The Old Curiosity Shop is another Dickens novel that revels in an expansive cast of character whilst still giving a sense of there being 'central characters'. One of these is undoubtedly Nell Trent, the most famous character from the book. The story begins with a look at Nell and her grandfather, who has been secretly gambling to try and create a fortune he believes Nell deserves. She, however, has always been content with very little. Nonetheless, his actions lead to them losing everything and they sneak out of the clutches of evil Daniel Quilp in the dead of night. They then begin a trek to find safety, encountering a variety of interesting characters along the way.
It's difficult to convey the scope of this novel. Who are the characters we care about? Nell, her grandfather, Kit, his mother and two brothers, Richard Swiveller, the unnamed schoolmaster and, on the villainous side, Sampson and Sally Brass and Daniel Quilp himself. These are just the main ones but they offer a good overview. While Dickens takes Nell and her grandfather off into the countryside, he doesn't neglect the tribulations of those back at home, in particular Kit and the rather dim-witted Swiveller. Quilp's maliciousness touches every life, especially when he decides to punish Kit for simply getting in his way.
Although the ending of this novel is well-known, I won't spoil it for anyone who has managed to avoid it. Even knowing the ending, though, doesn't diminish the quality of the story and comic effects of the various characters. The Old Curiosity Shop is a Dickens book through-and-through with my edition containing the original drawings by Phiz and George Cattermole. The depiction of Quilp in these drawings isn't something easily forgotten.
I do have some slight criticisms though. The tactic of introducing Nell and her grandfather via an unnamed narrator who wanders straight out of the story afterwards irritated me a little but it's a common feature of Victorian fiction. There were enough characters to get my head around without an additional one at the beginning! Also, the title quickly becomes redundant as the story spans far beyond the shop itself. These are slight criticisms, though, and I don't really have a bad word to say about the plot, characters or setting. The use of the river throughout leads to a suitably grisly climax and the plethora of unnamed and unexplored characters add to the depth of the novel.
I had my favourite characters, of course, and my favourite scenes but I can't list them all here. Anything involving Kit or Richard Swiveller could probably be on it, though most of Quilp's scenes were memorable enough to live with me after reading them. I won't forget his hideous little shack with a ship figurehead inside which he mutilates any time soon, that's for sure.
Friday, 13 July 2012
Thursday, 12 July 2012
The Depths of the Library
Level 3B. It sounds like somewhere Buffy would go to vanquish some mutant creatures but, no, 3B is a level of one of the libraries at the University of Sheffield. For two years I've avoided going down there, despite knowing that's where all the obscure books that may have relevance to my thesis live. These are the books that are so old they're falling apart, that seem to have rested unopened for fifty years, that have taken over the basement of the library and made it into some sort of book breeding ground. In fairness, it sounds like it should be my idea of heaven - but it wasn't.
I reluctantly took my book list down with me. There were four books to start with, all with the dreaded preface '3B'. First off, I only went down to level four after I stepped in the lift. I think that was my subconscious telling me I really didn't want to go any further but if I start listening to my subconscious I'll never do anything. So I pressed the button for the lift again and accidentally brought up the book lift instead. After ascertaining I couldn't fit in, I tried again.
So down I go. While there had been one person on level four there was no one in sight on 3B. The lift seemed three quarters towards the top end of the building and I had to go around it either left or right to reach the books. And, yes, there were lots of books. Dozens of lengthy rows of shelves stretching across the building with barely enough room between for someone to shimmy through the gaps. I set off walking, trying to find the pattern of shelving. I doubled back on myself when I realised I was going in the wrong direction then walked into a wall when the shelves ran out without taking me to my destination. Then I found myself in a bit of a quandary. I had no idea where the shelves would start from next.
I walked down (further away from the lift) and found myself in a slightly wider middle section, where encountering someone quietly reading scared the hell out of me. She shot me a dirty look and I escaped, not caring in what direction. Consequently, I was completely lost. I walked a while then veered left and hit the back wall. At least in that situation I managed to find the lower numbers where one of my books was housed. So I grabbed that and made a note using the wall that another one was best read in the library because it was so short (an overview of the periodical press in Victorian England if you were wondering). At some point, probably when I was replacing my nice Parker pen into my bag, it escaped from my clutches. So, yes, the library ate my pen amongst other things.
I was close to giving up. It was gloomy down there, quiet and my propensity to panic was kicking in. But the library trip had been a pain in the neck already - I had to go home with some spoils. I wandered around a little more and stumbled across my section completely by accident. Grabbing three more books (and noticing an ancient edition of Edmund Yates's Black Sheep nestled next to the two volumes of his memoirs) I somehow found my way back to the lift, all the while muttering to myself to keep myself calm.
The relief I felt when the sunlight of the main hall washed over me was unbelievable. My brain told me never to go down there again but, alas, the best books are all down there. Besides, I think that place deserves to be immortalised in a story. As does the girl who gave me a death glare. So I'll be going back down there for two types of research.
But not any time soon.
Wednesday, 11 July 2012
Classic Film Review: I Know Where I'm Going! (1945)
Perhaps the most irritating thing about this film is the flippant title! I Know Where I'm Going! tells the story of a middle-class woman travelling to a remote Scottish island to marry a rich man. The title hinges on the fact that she has, amazingly, always known where she was going and the film sets out to change her perceptions of her future, however much she fights the change. I think the title obscures a good film, betraying too little of the story.
Joan Webster (Wendy Hiller) travels to Scotland during wartime by various different means but finds herself stranded just out of reach of her island destination. Alongside her is Torquil MacNeil (Roger Livesey), a Navy man who also happens to own the property her future husband is renting. As the days go by, she realises that her plan for life may be falling apart as she develops feelings for the Scot and she'll stop at nothing to get to the island she's to be married on.
There are numerous wonderful things about this film. The Scottish scenery, for starters, is beautifully shot and adds atmosphere to every scene. First the fog and then the wind put paid to Joan's hopes of getting across to the island, making the mountainous terrain as much of a character as Joan herself. Equally, the supporting characters each have their own little role to play, however small that may seem. One of my favourites was a young Petula Clark, who beguiled me the few minutes she was on the screen. Hiller portrayed Joan's various difficulties very neatly and the whirlpool scenes towards the end of the film were remarkable for 1945. The use of a curse to frame parts of the story was perhaps a little contrived but everything - including an eagle named after Torquil - played its part in the film. Most events felt completely incidental, perfect for a film about things not working out as expected.
My one bugbear about the film was, I'm sorry to say, the leading man. Livesey, although he portrayed the Scot well enough, didn't exude the kind of presence necessary for the role. Joan's struggles about where her life was going would've been more poignant with a different co-star, I feel. In his interactions with other characters, the character of Torquil worked very well but I just didn't buy his affection for Joan.
That said, this is an excellent film for other reasons. The plot is one thing but the life it depicts is quite another. Worth a watch, if only for the special effects.
Joan Webster (Wendy Hiller) travels to Scotland during wartime by various different means but finds herself stranded just out of reach of her island destination. Alongside her is Torquil MacNeil (Roger Livesey), a Navy man who also happens to own the property her future husband is renting. As the days go by, she realises that her plan for life may be falling apart as she develops feelings for the Scot and she'll stop at nothing to get to the island she's to be married on.
There are numerous wonderful things about this film. The Scottish scenery, for starters, is beautifully shot and adds atmosphere to every scene. First the fog and then the wind put paid to Joan's hopes of getting across to the island, making the mountainous terrain as much of a character as Joan herself. Equally, the supporting characters each have their own little role to play, however small that may seem. One of my favourites was a young Petula Clark, who beguiled me the few minutes she was on the screen. Hiller portrayed Joan's various difficulties very neatly and the whirlpool scenes towards the end of the film were remarkable for 1945. The use of a curse to frame parts of the story was perhaps a little contrived but everything - including an eagle named after Torquil - played its part in the film. Most events felt completely incidental, perfect for a film about things not working out as expected.
My one bugbear about the film was, I'm sorry to say, the leading man. Livesey, although he portrayed the Scot well enough, didn't exude the kind of presence necessary for the role. Joan's struggles about where her life was going would've been more poignant with a different co-star, I feel. In his interactions with other characters, the character of Torquil worked very well but I just didn't buy his affection for Joan.
That said, this is an excellent film for other reasons. The plot is one thing but the life it depicts is quite another. Worth a watch, if only for the special effects.
Monday, 9 July 2012
Classic Film Review: Do Not Disturb (1965)
This is apparently one of the films that Doris Day didn't want to make but found herself contractually obliged by then-husband and manager, Marty Melcher. That gives Do Not Disturb a slight tint to it even before you start watching but, certainly, it's not a Day classic by any stretch of the imagination.
Day stars as Janet Harper alongside Rod Taylor as her husband, Mike. The pair have just moved to London so that Mike can run a failing woollen company. Janet wants to live in the country and rents them a house, owned by the stately Vanessa Courtwright (Hermione Baddeley). When Vanessa sees Mike in a restaurant with his secretary, Claire (Maura McGiveney), when he's supposed to be having dinner with his wife, she relates the tale to Janet and advises that she do something to make Mike jealous. Janet refuses but Vanessa begins to send cards and presents from a mystery lover and an unfortunate mistake with antique dealer, Paul Bellari (Sergio Fantoni), complicates matters further. Soon it certainly looks like Janet's having an affair - and she's still not so sure about Mike and Claire either.
As you can tell, the plot's a little convoluted. The film does feel a little all over the place, with constant cuts between what's going on with Janet and what's going on with Mike. The leading man and lady spend remarkably little time together, which was fine for me because I didn't really see any chemistry between them. They felt like sparring partners rather than a loved-up husband and wife. Day, despite her objections to the film, played the part as best she could. There were some memorable scenes - mostly occurring alongside either Baddeley or Fantoni - and a few laughs but very little truly comic material. The scene in a Paris pub where Janet gets drunk, ends up leaving and making conversation with a horse is rather funny. Equally, the scene where she rescues a fox from hunters is mildly amusing but there is an inexplicable goat called Wellington hanging around the house as well. Mike asked what the goat was doing in the house and, to be fair, I'd like to know too!
There are several flaws with this film but it still remains a reasonable Doris Day comedy if you're at a loose end. Don't expect something in the vein of That Touch of Mink (1962) or Pillow Talk (1959) but it's got some good moments peppered about. Watch out for Doris Day kicking a football around for starters.
Day stars as Janet Harper alongside Rod Taylor as her husband, Mike. The pair have just moved to London so that Mike can run a failing woollen company. Janet wants to live in the country and rents them a house, owned by the stately Vanessa Courtwright (Hermione Baddeley). When Vanessa sees Mike in a restaurant with his secretary, Claire (Maura McGiveney), when he's supposed to be having dinner with his wife, she relates the tale to Janet and advises that she do something to make Mike jealous. Janet refuses but Vanessa begins to send cards and presents from a mystery lover and an unfortunate mistake with antique dealer, Paul Bellari (Sergio Fantoni), complicates matters further. Soon it certainly looks like Janet's having an affair - and she's still not so sure about Mike and Claire either.
As you can tell, the plot's a little convoluted. The film does feel a little all over the place, with constant cuts between what's going on with Janet and what's going on with Mike. The leading man and lady spend remarkably little time together, which was fine for me because I didn't really see any chemistry between them. They felt like sparring partners rather than a loved-up husband and wife. Day, despite her objections to the film, played the part as best she could. There were some memorable scenes - mostly occurring alongside either Baddeley or Fantoni - and a few laughs but very little truly comic material. The scene in a Paris pub where Janet gets drunk, ends up leaving and making conversation with a horse is rather funny. Equally, the scene where she rescues a fox from hunters is mildly amusing but there is an inexplicable goat called Wellington hanging around the house as well. Mike asked what the goat was doing in the house and, to be fair, I'd like to know too!
There are several flaws with this film but it still remains a reasonable Doris Day comedy if you're at a loose end. Don't expect something in the vein of That Touch of Mink (1962) or Pillow Talk (1959) but it's got some good moments peppered about. Watch out for Doris Day kicking a football around for starters.
Friday, 6 July 2012
Classic Film Review: A Double Life (1947)
A Double Life stars Ronald Colman as Anthony John, an actor who has a habit of allowing the characters he plays to get under his skin. He frequently stars opposite his now ex-wife, Brita (Signe Hasso) (they divorced during Chekhov), whom he's still in love with. She refuses to marry him again because of his acting habits and is oblivious to the growing feelings of publicist, Bill (Edmond O'Brien). When Anthony reluctantly takes on the role of Othello opposite Brita as Desdemona his paranoia and jealousy come to the fore. Both Brita and a waitress he meets by accident, Pat (Shelley Winters), are in danger as the film progresses.
The concept of this certainly appealed to me. In order to get the full effect of Anthony's paranoia we have to submerge ourselves in Othello too. While the beginning of the film seemed to drag a little, as soon as he donned the costume and began talking about the various stages of acting in a voice-over there was acute tension in the piece. The stage presentation within the film works well, particularly the recurring motif of the finale which is obviously important both to Othello and Anthony. Since the events take place over a couple of years, the jealousy doesn't seem as contrived as it otherwise might. We see Anthony struggling with his demons, battling them away, then finally allowing them to take over his body on a few dramatic occasions. The film built to these climaxes but didn't really fade away afterwards - the last third of the film was one big climax.
There were some wonderful performances. Ronald Colman submerged himself as much in Anthony John as Anthony submerged himself in Othello. His scenes are consistently intense while the love Anthony has for Brita shines through. I hadn't come across Signe Hasso before but she put in a solid performance as Brita. Shelley Winters was lightly amusing as Pat was sucked into a situation she didn't understand but pulled off dramatic when it mattered and so did Edmond O'Brien for that matter. My favourite supporting performance probably came from Millard Mitchell (of Singin' in the Rain fame) as a wily journalist who makes the connection on a case to the recent production of Othello.
This film isn't for everybody. It did take a while to get moving and there's little comedy to speak of, except in the opening scenes where Anthony and Brita finish their run in another play. It's very intense, though, and utterly captivating in places. Definitely worth a watch if you like psychological films but make sure you don't mind Othello - that comes into it rather a lot!
The concept of this certainly appealed to me. In order to get the full effect of Anthony's paranoia we have to submerge ourselves in Othello too. While the beginning of the film seemed to drag a little, as soon as he donned the costume and began talking about the various stages of acting in a voice-over there was acute tension in the piece. The stage presentation within the film works well, particularly the recurring motif of the finale which is obviously important both to Othello and Anthony. Since the events take place over a couple of years, the jealousy doesn't seem as contrived as it otherwise might. We see Anthony struggling with his demons, battling them away, then finally allowing them to take over his body on a few dramatic occasions. The film built to these climaxes but didn't really fade away afterwards - the last third of the film was one big climax.
There were some wonderful performances. Ronald Colman submerged himself as much in Anthony John as Anthony submerged himself in Othello. His scenes are consistently intense while the love Anthony has for Brita shines through. I hadn't come across Signe Hasso before but she put in a solid performance as Brita. Shelley Winters was lightly amusing as Pat was sucked into a situation she didn't understand but pulled off dramatic when it mattered and so did Edmond O'Brien for that matter. My favourite supporting performance probably came from Millard Mitchell (of Singin' in the Rain fame) as a wily journalist who makes the connection on a case to the recent production of Othello.
This film isn't for everybody. It did take a while to get moving and there's little comedy to speak of, except in the opening scenes where Anthony and Brita finish their run in another play. It's very intense, though, and utterly captivating in places. Definitely worth a watch if you like psychological films but make sure you don't mind Othello - that comes into it rather a lot!
Wednesday, 4 July 2012
Classic Film Review: Sabrina (1954)
Sabrina is one of those films that most people rave about so I was left wondering whether I'd be underwhelmed by it. However, far from being disappointed, I thoroughly enjoyed the film. Audrey Hepburn plays Sabrina Fairchild, the daughter of the Larrabee family's chauffeur. She has been in love with younger brother, David (William Holden), for as long as she can remember. David has been through three wives already and hasn't done a day's work in his life, much to the exasperation of older brother, Linus (Humphrey Bogart). Sabrina is sent to a cookery school in Paris and comes back a much more refined and elegant woman. David doesn't recognise her at first but soon falls head over heels in love with her. Again, this infuriates Linus - he's arranged another marriage for David which will actually benefit the company this time. He takes it upon himself to make Sabrina fall in love with him, planning to ship her back off to Paris. Unfortunately, his master-plan didn't include his own feelings towards Sabrina changing.
My niggle out of the way first: I wasn't keen on Hepburn's voice-over at the beginning of the film explaining who everybody was. However, perhaps it was necessary to get the film moving swiftly. After that I really have no niggles at all. Despite disliking William Holden in Picnic (1955), I've come to the conclusion that he was miscast in that role because he was wonderful as David Larrabee - just the right side of sleazy with an excellent comic aspect to his personality. Bogart, although he was a late choice for the role, really made it his own. It's very difficult to imagine anyone else playing Linus with the seriousness required whilst still being able to demonstrate a change under the surface of the character. Hepburn demonstrated the various facets of Sabrina's personality - from mournful youth to self-assured lady - with aplomb and the early suicide attempt where a puzzled Linus rescues her from the garage is probably my favourite scene of the film. That said, I enjoyed the musical themes running throughout: 'Isn't It Romantic?' for David and 'La Vie En Rose' for Linus. Sabrina's brief singing of the latter while she drives with Linus is another favourite moment for me, and leaves me wondering yet again why her singing voice was dubbed in My Fair Lady (1964).
Alongside the leads, there were also some amusing performances from secondary characters. Walter Hampden as the Larrabee patriarch offered some light entertainment, hiding his cigars and trying in vain to get olives out of jars. Special mention should also go to Ellen Corby as Miss McCardle, Linus's secretary. Although it was a tiny role she made a very favourite impression on me.
All in all, a brilliant film that I wouldn't hesitate to recommend. I'm amazed it took me this long to get to it myself.
My niggle out of the way first: I wasn't keen on Hepburn's voice-over at the beginning of the film explaining who everybody was. However, perhaps it was necessary to get the film moving swiftly. After that I really have no niggles at all. Despite disliking William Holden in Picnic (1955), I've come to the conclusion that he was miscast in that role because he was wonderful as David Larrabee - just the right side of sleazy with an excellent comic aspect to his personality. Bogart, although he was a late choice for the role, really made it his own. It's very difficult to imagine anyone else playing Linus with the seriousness required whilst still being able to demonstrate a change under the surface of the character. Hepburn demonstrated the various facets of Sabrina's personality - from mournful youth to self-assured lady - with aplomb and the early suicide attempt where a puzzled Linus rescues her from the garage is probably my favourite scene of the film. That said, I enjoyed the musical themes running throughout: 'Isn't It Romantic?' for David and 'La Vie En Rose' for Linus. Sabrina's brief singing of the latter while she drives with Linus is another favourite moment for me, and leaves me wondering yet again why her singing voice was dubbed in My Fair Lady (1964).
Alongside the leads, there were also some amusing performances from secondary characters. Walter Hampden as the Larrabee patriarch offered some light entertainment, hiding his cigars and trying in vain to get olives out of jars. Special mention should also go to Ellen Corby as Miss McCardle, Linus's secretary. Although it was a tiny role she made a very favourite impression on me.
All in all, a brilliant film that I wouldn't hesitate to recommend. I'm amazed it took me this long to get to it myself.
Monday, 2 July 2012
Overtures
When I type 'overture' into my iTunes search box it comes up with 44 songs. There are a mix of stage productions and film productions, with a couple of concerts thrown in there for good measure (Judy Garland, Liza Minnelli, John Wilson). Now, I have to face it, some overtures are a lot better than others. Some seem to give a perfunctory nod to the best songs of the piece ahead and finish quickly. However, some composers utilise the form properly, conveying the essence of the show in one simple orchestral piece. The best overtures are works of art in their own right, giving potential enjoyment to people who don't give a damn about the musical whilst pleasing fans immensely. Or is that just me? Am I the only one who gets overexcited at the three overtures I've picked as my favourites?
Mack and Mabel was a commercial flop for Jerry Herman but still contains some of the best songs he's ever written. Both 'I Won't Send Roses' and 'Time Heals Everything' come from this musical and the original cast of Robert Preston and Bernadette Peters conveyed them beautifully. However, I love the overture to bits. From the first bars of 'Movies Were Movies' the energy smashes into you then it trips into the delightful 'Look What Happened to Mabel' which fades into 'I Won't Send Roses'. I always get to that part and wonder how Herman can drag the listener out of the sudden doldrums but 'Wherever He Ain't' offers a wonderful brief contrast before the jazzier 'Big Time' enters the fray. 'When Mabel Comes in the Room' has always been one of my favourites from this musical and the overture makes good use of it. It ends with a brief reprise of 'I Won't Send Roses' but it's always interesting to note which songs weren't used in an overture. 'Time Heals Everything' was perhaps too much like another dip in the high energy but what's the reasoning behind leaving 'Tap Your Troubles Away Out'? Seems bizarre but I don't love the overture any less for that oversight.
My second favourite is another Jerry Herman, though this one was a phenomenal success. Mame starred Angela Lansbury and, again, is full of great individual songs. The overture ties them all together with a similar energy to that managed by Herman in Mack and Mabel. It starts off with a teaser of the title track before going into a light energetic version of 'Open a New Window' which then blends very briefly into 'My Best Girl', perhaps one of the lesser-know tracks from the show, then straight into 'If He Walked Into My Life'. Then we get the jazzy 'That's How Young I Feel', which invariably has me dancing, followed by the title track which takes us right to the end in classic Herman style.
Perhaps my all-time favourite overture is this last one. Jule Styne wrote the music for Gypsy and what a job he did. This overture has everything and, for whatever bizarre reason, I normally end up laughing halfway through at the sheer brilliance of it. It begins with the famous 'dream' bars then pushes on into 'Everything's Coming Up Roses'. Next up is the lighter 'You'll Never Get Away From Me' then we get a short tease of 'Small World' followed by a longer spell. Then all hell breaks loose as the tempo builds to the 'Gypsy Strip' number which blends into the equally energetic 'Mr Goldstone'. The final notes are a reprise of the beginning with a tremendous finish. If I heard this in a theatre I'd be tempted to go home from exhaustion before the curtain even rose.
Am I alone in my love for these overtures? And have I missed any classics? Slap me with a fish if I have.
Mack and Mabel was a commercial flop for Jerry Herman but still contains some of the best songs he's ever written. Both 'I Won't Send Roses' and 'Time Heals Everything' come from this musical and the original cast of Robert Preston and Bernadette Peters conveyed them beautifully. However, I love the overture to bits. From the first bars of 'Movies Were Movies' the energy smashes into you then it trips into the delightful 'Look What Happened to Mabel' which fades into 'I Won't Send Roses'. I always get to that part and wonder how Herman can drag the listener out of the sudden doldrums but 'Wherever He Ain't' offers a wonderful brief contrast before the jazzier 'Big Time' enters the fray. 'When Mabel Comes in the Room' has always been one of my favourites from this musical and the overture makes good use of it. It ends with a brief reprise of 'I Won't Send Roses' but it's always interesting to note which songs weren't used in an overture. 'Time Heals Everything' was perhaps too much like another dip in the high energy but what's the reasoning behind leaving 'Tap Your Troubles Away Out'? Seems bizarre but I don't love the overture any less for that oversight.
My second favourite is another Jerry Herman, though this one was a phenomenal success. Mame starred Angela Lansbury and, again, is full of great individual songs. The overture ties them all together with a similar energy to that managed by Herman in Mack and Mabel. It starts off with a teaser of the title track before going into a light energetic version of 'Open a New Window' which then blends very briefly into 'My Best Girl', perhaps one of the lesser-know tracks from the show, then straight into 'If He Walked Into My Life'. Then we get the jazzy 'That's How Young I Feel', which invariably has me dancing, followed by the title track which takes us right to the end in classic Herman style.
Perhaps my all-time favourite overture is this last one. Jule Styne wrote the music for Gypsy and what a job he did. This overture has everything and, for whatever bizarre reason, I normally end up laughing halfway through at the sheer brilliance of it. It begins with the famous 'dream' bars then pushes on into 'Everything's Coming Up Roses'. Next up is the lighter 'You'll Never Get Away From Me' then we get a short tease of 'Small World' followed by a longer spell. Then all hell breaks loose as the tempo builds to the 'Gypsy Strip' number which blends into the equally energetic 'Mr Goldstone'. The final notes are a reprise of the beginning with a tremendous finish. If I heard this in a theatre I'd be tempted to go home from exhaustion before the curtain even rose.
Am I alone in my love for these overtures? And have I missed any classics? Slap me with a fish if I have.
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