While The Happy Prince, disappointingly in many ways, is not a retelling of Oscar Wilde’s classic and well known children’s story, it is an imaginative and creative account of the last days of it’s celebrated writer. Shown at the weekend as part of the 31st Foyle Film Festival; with one of the film’s stars, Edwin Thomas, who plays Wilde’s long time friend Robbie Ross, in attendance.The Happy Prince is set just after Wilde’s release from prison and follows his life in continental Europe right up to his death which took place in Paris in 1900. It portrays Wilde as a debortous drunk who is thrown out of pubs for creating trouble. He’s on his last penny and has only a few genuine friends left. Rupert Everett, in his directorial debut, is unreasonable as an older Wilde. He is some who seems determined however to reconcile himself with his long suffering wife Constance, the narrative however does leave it open to interpretation if he was actually serious about this or not. It cannot be guaranteed that this is an authentic portrayal of course very few can tell, however as interpretation goes it seems to be the one of the better ones. These are the days long after Wilde’s hayday, although there are brief flashbacks to happier times. Colin Firth, in a relatively low key role plays Regie Turner; one of the few friends Wilde had left in is latter years. Colin Morgan, who shot to stardom as the young Merlin in the hit BBC series Merlin is unrecognisable as Bosie, and also suitably spoiled and uptight, playing the part to a tee. While relative newcomer Edwin Thomas gives an assured performance as Oscar’s longtime friend Robbie Ross. On the whole while not being wildly brilliant The Happy Prince is a good, entertaining story which entertains and interprets real life events in a way that upholds the humanity of real life characters.
There was a packed house as the Foyle Film Festival’s 31st year commenced with a gala screening of Collette on Friday night at the Brunswick Moviebowl in Derry.
The film, starring Kiera Knightly, Dominic West and Eleanor Tomlinson (she of BBC’s Poldark fame) star in this biopic of French writer Sidonie-Gabrielle Collette; known to most simply as Collette. Most people will not be familiar with the subject of this film, however anyone who is familiar with the film Gigi starring Maurice Chevalier and Louis Jourdan might be interested to know that Collette wrote the novel upon which the film is based.
The film is certainly sublime when it comes to costume, set design and cinematography However, what it gains in those things it sacrifices in plot. The film completely ignores two of her marriages, the birth of a daughter and the most prolific writing period of her life; thus ignoring the strong female role that could have been portrayed for that of someone who was manipulated by her first husband and hopped into bed with almost any woman that was around.
While it is obvious that the film has tried to portray Collette as a rebellious trend setter who broke the mould that society of the day set her; it cannot be helped but to think that the achievements of the real Sidonie-Gabrielle Collette have been sacrificed by this film in the name of sensationalism. It is obvious that the film wanted to get across the fact that Collette was manipulated by her first husband, artist and writer Henry Gauthier-Villars, (also known simply as Willie) (played abily by Dominic West) and the fact that he controlled much of her earlier career; the film could have been braver and more adventurous in doing so. Collette is a reasonably watchable film, however it can’t help but be thought that it could have been a whole lot better. Instead this film tends to do more for the male gaze than the feminist cause.
The Foyle Film Festival continues until Sunday 25th November.
Whenever you are used to seeing the world from a certain angle you realise that you have a unique perspective on everything that no-one else can quite grasp.
When this particular reviewer arrived at this particular performance the choice was offered whether to go to the top and work my way down along with the performance, or stay at the bottom and watch everything develop above me and evolve from there.
.The later was eventually decided upon, made in part because in this rather futuristic venue it might be difficult to see over stairways as the performance progressed. Also vertigo has a nasty habit of striking at the most inappropriate moment.
The performance in question was that of Echo Echo Dance theatre company in collaboration with Manoli Moriaty, a sound artist originally from Athens but who is now based in the UK. The performance was part of the ISSTA (Irish Sound Science and Technology Association) 2018 conference, during which the notion of urban society being a contested space would be explored.
So it was that the performance began at ground level, bodies twisting and turning in slow movement, exploring the environment around them. As these strange creatures in this futuristic jungle become more aware of their surroundings. All the while a soundtrack of hypnotic, almost nauseating music is heard. These strange creatures, like currents of electricity began to explore their steel surroundings, occasionally returning to each other for comfort and warmth.
Soon these strange creatures burst into chitter chatter; as if someone had turned on a switch and they were suddenly realising the power of speech. As you watch this strange urban jungle, where evolution and electricity coexist the onlooker can feel like somewhat of a voyeur; like a David Attenborough programme, watching these newly created electrical beings coming to life and exploring a new world. The interaction between the audience and the performer at times made it seem as if the onlooker was a natural part of the environment and perhaps made that onlooker question; what is their part in this strange world. Nonetheless less the onlooker is left in the end feeling as if they are just that; an onlooker, observing this world of electrical evolution.
Echo Echo Dance theatre company’s dance and movement festival continues until the weekend.
Having appeared on stage with Queen at the age of 9 you could say that nothing fazes Simon McBride. He has drawn comparisons with the likes of Rory Gallagher and Gary Moore; his high tempo rock/blues palette has won him many fans the world over.
On Tuesday however it was to the University of Ulster’s Magee College campus in Derry that he appeared with his trio as part of the university’s ongoing music@one series of conserts; which is there for to broaden the musical horizons of student and general public alike.
Playing his own brand of rock-blues and backed up by Dave Marks on bass and Marty McCloskey? on drums it seemed at first as if the audience gathered weren’t sure how to react, many of them being sheepish music students who were perhaps beginning to tire from a morning of scholarly activity or perhaps eagerly anticipating their lunch, or (dare I say it) suffering the effects of some other student activity. In time though you could see the odd head bobbing or foot tapping.
Hard hitting anthemic rock would be the best way to describe McBride’s brand of music, underlayered with the line of smokey blues. This is evident in many of the tracks played on the day including the opening song You Got a problem a number reminiscent of what through time and musical evolution has become known as the power ballad; but what this particular reviewer would simply class as a great rock song. From the band’s playing and McBride’s singing it was soon clear that the students were there for a master class and didn’t realise it. The band moved swiftly on to a number with a familiar sounding title Down to the River but no, this wasn’t that classic and much underrated Bruce Springsteen classic (which is simply called The River). This was the sort of high tempo rock song with a catchy tune and lyrics you found yourself almost believing you had known all your life. The sort with guitar riffs you can sit back and admire and thumping drum beats that can’t fall to go unnoticed.
Down to the Wire , the next song on McBride’s reportoire is the sort of stuff that legends are made of, reminiscent of the likes of Gary Moore; by now the students were sitting up and taking full notice. From here we were taken forward about twenty years or so with a song called Change, a song with a kind of early nineties vibe about it; the sort of thing the Red Hot Chili Peppers might have produced but without the rapy bits. Dave Marks certainly could be compared to Flea, at least in playing stakes. This leads swiftly on to Fat Pockets, the type of song about someone down on their luck with next to no money that everyone can relate to. On this track the trio show that they really can blend elements of the classic and contemporary effortlessly. It’s also a track where Marty McCloskey on drums particularly comes into effect.
So Much Love to Give is classic rock balled with a rip-roaring edge given to it by McBride’s boys.
Before this particular reviewer commences this particular review a certain amount of bias must be confessed. In the mid-nineties; while a lot of my peers were listening to hardcore rave or grunge music, artists such as Angelique Kidjo could be found in my fledgling CD collection. Indeed given how long the Beninese songstress has been on the music scene it is hard to believe that this was her first visit not just to Belfast; as was the case on this occasion, but the first time that she has played in Ireland at all – quite a coup for the international arts festival in Belfast.
She’s a UNICEF good will ambassador, she’s an advocacy ambassador and multi-award winning recording artist and last Monday night took to the stage. The critically acclaimed singer was in town to show case some of her best known songs as well as those from her latest offering, a reimagining of Talking Heads 1980 album Remain in Light, which became known for such hits as Once in a Lifetime, and The Great Curve, and which it is said was inspired by many of the rythem found in African music. So it is only natural that one of Africa’s top recording artists brings those beats back home.
The night began with an upbeat rythem. Born Under Punches was her opening song, the lines punch out like a great political statement, “Take a look at these hands, take a look at these hands” Kidjo has a power and range to her voice that makes her audience immediately sit up, pay attention and crave more still. “All I want is to breathe” she sings melodically. The whole time Talking Heads original disappears into the mists of time and what emerges is something fresh and different that makes the song sound as if it was meant to be sung by Angelique Kidjo. Next up on the process of transformation is Cross-eyed and Painless originally a funk disco vibes song, somewhere in the back of the mind the listener can still hear the original with the new version laid over it and appreciate how it has been made completely new.
As well as her music, Angelique Kidjo is also known for her advocacy work and her work to help young girls around the world, who would otherwise be married off at a young age, achieve their goals of a productive education. In tribute to this she slows down the tone and sings a heartstring pulling lament Cauri. Moving swiftly back into Talking Heads material came Listening Wind, a song Kidjo uses to illustrate the greed and corruption that is riddling both the African continent and the world.
The Great Curve is transformed into a afro jazz number with a fast paced drum beat, and pulsating trumpet sounds, high tempo afro beats and electric guitar blend. The world moves on a woman’s hips indeed, this is another song that seems made for Angelique Kidjo
Next song on the reportoire is one neither of hers nor Talking Heads but “If you don’t know this you have not been living on planet earth”” she declared to an enthusiastic audience before the familiar beat of Pata Pata starts up (CJ: put it this way, you do know it, you just don’t know that you know it, if you search for it on Google you’ll soon be thinking “ah that one!”)
The Overload, updated by Angelique Kidjo into a song with attitude. African drum beats slow paced, electro pop turned afro rock with a smooth brass line.
Next up was the ultimate in audience participation. Angelique at this stage had well and truly seeped into the spirits of her audience and she new it. Now it was time for them to join in, not one person was uninfected with the rythem and the beat that she was spreading. Within minutes not a member of that audience wasn’t singing “Mama se Mamá se Mama Afirika” The world is Africa and Africa is the world; and the world is above all else human.
After the excitement and euphoria had lowered just a touch the magic was continued in the form of the iconic Once in a Lifetime (not on the Into Light album but a welcome addition nonetheless). The song is familiar enough to be recognised but Kidjo gives it her own twist.
The tempo was kept high and the audience participation also kept to the maximum with Tumba, a high octane catchy tune that sticks in the memory. Then comes a song that began it all, that first brought the hostess for the evening to this particular reviewer’s attention – Malaika , a melodic and tender love song in Swahili from the archives of African folk music.
Angelique Kidjo rounded off the night with her funked up version of Burning Down the House, a song not on the current album, also famously covered by Tom Jones and the Cardigans.
On the whole, while some might have expected a more extensive back catalogue to be covered by Kidjo she was there to highlight her most recent recording and did so with flash and with flair. This particular reviewer isn’t in the habit of liking an album of cover versions, often thinking it lazy and a sign that an artist’s career is slowing down, however and I hate again to show bias (“oh go on”, I hear you all cry, “you know you want to”, oh ok then) this was an inspired transformation of songs and the most energetic and enjoyable show this particular reviewer has been to. The high enjoyed by this particular event is still being felt, well done Angelique!
The Godfather of all film critics, Mark Kermode was in Belfast at the weekend as part of QFT’s 50th birthday celebrations.
In conversation with Brian Henry Martin, Kermode talked about everything from his beginning in criticism and the fact that he believes that there are too many middle-class, middle-aged men in film criticism and that there needs to be more diversity. Mr. Kermode also talked about his most and least favourite film and also films that everyone else loved almost universally but he himself wasn’t so keen on. This is where the audience were brought in as several members of the audience gave their input as they gave their opinion as to what should have the dubious honour of being on this list. Mark Kermode also revealed an exclusive; new episodes were being made of the critically acclaimed Secrets of Cinema which will feature… Yes you’ve guessed it, or is it too soon to mention the “C” word?
Another anecdote in Kermode’s conversation was that he remembered criticisms of himself and his work more than he remembered the praise. In fact he acknowledged that Secrets of Cinema wasn’t universally loved, one critic from one of the UK’s leading daily newspapers bemoaned the fact that “Mark Kermode watches too many films”!
Part of the reason Mark Kermode was there was to preview his choice for the 2018 Belfast Film Festival Pick, The Breadwinner, a 2017, Irish, Canadian, Luxembourgish co-production. The Breadwinner is a beautifully animated story set in Afghanistan during the time of the Taliban. It focuses on Parvana, a young girl who spends her time with her father, who we learn from quite early on has given her daughter a sense of determination and independence; a dangerous thing for a young female in Taliban ruled Afghanistan to have. When her father, who has previously been left as an amputee following the Afghan-Soviet war, is arrested by the Taliban, Parvana; living in a country where females cannot go out in public without being chaparoned must resort to desperate measures to provide for her family. She must also however also endeavour to save her father.
Along the way she encounters many people, both friend and foe and survives through sheer determination and the memory of some of the folklore that her father has passed down to her. There is a contrast set in the film in that it is an animated film, but has very graphic adult themes such as beatings. The character of Parvana is only eleven but finds she has to grow up quickly in order to survive; indeed the audience, although tempted to think of it as a pleasant cartoon about the life of a young girl are occasionally nudged in the elbow and reminded that before their eyes is a serious drama.
Although The Breadwinner does have some heart pounding moments and does deal with some violent themes, (it is set in a turbulent land during turbulent times after all) gratuity is never resorted to. The Breadwinner is a story of triumph over adversity and determination over despair that is bound to be enjoyed by the whole family.
World class traditional music came to Derry on Tuesday as two former students made a return visit to their old Alma mater at the university of Ulster’s Great Hall at the Mater campus.
The Great Hall was packed out to hear Jack Warnock and Eimhear Mulholland, two of Ireland’s freshest young talents, who only graduated last year and are already making a name for themselves. Jack Warnock is a recent nominee at the BBC Radio two folk awards.
It was obvious from the offset that these two musicians were used to each other’s company on stage and worked well together as they produced a series of high tempo jigs and reels more akin to a late night session than the exuberant hall of a university.
First up they played a few classics including Timmy Clifford’s, The Rambler and Malcolm’s New Fiddle, all on fiddle and guitar. They swiftly moved through to Óró Mo Bháidin before getting the crowd going by slipping in a few slip jigs on piano and whistle.
Both natives of county Derry, Maghera and Magherafelt respectively, the rich heritage of their hinterland and their pride in it was obvious as they went from jigs to The Braes of Moneymore before extending their depth of musical knowledge, (and the horizons of the audience before them) with a Breton Set entitled Boules et Guirlande.
The last section of the show featured a song with a Swedish flavour entitled Åstols Rokeri followed by a set on the whistle featuring traditional tunes such as The Curlew, The Fox on the Town and Castlerock Road.
The afternoon was rounded off on a high with a rip-roaring set that brought the house down in the form of a number of reels, John Pellerine’s, The Full set, Laurel’s and Hull’s Reel.
On the whole this was a fantastic afternoon and was a pleasure to witness two talents on home soil who are heading places, watch this space!
Music@one; organised by the arts and humanities department and broadcaster and musician Linley Hamilton, is quickly gaining a reputation for showcasing, not just the best to come out of the university of Ulster’s Magee campus, but also the best musical talent to come from both these shores and further afield.
Little Voices of Fukushima is a documentary which follows the lives of some of the world’s most vulnerable people in one of the most vulnerable places. It was shown as part of a special event held at Holywell Trust by the Northwest Japanese Cultural Group.
Fukushima isn’t geologically vulnerable because of where it is on the earth; give or take the odd natural disaster. Fukushima’s vulnerability is almost entirely man-made.
The Nuclear power plant at Fukushima exploded on the 11th March 2011, in part due to a Tsunami following an earthquake. It is an event that the world has largely forgotten about and many international news agencies have “moved on” from in terms of big news stories.
The screening of a documentary about this particular event is probably well timed considering that it was only last month that the death was announced of a worker from the plant, two years after he was diagnosed with cancer thought to be contracted as a direct result of the disaster.
Behind the forgotten headlines are children who, seven years later are still suffering from the effects. Little Voices of Fukushima highlights how the very milk that children are drinking is contaminated, well beyond anything that could be considered safe, (if indeed anything can be).
The documentary contrasts this with a similar disaster which happened on 26th April 1986 when the nuclear power plant at Chernobyl in what was then the Soviet Union and is now part of independent Ukraine. Children there are still being sent, with the good will of strangers, for respite care from the effects of that particular disaster.
What Little Voices of Fukushima highlights well are how the most vulnerable people in society are being exploited and mislead by the powerful. An understated documentary with a powerful message.
It was perhaps meteorologicaly appropriate that there was a fresh autumnal breeze blowing and a multicoloured palate of leaves were rustling outside. The performance that was about to be witnessed by a generous gathering in the Great Hall of the University of Ulster’s Magee College campus is entitled Buaine na Gaoithe, which roughly translates as the swiftness of the wind. The piece has recently been described by it’s composer on the BBC’s John Total Show “A journey that allows you to get out of time”.
The performance was part of the Music@one at the Ulster University’s Magee College campus. Soprano Liz Pearse, Flutist Chelsea Czuchra and Harpist Lindsay Huffington, better known to some as The Damselfly Trio came together to perform the musical collaboration between composer Ryan Molloy and poet Martin Dyar. Given the weather on the day this piece was performed it was apt that wind and string instruments were brought together along with a voice that varied between a soft gentle breeze and a strong powerful storm.
Buaine na Gaoithe is broken into five movements, each one of these movements representative of each of the five poems written by Martin Dyer. The first one A Waiting Tree was comprised of the full trio, the second movement .\n. It wouldn\’t be recommendedIn Gortnagran was a simple vocal recital of the poem in question. The third movement A Merlin in the Sheefreys is a spoken word piece accompanied by the harp and the final movement Her Crossing comprises of the full ensemble.
It could be said that thqqqere’s something rather Avant Garde and new age about this piece as a whole. It perhaps wouldn’t be recommended to someone who is new to classical music. But as you are sitting there on an otherwise riotously blustery day, you can’t help but find yourself in a moment of peaceful serenity.
The performance is also part of an Irish tour which takes in Belfast, Portaferry, Athy, Dublin, Maynooth, Derry, Limerick and Castle are.
Little over a year ago viewers of ITV’s hit series Victoria starring Jenna Coleman, were left aghast and dismayed by the harrowing depiction of the Great Famine; an event which is ingrained into the national pshyce of the average Irish person. People had written to a well known television weekly wondering why they had not been taught anything of this in their schools. They were surprised at their own lack of knowledge about such a harrowing experience in both their own history and that of their nearest neighbour which, at the period of history in question, was part of the British Empire.
This thought came to mind as the opening credits rolled and the bitter sweet opening scenes of Black 47 appeared on the screen. An autumnal palette of pale blues and greens and muddy earthy brown’s appeared thanks to the cinematography of Declan Quinn. Bitter because of the abject poverty on display; sweet because of the stunning landscaped on view
As the plot unfurls you see skeletons in human form in nearly every shot, so authentic looking its unimaginable that you are merely watching someone playing a part.
The main plot of the film revolves around Feeney, a renegade ranger who has been ironically fighting for the British in India. Upon his return home he witnesses first hand the effects of the Penal Laws and the Potato Famine; which at this time are at their worst. The land that he returns to is one of decay, despair and desperation. Indeed one of the final times he sees his family is when his brother is shot for stealing and the rest of his family are left homeless when their house is “cleared” (that’s burned down to you and I), with tragic consequences.
It is these events which prove to be the final straw for Feeney as he sets about avenging his family and gaining revenge on those he feels responsible. This leads him to an ultimate confrontation with an old comrade Hannah, who served with Feeney in India and is now sent to track him down along with Captain Pope (played by Freddie Fox of the Fox acting dynesty) and a local villager called Conneely, (played by Stephen Rea). The character of Hannah is a typical adversarial type who has a begrudging admiration for Feeney. He is a soldier himself and so naturally knows the mentality of the man he is pursuing. It ultimately however leads him to wonder what cause he is fighting for. Coneely, (played by Stephen Rea in his usual dour understated manner is in many ways the character through which the narrative flows. He is there as us, as the casual onlooker through which the viewer in the cinema can feel they are playing a part. At one point he says, “I better stay and see how this tale ends”, telling the audience that he is the narrator. Meanwhile Jim Broadbent, in what is a rather small part for him, plays the affable landlord. Possessing land in a place foreign to him, has callous disregard for the people under his care. To him they are part of the problem rather than people under his care.
For some who have been to see this film they are unsure as to whether they should treat it as an off the boil period drama, criticising the more swashbuckling or gun hoe elements; for others the opposite is true.
Sufficit to say as a first major telling on the big screen of the great famine it was never going to satisfy everyone.
What perhaps most well practiced viewers should see is a well plotted and well shot drama which doesn’t loose the ability to plant it’s tongue firmly in it’s cheek. It is also important to note the role that the Irish language plays in this film. Having more dialogue in Ireland’s native tongue than can be remembered for a long time.
In this year when perhaps Britain is in danger of repeating the offence, it would do people on “the other island” some good to witness the consequences of the last time their poor decisions and bad judgement had tragic consequences – before they go making any more.