Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Tuesday, 6 May 2014

Pompeii

I recently watched the new film Pompeii. I’ll leave my views on that for a separate blog post. I thought, for those that have seen the film or about to do so, that it would be interesting to read an eye-witness account of the eruption of Vesuvius by the Roman writer Pliny the Younger. A small section of his account is quoted at the beginning of the film. I give below the full version, which was written in two letters to Tacitus – who was writing a history. Sadly, Tacitus’ history is now missing the section that gives his research on the disaster.   

From pp.193-198 and  200-204 of: The Letters of Pliny the Younger, Volume II, Books VI-X, Literally Translated, with Notes. Melmoth’s Translation, Revised by Bosanquest. Published in 1900 by Hinds, Nobel & Eldredge, New York.

LETTER XVI. To Tacitus.
Your request that I would send you an account of my uncle's death, in order to transmit a more exact relation of it to posterity, deserves my acknowledgments; for, if this accident shall be celebrated by your pen, the glory of it, I ­am well assured, will be rendered for ever illustrious.

And notwithstanding he perished by a misfortune, which, as it involved at the same time a most beautiful country in ruins, and destroyed so many populous cities, seems to promise him an everlasting remembrance; notwithstanding he has himself composed many and lasting works; yet I am persuaded, the mentioning of him in your immortal writings, will greatly contribute to render his name immortal. Happy I esteem those to be to whom by provision of the gods has been granted the ability either to do such actions as are worthy of being related or to relate them in a manner worthy of being read; but peculiarly happy are they who are blessed with both these uncommon talents: in the number of which my uncle, as his own writings and your history will evidently prove, may justly be ranked. It is with extreme willingness, therefore, that I execute your commands; and should indeed have claimed the task if you had not enjoined it.

He was at that time with the fleet under his command at Misenum. On the 24th of August, about one in the afternoon, my mother desired him to observe a cloud which appeared of a very unusual size and shape. He had just taken a turn in the sun, and, after bathing himself in cold water, and making a light luncheon, gone back to his books: he immediately arose and went out upon a rising ground from whence he might get a better sight of this very uncommon appearance. A cloud, from which mountain was uncertain, at this distance (but it was found afterwards to come from Mount Vesuvius), was ascending, the appearance of which I cannot give 'you a more exact description of than by likening it to that of a pine tree, for it shot up to a great height in the form of a very tall trunk, which spread itself out at the top into a sort of branches ; occasioned, I imagine, either by a sudden gust of air that impelled it, the force of which decreased as it advanced upwards, or the cloud itself being pressed back again by its own weight, expanded in the manner I have mentioned; it appeared sometimes bright and sometimes dark and spotted, according as it was either more or less impregnated with earth and cinders.

This phenomenon seemed to a man of such learning and research as my uncle extraordinary and worth further looking into. He ordered a light vessel to be got ready, and gave me leave, if I liked, to accompany him.  I said I had rather go on with my work; and it so happened he had himself given me something to write out. As he was coming out of the house, he received a note from Rectina, the wife of Bassus, who was in the utmost alarm at the imminent danger which threatened her; for her villa lying at the foot of Mount Vesuvius, there was no way of escape but by sea; she earnestly entreated him therefore to come to her assistance.

He accordingly changed his first intention, and what he had begun from a philosophical, he now carries out in a noble and generous spirit. He ordered the galleys to put to sea, and went himself on board with an intention of assisting not only Rectina, but the several other towns which lay thickly strewn along that beautiful coast. Hastening then to the place from whence others fled with the utmost terror, he steered his course direct to the point of danger, and with so much calmness and presence of mind as to be able to make and dictate his observations upon the motion and all the phenomena of that dreadful scene. He was now so close to the mountain that the cinders, which grew thicker and hotter the nearer he approached, fell into the ships, together with pumice stones, and black pieces of burning rock: they were in danger too not only of being a-ground by the sudden retreat of the sea, but also from the vast fragments which rolled down from the mountain, and obstructed all the shore. Here he stopped to consider whether he should turn back again; to which the pilot advising him, ‘Fortune.’ said he, ‘favours the brave; steer to where Pomponianus is.’

Pomponianus was then at Stabiae, separated by a bay, which the sea, after several insensible windings, forms with the shore. He had already sent his baggage on board; for though he was not at that time in actual danger, yet being within sight of it, and indeed extremely near, if it should in the least increase, he was determined to put to sea as soon as the wind, which was blowing dead in-shore, should go down.  It was favourable, however, for carrying my uncle to Pomponianus, whom he found in the greatest consternation: he embraced him tenderly, encouraging and urging him to keep up his spirits, and, the more effectually to soothe his fears by seeming unconcerned himself, ordered a bath to be got ready, and then, after having bathed, sat down to supper with great cheerfulness, or at least (what is just as heroic) with every appearance of it.

Meanwhile broad flames shone out in several places from Mount Vesuvius, which the darkness of the night contributed to render still brighter and clearer. But my uncle, in order to soothe the apprehensions of his friend, assured him it was only the burning of the villages, which the country people had abandoned to the flames: after this he retired to rest, and it is most certain he was so little disquieted as to fall into a sound sleep: for his breathing, which, on account of his corpulence, was rather heavy and sonorous, was heard by the attendants outside. The court which led to his apartment being now almost filled with stones and ashes, if he had continued there any time longer, it would have been impossible for him to have made his way out. So he was awoke and got up, and went to Pomponianus and the rest of his company, who were feeling too anxious to think of going to bed. They consulted together whether it would be most prudent to trust to the houses, which now rocked from side to side with frequent and violent concussions as though shaken from their very foundations; or fly to the open fields, where the calcined stones and cinders, though light indeed, yet fell in large showers, and threatened destruction.

In this choice of dangers they resolved for the fields: a resolution which, while the rest of the company were hurried into by their fears, my uncle embraced upon cool and deliberate consideration. They went out then, having pillows tied upon their heads with napkins; and this was their whole defence against the storm of stones that fell round them. It was now day everywhere else, but there deeper darkness prevailed than in the thickest night; which however was in some degree alleviated by torches and other lights of various kinds. They thought proper to go farther down upon the shore to see if they might safely put out to sea, but found the waves still running extremely high, and boisterous. There my uncle, laying himself down upon a sail cloth, which was spread for him, called twice for some cold water, which he drank, when immediately the flames, preceded by a strong whiff of sulphur, dispersed the rest of the party, and obliged him to rise. He raised himself up with the assistance of two of his servants, and instantly fell down dead; suffocated, as I conjecture, by some gross and noxious vapour, having always had a weak throat, which was often inflamed.

As soon as it was light again, which was not till the third day after this melancholy accident, his body was found entire, and without any marks of violence upon it, in the dress in which he fell, and looking more like a man asleep than dead. During all this time my mother and I, who were at Misenum — but this has no connection with your history, and you did not desire any particulars besides those of my uncle's death; so I will end here, only adding that I have faithfully related to you what I was either an eye-witness of myself or received immediately after the accident happened, and before there was time to vary the truth. You will pick out of this narrative whatever is most important: for a letter is one thing, a history another; it is one thing writing to friend, another thing writing to the public. Farewell.

LETTER XX. To Tacitus.
The letter which, in compliance with your request, I wrote to you concerning the death of my uncle has raised, it seems, your curiosity to know what terrors and dangers attended me while I continued at Misenum; for there. I think, my account broke off:

­'Though my shock'd soul recoils, my tongue shall tell.' [here Pliny is quoting Virgil’s Aeneid]

­My uncle having left us, I spent such time as was left on my studies (it was on their account indeed that I had stopped behind), till it was time for my bath. After which I went to supper, and then fell into a short and uneasy sleep. There had been noticed for many days before a trembling of the earth, which did not alarm us much, as this is quite an ordinary occurrence in Campania; but it was so particularly violent that night that it not only shook but actually overturned, as it would seem, everything about us.

My mother rushed into my chamber, where she found me rising, in order to awaken her. We sat down in the open court of the house, which occupied a small space between the buildings and the sea. As I was at that time but eighteen years of ago, I know not whether I should call my behaviour, in this dangerous juncture, courage or folly; but I took up Livy, and amused myself with turning over that author, and even making extracts from him, as if I had been perfectly at my leisure. Just then, a friend of my uncle's, who had lately come to him from Spain, joined us, and observing me sitting by my mother with a book in my hand, reproved her for her calmness, and me at the same time for my careless security nevertheless I went on with my author.

Though it was now morning, the light was still exceedingly faint and doubtful; the buildings all around us tottered, and though we stood upon open ground, yet as the place was narrow and confined, there was no remaining without imminent danger: we therefore resolved to quit the town. A panic-stricken crowd followed us, and (as to a mind distracted with terror every suggestion seems more prudent than its own) pressed on us in dense array to drive us forward as we came out. Being at a convenient distance from the houses, we stood still, in the midst of a most dangerous and dreadful scene. The chariots, which we had ordered to be drawn out, were so agitated backwards and forwards, though upon the most level ground, that we could not keep them steady, even by supporting them with large stones. The sea seemed to roll back upon itself, and to be driven from its banks by the convulsive motion of the earth; it is certain at least the shore was considerably enlarged, and several sea animals were left upon it.

On the other side, a black and dreadful cloud, broken with rapid, zigzag flashes, revealed behind it variously shaped masses of flame: these last were like sheet-lightning, but much larger. Upon this our Spanish friend, whom I mentioned above, addressing himself to my mother and me with great energy and urgency: ‘If your brother,' he said, ‘if your uncle be safe, he certainly wishes you may be so too; but if he perished, it was his desire, no doubt, that you might both survive him: why therefore do you delay your escape a moment?' We could never think-of our own safety, we said, while we were uncertain of his. Upon this our friend left us, and withdrew from the danger with the utmost precipitation.
Soon afterwards, the cloud began to descend, and cover the sea. It had already surrounded and concealed the island of Capreae and the promontory of Misenum. My mother now besought, urged, even commanded me to make my escape at any rate, which, as I was young, I might easily do; as for herself, she said, her age and corpulency rendered all attempts of that sort impossible; however she would willingly meet death if she could have the satisfaction of seeing that she was not the occasion of mine. But I absolutely refused to leave her, and, taking her by the hand, compelled her to go with me. She complied with great reluctance, and not without many reproaches to herself for retarding my flight.

The ashes now began to fall upon us, though in no great quantity. I looked back; a dense dark mist seemed to be following us, spreading itself over the country like a cloud. 'Let us turn out of the high-road,' I said, ‘while we can still see, for fear that, should we fall in the road, we should be pressed to death in the dark, by the crowds that are following us.’ We had scarcely sat down when night came upon us, not such as we have when the sky is cloudy, or when there is no moon, but that of a room when it is shut up, and all the lights put out.

You might hear the shrieks of women, the screams of children, and the shouts of men ; some calling for their children, others for their parents, others for their husbands, and seeking to recognise each other by the voices that replied; one lamenting his own fate, another that of his family; some wishing to die, from the very fear of dying; some lifting their hands to the gods; but the greater part convinced that there were now no gods at all, and that the final endless night of which we have heard had come upon the world.

Among these there were some who augmented the real terrors by others imaginary or wilfully invented? I remember some who declared that one part of Misenum had fallen, that another was on fire; it was false, but they found people to believe them.

It now grew rather lighter, which we imagined to be rather the forerunner of an approaching burst of flames (as in truth it was) than the return of day: however, the fire fell at a distance from us: then again we were immersed in thick darkness, and a heavy shower of ashes rained upon us, which we were obliged every now and then to stand up to shake off, otherwise we should have been crushed and buried in the heap. I might boast that, during all this scene of horror, not a sigh, or expression of fear, escaped me, had not my support been grounded in that miserable, though mighty, consolation, that all mankind were involved in the same calamity, and that I was perishing with the world itself.

At last this dreadful darkness was dissipated by degrees, like a cloud or smoke; the real day returned, and even the sun shone out, though with a lurid light, like when an eclipse is coming on. Every object that presented itself to our eyes (which were extremely weakened) seemed changed, being covered deep with ashes as if with snow. We returned to Misenum, where we refreshed ourselves as well as we could, and passed an anxious night between hope and fear; though, indeed, with a much larger share of the latter: for the earthquake still continued, while many frenzied persons ran up and down heightening their own and their friends' calamities by terrible predictions. How-ever, my mother and I, notwithstanding the danger we had passed, and that which still threatened us, had no thoughts of leaving the place, till we could receive some news of my uncle.

­And now, you will read this narrative without any view of inserting it in your history, of which it is not in the least worthy; and indeed you must put it down to your own request if it should appear not worth even the trouble of a letter. Farewell.



Friday, 4 April 2014

300: Rise of a Computer Game?

I've been looking forward to watching the sequel to 300 for a while. While there was a lot about the film 300 (and the comic it was based on) which jars when compared to historical fact, 300 is still a good film. The audience is made to care about its main characters and their fate, which makes the journey through the film more engaging and the ending all the more moving. The same cannot be said of 300: Rise of an Empire.

Yes, it’s an action packed film – but I found it difficult to give a damn about its characters. Also, it was so action packed that there seemed to be little time for a worthwhile storyline or any effective character building for the lead characters. The only characters with a lengthy back plot are Xerxes and Artemisia, both of which are completely fictional back plots intended to increase the supposed villainy, power and evil of each in the story (for instance, Artemisia was the queen of Halicarnassus and not the victim of the tragic story given in the film).

Part of the motive for this appears to be, once again, to set up the democracy and freedom versus tyranny and slavery plot-line. Similar was done in the first film but not with such a heavy hand. That becomes important when the audience has to put aside the knowledge that both Athens and Sparta had slaves and any democracy within Athens was solely for true born Athenians and not for slaves or people of foreign birth living and working in Athens. The critical quip used in many a film “all men are born equal and some are born more equal than others” is a witticism that has an unpleasant truth when applied to ancient Greece.

I find it a curiosity that the film is so unbalanced when it comes to action vs plot and character. The film is around 100 minutes long and an extra 15 to 20 minutes allowing better storytelling, making it a two hour film, wouldn't have been such a hardship.


I know people who got a kick out of the film. Their enjoyment, however, was in comparison with that of watching an action packed computer game and the similarity of the action to that in the game that ties-in with the film.   Speaking of which, here is the trailer for the computer game – which could be used as a trailer for most of what happens in the film.


Thursday, 27 March 2014

The Legend of Hercules, Not Really.

The film The Legend of Hercules is the kind of movie where I wonder why they used the name Hercules at all. In one way it is an okay action movie, if you can overlook the dull parts and a number of cliché scenes that would be more in place in a far less expensive movie production.

What I can say, without giving away any of the plot is that if you search for the myth of Hercules on the internet then you won’t learn any of the storyline of this particular film. The filmmakers seemed to have decided to completely abandon the myth and just use the name Hercules, along with the names of some of the other characters in the myth. In watching the film, I was reminded of two main areas of filmmaking of the past.

One is the Italian ‘Sword and Sandal” films, where sometimes fancy clothes and hairdos were more important than the story. In fact, some of the storytelling in this film very much borders on the style of the Sword and Sandal films.   

The other is the endlessly repeated message in American made films from the mid-twentieth century onwards, in which each Roman epic states that tyranny is wrong – a less than subtle barb at fascism, communism, and any nation seen as being of either ilk. This approach of tyranny versus democracy can still work in a film, as shown in the hit film 300 (whilst ignoring the fact that Spartans were tyrants who conquered and enslaved other people) – but only if it is handled correctly and not lathered in a bath of frothy clichés the way this Hercules film tends to do.

If all you expect from an action movie is cliché characters and occasional stylish slow motion fighting, then see this film. If you are looking for something more than that, choose something else.  

Friday, 27 May 2011

The Magician by Ingmar Bergman


Compared to some of his other films The Magician (the original Swedish title is Ansiktet) is not his best in terms of film as art but it is, as many critics have written, one of his most accessible for audiences in terms of plot and meaning. I am unable to give any details of the plot here without ruining the enjoyment of a film which is an act of legerdemain in itself, as it reveals secrets beneath secrets. 
    
What can be said is that some research must have been done in writing the film. The different attitudes of the people towards magicians of the period within which the story takes place is spot on – and central to the plot. The only real factual blunder is a portrayal of one illusion that probably didn't exist at that time.  
    
When someone has seen the film, there is plenty to talk about but to do so with someone who hasn't seen the film is just being a spoil sport; so although I'm itching to discuss certain topics in the film, in fairness I won’t.
   
The above image shows the Tartan DVD (easily found second hand); there are also others, including a new one on Blu-Ray.

Thursday, 14 October 2010

La Belle et la bête by Jean Cocteau

When Jean Cocteau went to make films he took with him the traditions and methods of the theatre of his time. This is best seen in his film La Belle et la bête (Beauty and the Beast). The film, while inexplicably overlooked by modern audiences, has been very influential in film making since it's release in 1946.

Many film makers have copied, sorry, included an homage in their films of the imagery to be seen in La Belle et la bête. The strongest imitator has been the Disney version of Beauty and the Beast, so much so that film historian Sir Christopher Frayling was expecting a note of credit at the end of the Disney film - but there was none to be seen.

All sorts of film genres have imitated, sorry, paid homage to Cocteau's imagery in this film. Even horrors films have perhaps over exploited, sorry, paid homage to one particular scene from La Belle et la bête. It the part of the film when Belle has arrived at Bête's house. Her arrival and exploration of the house is laden with visual beauty and mystery. One shot is the very scene that Cocteau presented to the film backer as a drawing and based that drawing alone Cocteau received the money to make the film. Belle is moving down a corridor lined with doors and light gossamer like curtains which billow in a breeze.
Below is a picture from the film Dracula 2000 with the leading lady in a similar corridor. You may have seen many other moments like this in other horror films.

Putting aside the topic of paying homage to the imagery of Cocteau, the film has moments that owe a debt of gratitude (as do all film makers) to the theatrical and cinematic technical innovations of George Méliès - whom Cocteau was familiar with because of his theatre work. Cocteau seems to have relished the use of these and ingeniously created his own to work along side them. By modern special effect standards the film appears to show it's age and yet it is that quality that now, as Sir Christopher Frayling states in his commentary, makes the film even more fairy tale like or myth like in it's look. Some of what Cocteau did could be reproduced now in a modern theatre stage version of La Belle et la bête without any change to the methods. Other things, such as moments of graceful slow motion done by using high speed cameras, firmly lock the film into being a cinematic experience.

The tentative connection to George Méliès and the theatre methods used in the film make the film of interest to those interested in the history of magic and it's influences.

One last point is something I noticed entirely by chance. The actor playing Ludovic, Belle's brother, is a doppelganger for art critic Andrew Graham Dixon.


 [Copyright of the photographs belongs to the film makers and the BBC.]

Monday, 20 September 2010

I've Loved You So Long (on DVD)


These days, it’s rare to find a film which puts any trust in the intelligence of the audience. Even the most well intentioned real life dramas spend a lot of screen time directly explaining, in dialogue between characters, every step of the story in case the audience are not able to follow the plot. It’s a shame that this has become such a prevalent trend. It shows a lack of faith from the film industry towards their potential customers. It also means that dramas of high quality, such as I’ve Loved You So Long, are rare.

I’ve Loved You So Long puts trust in the audience’s ability to pull together the details to understand the film as the stories unfolds. Information on the underlying family mystery is presented to us not merely through the usual, overdone, method of dialogue but also through visual and emotional means. Film is a visual medium after all and to not make full use of that is to undermine the medium itself.

Kristin Scott Thomas is excellent in her role of Juliet. We learn a lot about her character through what she doesn’t say, refuses to say at times, and expresses in silent but emotional reaction to the others around her. Books and reading are made into themes, or recurring symbols, in the film. Something which is appropriate since the film is like a visual novel, using literary techniques of a novel to gently expound the inner life of the central characters. I’ve Loved You So Long therefore touches our emotions in a subtle but very strong way and the ending becomes deeply emotional.

To say any more would be to start to give away the plot. I can’t recommend this DVD enough. It’s probably Kristin Scott Thomas’ best film role to date.

[Photograph copyright by the film makers].

Tuesday, 12 January 2010

January Updates.

The book The Art of Iugling by Sa Rid, 1612, has been delayed. This has been because I found copies of Sa Rid’s other book Martin Mark-All and I’m including the text in the book to be published. The delay is not a long one. The publication date is now in February. The publication of Hocus Pocus Junior will be not be that long thereafter.

Publication of the first book, and any other book, of the Ancient Greek Drama Series has been suspended for an indefinite period. One of the plays was converted into a film script and I await an answer regarding the option being taken up by someone. I personally do not see it happening but with agents being what they are I am patiently doing as I am bid (for a while) before inevitably forging ahead with my own plans.

I’ve neglected uploading more videos to You Tube. This has simply been down to lack of time. The winter months kept me busier than I expected. The promised videos will begin to be uploaded soon but not at the rate I hoped. I have some academic research which begins in February and which continues through to the summer and this will mean focusing my time on what is absolutely essential. So editing and uploading videos has to take second place for a while.

Wednesday, 6 January 2010

Entertainment Defying Acts

This week the BBC broadcast the film Death Defying Acts starring Guy Pearce and Catherine Zeta Jones. The basic gist of the film is that a fake psychic tries to swindle Harry Houdini out of a $10,000 prize for evidence of contacting his late mother. There were two main areas of disappointment regarding this film.

The first was that the writers did not appear to know very much about Houdini. It was almost as if the story was about another magician entirely. As it turns out, the original writers had a story that did not involve Houdini at all but, as usually happens with the many handed interference - sorry, contribution - of a production team, one of the main characters became Houdini. After which there was very little obvious consultation of any authoritative biography, of which there are many. They instead used the popular urban myths about Houdini that have been bandied about since his death.

Would the film have been more palatable if a fictitious magician was used? Not really and that was the second area of disappointment. My wife Jill, who knows nothing about Houdini and therefore could not be put off by any form of representation of him in a film, was quickly made so bored by the film that even the dreaded washing of the dishes had a greater allure for her. Followed by any other activity she could think of to do. The pace and plot did not particularly grip our attention and the actors had little room in either to have the opportunity to make us feel any empathy for the characters they portrayed.

[The above image is copyright by the film-makers]

Friday, 11 December 2009

Drag Me to Hell and the Lamia

This week, one of my birthday presents from my wife was the DVD of Sam Raimi’s Drag Me To Hell. I have always liked Raimi’s films and so I enjoyed watching it. There were two good aspects to this film. One was that is was a modern reinterpretation of the basis of the plot of the classic 1950s film Night of the Demon (in itself based on a ghost story by M. R. James). The other was how the story was told and the dénouement. Of those things, I should not write of them here because it is unfair to anyone who has not seen the film yet.

My only criticism of the film is Raimi’s holding onto little visual touches that go back to his early films and may even be an injoke reference to them. There are only a few but their timing produces a comical rather than chilling effect. If they had not been included I would regard the film as a modern horror classic; as it is, those brief moments ruined the chilling, on edge, hairs tingling on the back of your neck type atmosphere that the plot works so carefully to create.

The evil in the film is a fictional one made up by Sam and Ivan Raimi; in giving it a name they chose the word Lamia, which is from ancient Greek mythology and bears no resemblance to what appears in the film.

The precise nature of the ancient Greek Lamia is somewhat fuzzy. Its incorporation into the literature of later civilizations involves them moulding its qualities to the ideas of their own time. A near modern example is John Keats’ poem Lamia, where the creature is hinted at being somewhat vampire like. Unfortunately, during the nineteenth century the vampire was becoming a popular image in literature and just about every mythological being that had very little information to suggest its nature was being pigeon-holed under the label of vampire.

In the myth, there was only one Lamia (rather than a generic species of vampire) – a beautiful mortal woman who was one of Zeus’ lovers. The story goes that Zeus’ wife, Hera, was prone to dishing out harsh punishments on her husband’s lovers and their children; in this case Hera would murder each child that Lamia bore. It eventually drove Lamia mad. She became insanely jealous of women who enjoyed motherhood and she began murdering and devouring their small children. Somehow, and mythology seldom goes into details, this activity changed Lamia into an immortal monster who preyed upon children. Later use of that story was to present Lamia as a bogey-woman, a means to scare naughty children with the threat of her coming to devour them if they did not behave.

[The above image is copyright by the film-makers]

Wednesday, 11 November 2009

Bright Star


I took Jill to see the film Bright Star yesterday. I generally have concerns about biopics due to how sometimes writers feel the need to pointlessly beef up the plot. One example of that is the BBC drama about the Pre-Raphaelites which for some reason was misnamed as Desperate Romantics (as Germaine Greer pointed out The Romantics, such as Keats, had been dead for some time before the Pre-Raphaelite Brotherhood evolved).

I need not have worried. Jane Campion’s film about John Keats and his relationship with Fanny Brawne is told in a subtle, gentle way that gets under your skin and pulls at your heart strings. The photography is beautiful and creates a variety of moods throughout the film. The leading actors, Ben Whishaw and Abbie Cornish, have a fair physical resemblance to John Keats and Fanny Brawne (pictures of whom can be found in Andrew Motion’s excellent biography of Keats) and their portrayal of the young lovers, the uneasy beginning of their relationship and how it was frustrated by the cruelty of circumstance, is believable and deeply moving.

The house where the story is set (although it was not filmed there) is now a museum dedicated to Keats. Keats House in Hampstead is still open during the winter and costumes from the film are, for the moment, on display there.

If you have seen the film and have been inspired to find out more about Keats and Brawne then a good place to start is Motion’s biography of Keats, any edition of the published letters of Keats (they include his letters to Fanny Brawne) and any of the paperback editions of Keats’ poetry – where you will find the sonnet Bright Star! which he wrote especially for Brawne.

[The image above is from the website for the film, is copyright by them and is one of their free wallpapers.]

Thursday, 30 July 2009

Film of J. N. Maskelyne Performing Plate Spinning

If you know anything about the history of magic in the UK then you will have heard of J. N. Maskelyne. Amongst all the wonders that he performed in magic shows, he performed plate spinning. No, not the spinning a plate on a stick sort of thing. This is something else altogether.

In the book The Modern Conjurer by C. Lang Neil (1903 edition), two of the pages have film like strips printed down the edges. The blurb explains that they pictures taken using the technology of the cinematograph. I decided to see if I could make a video from the images of Maskelyne in action. I scanned the pages, edited the individual pictures into separate files and edited a very brief film using them. I have no idea what became of the original film. The book states the pictures were taken especially for the book, so it was probably never publicly used.

Well, here is the video.

Saturday, 4 April 2009

Sketch of Max Maven

I used natural light when filming this and unfortunately the automatic exposure on the time lapse camera was slow to respond to moments when the sunshine increased. Therefore, the screen goes white several times during the video.


Wednesday, 4 March 2009

About the Sketches

A number of people on Youtube have asked me about my sketches of magicians. Two questions keep being asked: 'Why Magicians?' and 'Why are some shown in old age?'

There's one answer to both questions. These sketches are for an exhibition which is to be themed. All the sketches are drawn in ink. All the sketches are of magicians that have appeared on British television. Some of the magicians will have two portraits done of their appearance on a 'past' and 'present' basis. Most of the portraits done so far are 'in the present' portraits; the exception is Wayne Dobson whose portrait is a 'in the past' portrait.

One question, only asked by a few people, is 'are reference photos used?' The answer is yes. However, I don't attempt to replicate one photo. I have a small number of photos showing the facial expressions of the person in question, I choose one for the pose and then incorporate whatever 'character' I can see in the facial expressions of all the photos. For example, in the David Berglas portrait, the photos I used showed that he has a 'lazy' eyelid on one eye. Not a flattering detail but if I 'corrected' it in drawing a portrait it would undermine any attempt of presenting a resemblance of Berglas. These things are the 'distinguishing marks' that make each of us recognizable in even the simplest of cartoon drawings. That's where I had a problem with Wayne Dobson's portrait as a young man. His features were very symmetrical and so I had very little to use to increase the individuality of the sketch to highlight that it is Dobson.

Only one person asked me 'why are the sketches being filmed as they are being drawn?' Partly, it's a sort of video diary of the project progressing. Partly, it's for the tentative plan that under each portrait in the exhibition will be a small screen repeatedly showing the portrait being drawn. (Whether the latter will happen I don't know.) And partly, to publicise the project. Not all the videos will appear on Youtube. One has already been held back.

I hope this has been of help. I'm happy to answer any further questions. Please contact me at john.helvin@googlemail.com and replies will be posted here to the most prevalent questions.