Bright Lights Dark Shadows - The Real Story Of Abba - Carl Magnus Palm

Bright Lights Dark Shadows is a biography of the Swedish pop group Abba, written by Carl Magnus Palm. The edition which I have was published in 2001.

After having browsed through it periodically, I recently worked my way through this book in its entirety. In conclusion, I would say that it is a highly readable, and illuminating effort.

A goodly portion of the book is given over to chronicling the period prior to the emergence of Abba, following the upbringing of the four group members and the development of their musical careers. This approach brought home to me how Abba was no overnight success, and that progress in those formative years was not uniformly smooth.

I think the book scores highly in its exploration of how the four people reacted to each milestone or setback in their careers, and how they viewed success and celebrity. The level of detail for me helped to convey how the real story is far more complex than the simplistic version often served up by the mainstream media. This is especially true where the characteristics and personality traits of the musicians are concerned.

Throughout the book there is extensive focus on the business and financial side of Abba's story, and in particular Stig Anderson's role.  We also get a sense of how the music business worked in those pre-internet days, and the struggle which Abba had in receiving "cultural" recognition, most of all in their native land.

From what I can discern the author has delivered a balanced and honest account of the Abba years. The negatives and the problems are analysed, the triumphs are celebrated.  I liked the author's style in discussing the merits of songs and albums, highlighting how the various tracks were born and developed. My own understanding of what made Abba tick artistically was considerably enhanced.

It is clear that, for differing reasons, the members of the group were not that keen on touring for much of the time. The documenting of the 1977 Australian tour, and the attendant hysteria, offers a convincing depiction of how touring was not always conducive to general wellbeing and harmonious personal lives. Indeed, a theme throughout Bright Lights Dark Shadows is how Abba dealt with the various pressures and expectations which encroached once fame and fortune arrived. I am sure it was occasionally fun!

There is some intriguing and thoughtful perspective on the Abba "revival" which commenced around the early 1990s.  The book offers some acute observations on the reasons for the resurgence in interest in Abba, and also some misgivings about certain aspects of the revival.

Overall, I really liked this book. It augmented my knowledge of and appreciation of Abba as artists, and offered a telling reminder that "stars" are also real people, with real feelings and emotions, and that all is not as idyllic, pleasurable or straightforward as the masses might like to imagine.

Stockholm 75

Of the documentary films which I have watched in recent times, one of the most interesting was "Stockholm 75", which was originally released in 2003, I believe. Directed by David Aronowitsch, it tells the story of Karl-Heinz Dellwo, a member of the Red Army Faction urban guerrilla group, who was imprisoned for his involvement in the 1975 siege of the West German embassy in Stockholm.

In the film, Dellwo explains his motivations for joining the armed struggle, and his thoughts and reflections from the perspective of the 21st century.  He also revisits the scene of the Stockholm siege and the prison where he was incarcerated, and discusses his experiences during a trip to see relatives. On the whole in the film Dellwo comes across as articulate, honest and realistic. Still clear in some of his long-held beliefs, but aware of where he and his colleagues may have gone wrong, and how his actions will continue to affect his life.

Dellwo gives his own account of how the Stockholm embassy siege proceeded, and offers his opinions as to the reasons for its outcome, and the negotiation stances adopted by the governments in both Bonn and Stockholm. He admits that it was a political and moral error to undertake the action.

There is widespread use of archive footage shot both during the siege, and in its aftermath. We are also shown clips from an interview which Dellwo and others gave while they were in prison.

The film's short duration (it lasts less than one hour) helps to give it real punch and impact. The interview segments are kept short and to the point.

A frank and well produced look at a difficult topic, which like any good documentary, will encourage the viewer to think more deeply about the issues tackled and research things further.

Summer With Monika - Ingmar Bergman

Continuing with my "odyssey" (I hope that doesn't sound too pompous a term) through some of the films of Ingmar Bergman, I recently viewed Summer with Monika, which was originally released in 1953.

The movie stars Harriet Andersson and Lars Ekborg as young lovers who decide to escape on a boat to enjoy an idyllic sojourn on the Swedish coast and inland waters.

At the beginning of the film we are shown a dreary urban industrial landscape, in fairness the type of dark and shadowy world portrayed in many movies of that era, the "monochrome" 1950s. Both Monika and Harry endure a monotonous existence, and various pressures cause them to yearn for an escape from the constraints and claustrophia, and the small minded mentality of those around them. They both leave their day-jobs, and embark on the boat trip.

The sequences which follow perhaps partly hint at some social trends which were to become more topical and pressing in the ensuing decades; the desire to escape day-to-day conformism and straight society, and live an alternative lifestyle.  This was possibly not a great priority for people in the aftermath of World War Two, even in Sweden.  Popular culture in the main did not catch up with "moving on" until much later....

The nudity and sexual frankness evident in this film may have attracted much notoriety, but to me it hardly added to its appeal.  To be honest, I was more struck by the stunning shots of the Swedish countryside and coastline!

Initially, the two youngsters seem to revel and thrive in their new-found freedom and independence, sneering at the world which they have left behind.  However, all too soon the idyll begins to crumble, and the stark truths of human nature begin to close in.  There is no escaping some bitter realities, such as envy and evil, whatever the mode of living or the backdrop.

Summer may be presented here as a metaphor for something pure and idealistic.  As the season draws to a conclusion, the dream ends, and the venture becomes corrupted, with the pair resorting to theft to sustain themselves. Also, Monika falls pregnant, meaning that burdens and responsibilities begin to encroach. 

They return to the city, matters coming almost full circle, except for the fact that the couple have a child, and in some respects their predicament is more dire than it was to begin with.  Monika eschews total domesticity, the Summer's events having given her a taste for adventure and excitement.

Not as locked in the mind as some of Bergman's other films, but a hard-hitting and quite compelling examination of several aspects of the human condition.....

The Silence - Ingmar Bergman

Continuing my somewhat haphazard exploration of some of the films of Ingmar Bergman, I recently watched his 1963 film, The Silence.

This movie, quite controversial in its day, examines the tense relationship between two sisters, the story being set against the backdrop of an impending war.  The story commences during a railway journey, and then moves to an apartment in a fictitious European town.  This all allows for some rich metaphor, which it seems has been subject to varying interpretations and much debate down the years!

There is comparatively little in the way of dialogue in The Silence, which is quite apt given the apparent antipathy and tension between Ester (played by Ingrid Thulin) and her younger sister (Gunnel Lindblom). 

Much of the film centres on the conflict between the "intellectual", as represented by Ester, and the sensual, epitomised by Anna.

Johan, Anna's young son, seems to act as some kind of fulcrum, intermediary or interface, between the two sisters. At times, he appears caught up in the warlike emotion of the time, this perhaps symbolising also the struggle or conflict between Anna and Ester?  Much of the metaphor and potent imagery of the film is projected via Johan.

As the tale moves on, we see more clearly the nature of the relationship between the two siblings, and for me questions were posed about the motivations and genuineness of "love", and whether sometimes this is marked, plagued and clouded by feelings of possessiveness, jealousy and a need to control and manipulate.

The movie did make me think, as it touched on a few issues which have at times impinged on my own relations with friends and acquaintances.  Difficulty in seeing and appreciating the needs and desires of others, a reluctance to "let go", and a tendency to live at least partly through somebody else, rather than appreciating and  one's own vitality and "wholeness".  Can love be real and honest if we are excessively precious about how others wish to think and live their own lives?  Is love often proclaimed, but either mistaken and confused for selfishness or does it just become polluted, distorted and subverted by selfishness early on,or somewhere down the line?

I think that Bergman may also, by presenting these two divergent mindsets and lifestyles, represented by two individuals, have been hinting at the conflict and struggle which exists within us all, and our constant efforts to reconcile the two facets, and achieve a desirable balance.  The two elements often co-exist with difficulty, if at all.  A compromise, and practicality, is surely the ideal, but so seldom resolved satisfactorily in our minds....

I did not find The Silence to be as immediately satisfying and compelling a watch as some of the other Bergman films of that period which I have seen.  However, towards the end the essential hub of the story began to crystallise, and I would imagine that repeated viewings will facilitate the unpeeling of more layers, and yield greater understanding and insight.

Still a powerful and though-provoking piece of work....

Sweden 2 England 3

Prior to tonight's encounter in Kiev, I had frankly expected a rather turgid, attritional contest.  Sure enough, the first half was on the mediocre side, although not perhaps to the extent described by some pundits.  After the break, however, there was certainly no lack of incident, and although some of this was attributable to poor defending and luck, there were a few moments of genuine quality.

In the early minutes of the game I thought that England looked quite purposeful, busy and eager, if lacking a little in invention. James Milner was proving to be an effective outlet at that early stage. Predictably Zlatan Ibrahimovic constituted the main threat for Sweden, the doubts about his fitness notwithstanding.

Roy Hodgson's decision to play Andy Carroll from the start was vindicated when he rose majestically to meet a trademark Steven Gerrard delivery. As is often the case, however, one of England's main failings was a failure to retain possession sufficiently well, and Sweden continued to pose questions for the remainder of the first period.

I did not find the first forty-five minutes quite as woeful as some other people seem to have done.  Perhaps I find honest mediocrity strangely fascinating!

There was a noticeable upsurge in the vigour and intensity of Sweden's play right from the outset of the second half.  Maybe their coach had emphasised to them the extent of their predicament should they lose this game?  Whatever the case, the new approach soon bore fruit in the form of an equaliser, albeit a fortuitous and flukey one.

After the first Swedish goal went in, I thought to myself that England now faced a real test, and that they may be forced to show more tactical flexibility in order to respond.  Before they had a chance to demonstrate any of this, they were further pinned back by Swedish pressure, and the defence was found wanting as Mellberg rose largely unchallenged to make it 2-1.

The match now acquired a genuine sense of ebb-and-flow as England strove to get back on terms, with Sweden potentially dangerous on the break, even if they do not exactly possess blistering outright pace in their team.

England made a positive substitution, bringing on Theo Walcott for the fading Milner. Roy Hodgson must have sensed that England did not previously have enough in their armoury to get back into the match, but even he could hardly have anticipated the impact that the Arsenal player would make.  He had scarcely touched the ball before thumping in the equalising goal.

Strangely enough, I had been making notes to the effect that I found Danny Welbeck's performance unconvincing, when he and Walcott conjured up a moment of genuine quality to clinch victory for England. Welbeck's improvisation was most impressive.

Late on I became nervous, thinking that England were throwing too many men forward at times, but they held on reasonably comfortably.

So where does this all leave us?  Well, England need a point against Ukraine, and that is eminently achievable.  The coach does face a selection dilemma of sorts, with Wayne Rooney now available for selection after suspension, and both Welbeck and Carroll making their cases quite eloquently this evening.  Roy Hodgson has displayed a methodical, pragmatic streak during their tournament so far, and he may opt for the "horses for courses" approach again.

In the grand scheme of things, England have exuded a sense of unity and quiet determination thus far. These qualities, however laudable, will only take England so far. The fluidity and cohesion exhibited by Spain, Germany and even France in the past couple of days was sobering to see.  England look likely to face Spain, should they reach the quarter-finals.  Before that daunting prospect, however, they will need to rouse themselves once more for what is sure to be a pressurised match against the co-hosts.