John Boorman's 'Leo the Last' (1970) starring Marcello Mastroianni, Billie Whitelaw, Calvin Lockhart and Vladek Sheybal.
#johnboorman
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John Boorman's 'Leo the Last' (1970) starring Marcello Mastroianni, Billie Whitelaw, Calvin Lockhart and Vladek Sheybal.
#johnboorman

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I was introduced to Derek Jarman's films through a porn mag. It was one of the few my older brother hid in a Subbuteo box in the front bedroom cupboard. I was more interested in film directors, literature, poetry, and an early death than playing football games on a green felt carpet. The giveaway to my brotherâs secret stash was the fact his Subbuteo box was regularly Sellotaped for no apparent reason. It suggested to my Holmesian mind my brother was hiding something. He was. Porn. Top quality porn. His taste in porn mags was interesting. Cinema X, Cinema Blue, a few copies of Game (with the delectable Bethany from Romney Marsh), and one Mary Millingtonâs Whitehouse, which was more like a book on gynaecology.
It was in one of the issues of Cinema Blue that I first read about Derek Jarman and his âgay sex pornoâ Sebastiane (1976). The reviewer rated it an intelligent and beautiful movie, but not a sex flick. Interestingly, Jarmanâs father thought the film a good depiction of life in the RAF during World War Two. Go figure.
I was intrigued by Sebastiane because it had some of the cast of The Rocky Horror Picture Show (which was a favourite) and starred artists like Lindsay Kemp and Duggie Fields. My mother thought Kemp a genius, and knew of his work from his time in Edinburgh (where we lived) performing The Maids. It may surprise the Guardian and its narrow-minded middle class readers but working class gammons love culture just as much, if not more, than they do.
There was never really anything to wank over in Cinema Blue. Unless you counted the B&W ads for home movies of cock-sucking nuns or daisy chain queers fucking each other around a swimming pool in L.A. I always preferred the articles and that, dear reader, is how I first read about Jarman.
I was swithering about sex. Itâs called growing up. I was fourteen. I was a pupil at an all boys Christian Brothersâ school. I read Oscar Wilde and Quentin Crisp, Franz Kafka, Derek Marlowe, Dostoyevsky, Albert Camus and Alistair MacLean. I loved the poetry of W. H. Auden and Robert Graves, and thought Goodbye To All That, the best autobiography Iâd read. My favourite artists were Francis Bacon, David Hockney, Peter Blake, Jackson Pollock, Picasso, Dali, Matisse and Courbet. My favourite directors were John Boorman, who I found though Zardoz and Ken Russell, who I found through my motherâs enthusiasm for Song of Summer and later when I spent one Christmas (was it 1973?) sitting at the top of the stairs in our old two-up-two-down listening to the dialogue for Women in Love when it was first screened on BBC One. I half-fancied a classmate called X. who I thought prick-teased and wrote âDonny [Osmond] is Loveâ on my pencil case. But I fell in love with too many older girls from the local convent school, who all seemed to knowingly press themselves against my erection on the dance floor at school discos during those slow numbers when the nuns and the brothers kept the overhead lights on â just in caseâŚ. I wrote these dear pre-Raphaelite beauties love poems. I was under the pull of their gravity, but they were far greater planets who orbited other sons.
I drifted. Which is probably the best description of my life to date. I dreamed of marrying at sixteen and having a large family by 25. Living in a council house, and holding down some factory job. But literature and films will turn your head to what may be and I followed that question towards its unreachable answer.
The next I read of Jarman was in the NME (I think), he was making a punk movie called Jubilee which was reviled by the Daily Mail, Mr. Angry of Slough (see Kenny Everett), Vivienne Westwood, and punks of every order. Such faux outrage made me want to see this film all the more. It was an âXâ certificate and I was too young. Though I would have certainly blagged my way in if ever it had come to our local fleapit. It didnât. Instead, I followed the filmâs course through clipping articles out of newspapers and magazines, then buying a cassette of the soundtrack. Boys at school said, âWhat the fuck is that shit? Thatâs not punkâŚâ as they heard Jordan singing Rule Britannia. I did not care. A soundtrack album or cassette (like the ones I bought for Ken Russellâs The Music Lovers or Lisztomania) brought me closer to genius.
Derek Jarman (1942-1994) was a filmmaker, artist, diarist, writer, set designer, activist, and gardener. He was born and raised in the London suburb of Northwood. He attended Canford School in Dorset before studying English at Kingâs College, London. He then studied painting at the Slade.
Jarmanâs career as an artist led him into set designing for the stage and then as set designer for Ken Russell working on The Devils (1971) and Savage Messiah (1972). Jarman and Russell would later collaborate on operas in the 1980s. During this time, Jarman began producing and directing short Super-8 movies which he screened to friends in his studio at Butlerâs Wharf, London.
In 1976, he directed his first full-length feature film Sebastiane about the martyred saint who was shot through with arrows. This film has been described as the âfirst positive depiction of homosexuality.â It caused controversy due to one actorâs erect penis during a love-making scene. The film was in Latin and starred musician Barney James, Richard Warwick, one of three Crusaders in Lindsay Andersonâs IfâŚ, and had cameos from Lindsay Kemp, the artists Duggie Fields and Andrew Logan, and three of the cast from The Rocky Horror Picture Show, Little Nell, Patricia Quinn, and Peter Hinwood.
The following year, Jarman started filming Jubilee a film inspired by seeing Jordan coming-off a train in Victoria Station dressed in white PVC boots and punk clothes and startling geometric make-up. The idea of a punk movie brought in some backers who thought they could make a quick buck out of punk rock. Jarman opened the film up to include some ideas from a script he had written about the Elizabethan magus Doctor John Dee. The script was hardly finished before the filming commenced.
I think it was about two-or-three years later I eventually saw Jarmanâs movie circa 1980-81. I liked it. Thought it fun. Thought it a fair depiction of the United Kingdom in the middle to late 1970s. I also thought it flawed. It was a series of sketches anchored around the set-up of John Dee (Richard OâBrien) giving Queen Elizabeth I (Jenny Runacre) a glimpse of a future Britain where anarchy, war, poverty, mass unemployment, and unbridled capitalism rule. It wasnât really the future but a veiled autobiography exploring Jarmanâs own frustrations and fears of what was happening to his âgreen and pleasant land.â
Jarman, as he told the NME circa 1980, was âa conservative, with a small âcâ.â Like G. K. Chesterton, he longed for an imaginary past where everything was fair, and equal, nicely presented and clean. Yet, Jarman, unlike Chesterton, was able to poke fun at this fantasy of the past by having a character in his film painting artificial flowers in his artificial garden, and killing the life-giving bugs with bug spray.
Jarman described Jubliee as:
..a fantasy documentary fabricated so that documentary and fictional forms are confused and coalesce.
Queen Elizabeth II is dead. She was mugged for her crown while out shopping down an old dark road in Deptford. We all live in âR.I.P. OFFâ Britain where:
The instigators of punk are the same old petit bourgeois art students, who a few months ago were David Bowie and Bryan Ferry look-alikes â whoâve read a little art history and adopted some Dadaist typography and bad manners, and who are now in the business of reproducing a fake street credibility.
Jarman failed to see that punk was truly revolutionary. It liberated just as much as it anticipated Thatcherism with its D.I.Y. stance and belief in taking charge of oneâs life. Was this not a definition of the Protestant work ethic that would be espoused by future Prime Minister Margaret Thatcher in the 1980s? But Jarman thought Thatcher a ârevolutionaryââthe cynical destroyer of all the things he believed best represented England.
This wasnât Tory Britain but the UK under the mismanagement of Prime Minister âSunnyâ Jim Callaghan and his Chancellor Denis Healey, who did not mind bankrupting the countryânot once but twiceâcausing untold misery through poverty, three-day weeks, unemployment, high taxes, and ubiquitous strike action. The landscape of Jubilee is the nightmare of a socialist government failing to bring its promised rewards, as Jarman later explained:
We have now seen all established authority, all political systems, fail to provide any solution â they no longer ring true.
And, of course, it anticipated the cynical economics of Thatcherism, especially in the character of Borgia Ginz (played by the âlegendaryâ Great Orlando) who epitomised the very worst of the politicians and bankers who rule our world:
You wanna know my story babe. Itâs easy. This is the generation that grew up and forgot to lead their lives. They were so busy watching my endless movie. Itâs power babe, power. I donât create it, I own it. I sucked and sucked and I sucked. The media became their only reality and I owned their world of flickering shadows. BBC. TUC. ITV. ABC. ATV. MGM. KGB. C of E. You name it, I bought them all and rearranged the alphabet. Without me, they donât exist.
It was the quote that made me want to burn it all down. All politicians are the enemy. Just look at your government. As Ginz said after he bought and sold the world:
As long as the musicâs loud enough, we wonât hear the world falling apart. Â
Jubileeâs most controversial scene was the one in which Happy Days (Gene October) is murdered during sex by Crabs (Little Nell), Mad (Toyah), Bod (Jenny Runacre) and Amyl (Jordan). Happy Days is asphyxiated in pink plastic and dumped into the mud of the Thames while Angel (Ian Charleson) sings My Love is Like a Red, Red Rose. British Film Censors objected to the women killing a man, suggesting to Jarman he didnât want his movie to inspire any Clockwork Orange copycat violence. Which is rather odd considering how many men are depicted in movies raping and killing women with little comment from censors.
The film opened in 1978 to poor reviews. It was loathed by punks and reviled by many who had taken part in it. Now, of course, these individuals see the filmâs value. As Jarman later said:
Afterwards, the film turned prophetic. Dr Deeâs vision came trueâthe streets burned in Brixton and Toxteth, Adam [Ant] was on Top of the Pops and signed up with Margaret Thatcher to sing at the Falklands Ball. They all sign up in one way or another. Â
Read more here.
#derekjarman #film #kenrussell #johnboorman #punk #adamant #jordan #toyah #jennyrunacre #iancharleson
Author William McIlvanney as Diaghilev in Post Mortem: A Leap into Madness (1997).
The Rolling Stones
#rollingstones #album2

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Picture the scene: Youâre sprawled out in the back of a car. You feel drunk. Sick. The driver weaves this way and that, making you feel even worse. Steady on, cabbie. But heâs not a taxi driver, and youâre not drunk. But you are sick, and you know things are gonna get worse.
Thatâs a quick thumbnail of the opening of Ben Wheatleyâs brilliant new film Bulk. Itâs a cleverly structured pop culture meta-fiction. A fantastic work of art. A concoction of hard-boiled detective fiction mixed with Nigel Knealeâs Quatermass type sci-fi, a soupçon of French New Wave and a twist of punk DIY. But this is Ben Wheatley country. So youâd better buckle up coz weâre in for one helluva ride.
Without giving any spoilers, itâs the story of a journalist, Corey Harlan (Sam Riley), who is kidnapped by a henchman called Sessler (Noah Taylor). He is driven to the house of a missing billionaire, Anton Chambers (Mark Monero). Here he is met by a scientist named Aclima (Alexandra Maria Lara), who explains Chambers disappeared while working on a new Brain Collider. This device has created alternate worlds within the house, which Harlan must navigate to find the mysterious Anton Chambers.
Thereâs an academic paper to be written about Mr Wheatleyâs films and their relationship to home, or a home â be that a field or a campervan â and parents â be that a father figure or a mother/woman who negotiates the masculine landscape with dexterity and sense. A house, or perhaps a home, is central to Wheatleyâs film. Each room offers a different reality, just as a domestic family home offers alternative realities.
Bulk is a tremendous mindfuck of a movie with excellent performances from Lara, Riley, Taylor and Monero. Itâs a must-see. Dangerous Minds talked to Ben Wheatley about filmmaking and his latest feature film.
Tell me about Bulk â how would you describe it?
Ben Wheatley: âItâs a kind of neo-noir science fiction movie, but itâs also like a comic book adaptation for a comic that was never written, or an adaptation of a French comic from the 1970s that no one knows or is too obscure for anyone to get hold of. Itâs all those things. It is like a Bogart film, but itâs also like Nigel Keale or a Terry Nation episode of some kind of obscure â70s or â80s TV show. Then, at the same time, itâs a bit punk rock and handmade. Itâs kind of old-fashioned but also right up to dateâ.
What inspired you?
BW: âIâd had this idea for a science fiction thing for a long time. I started to put it together. It was a mixture of looking at technology and thinking about old films and old special effects, and what could I buy off the internet? What could I get from Amazon to make a movie with, and what did I have in my house? Then I was thinking about the idea of a movie that was made in one room, just redressed again and again. It was all kind of mulching around like that, and then, Iâd been chatting to Sam (Riley) and Alex (Maria Lara), and we were saying about wanting to do a film, and then it all seemed to come together, there was a spac,e and there was time, and the script came together quite quickly, and then we wentâ.
Read on here
#benwheatley #bulk #neonoir #scifi #film
Behind the scenes of Alien (1979)
Peter Cushing
via doplacebo.blogspot.com
In January 1890, Eugène Atget pinned a sign to the front door of his apartment.
"Documents pour artistes"
It was an advert for business and a declaration that Atget was now a photographer.
Photography had not been his first choice. He came to it through work as a sailor, an actor, and finally as an artist. He gave up painting when he realised his talents were pale in comparison to others. But the experience taught Atget of the artistâs need for subject matter which made him consider photography.
His intention was to supply artists with photographs of landscapes, buildings, street scenes, people, animals, and flowers. What he called âDocuments for artists.â He thought this would be good business as it meant his photographs would help artists spend more time in the studio and less looking for subject matter.
Camera technology changed considerably between 1870 and 1890. Cameras were still unwieldy boxes on tripod legs, but they were lighter, and easier to carry. More importantly, images could be produced more quickly using dry plate photography.
Atget (1857-1927) wandered the streets of Paris dressed in a large black cloak and floppy hat, his camera on its tripod slung over his shoulder. He drifted until something triggered a response which he stopped to photograph.
Paris is the city of the flâneur. Its streets and boulevards invite perambulation. Its arrondissements are filled with hidden beauty that trigger involuntary memory. Atget was a flâneur, who wandered the city waiting for his âmadeleine momentâ to photograph. A chance encounter with a prostitute idling by her front door; a hawker selling wares from a cart; a maitre dâs blurred face at the door of a restaurant; a shop window filled with mannequins; or the empty cobbled street still warm with the impression of activity.
#atget #photography
Looks familiar.
Robert Motherwell - 'Beggruen Series #3' (1979) vs. 'Captain Scarlet' (1967).
#captainscarlet #robertmotherwell #gerryanderson #francismatthews #art #television

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Hans Feurer - Vogue Paris (Dec. 1977)
I got some bad ideas in my head.
Taxi Driver (1976) dir. Martin Scorsese
Alan Bates in the stage production of Simon Gray's 'Butley' 1972.
#alanbates #theatre #simongray #butley
Modigliani in his studio, 1915.
Photograph: Paul Guillaume.
#modigliani #artists #studios #paris
Glenda Jackson preparing to perform as 'Elizabeth R.' BBC 1971.
#glendajackson #actors #tv #bbc #drama #elizabethr

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David Warner in the RSC's production of 'Hamlet' in 1965.
'Frail, bedecked with a long scarf [Warner] acquired pop-star status as an epitome of 1960s youth.' - Michael Billington
Photo: Reg Wilson, RSC.
Glenda Jackson preparing to perform as 'Elizabeth R.' BBC 1971. #glendajackson #elizabethr #bbc #tv #drama16 s