Category Archives: Culture

Have You Seen… Five Documentaries To Seek Out (Part One)

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   In a special three part ‘Have You Seen…’, Charles Rivington explains that reality does not necessarily bite…

 

Reality is a dirty word. With the recent tragic suicide of The Real Housewives of Beverly Hills cast member Russell Armstrong hitting headlines, the debate about the cruelty of so-called ‘reality’ television has once again captured public imagination. I’m not here to debate the culpability of the show but there is a well-known saying that suggests, and I’m paraphrasing, that every innovation or new piece of technology, even those conceived with the best of intentions, will eventually be used to bring mankind one step closer to destruction. In a sense, this is exactly what happened to the documentary genre when its techniques and style were first appropriated, bastardised and reduced to their most shallow and cruel form by the reality tv docu-soap. I believe that, now more than ever, we should learn to value, appreciate and celebrate reality again, not Bravo’s ‘reality’ but the unscripted, impartial and thought-provoking reality of cinema’s great documentaries. This edition of ‘Have You Seen…’ is therefore a little bit different as, rather than focusing on one film, I have decided to focus on a genre, that of feature-length documentaries. Due to its length, I have split it into three parts.

 

The documentary genre  is as old as cinema itself and almost everything you can imagine has been the subject of a documentary film.  Narrowing this vast category down to a definitive ‘five greatest’ would thus be pretty much impossible not to mention entirely redundant given the subjectivity of this criteria (how do we define greatness? Is my great the same as your great and is your great the same as Leonard Maltin’s great? Probably not.). Having said this, I do believe that a great documentary, regardless of whether its subject is penguins or the Second World War or a spelling competition, should challenge its viewers and force them to consider an idea or a point of view that might never have occurred to them. Whereas the great documentary-maker simply observes and questions without judgement, the great documentary connects with the audience by insisting that they think for themselves, forcing them to evolve from passive observers to active participants. This list is simply five films that did that to me.

 

I've heard great things about Hoop Dreams

I have limited the field to just feature length films (no Attenborough here I’m afraid) and excluded films that I think most people have already seen and therefore don’t fall under the remit of ‘Have You Seen…’ (Bowling For Columbine and Man on Wire for example are both wonderful films but are excluded for this reason).  I should probably still apologise in advance because I am bound to have omitted one of your personal favourites either because I don’t share your opinion or because I simply haven’t seen it yet (Hoop Dreams, often regarded as one of the greatest documentaries of all time, is omitted from this list for the simple reason that I’ve never watched it). These five films are presented in no particular order. Feel free to disagree/put forward your own suggestions/advertise a dating website for rich singles in the comments below.

 

The Early Actualities of the Lumière Brothers (1895)

 

Having spent quite a bit of time defining the rules for this list, I have gone and broken at least one of them in the first entry because this is not one film, but rather a collection of one-reel films – the first ten of which were debuted at the Grand Café in Paris in 1895. It is also arguable the extent to which they are documentaries as given their short length (one-reel is usually less than a minute) it seems that most of them were probably at least partly choreographed and the comic L’Arroseur Arrosé (The Sprinkler Sprinkled) is often hailed as the first narrative film. Regardless of this, they are remarkable records of a bygone age and are therefore more than worthy of mention.

 

Filmed in their hometown of Lyon, Auguste and Louis Lumière’s fascinating actualities, among the first films ever made, give us an unparallelled glimpse at the lives of the French working class at the turn of the century. Among these first ten are La Sortie de l’Usine Lumière à Lyon (Workers Leaving the Lumière Factory in Lyon)

The Lumiere Brothers

and Les Forgerons (The Blacksmiths). Their depiction of the working class, and the fact that they were screened to audiences of all backgrounds, makes them as much a document and engine (pun intended) of social change as they are the remarkable first gasps of an emerging technology. Of course, at the time, the draw of these films was the amazing technology on display and the Lumière’s cinématographe, a device that recorded, developed and projected films, was the real star. These early audiences, used to the flat painted backgrounds of the stage, were particularly impressed by the capturing of nature on film and it is said that the popularity of films such as Repas de bébé (Baby’s Breakfast, which featured Auguste’s own family thus making it the first home movie) owed more to the movement of the leaves in the background than to the film’s charming subject matter.  Because of this, this early, pre-narrative period of cinema is often referred to as ‘The Cinema of Attractions’  (a term coined by film scholar Tom Gunning). Nowadays, the opposite is true and it is these actualities’ remarkable depiction of every day life in France at the turn of the century that makes them so fascinating.

 

For a set of ‘local films for local people’ featuring an interesting look at British life during a similar, slightly later period, check out Sagar Mitchell and James Kenyon’s actualities which were often filmed and projected on the same day and feature many other entries into the ‘factory-gate’ subgenre.

 Both the Lumière Brothers and Mitchell and Kenyon films are currently available on DVD. As they are out of copyright, they can also be legally watched online for free and are relatively easy to find.

 Crumb (1994)

Part of my fascination with the documentary genre lies in its wonderful breadth. Anything from pet cemeteries to the horror of war to cave paintings to parrots, when handled in the right way can make, and have made, incredible documentaries. That this list’s second entry should be so wildly far-removed from its first is a testament to this breadth and I make no apologies for the jarring shift in tone. I can’t begin to imagine what the Lumières and Mitchell and Kenyon would have made of Terry Zwigoff’s moving and shocking Crumb, a film apparently so depraved that the 1996 Academy Award nominating committee switched it off after only 20 minutes, but I like to think that, unlike the prudish Oscar snobs, they would have persevered and recognised it as a worthy and spellbinding entry into the genre they helped to create.

 

     Crumb is very hard to describe and like the best documentaries doesn’t tell you how you should respond to it so that laughter, tears and repulsion are all equally valid reactions. It takes as its subject Robert Crumb, the

A self-portrait of R. Crumb. He's not kidding either...

subversive comic artist most famous for creating Fritz the Cat, the counter-cultural slogan, ‘Keep on Truckin’’ and a myriad of other works that were at the forefront of the underground comics movement of the 1960s. I have to admit that I was wholly unfamiliar with Crumb’s work before I saw this film (I only sought it out because I’d seen and loved Zwigoff’s rather more mainstream, Ghost World) and even now I’m not sure if I can say that I actually like his drawings with their garishly warped figures and often challenging and unsettling depictions of women and African Americans. However, as is the case with many great documentaries, the ostensible subject is merely a way in to much richer territory and the heart of Crumb lies not in these drawings (although their geneses are often as fascinating as they are disturbing) but in the man himself and his bizarre and tragic family, most notably his disturbed and equally artistic brothers, Maxon, who developed a penchant for sitting on nails and sexually harassing women, and Charles, a recluse who committed suicide before the film was released.

 

Featuring various interviews with family members, friends, critics and ex-girlfriends as well as his surprisingly well-adjusted wife and daughter, Crumb paints a picture of an intelligent and sensitive man who escaped a

Robert Crumb and friends

horrible childhood and went on to find salvation through art when others around him who were not as lucky.  Crumb is a disturbing yet frequently amusing portrayal of mental illness and people on the fringes of the society that is frequently depressing but also strangely relatable. Crumb himself is a tapestry of quirks and odd sexual fetishes. As a young child he developed an attraction to Bugs Bunny to the extent that he would carry a picture of the cartoon rabbit around with him, periodically taking it out to look at it and much of the film deals with his life-long obsession with women with disproportionately large hindquarters. Despite these quirks Robert Crumb emerges as an oddly charming character whose quiet sense of humour and bafflement and disgust at the world around him is remarkably sympathetic, perhaps even inspirational.

 

Needless to say, Crumb is unsuitable for children and the prudish but if you can stomach it, it is a very rewarding experience. It is currently available on Region 2 DVD (annoyingly this print does not feature the fantastic Roger Ebert commentary that is available to our American cousins, so if you watch the film and like it – and have a region free DVD player – the Region 1 DVD is well-worth seeking out for this alone).

 

Coming Soon… Part 2!

Parade – Theatre Review

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I have wanted to see the musical ‘Parade’ for a long time. Sitting across the road from the Southwark Playhouse before the show, I overheard a man say to a woman: “Cheer up, you’re about to see the saddest musical every written!” And so I waited eagerly in anticipation.

Set in the 1910s in Georgia, we follow the tragic story of a Jewish factory owner, Leo Frank, as he is accused of abusing and murdering Mary Phagan (Jessica Bastick-Vines), a young girl who worked for him.

A drunken reporter, played by David Haydn, sobers up to return as a master of spin. He and Hugh Dorsey (Mark Inscoe), prosecution lawyer, rally up public support, and convince members of the community to bend the truth, and more often than not, to lie about their experiences of Mr Frank.

His only hope of rescue from a public hanging is his loving wife, Lucille (Laura Pitt-Pilford), who tugs at the heart strings of Governor Slaton (also David Haydn). He agrees to stand up for Leo, a man that he believes is an innocent outcast. Are these efforts enough to save him from the fury of the masses who need to see justice done, quickly?

Suffice to say, each and every singing voice was capable of setting the heart racing. The discordant harmonies of the chorus were touching, unsettling and emotive, and though I am not a trained singer, it was rare to hear an unsupported, pushed note from this experienced and talented cast.

Before we fully meet the protagonists, a distraught and dazed Frankie Epps (Samuel J Weir) recalls how young Mary’s ‘smile was like a glass of lemonade’. The song was delivered with a beautiful subtlety. The lyrics are so highly personal, that the performer needs a deep internal understanding of the character and his position in order to deliver them with complete truthfulness, which Weir was on the verge of.

Alastair Brookshaw (as Leo Frank) gave an equally strong vocal performance. I was touched on several occasions by the honesty of his performance, in particular when he sang to his wife, finding the confidence to simply say (possibly for the first time after years of marriage), ‘I love you’. However, the honesty was not consistent. The choice to listen intently to what the text tells us about his character’s nervous mannerisms was commendable. However, in times of extreme hardship, even the most agitated of people might break from their habitual mannerisms, look people in the eye, and show some humanity.

Both Laura Pitt-Pulford as Lucille Frank, and Terry Doe, in various roles, stood out as giving full commitment to the finer details of their performances. When Lucille begged for the Governor’s help, and when Riley (Doe) hit the deck, when singing about the injustice of a juridical system that prioritises murder of white victims in the courts, there was no rest from the illusion that they had created.

I have not commented on every performance, but that is no negative reflection on the others. A strong cast, fantastic set, and sharp direction by Thom Southerland and co. left us with something to think about. I wanted to be moved more, but I blame it on that man I overheard before the show, preparing me for floods of tears.

Acting Up! Returning to a Life Less Ordinary

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Well, it’s been a funny old year. About this time in 2010, I was sitting at a desk in a soulless office, writing websites, drinking coffee and watching my life and my ambitions swirl slowly down the drain. I’d only taken the job to pay for my wedding and already it had taken over my life, and not in a good way.

I was depressed. This wasn’t me. I’d been touring theatre and producing shows since I was 17. I was a performer, a creative thinker. Now here I was, getting fatter, grumpier and watching my life hit a brick wall in teeth-shattering slow motion.

So I stopped. One day I just walked into work and told my employers, in an embarrassingly polite, wet liberal way, where they could stick their job (“Sorry! I hope it’s not too inconvenient, I know you’re busy.”)

Some people said that I was insane. Mind-bogglingly, eye-wateringly insane. I’d just resigned from a secure, reasonably well paid job in the middle of a recession. Insane!

But there were others who said something quite, quite different.

They said “Well done”. They even used the word, and I’m embarrassed to repeat it because I still don’t really believe them, “brave”.

Truth be told, I’m not insane. I’m not particularly brave either. I just made a choice. Move sideways into another dead end job or move forward into a career that I actually enjoyed. Simple really.

But has it worked? Am I happier, more fulfilled, more engaged and more successful now that I’m back in on stage and screen?

Well over the next few weeks I’m going to be sharing my experiences, thoughts, triumphs and failures with the readers of Frost Magazine. There have been good times, bad times and just-plain-weird times. I’ll also be sharing a bit of the wisdom I’ve learnt from casting directors and actors along the way.

But first, I’ll leave you with a question; What is the most impulsive choice you’ve ever made,… and did it work?

You can find out more about Tim Austin at his WordPress page; http://actortim.wordpress.com.

Check back next Wednesday for more Acting Up!

Demanding Travel As Pleasure

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House prices in London are stupid, and so, too, are rent prices. The average wage in London is approximately £24k per annum, but to afford somewhere half decent in most places, you’re looking at paying at the very least a quarter of your monthly income on rent alone (nearer half depending on how below average you earn), excluding bills, internet, cider from a Samuel Smith bar on a Friday and the countless amount of birthday pots you have to fill in the office – not to mention your round of “Friday treats”.

For many, the option to live in London is just not there, and commuting to the capital to work is the only option available. Yet anybody watching BBC lunchtime news on Monday the 15th of August will have learnt – possibly for the first time – that they are rich anyway and so it is justified that train fares will be hiked up by on average 8% by January 2012.

Already the daily commute to work is, as Le Corbusier put it, a surplus labour, reducing one’s free time, but with rises, it gets worse than just being extra work. It should count as an increasing loss of earnings.

One commenter on the BBC website put it: “These ticket prices are already making me wonder whether I can afford to make all of my journeys without making sacrifices somewhere else.”

Guy Debord, the Situationist thinker and pissed map reader, said in his thesis on traffic: “We must replace travel as an adjunct to work with travel as a pleasure.” At the moment, the best we can ask for – and I myself commute a fair bit to my place of work – is half a sticky seat with an elbow in your ear and a laptop in your mouth. For travel as pleasure to be even close to being a tenable goal we need the following things as standard:

  • Air con
  • Leg room
  • A seat, or a partial refund if no seat is available
  • One sanitation booth per carriage
  • A request for all carriages to be “quiet”
  • An end to weird, screechy noises to tell you the doors can be opened

For train travel to be pure pleasure, and a joy to pay through the nose for, the following needs to be met (note to Philip Hammond, see this as your benchmark):

  • Luxury leather seats
  • A cap on the amount of people who can board, and a person available to write notes to employers explaining why you are so late
  • A string band
  • A mini-bar subsidised by way of an extra stealth tax on motorists – £1 on every time a motorist is a “dick” (criteria for this to be published at a later date)
  • Second-class travel to be outlawed
  • A button to exterminate mobile phone users or people with loud music

Until these demands are met, I for one will be joining the Campaign for Better Transport’s Fair Fares Now initiative. Join me!

Phone Hacking: Goodman Letter Reveals 'Everyone Knew”

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Rupert Murdoch, James Murdoch and Andy Coulson face fresh embarrassment after an explosive letter from former News of the World Royal Correspondent, Clive Goodman was published today.

The four-year-old letter was only published on Tuesday, and it claims that phone hacking was “widely discussed” at editorial meetings at the News of the World until Andy Coulson banned any future references to them.

Goodman went on to claim that Coulson said he could keep his job if he agreed not to implicate the paper in court and that his hacking had “the full knowledge and support” of other senior journalists, who he named.

The Murdochs may now be recalled to parliament to give more evidence in the light of Goodman’s letter. Rupert Murdoch said that Andy Coulson knew nothing about the hacking during the hearing.

The letter was published by the House of Commons Culture, Media and Sport Select Committee. One committee member, the Labour MP Tom Watson, said Goodman’s letter was “absolutely devastating.” He added: “Clive Goodman’s letter is the most significant piece of evidence that has been revealed so far. It completely removes News International’s defence. This is one of the largest cover-ups I have seen in my lifetime.”

Goodman’s letter is dated 2 March 2007, soon after he had served a four-month prison sentence. Addressed to News International’s Director of Human Resources, Daniel Cloke, Goodman writes: “This practice was widely discussed in the daily editorial conference, until explicit reference to it was banned by the editor.” He reveals that the paper’s then lawyer, Tom Crone, knew all the details of the case against him.

In another embarrassing allegation, he adds: “Tom Crone and the editor promised on many occasions that I could come back to a job at the newspaper if I did not implicate the paper or any of its staff in my mitigation plea. I did not, and I expect the paper to honour its promise to me.”

Anonymous: Damaging The Vital Cause Of Internet Freedom

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Anonymous – the radical decentralised online community ostensibly associated with the goal of ‘free speech’ – has caused controversy by issuing a statement sympathising with the UK riots.

It is yet another example of action by the organisation that damages the vital cause of internet freedom. A cause which the organisation claims to defend.

The Anonymous collective has become increasingly prominent. It is most famous for its DDoS attacks which bombard a target webserver with so many requests that it is forced to shut down. The Mastercard and Visa websites have been victims.

Frost readers will know how much I believe in the freedom of the internet and it pains me to see the cause tarnished in this way. It was always wrong for Anonymous to take criminal action. Their actions only give governments further justification to clamp down on the internet further. This is now more the case than ever following their recent statement.

For a supposedly decentralised community, the comments on the UK riots were pretty categorical, worryingly and obviously so. There is an elite within Anonymous that has its own agenda. http://pastebin.com/V00tbr01

The comments can only be interpreted as seeking to incite a revolution, saying: ‘Your politicians mask the extent to which a significant section of society is stuck in an impoverished way of life with little hope for the future.

“It is time to take a stand and realise that solutions will not be found in today’s corrupt political landscape.”

Anonymous called for people to join them in a day of action on October 15th. Although Anonymous made clear it did not condone the violence, it was sympathetic to the rioters. It suggested the riots were as a result of political anger and resentment. Let’s get real here. These riots had no political point (save perhaps the initial riot in Tottenham), and everybody knows that. These riots were about self-gratifying violence and greedy opportunism.

Anonymous will point to the government response to the riots, potentially regulating and controlling social media sites. They will argue this makes it a legitimate target. Undoubtedly, the government is disgracefully jumping on the riots as an excuse for further regulation. No one truly blames twitter for the looting.

That doesn’t mean anarchy is the answer. It doesn’t make it right to incite a revolution. Internet regulation doesn’t have anything to do with anti-cuts protests or unions and it doesn’t mean ‘justice is only for the wealthy’. You have gone beyond your remit, Anonymous.

A revolution might sound romantic, but we only need to look back a few years to see the true horror they bring. They also never end in free speech.

Passengers Outraged As Rail Fares Set To Rise Above Inflation Again

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Rail commuters are outraged as the so called ‘green’ government backed an above-inflation rail fair rise for already overpriced, overcrowded trains. Fares are expected to rise at least 8%.

The formula for fare increases is usually RPI inflation plus 1%, but for the next three years it is RPI plus 3%.

Rail minister Theresa Villiers said passengers were being asked to pay more for the next three years so that the government could “deliver a massive programme of rail upgrades.” However, Villiers was less than impressive while trying to defend the shocking rise in a BBC interview.

Rail fares for Londoners are also set to rise by up to 13% from January 2012, thanks to government changes to the rules on annual fare rise.

“These massive fare rises will be a disaster for people already struggling with rising costs, and risk pricing those on lower incomes out of jobs,” said Alexandra Woodsworth of the Campaign for Better Transport, who was protesting against the fare rises at Waterloo station today.

It is feared that some people will be priced out of being able to work.

Every New Year, train companies are allowed to push up fares based on the inflation rate published the previous August. Today, that figure was 5%.

Previously, the rule was that companies could only increase fares by 1% more than inflation, which would have seen bad-enough rises of 6% next year. But the current government raised the fare-hike limit to inflation-plus-3%, allowing for rises of 8% in early 2012. It also allows for rises of up to 8% above inflation on some routes, giving the 13% figure.

A 13% hike would see the current cost – £3832 – of an annual season ticket from Brighton to London rise to £4291.

The government blamed its lack of finances for the rail fare hike. Rail companies are subsidised by the government, which means unhappy commuters pay for it both through their taxes and when they pay for their fares.

Rail travel is notoriously bad in the UK. Rail journeys from London to Glasgow cost from £100-170 before these rises with trains often so overcrowded, it is usually standing room only. London is not much better, with people paying more money than anywhere else in Europe to ride in a carriage with no air conditioning and in worse conditions than a sardine in a can. Trying to get anywhere on the weekend is worse, as most lines are having maintenance, causing huge service disruption.

The Coalition government has promised to be a ‘green’ government, but rail fares are now so expensive that it is cheaper to fly, I know a number of people who do. Not so green after all.

Rock & Roll 1954 – Alive & Kickin`

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With popular rock and roll music rapidly running out of ideas for new twists and turns to which – let’s face it – was, and still is, a very basic American art form, I say, why bother changing something that’s not for changing anyway?

Great Rock and Roll music, if played and sung right from the soul, can – and indeed will – change the way we feel about almost any subject in life. But its basic function is to make us feel fabulous inside!

I have been a professional musician for over 30 years, working with some great artists. Most of them are huge music fans and it will surprise a few people to find how eclectic most working musicians are in taste and the ways you can find alternate routes into real established artists such as Dylan , Springsteen, and even Elvis himself.

The King alone has a recorded legacy bordering on over 900 sessions, all of which are now easy to access and show another world of rock and roll music – right back to its mid-50’s infancy. But I’m going to try to present some new contemporary bands / singers that still have that same depth or outburst from the soul that all great artists from the 50s , 60, 70s seemed to possess with sheer out the blue inspiration. We’ll call it  EARS TO HEAR`.

 

(Stratocaster pic by Vinicius de Carvalho Venâncio courtesy of http://www.publicdomainpictures.net)