Time - Electric Light Orchestra

 It is always an intriguing and revealing process to re-evaluate the output of a particular group or artist, and come to recognise that one's opinion of said discography has shifted. I myself have gone through such a series of instructive revelations and discoveries with regard to the work of the Electric Light Orchestra.

In years past I generally 'ran with the crowd', the crowd being the masses, and deemed their work in the period 1976-1979 to be the strongest and the most appealing which they had managed. However, my assessment nowadays would be that they started off with some excellent, rich but unfocused and slightly flawed albums, then polished and refined the sound in the years 1973-1975, before the music gradually grew too 'slick' and over-produced; although it was difficult to find fault with the pop craftsmanship and the tunefulness of Jeff Lynne's compositions.

My new appraisal of ELO's oeuvre was in all likelihood of my broadened cultural horizons and philosophical outlook, and a new emphasis on modernistic and progressive currents. Harder edges and diminished sentimentality assumed a greater importance.

Which brings us to Time, the excellent and cohesive record which Electric Light Orchestra released in the year 1981. Though it was probably not acknowledged or recognised at the time, the group was reborn and revitalized with this LP (if only temporarily, as it turned out).

Gone were the 'syrupy' string arrangements, more reliance being placed on keyboards and new technology. I gather there is some orchestration, but it is much less conspicuous, much less ostentatious, and to my ears almost indistinguishable from the keyboards, in the main.

 There is something of the concept album here, with common themes of science-fiction, space exploration, futurology and other aspects of 'modernity'. To add to the potent mixture, Jeff Lynne seems fully engaged and motivated here, imbuing Time with a certain vigour and air of commitment.

The changes in the 'format' of the band evidently freshened things up, and the album exudes a more contemporary feel, ELO becoming a combo more in keeping with the brave new decade.

Of the tracks,  'Twilight' is an invigorating first salvo (if we disregard the 'Prologue'), exuding real intent, and illustrating many of this record's sonic hallmarks, showcasing an electronic 'dryness'. The listener can really gauge the renewed urgency and zeal within the musicians. 

'Ticket To The Moon' has grown in stature down the years, and to my mind it builds on some of the foundations established by a couple of the sophisticated but less heralded tracks on A New World Record. The atmosphere is engineered quite adeptly, to draw you in.

Of all the tracks, 'Here Is The News' is one of those which exemplifies both the musical and thematic patterns which Time weaves. It does not look out of place when set against some of the music being purveyed by younger, more 'hip' bands in the early 1980s. '21st Century Man' and 'Rain Is Falling' are other highlights, exhibiting many Beatlesque leanings.

The main single from the album, 'Hold On Tight', is an infectious and compact effort which sees Jeff Lynne returning unmistakably to his rock n roll roots. Despite the quality of the melody and the studio implementation of the song, it does in truth sound rather out of place in the folds of this collection.

So Time was something of a new dawn for ELO, but it proved to be a false dawn. Subsequent projects prior to the group's mid-80s disbandment were relatively tired and uninspired.  Basically Time appeals and endures because of its freshness and its brightness, and the prevalence of ideas and enthusiasm.

The Orion Loop - Soviet science fiction film (1981)

As part of my exploration of Soviet (and Eastern Bloc) cinema, and more specifically science fiction from those territories, I recently watched The Orion Loop, a 1981 Soviet science fiction movie.

Like many science fiction films from the USSR, The Orion Loop deals with the question of extra-terrestrial life and the potential for its contact with Earth and humans. The plot centres on Earth's efforts to investigation a strong radiation source which has been affecting other spaceships on the edge of the Solar System. The ship which is dispatched on this mission is crewed by a mixture of people and their android 'doubles'. Crew members receive 'visitations' from holograms, which seem to be emissaries from an ancient alien civilization. Some of this activity turns out to be connected to a 'galactic virus' which might affect Earth.

In common with many science fiction works generally (and not just the ones produced in the Communist world), this picture examines some Big Subjects, such as man's attitudes to science, reason, and progress.  International solidarity and co-operation are also shown in a positive light. However, the story (the screenplay was co-written by the famous cosmonaut Alexei Leonov) is quite multi-layered.

One of the central themes of The Orion Loop is how humanity should engage with aliens, and how we should give them a chance and regard their intentions as benign, benevolent and constructive. If we give harmony and conciliation a chance to develop, positive consequences may well ensue. Of course, we may infer that these topics were being employed, at least in part, as a metaphor for how the different peoples of Earth should relate to each other.

Part of the sub-text is that we often mis-read or misunderstand what genuinely threatens our well-being or security, suggesting that we devote excessive resources to tackling 'imagined' threats, when something less obvious or less immediately emotive represents a much more insidious danger. We should stop and ask ourselves what is the real reason behind phenomena which we think are inherently hostile, and we should trust people and Nature more. I interpreted the holograms as being a reference to the desirability of learning from history.

That the crew members of the Soviet spaceship have android doubles allows some exploration of 'humans versus machines' issues, with the insinuation that in certain circumstances human creativity and problem-solving and decision-making capabilities would win out. On the whole, however, I don't think that the film makes as much use of the androids as it could have done. The holograms are very well done, though.

It is interesting that the cybernetician is to some extent cast as the villain, and the irrational one. Perhaps the message is that Mankind's fate is in its own hands?

This one is similar in format and style to other sci-fi movies from the USSR, but this is the early 1980s, so it is more polished technically and contemporary looking, although the special effects and production values are nothing exceptional for the period. 

Maybe I am being my usual over-analytical self, but the 'internationalism' angle of these films intrigues me. Here, as elsewhere, it seems to me that the Soviet Union is portrayed as taking the lead and the initiative for the benefit and welfare of mankind.

In a broader sense the film is observing that there are things about the human mind, and the universe, which we still do not fully understand. We must keep working, methodically and rationally, to unlock and harness the universe's secrets.

I would say that The Orion Loop is a movie which is both enjoyable and cerebral. 

The Visitors, by Abba

It is always a pleasure, a pleasant surprise, to discover the depth and quality of an artistic work to which one had previously given little more than cursory attention. Like turning a nodding acquaintance into a lifelong, meaningful friendship. I experienced this feeling not long ago when I decided to devote some undivided attention to Abba's 1981 album The Visitors.

This is a finely realised, confident and well-paced work. Given that this was the final studio album recorded by Abba before disbanding, one would perhaps expect to be confronted with a tired effort, lacking in ideas and inspiration. The mood is downbeat, it is true, but on the evidence here Abba, musically speaking, still had much to offer. It would seem that it was only other factors which precipitated the cessation of operations.

The Visitors finds Abba fully embracing new technology, such as synthesizers and electronics generally. They sound comfortable within this altered musical clothing and, far from being awkward or alien, the sounds ideally complement the lyrical tone and outlook of most of the songs, if we confine our appraisal to the original nine-track release.

So this is a mature and self-assured Abba, delivering a record which is cohesive. One of its strengths is that the 'lesser known' tracks capably hold matters together, plugging the gaps which characterize lesser records.

Much has been made of the cover/sleeve design, and the degree to which it embodies the mood of the songs, and the dynamic within the group at that point in time. Gone are the smiling faces and bright, primary colours. An autumnal flavour prevails, and this also permeates the music inside. Autumn, however, can be an invigorating and productive time....

The title track, which seemingly concerns itself with the plight of Soviet dissidents, is a shrewd selection to open with. It sets the tone, and in a cool and controlled way illustrates Abba's acceptance and quiet mastery of the opportunities which the new technology opened up.

As for 'Head Over Heels', this is very sophisticated and 'European' in its style, and helps to remind us that Abba were not simply adopting the fashionable or vogue-ish styles of the period, or acting as opportunists. They were, if perhaps not in the vanguard, then certainly more ahead of the game than numerous other prominent acts, and they arguably helped to popularize the notion of electro-pop or synth-orientated pop music, and to place them into the mainstream.

'When All Is Said And Done' is underpinned by a strong melodic and rhythmic base, and the lyrics perhaps exemplify the general themes which run through the album. Melodically there are definite shades of the 'old' Abba, but with less 'organic' backing.

The first of the 'unknown' songs, which contribute so much to the album's substance, is 'Soldiers', which tackles 'real world' issues, but in a poetic and universal way.  Who knows whether there is also some hidden meaning in there, regarding personal relationships? In this song I detected musical echoes of an earlier Abba song, 'Eagle', albeit with less of the grandeur.

'I Let The Music Speak' fulfils a similar role to 'Soldiers', although carrying a different message. More words which appear to reflect the prevailing ambience. What is striking is how convincing and sincere Abba sound here without seeming maudlin or excessively self-pitying. Their pop-craft, honed so much by then, helps them to achieve this. An intangible sense of what worked, and what didn't work, coupled with a facility for expressing emotion compactly and powerfully.

There are several outstanding candidates for the title of the song which most aptly sums up 'late period' Abba, and I think that 'One Of Us' qualifies better than most. The backing track, the lyrics and the poignant and emotive melody and singing, all communicate to me a feeling of an era drawing to a close. In a way, the atmosphere resembles that of Side 2 of the Beatles' Abbey Road album.

To round up the remaining numbers on the original nine-song release, 'Two For The Price Of One' is quite minor, but not without its quirky charm. 'Slipping Through My Fingers' is a fine ballad with apparently very personal lyrics, dealing with adult concerns. In a different context, this might have made a great Eurovision song. 'Like An Angel Passing Through My Room' is a suitably downbeat and vaguely enigmatic way to end the original album.

With or without the bonus tracks which padded out the re-issues of The Visitors, the record stands as a highly developed and substantial collection of musical statements. In some respects it might just be the strongest of their studio albums.

Per Aspera Ad Astra - (1981 Soviet film)

Continuing my exploration of Soviet science fiction films, I duly moved on to this intriguing work from the early 1980s (also known as Through The Thorns to The Stars), directed by Richard Viktorov, and based on a novel by Kir Bulychov.

To summarize the plot, a space expedition inspects a crippled spaceship, and recovers a beautiful female humanoid (Neeya), bringing her back to Earth for analysis and evaluation. She suffers from some memory loss, but it also emerges that she possesses mysterious and special powers.

Later on, Neeya somehow manages to stow away on a spaceship which is bound for her home planet.  The situation there has become dystopian and brutal, with the landscape ravaged and polluted, and controlled by tyrants.

The earlier portion of the movie which is based on Earth is in places quite unsettling, but it also has a wistful charm. The future which it portrays is rather reassuring, as it appears to be based on scientific research, space exploration and progressive universal values. The visuals here are crisp and alluring, and the overall feel of these sequences betrays self-confidence and quiet authority.

The narrative is strong and compelling, but there is ample room for messages about the need to understand aliens and outsiders, rather than being afraid of them, the dangers of people being manipulated and the misuse of science.

I must admit that I enjoyed the second half of the film a good deal less than the first, though I can appreciate that the Light verses Dark motif is impactful. The sequences on Neeya's home planet are occasionally hackneyed, even if the subject matter which is being explored is important and profound. Topics such as human cloning and environmental destruction come to the fore at this stage, in addition to the favourite Soviet topics such as class oppression and economic exploitation.

The ending is somewhat hysterical and clumsy, unlike the cool and assured nature of the early parts of the film, and I gradually lost interest. A word though for the mesmerizing and sympathetic performance of Yelena Metyolkina as Neeya.

In conclusion, an intriguing, well made, but slightly flawed movie.

The Russians Are Coming - (Only Fools and Horses episode)

Another notable episode from the first series of "Only Fools and Horses" is "The Russians Are Coming", in which the Trotters build their own nuclear fall-out shelter.

The premise of "The Russians Are Coming" is not exactly original, as lots of movies, television shows, comedies and the like were eagerly tapping into unease and paranoia about the Cold War and nuclear weapons in the early and mid-1980s. In the event, this episode contains some of the most affecting observations and passages of any of the show's plot-lines. Their impact and poignancy is perhaps heightened by the humour with which they are surrounded and occasionally clothed.

The plot stems from a business deal concluded by Del, a by-product of which results in him inadvertently "acquiring" an experimental "do it yourself" atomic fall-out shelter. The family decides to assemble it and spend some time living in it, as their own form of emergency planning.

Following an amusing effort to replicate the panic of the four-minute warning, and a simulation of the journey to a prospective location of refuge, the story really takes off when Del, Rodney and Grandad are safely ensconced in the shelter itself. The logistics and practicalities of surviving Armageddon are the source of some good, strong material. The highlight is perhaps Grandad's monologue about the true nature and horrors of war, delivered to chastise and rebuke Del for some of his excessively gung-ho and glib talk on the subject.

Whenever the subject matter threatens to become too serious and heavy, John Sullivan's comedic genius kicks in, and the mood lightens. The "captive" situation in the shelter creates an atmosphere conducive to sharp, taut and rich exchanges, and all three of the actors are on fine form, with great use of lighting to accentuate the intimacy. There is a noticeable absence of filler or padding in the script, and the shelter sequences are indeed very concentrated, fluent and absorbing. A real high point of the early days of OFAH, on more than one level.

Some speculation on the likely social consequences of a nuclear war adds to this episode's resonance and charm. Besides the humorous ruminations on the likely effects of the feared catastrophe, this is an intelligent and finely judged piece of work, addressing a difficult and emotive topic with more simplicity ,honesty and acuity than many more "serious" works arising from that era. It is also highly entertaining and funny.

Go West Young Man (Only Fools and Horses episode)

Following on from my "review" of "Big Brother", let's take a look at the episode which followed it in the first series of "Only Fools and Horses", namely "Go West Young Man".

This episode sees Del (and Rodney) venturing into the second-hand automobile arena, and also looking after Boycie's Jaguar E-Type, with fairly predictable outcomes!

The dialogue in this episode has much more charm to it, and in addition it is delivered more naturally. There is a more confident air generally, with Del's contribution feeling more rounded and convincing. Perhaps the actors were beginning to find their roles? There are a few signs of the Del Boy who we would come to know and love.

The jokes are more vibrant and potent, and the mood more relaxed, possibly because there was less pressure to introduce the characters and the back-story?  It is also true that the plot of "Go West Young Man" offered more possibilities, and was more conducive to a flowing and invigorating slice of situation comedy. 

Here we also witness the writer John Sullivan, and the production team, acquiring the knack for delivering "set-piece" scenes with truly memorable lines. The two night-club scenes in this episode are right up there in the OFAH pantheon, as is Rodney's assertion that he had "never smoked astro-turf".  Some of the most effective humour,as in later episodes, stems from their feeble attempts to impress women.

It is also possible to argue that the inclusion of more locations in this one imbues it with greater verve. The action is not confined to the Trotter flat and The Nag's Head.  The aforementioned sequences in the night-clubs provide a more colourful edge, and help to diminish the "austerity" which characterizes other early episodes of the show.

Boycie is introduced, but the character does not make as deep an impression as he would in, for example, "A Losing Streak", where we are exposed to more of his personality traits. It really needed the appearance of Marlene as a visible presence, and the "tension" which went with this, for Boycie to become a truly prominent and important character.

This episode is not perfect, as it meanders and goes flat a little at times, but it has some impetus and atmosphere of its own.  The magic formula was just on the horizon....

Big Brother (Only Fools and Horses episode)

Recently, I have started re-watching episodes of the great British sitcom "Only Fools and Horses", and thought I would put together some articles on noteworthy or important episodes.

For the uninitiated, "Only Fools And Horses" followed the lives, loves, fortunes and misfortunes of the Trotter family from London. They eke out a living by market-trading and assorted black-market activities, engaging in various "schemes" which they hope will make them into millionaires.  The two main characters are Derek "Del Boy" Trotter (played by David Jason) and his younger brother Rodney (Nicholas Lyndhurst).

Starting from the beginning, let's take a look at the very first episode of the first series, entitled "Big Brother".....

The first thing which I noticed was the state of the characters. Del Boy in particular is nowhere near as rounded and subtle an entity in these early days as he would later become.  Del even displays signs of "sophistication", and there is not always the requisite dose of bathos to balance things out. Traits which would become familiar are under-cooked and undeveloped. There were rough edges to smooth over before the character found its comforting, natural and pleasing equilibrium. The same applies to the character of Trigger. The path to the "polished" characterizations would be uneven.

It is perhaps unsurprising that these early episodes were erratic in quality and atmosphere, as any ambitious brand new concept has to be given time to find its feet and evolve. Even the talents of David Jason and Nicholas Lyndhurst don't always transcend the issues.

The tone in these early days was darker and grittier than the later seasons, and the humour was not as homely. As others have observed, some of the dialogue, and its delivery, seemed forced at times, at odds with the seamlessness, freshness and naturalness which would later become one of the hallmarks of "Only Fools and Horses".

Although the plot of this opening episode ostensibly concerns a batch of "dodgy" briefcases, it is really a vehicle for introducing us to some of the elements of the "situation" in the sitcom, and to the relationship between Del and Rodney in particular. Bits of exposition and back-story are liberally sprinkled amongst the narrative.

"Big Brother" invokes one of the strands which permeates the show through all its incarnations - Rodney's yearning to escape from the shadow of Del, to achieve more independence, in this case by running away. However, Rodney usually ends up returning to "the fold".  By the same token, Del, although on the surface confident and self-reliant, is somehow incomplete and lacking in zest without his brother as his sidekick. Expediency and brotherly love both have a bearing on this.

The "Grandad" character, so beautifully played by Lennard Pearce, hits the ground running, fully formed, more than the other participants, partly because of the nature of the actor's performance, and partly because the Grandad persona was less complicated and intricate.

Making some allowances, this is still quite a weak and unsatisfying episode, not as watchable even as some of the other episodes in the first season, which betray more of the OFAH charm and depth. This is "Only Fools and Horses" in raw, incipient, prototype form.

You would have been hard pressed in 1981 to envisage it achieving classic and culturally iconic status in the UK. It must have seemed like something which might be confined to a cult following or a niche. "Big Brother" is still worth seeing, for curiosity value, and as a measure of just how far John Sullivan and his creation traveled in the years which followed.

Marianne and Juliane - (1981 movie)

Following on from seeing The Legend of Rita and Die Innere Sicherheit, I recently watched an earlier movie which covers similar subject matter,  Marianne and Juliane, directed by Margarethe von Trotta, and released in 1981.  Its German title was Die Bleierne Zeit. 

The film tells the story of two sisters who take different paths in trying to change the world.  It is fictionalized, but it is apparently based on the life of Gudrun Ensslin and her family.  Marianne pursues a course as a political militant, whilst Juliane works as a journalist/activist. The film focuses on the relationship between the two, and on Juliane's efforts to help and support her incarcerated sibling.

I was going to say that the movie has a bleak and gloomy aesthetic, but on reflection it is based on realism and authenticity.  So many films of this type try too hard either to faithfully recreate historical detail or to convey a "mood", and turn out as contrived. Marianne and Juliane is very different, and very natural and unforced.

The acting in the film has rightly been praised, but I must single out Jutta Lampe's superb performance as Juliane.  Very measured and very convincing, and those eyes.  Barbara Sukowa is also impressive. I don't think she is quite as good here as she would be in her later portrayal of Rosa Luxemberg, but she does manage to evoke some of the harsh, uncompromising but resolute nature of the Marianne character.

Some of the running time is occupied by "flashback" sequences from the sisters' childhood, but they don't necessarily give us straightforward or comfortable answers as to how the two people turned out as adults. The prison sequences are also beautifully and atmospherically captured.  The symbolism throughout the story is subtle, almost ambiguous (such as a statue of Bismarck), and in general the moral messages are the same.

Working out Juliane's true motives as things progress is no easy task, and it may be that they are left deliberately hazy. The story does not consciously set before us clearly defined moral choices or boundaries.  This is where much of the strength of the picture lies.  The view presented of the world is a nuanced one, where there are not two diametrically opposed points of view, but many different "poles", diverse motivations and perspectives.

Marianne and Juliane is a absorbing film, which is also a genuine story.