richards and the Decade That Exploded”
Another day, yet another atrocity hurled from the maelstrom of conflict in the Middle East, the turmoil which has also resulted in over half of Syria’s people being killed or forced to flee their homes to become refugees. In the evening I attend a performance at the Liverpool Everyman of Queens of Syria, a remarkable touring production, performed by Syrian women from a refugee camp in Amman, which weaves the women’s own stories of exile and war into passages from the ancient Greek play The Trojan Women, theatre’s earliest dramatisation of the plight of women in war.
Earlier this week I watched the BBC documentary trilogy, Exodus: Our Journey to Europe, which told the stories of some of the refugees in last year’s huge movement of people fleeing disaster – on dinghies crossing from Turkey to Greece, along the migrant trail through the Balkans, and in the Jungle at Calais – filmed along the way by those same people on mobile phones.
After a referendum campaign which seemed to establish the expression of racist or anti-immigrant sentiment as respectable once more, these three films gave voice to those who have truly lost their homeland, in stark contrast to those in this country who, having ‘wanted to get their country back’, now truly believe that’s what they have achieved. Continue reading “Stories of exile: Queens of Syria, Exodus and the Very Quiet Foreign Girls’ Poetry Group”
A couple of weekends ago in The Observer, there was an article, 50 documentaries you need to see, introduced by Nick Fraser, editor of the BBC’s Storyville. The following night the Storyville slot on BBC Four featured an outstanding documentary concerned with history, guilt and justice directed by David Evans in which human rights lawyer Philippe Sands – whose family, all but one, were Jews murdered by Nazis at Lviv – accompanied the sons of two prominent Nazi leaders on a journey across Europe and into the darkness of the past shared by all three men. Continue reading “My Nazi Legacy: official justice and moral judgement”
A city, Orhan Pamuk once told me, would be a museum for our memories if we live in it long enough.
– Narration, ‘The Innocence of Memories’
Director Grant Gee’s last film was Patience (After Sebald), a film in which passages read from Sebald’s book The Rings of Saturn complemented images of the Suffolk landscape with absolute perfection. Now he has done something similar with Orhan Pamuk’s novel The Museum of Innocence, taking the viewer on atmospheric journeys, drifting through the deserted streets and alleyways of Istanbul at night, accompanied by readings from the novel and extra material also written by Pamuk. It’s a stunning film, perhaps the best invocation of the spirit of a work of literature that I’ve seen. It also provides a guided tour of the Museum of Innocence itself, established by Pamuk in Istanbul to house real objects that trace the fictional love affair described in the novel. Continue reading “The Innocence of Memories: a story of love, obsession and a city”
Janis: Little Girl Blue is a documentary directed by Amy Berg about Janis Joplin. It’s a story with which you’re already familiar, and a subject that might too easily appeal to those harbouring a lurid interest in drug-fuelled sexual excesses or a tie-dyed nostalgia for the sixties. Berg, though, avoids sensationalism or pathos (except perhaps in the title), and her film features few of those music biz talking heads, familiar from Friday evening BBC 4 music documentaries, blathering on about how so-and-so was such a wonderful person who single-handedly changed the course of modern music. Continue reading “Janis: Little Girl Blue: break another little bit of my heart”
The photography of humanity.
– Gabriel García Márquez
There’s a moment two-thirds the way through watching Salt of the Earth, Wim Wenders’ stunning new documentary about the work of Sebastiao Salgado, when you feel crushed by the same existential despair felt by the photographer in 1995 when, after years photographing famine, war and genocide in Africa and Europe, he witnessed atrocious scenes in Rwanda and the Congo that left him shaken to the core, despairing of any hope for humanity. Continue reading “The Salt of the Earth: Sebastião Salgado’s own way of seeing”
The other day I caught up with Frederick Wiseman’s epic documentary about the National Gallery, shown recently on BBC 4. In characteristic fly-on-the-wall style, Wiseman spent much of 2012 prowling the corridors, boardrooms and backrooms of the National Gallery, having been given exclusive access to film anything that took his fancy. Continue reading “Fred Wiseman in the National Gallery”