My weekend of pain...
Blood covered floor, crazed men wandering the streets, debris flapping around in vomit covered bins. This is not the apocalypse, this is the after math of a bank holiday in Sheffield Town Centre, most notably, West Street.
As I have recently left the student life behind me and no longer frequent bars in the week, the concept of Bank Holiday is a new and all together frightening one. I work in a bar on West Street, not the nicest of bars, but pretty much the same as the other establishments, which act as pseudo brothels/asylums for the recently paid and animal like creatures which drag themselves with blistered bare feet, up and down this mating ground.
I am a hypocrite, I am obviously a part of this drunken haze of a lifestyle, as I have already said I was a student until very recently, but the kind of hell I experienced working on a bank holiday feels like I have been hit round the head by a Jagerbomb and have come to the cold hard realisation is that to ‘live for the weekend’ and most notably, Bank Holiday is to live to be a mess. It’s an overwhelming depressing state of affairs when there lack something else to live for, so yes, drink, be merry, just don’t make me clean your blood up.
All night the usual stream of evil doers and ‘lads’ poured in the door until the place was brimming with nasty, nasty grinding and slurred speech; then midnight hit and you could barely move without treading on the debris of WKD bottles and high heels flung around the floor.
This is what you are to expect going out on a night, and I understand this, I just do not understand how, on a Sunday night, mothers, daughters, 9-5ers, dad, boys, granddads can come together and choose to brawl, full on brawl. I heard mothers say to their daughters things that even Jeremy Kyle would try to block out. I also saw a big, big fight. Two lads bumped into each other, and then into another two lads, and then into another, it was like watching vodka filled particles colliding to create a new world, this world has bottles raining from the sky, blood spurting out to cover innocent bystanders (I say innocent I mean girls just ‘getting low) this continued until the police came to shut us down. At this point, the poor things gathered around the watering hole were still trying to get served, still clutching desperately onto the bank holiday mentality although they could see through the bleary clouds of sambuca, their night was coming to an end. The venom I feel towards this night is not that people like to get drunk, it is that, personally, if I were to go out knowing I would 1. Call my mother and pretty much everyone a slag, 2. Get covered in blood, 3. Have to go home at 12 because no one would let me in due to points 1 and 2, I would board the windows up, sit at home eating my weight in cakes waiting for the next weekend, where perhaps, if I was lucky, I could get home without losing completely the shred of dignity I attained from working hard all week, although that is difficult from the offset because, as one of them, I probably am wearing a napkin and calling it a dress. If only they had burnt it all down.
Sunday, 5 September 2010
Gaisbourg review
Gainsbourg
The bio-pic is becoming a staple in the world of Hollywood and the British film industry. Be it action packed historical pieces following great men and their troubles, or modern day celebrities and their troubles. All these films choose to follow the turmoil of the spotlight; Walk The Line, a wonderful exploration into the anguish of Johnny Cash, Ray shows the plight of the genius of Ray Charles, and although boys these films are affecting, full of talent and all round enjoyable, they pretty much follow the plot line of boy is born, boy is hurt, boy sleeps around, boy takes drugs, boy usually meets salvation. This formula is not always quite so exact in the British exploration, films such as Nowhere Boy add an artistic flourish to a boy grows up, boy gets hurt… oh. These film have a tendency to focus on the agony and the consequential affect on a psyche, all shown through pained close-ups and monologues where all the deep, dark truth of the past is dragged out. Gainsbourg is a different type of work, not all together different, how could a life of a celebrity not involve beautiful women, pain, drugs? But what differs is that opposed to the usual signifiers of an artists suffering i.e. violence and tears, is that the psychology, is shown right next to the artist in question. This is done by life size models of what is troubling him; his doppelganger, his id, his devil on his shoulder -the point is to want fame, you must reject what you were and physically face the dichotomy every day. The conflict between the artist and the business man, the good or the bad is expelled to the surreal in this film. You see it without having to be told, this work is therefore somewhat removed from what you expect from the biopic. This film is not what you expect.
The audience ends up with a strange experience where reality and the surreal merge together into the traditional format, but, not quite. There is difficultly in attempting to review a film which seems as though it is about 7 films all tied up and drowsily, elegantly coming together under a veil of French cigarette smoke. The film begins in Nazi occupied France with Serge Gainsbourg as a child, this, is perhaps the most enjoyable segment of the film, it flows with ease and humour, the surreal fits perfectly with an infant imagination. The next portion is the adult Gainsbourg, more haunted by his childhood demons, but the haunting is a wonderful example of black humour and the torture of a soul by himself, not just by the drugs. In this film Gainsbourg’s vice appears to be women, and some of the most beautiful creatures I have seen on screen; Laetitia Casta who plays Bardot is every inch perfection, the women combined with smooth dialogue and archetypal French-ness plays out beautifully and easily. On the other hand, there are the songs… a man most notably famed for his heavy breathing with Jane Birkin is famed for this song for J’taime for a reason, the others are nothing, blips in the film which do nothing to propel the narrative, nothing to move the audience. The film can not have been made to demonstrate Serge’s musical prowess, the film acts like an experiment in storytelling and an experiment with the weird, with a few numbers thrown in. This is the flaw, the film doesn’t fit together, interjecting the likeable dark, jazz filled rooms with brightly coloured and uncomfortable moments of song and dance. They appear as vehicles to demonstrate the ups and downs of life but they remain irrelevant, other aspects of the film handle this with much more ease.
This film does not offer musings on the weight of fame, it instead shows a man and the affects of fame, through his own mind. Audiences are to watch, admire and infer. To be shown and not told is a relatively fresh approach, but not necessarily easy to follow. Although engaging and poetic, Gainsbourg begins to lull and drag as the epitomes of biopic emerge; divorce, violence, tears, until a decrepit shadow of a man is portrayed. The film decides to put on screen a man in a surreal world of his own, a man which mirrors the style of the film perfectly, flawed, but entertaining.
The bio-pic is becoming a staple in the world of Hollywood and the British film industry. Be it action packed historical pieces following great men and their troubles, or modern day celebrities and their troubles. All these films choose to follow the turmoil of the spotlight; Walk The Line, a wonderful exploration into the anguish of Johnny Cash, Ray shows the plight of the genius of Ray Charles, and although boys these films are affecting, full of talent and all round enjoyable, they pretty much follow the plot line of boy is born, boy is hurt, boy sleeps around, boy takes drugs, boy usually meets salvation. This formula is not always quite so exact in the British exploration, films such as Nowhere Boy add an artistic flourish to a boy grows up, boy gets hurt… oh. These film have a tendency to focus on the agony and the consequential affect on a psyche, all shown through pained close-ups and monologues where all the deep, dark truth of the past is dragged out. Gainsbourg is a different type of work, not all together different, how could a life of a celebrity not involve beautiful women, pain, drugs? But what differs is that opposed to the usual signifiers of an artists suffering i.e. violence and tears, is that the psychology, is shown right next to the artist in question. This is done by life size models of what is troubling him; his doppelganger, his id, his devil on his shoulder -the point is to want fame, you must reject what you were and physically face the dichotomy every day. The conflict between the artist and the business man, the good or the bad is expelled to the surreal in this film. You see it without having to be told, this work is therefore somewhat removed from what you expect from the biopic. This film is not what you expect.
The audience ends up with a strange experience where reality and the surreal merge together into the traditional format, but, not quite. There is difficultly in attempting to review a film which seems as though it is about 7 films all tied up and drowsily, elegantly coming together under a veil of French cigarette smoke. The film begins in Nazi occupied France with Serge Gainsbourg as a child, this, is perhaps the most enjoyable segment of the film, it flows with ease and humour, the surreal fits perfectly with an infant imagination. The next portion is the adult Gainsbourg, more haunted by his childhood demons, but the haunting is a wonderful example of black humour and the torture of a soul by himself, not just by the drugs. In this film Gainsbourg’s vice appears to be women, and some of the most beautiful creatures I have seen on screen; Laetitia Casta who plays Bardot is every inch perfection, the women combined with smooth dialogue and archetypal French-ness plays out beautifully and easily. On the other hand, there are the songs… a man most notably famed for his heavy breathing with Jane Birkin is famed for this song for J’taime for a reason, the others are nothing, blips in the film which do nothing to propel the narrative, nothing to move the audience. The film can not have been made to demonstrate Serge’s musical prowess, the film acts like an experiment in storytelling and an experiment with the weird, with a few numbers thrown in. This is the flaw, the film doesn’t fit together, interjecting the likeable dark, jazz filled rooms with brightly coloured and uncomfortable moments of song and dance. They appear as vehicles to demonstrate the ups and downs of life but they remain irrelevant, other aspects of the film handle this with much more ease.
This film does not offer musings on the weight of fame, it instead shows a man and the affects of fame, through his own mind. Audiences are to watch, admire and infer. To be shown and not told is a relatively fresh approach, but not necessarily easy to follow. Although engaging and poetic, Gainsbourg begins to lull and drag as the epitomes of biopic emerge; divorce, violence, tears, until a decrepit shadow of a man is portrayed. The film decides to put on screen a man in a surreal world of his own, a man which mirrors the style of the film perfectly, flawed, but entertaining.
Tuesday, 27 July 2010
Blues in Britain Magazine, Sean Taylor Review
Sean Taylor - Walk With Me
SGO Music
A release of an album from any young musician is a difficult move, especially if you want to call it Blues. Sean Taylor manages to combine sentimentality and acoustic guitar to a genre which is incredibly difficult to be a part of without going over old ground and using clichés. Taylor’s album is far from being a copy of Blues acts and more of a remaining. The first track is a slow, almost country song, which is not really in keeping with the skill the rest of the album portrays; there is real passion here and this is displayed with the introduction of Hold On. This song allows the listener to get a feel of what will be on the rest of the album, an understanding of the depth needed to be part of the Blues. I attribute this to the contributors on this album, BJ Cole on pedal steel who has worked with Elton John, Sting, REM, Vyvienne Long on Cello (Damien Rice, Lisa Hannigan) Justin Carroll on Hammond Organ (Van Morrison), Dave Hingerty (The Frames, Josh Ritter) on drums and Michael Buckley (Joss Stone, Mary Coughlan) on sax. Walk With Me fluctuates between poignant county to a slightly week attempt traditional blues. Taylor’s voice thrives in the balance of acoustic and real Blues in the title track Walk With Me. This album needs a few listens to try and pin down the sound Taylor is trying to achieve but is near perfection in songs where his style is defined, such as For You and Feel Alright. There are some really beautiful songs on this album and passion is embedded in every note, perhaps a little more maturity in voice and a few more songs like Walk With me would allow the listener to hear more of the raw and intelligent music he sings.
Rating- 6
SGO Music
A release of an album from any young musician is a difficult move, especially if you want to call it Blues. Sean Taylor manages to combine sentimentality and acoustic guitar to a genre which is incredibly difficult to be a part of without going over old ground and using clichés. Taylor’s album is far from being a copy of Blues acts and more of a remaining. The first track is a slow, almost country song, which is not really in keeping with the skill the rest of the album portrays; there is real passion here and this is displayed with the introduction of Hold On. This song allows the listener to get a feel of what will be on the rest of the album, an understanding of the depth needed to be part of the Blues. I attribute this to the contributors on this album, BJ Cole on pedal steel who has worked with Elton John, Sting, REM, Vyvienne Long on Cello (Damien Rice, Lisa Hannigan) Justin Carroll on Hammond Organ (Van Morrison), Dave Hingerty (The Frames, Josh Ritter) on drums and Michael Buckley (Joss Stone, Mary Coughlan) on sax. Walk With Me fluctuates between poignant county to a slightly week attempt traditional blues. Taylor’s voice thrives in the balance of acoustic and real Blues in the title track Walk With Me. This album needs a few listens to try and pin down the sound Taylor is trying to achieve but is near perfection in songs where his style is defined, such as For You and Feel Alright. There are some really beautiful songs on this album and passion is embedded in every note, perhaps a little more maturity in voice and a few more songs like Walk With me would allow the listener to hear more of the raw and intelligent music he sings.
Rating- 6
Blues in Britain Magazine, Dale Storr Review
Best Blues I've seen.
Dale Storr and Band, The Coach and Horses, Dronfield, 18/07/10
A pub in an unknown village, on the side of a busy road, on a relatively cloudy Sunday do not tend to be the criteria that prepares one for the kind of entertainment that occurred at the Coach and Horses in Dronfield. There was wonderful union between the Real British Ale, Real Deep South BBQ and real talent which culminated in an evening unlike any others I have experienced. Dale Storr is a known musician in the Blues scene in Sheffield and his departure from solo New Orleans Pianist became a seamless transition to playing with a bassist, Jeremy Meek, trumpet player Ian Sanderson and drummer, Dave Raeburn. After one band practice the band took it upon themselves to play a gig, I was lucky enough to be there. The set list covered all the bases, a backlog of songs which any discerning blues fan would cry out to a performer in hope of hearing live. Amongst their flawless renditions were songs by Jerry Lee Lewis, Fats Domino and Hank Snow. Their impeccable Ray Charles cover of Marrianne got roars of recognition and smiles from all the audience. The skill in which these musicians performed in the first half was clearly admired by the audience consisting of a healthy balance of Blues enthusiasts, families, teens and the men who were somewhat swayed by the ale. In the second half the admiration was transposed to amazement when the band took it upon themselves to, not only play some of Dale’s songs from his upcoming EP such as Radiate the 88, but added more wonderful renditions of other classics. Something seemed to occur in this half, a poignant and stunning cover of Summertime, with Ian taking the forefront, left the crowd in awe. What struck me most is, despite the lack of practice, you could never tell, therefore there was no separation from this band from any of the greats. This demonstrates an undeniable passion on all accounts. I cannot stress how much enjoyable this evening was, everyone in the audience were clapping, singing, and shouting through every song; whether it was well known, for example a Blues cover of The Beatles’ ‘I saw her standing there’ or other, less famous classics such as Barefootin’ by Robert Parker. Regardless of the song or style, everyone was engrossed. Despite the fact it’s early days for this band; with their skill, prowess and ability to get four encores like they did on Sunday, I can only predict great, great things.
Dale Storr and Band, The Coach and Horses, Dronfield, 18/07/10
A pub in an unknown village, on the side of a busy road, on a relatively cloudy Sunday do not tend to be the criteria that prepares one for the kind of entertainment that occurred at the Coach and Horses in Dronfield. There was wonderful union between the Real British Ale, Real Deep South BBQ and real talent which culminated in an evening unlike any others I have experienced. Dale Storr is a known musician in the Blues scene in Sheffield and his departure from solo New Orleans Pianist became a seamless transition to playing with a bassist, Jeremy Meek, trumpet player Ian Sanderson and drummer, Dave Raeburn. After one band practice the band took it upon themselves to play a gig, I was lucky enough to be there. The set list covered all the bases, a backlog of songs which any discerning blues fan would cry out to a performer in hope of hearing live. Amongst their flawless renditions were songs by Jerry Lee Lewis, Fats Domino and Hank Snow. Their impeccable Ray Charles cover of Marrianne got roars of recognition and smiles from all the audience. The skill in which these musicians performed in the first half was clearly admired by the audience consisting of a healthy balance of Blues enthusiasts, families, teens and the men who were somewhat swayed by the ale. In the second half the admiration was transposed to amazement when the band took it upon themselves to, not only play some of Dale’s songs from his upcoming EP such as Radiate the 88, but added more wonderful renditions of other classics. Something seemed to occur in this half, a poignant and stunning cover of Summertime, with Ian taking the forefront, left the crowd in awe. What struck me most is, despite the lack of practice, you could never tell, therefore there was no separation from this band from any of the greats. This demonstrates an undeniable passion on all accounts. I cannot stress how much enjoyable this evening was, everyone in the audience were clapping, singing, and shouting through every song; whether it was well known, for example a Blues cover of The Beatles’ ‘I saw her standing there’ or other, less famous classics such as Barefootin’ by Robert Parker. Regardless of the song or style, everyone was engrossed. Despite the fact it’s early days for this band; with their skill, prowess and ability to get four encores like they did on Sunday, I can only predict great, great things.
Now Then Magazine, Heebie Jeebies
The Heebie Jeebies, Friday 11th June, The Harley
Considering the wind, the football and the fact the band didn’t start till about half 11, The Heebie Jeebie’s had a huge turn out in The Harley for a gig. The glitter and the colours which decorated the stage ignited excitement in the crowd and the equally exhilarated three band members maintained this feeling of fun and a party atmosphere throughout the gig.
The band opened with Murderous, their new single, an upbeat song which continued their combination of a punk and pop mentality in their stage presence. The band were an impressive act to watch, keeping the energy and enjoyment high enough to keep the crowd engaged through their twelve song set. The evening ultimately became more about the band and the atmosphere they expel as opposed to the songs themselves; the band themselves say, in terms of their development, ‘we don't waste our time trying to write good songs, its easier to just go with the flow and see what happen.’ What happened was a ‘flow’ unlike many others of the Sheffield landfill ‘indie’ scene and it resulted in a sound which involves pop, calypso, disco and punk which kept absolutely everybody dancing.
The first part of the set consisted of songs that had a distinctive style from the outset, this became all the more apparent with the introduction of their song ‘Romeo’, an epic, soulful song which genuinely was striking. This part of the set and the following four songs showed a technical prowess and a musical ability that overcame the organised chaos of the first half. Their skill was demonstrated by the drummer Thom’s amazing energy and ability to play frantic drums whilst keeping the song in time and was impressive to behold. The bassist, Den, was leaping in to the crowd, dancing with the audience and never really missing a note. The singer and guitarist Owen, expelled happiness and showed an immense passion, as did the rest of them, for what they were doing.
With songs as impressive as this and others such as ‘Butchers’ and ‘Misery Guts’ the second song on the single, this band are obviously capable of being more than a fun act to go see on a night out, there are great songs in their back log. With various gig’s coming up at places like Glastonbury and Tramlines, the band are heading for bigger stages and I imagine an even bigger stage presence. If they continue to be as engaging and as interesting to watch, big things will happen for The Heebie Jeebies. Their two part single will be released on August 3rd , followed by a tour in Asia.
Considering the wind, the football and the fact the band didn’t start till about half 11, The Heebie Jeebie’s had a huge turn out in The Harley for a gig. The glitter and the colours which decorated the stage ignited excitement in the crowd and the equally exhilarated three band members maintained this feeling of fun and a party atmosphere throughout the gig.
The band opened with Murderous, their new single, an upbeat song which continued their combination of a punk and pop mentality in their stage presence. The band were an impressive act to watch, keeping the energy and enjoyment high enough to keep the crowd engaged through their twelve song set. The evening ultimately became more about the band and the atmosphere they expel as opposed to the songs themselves; the band themselves say, in terms of their development, ‘we don't waste our time trying to write good songs, its easier to just go with the flow and see what happen.’ What happened was a ‘flow’ unlike many others of the Sheffield landfill ‘indie’ scene and it resulted in a sound which involves pop, calypso, disco and punk which kept absolutely everybody dancing.
The first part of the set consisted of songs that had a distinctive style from the outset, this became all the more apparent with the introduction of their song ‘Romeo’, an epic, soulful song which genuinely was striking. This part of the set and the following four songs showed a technical prowess and a musical ability that overcame the organised chaos of the first half. Their skill was demonstrated by the drummer Thom’s amazing energy and ability to play frantic drums whilst keeping the song in time and was impressive to behold. The bassist, Den, was leaping in to the crowd, dancing with the audience and never really missing a note. The singer and guitarist Owen, expelled happiness and showed an immense passion, as did the rest of them, for what they were doing.
With songs as impressive as this and others such as ‘Butchers’ and ‘Misery Guts’ the second song on the single, this band are obviously capable of being more than a fun act to go see on a night out, there are great songs in their back log. With various gig’s coming up at places like Glastonbury and Tramlines, the band are heading for bigger stages and I imagine an even bigger stage presence. If they continue to be as engaging and as interesting to watch, big things will happen for The Heebie Jeebies. Their two part single will be released on August 3rd , followed by a tour in Asia.
Wednesday, 9 June 2010
Exposed
Exposed told me to write 250 words for them..
Celluloid Screams is an event that takes over the Showroom Cinema from the 22nd-24th October to get us all ready for Halloween. They pride themselves in the unseen horror films by film makers from all around the world and have a tendency to show independent work as well as the big budget horror’s we all know and love. In the time before this event, the Showroom are screening double bills of Horror films, this allows for us cult followers to be completely submerged in the world of gore, guts and screams. I attended a screening of Rec/Rec 2 recently, Rec, a low budget Spanish horror film that takes documentary horror to another level, in the break between the two I had to keep looking over my shoulder and have a sit down to make my limbs work again. Consequentially the walk back to the screening room was a long and some what painful expedition and when the lights went out, I already felt my heart beating faster than those Zombies can run. Rec 2 is a sequel even scarier than it’s predecessor, an impressive feat in a genre so full of terrible remakes and re releases. This event left me shook up for a good few hours and I imagine the next few will not disappoint. Horror geeks and foreign film fans should be queuing up to see what the next event has to offer, just keep reminding yourself, ‘it’s only a film, it’s only a film.’
Now Then
I just got published on the Now Then magazine's blog, here is a link to it
http://nowthensheffield.blogspot.com/2010/06/film-review-killer-inside-me.html
This is the article I like the most.
http://nowthensheffield.blogspot.com/2010/06/film-review-killer-inside-me.html
This is the article I like the most.
Monday, 17 May 2010
This an article for Now Then Magazine in Sheffield which was supposed to cover the union of the South Yorkshire Film Makers Network (http://www.syfn.org/) and Shooting People (https://shootingpeople.org/account/auth.php). Both companies are important in the world of independent film and their union was followed with a screening of the work of Tom Harper, two shorts and his first feature length, 'The Scouting Book For Boys', he is currently working with Shane Meadow's on his new project This Is England 86' directing two of the four episodes. There was a Q&A with Thomas Turgoose, the star of This is England and The Scouting Book for Boys. This event was an important display of independent film making and the independent film industry.
Sheffield’s bid to be City of Culture seems to be taking off with the influx of film events occurring in this Steel City of ours. Apparently, it’s no longer Grim Up North. As Ken Loach is looked upon nostalgically, we have a very modern approach emerging, instead of Kestrels we have Chris Morris’s choice to shoot a comedy about suicide bombers, ‘Four Lions’ in Sheffield. Shane Meadows is currently shooting his new project ‘This Is England 86’ round by Meadowhall, with this popularity, it appears we have something to rival the projects down South.
Warp films, a company ran by our own Barnsley Boy Mark Herbert, is the instigator of such creations, producing both. His name and Warp films are synonymous with the independent industry, especially the on goings of the Sheffield scene; Warp have made three Artic Monkeys music videos to date. The prominence of a Sheffield based film company could be what has lead to the South Yorkshire Film Makers Network beginning a partnership with the company Shooting People, a network which has members consisting of over 3500 independent film makers, producers, writers… basically anyone who is anyone in the independent film industry. The collaboration of both companies, to quote the Rob Speranza, a University of Sheffield graduate, and the Head of SYFN, will lead to ‘mutual benefits from being part of either company’ i.e. if you’re a member of one of the two, it means you will get information and connections with the other.
A partnership signifies the notice being paid to Sheffield and it’s importance within the film industry. Britain, famed for it’s realist portrayals of the gritty life, is in danger of becoming a cliché or a stereotypical cinema. Tom Harper, a 30 year old film maker from London has introduced more ‘art cinema’ notions to British film making. He has made his name in the industry by making short films, notably Cherries and Cubs and was nominated for a BAFTA at the age of 26 for the latter. Both films focus on the urban aspects for teenagers, whether or not it is gun crime, gang violence, indoctrination culminating in the strife that’s involved with growing up and being a man. Tom’s first feature length ‘The Scouting Book For Boys’ stars Thomas Turgoose, who came to fame in ‘This Is England’, this film follows the same notions and explores them with stunning shots and lingering camera work. I attended a screening of these shorts and the feature with a Q&A featuring Rob, both Tom’s and James from Shooting People. Events like this keep cropping up at the Showroom and I urge anyone wishing to be involved with the blossoming Sheffield industry to attend such nights, especially if you wish to catch a glimpse of the This Is England cast.. You could just wait around Tesco on Ecclesall road in the next few weeks if you prefer..
If you really want to be a part of this cultural upheaval, you should join either SYFN or Shooting People. Tom Harper, a member of both, is now directing two of the four episodes of This Is England 86’. When asked about why shooting in Sheffield is preferable to London, he jokes ‘In London, someone will steal your kit and try and sell it back to your for 300 quid, In Sheffield, people smile and are more willing to help out.’ It seems that our charm is affecting the rest of Britain. Mark Herbert, notes the importance of shooting somewhere unseen on film, Tom follows this with his excitement in finding new locations and the novelty of the scenery as opposed to gritty blocks of flats.
If Turgoose ‘never wants to move out of Grimsby’, it seems that we have a lot to gain by staying put in Sheffield.
This is a really old article I wrote for Red Shoes Magazine, an independent Sheffield based magazine ran by two students. It wasn't really Sheffield orientated enough for them, so I had to change it, but this is what I originally wrote, needs some tweaking and things, but I think it fitted the time it was written.
This One Is For The People
Whilst Hollywood plans an escape from the recession via a canine route, be it Dogs in Hotels, Rom-coms with the lead played by Labradors or even shooting dogs into space, a group of over 60 screen writers have emerged with a darker and all be it, a more ‘real’ approach. Their creation does not try and rid our tired minds of the credit crunch, it is in fact the focus. Michael’s resignation is an independent creation by an amalgamation of minds who want to show the darker side to our money troubles, they state it is a ‘powerful and savage critique of contemporary British life, as well as a damning social commentary on the emotional effects of recession.’ Even if you can’t bear to hear another word on the credit crunch and haven’t been affected by it (from a student point of view, we’re getting free money and food is cheaper in Tesco’s) the film is so unique, that attention should be paid.
It also explores a much darker side to Britain than the daily mail would ever like to let on, all be it, amplified. The films protagonist does not wear a flea collar, he instead is a Halifax worker who has just lost his job, is losing his wife and all and all having an awful time. His reaction is not to escape, he chooses to fight, and fight with guns. Coined a ‘dark Tarintino- esque thriller’, the film explores a some what exaggerated response to life, due to morbid experiences from fighting the Iraq War mixed with day to day suffering, this should all result in a hell of a lot of death, which in reality, combines the two nicely. The controversy with the different approach bleeds into the production itself, as one of the HSBC bands sent a message to all employees telling them not to be involved with the film in any way.
Not only is the premise controversial, the production, funding and exhibition are also. The film is a collaboration of 60 screen writers all over the world who came together via social networking sites, this modern day approach mirrors the themes in the film, something we are all in common with, then blown up to serve a function. The whole team are unknown in the industry, using unknown actors, unsigned bands and production staff as a new way into the mainstream. The magnitude of defiance of the media industry is epitomized in the funding of the film; the money has been and is being raised by the general public through shares. A piece of the film can be bought securely online through the movie’s website, MichaelsResignation.com. There are 50,000 shares to invest in, priced at £1.00 each, anyone can invest from £5.00. The film makers plan to give back 10-20 times what is invested by the public. In this attempt to quell elitism and the difficulties to break into the industry is a supposed ‘weighty middle finger judgment’, the team wish to ‘encourage, and to create hope.’ The film’s anarchic approach wants to involve everyone in a community formed out of social distaste and sickness of the mundane. As the film is still in its production stages we won’t get to see the result for a while, in spite of this, the film is already opening up the arts to the public. Even those who aren’t particularly inclined towards cinema can get involved. For example, the screening of the film is going to incorporate a battle of the bands.
The film is more of a project or work in progress than typical industry creations, their graft is visible on the website which is updated frequently as well as the face book groups. If it seems to late to get involved with this film, there are other films in the pipeline all revolving around the credit crunch, the next one, a woman is the central protagonist. The films expand and critique on problems of the general public for entertainment as well as informing. The message of the film is not a happy one but it explores issues which the mainstream ignore in their attempt to sedate with pets and computer generated images
Michael’s Resignation comments on timeless issues prominent in society like divorce, affairs, love and isolation, so there is a lot to draw from and to relate to real life; it appears very much as a film made by ‘the people’ about ‘the people’ and ultimately for ‘the people.’ It also tackles issues that are very much of today, as the protagonist is from the Iraq war, it puts a face to the statistics we hear or see, he is not a glamorised hero like often the army are in the media, he is flawed like the rest of us and trying to hide this, is ultimately his downfall. Not to get too bogged down with the message of the film, my analysis is heading towards the depressing so I will leave it at this; the film is the most unique creation to be seen for a long time, it is forging its own space within the independent circuit and making it more approachable as it ignites hope for the rest of us. Even if you don’t share the penchant for the violent it is worth getting involved if you’ve felt let down with this credit crunch, by Hollywood’s regurgitation of happier times or simply you don’t want to see any other bloody dog on screen, whether they’re a superhero or not. Michael is an anti-hero, someone more like us, a warning though, as everything in the film is a comment on the modern day, distorting but also reflecting real life, don’t go looking for a happy ending.
This One Is For The People
Whilst Hollywood plans an escape from the recession via a canine route, be it Dogs in Hotels, Rom-coms with the lead played by Labradors or even shooting dogs into space, a group of over 60 screen writers have emerged with a darker and all be it, a more ‘real’ approach. Their creation does not try and rid our tired minds of the credit crunch, it is in fact the focus. Michael’s resignation is an independent creation by an amalgamation of minds who want to show the darker side to our money troubles, they state it is a ‘powerful and savage critique of contemporary British life, as well as a damning social commentary on the emotional effects of recession.’ Even if you can’t bear to hear another word on the credit crunch and haven’t been affected by it (from a student point of view, we’re getting free money and food is cheaper in Tesco’s) the film is so unique, that attention should be paid.
It also explores a much darker side to Britain than the daily mail would ever like to let on, all be it, amplified. The films protagonist does not wear a flea collar, he instead is a Halifax worker who has just lost his job, is losing his wife and all and all having an awful time. His reaction is not to escape, he chooses to fight, and fight with guns. Coined a ‘dark Tarintino- esque thriller’, the film explores a some what exaggerated response to life, due to morbid experiences from fighting the Iraq War mixed with day to day suffering, this should all result in a hell of a lot of death, which in reality, combines the two nicely. The controversy with the different approach bleeds into the production itself, as one of the HSBC bands sent a message to all employees telling them not to be involved with the film in any way.
Not only is the premise controversial, the production, funding and exhibition are also. The film is a collaboration of 60 screen writers all over the world who came together via social networking sites, this modern day approach mirrors the themes in the film, something we are all in common with, then blown up to serve a function. The whole team are unknown in the industry, using unknown actors, unsigned bands and production staff as a new way into the mainstream. The magnitude of defiance of the media industry is epitomized in the funding of the film; the money has been and is being raised by the general public through shares. A piece of the film can be bought securely online through the movie’s website, MichaelsResignation.com. There are 50,000 shares to invest in, priced at £1.00 each, anyone can invest from £5.00. The film makers plan to give back 10-20 times what is invested by the public. In this attempt to quell elitism and the difficulties to break into the industry is a supposed ‘weighty middle finger judgment’, the team wish to ‘encourage, and to create hope.’ The film’s anarchic approach wants to involve everyone in a community formed out of social distaste and sickness of the mundane. As the film is still in its production stages we won’t get to see the result for a while, in spite of this, the film is already opening up the arts to the public. Even those who aren’t particularly inclined towards cinema can get involved. For example, the screening of the film is going to incorporate a battle of the bands.
The film is more of a project or work in progress than typical industry creations, their graft is visible on the website which is updated frequently as well as the face book groups. If it seems to late to get involved with this film, there are other films in the pipeline all revolving around the credit crunch, the next one, a woman is the central protagonist. The films expand and critique on problems of the general public for entertainment as well as informing. The message of the film is not a happy one but it explores issues which the mainstream ignore in their attempt to sedate with pets and computer generated images
Michael’s Resignation comments on timeless issues prominent in society like divorce, affairs, love and isolation, so there is a lot to draw from and to relate to real life; it appears very much as a film made by ‘the people’ about ‘the people’ and ultimately for ‘the people.’ It also tackles issues that are very much of today, as the protagonist is from the Iraq war, it puts a face to the statistics we hear or see, he is not a glamorised hero like often the army are in the media, he is flawed like the rest of us and trying to hide this, is ultimately his downfall. Not to get too bogged down with the message of the film, my analysis is heading towards the depressing so I will leave it at this; the film is the most unique creation to be seen for a long time, it is forging its own space within the independent circuit and making it more approachable as it ignites hope for the rest of us. Even if you don’t share the penchant for the violent it is worth getting involved if you’ve felt let down with this credit crunch, by Hollywood’s regurgitation of happier times or simply you don’t want to see any other bloody dog on screen, whether they’re a superhero or not. Michael is an anti-hero, someone more like us, a warning though, as everything in the film is a comment on the modern day, distorting but also reflecting real life, don’t go looking for a happy ending.
The Sanctuary
This is an article entitled 'Why I love', kindly given to me by Jonno who is the editor for The Sanctuary Newspaper
I really have a love for the gorey horror films and a bit of a problem with Jeff Goldblum so here is my attempt at encapsulating this.
Why I Love...
David Cronenberg
Gore, sex, comedy - these three criteria tend to be what dictates my enjoyment of the cinema experience. One could say these focal points inhibit any ability to find depth or inspire lengthy discussions on skill and how the film ‘really gets me’; but, in fact horror, sex and laughter tends to be what people like ‘us’ revel in and discuss in day to day life, in my opinion Cronenberg’s work really does ‘get’ the audience. His work stems from the early 80’s obsession with the body (all that lyrcra..) a prominent topic in today’s society, a glance at the cover of Heat magazine is to pick up at least 12 things that are wrong with you. Cronenberg can merge the psychological trauma of humanity with the physical and often traumatic development of a body; he literally turns the inside out. His ability to play on the social consciousness and heighten awareness of our downfalls without a didactic conclusion is something few have managed. The term internal apocalypse is thrown around in critical discussion of his backlog of films, I believe most people have experienced this flailing, crying desperation and Cronenberg’s motifs and topics of discussion are applicable to those who have ever felt a bit lost whilst entering the rabbit hole.
Cronenberg has now delved into the world of serious Hollywood with works such as A History of Violence or Eastern Promises, but my passions will always lie with the low budget, enthralling experiments such as Shivers, Videodrome or the masterpiece that is The Fly. Passion here is operative word, Cronenberg is someone engrossed with every aspect of his films, to the point of making cameo appearances in his own works and various others, writing, directing, cinematographing, the man has done it all. The Fly is a flawless example of science fiction, harkening back to the old 1950’s B Movies, he loves his clichés of mad doctors, pretty girls running around, huge monsters and the element of nostalgia highlights Cronenberg’s fervour, his love for cinema is engrained in every shot, every drip of blood and every shred of dialogue. Not only are the films entertaining, but they have something to say, a commentary on how wrong our world can go and how distorted, perverted or lost humanity can become.
To watch Cronenberg’s films is to become submerged in the most bizarre things you could ever want (or, more likely never want) to see on film. The cinema is his playground, workplace and his experimental lab. I urge you cinephiles to look back and embrace the surreal and wonderful world of Cronenberg
This is an article for Blues In Britain Magazine covering the musician Eric Bibb.
http://www.ericbibb.com/bibb.php
This was a gig that i got free tickets too and I think my excitement about being taken seriously kind of bled into my writing. Little bit too happy?
Blues In Britain
Eric Bibb, Sheffield City Hall, 17/05/10
Eric Bibb played in Sheffield City Halls’ Memorial Hall, the intimate venue and Art Deco style décor allowed for an incredibly personal introduction to Bibb’s stage presence and a fitting backdrop to his own love of nostalgia. He noted the importance of his fans, stating how ‘it’s good to see you all again’ and it was reciprocated by the beginning of ‘Shingle by Shingle,’ a song that got the crowd clapping before he even started. There was an unbelievable amount of warmth expelled from all I can really describe as his soul. What struck me was that, with the combination of gospel, soul and folk, there is still a sentimentality for the old, Bibb is genuinely is a part of the Blues. Bookers Guitar, Bibb’s new album, entitled this, due to his passion for B B King and his cousin Booker White. The excitement with which Bibb described playing Bookers guitar, ignited a sense of passion and love that translated into his more upbeat songs such as ‘New Home’ which got the crowd swaying, clapping and stomping. I attribute the enjoyment of the audience to the addition of Grant Mc Dermody on harmonica, the two men were in incredible synchronicity and there was a deep connection between them when discussing their friend John who had passed away. The bond became apparent during their rendition of ‘Connected,’ after which Grant exclaimed ‘I thought we only got audiences like this in Alaska’. There was another bond shown to exist between Britain and America which became apparent when Bibb sang a song ‘from this side of the pond’ called ‘Wayfaring stranger.’ Points such as these when Bibb passionately expressed his roots were a touching and moving experience and the combination of the old and new completely took hold when he sang ‘Tell Riley’, a song about B B King which encapsulated old Blues and a modern sentiment, which made the every filled seat clap in unison. Bibb captivated the crowd with his old sentimentalities and the interjection of his unique voice and style, that he argued is much the same as the guitars, ‘who need to have there voices heard.’
Cool really is the only word.
http://www.youtube.com/watch?v=0szwmdAfeNw
First Post
I'm Emilie and am currently trying to get as much writing work as possible, I'm going to upload articles as an attempt to show off any skills I may have, hopefully get some feedback and use this as a sort of showcase..
That is all, please comment back.
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