As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
Monday 30 December 2019
Dilili in Paris, French Film Festival, Dominion
A computer generated fantasy set in Belle Époque Paris, the characters rendered in a naive style that emphasises the simple tale of god and evil portrayed. Dilili is a French/Polynesian child who radiates a positive goodness and a sensitivity to wrong. In partnership with her delivery-boy friend Orel she gets drawn into solving the mystery of young women disappearing. The plot is eventually revealed as one of Gilead-level misogyny, but along the way director Michel Ocelot shoehorns in a whirlwind tour of the BÉ cognoscenti whereby Dilili meets and converses with some of the the most recognisable names of the period. The Curies, Monet, Eiffel, Proust and many more are all there.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
Just Retired, French Film Festival, Dominion
Marilou (MIchèle Larocqe) and Philippe (Thierry Lhermitte) are a sixty-something middle class couple finally able to take their retirement and live out their dream of moving to Portugal. Whereas their grown up children see on-demand babysitters, especially when their daughter separated from her useless husband. And suddenly the dream becomes a lot more difficult to realise. Will they get away to the life they've longed for, or are family ties too strong?
Played very much for laughs, the film relies heavily on the chemistry between the two leads, although Judith Magre is a real scene stealer as Philippe's eccentric mother. The result is a very funny farce, but lacking any real depth or meaning.
Prior to the main feature a short by the same director was screened. Burqa City is a comedy based on the premise that a man could lose his wife in the shops and return home, unwittingly, with another. When he goes in search of the woman he's lost he meets numerous obstacles, not least from the 'new' wife who's glad to get away from her own tyrannical spouse. There are some very funny scenes, not least the burqa-clad identity parade, and elements of slapstick from the silent movie era. Simple, but very effective. Brave too, as the director has had death threats over this lovely piece of absurdity.
Played very much for laughs, the film relies heavily on the chemistry between the two leads, although Judith Magre is a real scene stealer as Philippe's eccentric mother. The result is a very funny farce, but lacking any real depth or meaning.
Prior to the main feature a short by the same director was screened. Burqa City is a comedy based on the premise that a man could lose his wife in the shops and return home, unwittingly, with another. When he goes in search of the woman he's lost he meets numerous obstacles, not least from the 'new' wife who's glad to get away from her own tyrannical spouse. There are some very funny scenes, not least the burqa-clad identity parade, and elements of slapstick from the silent movie era. Simple, but very effective. Brave too, as the director has had death threats over this lovely piece of absurdity.
Robert Vincent, Voodoo Rooms
Local singer/songwriter Roseanne Reid opened. A decent guitarist and a distinctive voice with an interesting catch to it. Her songs have country influences, feel personal, from the heart, and genuinely emotional. She's got a nice line in self deprecation too. Worth looking out for.
Scouser Vincent was backed by Iain Sloan on guitar and pedal steel, Danny Williams on double bass, and the rapport in the trio was clear to see. Liverpool Americana sums up his style well, with a very Merseyside earthiness to his lyrics and a pop and rock sensibility underlying the arrangements (and, as he freely admits, a good line in misery). The voice has an offbeat quality that makes him immediately recognisable and he is one of the best songwriters around the UK country/Americana scene. He's amusing too, with a fund of stories and a way with an anecdote. If the musicianship isn't out of the top drawer the performance is, and Vincent is a great live act.
Scouser Vincent was backed by Iain Sloan on guitar and pedal steel, Danny Williams on double bass, and the rapport in the trio was clear to see. Liverpool Americana sums up his style well, with a very Merseyside earthiness to his lyrics and a pop and rock sensibility underlying the arrangements (and, as he freely admits, a good line in misery). The voice has an offbeat quality that makes him immediately recognisable and he is one of the best songwriters around the UK country/Americana scene. He's amusing too, with a fund of stories and a way with an anecdote. If the musicianship isn't out of the top drawer the performance is, and Vincent is a great live act.
Paper Flags, French Film Festival, French Institute
Charlie (Noémie Merlant), a struggling artist, gets a shock when a knock the door of her small home reveals the face of elder brother Vincent (Guillaume Gouix), fresh out of prison. He has nowhere else to go so she takes him in and tries to help him find a job and a future. She is embarrassed by his presence and tells friends he's just an acquaintance, while he is struggling to adapt to a world that has change radically during his time inside. The links between them are further complicated by their own relationships with their father, who has long since rejected Vincent as his son. But Vincent is determined to go straight, and to be the elder brother Charlie needs.
A complex family drama raising issues of forgiveness and change. Gouix is excellent, giving Vincent a depth and complexity that makes us sympathise with him even when he's acting like an idiot. Well worth seeing.
A complex family drama raising issues of forgiveness and change. Gouix is excellent, giving Vincent a depth and complexity that makes us sympathise with him even when he's acting like an idiot. Well worth seeing.
Ciarán Ryan : Banjaxed Album Launch, Voodoo Rooms
With Ryan being best known for his role in successful Scots/Irish/Hungarian band Dallahan, it was no surprise that support came from a couple of his bandmates playing solo sets. Andrew Waite's accordion opened the evening with a selection of his own tunes, each one lovingly introduced, and Jack Badcock followed with some of his own songs, delivered in his usual beautifully lilting baritone.
A further Dallahaner, Bev Morris on double bass, took to the stage as part of Ryan's own band, along with guitarist and keyboard player, fronted by the man himself on banjo and a bit of fiddle. In Dallahan Ryan is usually the quiet man of the line up, so there were some signs of nerves in his initial introductions. But as the evening moved along, the crowd got rowdier and the tunes faster he grew in confidence. They played tunes from his newly released album (which I can confirm is excellent) and although there are a few slower numbers the majority showcase the banjo man's rapid fingering and sure command of folk and bluegrass. There's a strong rockabilly undercurrent to much of the work and that had the crowd dancing and cheering with gusto (even including this old man by the end!). Strongly recommended.
A further Dallahaner, Bev Morris on double bass, took to the stage as part of Ryan's own band, along with guitarist and keyboard player, fronted by the man himself on banjo and a bit of fiddle. In Dallahan Ryan is usually the quiet man of the line up, so there were some signs of nerves in his initial introductions. But as the evening moved along, the crowd got rowdier and the tunes faster he grew in confidence. They played tunes from his newly released album (which I can confirm is excellent) and although there are a few slower numbers the majority showcase the banjo man's rapid fingering and sure command of folk and bluegrass. There's a strong rockabilly undercurrent to much of the work and that had the crowd dancing and cheering with gusto (even including this old man by the end!). Strongly recommended.
Sunday 29 December 2019
Hannah Gadsby : Douglas, Theatre Royal, Glasgow
Douglas is Gadsby's dog. And, in the Pouch of Douglas, a relatively obscure female body part. We learn this early on. Indeed we learn much of the content of the show early on, for Hannah kindly itemises the routines that make up her set. Spoilers? No, just a very clever set up to bolster later punchlines. It might not have the shock factor of her previous show, the astoundingly successful Nanette, but Douglas is just as much a comedic and informative masterpiece. There are deserved attacks on the patriarchy, but also a monologue on Teenage Mutant Ninja Turtles, the seriousness of her message in constant contrast to the frivolity of some of the material, producing a rollercoaster of laughs and thoughts. Plus her take on her own autism is fascinating It might go some way to explaining her unique world view. It's worth letting her share it with you.
The Salamander, French Film Festival, Filmhouse
A 1971 Swiss drama mystery that intrigues. In a small village a young woman is accused of shooting her bumptious uncle, but she says he shot himself while cleaning his rifle, and the case, for want of any concrete evidence, remains unresolved. Pierre, a journalist, is commissioned to write an investigative piece on the story. A lack of time makes him ask his friend Paul, a would-be novelist, to help him get to the facts. The differences in their approaches, and the surprises they find when they get to know the girl, provide the basis for the drama. Pierre seeks facts, evidence, where Paul relies on intuition, constructing alternative scenarios and backstories that are confounded by the simple reality. The objective contrasted with the subjective.
The story moves along at a steady pace, with no big moments of drama, but plenty of humour (there's a wonderful scene in a shoe shop) and always interesting. A thought provoking period piece.
The story moves along at a steady pace, with no big moments of drama, but plenty of humour (there's a wonderful scene in a shoe shop) and always interesting. A thought provoking period piece.
Gnoss / Lizz Carroll and Jenn Butterworth, Scots Fiddle Festival, Pleasance
This final gala concert opened with Adam Sutherland and fifteen young fiddlers from his Youth Engagement Project. This provides training not just in the musical aspect sof performing, but also presentation and audience engagement. So the announcements were all made by members of the group, and the arrangements were collaborative. A chance to watch some stars of the folk future.
Orcadians Gnoss are still young too, but now very experienced and with a well established stage presence of three jokers and the one quiet man. Fiddle (with a bit of mandolin), flute/whistles, guitar and fast thumping bodhran combine with some sweet vocals to deliver a stirring set that had the audience roused and laughing.
Irish-American fiddler Carroll was the headline name of this year's festival, and quickly showed us exactly why she deserves that status. Carroll is a part of the folk elite for good reason, not just as a player but also as composer, arranger and story teller. There's wit, invention and skill to spare in her playing. She was accompanied by one of Scotland's most brilliant (and hard working) guitarists, Jenn Butterworth, who provided her usual imaginative backing. Carroll had sent over the tunes for Butterworth to learn, and been generous enough to ask for some of the Scot's in return, so the set had some added variety.
The finale brought the whole ensemble on stage, Carroll leading Gnoss and the Project in a mass fiddlethon, the American taking delight in traversing the stage to encourage and praise the others. A warm gesture to end the night on.
Orcadians Gnoss are still young too, but now very experienced and with a well established stage presence of three jokers and the one quiet man. Fiddle (with a bit of mandolin), flute/whistles, guitar and fast thumping bodhran combine with some sweet vocals to deliver a stirring set that had the audience roused and laughing.
Irish-American fiddler Carroll was the headline name of this year's festival, and quickly showed us exactly why she deserves that status. Carroll is a part of the folk elite for good reason, not just as a player but also as composer, arranger and story teller. There's wit, invention and skill to spare in her playing. She was accompanied by one of Scotland's most brilliant (and hard working) guitarists, Jenn Butterworth, who provided her usual imaginative backing. Carroll had sent over the tunes for Butterworth to learn, and been generous enough to ask for some of the Scot's in return, so the set had some added variety.
The finale brought the whole ensemble on stage, Carroll leading Gnoss and the Project in a mass fiddlethon, the American taking delight in traversing the stage to encourage and praise the others. A warm gesture to end the night on.
Twelfth Day / Ross Couper and Tom Oakes, Scots Fiddle Festival, Pleasance
Twelfth Day performed as a quartet with duo Catriona Price (fiddle) and Esther Swift (harp) backed by bass and drums. This was the launch of their most recent album and the performance combined folk, classical and pop influences into an experimental blend that's invigorating, surprising and occasionally baffling. But they do so with such charm, humour and musicality that the oddities can be easily forgiven. Different, but enjoyable.
Couper (fiddle) and Oakes (guitar) are a very different proposition. True to their folk roots, but with many varied influences - inevitable with one from Shetland, the other from Devon - and a near telepathic mutuality. It's a fast paced show, both in the music and the patter. Both can be extremely funny, but it's the passion and power of their playing that dominates. They can knock out a moving slow number, but the fast stuff is certainly that - fast. Impressively and blood rousingly so. Hugely engaging and energising.
Couper (fiddle) and Oakes (guitar) are a very different proposition. True to their folk roots, but with many varied influences - inevitable with one from Shetland, the other from Devon - and a near telepathic mutuality. It's a fast paced show, both in the music and the patter. Both can be extremely funny, but it's the passion and power of their playing that dominates. They can knock out a moving slow number, but the fast stuff is certainly that - fast. Impressively and blood rousingly so. Hugely engaging and energising.
Thursday 26 December 2019
Mairearad and Anna, Leith Folk Club
Support came from duo Peerie Faeries (Alice Dillon and Elliot Parrott), purveyors of olden ballads, with murder and the supernatural featuring heavily. Dillon accompanied their singing on a shruti box (Indian harmonium), her guitar playing being restricted by a recent hand injury. They have pleasant enough voices, singing together, but with little by way of harmonies to add interest. They did try to make their introductions interesting. A decent support act, but thirty minutes felt like long enough.
Whereas I couldn't ever tire of Mairearad Green and Anna Massie. The MC provided a hyperbolic introduction prompting Anna to announce "Better no be shite after that". There was never any danger of such a thing occurring Ms Massie!
Mostly guitar and accordion, with a bit of fiddle from Anna and the rousing sound of the highland bagpipes in Mairearad's hands. Massie does most of the intros, and there are few better, her natural dry wit almost a match for her musicianship. Slow tunes, fast tunes, Massie's accompaniment is fascinating, constantly changing adding depth and counterpoint and imagination as well as rhythm. She sings too, not the greatest of voices but she chooses her songs wisely to match her range.
Green sings a song too, her voice weaker but not without charm. But her playing is sublime, and the pipes provide a stirring end to the evening. This pair have been playing together for so long now their seamlessness is near telepathic. Long may they continue to play together and provide one of the very best live acts on Scotland's folk scene.
Whereas I couldn't ever tire of Mairearad Green and Anna Massie. The MC provided a hyperbolic introduction prompting Anna to announce "Better no be shite after that". There was never any danger of such a thing occurring Ms Massie!
Mostly guitar and accordion, with a bit of fiddle from Anna and the rousing sound of the highland bagpipes in Mairearad's hands. Massie does most of the intros, and there are few better, her natural dry wit almost a match for her musicianship. Slow tunes, fast tunes, Massie's accompaniment is fascinating, constantly changing adding depth and counterpoint and imagination as well as rhythm. She sings too, not the greatest of voices but she chooses her songs wisely to match her range.
Green sings a song too, her voice weaker but not without charm. But her playing is sublime, and the pipes provide a stirring end to the evening. This pair have been playing together for so long now their seamlessness is near telepathic. Long may they continue to play together and provide one of the very best live acts on Scotland's folk scene.
The Tillers, Traverse
Beards and baseball caps, T-shirts and jeans, this quartet is real-deal Americana from Cincinnati, Ohio. Two lead vocalists, one on guitar, the other swapping around between banjo, guitar, fiddle and kazoo, plus a fiddler who adds backing vocals, and a solid silent figure on double bass.
The songs are mostly their own, based around their own experiences or stories that inspired them, so there's everything from a tale of a teenage dishwasher to a tragic civil war love story, a bit of Woody Guthrie and a beautiful Cincinnati blues from the 20s. Musically they are more about fun than flash. Neither of the leads could be thought of as great singers, yet they fit the music perfectly and have plenty of character, and the overall sound is about the interplay of the instruments without need for fancy solos. The set is largely uptempo, foot tapping and hand clapping and a fair bit of singalong. They talk a lot between numbers, a fund of stories about the origins of their material and their experiences on tour being related with relish and a lot of laughs.
The Tillers are a good, honest country and bluegrass band who provide some memorable tunes and a great live experience. Go see them next time they are back over here.
The songs are mostly their own, based around their own experiences or stories that inspired them, so there's everything from a tale of a teenage dishwasher to a tragic civil war love story, a bit of Woody Guthrie and a beautiful Cincinnati blues from the 20s. Musically they are more about fun than flash. Neither of the leads could be thought of as great singers, yet they fit the music perfectly and have plenty of character, and the overall sound is about the interplay of the instruments without need for fancy solos. The set is largely uptempo, foot tapping and hand clapping and a fair bit of singalong. They talk a lot between numbers, a fund of stories about the origins of their material and their experiences on tour being related with relish and a lot of laughs.
The Tillers are a good, honest country and bluegrass band who provide some memorable tunes and a great live experience. Go see them next time they are back over here.
Cabaret, Festival Theatre
A few hours before the city welcomes in 1931, American writer Cliff Bradshaw (Charles Haggerty) arrives in Berlin seeking accommodation and the peace to write his novel. He quickly finds himself drawn into the notoriously decadent nightlife and sharing a room in the boarding house of Fraulein Schneider (Anita Harris) with English cabaret singer Sally Bowles (Kara Lily Hayworth). Bowles performs at the Kit Kat Club, where the Emcee (John Partridge) dominates a risque show, masking political commentary behind a front of brazen eroticism. Add in a sub plot about Frau Schneider's relationship with fruit and veg man Herr Schultz (James Paterson), and a new 'friend' of Bradshaw who gets him involved in some shady activities, and you have the bare bones of what storyline there is.
Musicals are largely about froth, and this is no exception. When you take away the singing and dancing there isn't a lot of plot left to get your teeth into. The first half had little else, and the second included a long solo from Harris that felt interminable. But the final number before the interval hinted at better things to come - a clever, sinister and well staged version of Tomorrow Belongs to Me, led by Partridge, showing the dark undercurrent of Naziism. That was brought home more strongly in the second half as the implications of Schultz's Jewishness is made violently apparent.
Froth all right, but froth with some bubbles of substance.
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