THEGAYUK

Category: Review

  • FILM REVIEW | Pasolini, Controversial film about the late Gay Italian Film Director

    Director Abel Ferrera brings us the few days in the life of gay Italian film director Pier Paolo Pasolini in his new film simply titled ‘Pasolini.’ ★★★★

    Ferrera, who last year gave us the gripping, scandalous, controversial and excellent film Welcome to New York (which was inspired by the case of Dominique Strauss-Khan (DSK), the former chairman of the IMF), presents us a film where Ferrara imagines and then reconstructs the last days in the life of Pasolini.

    Pasolini was an extremely controversial film director. His films combined themes of religion and sex, his own personal views on topics such as abortion, displaying in your face bacchanals that left little to the imagination. His last film – titled Salo, or the 120 Days of Sodom – depicted children subjected to violence, sexual depravity, and horrific murder – making Pasolini an extremely hated, or genius, figure. In Pasolini, Willem Dafoe doesn’t so much imitate or play Pasolini in the film, but he inhabits the actions and thoughts of him. And Ferrara, in putting this film together, spoke to Pasolini’s relatives and friends to gather the memories and thoughts of a man who would wind up being killed by a rent boy at the age of 53 in Italy.

    Pasolini is not so much an actual biography of the last days of Pasolini’s life, it’s more of a combination of the actual events that took place coupled with scenes from an unmade Pasolini film, a film that he was actually working on when he died. So we have Ferrara inhabiting the shoes of Pasolini and bringing to life scenes from the film that Pasolini never made – Porno-Teo-Kolossai – coupled with the events from the last days of his life which included meetings to discuss his new film, in his home with his mom and assistant and various friends, and to finally, his pickup of a male rent boy that would result in his death. It’s a very realistic film. Ferrara uses the actual locations of the real life events and also uses Pasolini’s personal objects and clothes in the film. This, coupled with Dafoe’s performance, gives us a documentary style production that is rich in it’s storytelling. Dafoe gives a fantastic performance inhabiting Pasolini’s world, right down to the language (some of this film is in Italian, and not every part of it has subtitles), to the glasses that he wears, to the clothing, to the way he carries himself. Like Gerard Depardieu who perfectly inhabited the role of DSK, Dafoe convincingly inhabits the role here. Even down to the final scene in the film, where Pasolini has sex with the rent boy and ends up being badly beaten, and run over by his own car. It’s a brutal death for a man who didn’t deserve to die that way. His murder on a beach on the outskirts of Rome on November 2, 1972 is still an open case despite the conviction of the rentboy that he picked up that night. It would be bit more fascinating if a filmmaker can make a film about Pasolini’s life – that would be a much more well-deserved tribute.

     

    Available to buy on AMAZON

    by Tim Baros

  • ALBUM REVIEW: Nerina Pallot: The Sound And The Fury

    After embarking on an incredibly ambitious venture of releasing an EP of tracks every month for all of 2014, Nerina Pallot is back with her new album ‘The Sound And The Fury’ that includes some tracks from last year’s offerings with some eclectic, emotionally charged and compelling new songs. ★★★★

    The album opens with a rough guitar riff weaving into a drum-led anthem that pulsates and emulates our life blood, our world, our religion, our spirituality and suggests karmic retribution on those that deviate. This sets the tone for the record and its thought-provoking arcs on diverse issues in our modern world. If I Had A Girl is the seditious, bluesy and more honest sister to Beyoncé’s If I Were A Boy where Pallot comes up with some inspired lyrics highlighting the contemptible sexism still raging in our world:

    “You gotta be bolder, better, harder faster, don’t take no shit off no lord or master, don’t listen when they say how far you’ve come”

    The Road and its rough and edgy, R&B sound wants us to rely on our own perception of right and wrong and reject the noise of the media and other agendas. This could not have been highlighted better or indeed been more topical with the video for this song being filmed in Calais in the migrant camps.

    Boy On The Bus is a heartbreaking ballad about wanting to leave the city in despair of distressing events and the aching ‘Handle’ has us struggling to deal with our nefarious world and yearning for a reprieve. One such moment of comfort is the gorgeous Blessed which starts of delightfully like a classic Suzanne Vega cut but then weaves into a beautiful mid-tempo ballad with some magnificent harmonies.

    The album closes with the sonic dreamscape and lyrically bittersweet Longest Memory which deals with life, solitude and death and their inextricable links.

    Susan Sontag wrote in the 1960s that “we live under continual threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror. It is fantasy, served out in large rations by the popular arts, which allows most people to cope with these twin specters”. To me this is certainly still very true today and epitomises this glorious, dark, political and resonant album from Nerina Pallot in the sense that her striking collection of songs guides and assists us through some of the atrocities and various –isms endemic in our society. Brilliant.

    Nerina Pallot – ‘The Sound And The Fury’ – Album Preview

    <div class=”player-unavailable”><h1 class=”message”>An error occurred.</h1><div class=”submessage”><a href=”http://www.youtube.com/watch?v=8YhYv26DWqE”>Try watching this video on www.youtube.com</a>, or enable JavaScript if it is disabled in your browser.</div></div>

    by Nick Smith | @peripatenic

    THE SOUND AND THE FURY

    £9.99

  • CAR REVIEW | smart fortwo proxy

    This is the all new third generation smart fortwo. It may have grown a stubby snout and lost the one box shape of its predecessor but the contrasting ‘tridion’ safety cell and tiny 2.69-meter length scream smart. The big news is under the skin however, gone is the clunky automated manual ‘box having been replaced by a conventional five-speed manual or optional six-speed dual clutch auto. 

    While Mercedes’ other baby the A-Class may have gone all conventional, the fortwo retains a rear mounted three cylinder engine that powers the back wheels; it’s almost like half a Porsche 911. Length may have stayed the same but width is up by 110mm helping with stability and providing a more spacious cabin.

    Compared to its predecessors, the latest fortwo is something of a revelation to drive. Gone is the gearbox’s hesitancy meaning you no longer look (and feel) like a nodding dog as you accelerate. The manual gearbox is nothing special but it’s light, easy to use and no longer a source of constant frustration. Coupled with the most powerful 71hp version of the normally aspirated triple, it’s fine around town although runs out of puff easily on the open road. 0-62 takes an agonising 14.4 seconds while hills will often require a downchange or two especially at speed.

    Not helping is super-long gearing (second gear is good for 60mph!) which may be great for economy but kills performance. At least there’s a pleasing three cylinder thrum as the revs rise and smart claims 68.9mpg and 93g/km is possible. In practice the best I saw was a little over 40mpg according to the trip computer but to be fair, I live out in the country which is not the smart’s ideal operating environment. A 900cc turbocharged engine is available boasting 90hp and considerably more torque. This brings the 0-62 time down to around the ten second mark and should prove a much happier companion on A-roads and motorways.

    The steering may be variable but always seems a little too light apart from during low speed manoeuvres. It is at least accurate if lacking in feel. The extra width adds welcome stability on the motorway although does make it feel less wieldy around town. Decide to corner the smart hard and you are greeted with overprotective intervention from the electronics followed by plenty of understeer. Only over particularly bad bumps does the smart ever feel unsettled; something you can’t escape given the short wheelbase. The upshot is a tiny turning circle of just 6.95 meters.

    Ignoring the miniscule boot, space inside is generous and gives the impression that you’re in a much larger car (until you look in the rear view mirror). Interestingly, the dashboard is upholstered in a mesh fabric giving the nicely sculpted interior a distinctive look. Quite how you’d clean it after a coffee spillage is something I don’t even want to think about though.

    The optional seven-inch touchscreen proved simple to navigate, easy on the eye and responsive. Start to explore the furthest reaches of the dash and you do find questionable plastics although they are well hidden for the most part. There’s no doubt the smart’s cabin feels very contemporary and is a great place to spend time. It’s also really airy thanks to the white trim and panoramic roof that comes with the proxy model.

    To summarise, if we’re being sensible nearly £14,000 is a lot of money for a car that lacks the practicality of many of its rivals costing considerably less. If you don’t need four seats (or have a second car that does) then there’s no doubting the smart’s effectiveness in the city. Given that it’s now tolerable, even dare I say it fun to drive at times, it’s certainly much easier to recommend than either of its predecessors. Combine this with a great interior and bold exterior styling and you have a seriously appealing city car.

    PROS

    Manoeuvrability

    Easy to park

    Funky looks

    CONS

    Not enough grunt for motorways

    Tiny boot

    Expensive

    THE LOWDOWN

    Car – smart fortwo proxy 71hp

    Price – £11,820 (13,800 as tested)

    Power – 71hp

    0-60 – 14.4 seconds

    Top Speed – 94 mph

    Co2 – 93g/km

  • THEATRE REVIEW | Dusty, Arrives In London With A Thud

    A new musical about Dusty Springfield arrives in the West End – with a thud. ★★

    There’s something just not right with ‘Dusty,’ which is playing at the Charing Cross Theatre. Could it be the singing? Could it be the acting? Could it be the directing and script? Could it be that it’s multi-media theme just doesn’t work?

    I think it’s all of the above. Let’s start with that multi-media mularcky. The producers are calling this show a ‘Fusion Musical’ which means that the show is a combination of Alison Arnopp performing as Dusty mixed in with videos of the actual Dusty Springfield singing from her various television appearances (American Bandstand – 1964, The Ed Sullivan Show – 1965 and 1968, the Dusty TV series on the BBC – 1966 and 1967, Morecambe & Wise Show – 1970, plus others).

    Twenty video clips are included in the show, and while a few are cleverly done as holograms, it’s unfortunate that these video clips are much better than any live singing that’s performed. And it’s quite funny because the audience claps at the video clips, like they’re actually seeing Dusty live! And it’s not fair to have Arnopp’s voice competing with Springfield’s in the videos.

    And the acting and singing? Well, it’s OK. Arnopp is credible as Dusty. Sure she can sing, and sure she can dress like her, and she definitely can act, but Arnopp is a far cry from the real Dusty. And the wigs she wears? They’re a bit over the top – not her fault, but in a few scenes she looks a bit like a drag queen.

    A bit better is Francesca Jackson as Dusty’s friend Nancy Jones. She’s just as pretty as Dusty yet it’s Dusty who becomes rich and famous, however Jackson is a fine singer in her own right. And Whitney White owns the stage in her short bit as Martha Reeves. She’s bound to a huge star in the West End in a few years time. But Arnopp’s singing is a far cry from any other biography musical that’s currently playing in the West End (think ‘Memphis’ where Beverly Knight wows them every night at the Shaftsbury Theatre and Katie Brayben who brings Carole King to life every night in ‘Beautiful’). The rest of the ensemble are quite good, energetic and vibrant, and I also couldn’t help but notice that they are all very young.

    I’ll have to pin the blame on the direction and the script. Both by Chris Cowey, who used to be a producer on Top of the Pops. It’s not what you had hoped to expect from a musical tribute show to a British legend. Yes, Dusty Springfield is considered a legend, in her heyday and even today. She scored an incredible 18 singles on the Billboard Hot 100 from 1964 to 1970 – her peak years. She was a cultural icon of the 1960s and was one of the best-selling UK singers in that decade. She’s been inducted into the US Rock and Roll Hall of Fame and the UK Music Hall of Fame, and was awarded on OBE. Yet, all this doesn’t seem to matter in the show ‘Dusty.’

    It presents Dusty in flashbacks, with Dusty’s life story told by Nancy to a presenter for the television show ‘Talk of the Town.’ It’s a device that doesn’t quite work. And her sexuality is handled a bit clumsily on the show. She was a Lesbian, and in the show she has a minor relationship with a woman who lives in Los Angeles, but it’s a part of the show that appears to be thrown in at the last minute, and before you know it the relationship is over. It’s an acknowledgement of her sexuality but it’s too quick and not enough.

    ‘Dusty’ opened on 25 May 2015, and had it’s official press night this week. It took 14 weeks for the production team to get this show done as they wanted it. However, another few weeks of additional tweaking won’t really save this production. And they left out any mention of her last hit, which became one of her biggest – What Have I Done to Deserve This – sung with the Pet Shop Boys. It’s a song that past and current generations are familiar with. Instead of ‘Dusty’ being a celebration of her and her career, it’s more like a minor tribute to a woman who deserves to be remembered in a bigger and better show.

    Performance Times:- Tuesday to Saturday at 7:30pm, Wednesdays & Thursdays at 2:30pm and Saturdays at 3pm

    Run time approx. 2 hours.

    Until November 21. Tickets: 08444 930650; charingcrosstheatre.co.uk

  • FILM REVIEW | Monsters, Dark Continent, Beautifully Chilling

    The highly successful 2010 film ‘Monsters’ saw the arrival of giant tentacled monsters to Earth. It’s sequel ‘Monsters: Dark Continent’ has five army men in a Middle East war zone who are attempting to deal with an insurgency, and dealing with these monsters as well. It’s explosive and shattering.

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  • BOOK REVIEW | Jessica’s Ghost by Andrew Norriss

    ★★★★★ | Jessica’s Ghost

    “Why, Francis wondered, should ‘being different’ be so painful? Why did it matter so much when, if you thought about it, everybody was different in one way or another.”

    These days we seem to be hearing a lot more about suicide then we did a few years ago. Stories of people committing suicide for many reasons. But also people thinking about suicide and, thankfully, suicide prevention. Is it an epidemic or are we simply more aware thanks to social media? It’s unclear, but one thing that is obvious is that there is always a reason why people decide to end their lives and usually this reason is called depression.

    The largest group to feel driven to suicide are teenagers and they are often the ones that can’t understand what is going on with them. They are usually unaware of depression so don’t know why they feel the way they do.

    Depressed teens are more often than not the ones that are seen as “different” from the rest for whatever reason and the ones that are bullied. The combination of all this, and the fact that teens find it difficult to communicate their feelings is often what is behind a teenage suicide attempt.

    Knowing all of this it is strange that there are so few books for (pre-)teens that explain depression in a way that is clear but also entertaining at the same time, until now.

    Jessica’s Ghost written by Andrew Norriss is an amazing book that deals with three early teenagers and a (teenage) ghost whom have all experienced depression and feeling “an outsider” for different reasons.

    Most The Gay UK readers might remember Norriss as one of the writer/creators of the classic sitcom The Brittas Empire featuring not only the dishy Chris Barrie (in tight shorts) but also the first and (only) gay couple to feature in a prime-time family BBC1 show. This show was not afraid to tackle difficult subjects for family audience in a funny and witty way and this book is no different.

    Jessica’s Ghost starts with protagonist Francis whom is mocked at school for his love of fashion and sewing and just not fitting in with the crowd. One day he meets a young girl called Jessica and she just happens to be a ghost. Through her his life and the lives of several others change drastically.

    It is a wonderful book and the way it deals with depression and even suicide is beautiful. Even though these subject matters may seem dark, the book is written in a way that is funny and relatable. During the course of many adventures the book describes how depression feels, how important it is to talk and how yes, things will get better.

    Andrew Norriss’ book is a breath of fresh air in a time where many people – including writers- still shy away from discussing mental health issues especially for young people despite a clear need for this.

    I feel this book should be recommended by (child) psychologists to help bring a better understanding about depression. Having been through this myself as a teenager I know that a book like this would have certainly helped me a lot.

     

    Available on Amazon

  • MUSIC REVIEW: Claire Richards: Deeper Shade Of Blue

    Erstwhile member of pop juggernaut outfit Steps, Claire Richards, gave us all a welcome surprise a few days ago when she posted a stripped-down version of one of their biggest hits ‘Deeper Shade Of Blue’ onto Soundcloud. ★★★★

    One of their most uptempo slices, this version forms a piano-led, torch song with an aching and alluring vocal from Richards, reminiscent of Barbara Streisand at her most devastated.

    The morose and bittersweet lyrics coupled with the quintessential passionate production from Steve Anderson make for one of the best songs to be released this year as summer begins to darken.

    This is light years away from anything Richards has previously released and is a wonderful tribute to her earlier career. In the wrong hands this could have been overblown, but Anderson and Richards seem to have tapped into a magical, yet simple blueprint.

    I’m not sure we can expect such success with a downtempo version of 5,6,7,8, but here’s hoping that this could lead to something quite special and fitting of the cruelly underrated Richards’s undeniable talent.

    Simply magnificent and irresistible.

    BUY THIS ON AMAZON

    by Nick Smith | @peripatenic

  • THEATRE REVIEW | King Charles III, Birmingham Rep

    ★★★★ – regally captivating.

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  • FILM REVIEW | American Ultra

    Take a bit of a James Bond movie, another part from Cheech & Chong, and mix it up with elements of the recent film ‘Spy’ and out comes the new movie ‘American Ultra.’

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  • Anna Calvi at Meltdown: Hellfire Passion in Pantyhose

    Rock guitarist Anna Calvi is living feminist wildfire. Her 2011, game-changer debut album instantly castrated sacred notions of male guitar god supremacy, and tonight, her beautiful heresy’s fiercer still.

    Is she straight? Bi? Undecided? Who cares? Isn’t mystery and mystique the most panting aphrodisiac ever? And in a web-scape awash with Miley Cyrus booty, frankly, flesh-flashing is beyond passé.

    So back to Miz Calvi, the darling of indie-kids of all ages. You’ve seen her, maybe, on You Tube or Jules Holland, all crimson, neck-high blouse, raw-wound lipstick and black toreador pants, her classic, Michaelangelo mouth constantly kissing desire. Petite but poised, her hair as tight-gripped as a suppressed climax, she’s perfect pop androgyny, a female Pete Doherty of startling cupidity.

    Not tonight, however, in her highest profile gig yet at ex-Talking Head David Byrne’s Meltdown. Hushed and expectant, eyes straining for Calvi’s entrance, we’re unexpectedly caressed by a low, almost subsonic, hum, as twelve white-cloaked choristers file onstage. Forming a protective crescent moon, they frame the suddenly-here Calvi, a rock-goddess Joan Of Arc dwarfed by her trademark guitar.

    And quite properly, in accord with the aura of imminent rapture, it’s as if Calvi’s signature scarlet blouse has bled out to pure, satin-weave white from the streaming wounds of her sung passion. Ah, but if the trappings, ambiance and yearning seem screamingly religious, they’re focused on human transcendence, not some dumb, mythical sky-guy; Calvi’s way too sharp to fall for manic dogma.

    Rather, she’s the lead attack angel of bliss, frenzy and scorching connection, an imperial killer queen drunk on her own guitar ecstasies. Miraculously fusing flamenco, rock and reverb over furious, stampeding drums, her mezzo-soprano simply soaring with liquid libido, Calvi is pure, delirious, multiple sonic orgasm.

    Singing with excess, storming ambition and sheer abandon inconceivable to X-Factor mediocrities, Calvi, incredibly, utterly redefines Torch Song sizzle for the 21st Century.

    Okay, the set’s not all deathless swoon and smoulder – especially when a duet with lean, tanned preppy David Byrne arguably breaks the flow – but Calvi’s glacial, blue-steel guitar brilliance is a constant beacon to otherworldliness.

    And what fabulous harbours that beacon signals; Edith Piaf’s ‘Jezebel’, Bruce Springsteen’s ‘On Fire’ and Suicide’s ‘Ghost Rider’, seamlessly buttressed by ‘The Devil’ and ‘Blackout’, Calvi’s own glorious odes to the ineffable.

    Moving like no other guitar player, part matador, part frenzied, sacredly erotic Ken Russell nun, Calvi brandishes her snow-white Stratocaster like a reincarnated Boudicca pissing on male patriarchy.

    Far more than Kate Perry, Jessie J or even the ferociously trashy, but culturally impotent, Courtney Love, Calvi crucially reclaims impeccable pop dignity for standalone, female artistry. No, she’s not competing with the boys in their playground – her conceptual aplomb dwarfs that demeaning idiocy – and has no need or wish to.

    Instead, as she exits in a susurrus of chanted, hymnal Latin, Calvi – along with like-minded mavericks Bjork, Laurie Anderson and Diamanda Galas – is building new platforms for new voices, and new expressions of confronting gender. To do that in the world of pop and rock is impressive enough, but – like David Bowie before her – she’s helping pan-sexuality pour free, naked and unrestrained in an explosive, cultural ferment. Anna Calvi – the warrior-queen harbinger of a world way beyond binary, us-and-them stupidity? Perhaps there’s no greater praise than that.

  • 6 Manly But Sweet And Spicy Fragrances You Need In Your Life

    A turn of a season hails the call for new fragrances. We want fresh, spicy and sweet, because we’re like that.

    For a totally fresh vibe try 1) Spiced Lime by St. Kitts Herbery | 50ml | £7.95.

    Rihanna’s offering, 2) MAN, to the male market is a sexy, smouldering evening fragrance | 100ml | £45.

    The fresh and zingy limited edition 3) 212 from Caroline Herrera | 100ml | £21.99 from Fragrance Direct.

    4) Twisted Soul Blue makes an interesting edition to any man’s aftershave haul | 100ml | £9.99 from Blue Inc.

    5) Homme by Laurelle Parfums makes an impression at a reasonable price. 100ml £4.99 from Fragrance Direct.

    The classic, sweet 6) Polo Sport makes a splash back 75ml £25.95 from Fragrance Direct.