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the guardian G2 - Friday, 15 June 2012
Friday 15.06.12
Meet Kimye
Lost in Showbiz
Nicolas Winding Refn On Andy Milligan
The shame of the games
Peter Bradshaw’s verdict
Alexis Petridis
Cheryl Cole can’t lose
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Total Film
Time Out
15.06.12 The Guardian 3
By Nicolas Winding Refn The Take
Andy Milligan’s cult horror fi lms obsessed me. Now I’ve brought them back to life W
hen I was about 12, I tricked my mother into buying me my fi rst book about fi lm: Splatter Movies, by Jo hn McCart y. That’s when I became aware of Andy Milligan and started looking for videos of his fi lms – such as Gutter Trash (1969) , Fleshpot on 42nd Street (1973) , Guru, the Mad Monk (1970) and The Naked Witch (1967) .
When I fi nally saw them I was taken aback – fi rst by their crudeness, and then by how diffi cult it was to sit through them. But, at the same time, I realised that here was a man who made fi lms on his own terms. He used the medium as something he could streamline his consciousness into, and I found that fascinating. I had moved to New York, aged eight, in 1978 , too late to experience anything of the real Times Square. So when The Ghastly One , Jimmy McDonough’s biography of Milligan, came out, talking about the director’s place in that 42nd Street exploitation world, I loved it. Suddenly, I had a diff erent view o f this man, and it intrigued me. Then I began to get obsessive. I would go on eBay and buy anything connected with Andy. One day I came across McDonough himself, selling his collection of Milligan fi lm materials, including a unique print of Nightbirds (1970), about two hippies in love in London, and a few other super-rare titles – $25,000 (£16,000) for the lot. I did a travel commercial to raise the money, and I bought everything. My wife saw the fi lm cans arriving and said: “Are you crazy? You spent $25,000 on movies nobody cares about?” “ But honey, ” I said, this could have been me!” I’m not kidding; when I started to understand the conditions Milligan was working under, I began to feel a bit of me was in him. I’m sure that as a director he had many of the same thoughts I’ve had, making the fi lms he made. I felt like a patron, almost. I felt connected to him. I thought: “Well, Andy, I’m going to show the world! You may not have been a conventional talent but you made fi lms your own way – which is a lot more interesting.” Few fi lmmakers can boast of having a recognisable style, but when you see a Milligan movie, you are in no doubt whose fi lm it is. And the more you get into them, the more you realise that they were made by someone who was very tormented, and very intelligent; a sensitive man who used fi lm as an artform to express his views on life. When I bought the fi lms, I contacted the British Film Institute right away, and we were able to come up with a way to present Nightbirds and Andy’s British horror fl ick The Body Beneath (1970). However, while looking through the material, I realised we lacked some essential footage. For instance, Nightbirds was missing several key scenes – they had been cut directly from the print to make the trailer! Fortunately, the good people at Something Weird Video in the US were able to help: they had rare Nightbirds materials in their gigantic archive, so with their assistance we were able to complete the movie. Bringing Nightbirds back into circulation is the fulfi lment of the promise I made. It’s an unjustly forgotten movie that has had a fi lm-
maker’s heart and soul poured into it. That it can now fi nally be seen again is nothing short of a miracle. Nightbirds is out now on DVD from the BFI Flipside label
The lineup: Ms (vocals), Mr (music).
The background: Thus far, this New York duo have been doing what is now common practice among bands of their ilk ( those born in the blogosphere) and holding back with the photos and personal info in a bid to retain a degree of mystique. So far, everything they have had to “say” has been compressed into the three-minute video for their fi rst “offi cial” single, Hurricane . It is a super fast-cut tumble of Tumblr-
age imagery to eclipse Lana Del Ray’s one for Video Games , revealing a pop culture savvy and a nostalgic bent. Are MsMr potentially the fi rst superstars of chillwave? They are steeped in the ethos and ideas of the era, even if their music is more sweetly strident and, dare we say, commercial than, for example, Toro Y Moi’s Freak Love. No, this could be very big indeed. In fact, one of their songs has been described as “like a soundtrack to an emotional scene from Six Feet Under, were it sung by Adele”, and there have been numerous comparisons to Florence Welch, whose voice Ms some-
times approximates when she really strikes out. There is some of Florence’s witchy allure, and some of the goth-
pop clatter and clamour of the Zola Jesus/Bat For Lashes/Niki and the Dove axis, with a touch of trip hop and a hint of industrial-lite. In a way, they are the fi rst US response to the British “mystery girls”, an atypical American take on Flo et al’s epic gloom. The production is polished and the potential reach vast – we’d have said this even had we not known they have just signed to Sony in the US and are about to tour there with Marina and the Diamonds. In terms of fuss and excitement, they might not quite be the full LDR, but certainly expect MsMr to exceed Wild Belle or Haim levels of hype. The buzz: “A brand new NY duo who are making a huge buzz around the blogosphere.”
The truth: Anticipate gale-force hype.
What to buy: Hurricane is released by Chess Club on 16 July . File next to: Poliça, Alpines, Florence, Zola Jesus.
Nightbirds, Milligan’s 1970 fi lm about two hippies in love in London
New band of the week
Paul Lester
4 The Guardian 15.06.12
marriage of two-and-a-half months to a stuff ed sock named Kris Humphries came to an abrupt end, which is sad but at least the couple made $17.9m from the wedding – or $10,358.80 per hour of wedded bliss – so cloud, silver lining, etc.
Yet there was now a hole in Kim’s life that no millions could fi ll: a man-shaped hole. Where could a worthy man be found, one who doesn’t mind constant paparazzi, who under-
stands the value of occasional leaked naked photos and, most importantly, whose name begins with K?
Lost in Showbiz
He’s relaxed about the occasional leaked naked snap. He’s used to paparazzi . His name even begins with K! Is Kim Kardashian’s new man, Kanye, her perfect partner?
I approach you, readers, like a colonialist missionary bringing literacy to ignoble savages. You see, it strikes me from across the ocean that you have not been instructed in the ways of the Kar-
dashians, a family who have wreaked as much damage on the image of American pop culture as they have on the letter K. So prepare yourselves for literacy – Kardashian literacy, which probably means it should be spelt “Kardashian kiteracy”.
The Kardashians are, it is depress-
ingly safe to say, one of the most fa-
mous families in the US today. This is due, in varying proportions, to two factors: one, the now-deceased pater-
familias, Robert Kardashian, acted as OJ Simpson’s defence attorney (and then, after banking the cheque, ex-
pressed doubts about his client’s inno-
cence ); and two, Kardashian’s ex-wife Kris, her new husband, the former Olympic gold medallist Bruce Jenner, and their extensive brood are on the phenomenally successful reality TV show Keeping Up with the Kardashi-
ans . OJ Simpson and reality TV: that’s what has brought this family millions of dollars and priceless amounts of fame. America, feel the pride.
In truth, the Kardashian who in-
trigues me the most has always been Kris . Here is a woman whose entire worldview can, I suspect, be summed up with these two salient facts: she gave all of her daughters names that began with “K”, wrenching even the most unlikely of monikers into an attention-grabbing alliterative (“Kourt-
ney”, “Khloe”); she was happy to be fi lmed encouraging her reluctant daughter to pose for Playboy .
But because Kris dares to be over 35 she was never the show’s star attraction. Instead, that honour has long gone to her daughter Kim , who boosted her fame with that now-
traditional rung on the ladder to celebritydom – ie, a leaked sex tape – and has been posing for the paparazzi, backside fi rst , ever since.
Last autumn, Kim caused even more of a furore than usual when her Enter, stage left, Kanye West.
I like to imagine that Kanye didn’t so much as turn up chez Kardashian as get held aloft like a young Simba by Kris Kardashian Jenner, while the Californian sun rose behind him and the remaining Kardashians sang, in chorus, Circle of Life.
Far from improving one another, Kimye, somewhat predictably, are bringing the worst of themselves to one another: he is allegedly the reason for Kim’s sudden fondness for wearing pantyhose as a dress (“Kim takes edgy fashion tips from her boyfriend!” as Kanye is
the reason
for Kim’s
for wearing
as a dress Kanye and Kim
By Hadley Freeman
15.06.12 The Guardian 5
Who needs Paul Krugman when we have Cheryl Cole?
If a tree falls in a forest and no one is around to hear it, does it make a noise? And if a news event occurs and a celeb-
rity doesn’t express an opinion on it, did it actually happen? The tree ques-
tion is, clearly, of no interest to anyone , but the celebrity issue needs address-
ing, as proven by the thousands who, baffl ingly, complained when celebri-
ties such as, say, Paloma Faith were drafted in by the BBC to comment on the diamond jubilee as opposed to, say, anyone with any expertise on the subject. Clearly these complainers missed the BBC’s gripping coverage of the 2010 election when Bruce Forsyth was hauled in to give his thoughts. The media think the public is desperate to know the thoughts of celebrities. The public is desperate for the media to one magazine put it with polite euphe-
mism); he, it is rumoured, will be on the next season of the reality TV show. Beyoncé – wife of Kanye’s best friend Jay-Z, of course – is said to detest Kim and while one part of me suspects this is just a tabloid media fantasy cooked up to play into the trope that all women hate one another, a bigger part thinks it is probably true as Beyoncé has always come across as talented and sensible and Kim … well, whatever.
In any case, now they are rumoured to be “making wedding plans”. “This will be America’s royal wedding!” crowed one US celeb mag this week. Indeed: two narcissists united by the mutual love of publicity, who are both diminished and enhanced by their union, who will make, at a rough estimate, $50 gajillion from any upcoming wedding and who, most importantly, have names with matching letters. Whether this wedding happens or not, this match sums up a certain un-
comfortable side to the US the way the royal wedding in Britain encapsulated a particular element to that country that, I suspect, most Guardian readers try to ignore. To Kimye!
stop thinking that Heat magazine rep-
resents their mindset. Which brings us to Cheryl Cole, Britain’s very own Paul Krugman, Dan Savage and Bernard-
Henri Lévy in one photogenic package. That she manages to respond to all those requests from Britain’s media begging for her thoughts on various issues while simultaneously churning out Europap under the talented eye of is just one of the reasons why this pretty but bland woman is, so I’m told, “Britain’s sweetheart”.
On Wednesday alone, two British newspapers breathlessly recorded Cheryl’s thoughts on taxation (“The whole idea of putting tax on [pasties] is about taking money out of the pockets of people who can’t aff ord it”) and gay marriage (“Why should the fact you’re attracted to the same sex make that any diff erent?”) And to think, some fans have protested at the idea of Cheryl charging £350 for the chance to meet her . Would you protest at paying to meet Yoda, Gandhi and Confuci us rolled into one? I think I’ve made my point.
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6 The Guardian 15.06.12
n the broad spectrum of the arts, two worlds rarely over-
lap – the literary world and the world of rock music. There are exceptions, of course – Salman Rushdie has written the lyrics for a U2 song ; Nick Cave has written two fi ne novels – but these instances are unu-
sual interminglings, I would suggest. My own case is typical. Even though I’ve been an avid consumer of contem-
porary music since my early teens, the world of rock music has always been at something of a distance – I listen to it, read about it, I talk about it, but I’ve had little or no contact with its denizens. It’s like the world of astro-
physics or the armaments industry, say: I’m aware of these zones of activity but we haven’t really bumped into each other, so to speak. Bizarrely, I did get to know David Bowie because we both joined the editorial board of an art mag-
azine at the same time, Modern Paint-
ers . We used to sit beside each other – the new boys – at editorial meetings. I’ve briefl y met other rock icons at social occasions but these encounters have been entirely random – and all the more enjoyable for that fact. But the case of Keane and I is diff erent.
In the 1980s and 90s I took something of an aural sabbatical from the voice had to make me want to in-
vestigate the music further. And then, in 2003, I heard Keane’s debut single, Everybody’s Changing , and the voice this time was Tom Chaplin’s. I bought Hopes and Fears , the debut album. It wasn’t just Chaplin’s ethe-
real, plangent voice that won me over: Hopes and Fears is an unequivocally great album – not a dud track and with a melodic generosity that was astounding in contemporary British rock. Tim Rice-
Oxley’s fuzzed keyboards may be the default Keane sound but his gift for writing great three-and-a-half-minute rock/pop songs is prodigious. The album came into the charts at No 1 with a bullet – the fi rst of their fi ve consecu-
tive No 1s. Keane’s output is not prolifi c, it should be stated – four albums and one EP in eight years is almost costive by the standards – and the demands – of the rock-music industry.
So far, so relatively normal. An enthusiasm was born. But one of these strange six-degrees-of-separation moments happened next. The parents of a friend of mine knew Chaplin’s parents. Word fi ltered back that Keane had written a song called Any Human Heart, inspired by my novel of the same name. I think I then selected Hopes and Fears as the one British rock album I had truly enjoyed in a national news-
Anglo/US rock music. Tastes change, I suppose, but I found the rhythms, energies and melodies of Latin Ameri-
can and African music far more beguil-
ing than anything the west was serving up. The music of Elis Regina , Milton Nascimento , Jorge Drexler , Cheikh Lô and Fela Kuti were more familiar to me than Bruce Springsteen and Oasis, for example. I didn’t abandon western rock entirely – I kept half an ear open and it was voices that slowly lured me back. Björk started it, then artists such as Polly Paulusma , Fiona Apple , Thea Gilmore began to beguile also – some-
thing idiosyncratic and haunting in Tim Rice-Oxley and Tom Chaplin with William Boyd 15.06.12 The Guardian 7
fi lter back to Keane? I wondered if it had because out of the blue I was asked to present the band with an award at an MTV ceremony in Amsterdam – I demurred. An invitation to a gig ensued – I couldn’t make it. In another news-
paper roundup I mentioned Keane as one of my favourite bands. Clearly our orbits were beginning to approach each other, if not intersect. I found it curious how, with no real eff ort on my part, or on the band’s, we seemed to be becom-
ing mysteriously in contact.
I duly bought all their other albums as they were released – Under the Iron Sea , Perfect Symmetry , Night Train – and observed Keane fl exing diff er-
ent musical muscles, exploring other musical byways. Finally, eventually, Rice-Oxley and I contrived to meet. We talked about the song Any Human Heart, which, alas, never made the cut for an album . I asked him if he was interested in scoring fi lms – he said he was. We discovered that we shared a near-reverence for the songwriting talents of Paul Simon . Rice-Oxley and I met again for lunch. By now the band’s fi fth album was taking shape – Strangeland – a title inspired by the curiously isolated corner of south-east England (East Sussex/west Kent) where Rice-Oxley and Chaplin were born and grew up. South-east England is one of the most heavily populated parts of Europe but there is a signifi cant patch of coun-
tryside on either side of the Sussex/
Kent border that is strangely remote, both inland and on the coast, even though you are only two hours from London. By another coincidence a signifi cant portion of my new novel, Waiting for Sunrise , also took place in that hinterland and along that coast-
line. Hastings, Rye, Winchelsea, Deal, Hythe, Battle and Romney Marsh all featured strongly in my narrative. So when it was suggested that I write a short story to be included in the deluxe CD package of the new album it appeared to me the most natural con-
sequence in the world. It was an inter-
esting challenge, however. It was clear that I couldn’t write a kind of fi ctional “video” of one of the songs. The lyrics did that anyway and a longer, more detailed version of the song would just be redundant. The inspiration had to be more oblique. I decided to choose the title of one of their songs, The Sover-
eign Light Cafe , as the title for my short story and simply start from there. T
he story I wrote isn’t remotely a refl ection of the song but it is rooted in Bexhill-on-Sea where the action of the song takes place – another of those quintessentially English resorts that line the coast from Brighton to Margate. Bexhill is unique in that it has an art-deco masterpiece parked on its seafront – the De La Warr Pavilion . The Sovereign Light Cafe actu-
ally exists further up the promenade from the pavilion and is a classic seaside caff named after the vast, towering lighthouse platform of the Sovereign Light, whose intermittent beam can be made out, as night falls, on the Chan-
nel’s horizon, many miles off shore.
I went down to Bexhill to savour the atmosphere. Keane were due to play the De La Warr Pavilion as a kind of thank you to the locale that had nur-
tured and inspired them. The modest front at Bexhill is well tended and somehow has managed to avoid the tawdry seediness that some of the old resort towns have succumbed to. The shingle beach is clean and the fl ower-
beds are weeded. The place is redolent of a form of timeless English holiday. Seagulls squawk, kids bicycle, old-age pensioners look out at the limitless horizon and contemplate eternity. I wandered up the promenade and had a sausage sandwich and a glass of char-
donnay in the Sovereign Light Cafe. I mooched around and took some pho-
tographs – ideas for a short story that ended here in Bexhill were beginning to form, almost unbidden. It goes without saying that Bexhill is very English and Keane’s new album (straight to No 1, again) is rooted in this part of England. It’s not parochial in any sense: it’s more celebratory of the fact that life goes on here – in these out-
of-season resorts – with the same inten-
sity and passion, the joy and tragedy, the same mundanity and tedium, as it does anywhere else in the country – or in the world, come to that. Rice-Oxley’s rich, melodic gift and his amazing ca-
pacity to surprise in the three-minute song is as fi nely honed on Strangeland as it was on Hopes and Fears. Chaplin’s voice is, if anything, displaying more unfettered virtuosity than ever (I rec-
ommend a live performance to hear it in its potent, unbridled freedom), Richard Hughes and Jesse Quin form the rest of the tightest of ensembles, developed through years of touring. Keane are a great British band – hon-
est and dogged in the pursuit of their own particular vision. I feel strangely happy that our slow, serendipitous encounter has, if nothing else, brought the literary world to the world of rock music. Perhaps the meeting will be fruitful in the near future – we wait to see what new dividends may ensue.
‘THEY WROTE THE SONG ANY HUMAN HEART, INSPIRED BY MY NOVEL’ Watch William Boyd’s interview with Keane at
Keane (left to right) Jesse Quin Tim Rice-Oxley Tom Chaplin and Richard Hughes
On Saturday, read Boyd’s short story The Sovereign Light Cafe at guardian.
8 The Guardian 15.06.12
he English attack, but the Germans are still in the lead,” says the commentator as two Olympic rowing fours skim over the rippling water. “The English raise the tempo … They want to win again. But Germany is stronger. Germany wins!” The victorious boat glides past the spectator stands, and the four German athletes stick their arms out straight, just above head-
height, in a proud Nazi salute.
This was the Berlin Olympics of 1936, immortalised in two fi lms by the controversial director Leni Riefenstahl . Olympia Part I: Festival of the Nations and Part II: Festival of Beauty, both released in 1938, represent a tremendous aesthetic and technical cinematic achievement.
But they also represent something far more sinister. As Londoners obliged to pay extra taxes for the 2012 Games have been repeatedly told, the Games may bequeath a permanent legacy . There is perhaps no more famous attempt to create an Olympic legacy than Riefenstahl’s Olympia. When Germany could not repeat its rowing OLYMPIA’S SHAMEFUL LEGACY
victory over England on the battle-
fi elds of the second world war, the way Germans viewed the Olympic heritage of Berlin changed. Olympia did not endure as a monument to the glory of the Nazi superman, but as an all-too-
permanent embarrassment.
Olympia is such a striking piece of Nazi pageantry that it is easy to forget Adolf Hitler had not wanted to host the Olympics . Berlin was awarded the 1936 Games in the days of the Weimar republic. Two years later, in 1933, Hitler came to power. Olympian ideals of peaceful competition and interna-
tionalism repulsed the Nazis – as did the prospect of Jewish, Slav or black athletes competing against whites. Offi cial Nazi newspaper Völkischer Beobachter declared that allowing black athletes to compete “is a disgrace and a degradation of the Olympic idea without parallel”. At Berlin, it decreed , “blacks must be excluded.” Still, the German National Olympic Committee persuaded Hitler that even a Games that included non-Aryan athletes could be turned to Germany’s advantage. Riefenstahl was commissioned to direct what was originally supposed to Female athletes at the 1936 Berlin Olympics. Bottom, director Leni Riefenstahl with a cameraman
In 1936, Berlin hosted the Olympics and Hitler asked director Leni Riefenstahl to fi lm them. The result was a cinematic coup, but with sinister overtones, says Alex von Tunzelmann
15.06.12 The Guardian 9
Screenings Sunday June 17
, 11am at the following Picturehouse cinemas
The Gate, Notting Hill
Hackney Picturehouse ●
Clapham Picturehouse ●
The Ritzy, Brixton ●
Greenwich Picturehouse
● Stratford Picturehouse, London
Exeter Picturehouse ●
Stratford-upon-Avon Picturehouse
Harbour Lights Picturehouse, Southampton
The Belmont Picturehouse, Aberdeen
Picturehouse at FACT, Liverpool
The Cameo, Edinburgh
Abbeygate Picturehouse, Bury St Edmunds
Regal Picturehouse, Henley-on-Thames
Duke of York’s Picturehouse, Brighton ●
City Screen Picturehouse, York
Phoenix Picturehouse, Oxford
The Little Theatre Cinema, Bath ●
Cinema City, Norwich ●
Arts Picturehouse, Cambridge
Following the success of her Sundance award-winning fi lm Humpday, Lynn Shelton weaves another charming, heartfelt and hilarious story in Your Sister’s Sister. Lost in an emotional funk one year after his brother’s death, Jack (Mark Duplass) takes his best friend Iris (Emily Blunt) up on her offer for a refl ective week of solitude at her family’s remote island retreat. Upon arriving at the house, Jack discovers that Iris’ sister Hannah (Rosemarie DeWitt) had the same idea, and the two spend an awkward evening together. Iris shows up the next morning unannounced, setting in motion an emotionally twisted tale of sisters, brothers, and best friends. YOUR SISTER’S SISTER
To download tickets go to: showfi lmfi and enter the code: 263158
Terms and conditions: Admittance will only be permitted to those over 15 years of age. Proof of ID may be required. Tickets are subject to availability and will be allocated on a first come, first served basis via Each user/reader may claim up to two tickets to see POTICHE at the participating cinemas. Readers who successfully book tickets must present this page with the ticket and have ID available if required. No photocopies of the page will be accepted. The tickets are not for resale. No cash alternative. No late admittance. The cinema reserves the right to refuse admission. In the event of a dispute, the cinema manager’s decision is final. Screening organised by Optimum Releasing. All rights reserved.
be one fi lm. The previous year, she had directed the ultimate Nazi propaganda movie, Triumph of the Will . At its premiere, the grateful Hitler had pressed a bouquet of lilacs into her arms. She was, he declared, the “perfect German woman”.
Olympia’s opening layers the inevitably Wagnerian score of composer Herbert Windt over cinematographer Willy Zielke’s tracking shots of ancient Greek monuments. One of antiquity’s most famous statues, Myron’s Diskobolos, dissolves into nude Teutonic decathlete Erwin Huber recreating the discus-throwing pose. The fi lm’s focus on “perfect” bodies is sometimes cited as an example of its distinctly fascist aesthetic, but that case can be overstated. As the American academic Michael Mackenzie pointed out , “the camera’s fascination with the athletic body cannot be diff erentiated in any meaningful way – on stylistic grounds – from subsequent sports photography.” Another of Riefenstahl’s fl eet of cinematographers, Hans Scheib, was responsible for the technically brilliant close-up fi lming of athletes and spectators in the crowd, achieved with a 600mm Leica lens.
Though these sporting images might in themselves have been neutral, their compilation in Riefenstahl’s Olympia subtly underlined a tenet of all authoritarian regimes: that individuals must be turned into machines that act as required, but do not think. At no point do the sportsmen and women in Olympia speak.
After the war, Riefenstahl – who hoped her fi lms would continue to be shown – claimed that the Nazi govern-
ment had no infl uence on Olympia. This was untrue. The Nazi government commissioned and fi nanced the fi lms. Propaganda minister Joseph Goebbels’ diaries indicate that he was in contact with Riefenstahl about their progress, though not always positively. “It is impossible to work with this wild woman,” he wrote on one occasion. Wild though she may have been, the fi lms are utterly compliant. The fact that Olympia depicts such moments as the fi eld hockey fi nal, in which India defeated Germany, is sometimes mistaken by Riefenstahl’s defenders as evidence of her editorial independence. It is the opposite. Riefenstahl’s inclusion of the occasional German defeat fi ts squarely with Goebbels’ instructions to the German press during the Games, which were to create an impression of Nazi fair-
mindedness by reporting foreign as well as German victories.
The Nazi obsession with race is constantly restated. “Two black Opera online
Watch Glyndebourne’s stunning new production of A Cunning Little Vixen and visit next Friday to enjoy Peter Halls’ 2005 production of La Cenerentola
10 The Guardian 15.06.12
After Twilight
Robert Pattinson and David Cronenberg talk to Xan Brooks about Cosmopolis, and Peter Bradshaw joins Xan to review the week’s big releases on our fi lm video show
runners against the strongest of the white race,” muses Olympia’s commentator as he surveys the fi eld for the men’s 800 m. On that occasion the black runners, the US’s John Woodruff and Canada’s Phil Edwards, took gold and bronze respectively. The most exhilarating section of the fi rst Olympia fi lm is the long-jump fi nal, in which black American athlete Jesse Owens faces the white German champion Luz Long. In the last of three jumps, Long hits 7.87 m: a new European record. The crowd is ecstatic, as is Hitler himself, who is shown applauding his champion. Then it is Owens’s last jump. He composes himself. Sprints. Flies. Lands lightly in the sand. It’s 8.06m, a new Olympic record (Owens already held the world record, having jumped 8.13m in 1935).
actfully, Riefenstahl does not show Hitler’s reaction . According to Albert Speer , the Führer was “highly annoyed”, but rationalised Owens’s success within the terms of his pseudoscientifi c race theories. “People whose antecedents came from the jungle were primitive, Hitler said with a shrug; their physiques were stronger than civilised whites.”
Riefenstahl claimed that Goebbels did not want her to show black athletes in the fi nal fi lm but, in the context of Hitler’s remarks, it is hard to argue that there was anything subversive about the way she depicted them. The only shot that might have raised Nazi eyebrows is when Owens wins the long jump . For a moment, he makes direct eye contact with the camera, and smiles a bashful, slightly goofy smile. In a fi lm that permits its subjects little by way of individualism, this looks almost like an acknowledgement that he is a human being.
Being treated as less than fully human was, of course, nothing new to Owens. At his alma mater, Ohio State University, he was not allowed to live on campus. Interracial sporting competition was banned in the American south, so none of the American Olympic Committee’s qualifying events could be held in states such as Owens’s native Alabama. President Franklin D Roosevelt refrained from sending black athletes the conventional telegram of congratulation on their victories, prompting Owens to declare: “Hitler didn’t snub me – it was FDR who snubbed me.”
If Owens was the star of the fi rst Olympia fi lm, though, the star of the second was white American Glenn ←
15.06.12 The Guardian 11
Morris, whose physical form is as noticeably lingered on by Riefenstahl on fi lm as it was in real life. Their brief aff air was useful when she realised she had neglected to fi lm Morris’s victory in one decathlon event: the 5,000 m run. So besotted was Morris that he agreed to run another 5,000 m the following day, just for her cameras. Riefenstahl hoped Olympia would take her to Hollywood. On 4 November 1938, she arrived in New York to promote Olympia . Five days later came the horrors of Kristallnacht . Reports from Germany told of 1,000 synagogues burned in one night, and 30,000 Jews dragged off to concentration camps. A defi ant Riefenstahl told reporters that she did not believe such things could have happened. Even when the German consul in New York told her the stories were true, she vowed to brazen it out until “this damn Jewish thing is no longer in the headlines”. It stayed in the headlines, and the invitations she had received before Kristallnacht from Hollywood players, including Louis B Mayer, vanished. Only one studio boss still agreed to meet her: Walt Disney.
When war broke out in 1939, the prints of Olympia were seized from the German embassy in London. The reels were signed over to the British Army Kinema Corporation . E ditors snipped out the Nazi bits, and recut Riefenstahl’s footage of athletes into shorts to use as information fi lms during the physical training of British recruits.
Olympic parks, as those of Athens 2004 and Beijing 2008 have demonstrated, swiftly decay if neglected. But Riefenstahl’s Olympia will not go away. Captured on celluloid, the athletes’ muscles still tense as they did on a sunny 1936 day in the sharp focus of Scheib’s telephoto lens. The Olympic bell, featuring a German eagle clutching the fi ve rings in its talons, still tolls. Beneath his toothbrush moustache, Hitler still smiles. Despite multiple recuttings by Riefenstahl to minimise or remove the overtly Nazi footage, Olympia remains the permanent leg-
acy that the Olympics would surely rather forget.
Decathlete Erwin Huber throwing the discus in Olympia PHOTOGRAPH OLYMPIA FILM/THE KOBAL COLLECTION
12 The Guardian 15.06.12
hree years ago, Rufus Sewell gave up bad guys for good. After an early career steam-
ing up teatimes in Middle-
march and Cold Comfort Farm , he slipped, in his 30s, into a rut of rotters – cruel toff s on horseback in fi lms such as A Knight’s Tale and The Legend of Zorro. At 40, he renounced them for better men. Men with names like Tom Builder (from HBO’s The Pillars of the Earth , and Zen , the cool Italian detective from the Michael Dibdin books adapted for the BBC. Next week Sewell, now 44, can be seen as “Adam, lead vampire” in Abra-
ham Lincoln: Vampire Hunter , a movie about the 16th president discovering that vampires are planning to take over the world. Adam is 5,000 years old, rides a horse and tries to drink the blood of America’s most beloved president . A return to the dark side? “Well, thing is,” says Sewell, “after they cancelled Zen, I didn’t work for eight months. After I’ve done something that I’m really proud of and I think changes the way I’m perceived, the im-
mediate reaction is: nothing. So by the time this off er came, I was really happy to play a bad guy . ”
We are meeting in Santa Monica, in the spring, when the fi lm is not yet fi nished and all either of us has seen is an eight-minute showreel. “What I saw looked quite good,” says Sewell. “Bits of it I didn’t expect to look exciting looked exciting. I’ll stick my neck out and say I hope it’s quite good. ” Three months later, and that is still all that has been screened to the press, so it’s hard to know if he’s right. INTERVIEW WITH A VAMPIRE
Rufus Sewell vowed to give up playing bad guys and cads, then found himself out of work for months. So now he’s back as a 5,000-year-old bloodsucker. He talks to Catherine Shoard
15.06.12 The Guardian 13
The fi lm was adapted from Seth Grahame-Smith ’s novel Abraham Lin-
coln: Vampire Hunter, but scour that in search of a curly-haired, sneery old vam-
pire and you’ll be disappointed. “Yes, he’s not in the book. They had this idea to write this sort of uber-villain. Which is not the most organic way of coming up with a character. But so what?”
Sewell says all this not with a laugh but, rather, while laughing. He barely goes two words without cocking a snook at himself . “What accent should he have? Aramaic? No - people will just think you’re a fucking idiot. Or you’ve got something stuck in you’re throat. ” He was dismayed by a few frames that showed Adam in all his corpsey glory: “ I’d been thinking maybe I’d look really sexy. No, I look disgusting.”
This does not appear to be an invi-
tation to disagree. For an actor, espe-
cially, Sewell has unusually clear-eyed self-perception. Twenty years of not quite making it have borne in him not bitterness but a sort of jovial brutalism, bordering on scorn. He rails gleefully against Abraham Lincoln’s “retrofi t-
ted” political subtext. “I’ve been asked to address all these things I think are bollocks. ‘Are you a vampire or a pa-
triot?’ Oh, fuck off ! I’m not keen on these talking points they hand out: this is what we think. Oh, is it? So I get a bit punchy. ‘Why should people come and see your movie?’ Don’t! I don’t care. I don’t think that way, but it brings it out in me . I’m just not very comfortable to eing the line.”
ut at the same time, Sewell gamely bats back whatever question you throw at him in lieu of the movie. Yes, he thinks vampires are more attractive than other undead (“zombies aren’t sexy, and werewolves are only sexy until the moon, then they’re just hairy”). Yes, Americans are more eager to mythologise their leaders than Brits.
“One of the things I was proudest of when I was growing up was that we’re not proud of our country. Anyone with any sense knows that we’re mongrels and that it’s been diff erent family busi-
nesses topping off other diff erent fam-
ily businesses for years. There’s no one we would care about trashing. Winston Churchill: Vampire Hunter would work as pure camp because it’s not a risk. It’s just: yeah, that’s funny. No one’s gonna be: [hushed voice] ‘Could we?’”
Sewell has settled in the States now, rents a fl at with “a girl who is not an ac-
tress”, but still shuttles back and forth to London to see his son, Billy, 10. Yes, he says warily, LA life makes him feel more British. “But there’s a certain type of ex-pat: ‘Oh, thank God! Someone who gets my irony.’ Oh, fuck off ! Actu-
ally, some of the Americans are really droll. In terms of wanker per square mile, Notting Hill can still hold its own.”
This he follows with a swift mea culpa: he can rival the worst of them in the insuff erability stakes. After a half-
bohemian, not-as-posh- as-you’d-think childhood in Twickenham, Sewell went off the rails after the death of his father when he was 10. A spell of being what he has called an “80s twat” – dyeing his hair, drinking, taking drugs, shoplifting and playing truant - gave way to standard-issue Soho louchery. When he fi rst hopped the pond, he behaved in a way “that was slightly embarrassing to myself and I blame America for it. I was frightened of what I might become .” What was that?
“Cheesy. Everyone would be tell-
ing you you’re amazing all the time. It’s scary because you get less embar-
rassed about it. Some people here talk about themselves like it’s their one opportunity to make the sell .”
He often looks “confused” in his own movies, he thinks; a result of funk-
ing out of asking enough questions on set. “ If someone asks me about two books and I say I haven’t read them; the third book - I’ll say I’ve read it. You get embarrassed. And if someone explains an idea, twice, the second time with a sigh, and there’s a crew waiting, it’s very tempting to go: OK!”
Things will probably get easier as he ages, he grins. He tried to write a script himself, to showcase his own versatility, only to start resenting his own knee-jerk typecasting. “How dare you! I could do so much more!” For now, though, he’s cheerily resigned to a fresh batch of cads; a happy self-
fl agellator, tickled by his own hubris. “My problem is I’m a fussy beggar. I’m starving! But white bread? Oh no ...”
2005 The Legend of Zorro
2012 Abraham Lincoln: Vampire Hunter
2001 A Knight’s Tale
1996 Cold Comfort Farm
Abraham Lincoln: Vampire Hunter is released in the UK on 20 June.
Why should
people see
your movie?
‘Don’t! I don’t care.
I’m not
toeing the line’
14 The Guardian 15.06.12
aestro José Antonio Abreu works in an offi ce situated in an unremarkable shopping mall in central Caracas, a few steps from one of the city’s major thoroughfares. On the afternoon we meet, the sun is shining and the streets are bustling. Nevertheless, to make the short journey by foot from a nearby car park, we are accompanied by three conspicuously armed guards.
This is Caracas , one of the most violent cities in the world. Venezuela’s murder rate is three times that of Iraq and four times that of Mexico . On average, 53 people are murdered here every day.
This grisly statistic is on my mind as I am ushered in to meet Abreu, the 73-year-
old former economist and conductor whose visionary philosophy has, since 1975, been based on the notion that a free, immersive classical music education for the poorest of the poor might positively infl uence the so-
cial problems plaguing the country. Abreu’s hypothesis has been over-
whelmingly vindicated, with more than 380,000 children engaged in national music programmes, more than 80% of whom come from low- or middle-income areas. Of the two mil-
lion graduates of the programme since its inception, many have gone on to become not just musicians, but law-
yers, teachers, doctors and civil serv-
ants . Yet it remains one of the great paradoxes of “El Sistema”, as Abreu’s Fundación Musical Simón Bolívar has come to be known, that no matter how successful it is, how many Gustavo Dudamels it creates, how many wealthier nations seek to emulate it, the Venezuelan crime rate still climbs. Abreu agrees that the statistics are “extremely grave”. But he points to evidence that also seems to prove that without El Sistema’s extensive network of nucleos (community music schools), orchestras and choirs, they would be considerably grimmer. “ Children engaged in the programme attain above-average results in school and show a tremendous capacity for collective community action. The orchestra and the choirs, the heart of the programme, help create a sense of solidarity . Involvement becomes a weapon against poverty and inequality, violence and drug abuse .”
Abreu himself is a humble and ascetic fi gure who has dedicated his life to what he describes as a “human development” project . “The idea came to me because I saw that in Venezuela, music education did not include orchestras for young people,” he explains, “but I also could see, in the few existing music schools at that time, that the children who were participating in orchestras developed with a much more humane perception of their role within society. They had a completely diff erent set of values.” The scheme was launched, famously, with just 11 kids in a local garage . His conviction in the possibility of social transformation through music was absolute even then. “At our fi rst rehearsal, I was certain of it ,” he says, beady brown eyes glittering. “I told those fi rst 11 members of the orchestra that we were creating the beginning of a network that would eventually turn Ven-
ezuela into a musical power by rescuing children from low-income families .” A few days later, I ask Frank di Polo, the violinist and original leader of the orchestra, if he remembers the moment. “Of course,” he laughs. “Maestro Abreu knew all along what he was creating and what it could achieve.”
El Sistema, despite the nickname, is not actually a “system” of music education, but, as Abreu insists, “a conception regarding the function of music within society”. It is a vast net-
work of schools, orchestras and choirs that now extends to all 23 provinces in Venezuela, and touches an estimated three adults for every child engaged in HARMONY
In a rare interview, Clemency Burton-Hill meets José Antonio Abreu, the visionary behind Of the two
many have
gone on to
and doctors
Above: Gustavo Dudamel (far left) with the Simón Bolívar Youth Orchestra in London; and young musicians involved in Abreu’s Sistema network in Venezuela
15.06.12 The Guardian 15
the programme. Seven successive Ven-
ezuelan administrations from across the political spectrum have supported El Sistema – to the tune of around 90% of its operating budget. The funds, tell-
ingly, have always been disbursed by the social services rather than culture departments. “The fundamental ele-
ment that has determined support has been the results El Sistema has proved in the social fi eld,” he says. “ For Ven-
ezuelans, music education is now a constitutional and legal right .”
Next week, the most visible and thrilling exponent of that principle returns to the UK, when Dudamel, 31-year-old music director of Los Angeles Philharmonic , brings his “other” orchestra, the Simón Bolívar Symphony, to Raploch, Scotland , for a concert alongside the El-Sistema-
inspired initiative Big Noise . The gig launches the London 2012 Festival and, along with the orchestras’ subsequent residency at the Southbank Centre, which will be live-streamed on the Guardian website, is likely to unleash a new wave of Dudamania in Britain.
Did Abreu always realise what he had on his hands with Gustavo ? “Of course,” he says; he knew “from the very begin-
ning” that his was a “superlative” tal-
ent . Yet Dudamel is far from unique.
Take Christian Vasquez , 28-year-
old music director designate of Stavanger Symphony Orchestra; or Diego Matheuz , who has taken over at La Fenice, Venice’s legendary opera house, aged 27. It is not at all fanciful to propose that in coming years, many more European, American and Asian music institutions will have a spirited young Venezuelan at their helm, usually with terrifi cally emotive hair.
This represents something of a dilemma for Abreu . One reason why El Sistema works so well is its famil-
ial mechanism : as soon as a child is accomplished enough, they begin to help teach younger generations. If the most talented teenagers leave as soon as the big musical agencies come calling, the system may falter.
Abreu admits it can be diffi cult to reconcile the need to allow his bright-
est proteges to spread their wings internationally with the need to keep them in Venezuela as all-important role models, but he repeats that this is a “human development project”. El Sistema exists, he maintains, “to strengthen the moral and spiritual development of the country” in whichever form that takes.
There are many who believe this quietly charismatic man should be in line for the Nobel peace prize. Sir Simon Rattle, who describes El Sistema as “nothing less than a miracle”, has been advocating it since 2008. But Abreu shakes his head. “The biggest reward is the opportunity to keep doing our work,” he says. The inter-
national attention his system receives “creates a great sense of reward and responsibility”. He indicates a poster on the wall emblazoned with the phrase “Tocar y Luchar”, the offi cial motto of the programme ever since that afternoon in the garage. “To play and to struggle – there was always this double meaning within the kids, to be both artists and social fi ghters.”
The slogan is more applicable today than ever. “We are still facing the grav-
est social problems, and we have a chal-
lenge to incorporate as many excluded children as possible,” Abreu admits. “ We need more teachers, instruments, space, funding.” The number of kids engaged in El Sistema programmes is estimated to hit the half-million mark by 2015 ; but Abreu points out that 33% of Venezuela’s 30m population is under 14. I get the sense that he will not rest until every one of those children has access to a local nucleo .
“We know that the eff orts we put into it are not enough, given the size of the challenge ahead. But this is our dream. And we will keep fi ghting for it, every day.”
El Sistema, Venezuela’s extraordinary music network that gives children a route out of poverty
Dudamel and the Simon Bolivar Symphony Orchestra open London 2012 Festival in Raploch on 21 June, then perform at the Royal Festival Hall on 23 and 26 June as part of Southbank Centre’s Festival of the World . Both RFH concerts will be live-streamed on
Young students with José Antonio Abreu (centre) and Gustavo Dudamel (left), conductor of the Simón Bolívar Symphony Orchestra
16 The Guardian 15.06.12
R.I.P. Actress A techno study of the fall of man, R.I.P. shifts through rooms of uniquely realised sound, full of squirming electricity, thudding bass and wisps of static. But as the euphoric likes of IWAAD show, there’s still a chance to party .
The Bravest Man in the Universe Bobby Womack Coaxing Womack (above right) back into the recording studio was one thing – placing his voice in such a futuristic setting quite another, although Bobby’s simple guitar playing still shines through.
Something Chairlift Few people expected “that band who did the iPod advert song” to return with a record as captivating as this. The 80s are hardly a novel fount of inspiration, but Something – propelled by Caroline Polachek’s beguiling vocals – locates the precise point where pop meets art.
The Money Store Death Grips With a sample of Venus Williams’s screamed serve alongside a man shouting that he’ll make your waters break in the Apple store, this is body-horror rap rich in ideas, oxygen, piss and vinegar – the sound of an angry, culture-glutted web generation. Love Songs – A Time You May Embrace Krystle Warren One of the most original voices out there – Warren is a darling of the English folk scene, but here she also eases between soulful balladry and scat jazz, country, soul and jazz.
One Day I’m Going To Soar Dexys Twenty-seven years after Don’t Stand Me Down was released to widespread baffl ement that took years to turn into acclaim, Dexys return with an album every bit as confounding, theatrical, strange and painfully honest .
Django Django Django Django You can hear shards of everything from The Beach Boys to The Beta Band to UK garage in Django Django’s kaleidoscopic sound, but ultimately, it doesn’t THE BEST ALBUMS OF 2012 (SO FAR)
It’s only June but this year has already seen some outstanding releases. Here is our top 20 sound like anything else around at the moment: a fabulous slice of modern British psychedelia.
Locked Down Dr John Collaboration between the New Orleans legend and Black Keys’ Dan Auerbach producing, which makes old sounds seem fresh. Stuff ed with Mississippi blues, voodoo funk, and contemporary references to crack houses, the Night Tripper is in exhilarating, vintage form.
Visions Grimes That Grimes would set the benchmark for autonomous pop was by no means a given upon the release of the idiosyncratic, lo-fi synth haze Visions, but since its release, Claire Boucher has become something of a star .
In Our Heads Hot Chip
Consistency isn’t the sexiest word in pop, but these days seeing the name “Hot Chip” stamped on a record is as close as you can get to a seal of quality. This is a beaming, technicoloured aff air, keen to parade its infl uences – from disco to slow jams – but never at the expense of a joyous melody. Blunderbuss Jack White The Lionel Messi of rock – he strums! He scores! – picked over the entrails of his broken marriage to a backing less skeletal but no less feral than that of the White Stripes. The blues were twisted, once again, into a shape both recognisable but thrillingly new.
Classical Curves Jam City There’s something initially off putting about Jack Latham’s version of post-dubstep funk: it’s cluttered and jarring, almost inhuman-sounding. Stick with it, though, and it draws you inexorably into its world . fi n John Talabot Barcelona-based producer Talabot’s debut album exists somewhere heady and humid, at the intersection between deep house, Balearic and disco. It sounds fantastic: rich and varied, thick with melodies, underpinned by a creeping sadness.
Born To Die Lana Del Rey The authenticity debate – was she really a murderous, cocaine-ravaged starlet escaped from David Lynch’s mind? What do you mean, no? – has overshadowed the fact that this remains one of the year’s freshest pop records.
Old Ideas Leonard Cohen
“All I’ve got to put in a song is my own experience,” Laughing Len said this year. But what experience: songs about death, misanthropy and lust with the wisdom and humour that comes from 77 extraordinary years on this planet.
Given To The Wild The Maccabees Where their debut contained giddy guitars and a song about their local swimming pool, their third album fi nds them pondering mortality within melancholy epics deserving the comparisons with the Blue Nile and Talk Talk.
Pink Friday: Roman Reloaded Nicki Minaj Just who Nicki (below) might really be is a question that remains after this second album, half of which sees her spitting in a multitude of tongues over hip-hop beats, half of which contains some pop monsters – and no bad thing.
Give You the Ghost Poliça A constantly shifting tableau of pop, jazz funk and R&B fi ltered through indie sensibilities: it sounds unpromising, but this off shoot of soft-rock collective Gayngs master music as perpetual motion.
Yo Roberto Fonseca
The Cuban pianist works in the tradition of Herbie Hancock and Abdullah Ibrahim but stretches out here with collaborators including the Malian singer Fatoumata Diawara.
Words and Music Saint Etienne Saint Etienne return with hymns to pop messageboards, to buying singles at Woolies, to a friend’s impeccable taste: all present, all glorious.
What are your favourite albums of 2012 so far? Tell us at
15.06.12 The Guardian 17
Film Pop Jazz Classical Games Television
Cheryl Cole Page 21
A dirty electro stomper, with shades of Madonna and featuring Pharrell Williams, presaging a new album and a Lovebox appearance.
Sparks Fly Again
Beachwood Sparks
Californian cosmic country types reunite and, after a decade apart, are as trippily lovely as they ever were fi rst time around.
Greatest Hits
Mystery Jets Aff able Eel Pie Islanders return with a 70s-infl ected track about dividing up record collections post-relationship break-up.
Jan Leeming
Saint Etienne
A quiet pop gem, never released but performed in a How I Wrote ... session for the Guardian by Sarah Cracknell and a slimmed down band.
The F&M Playlist
Peter Bradshaw’s verdict on Rock of Ages – and Tom Cruise’s superstar Stacey Jaxx (pictured with Alec Baldwin’s Dennis Dupree). Page 19
The Very Best
A storming party tune, and with it an amazing video, showing the duo getting smeared with entrails and turning into goats in Kenya. 18 The Guardian 15.06.12
Reviews Film
By Peter Bradshaw
Director: David Cronenberg. With: Robert Pattinson, Paul Giamatti, Juliette Binoche. 108min. Cert: 15
Don DeLillo’s 2003 novella Cosmopolis is about a wealthy and obscenely young Wall Street trader inching across Manhattan in a white stretch limo on a capricious mission to get a haircut. A minor DeLillo conceived during the economic good times, it’s a boutique-luxury literary event whose chief luxury was being able to imagine disaster in personal terms so exotic and disorientating that it was almost indistinguishable from the dizzying era of success that went before.
Now David Cronenberg has brought out a movie version; he has adapted it himself and DeLillo gave the fi lm a notable endorsement by showing up personally on the red carpet for its premiere last month at the Cannes fi lm festival. While DeLillo is no Salingeresque recluse, he’s not exactly enamoured of the fl ashbulbs either. Sadly, the resulting fi lm is as heavy, unmanoeuvrable and preposterous as the stretch limo at its centre ; a “day in the life” drama with no satisfying life . And DeLillo’s highly charged language, when parcelled up into fi lm dialogue, is cumbersome and self-conscious without the original speck of deadpan drollery . It is possible to read Cosmop-
olis as a premonition of the economic crash we now know all about, but re-
ally it looks like an exercise in zeitgeist-
connoisseurship that appears obtuse, self-indulgent and fatally shallow.
Robert Pattinson plays Eric Packer, the twentysomething multibillionaire, a Renaissance prince of 21st-century fi -
nance, his face set in an immobile mask of supercool unshockability . It is a controlled performance, and Pattinson never does anything wrong but, exasperatingly, nothing particularly right, either – though this is a function of the way his character is conceived. Packer has decided to get a haircut at an old-fashioned barber’s shop that is a remnant of his childhood, and his pre-
super-rich existence; “haircut” could also be a hint at the slang for a fero-
cious market correction. Insulated (as he hopes) in his extravagant vehicle, a kind of armoured personnel carrier for mega-rich civilians, he is nonetheless warned by his security guard that there is a “credible threat” to his life.
In the course of the day, he manages to make contact with almost everyone of personal importance: they have to climb into the back of the car with him, or occasionally exchange dialogue in diners or cafes – a sequence of cameos that is like a decelerated version of a drowning man who sees his life fl ashing before his eyes. His doctor shows up to examine Packer’s prostate, Robert Pattinson plays a cool billionaire riding in his limo – in a fi lm that fails to take us very far, writes Peter Bradshaw
Auto trader Controlled … Robert Pattinson as multibillionaire Eric Packer in Cosmopolis
right there in the limo, a scene which is neither funny or unfunny, but provides another angular, fl avourless detour. The walk-ons are occasionally engaging. Mathieu Amalric plays a wacky protester who specialises in hitting famous people in the face with custard pies, and plans to visit this terrible fate on Packer. But, tellingly, when the awful moment comes Cronenberg can’t bear to give us the visual punchline, and his camera looks away until most of the gunge has been wiped away from Packer’s face.
However, some of the appearances are misjudged: Juliette Binoche and Samantha Morton make small car-bound contributions, and their appearances have a blank, almost meaningless quality: they could have been reshuffl ed into the movie in any order, or cut entirely without making any appreciable diff erence to the fi lm. Sarah Gadon has poise and presence as Packer’s young wife, whose family wealth may or may not save him from gambles he has made on the money market. And all the time the limo rolls on and the movie rolls claustrophobically on. The Manhattan streets unspool outside like a back projection whose unreality is, probably, a deliberate eff ect ; a function of Packer’s mind, a faintly delirious symptom of someone whose wealth has grown to such extremes that it cannot be enjoyed or even understood in any conventional way. Packer’s jadedness has grown out of his need to spend more, or to force himself into some new evolutionary stage of being, allowing him to be at one with riches, which in a mysterious, super-contemporary sense, have gone beyond mere material surplus.
These are the ideas being gestured at in Cronenberg’s fi lm, but there is something just so inert in it, and the implication that the fi nancial crisis has somehow been partly willed out of ennui is na ive. This cosmopolis looks narrow and parochial, now we know, in 2012, that the crash had real causes and eff ects on real people’s lives far away from the Manhattan stretch limo, far from the exotic travails of this glamorous trader whose business is rather sketchily imagined. Cosmopolis might be seen as a distinctively late Cronenberg fi lm, that is, like his Spider (2002) or A Dangerous Method (2011), one that combin es his characteristic interest in transgression and taboo with something more discursive and cerebral. But it’s just so cramped and confi ned. It’s a movie about danger in which nothing is credibly at stake. Pattinson never does anything wrong, but nothing particularly right, either
15.06.12 The Guardian 19
The BBC4 documentary Nina Conti – A
Ventriloquist’s Story on iPlayer
Crunch time for Cosmopolis
David Cox on how David Cronenberg’s fi lm falls victim to old myths by believing the world of high fi nance is peopled by a mysterious breed of evil geniuses
Rock of Ages
Director: Adam Shankman. With: Julianne Hough, Diego Boneta, Tom Cruise. 123min. Cert: 12A
Like some illegal experiment in genetic modifi cation, this fi lm grafts the rock anthem to the spirit of the Broadway show tune, to create a mascara’d eunuch, simpering, misshapen, and nowhere near sexy enough to be gay. It is the movie version of the jukebox stage show. Doubtless, like The Producers, it will be adapted back into the theatre, in 2017, at which time it will be even more bland and tiring. It’s a sentimentalised and weirdly humourless movie – targeted at the middle-aged at heart – in which the rock scene is celebrated as a world where the descending model of Stonehenge is always the right size.
It’s 1987 and wannabe rock chick Sherrie (Julianne Hough), as wholesome as Doris Day, comes to LA and meets tousle-haired Drew (Diego Boneta), who dreams of being a stadium god. Romance blossoms and rock standards are reedily belted out – each defanged and decaff einated – as they get jobs waiting tables at the scuzzy, legendary club the Bourbon, which is hosting a massive farewell gig for superstar Stacey Jaxx, played by Tom Cruise . He is pursued by Rolling Stone reporter Constance Sack (Malin Akerman), who sees through his pose but may just need a good old-fashioned rock god seeing-to. Vengeful conservative-
values campaigner Patricia Whitmore (Catherine Zeta-Jones) is trying to shut down the sinful club, to the horror of its raddled owner Dennis (Alec Baldwin) and his goofy assistant Lonny (Russell Brand). Exhibit number one for the prosecution is Brand’s Brummie accent, perhaps assumed in honour of Ozzy Osbourne, but which is as stilted as the rest of his turn ; this talented comic always seems to misfi r e on screen. Rock of Ages is similar to the much-
derided, female-centred movies such as Burlesque and Coyote Ugly; the menfolk are every bit as lame, though one middle-aged woman is rather ungallantly and humiliatingly treated. Cruise’s appearance cheers things up a bit – a sub-Kurtz fi gure in his dark dressing room – but not much: it’s nowhere near as vinegary as his turns in Tropic Thunder or Magnolia.
As Dennis broods over his accounts and growls: “Taxes – they’re so unrock’n’roll”, it hardly needs pointing out what Beatles number should be played, but isn’t, and how complex the politics of rock’n’roll rebellion are. It really does go on for ages. PB A Royal Aff air ★★★★★
Dir: Nikolaj Arcel. With: Mads Mikkelsen, Mikkel Følsgaard, Alicia Vikander. 137min. Cert: 15
Mads Mikkelsen leads Nikolaj Arcel’s confi dent, if dour, period drama based on the real-life story of Johann Struensee, the German doctor who in 1770, in eff ect, ruled Denmark for 10 months after wresting power from his patient, the unhinged King Christian VII. Struensee, a follower of the Enlightenment, attempted to graft social reform into law with the help of Caroline Mathilde, Christian’s queen and the doctor’s lover. The story has been romanticised (Struensee apparently was something of a tyrant himself on occasion) but still lacks passion. While the relationship between doctor and patient is developed adroitly , the chemistry between Mikkelsen and Vikander barely simmers, when it should boil. Nevertheless, it’s a fascinating aff air of state . Henry Barnes 20 The Guardian 15.06.12
Director: Maïwenn. With: Karin Viard, Joey Starr, Marina Foïs. 127min. Cert: 15
There can hardly be an odder or more uncomfortable fi lm this week than Maïwenn’s Polisse, a drama with interesting moments, but also some false notes and a bizarre ending. The Juvenile Protection Squad, a division of the Paris police, is cracking down on child abusers while working out their stressed private lives. Much of it feels Reviews Film
Ridley Scott’s
return to the Alien universe is muddled but essential
The Angels’ Share
Ken Loach’s whisky heist is his most relaxed off ering in years
Moonrise Kingdom
Wes Anderson is back on form with this 60s-set teen romance
Alexander Sokurov’s award-winning version of the Faust myth is strange and dream-like
Kosmos ★★★★★
Director: Reha Erdem. With: Sermet Yesil, Türkü Turan, Serkan Keskin. 122min. Cert: 12A
Tiny pendants of audiovisual poetry adorn this Turkish fable – about a thief who arrives in a heavily fortifi ed town – but it needed a hypnotist fi lm-maker of Tarkovsky ’s calibre to dangle them in such a way as to beguile us. MM Red Lights ★★★★★
Director: Rodrigo Cortés. With Sigourney Weaver, Cillian Murphy, Robert De Niro. 113min. Cert: 15
Any fi lm casting Robert De Niro as a suspected ham has something going for it. Christopher Nolan’s twisty, concept-chewing, non-franchise pictures are the obvious inspiration for this supernatural thriller that dispatches smug psychic investigators Sigourney Weaver and Cillian Murphy on stakeouts; De Niro plays celebrity spoon-bender Simon Silver , and the pair’s ultimate target. Rodrigo Cortés knows how to engineer eff ective jolts and broader, funhouse business: it’s the kind of semi-savvy pulp nonsense that’ll do if your fi rst choice is sold out. Mike McCahill A Thousand Kisses Deep ★★★★★
Director: Dana Lustig. With Emilia Fox, Jodie Whittaker, Dougray Scott. 82min. Cert: 15 Lovelorn Jodie Whittaker is invited by mysterious David Warner into his magic lift and grant ed access to versions of her past that all, alas, lead to Dougray Scott ’s possessive jazz trumpeter, Ludwig, who prompts the fi lm’s fragile credibility to plunge down the rubbish chute. MM K
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Magic lift … Emilia Fox in A Thousand Kisses Deep
Requiem for a Killer
Director: Jérôme Le Gris. With: Mélanie Laurent, Clovis Cornillac. 91min. Cert: 12A
Mélanie Laurent glides through this terrible fi lm as Lucrèce, an ice-cold assassin. N aturally wishing to spend more time with her eight-year-old daughter, Lucrèce accepts one last job: whacking a handsome Scottish opera singer, who is holding out against a sinister oil corporation angling to take possession of his Highland estates. She will have to pose as a singer ; she and her future victim perform in Handel’s Messiah at a festival in Switzerland. But wait: there’s an undercover cop on her trail, himself posing as a musician . A farcical thrill-less thriller . PB Fast Girls ★★★★★
Director: Regan Hall, With: Lenora Crichlow, Lily James, Rupert Graves. 91min. Cert: 12A Here is a lik able and fun British fi lm . Four female athletes are preparing for the world championships in London in 2011 – the 2012 Olympics in all but name. Coach Tommy (Noel Clarke) is trying to weld them into a 4x100m relay team. But there’s some serious aggravation between Lisa (Lily James), a posh princess , and Shania (Lenora Crichlow), who comes from a tough council estate. Fast Girls feels like the great-niece of the venerable Chariots of Fire: smart, unpretentious, with a great burst of speed. PB
Late September
Director: Jon Sanders. With: Anna Mottram, Bob Goody. 87min. Cert:15
Jon Sanders’s zero-budget British ensemble piece is an interesting and like ropey TV drama . Some of it works: there is a scene that shows the stressed offi cers laughing uncontrollably, and inappropriately, at some of the evidence. But elsewhere there are a lot of awful tonal misjudgments. PB high-minded experiment in improv acting: a melancholy, autumnal drama about an ageing married couple, Jim (Bob Goody) and Gillian (Anna Mottram), who throw a family party for Jim’s 65th birthday that ends in disaster. Sanders allows the actors to devise the scenes on camera; sometimes the resulting dialogue is clunky, but sometimes brutally and all too plausibly real. T here is something uncompromising in its pessimism, something that another kind of dramatist or fi lm-maker would have tried to dissolve, or sweeten, or explain away. PB 15.06.12 The Guardian 21
Reviews Pop
By Alexis Petridis
Cheryl Cole
A Million Lights
Of all the records granted a second lease of life as a result of the diamond jubilee concert, perhaps the least likely is Need You Now by Nashville country-pop trio Lady Antebellum. It’s currently nestling just outside the top 20, enjoying its second-highest UK chart placing a full two years after it was fi rst released. Need You Now was the song subjected to a prolonged and vicious assault early on in the show at the hands of Gary Barlow and Cheryl Cole , not an experience you would have thought anyone in their right minds would feel like being reminded of: normally when you see something that distressing on primetime television, it’s followed by a helpline number. Perhaps people are curious to hear what it sounds like sung in tune.
More likely they’re buying it precisely because it was associated with Cheryl Cole. She’s currently the only member of Girls Aloud with anything resembling an ongoing career in pop. Solo albums by the more vocally adept Nadine Coyle and the more critically acclaimed Nicola Roberts headed straight to the bargain bins; Cole’s have gone straight to No 1. The fi rst, 2009’s Three Words, contained a genuinely great pop single, Fight for This Love , but the second, Messy Little Raindrops, didn’t, raising the suspicion that her records sell as a result of the apparently endless public fascination with her celebrity: like the awful gossip mags, they shift copies because they’ve got Cole’s photo on the front and the promise they might feature something illuminating about her private life, rather than their actual contents.
Anyone interested in the actual contents of A Million Lights might have felt their ears prick up at Cole’s recent suggestion that it contained “a lot of dub”. Perhaps her recent tribulations had led her on a spiritual quest culminating in a secret conversion to Rastafarianism, and her third album would thus largely consist of echo-
laden riddims and Geordie-accented execrations of Babylon’s downpressors and Crazy Baldhead Ashley Cole. Alas, she meant dubstep, which crops up on Screw You and Love Killer , an addition to the panoply of current pop styles A Million Lights samples.
There are a couple of moments when the album hints at the kind of musical risk-taking indulged in by Girls Aloud producers Xenomania – opener Under the Sun off ers a weird and hugely enjoyable cocktail of tinny synthesiser, vast Chemical Brothers-
style breakbeat and football-terrace backing vocals, while Mechanics of the Heart takes a standard stadium-rock ballad and piles on the electronics until it sounds thrillingly chaotic – but for the most part it sticks to a script. You variously get Auto-Tuned vocals and rave synthesisers, a British pop-rapper ( Wretch 32 ), Coldplay piano balladry and Lana del Reyish breakbeat-heavy melodrama, both on the title track and Ghetto Baby. The latter is actually the handiwork of Lana del Rey, who, in a volte-face designed to confound critics who’ve noted that all her songs are about exactly the same thing – doomed love for a beautiful bad boy on the run – has alighted on the radical new topic of doomed love for a beautiful bad boy on the run .
You can’t fault its box-ticking effi ciency, but it’s hard to ignore the variable standards. The single Call My Name is written and produced by Calvin Harris, and on the surface sounds exactly like every other song recently written and produced by him, save for the fact that it lacks the spark that powered Rihanna’s We Found Love . By contrast, Girl in the Mirror uses pretty much the same sounds to a more striking end. It’s just a superior song, which might tell you something about pop’s pecking order: perhaps the industry’s less well-known producers and writers are more inclined to give Cole their best stuff .
Manufactured pop stars are usually keen to emphasise their heartfelt personal involvement in their records: rather than simply turning up and bashing out a vocal over whatever songs their record company choses, they like the public to believe they’re giving something of themselves. It’s a measure of how famous she is that Cole can get away with suggesting the exact opposite , safe in the knowledge it’s not going to aff ect her sales: she recently announced there’s no point journalists asking about how the album’s lyrics relate to her private life because she didn’t write any of them, and indeed doesn’t actually know what some of its songs are about. It’s both appealingly honest and a little disingenuous: you get the fi rst lyric that she must realise plays on her image as a publically wronged woman about 40 seconds into the album, and the last about 10 seconds before it ends. What comes in between is sometimes interesting, often generic, with a few decent songs among the will-this-do numbers. But that’s not going to aff ect sales either: its success feels like a foregone conclusion. While other Girls Aloud solo careers fl ounder, it seems Cheryl Cole can’t lose – even with this pretty middling album
Cole position
Frank Ocean – Pyramids
You can’t fault Odd Future’s R&B wing for ambition: this taste of his major label debut lasts 10 minutes, and moves between Euro-house riff s and a Pink Floydish guitar solo
THIS WEEK ALEXIS LISTENED TO Sticks to a script … Cheryl Cole
15.06.12 The Guardian 23
Reviews Pop
Sam Sparro
Return to Paradise
In 2008 Sam Sparro released Black and Gold , a thumping electropop hit that was far better than anything else on his debut album. Four years later and he joins the Little Boots, Ladyhawkes and, perhaps more unkindly, Frankmusik in attempting to reassert his relevance in today’s Guettaised musical climate. There’s a shift towards a more grown-up, funk-pop sound, though too often this comes off as a straight-up Prince parody, not least in the run of Let the Love In and Yellow Orange Rays, which even has the nerve to name-
check a girl called Nikki. When Sparro errs towards disco, as he does on the bouncy We Could Fly and the garrulous Happiness, he sounds more comfortable and assured, and there’s an amiable joy sneaking through. But it is diffi cult to warm to an album that contains one of the most abominable lyrical couplets in recent memories: “You had me feeling like a crackhead/ I’ll squeeze you out just like a black-
head,” pines Wish I Never Met You. Yuck. Rebecca Nicholson Skinny Lister
Forge & Flagon
To paraphrase the Manic Street Preachers: if you tolerate Mumford & Sons, then Skinny Lister will be next. You see, this fi ve-piece folk act love a good hoedown and wouldn’t say no to the odd sea shanty, either. They’ve been mentioned in the same breath as the Pogues, yet where that band took traditional infl uences and made them roar with energy, this is all softened edges. The cover alone should have set alarm bells ringing: a heart embedded within the Union fl ag, it could be window dressing in a twee vintage tea shop . And just like those cupcake-laden cafes, it seems symbolic of all that is wrong with jubilee Britain – fetishising elements of our past while doing nothing of vibrancy with them. Of course, it’s wonderfully accomplished, Carrie Underwood
Blown Away
SONY ★★★★★
Seven years and four albums after winning American Idol, Carrie Underwood is turning her attention to the UK. Her fi rst release here combines her current US album and tracks from the others, tracing her progression from sentimental country balladeer (Jesus, Take the Wheel) to glossy country-pop star (the opening Good Girl starts with a blast of rock guitar and Vocoder, asserting that the line between country and pop is fi ne indeed nowadays). However predictable the package, there’s fun to be had in these tales of bad dads, cheating husbands and cold, cold hearts, and Underwood delivers them with sweet purposefulness. Generally, the more traditional songs, such as Thank God for Hometowns, coax out a characterfulness lacking in the pop crossovers – and the less said about One Way Ticket’s stab at reggae the better. The modest incursions into the British charts made by fellow travellers Lady Antebellum and Taylor Swift mean the time is as right for Underwood as it will ever be, yet Blown Away may be too formulaic to give her much of a foothold. Caroline Sullivan Slash Apocalyptic Love
It’s been 16 years since Slash departed Guns N’ Roses, and he’s fi nally twigged that people want to hear records that twin his rounded, woody guitar tone with a singer partial to a high-register nasal yelp. In the absence of Axl Rose, he’s brought in Myles Kennedy – who’s been fronting Slash’s touring band and sang two songs on his last album – to perk up the ears of passing dogs, and the results are much as you might expect. Slash riff s dirtily – except when venturing into classical scales on Anastasia , and pulling out the inevitable ballad with Far and Away – and Kennedy wails over the top. It’s a whole lot better than Chinese Democracy , Rose’s last eff ort, but by being pretty good but never outstanding, it only makes one recall how feral and exciting Guns N’ Roses once were. Even so, there’s no doubting the thrill as the album opens , when, after a brief burst of wah-wah pedal, Slash slips into a riff that corkscrews as tightly as his hair. Michael Hann Today sees the fourth quarter-fi nal in our ongoing online tournament to fi nd the best football song ever. You can vote for Three Lions or Shakira’s Waka Waka in their contest at
Sea shanty fans … Skinny Lister
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24 The Guardian 15.06.12
Reviews Pop, jazz and world
Peaking Lights
It starts in the gloaming, with an instrumental called Moonrise – two Arild Andersen/
Scottish National Jazz Orchestra
ECM ★★★★★
The Scottish National Jazz Orchestra won the Best Ensemble category in the Parliamentary Jazz awards this year, and their saxist and director Tommy Smith’s youth band released a very professional album in the spring. Now comes the live recording of the SNJO’s Glasgow concert with Norwegian double-bass star Arild Andersen . It’s a contemporary big-band triumph in its inspired arrangements (by Christian Jacob, Smith, Mike Gibbs and others), sensitive execution and transfi xing solo improvisations . Smith has rarely sounded on better form in the gritt y double-tempo fl urries and high-end minutes of jangling chimes and the hammering of a clock that can’t stop striking the hour. It ends at dawn, with an outro called Morning Star, whose notes slide around, exhausted. In between, husband-and-wife Aaron Coyes and Indra Dunis, and their new baby, Mikko (that’s him gurgling on Lo Hi), spend the night in a cocoon of family bliss. The couple rhapsodise their child in Beautiful Son, celebrate their relationship in Live Love, and convey the symbiosis of music and marriage in Dreambeat: “Beats in the rhythm of the heart,” chants Dunis, “my heart it beats for you.” It could be self- indulgent, but what saves it is the music: a fl uid, ecstatic dance of blips and bleeps that refl ects the couple’s love of sound, of cosmic psychedelia, dub, art-rock, electronica and everything in between. The result is the best album Peaking Lights have yet recorded. Maddy Costa and they can knock out a nice enough tune (Peregrine Fly, Rollin’ Over). But the whole thing just seems so safe, so divorced from the idea that we’re currently living in 2012 – here is a set of national anthems for a creatively bankrupt country. Tim Jonze ←
15.06.12 The Guardian 25
Kristi Stassinopoulou & Stathis Kalyviotis
There has been little good news from Greece in recent months, so it’s great to fi nd a Greek duo doing inventive, contemporary re-workings of traditional songs. Kristi and Stathis are not exactly newcomers – they once played together in a punk band, and have recorded a series of albums including the European bestseller The Secret of the Rocks – but for this set they are working by themselves, with Kristi’s cool, clear vocals backed by lauto, the traditional Greek lute, Indian harmonium (it seems they were infl uenced by Nico and the Velvet Underground), along with samples and electronica. The traditional demotika songs come from the Greek islands, and right across the country, but are now transformed into a sometimes edgy, rhythmic style that veers from slow, drifting songs to the stomping Rodo Tis Protanastasis, which is driven on by an insistent sampled bass line. A highly original, compelling set. RD Arnaldo Antunes, Edgard Scandurra & Toumani Diabaté
A Curva Da Cintura
Toumani Diabaté has spent his life demonstrating the versatility of the kora, working with everyone from the fl amenco group Ketama to Björk, Taj Mahal and Afrocubism. Now comes another fusion experiment in which he is joined by the poet/singer-songwriter Arnaldo Antunes, and rock guitarist Edgard Scandurra. The result is an intriguing if uneven set in which Antunes’ sturdy, quietly intense vocals and straightforward melodies are set against far more complex backing provided by intertwining kora and guitar. There are pleasantly laid-back songs dressed up with delicate accompaniment, along with a charming re-working of Diabate’s Kaira, and the bluesy Ir, Mao, with added African vocals and instrumentation. The best tracks are the most experimental, from Se Voce, which swings between cool balladry and stomping rock work-outs, and passages where Toumani’s virtuoso son Sidiki shows how the kora sounds with a wah-wah pedal. Robin Denselow John Surman
Saltash Bells
The title evokes the sounds Surman heard across the water from Saltash Church while out on his father’s dinghy as a child, and they are represented in the computer-generated bell tones and circling loops underpinning his fi rst unaccompanied set in 18 years. The opening Whistman’s Wood sets a On the web
Read all the latest reviews including John Fordham on Bobby Wellins
squalls that roar up out of Dave Holland’s brisk May Dance, or the rough-hewn lyricism of Trygve Seim’s Ulrikas Dans. The rich-hued sound palette of Gil Evans colours much of the set, and the Scottish players seem to draw on Celtic music’s infl ections in the unhurried delicacy (a rare quality in a big jazz band) with which they handle the folk-infl uenced themes. Andersen is agile on the uptempo music and sensuous on a meditation like Jan Garbarek’s Molde Canticle. The album is a mix of the best contemporary big band methods with the tone-poem atmospherics so widely associated with the ECM label this project was designed to celebrate. John Fordham Peaking Lights (above); Arild Andersen (below left); Arnaldo Antunes, Toumani Diabaté and Edgard Scandurra (below)
frost y, pinging computer repeat behind overdubbed baritone-sax lines – one emphasising the traditional harmony turns of a bassline , the other softly blowing yearning hoots and slithering runs. On Staddon Heights is a whirling folk dance building to playful soprano-
sax variations against riffi ng low clarinet fi gures and percussive synths. The music is sometimes punchy and robust (the strutting Triadichorum is a close-harmony exercise for overdubbed baritones); it comes close to the delicate reveries of Jan Garbarek in a glistening mood-piece like Winter Elegy, and mixes all the prevailing moods – from jigging dances to pealing-bell fi gures – in the title track. The long fi nale, Sailing Westwards, has the jazziest passages, but also hints at an exultant, rhumba-like party mood. It’s less introspective than Surman’s past solo work has sometimes been, and it’s full of buoyant, engaging lyricism. JF -
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15.06.12 The Guardian 27
Glass: Symphony No 9
Bruckner O Linz/Davies
★★★★★ Philip Glass isn’t the kind of composer to be daunted by the traditional curse of writing a ninth symphony . In fact, he has already completed a 10th, which will be p remiered in August. Even so, Glass’s whole symphonic output seems to have accumulated almost by stealth, and has never attracted the kind of attention focus ed on his operas and fi lm scores. Some of the earlier symphonies have had vocal elements; others have followed an extra-musical Beethoven: An die Ferne Geliebte; Schoenberg: The Book of the Hanging Gardens; Berg: Altenberg Lieder, etc Gerhaher/Huber SONY CLASSICAL
The Stefan George songs of The Book of the Hanging Gardens and the precocious settings of Peter Altenberg’s pithy texts, which Berg composed under the infl uence of Schoenberg’s fi rst atonal masterpiece, are not the most obvious pairings for Beethoven’s only song cycle. But Christian Gerhaher clearly views the Second Viennese School songs as a continuation of the German Lied tradition that began with An die Ferne Geliebte. He treats the cycles with the same care for the meaning of every word, beauty of tone, subtle emphas is and shading, and the immaculate sense of phrasing that he lavishes on his intimate, almost conversational account of Beethoven’s linked sequence and the three Haydn settings also included in his programme. Both the Schoenberg and the Berg are usually sung by a soprano or mezzo, and the Altenberg Lieder are much more familiar in their iridescent orchestral version – Berg’s fi rst work for orchestra – than with piano accompaniment. But hearing them juxtaposed in such poised performances – Gerold Huber is Gerhaher’s acutely sensitive partner – seems totally logical. No other recorded version of The Book of the Hanging Gardens charts the cycle’s emotional journey through the rise and tragic fall of an adolescent love aff air more clearly, or makes more sense of George’s poems and Schoenberg’s response to them ; and while in the Altenberg Lieder you do inevitably miss the glittering orchestral eff ects, the opportunity to savour the words of each miniature is a rare treat. With such an outstanding account of An die Ferne Geliebte, too, it makes a quite wonderful disc.
Dubois: Piano Concerto No 2; Dixtuor; Ouverture de Frithiof
Wagner/Les Siécles/Roth MUSICALES ACTES SUD ★★★★★ Théodore Dubois (1837-1924) is the latest composer to be explored by François-Xavier Roth and his period Reviews Classical Poised performances … Christian Gerhaher (left) and Gerold Huber; Vanessa Wagner (below)
Reviews by Andrew Clements. To download or buy any reviewed CD, go to
music/reviews or call 0330 333 6840. band . Dubois’s composing career encompassed one of the most rapidly developing periods in music history (from the high noon of Romanticism to the arrival of modernism), but the three works here show little hint of either. He studied at the Paris Conservatoire with Ambroise Thomas, later becoming the director there, where his own pupils included Paul Dukas and Florent Schmitt, but even a work such as the Dixtuor of 1906 seems fi rmly rooted in the mid-19th century, with debts to Mendelssohn and Schumann , and hints of later composers such as César Franck and Brahms. None of it is great music, but it’s pleasant enough. Roth conducts sympathetically and Vanessa Wagner is a suitably skittish soloist in Dubois’s Second Piano Concerto, from 1897; the sleeve scrupulously documents the orchestra and the late 19th-century instruments they play.
programme or narrative, but like the Second, Third and Seventh, the Ninth, fi rst performed in Linz in January this year, is an abstract piece in three movements that lasts around 50 minutes. The fact that the work begins in D minor, like Beethoven’s and Bruckner’s Ninths, suggests Glass was not entirely unaware of the tradition he was continuing, though his idea of symphonic dialectic is, of course, worlds away from theirs and the subsequent movements – the hypnotically drifting, beautiful second, and the more urgent, slightly troubled third – are in A and E respectively. If the music occasionally hangs fi re, its craftsmanship, as ever with Glass, is exemplary, and this performance under Dennis Russell Davies, who has commissioned eight out of the nine Glass symphonies so far, is authoritative.
On the web
Read Andrew Clements on the Artemis Quartet’s Schubert string quartets and Anthony Goldstone’s Tchaikovsky pieces
28 The Guardian 15.06.12
Reviews Television
Are you ready for a Ulysses marathon? Elisabeth Mahoney on Radio 4’s bold plan:
A week in radio
Sounds from The Shed
The rain, Mark Coles explained at the beginning of this week’s edition of his excellent music show, The Shed , has been causing havoc. “It’s creating big, boggy puddles in the broad bean bed,” he noted, peering out into the garden from the shed where he records the programme. The “miserable, lousy weather” was a theme, and put to good use: as he played Summertime by Black Umfolosi , Coles kicked open the shed door so we could hear the rain, layering this over the sweet, warm music to great eff ect.
This weekly online show is a treat. Global and eclectic in its music choices, but not terrifyingly so, it’s an enjoyable meander through new tracks. Coles is the best sort of music host: passionate, knowledgable and – despite sounding like the vocal love child of John Peel and David Mitchell – distinctive. I like how he admits not having “the foggiest idea how to pronounce” something and his vivid, memorable descriptions of music and artists. A Swedish track is “sort of hurdy gurdy with sampled loops”; jazz saxophonist Andy Hamil-
ton, who died recently, is remembered as “one of jazz’s nice guys and probably already jamming with Errol Flynn”.
There was passion and knowledge, too, in Cerys Matthews’ Blue Horizon (Radio 4), a tribute to the blues record label. She mused on the many delights of vinyl (“the way you have to take care of it”) and interviewed Mike Vernon, who set up Blue Horizon. He recalled dropping and breaking one of the original records; he has pristine copies of the rest. “I had a very emotional moment. I cried,” he told Matthews. “I’ve still got the bits.”
Midweek (Radio 4) can be a bit snoozy, but not when Lynda La Plante is a guest. In the fi nal moments of this week’s programme, she turned her withering attention to Charlotte Brontë. “She was an evil, twisted little woman,” she told a gobsmacked Libby Purves. “Very adept at plagiarism; a compulsive liar. An absolutely vicious little dwarf.”
Elisabeth Mahoney
With a mere eight episodes per season, each one 52 minutes a pop, hard-
hitting French cop series Braquo is a bit more user-friendly than its marathon US rivals. You could easily watch either of the two seasons produced so far in a single sitting without getting too uncomfortable. But could your heart take it?
Some shows like to build up to large events; others take an episode or two to ease off or take stock. Not Braquo . It just throws you into one hellishly violent situation after another with little or no warning : take the time a mobster (one so vile they had to throw his girlfriend out of a window just to make him a tiny bit more sympathetic) calmly walks out of an unsuccesful meeting in a cafe only to return seconds later to rip the place and everyone in it apart with an automatic weapon. Creator Olivier Marchal had previously drawn on his career as a cop to deliver great crime movies like 36 and A Gang Story . Braquo is the culmination of all his work: a cop show refi ned, amped up and stripped of all fl ab. The series centres on a small team of extra tough, rulebook-ignoring cops used (if not fully approved) by the powers that be when more traditional Your next box set
Braquo means fail. When we are fi rst intro-
duced to them , one of their number is interrogating a suspect using the age-old method of stabbing him in the eye with a pen. Led by Eddy Caplan (played by Jean-
Hugues Anglade, Betty’s lover in the 1986 fi lm Betty Blue , whose weathered features do most of his acting for him ), the four-person squad has unbreakable bonds, the result of many off -the-book missions that see them being hung out to dry by their superiors or scrutinised by Internal Aff airs. So when the volatile, drug-addled Theo shoots a suspect, his colleagues close ranks to protect him; and when struggling gambler Walter is kidnapped by gangsters for his debts, they cover for him at work and with his family – while cracking as many skulls as it takes to get him back . Although the show can often play like The Shield or even 24 , it’s gritty where they’re superslick. And the world of Braquo – a slang French term for a brutal heist – is far more violent than the knitwear-obsessed police dramas from Denmark. In fact, Braquo seems to push at the very limits of TV violence: the opener to season two managed to include a literal blood bath – a corpse found in a spattered bath-
room. That’s as close to a grim joke as this relentlessly downbeat show gets. Full of great storytelling, as well as knives to faces, torture, explosions, defenestrations and wanton sprayings with automatic weapons, Braquo is lean, tense and highly addictive. Phelim O’Neill PHOTOGRAPHS THIBAULT GRABHERR; BBC/DEAN CHALKLEYS
Jean-Hugues Anglade as Eddy Caplan in Braquo; below, blues fan Cerys Matthews
15.06.12 The Guardian 29
h, Country House Rescue (Channel 4) has a new rescuer. Ruth Watson has gone, and I can’t say I’m sorry. I wasn’t a massive fan, and said so in a review. OK, I called her ghastly. And she emailed me. “Have you never considered how you and your immediate family would feel if you were described as ‘grotesque’ and ‘ghastly’ in public?” she wrote. To be fair to me, I hadn’t called her grotesque, the headline writer had, but I had used the other G-word. To be fair to her, I almost certainly hadn’t properly considered the eff ect it would have. Yes, I was being honest, that’s how I felt, based on her behaviour in the programme I was reviewing. But was it necessary to be so personal? No. I felt mean, and dirty, like a troll, albeit one with a name and a face. I was an open troll, on top of the bridge, not under it. Out, but not proud.
Still, that’s in the past . I’m going to try to be a better person. There’s a new dude on the show, Simon Davis , a business entrepreneur – fabulously clipped and polished and posh. There’s something of Peter York about him. Speaks his mind, but speaks it well – eloquently, fairly.
I’ve always liked the show too, in spite of previous personnel – the most interesting of the send-an-expert-in-
to-fi x-something format. For one, it generally has aristocrats in it – very posh old people rattling and bumbling around in enormous houses that are crumbling around them because they can’t aff ord to repair them. Or heat them, so the poor old toff s shake as well as rattle and bumble, while haughty ancestors from happier times look down disapprovingly from family portraits on the staircase. They can’t leave, though, because they are locked in, emotionally. These are no longer people to resent or fear; they can be appreciated and enjoyed, and must be preserved, for our amusement.
modern world. The Brookeboroughs want Colebrooke to continue to be their home , but the occasional paid shooting guests they have don’t come close to covering the costs. Plus, there’s the slow, losing battle of trying to keep up God knows how many rooms, outbuildings, thousands of acres etc. It’s making me tired – and cold – just watching . Cracks are starting to show in the stone and plaster. Next it will be in the Brookeboroughs’ minds.
So, in swans Simon, in his fl ash Land Rover, weighed down with business plans and newfangled ideas about health farms, events, weddings … Heaven forbid, he wants to let people across the threshold, to walk the panelled, hallowed corridors of Colebrooke. Not shooters, but normal people, locals, riff -raff . Is he mad? Has he not understood a word Alan and Janet have said? That’s precisely what they don’t want.
But it’s not a total impasse. There’s reasonableness and respect on both sides. More so than in previous series, I’d say … leave it! The peace process isn’t dead in the water.
They listen . A health spa gets the thumbs-up, or whatever the very posh equivalent of a thumbs-up is (a resigned shrug?). Some cyclists are allowed through the gates. Alan breaks his car-
dinal rule and allows some people into the house. In some ways, it’s lovely to see life being breathed back into the old place again. But there’s something sad about it too – the end of the old way.
Ha, but look at this. I see from the website they now do weddings, cor-
porate activities, team-building, 4x4 driving … Why stop there? They should just knock the house down altogether, put an infl atable one there instead, for everyone to come and jump up and down on. A big bouncy stately. Yes, that works, I should be doing this!
Last night's TV
I feel tired and cold just watching these poor toff s in their crumbling houses
By Sam Wollaston
And also, although they might seem a world away from our own lives and the lives of our families, many of the issues are the same, especially for people perhaps worried about their parents, and whether they’re living in the right place and making the right decisions, but do n’t want to be too interfering, too Ruth … Stop it.
Anyway, Simon’s fi rst challenge is a severe, bleak and rather unlovely neo-
classical pile in County Fermanagh, Northern Ireland. Called Colebrooke Park, it’s home to Alan and Janet, aka Viscount and Viscountess Brooke-
borough. They haven’t lost their marbles, or all their money, but you can see both happening a few years down the line. It’s the usual problem, that emotional attachment to a life-
style that doesn’t sit happily in the AND ANOTHER THING
Not at all convinced after two episodes of Dead Boss, Sharon Horgan’s new sitcom. Looks like BBC3 isn’t either, putting them out, two at a time, so late. Maybe we’ll give it another go next week.
Fabulously clipped and polished … Simon Davis in Country House Rescue
30 The Guardian 15.06.12
Watch this
TV and radio
Royal Academy Summer Exhibition: The Culture Show
6pm, BBC2
The world’s largest open-
submission contemporary art show is now 243 years old. This summer exhibition is a giddying cornucopia. It’s possible to purchase fi ne work at (relatively) reason-
able prices, and it’s possible to look at a lot of next winter’s fi rewood. Alastair Sooke (pictured) meets the curators who have to hang thousands of works – and must surely occasionally want to hang some of the artists – and Michael Landy explores the rituals that have grown up around the event. Andrew Mueller
Match Of The Day Live: Euro 2012
7pm, BBC1
England seem to encounter Sweden with bizarre frequency in international football and it doesn’t usually go well, with a particularly underwhelm-
ing record in tournament matches. The Swedes are not at their strongest ; John Terry and co recently beat them for the fi rst time since 1968 in a friendly, but this is a competitive fi xture. An anxious England will need all the points they can muster, regardless of how they’ve fared against France, with most com-
mentators regarding getting out of the group stage as an achievement in itself for a squad that can fi nd room for Jordan Henderson in it. David Stubbs Glastonbury After Hours
10pm, BBC4
Julien Temple returns to Glastonbury for this docu-
mentary on the side of the festival that Beyoncé didn’t see. Priceless foot-
age depicts the wide-eyed, gurning night owls, freaks and trustafarians who gravitate to Shangri-La. The interviews and films depict the fine line be-
tween heaven and hell that can be the festival experience pitch-perfectly; it’s Mad Max meets Wood-
stock. Michael Eavis is interviewed alongside festival performers and casualties. Blissed-out early-morning scenes are balanced against knee-
deep mud. Clare Considine
The Culture Show, BBC2
Channel 4
Soriano, Mozart, Bartok, Handel, Chopin, A Gabrieli, Mozetich, Addinsell, Svendsen, Doppler and Brahms.
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. 8.31 (LW) Yesterday In Parliament. 8.58 (LW) Weather 9.0 Desert Island Discs. Kirsty Young talks to Doreen Lawrence. (R) 9.45 (LW) Act Of Worship. Led by the Rt Rev Stephen Oliver. 9.45 (FM) Book Of The Week: Dear Lupin. By Roger and Charlie Mortimer.
10.0 Woman’s Hour. 11.0 The Synchro Girls. The history of synchronised swimming.
11.30 Births, Deaths And Marriages. By David Schneider.
6.0pm Royal Academy Summer Exhibition: The Culture Show (S) Alastair Sooke visits the exhibition. 4.30 Euro 2012 Live (S) Ukraine v France (Kick-off 5.0pm). Adrian Chiles presents from the Donbass Arena in Donetsk, Ukraine.
6.0pm The Simpsons (R) (S) (AD) Troy McClure introduces classic clips.
6.30 Hollyoaks (S) (AD) 6.0pm BBC News (S) (Followed by Weather.)
6.30 Regional News Programmes (S) (Followed by Weather.)
7.0 Antiques Road Trip (S) Charles Hanson and Charlie Ross travel from Lavenham in Suff olk to Greenwich, south-east London. Last in series.
7.0pm Local News (S) (Followed by Weather.)
7.15 ITV News And Weather (S)
7.30 Emmerdale (S) (AD) Paddy and Pearl pressure Rhona into setting a date for the wedding.
7.0 Channel 4 News (S) 7.25 (S) Jewish cantor Jaclyn Chernett explains why she thinks praying is a natural part of being human.
7.30 Come Dine With Me (R) (S) 7.0 Match Of The Day Live: Euro 2012 (S) Sweden v England (Kick-off 7.45pm). Gary Lineker presents tonight’s Group D match at the Olympic Stadium in Kiev.
8.0 Gardeners’ World (S) The team report from Gardeners’ World Live at the NEC in Birmingham.
8.0 Lewis (R) (S) (AD) The detective discovers that his favourite rock band may be involved in the murder of an orphan.
8.30 The Million Pound Drop Live (S) New series. Davina McCall presents the quiz show in which contestants can win £1million.
9.0 The Great British Story: A People’s History (S) (AD) Michael Wood covers the 14th and 15th centuries, from the Black Death — which left half the population dead — to the Peasants’ Revolt.
11.20 The Review Show
(S) Martha Kearney and a panel of guests discuss David Cronenberg’s new fi lm Cosmopolis, the improvised TV drama series True Love, and an exhibition at the Hayward Gallery.
11.35 Dante’s Peak (Roger Donaldson, 1997) (S) (AD) A vulcanologist suspects a long-dormant volcano is about to erupt. Risible disaster movie, starring Pierce Brosnan.
11.40 Random Acts (S) Showcasing three-
minute fi lms.
11.45 Without A Paddle (Steven Brill, 2004) (S) (AD) Dimwitted comedy, with Seth Green, Matthew Lillard and Dax Shepard.
11.20 The National Lottery Friday Night Draws (S) 11.30 White Van Man (S) Ollie suspects Darren of moonlighting with a rival fi rm. Comedy, starring Will Mellor and Joel Fry.
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Sara Mohr-Pietsch introduces favourite pieces, notable performances and a few surprises. 9.0 Essential Classics. Early recordings by Neville Marriner and the Academy of St Martin in the Fields, plus the daily brainteaser and performances by the Artist of the Week, pianist Gerhard Oppitz.
12.0 Composer Of The Week: Francis Poulenc. Donald Macleod concludes the week with three of Poulenc’s valedictory late Radio
works — sonatas for oboe and clarinet, plus a complete performance of the Sept repons des tenebres.
1.0 Radio 3 Lunchtime Concert. In a recital given at the Ulster Hall in Belfast, violinist Benjamin Schmid and pianist Jose Gallardo play violin sonatas by Beethoven and Prokofi ev.
2.0 Afternoon On 3. A concert by the BBC Philharmonic featuring Tchaikovsky’s Violin Concerto with soloist Erik Schumann, plus music by Weber, Dvorak, Rubbra and Rachmaninov.
4.30 In Tune. Music and news from the arts world.
6.30 Composer Of The Week: Francis Poulenc. (R)
7.30 Radio 3 Live In Concert. Live from St David’s Hall, Cardiff , the BBC National Orchestra of Wales performs Mozart’s Piano Concerto No 22 in E fl at (soloist Angela Hewitt) and Strauss’s Ein Alpensinfonie.
10.0 The Verb. Ian McMillan talks to guests including Ewan Morrison and Seamus Collins.
10.45 The Essay. Michael Goldfarb examines the eurozone crisis, asking if 19th-century defi nitions of nationhood and national sovereignty are relevant in today’s globalised economies.
11.0 World On 3. A session by Canadian folk group Le Vent du Nord, which comprises Nicolas Boulerice (hurdy-gurdy), Olivier Demers (violin), Simon Beaudry (guitar) and Rejean Brunet (accordion).
1.0 Through The Night. Including music by Mahler, Schubert, Palestrina arr 10.0 Episodes (S) (AD) Merc wants Matt to get one of his former Friends cast members to appear on Pucks!.
10.30 Newsnight (S) Presented by Gavin Esler.
10.0 ITV News At Ten And Weather (S)
10.30 Local News/
Weather (S)
10.35 Euro 2012 Highlights (S) Matt Smith presents action from the Group D clash between Sweden and England.
10.0 8 Out Of 10 Cats (S) With Jimmy Carr.
10.50 Stand Up For The Week (S) Jon Richardson hosts the satirical comedy show, with Seann Walsh, Josh Widdicombe, Sara Pascoe, Paul Chowdhry and Andrew Lawrence.
10.0 BBC News (S)
10.25 Regional News And Weather (S)
10.35 The Graham Norton Show (S) The host is joined by actress Emily Blunt, who plugs her latest fi lm, The Five-Year Engagement.
Film of the day
The Girl With The Dragon Tattoo (11pm, Film4) This fi rst, Scandinavian, adaptation of Stieg Larsson’s mega-seller exerts a powerful grip, with Noomi Rapace (now in deep space with Prometheus) excellent as punk-cum-hacker Lisbeth Salander
15.06.12 The Guardian 31
Other channels
6.0pm The Big Bang Theory. Amy and Penny use Bernadette to spy on Leonard and Priya. 6.30 The Big Bang Theory. Howard tells his mother he is engaged to Bernadette. 7.0 Hollyoaks. Mitzeee turns her attentions to a new admirer after arriving back from New York. 7.30 How I Met Your Mother. Ted receives a shock at the cinema. 8.0 The Big Bang Theory. Sheldon faces his arch-enemy — actor Wil Wheaton. 8.30 2 Broke Girls. Caroline and Max win a contract. 9.0 Chain Reaction. Action thriller, starring Keanu Reeves. 11.05 Revenge. Emily receives assistance from an unlikely ally. 12.0 The Big Bang Theory. Amy and Penny use Bernadette to spy on Leonard and Priya. Film4
6.30pm K-Pax. Drama, starring Kevin Spacey and Jeff Bridges. 9.0 Double Jeopardy. Thriller, starring Ashley Judd. 11.0 The Girl With The Dragon Tattoo. Premiere. Mystery thriller, starring Michael Nyqvist and Noomi Rapace. FX
6.0pm Leverage. Nate helps stop a church being demolished. 7.0 NCIS. A marine intelligence offi cer is murdered. 8.0 NCIS. A terrorist threatens to unleash a chemical attack. 9.0 NCIS. The investigators discover Harper Dearing’s motive for attacking US Navy vessels. 10.0 Dexter. The Doomsday Killers plan to mark the lunar eclipse with a gruesome act. Last in the series. 11.10 Family Guy. Peter puts out a fi re at a fast-food restaurant. 11.40 Family Guy. James Woods steals Peter’s identity. ITV2
6.0pm The Jeremy Kyle Show USA. The host takes his successful talk-show stateside. 7.0 The Cube. A bravery award winner takes part. 8.0 You’ve Been Framed! Harry Hill narrates camcorder calamities. 8.30 You’ve Been Framed! Harry Hill narrates camcorder calamities. 9.0 Piers Morgan’s Life Stories: Jason Donovan. An interview with the Australian actor and singer. 10.0 The Only Way Is Marbs. The Essex gang heads to Marbella for a weekend of non-stop Channel 5 BBC3 BBC4 Atlantic
partying. 11.0 Take Me Out. Dating game, hosted by Paddy McGuinness. 12.0 Alexander. Historical epic, starring Colin Farrell. Sky1
6.0pm The Middle. An aptitude test suggests Axl is a genius. 6.30 Futurama. With the guest voices of the Harlem Globetrotters. 7.0 The Simpsons. Bart’s mischief causes Mrs Krabappel to get fi red. 7.30 The Simpsons. Homer helps Moe defraud his insurance company. 8.0 Futurama. Fry fi nds himself the ruler of an alien world. 8.30 The Simpsons. Moe stirs up marital strife in Springfi eld. 9.0 An Idiot Abroad 2. Karl Pilkington travels to Africa to spend time with gorillas. 10.0 A League Of Their Own: Unseen. James Corden introduces out-takes from the comedy quiz. 11.0 Dog The Bounty Hunter. Tracking fugitives. 11.30 Dog The Bounty Hunter. Tracking fugitives. 12.0 Road Wars. A driver pulls a gun on an offi cer. Sky Arts 1
6.0pm Roy Orbison Live In Australia. The singer performs at Melbourne’s Festival Hall in 1972. 7.0 The South Bank Show. Melvyn Bragg investigates the origins of grime music. 8.0 All You Need Is Love. The origins of jazz. 9.0 Pulse: Dark Side Of The Moon Live. A 1994 performance by Pink Floyd. 9.50 Beat Beat Beat. A performance by Jimi Hendrix. 10.0 Hard Rock Calling 2011. With the Killers, Rod Stewart and Bon Jovi. 12.0 Wild Beasts At Isle Of Wight 2011. A performance by the indie rock band. TCM
6.10pm The Hallelujah Trail. Comedy Western, starring Burt Lancaster. 9.0 Mystic River. Oscar-winning drama, starring Sean Penn and Tim Robbins. 11.35 Murder At 1600. Political thriller, starring Wesley Snipes.
4.0 Last Word. Obituary series, with Matthew Bannister.
4.30 Feedback. Listeners’ views.
4.55 The Listening Project. Members of the public share intimate conversations.
5.0 PM. Presented by Carolyn Quinn.
5.57 Weather
6.0 Six O’Clock News
6.30 The Now Show. With Jon Holmes, Ava Vidal, Mitch Benn and Laura Shavin.
7.0 The Archers. Darrell thinks his days are numbered.
7.15 Front Row. A report on Exeter’s Royal Albert Memorial Museum and Art Gallery.
7.45 Writing The Century: Tiger Wings. By Diane Samuels.
8.0 Any Questions? From Bishop’s Stortford High School in Hertfordshire.
8.50 A Point Of View. Refl ections on a topical issue.
9.0 Honest Doubt: The History Of An Epic Struggle. Omnibus.
9.59 Weather
10.0 The World Tonight. News round-up.
10.45 Book At Bedtime: Salvage The Bones. By Jesmyn Ward.
11.0 A Good Read. With Michele Hanson and Roger Highfi eld. (R)
11.30 Today In Parliament. Mark D’Arcy presents.
11.55 The Listening Project. Members of the public share intimate conversations.
12.0 News And Weather 12.30 Book Of The Week: Dear Lupin. By Roger and Charlie Mortimer. (R) 12.48 Shipping Forecast Radio 4 Extra
Digital only
6.0 Charles Paris: Murder Unprompted 6.30 Seance On A Wet Afternoon 6.45 The Double Crossing 7.0 Smelling Of Roses 7.30 The Write Stuff 8.0 The Navy Lark 8.30 The Burkiss Way 9.0 Are You From The Bugle? 9.30 Tickets Please
10.0 I, Claudius
11.0 Cheating At Canasta
11.15 The Lady Detectives
12.0 The Navy Lark
12.30 The Burkiss Way
1.0 Charles Paris: Murder Unprompted
1.30 Seance On A Wet Afternoon
1.45 The Double Crossing
2.0 Incredible Women
2.15 Blind Date With Bloomsday
2.45 Nella Last’s Peace: The Postwar Diaries Of Housewife 49 3.0 I, Claudius
4.0 The 4 O’Clock Show
5.0 Snap 5.30 Smelling Of Roses 6.0 Haunting Women
6.15 Brian Aldiss Presents
6.30 Hothouse 7.0 The Navy Lark 7.30 The Burkiss Way
8.0 Charles Paris: Murder Unprompted 8.30 Seance On A Wet Afternoon
8.45 The Double Crossing
9.0 Cheating At Canasta
9.15 The Lady Detectives
10.0 The Write Stuff 10.30 Comedy Club: On The Hour 10.55 The Comedy Club Interview 11.0 Sorry About Last Night 11.30 The Cabaret Of Dr Caligari
12.0 Haunting Women 12.15 Brian Aldiss Presents 12.30 Hothouse 1.0 Charles Paris: Murder Unprompted 1.30 Seance On A Wet Afternoon 1.45 The Double Crossing 2.0 Are You From The Bugle? 2.30 Tickets Please 3.0 I, Claudius 4.0 Cheating At Canasta 4.15 The Lady Detectives 5.0 Snap 5.30 Smelling Of Roses
World Service
Digital and 198 kHz after R4
8.30 Business Daily 8.50 From Our Own Correspondent 9.0 News 9.06 HARDtalk 9.30 The Strand 9.50 Witness 10.0 World Update 11.0 World Briefi ng 11.30 Science In Action 11.50 From Our Own Correspondent 12.0 World, Have Your Say 12.30 Business Daily 12.50 Sports News 1.0 News 1.06 HARDtalk 1.30 World Football 2.0 Newshour 3.0 World Briefi ng 3.30 The Strand 3.50 From Our Own Correspondent 4.0 News 4.06 HARDtalk 4.30 More4
12.0 News
12.04 You And Yours. Consumer aff airs.
12.45 The New Elizabethans. The life of Vladimir Raitz, one of the pioneers of the package holiday.
12.57 Weather
1.0 The World At One. Current aff airs.
1.45 Honest Doubt: The History Of An Epic Struggle. Exploring whether morality could exist in a godless world.
2.0 The Archers. Usha’s patience wears thin.
2.15 Afternoon Drama: Philip And Sydney. By Alan Pollock. (R)
3.0 Gardeners’ Question Time. From south Gloucestershire.
3.45 Are You Inexperienced? AL Kennedy recalls a train journey across the American 6.0pm Home And Away (R) (S) (AD) 6.30 5 News At 6.30 (S) Round-up of the day’s headlines from around the world.
6.50pm Grand Designs Australia (R) (S) Peter Maddison follows the progress of people designing their dream home.
6.0pm ER (R) Greene fl ies in to his injured mother’s bedside and demands a second opinion on her diagnosis.
7.0 CSI: Crime Scene Investigation (R) (S) A woman’s mummifi ed body is found in a closet. (Followed by 5 News Update.)
7.50 NCIS (R) (S) Gibbs sends DiNozzo and Ziva on a decoy mission.
7.0pm Doctor Who (R) (S) (AD) The Time Lord and Amy travel to 19th-century Provence, where they join forces with Vincent Van Gogh to battle an alien.
7.50 Doctor Who (R) (S) (AD) 7.0pm World News Today (S) (Followed by Weather.)
7.30 Concerto At The BBC Proms (S) New series. Another chance to hear classical music from the BBC Proms.
7.55 Grand Designs Australia (R) (S) Peter Maddison meets a couple trying to build a home on Queensland’s Gold Coast in the style of the grand houses found in the Hamptons of New York State.
7.0 House (R) Chase and House are accused of negligence after an error of judgement leads to a woman’s death.
8.30 Snog, Marry, Avoid? (R) (S) Comedienne Ellie Taylor presents the makeover show.
8.0 Puccini’s Il Trittico (S) New series. Puccini’s operatic triptych, beginning with Il Tabarro — The Cloak — introduced and conducted by Antonio Pappano at the Royal Opera House.
9.0 Kingdom Of Heaven (Ridley Scott, 2005) (S) (AD) A French blacksmith becomes a knight and swears to protect Jerusalem during the Crusades. Heavy-going historical epic, starring Orlando Bloom.
8.0 Kingdom Of Plants With David Attenborough (R) The naturalist concludes his exploration of the Royal Botanic Gardens in Kew.
9.05 CSI: NY (R) (S) A security guard is found dead in an armoured car and Sid discovers the victim’s pacemaker exploded after a blast of microwave energy.
9.0 Dead Boss (R) (S) (AD) A woman is wrongly convicted of murdering her employer. Comedy, with Sharon Horgan.
9.30 Dead Boss (R) (S) (AD) Helen puts together a team for the prison quiz.
9.0 Punk Britannia (S) Focusing on the post-punk era between 1978 and 1981, when innovative new artists emerged, such as Gang of Four, Scritti Politti and the Pop Group. Last in the series.
9.0 Blue Bloods (R) (S) (AD) Frank puts the police on full alert in response to news of a bomb threat in Manhattan.
11.0 Big Brother’s Bit On The Side Emma Willis and her guests discuss the second eviction.
11.10 Family Guy (R) (S) Meg becomes deeply religious and tries to convert Brian from atheism. 11.30 American Dad! (R) (S) 11.55 American Dad! (R) (S) 11.15 Top Of The Pops: The Story Of 1977 (R) (S) Artists include The Stranglers and the Jam.
11.0 The Wire (R) (S) The detail makes dawn raids on the targets of the investigation and Sobotka is arrested when the FBI storms his offi ce. 10.0 Big Brother: Live Eviction (S) Brian Dowling reveals which of the nominees has proved least popular with the voting public. 10.0 Russell Howard’s Good News Extra (S) The comedian presents an extended look at stories dominating the media.
10.50 Family Guy (R) (S) Lois gets a job at Fox News.
10.0 Glastonbury After Hours (S) Julien Temple explores the alternative side of the festival away from the main stages. Filmed in 2011.
11.45 Coppers (R) (S) Traffi c offi cers in Cambridgeshire off er an insight into their jobs.
10.0 Awake (S) Britten prepares to move to Oregon with Hannah.
Sport Today 4.50 Witness 5.0 World Briefi ng 5.30 World Business Report 6.0 World, Have Your Say 7.0 World Briefi ng 7.30 One Planet 7.50 From Our Own Correspondent 8.0 News 8.06 HARDtalk 8.30 World Football 9.0 Newshour 10.0 World Briefi ng 10.30 World Business Report 11.0 World Briefi ng 11.30 The Strand 11.50 Sports News 12.0 World Briefi ng 12.30 World Football 1.0 World Briefi ng 1.30 World Business Report 1.50 From Our Own Correspondent 2.0 News 2.06 HARDtalk 2.30 World Football 3.0 The World Today 3.30 The Strand 3.50 Witness 4.0 News 4.06 Assignment 4.30 One Planet 4.50 From Our Own Correspondent 5.0 The World Today 5.20 Sports News 5.30 Global Business Alexander, ITV2
Full TV listings
For comprehensive programme details see the Guardian Guide every Saturday or go to
32 The Guardian 15.06.12
On the web
For tips and all manner of crossword debates go to
Hard. Fill in the grid so that each run of squares adds up to the total in the box above or to the left. Use only numbers 1-9, and never use a number more than once per run (a number may recur in the same row, in a separate run).
Printable version at guardian.
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11 19 11
20 10 20
13 15 16 12
12 35 13
17 23 17
35 34
17 17
33 31
13 23 13
17 35 17
16 15 16 16
18 19 20
14 10 11
3 2 1 9 7 6 9 8
1 4 2 8 9 3 8 7 9
5 3 6 8 9 7 9
7 9 5 6 8 9 7 8 6 5
9 8 7 9 8 5 9
7 9 3 1 8 9
6 7 9 8 5 5 6 8 9 7
8 9 7 9 7 9
8 9 8 7 9 7 2
5 6 9 7 8 9 8 5 3 1
9 7 5 9 8 7 9
8 9 6 6 3 1 9 8 7
9 7 8 1 2 8 6 9
Doonesbury Garry Trudeau
Solution no 1295
Kakuro no 1296
Sudoku no 2214
3 2
7 6 5
4 8 9
3 8
2 7 4 9
4 7
5 4 8
6 5 7
2 9
Hard. Fill the grid so that each row, column and 3x3 box contains the numbers 1-9. Printable version at
Stuck? For help call 0906 751 0036. Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Free tough puzzles at
6 4 3 5 2 9 1 8 7
1 7 5 6 8 3 4 9 2
9 2 8 7 1 4 6 3 5
5 6 4 8 3 7 9 2 1
3 8 9 2 5 1 7 4 6
2 1 7 9 4 6 8 5 3
4 9 1 3 6 5 2 7 8
8 3 6 4 7 2 5 1 9
7 5 2 1 9 8 3 6 4
Solution to no 2213
Quick crossword no 13,136
1 2 3 4 5 6 7
9 10
13 14 15
17 18
20 21
22 23
1 Serious setback (4,4)
5 Elegantly stylish (4)
9 Tropical fruit (5)
10 Surgical knife (7)
11 Equally skilful with either hand (12)
13 Bowman (6)
14 East African country (6)
17 Tame (12)
20 Left out (7)
21 The Planets composer (5)
22 Doom (4)
23 Uninvited and unwelcome visitor (8)
1 Explosive device (4)
2 Go-getting (7)
3 Ecological variety and richness (12)
4 Forced out (6)
6 Large semi-aquatic mammal (abbr) (5)
7 Enormous (8)
8 Map-maker (12)
12 Don’t touch! (5,3)
15 Irritated (7)
16 Cricketers’ almanac (6)
18 Slightly wet (5)
19 Celebrity (4)
Solution no 13,135
Stuck? For help call 0906 751 0039 or text GUARDIANQ followed by a space, the day and date the crossword appeared another space and the CLUE reference to 85010 (e.g GUARDIANQ Wednesday24 Down20). Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Texts cost 50p a clue plus standard network charges. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Want more? Access over 4,000 archive puzzles at Buy all four Guardian quick crosswords books for only £20 inc UK p&p (save £7.96). Visit or call 0330 333 6846.
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the guardian G2 - Friday, 15 June 2012
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