THE SAPPHIRES

Last night I attended the premiere of the Australian film, The Sapphires at The Tower Cinemas. It was part of their Launch 2012, and was a fabulous evening. The Towers (as I have always called them) are becoming the definitive destination for films in Newcastle. Taking over from our beloved Showcase Cinemas, by being brave and embracing foreign and independent cinema along with many exciting film festivals, The Towers is going from strength to strength and having a bit of a makeover along the way. Not only do they have new refurbishments (new seats on the way) but their refreshments are pretty impressive too - a licensed bar with a cheese and antipasto menu.

After some speeches, including the history of the cinema, we all settled in for the main feature.

The Sapphires is set in the late sixties, and is the story of four Aboriginal singers. Whilst entering a talent contest at the local pub, they meet Dave, an Irish musician. Dave sees their potential, and before they know it they are headed for Melbourne to audition as entertainment for the troops in Vietnam. Over the course of the film the girls move from singing country songs, to being polished performers similar in style to The Supremes. The fabulous Chris O'Dowd is perfect as Dave, and Deborah Mailman, Jessica Mauboy, Shari Sebbens, and Miranda Tapsell are simply stunning as the girls. Jessica Mauboy shines as the youngest sister and lead singer, with a voice that is a mix of angelic and sultry. However, Deborah Mailman is sublime as the complex oldest sister with a sad secret. Her performance is electrifying and moving - she steals every scene she is in.

Based on a stage musical, which itself was based on real events, The Sapphires mixes humour and music against a backdrop of drama. Filmed in Australia and Vietnam, the drama encompasses racial tensions, feminism, sexuality, the stolen generation, and the Vietnam War. It is a visually stunning film, from fields in the outback, to the fields of Vietnam, to the shimmy of the sequins on the stage. The other star of the movie is the music. Soul classics such as I heard it through the grapevine, Who's loving you and I can't help myself are sung by the girls along with tracks by Creedance Clearwater Revival and Sam and Dave will have you dancing in your seats!

No wonder this charming film wowed them at Cannes, it wowed us Novocastrians at The Towers last night! Applause at the end of a film is always a good indication, so make sure you head in to The Tower Cinemas and see the Sapphires when it opens next Thursday.

WHEN HARRY MET SALLY

This is one of my favourite films, it’s hard to write about something you love so much without being...well...annoying...I’ll try not to be annoying! It’s also hard to write about something, when the person responsible for its being has just died.

I first saw When Harry Met Sally as a double feature with The War of the Roses. They were new and the popular film was The War of the Roses, but When Harry Met Sally was without a doubt the better film. I adored it. As soon as I could my hands on the video, I bought a copy, that needed to be replaced by another over the years and of course eventually a DVD. I have seen it more times than I care to think and will always stop and watch it when it is on television, as I did only a few weeks ago.

I love old movies, romantic comedies or as they were called Screwball Comedies. It Happened One Night, His Girl Friday, Bringing Up Baby, Holiday, The Philadelphia Story, The Awful Truth, The Thin Man, The Palm Beach Story...the list goes on. Good romantic comedies today are few and far between. But When Harry Met Sally was the first to get it perfectly right in a long time.

Be warned spoilers ahead...

And really, if you haven’t seen this movie by now, shame on you!!!

It’s the classic story of boy meets girl, girl irritated by boy. Mostly, in this case, because of his belief that boys and girls cannot be friends as sex always gets in the way. They keep bumping into each other at various stages of their lives until they are friends, but then sex gets in the way, and they are no longer friends...until they realise they love each other...sigh...

This sounds clichéd and it is, but it can be done so dreadfully wrong or made sickly sweet...When Harry Met Sally is neither. This works because of Nora Ephron and her clever and witty screenplay.

The boy is Harry, played by Billy Crystal – an odd yet perfect choice. He was not really known for his acting and wasn’t really leading man material. But he was funny, and sweet, and trust me – every person that watches this movie wants Harry! There is something about him...that’s great writing, and maybe the way he says Pecan Pie!!

The girl is Sally, played by Meg Ryan. At the time she was also relatively unknown. She was just right as Miss Just Right. She was a little sickly, a little perfect, a little waspy...possibly even annoying, but somehow, she just kept it on the right side of annoying and became this endearing character ...again great writing.

Their path to love had just enough turns and twists to keep it believable. The reality of the more ‘dramatic’ scenes, anyone who has fallen in and out of love will relate to. Add in the humour – and there is so much good, quality humour – which stops the story from being a soap opera, and the right mix starts to form.

Carrie Fisher (Marie) and Bruno Kirby (Jess) play the best friends of Harry and Sally, and probably have all the sharpest one liners, especially Carrie Fisher in one of her best roles.

Of course, one can’t write about When Harry Met Sally without talking about THAT scene! It was original for sure, and very funny the 1^st, 2^nd or even 3^rd time you see it. But once you have seen the movie as many times as I have, it is a bit passé!

The things I find funny are the little touches, the things you may not notice the first time, or are undershadowed by “I'll have what she’s having”.

I love it when Harry spits grape seeds out of the window in the car towards the beginning of the film, only to roll the window down afterwards. I love the Days of the Week Underpants dialogue... ‘they don’t make Sunday...because of god.’ I love Harry thoughts on Hieroglyphics. I love the wagon wheel coffee table argument.  I love Marie’s line, ‘Thin, pretty, big tits, your basic nightmare’, I use that line a lot in real life...not many people get it, but it makes me smile. I love the scene where they are arranging the mat in Sally’s apartment.  I love Harry’s answering machine messages to Sally.

I could go on...

There are some clever scenes, like when Marie and Jess are in bed and Harry and Sally ring them both at the same time – perfect timing, well shot, and the line Marie says to Jess, ‘tell me I'll never have to be out there again’.

My favourite scene is when they are singing Surrey with a fringe on top karaoke – it makes me laugh everytime.

Then there is beauty – New York, especially that Autumn scene in Central Park. The vignettes of ‘real life’ couples talking about how they met throughout the film – something that on paper sounds so wrong, but, in fact, is so incredibly beautiful. Added to the wonderful visuals, is the soundtrack – mostly Harry Connick Jnr singing standards; Gershwin, Ellington, Goodman, Kahn, Hart and Rodgers. It Had To Be You defines the movie and borrows from a movie mentioned within the movie, Cascablanca.

There is so much variety within this film, and sewn together seamlessly too. There is not a wrong note about it. The ending has become a classic scene. Just when you think it may get a little too sacharine, a joke works its way in. It always reminds me of the ending to Manhattan - both Woody and Billy running the streets of Manhattan towards their love, looking a little nerdy, getting a little puffed, not knowing the outcome, but giving it their best shot.

Nora Ephron gave it more than her best shot writing and directing When Harry Met Sally - she made a modern classic, a film that still stands the test of time and will be enjoyed and loved by many for years to come.

VALE NORA EPHRON

Today begun with confusion, could it be real that Nora Ephron had actually died. I was on Twitter and heard the first rumbling, but no confirmation; in fact it was quite the opposite. So I left for work with a bad feeling, after a long meeting I returned to the office and checked Twitter.

It was true, the brilliant and witty Nora Ephron was gone...but to get clichéd about it all, her legacy lives on in her writing.

I loved her style and substance, she was real through to the core, as often Jewish women of that era are. I also love Susan Sontag, Fran Lebovitz and Lily Brett, and connect with their writing in a way even I cannot understand. Maybe I was Jewish in another life!

How could she not be a writer? Her parents were screenwriters. Some of their films were Desk Set, There’s No Business Like Show Business, and Take Her, She’s Mine, which was actually based on College letter’s of Nora’s. All four Ephron daughters were writers, and two of Nora’s husbands were Carl Bernstein and Nicholas Pileggi.

As a journalist in her younger years, she covered politics (interning for the Kennedy Administration) but moved quickly to satire and essays. She focused on Women, Sex, Food and her beloved New York.  She got into writing screenplays by assisting her then husband with the script for All The President’s Men. Her work there was not used, but noticed by the studios. But it was when she turned her novel, Heartburn into a screenplay that her film writing career took off. Heartburn was based on her painful breakup with Bernstein.

Nora wrote the scripts for some classic films: Silkwood, Heartburn, When Harry Met Sally, My Blue Heaven, Sleepless in Seattle, You’ve Got Mail , and Julie and Julia.

It’s her Essays and When Harry Met Sally that I love the best.

Her Essays are sharp, honest, hilarious and at times painfully real. She got real women – their foibles, their hopes, their struggles. She loved food, and often wrote how food and image were a struggle, keeping the balance...something every woman understands.

I did not know her at all of course, but felt I did through all I have read over the years.

I was deeply upset today when I found out she was gone. I was thrilled for her legacy and the writing she has left behind, but mostly sad to know there would be no more. Someone wrote on twitter, if you had only left us When Harry Met Sally that would have been enough...this is true.

My love for that film needs a whole post of its own...stay tuned...

And Nora...at least you don’t have to worry about your hair anymore...

WHERE DO WE GO NOW?

Where Do We Go Now? is the much anticipated follow up to writer/director, Nadine Labaki's Caramel.

Much like Caramel before it, Where Do We Go Now? is about a group of diverse Lebanese women, bonding together as only women can - through laughter, love, food and music. The setting is an isolated Middle Eastern village with a healthy mix of Muslims and Catholics. Unlike surrounding areas the village get on well together, despite their religious differences.

But as the unseen battle outside of their village takes its toll, religion begins to get in the way of their harmonious village. Small misunderstandings have the men beginning to fight with each other. The women, desperate to continue peacefully, begin to look for ways to keep their village safe, happy and without further loss. Watching these wonderful women work together towards peace is hilarious and heart breaking. One of the more amusing ideas they have is to hire a Russian belly dancing group to stay in the village, entertain, and hopefully stop the men thinking about fighting. But as the stakes get high, the women need to extend their ideas far beyond their already vivid imaginations.

Visually this is a beautiful film that will grab you from the very first scene. After a montage of dusty images of the isolated village, a large group of women, all dressed in black, shuffle in a dance-like formation across the desert to the graves of their fallen sons and husbands. Hypnotising, exquisite, and unique, you know you are about to see a remarkable film. The beauty and colour of the characters against the desolate backdrop of The Middle East adds to the visual feast of this film.

There is also wonderful, uplifting music, and includes a few well placed musical scenes for the characters to sing and move to. The acting is superb, with an established cast of Lebanese actors and a great supporting cast of locals and amateurs. As always, Nadine Labaki plays the female lead, Amal, a strong, independent woman, who has lost her husband, but is starting to warm to the idea of love again.

 

There is something for everyone in this film - it is warm and loving, filled with plenty of humour and drama. It is real, you feel along with the characters, through their twists and turns. The backdrop - devastating as it may be - is a great anchor for their custom and beliefs. But mostly, it is the women and their joy against this backdrop, the joy for their village, family, friends and each other. You can see why this has been a film festival favourite, winning audience awards in the Olso, San Sebastian and Toronto FIlm Festivals since premiering as part of Un Certain Regard at Cannes last year.

 

Where Do We Go Now? will make you laugh out loud and bring a tear to your eye, it is a must see foriegn film showing now at the Tower Cinemas in Newcastle.

ANTON CHEKHOV'S THE DUEL

The Tower Cinemas in Newcastle continue to impress in their dedication and excellence towards Arthouse programming. Not only are they hosting wonderful film festivals and specialised Opera, but they are consistent in bringing quality, independent films to Novocastrians.

Last night's advanced screening of Anton Chekhov's The Duel was no exception.

Set in the late 1800s in Cascasus, but filmed so very beautifully in Croatia, the drama surrounds the idle Laevsky and his live-in mistress, Nadya.

Early on a bored Laevsky confides in his older friend, Samoylenko, that after two years he is no longer attracted to Nadya, in fact he is unsure he ever was. However he has word that her husband has passed, and is concerned he will never be rid of her. Overwrought he keeps the news from her and is unsure how to proceed.

Whilst Nadya is unaware of this news, she is also bored, trapped, and seemingly exiled by those around her. Unhappy with these arrangements, and their lack of money, she is attracting many admirers in the small village with her flirtatious ways.

Von Koren, like many in the village, is observing this drama play out. He is a Zoologist, and annoyed at the useless and lazy Laevsky, and in a convoluted part of the plot that also includes money lending, and favours amongst villagers, he challenges Laevsky to a duel!

Is this his Darwinian ideal of survival of the fittest, or playing his part in the drama of the village, or simply a way to snap Laevsky into being?

I'll leave that for you to decide when you see the film for yourself!

Anton Chekhov's The Duel is a classic period drama and whilst the director, Dover Koshashvili is relatively unknown, the pedigree behind him is unmistakable. The superb cinematography by Paul Sarossy (Exotica, The Sweet Hereafter, and Affliction), gives the film a sensuous and serene atmosphere. One of the producers was Donald Rosenfeld, who has been behind films such as Howards End, The Remains of the Day and Surviving Picasso, and many Arts Documentaries.

The ensemble cast suits, with Andrew Scott - best known for playing Moriarty in the TV series of Sherlock - in the lead, playing Laevsky. His lackadaisical approach and overwrought hysteria to his 'drama' are equally striking and farcical. Fiona Glascott was luminous as the forlorn Nadya.

The Croatian setting is breathtaking, in particular some impressive caves. The costumes exquisitely detailed, especially the glorious array of millinery.

Anton Chekhov's The Duel is not for everyone, it's serene pace matches the time and beauty of the piece, and it's obsessive nature may bewilder some, but then there is The Duel at the end for a little bit of action. Lovers of Chekhov and period drama will not be disappointed. It is beautiful to watch, has a lovely sense humour with drama added for impact and a solid ensemble cast. You could enjoy it for this beauty or even take the time to ponder the deeper meaning of the film - was 'The Duel' really between Laevsky and Von Koren or indeed between Laevsky and Nadya?

NICK CAVE

NICK CAVE

I was not an early adapter or fan of Nick Cave. I wouldn't even call myself a fan now. I resisted him for a very long time too!

Sounds odd I know.

I knew a few people that were seriously into Nick - overly obsessed, so much so that most other music was shut out. I couldn't understand that sort of behaviour, still don't - there is so much rich music in the world. I didn't want a part of something sooo intense that it negated everything else.

Of course I knew songs, knew him etc and eventually was drawn to him myself. But on my own terms, in my own way.

I remember being out in a club - who can remember where - and Red Right Hand was playing. It's hypnotic trance lured me in and that was the end of my resistance. I have other tunes I love more, but it will always get me going...more on it later. 

So I started with a best of CD and then purchased albums based on songs I liked from the most. I do not profess to know a lot about him or his music, except to say I do enjoy it and have a mild fascination with him as an interesting male singer. He is dark, broody and rather cranky - why so cranky Nick - is it a put on, or for real? He is very sexy, and obviously highly intelligent...which makes him even more appealing! But he also seems to have a decent sense of humour too...you just don't see it that often.

So yes, I am ashamed to say it took a while to get me to Nick. But I am here now, I love his deep lyrics, and the richness of his voice, the intensity and the bueauty of what I am hearing.

It is incredibly hard to pick which songs, and looking back there are others I could have added, but I like these choices.

TRACK SEVENTEEN: Red Right Hand

It's slow, hypnotic rhythm reels you in, slowly and surely. Nick at his sexiest, scariest and meanest! Favourite lyrics: "He's a ghost, he's a god, he's a man, he's a guru." and "You're one microscopic cog in his catastrophic plan."

TRACK EIGHTEEN: Into my arms

A melancholy ballad, one even Nick says he is proud of writing. And why wouldn't you, it is stunning. His deep, strong voice against the piano - what else do you need. It is devastating and haunting, sad and uplifting. Favourite lyric: "And I don't believe in the existence of angels, but looking at you I wonder if that's true." Wow, imagine someone writing that about you...

TRACK NINETEEN: The Ship Song

If Into my arms is beautiful, there are no words to describe The Ship Song. It is beyond perfection and always gives me shivers and brings a tear to my eye. It is an epic song that just hits the right notes - literally and figuratively. The Strings soar and Nick has never sounded more fragile and gorgeous. Favourite lyric: every single word, but I do especially like, "We make a little history baby, every time you come around." Sigh...we've all been there...

Oh, and the video is perfection too...what gorgeous little girls...

TRACK TWENTY: Breathless

This is probably my favourite song, it's an absolute delight. It's uplifting, catchy, and insanely happy for Nick. I adore it's joy - pure and simple. Great flute riff and a sweet, clear guitar tone. His phrasing and lyrics are sublime: gambolling lambs, bubbling brook, red-breasted robin, fishes, bluebells, foxes and rabbits, oh my!! And still your hands, still your heart, still your mind, still your soul...gorgeous. And the clip shows his joy and sense of humour, love it!

When I first heard this, I played it over and over. I do not think I will ever tire of it.



JOHNNY CASH

JOHNNY CASH

Before I write about Johnny Cash, I need to write a little about country music.

 

I think my grandfather played a lot of it, I say think, because there are songs that feel like home to me and he would be the only culprit. And I just don't remember.

 

I am pretty sure he played Johnny, I can see how he would have loved him.

 

Despite that, I would have said I was not a fan of country at all (one of the few genres of music I would wipe completely).

 

I have only admitted to loving country in the past decade...but let's get this straight, cool/edgy country...ok some daggy stuff too! When I look back, of course I have always loved it.

 

I grew up with Glen Campbell and Kenny Rogers at home. I loved Dolly - who doesn't? I adore Patsy Cline and Willie Nelson.

 

And when you listen to bands like Fleetwood Mac, Eagles, Creedance Clearwater Revival, Neil Young, Linda Ronstadt, The Rolling Stones, Ray Charles, Tom Petty and the Heartbreakers, Paul Kelly, Elvis Presley and Bonnie Raitt as I did and still do, you know they have a little country in their backbones.

 

Then there is the new wave of 'alternative' country stars - The Waifs, Kasey Chambers, Norah Jones and the Little Willies, Dixie Chicks, Tex Perkins, Alison Krauss and Steve Earle (not so new).

 

Even Bob Dylan, Olivia Newton John and Elvis Costello have had their country periods. Most folk and blues singers have country in them somewhere, and rock came from there...

 

It's funny how you judge something and not even realise you are judging yourself! Maybe it wasn't cool to like country, but you get to an age where cool just doesn't cut it anymore, you need to own what you like...and I like (NO LOVE) Country...ok not all of it, but a huge enough chunk!

 

And as every good country music lover knows, the king is Johnny Cash. He is country, he is cool, he means business, he's lived those lives he is singing about. And anyone who wears all black is all right with me!

 

I remember discovering he sung Jackson with June.

 

Jackson!!!!!

 

Wasn't that the duet INXS did with Jenny Morris at the Countdown awards many moons ago??? I LOVED that song, well Johnny's is far cooler (sorry Michael) cause you know he meant it!!!

 

I wasn't a huge fan, I knew a lot of his music and listened to it occasionally.

 

Then I got my hands on the American Recordings Albums, his 'comeback' albums with Rick Rubin. Comeback being a bizarre term to use - he never really went away!!! His interpretations were amazing, humbling and often raw (that's how we like Johnny...raw...well, I do anyway!)

Most especially his version of Hurt, formerly sung by Nine Inch Nails. It was beyond powerful - and that was before you saw the clip. You knew he was sick, but how sick I do not think anyone really knew. Trent Reznor has gone on the record as saying Hurt "that song isn't mine anymore" which shows how powerful Johnny's version is.

 

Then wherever you went Johnny was there - in magazines, on charts, in record stores, and a movie coming out about him.

 

He was a star...again...still.

 

And like that, he was gone, 2003, almost ten years now, but it feels like yesterday.

 

I went to see Walk the line with high expectations - they were met and exceeded...a very rare thing indeed. I learnt even more about Johnny Cash, the man. Some of it was not pleasant, some of it just devastating, but mostly you just admired him, his talent and his perseverance. And that love he had for June - wow he had it bad!

 

Johnny Cash is the man, every song a gem and hard to pick which ones I like the best.

 

TRACK FOURTEEN: Ring of Fire

From the beginning the horn section starts, it drags you in. The intensity of his voice, the twang of the guitar and that sharp brass sound - wow! The lyrics match the song, they tell the story of Johnny and June's love and the craziness of it all. A great song.

 

TRACK FIFTEEN: Folsom Prison Blues

A classic track indeed, starting with the famous "Hello, I'm Johnny Cash" - as if we didn't know. It's that nod and wink to a small joke. Folsom Prison Blues, whilst tough subject matter, really has this tongue in cheek vibe to it. I love it. great guitar playing, and the rhythm matches that train coming down the track. It's that toe taping beat that makes us enjoy his performance. Check out how he holds his guitar and indeed himself! Oh and those deep, deep notes, and the way he tilts his head for the extra air to get down that low.

TRACK SIXTEEN: Jackson

Classic duet, sung by many over the years, but Johnny and June make it their own. So much so, you would have thought they wrote it about themselves. And it features a favourite line of mine: "Goodbye, that's all she wrote." I use it a lot!!

And while I didn't include this in my compilation, I will include the video here, it is something else: HURT.







 

THE CARS

THE CARS

I think The Cars are underrated these days. I love their stuff. They were early 'new wave'. Great pop/rock sensibilities, 2 lead singers and a lot of great songs.

TRACK ELEVEN: Just what I needed

Their first big hit and a big fav of mine. Starts like a good pop song, but builds towards rock with a thrashy kind of guitar riff...love!

This is clip from Live Aid - amazing!

TRACK TWELVE: Shake it Up

It's as plastic pop as they come, but a lot of fun. Loved this as a kid, lot's of dancing and shaking...

Great clip- featuring Ric Ocesek on vocals and enjoying himself at the end!

TRACK THIRTEEN: Drive

Drive is a classic 80s power ballad, their biggest hit. Vocals back to Benjamin Orr, their bassist - he did the yearning ballads better!

Written by Ocasek, the iconic monochrome video was directed by Timothy Hutton and featured the haunting Paulina Porizkova. She was 19 and went on to marry Ric.



GLEN CAMPBELL

GLEN CAMPBELL

I grew up with Glen Campbell and have always loved him. He is the best kind of country...melodic and smooth. Jimmy Webb, who wrote most of his songs, is a genius. I have gotten grief about my love of Glen, but I don't care. He is great to sing along to, a little melancholy, a little uplifting.

TRACK EIGHT: Rhinestone Cowboy

What a grand song!

Great lyrics, smooth vocals, solid rhythm.

"but, I'm going to be where the lights are shining on me"

Fabulous for Karaoke...not that I'd know...much...

TRACK NINE: Galveston

A Jimmy Webb classic. The rich timbre of Campbell's voice really suits this.

I love the clip too, understated and simple - much like the song.

TRACK TEN: Wichita Lineman

This is classic Jimmy Webb: the yearning and melancholy, the light strings, the deep guitar and great lyrics. When Jimmy sings it is a bit more 'damaged'.

"And I need you more than want you, and I want you for all time"

Oh my, we all know *that* feeling...

REM have also done a great cover of this which I will include further below, Stipe's voice realy suits Webb.







CAKE/CALIGULA

CAKE

TRACK SIX: Short Skirt/Long Jacket

I like Cake, but love this song a lot, it's just catchy and quirky and always lifts my spirits when I hear it. Not much more to say on this one.

The video is pretty funny too.

CALIGULA

I listened to Caligula a lot when I was younger, they only had a couple of albums, early 90s, Australian band. A mix of styles, they never really hit it big.

TRACK SEVEN: Before

I danced a lot to this, and whilst it is a bit tinny, it still takes me back. I think I saw them at The Cambridge...sounds about right!

When you watch the filmclip you can see how very (bad) 90s it was!