THEGAYUK

Category: Review

  • FILM REVIEW | Freaks (1932) Cinema Re-release

    ★★★★ | Freaks (1932) Cinema Re-release

    Hollywood Classics presents a cinema release of “Freaks” – in cinemas from 12th June 2015

    This classic opens with a sideshow barker shouting about his latest addition, without showing it immediately builds some tension, as you want to see this freak. The audience around the cage gasps and screams and so sets the scene for that back-story, the story of how the freak came into being.

    A beautiful circus trapeze artist, Cleopatra, takes an interest in Hans, a dwarf who works in the circus sideshow away from the main ring. She has ulterior motives though as her interest is more about Hans and his inheritance than in Hans himself. Hans has his head turned by this beauty, and forgoes his loving finance to pursue this highflying love.

    What he isn’t immediately aware of is that she is carrying on an affair with Hercules, the circus strongman. At their wedding party, a drunken Cleopatra tells the sideshow freaks just what she thinks of them – huge mistake and this group of friends close ranks and plot. Together, the freaks decide to make her one of their own.

    Tod Browning, the director and producer, drew on his own experiences in the fairgrounds and circuses of America to create this once shocking film. He was given leeway by the studio system to create this horror after his success in creating Dracula. He intentionally showed the “freaks” to be the ones with a code of honour and a sense of justice and the so-called normal cast as the ones with murderous intentions.

    Tod also managed to interweave sub-plots that built on the “freaks” having normal lives, such as the co-joined twins who each have romances, the armless wonder who performs everyday tasks with her feet – remember folks, in 1932, these were shocking images, things never before seen, hence their place amongst the circus sideshows.

    It seems impossible to believe now, but after test screenings in New York, the film was pulled after one lady threatened a lawsuit – claiming the film had been so shocking, she had suffered a miscarriage! The film was butchered and reduced from its original 90 minutes to just over 60, with some of the more shocking scenes removed. There were extended images of the freaks attacking Cleopatra and the scene where Hercules, her lover, is castrated was also removed.

    The initial barker scene was added to give it some context, but despite this and the other cuts, it lost money on it’s second release and despite Brownings earlier work with Lon Chaney and Bela Lugosi, his career was effectively over – Hollywood doesn’t forgive or forget easily!

    The film was considered overly exploitative over here and was banned in the UK for over 30 years but even with mainly negative reviews, some saw this as a masterpiece, a true gem of film-making with even the Rotten tomatoes site giving it an overall thumbs up, stating that time has been kind to this film and the US National Film Registry adding it to its archives as being culturally, historically, or aesthetically significant.

    It isn’t easy to watch, in this age of PC conformity, you do question its making, it’s potential to exploit – but if you can, put that to one side and consider it in it’s historic context.
    Take a peek if you can, in its intended surroundings – aim for a real cinema with Rococo fittings and real organ music. Failing that, go see it at your local multiplex, but DO GO SEE IT.

    A huge 4 stars – not as scary as it once was, but excellent historical perspective and amazing cast

  • Putting The 2015 Ford Focus Through Its Paces

    The common or garden hatchback has had a bit of a rough time of late. With everyone and their dog all after a high-riding SUV like the Nissan Juke or a ‘premium’ hatch like the BMW 1-Series, mass market offerings such as the Focus can be overlooked. The question is, should you ignore the current trends and give one of the old favourites a chance?

    First impressions are very good, the new corporate Ford grille has been criticised for looking a little bit too Aston Martinish (is that really a problem?) but here it’s handsome with just the right amount of aggression.

    Our test car was also painted a striking metallic blue and shod with some tasty 18” alloys wrapped in low profile rubber. Climbing inside this top spec Titanium X model, you are welcomed by a chunky leather steering wheel, half leather seats and Ford’s Sync 2 combined navigation and infotainment system, something you can read more about in June’s tech special issue of The Gay UK Magazine. There’s plenty of nice squishy plastic although premium car fans won’t be impressed by some of the cheaper plastics on the centre console and lower reaches of the dashboard. You can tell the range starts at less than £14k that’s for sure. Nevertheless, there’s plenty of space, everything is clearly laid out and not unattractive either.

    Keyless go means you don’t have to insert a key, just have the fob on you and thumb the starter button.

    The 2.0 diesel fires quickly and settles into a subdued idle, you still know it’s an oil burner but refinement has come a long way even in the last 5 years. Our test car came with Ford’s Powershift dual clutch automatic gearbox, similar to VWs DSG system and promising similar benefits. In almost all situations it smoothly shuffles between ratios with a noticeable shortening of shift speed in sport mode. There’s a built in ‘creep’ mode like an old school auto which makes manoeuvring easy with the car even holding you on the brakes for a hill start. Economy should be as good if not better than the manual too.

    The only fly in the ointment is if you go from pottering about to suddenly needing a burst of acceleration, something that can make the gearbox hesitate for a moment before delivering the performance you need. It never actually caused me an issue but does knock your confidence in pulling out onto a busy roundabout or carrying out an overtake. Sport mode helps but does tend to leave the car in too low a gear while the manual control buttons on the shifter don’t feel particularly intuitive. I get the feeling the optional wheel mounted paddles would be the ideal solution and make you feel like Lewis Hamilton to boot.

    The Focus has always been renowned for its handling so I had high hopes for this latest model even as a diesel estate. As with most new cars these days, the steering is electrically assisted. It’s nicely weighted and gives some feedback of what the road is doing but does feel a little gloopy just off the straight ahead like the wheels are turning in treacle. It’s a minor gripe however and one that most people wouldn’t even notice. In terms of fun and balance, I found the car hampered by having too much grip. This may seem like an odd thing to say but you have to be going seriously quickly to feel the inherent balance of the chassis.

    Once I had found my testicles and chucked it into a bend at speed you could feel the chassis working hard at both ends, resisting the urge to plough straight on and putting a very big grin on my face. I think smaller wheels would not only mean you can have more fun more of the time but you’ll also save a few quid replacing tyres and get a comfier ride. Although the Focus coped well with larger bumps and undulations, sharper ridges could thump through the cabin thanks to those skinny sidewalls. For the majority of people on the majority of journeys though, the Focus would prove to be a safe companion that you’d have to do something very stupid in to get out of shape round a bend.

    Overall the Focus made a compelling case for itself. It looks good, handles well and was very well equipped. It was also incredibly practical with plenty of room for 4 passengers and luggage with even more space if you folded the seats down.

    It did disappoint slightly with regards to economy though, being sensible I averaged around 43 mpg with a mixture of A-road, dual carriageway and town driving. Although this would no doubt improve as the engine loosened up (it was delivered to me with less than 1000 miles), I was still hoping to see better fuel consumption. My biggest complaint however was price. Admittedly I did ask for a fully loaded test car for the tech issue but even still, £29,615 for a Ford Focus diesel did surprise me.

    Personally, I’d be tempted by a lower spec model with a few choice options to bring the price down. At around £20-£22k and optioned with the adaptive headlights, Sync 2 and with less bling the Focus would be very tempting.

    Pros

    Handles well

    Punchy yet refined diesel

    Styling

    Cons

    Low rent interior plastics

    Worse than expected economy

    Price

  • FILM REVIEW | Meet The Fokkens

    69-year-old identical Dutch twins Martine and Louise Fokken give a new meaning to the word sexagenarian. Both of them have been working as prostitutes in Amsterdam’s red light district for almost 50 years now, and Marianne is still plying her trade daily. (Louise retired 2 years ago when arthritis meant she ‘couldn’t get one leg over each other’ any more)!

    ★★★★★

    In this truly delightful documentary we discover that they are a wonderfully colorful irascible pair of Rubenesque women who have such joie de vivre. The film starts with following elderly Martine as she catches the bus from the suburbs clutching her tiny chihuahua (which she NEVER ever seems to put down) and en route to work calls in at the convenience store to pick up another box of 144 condoms. Immensely affable she greets everyone she meets with her big smile and constant chatter as if she is just heading for another day at the office.

    Setting up her room she hangs her accouterments to show to passing strangers that she offers dominatrix and other kinky services for her ‘naughty’ men, and then dressed very provocatively sits in her large window enticing then to come in. The fact that all the ‘working girls’ in adjoining ‘windows’ are barely 20-years-old seems to hardly bother this old trooper at all.

    The sisters explain that very few of the punters want full intercourse but just to simply ‘get their rocks off,’ and the film includes some hilarious scenes with Martine and her gentlemen callers and how easily she can get them to be satisfied. What should be regarded, as an intensely sexual experience seems to be harmless and a somewhat funny episode for the men who appear to enjoy the free cup of coffee afterwards just as much.

    The sisters are inseparable and do literally everything together and live in their own apartments that are in buildings opposite each other. They dress in the same bright gaudy clothes, finish each other’s sentences and clearly are each other’s best friend. We see them in conversation with each other and also alone talking unguardedly straight to the camera about their lives to date. The information they reveal is somewhat patchy which makes their story even more intriguing. When Louise was 19-years-old and already a mother of 3 children her physically abusive husband ‘forced’ her into working, as a prostitute and Martine seemed to follow almost to support her sister’s indignity and precarious situation.

    They touch on the fact that they made so much money in the early days, but now stuck in municipal housing there is no sign of it at all. They are fiercely independent and talk about the days when they broke away from the organised crime ‘pimp’ system and even opened up their own brothel at one time. And there is a scene when Louise is reconciled with one of her daughters but no real explanation is offered as to why the child grew up with foster parents. It’s almost like there is a whole another movie to be made here.

    The sisters own pleasure now is in painting bright garish canvases of scenes of their life in the Red Light District. Like the women themselves their artwork can best be described as somewhat naive. They do however make for a wonderful scene towards the end of the film when they are exhibited in a Gallery and all their old cronies turn up to show their support and their genuine love for these two unstoppable women.

    They are two good-natured women with an infectious sense of humour who have obviously led a tough life yet appear to bare no scars or even deep resentments even, and the final scene where they are frolicking together in the snow like a couple of silly schoolgirls shows what a wonderful resilient couple they are.

    A sheer joy to watch, and even enough reason to check up flight schedules to Amsterdam.

    by @RogerWalkerDack

  • FILM REVIEW | More Than Friendship

    ★★★ | More Than Friendship

    Twenty-something-year-olds Lukas, Mia and Jonas have been best friends since their childhood, but then three years ago this all changed.

    They fell in love with each other and became a very happy ménage-a-trois. They decried society’s contempt for their unusual relationship and became totally committed to each other even though it meant making a break from their parents who vehemently disapproved of their arrangement.

    Since then once a year every summer the trio went on a camping trip together touring the countryside where they were able to be completely free from everyone’s prying eyes and pointed fingers. This year, however, is different as Lukas has just been diagnosed with terminal pancreatic cancer and although the tight-knit lovers agree to take an oath that the holiday should be focused just purely on joy, they soon realise that it is difficult to completely forget that this will be their very last summer together.

    The trip starts off all light and love and it is surprising that they actually get to their first destination as they cannot keep their hands off each other and are always making out in the back of the van. However, it is inevitable that they cannot avoid the elephant in the room especially when Lukas shares with them the Living Will that he has written that gives them both control over his final days rather than his estranged parents.

    When Jonas gets taken sick and is rushed into hospital the trio’s joy and hope deserts them and is replaced with fear and grief and they have also to deal with the anger of Jonas’s parents who turn up and insist that the Doctors keep him alive even though that is against his express wishes.

    This sophomore film from German writer/director Timmy Ehegötz is overly melodramatic even given its themes. The three good-looking young leads play their parts passionately but despite this, it still seems that there is not enough actual chemistry between them to convince us that their relationship is as deep and real as the script would have us believe.

    This well-meaning movie is full of energy and brimming with enthusiastic performances and has a lot to commend it for particularly, in its attempt to de-mystify the whole thruple relationship concept.

  • FILM REVIEW | Folsom Forever

    ★★★★ | Folsom Forever

    Mike Skiff’s illuminating new documentary on the Folsom Street Fair, one of San Francisco’s iconic gay events, starts off by dispelling a few of the myths that surround its 30-year history.

    Initially, the Fair was created in 1984 as part of a growing protest movement that objected to the enforced gentrification of what previously had been one of the most blighted areas of the city. The inhabitants of the skid row houses and the working men bars were being forced out as the authorities bulldozed their way through the area to put up shiny new expensive buildings.

    This was also the height of the AIDS crisis, which would go on to decimate the city’s gay population so the advent of the Fair created an opportunity for much-needed fund raising. Audrey Joseph a local activist stressed the point that the presence then of so many women supporters, who were the most accepting of AIDS victims, helped create a crucial space without judgments at the Fair.

    The whole area known as South of Market was already home to a plethora of leather bars which local historian Jack Fritscher Ph.D. explained had sprung up as bolt holes for gay hyper-masculine men who were not interested in the stereotypical roles that were most prevalent in the community at the time. Dr Fritscher who also worked for Drummer the now defunct leather magazine talked about the oft-misunderstood leather and BDSM community who came into its own then by promoting their safe sex practices. He explained said the whole concept of successful BDSM is sexual acts within agreed lines of limits to make sure each part is safe and pleasurable. It wasn’t an argument that sat well with the Authorities who at the time were panicking like everyone else and wanting someone to blame for this uncontrollable epidemic.

    Skiff added: “In the 1970s, Folsom Street was the West Coast’s mecca for anyone on their leather journey in life and his movie goes on to explore why the Folsom Street Fair couldn’t have got started anywhere else but San Francisco.”

    When someone talks about Folsom Street Fair now, the leather and fetish elements of the historic outdoor celebration of sexual diversity are likely what come to mind, and it follows the tradition of where members of the LGBT community are given the space to explore the full spectrum of their sexuality and queerness.

    It’s the one time of the year when those into kink and fetish can literally dress anyhow and do anything they want and the Fair security staff who police the streets will only stop them if they engaging in full on sex. Evidently that you can do in any of the bars on the strip.

    Nowadays the Fair is not only a major social event it is also one that has an enormous economic impact on the city. Demetri Moshoyannnis the Executive Director estimates that San Francisco benefits to the tune of some $35.4 million in revenue, and the Fair itself raises some hundreds of thousands in profits that it distributes to fund important local non-profit organisations.

  • RESTAURANT REVIEW | The House of Ho, Soho, London

    Bang on Old Compton Street lies The House of Ho (and according to a rather comical page on their menu; “We might be called Ho’s but we are, at least, classy ones”.

    Hos aside, the restaurant was busy for a Tuesday 7pm. Our initial welcome was lukewarm from a waiter clearly feeling the burn of “suicide Tuesday”, but this was swiftly rectified by the lovely waitress that hadn’t lost the will to live, could actually speak, and presented us with the wine list & suggesting some edamame beans and Asian crackers for the table.

    Bobby Chinn owns the restaurant, as well as another in Hanoi, and has a successful TV series “World Cafe Asia”. Bobby is clearly a man who knows his food but also how to have fun with it. Both food and drinks menu include a page bound to make you giggle; “Duct tape is available for hyperactive children”, and Bobby’s “10 Stages of Drunkness”, my favourite being number 4: Clairvoyant.

    The décor is far more serious, showcasing some dramatic red drapery, low lights, grey tones, and brushed steel. An odd pairing of artwork, being sat adjacent to a painting of people with no heads, and tables decorated with a couple of token touches of copper via candle votives.

    Their drinks menu is extensive, some fantastic and relevant to the Vietnamese theme including ingredients; lemongrass, coconut water, cucumber, lychee, Vietnamese coffee etc. Loving some of the great rose wines out there now, I opted for the Terra Vecchia Rose 2013 (£29), a really light, clean tasting and fresh wine- a great paring for the robust and fresh flavours we were about to enjoy.

    Ho serves food in the same manner as tapas, there are no strict starters/mains etc. They recommend 3-4 dishes per person, and left it in our waitress’ hands to decide what we had, to great success across 7 dishes that was the perfect amount of food for two.

    Bobby’s Warm Duck salad (£10.50) a touch disappointing after being advised of its spiciness and the heat being a little underwhelming. It was however lovely, light and crispy, although coriander’s presence was overpowering. The Grass Fed Angus Fillet Rolls (£6.50) were a triumph. My friend had visited Vietnam and said the flavours of this dish enchanted fond memories of his time there. Light rolls filled with fresh mint that complimented the rich wok tossed beef perfectly, with a little bit of sweetness in there too from some crispy onions- one to try.

    Seafood Ceviche (£12.50) – prawns, sea bass, and scallops combined with mangosteen (a fruit with amazing health benefits, a joy to see on the menu), nestled amongst peppers and avocado in a light coconut fresh lime jus – fresh to death! A lovely dish to have alongside the crispy 7 Spice Vietnamese Squid (£8.50), where its real winner was the dip accompaniment; perfect proportions of sweet & fiery with interesting flavour layers.

    The next dishes were the ones that made the meal. Shaking Beef (£12), 30-day grass-fed Angus beef. Ridiculously tender bite-size morsels. Plain in its seasoning with a strong peppery flavour. The meat speaks for itself here. Griddled Duck (13.50), in my notes I actually cussed against this dish it was that good. Only a little pink, and the notoriously fatty element of the duck almost going undetected it was cooked so well. Another bringer of ‘nam memories for my friend. Heavy smoky flavours, and comes served with a cabbage leaf stuffed with black rice. The stuffed cabbage was very plain and verging on under seasoned, but as an avid fan of both black rice and cabbage, I loved its purpose on the plate.

    The richness of both duck and beef dishes would require something light like a salad next to it. Our waitress had decided that we would receive Morning Glory (£6) – cooked spinach and toasted shallot oil with peanuts, a great simple side- but would have preferred a raw element at this point of the meal.

    With always room for pud, we chose the lemon scented crème brulee (£5.50) – lovely strong citrus, and overall a good brulee, but it came fridge cold which I’m not a fan of, believing it should always be served a little warm, even if it’s room temp to take away the image of bundles of brulees sat in a fridge.

    Also chosen was the trio of homemade gelatos- keen to see what varieties would be served due to the restaurant’s constant compliance to a Vietnamese theme. Apparently, a lemongrass was served but I could not identify between this one and another that only appeared through apparent pods, to be vanilla. A chocolate was also served and despite the gelato in their consistency being superior and luxuriously creamy- the flavours lacked any identity. I would have loved to have seen some flavours like on their cocktail menu. A Vietnamese Coffee Gelato sounds lovely!

    In my view, there were a few errors with a couple of instances involving overpowering flavours, and where the flavour lacked altogether- the dishes otherwise had clever composition. The House of Ho offers stylish dishes packed with exciting and fresh flavours that would definitely make me come back to explore the rest of the menu.

    The restaurant will also now be open till 1 AM on Fridays & Saturdays for “Late Ho”, with a resident DJ and Vietnamese bar snacks.

    Reviewed by @lohanjordan
    ADDRESS: 55—59 Old Compton Street, Soho, London, W1D 6HW
    PHONE: 020 7287 0770
    PRICE: ££££ (explained)
    STAR RATING: ★★★ (explained)
    TIPPING POLICY:
    http://www.houseofho.co.uk

  • FILM REVIEW | A Most Violent Year

    ★★★★★ | A Most Violent Year

    Ok, a film that’s set in 1980 (my era) and stars Oscar Isaac (W.E. and Inside Llewyn Davis) and Jessica Chasten (Interstellar and Zero Dark Thirty), along with some killer outfits and one hell of a story – who wouldn’t want to watch this?

    The storyline follows Abel Morales (Isaac), an honest and hard working man, as his ethics collide with brutal violence at a time when New York is facing an unexpected and unprecedented spike in violent crime. Abel is building his business, following the American Dream, over-stretching himself in order to expand in what appears to be a sensible way.
    Having borrowed heavily to fund this expansion, his business is hit by opportunistic thieves, and he finds himself taking matters into his own hands in order to protect his interests. Alongside this, his wife, from a very distinctly NY “family”, is itching to get in there and sort the matter out if her husband can’t!
    While searching for those responsible for these crimes, he attracts the attention of an ambitious Assistant District Attorney (David Oyelowo – Interstellar and Selma) who is out to make a name for himself and needs a victim to do it.
    This film has the look and feel of a classic thriller from the Serpico and Godfather era, the use of language and mannerisms are spot on. The colours and settings echo the early ’80s perfectly, with the costumes showcasing power dressing NY style. Chasten has some killer outfits and hair-dos and knows how to work ‘em!
    With a strong supporting cast that includes Alessandro Nivola (American Hustle and Coco Before Chanel), Albert Brooks (Drive) and Elyes Gabel (World War Z and Spooks), this film showcases the underbelly of a city, pitting good men against what can seem impossible odds.
    Director JC Chandor did an amazing job on this film and I for one was dumbfounded that it didn’t generate any interest at the major awards – showing how unfair these shindigs can be.
    This is a perfect pizza and beer movie and a distinct 5 stars, I paid good money to see this first time round and wouldn’t hesitate to do so again.
    Buy on Amazon

  • FILM REVIEW | Italy

    ★★★★★ | Love It or Leave It. In 2009 I remembered being totally enamored with an irrepressible young Italian gay couple that documented the struggle of acceptance of gay rights in their country and being totally horrified about the vitriol and power of the far right political parties that seem to make the American Evangelistic Conservatives seem like real sweethearts by comparison.

    (more…)

  • FILM REVIEW | Candid Love

    ★★ | Candid Love

    Filmmaker Kurtz Frausun’s voyeuristic record of an ill-fated relationship between two desperately troubled men is a disturbing sight that raises all sorts of questions.

    The first one of which is why they even allowed the intrusive camera into their lives at a time when they are both clinging on to the last vestiges of hope as their worlds continue to unfold in front of their (and our) eyes. Frausun even jumps in front of the camera at one point to question the morality of being a witness to this highly personal situation especially when it soon becomes apparent to us, if not the two men themselves, that it is doomed.

    Jon is gay and bi-polar and Daniel his partner is a recovering alcoholic and suffers from depression and has still not recovered from the love of his life who is his (ex) wife of 11 years. He doesn’t identify as gay per se but admits to dating gay men in the two years since his marriage fell apart. Jon is his second boyfriend and they are fast approaching their first anniversary when Daniel’s father is suddenly taken to hospital with an aneurysm.

    The ‘story’ starts after Daniel has rushed from the apartment he shares with Jon in Texas to his father’s bedside in Wisconsin. A quick session of events follow resulting in the father’s death and Daniel needing to deal with both planning the funeral and taking care of his mother even though it is clear from the morose and confusing phone conversations with Jon that his depression has really kicked up a notch or two and that he will not be able to resist slipping back into hitting the bottle again.

    In all of his conversations, first on the phone and then when he eventually comes back to Texas, he uses Jon as a verbal punching bag, although judging from his disclosures, sometimes in the past he resorted to physical violence as well. His is obviously a deeply unhappy man struggling with his mental health issues who makes no secret that his ‘relationship’ with Jon started falling apart just after two months and as he goes into detail of its disintegration, it’s remarkable that he even considers continuing wanting to be with someone he has such scant regard for and seems to positive loathe.

    Jon is not much better as all he does is complain to the camera about how miserably unhappy he is with the state of affairs between the two of them and the only thing that makes it all bearable is smoking. Legal and illegal cigarettes.

    It’s infuriating at times watching these two people’s obvious pain as they just stumble around directionless and as the totally unsatisfactory compromise that they clumsily piece together hasn’t a chance in hell in succeeding, doesn’t make their reality any less unpalatable. I simply have no idea why they put themselves through it all let alone why they allowed the camera to record it. I for one, wished they hadn’t.

    ‘Candid’ means straightforward and honest, and frankly, neither Daniel nor Jon were capable of really ever being this. Plus of all the emotions they showed in the 60 minutes of this film there was very little ‘love’, if any at all.

  • FILM REVIEW | Rosewater

    This rather tense drama opens with Iranian journalist Maziar Bahari been awoken by Investigators in his mother’s house in Tehran and subsequently hauled off to jail. Then in a flashback, we see Bahari in London 11 days previously with his heavily pregnant English wife discussing his assignment from Newsweek Magazine to cover the impending Presidential Elections in Iran. They are both aware of the danger particularly as both his late father and sister had both been imprisoned by Ayatollah Khomeini for being communists.

    When Bahari arrives in Tehran a chance meeting hooks him up with a young driver who zips him around the city on his motor bike introducing the Journalist to his own liberal minded friends who are concerned that the present corrupt regime will rig the Elections to insure that their Candidate running against the incumbent President fails completely. When their worse fears are realised and the Government falsely declares that the President has been reelected with a landslide majority, the streets of the city are overrun with hundreds of thousands of protesters. The authorities react by sending out armed troopers to fire into the crowds, and when Bahari captures some of this on video that is shown on US TV, he has become a wanted man.

    He is thrown into solitary confinement in Evin prison and is accused of being a spy for the CIA, the MI6, or any other Western organisation his captors claim are set on bringing the downfall of the Iranian Nation. Its a combination of paranoia and panic as the Investigator clutches at straws to make his claims stick. Bahari is blindfolded most of the time, and he establishes some sort of relationship with his tormentor…. known as Rosewater for his predilection for spraying himself liberally with the scent … who seems to bumble his way through their daily sessions of interrogation without gaining any information or a ‘confession’ from Bahari after several weeks.

    As time passes and ‘Rosewater’ is pressured by his Superior to get a ‘result’ he taunts Bahari more and deprives him of anything to read and feeds him with ant infested food, but beyond depriving him of his liberty and hope, he surprisingly never really resorts to physical torture that one may have expected

    This re-telling of the ghastly imprisonment of London based Iranian Newsweek Journalist Maziar Bahari in a Tehran jail for 118 days is the directing/writing debut of US TV journalist Jon Stewart whose own celebrity rather overshadows that of his subject.

    Whilst Stewart does an admirable job, he still doesn’t quite succeed in overcoming his main difficulty in maintaining the tension in a true story the greater part of which is just about these two men in jail, that we already know the outcome off, and that Bahari will survive.

    Gael Garcia Bernal however does an excellent job portraying the scared imprisoned journalist, and Shohrer Aghdashloo steals all her scenes in the cameo role of his mother.

  • THEATRE REVIEW | Carrie The Musical

    A musical adaptation of Stephen King’s supernatural novel Carrie, which was a hit 1976 film, has just opened, and it’s very good!

    It’s hard to believe that music could be used effectively to tell the story of Carrie White, a high school student who’s picked on by her fellow classmates. But the songs in the show work, telling the tale of this strange young woman, who lacks self-confidence and has an overprotective and very religious mother, helped by a super-talented cast who look like they have just stepped out of the pages of an Abercrombie and Fitch catalogue.

    Evelyn Hoskins, in the role that made Sissy Spacek a star (as well as receiving an Oscar nomination for her performance) plays White. Timid, meak, and small in stature, she’s not like the rest of the girls in her school.

    Carrie the Musical, told in narrative form by one of the girls who survives the climactic ending, opens (as does the film) with Carrie experiencing her first period in the gym showers. She has no idea what is happening to her body, and this gives her female classmates the opportunity to ridicule her, and to call her names, including Scary White. Carrie is angry about this, and uses her supernatural powers to make the lightbulbs explode. Meanwhile, one of the girls videotapes it and soon enough the other students are watching it on their mobile phones.

    The female classmates are led by Chris (Gabriella Williams). She’s mean, evil, yet glamorous and very popular. She’s got a ‘thing’ for teasing Carrie, and the rest of her friends follow suit. Carrie is taken under the wing of gym teacher Ms. Gardner (Jodie Jacobs), who makes the girls reluctantly apologize to Carrie. All but Chris apologises, so Ms. Gardner bans her from the upcoming prom. Chris vows to get even with Carrie. Meanwhile Sue (Sarah McNicholas) feels sorry for Carrie, and feels bad for making fun of her in the locker room. So she asks her boyfriend Tommy (Greg Miller-Burns) to take Carrie to the prom. At first he says no, but then agrees to take her after Carrie is inspired by a poem he had written that he read aloud in class, which is one of the shows most poignant scenes.

    Carrie’s mom (Kim Criswell), just about treats her daughter like a small child, not listening to her but praying for her sins and singing religious songs. She’s fanatical yet motherly in a creepy kind of way.

    So Tommy asks Carrie to the prom, and she says yes, much to the utter dismay of her mother. There’s no surprise what takes place at the prom if you’ve already seen the film or read the book. Carrie and Tommy go to the prom and Carrie gets blood dumped on her as they stand on stage after being voted Prom King and Queen (with the vote being manipulated by Chris’s gang of girls). Carrie uses her powers to cause mayhem, death, and destruction, and it’s all expertly executed by the cast and crew of the show.

    Hoskins is perfect as Carrie. Though while at times her singing is reminiscent of a watching a high school musical, she really comes into her own as the show proceeds, especially after showing some real emotion when Tommy asks her to the prom. As her mom, Criswell is superb. She’s Piper Laurie (who played the mother in the film) with pipes, especially when singing ‘ When There’s No One.’ Williams is fantastic as well. She’s the bully, yet she’s also the beauty. Carrie is Williams’s professional debut. But Miller-Burns is the standout among the cast. As the young man who takes Carrie to the prom, we see a sparkle in his eye, a richness and emotion to his voice, and he’s the perfect actor to play Tommy, the man every boy wants to be like and the man every girl wants to be with.

    The stage becomes, from one minute, the locker room, then a class room, then Carrie’s dining room, to the finale – the school’s gymnasium where the prom is held. The dumping of the blood on Carrie’s head and the mayhem that follows is superbly executed, and extremely intense. Director and Choreographer Gary Lloyd has done an amazing job in putting together this production. Carrie the Musical, with music by Michael Gore and Lyrics by Dean Pitchford (of Fame fame), was a big flop when it debuted on Broadway in 1988 and subsequently in an Off-Broadway production in 2012. But with its London debut the show looks ready to hit the West End. Let’s hope it does, with the same cast and crew – it’s bound to be a hit.