I never really got into Alfred Hitchcock's movies, much to my regret. In my younger days, Hitchcock films would regularly be shown on television, but I would scarcely notice, let alone take in their merits or artistic significance. One picture which belatedly made an impression on me was Vertigo, Hitchcock's 1958 thriller, starring James Stewart and Kim Novak.
Without giving too much away, Scottie (Stewart) is a policeman who is forced to retire because of his acrophobia and vertigo. At the request of an old friend, Scottie follows the man's "wife", who has been behaving strangely. The plot which unfolds is complex and ingenious, but not really bewildering. It involves murder plots, faked suicide and much more.
The title Vertigo is very appropriate, as not only does the condition play a pivotal role at several crucial points in the film, but it is also an unsettling and disorientating work. That said, the aesthetic of the picture I find very appealing. The clothes, the cars and the settings have real style, together with the type of crispness which I somehow associate with 1950s films made in colour.
Bernard Herrmann's music is very important to the atmosphere of this movie. In some scenes there is little or no dialogue, and the music is left to accompany the imagery, which is often the backdrop of San Francisco. The scenes where Stewart follows Kim Novak early in the film are quite eerie, and one can imagine that they have been quite influential in the ensuing decades.
Both James Stewart and Kim Novak have great screen presence, the former being particularly impressive for me in the later portions of the film. A word too for the performance of Barbara Bel Geddes as Scottie's friend and ex-fiancee Midge. She appears not to have received the praise she deserved for her contribution.
No doubt the critics have dissected and analysed Vertigo endlessly, seeking to extract portentous meaning from every frame, but when I saw the film I did not grasp much in the way of profound messages. I was too preoccupied with the central plot, constantly asking myself "Have I understood what's going on here? Have I got this straight?. Much is left unsaid, this being aggravated perhaps by the relative sparsity of the dialogue.
The story is complicated, strange even, but any concerns on that score are rendered largely immaterial by its sheer magnetism, and the partially-overlapping layers of intrigue, irony and deceit.
Vertigo is a gripping and even occasionally disturbing film, and is well worth a watch.
Showing posts with label 1950s. Show all posts
Showing posts with label 1950s. Show all posts
Tuesday, 3 November 2015
Saturday, 3 October 2015
On The Road - Jack Kerouac - book review
"On The Road", the classic 1957 novel by Jack Kerouac, had been residing on my bookshelves for some time, pleading to be read. To my shame, I have hardly read any "Beat" literature, and was therefore a little unsure what to expect.
In a nutshell, "On The Road" tells the story of Sal Paradise (the narrator, and based on Kerouac himself) and his friends as they embark on various journeys and trips across America. It is semi-autobiographical, and other characters are based on Kerouac's friends and associates. The tale is set primarily in the late 1940s.
To grasp the essence of this novel, it is necessary to understand the mindset of the colourful characters, in particular that of Dean Moriarty, Sal's friend and regular travelling companion. They habitually operate outside what would be considered social norms. The fact that their outlook still seems outlandish is perhaps a sad commentary on twenty-first century life. Are we still, deep down, so conformist?
The "Beat" concept is somewhat nebulous at the best of times, and must appear even more so with our modern modes of communication and discourse, and their tendency to polarize so many things. The lifestyles appear dissolute, but the joie-de-vivre of Dean and the others is enticing. Some of the behaviour detailed in "On The Road" must bemuse even self-proclaimed free spirits. The effect is perhaps more acute because these events are meant to have occurred not long after World War 2, in a period when we are told that most people were craving stability and security.
The fact that this book has a narrator is an aid to keeping track of the characters and their numerous trials, tribulations, revelations and relocations. One of the surprising things to newcomers is that this story is not one of a single journey or trip, but a series occurring over several years, with other events sandwiched in between.
Along the way, we meet a number of engaging and fascinating figures, and learn about their encounters with our "heroes". Many of these episodes are touching and poignant. Some are vignettes, others are more protracted and in-depth. The sadness and harshness of lives, but also the richness and vitality of our world and the human experience. The occasional craziness does not totally obscure the genuine pathos. What also emerges is an affinity for sub-cultures, for the marginalized and the downtrodden.
Whilst reading "On The Road", I was reminded that it would have been easier to pursue these adventures back in those days, when the world was not so weighed down by regulations and bureaucracy. The title "On The Road" does not just denote a journey, but a way of life, a world-view and an ongoing quest. The "unconventional" existence being led by these people was also a strikingly simple one. Straight society struggles to comprehend that it makes its own life complicated and burdensome.
The conduct of the circle becomes more exuberant and far-out once Dean Moriarty fully re-enters the fray. The prose grows more poetic and evocative, and the stream-of-consciousness a more frequent feature.
The outlook of some characters, such as Old Bull Lee, might surprise or confuse a few people. Explicit social commentary is offered only sparingly, and is not always about "obvious" topics. The reluctance to take the easy option is one of the most noticeable things about this novel.
It seemed that in this book, Kerouac acquired the knack of imbuing the mundane with drama and nobility, and of placing the everyday alongside the esoteric and the exotic. The "cameos", involving hitch-hikers and other people met along the routes, add charm and variety, and help to form the tapestry, as well as telling us more about the impulses driving the main players.
In amongst the euphoria and the exhilaration which the participants met on their travels, there were periods of disenchantment and despair, when "home", in its conventional sense, seemed the best place to be after all. In between the trips, acquaintances were renewed and the changes absorbed.
Personally, I could take or leave the lengthy passages extolling the virtues of various jazz musicians, and of the source and impact of their artistry, but I accept that they are important in forming an understanding the world of Dean, Sal and company.
Criminality raises its head more and more as the story progresses. They may have been testing the boundaries, but were they in reality flagrantly breaching them? A theme which gradually predominates is the decision of people to shun and ostracize Dean. Of course, Sal was not one of these. I identified with Sal more than I did with Dean, but Dean's story is admittedly more heart-rending, vibrant and eventful.
The chapters set in Mexico are the most stimulating, and in some respects the centrepiece of the whole story. Mexico as a metaphor for the promised land, what these people have been searching for? Needless to say, the ultimate outcome is rather ambiguous.
One of the lessons which I detected in the pages of "On The Road" is that however dismal and monotonous things may appear, there is always something good just around the corner, and there is plenty to relish and savour in the "here and now". Much of the problem is one of perception, and how we have been conditioned to think and approach our lives and the world around us. Life is a never-ending cycle...
This is a novel which it is possible to read quite quickly, as it has a flow to it, and does not compel the reader to take in every semi-colon and comma. Not quite what I was expecting, in all honesty, but equally I enjoyed "On The Road" more than I had anticipated.
In a nutshell, "On The Road" tells the story of Sal Paradise (the narrator, and based on Kerouac himself) and his friends as they embark on various journeys and trips across America. It is semi-autobiographical, and other characters are based on Kerouac's friends and associates. The tale is set primarily in the late 1940s.
To grasp the essence of this novel, it is necessary to understand the mindset of the colourful characters, in particular that of Dean Moriarty, Sal's friend and regular travelling companion. They habitually operate outside what would be considered social norms. The fact that their outlook still seems outlandish is perhaps a sad commentary on twenty-first century life. Are we still, deep down, so conformist?
The "Beat" concept is somewhat nebulous at the best of times, and must appear even more so with our modern modes of communication and discourse, and their tendency to polarize so many things. The lifestyles appear dissolute, but the joie-de-vivre of Dean and the others is enticing. Some of the behaviour detailed in "On The Road" must bemuse even self-proclaimed free spirits. The effect is perhaps more acute because these events are meant to have occurred not long after World War 2, in a period when we are told that most people were craving stability and security.
The fact that this book has a narrator is an aid to keeping track of the characters and their numerous trials, tribulations, revelations and relocations. One of the surprising things to newcomers is that this story is not one of a single journey or trip, but a series occurring over several years, with other events sandwiched in between.
Along the way, we meet a number of engaging and fascinating figures, and learn about their encounters with our "heroes". Many of these episodes are touching and poignant. Some are vignettes, others are more protracted and in-depth. The sadness and harshness of lives, but also the richness and vitality of our world and the human experience. The occasional craziness does not totally obscure the genuine pathos. What also emerges is an affinity for sub-cultures, for the marginalized and the downtrodden.
Whilst reading "On The Road", I was reminded that it would have been easier to pursue these adventures back in those days, when the world was not so weighed down by regulations and bureaucracy. The title "On The Road" does not just denote a journey, but a way of life, a world-view and an ongoing quest. The "unconventional" existence being led by these people was also a strikingly simple one. Straight society struggles to comprehend that it makes its own life complicated and burdensome.
The conduct of the circle becomes more exuberant and far-out once Dean Moriarty fully re-enters the fray. The prose grows more poetic and evocative, and the stream-of-consciousness a more frequent feature.
The outlook of some characters, such as Old Bull Lee, might surprise or confuse a few people. Explicit social commentary is offered only sparingly, and is not always about "obvious" topics. The reluctance to take the easy option is one of the most noticeable things about this novel.
It seemed that in this book, Kerouac acquired the knack of imbuing the mundane with drama and nobility, and of placing the everyday alongside the esoteric and the exotic. The "cameos", involving hitch-hikers and other people met along the routes, add charm and variety, and help to form the tapestry, as well as telling us more about the impulses driving the main players.
In amongst the euphoria and the exhilaration which the participants met on their travels, there were periods of disenchantment and despair, when "home", in its conventional sense, seemed the best place to be after all. In between the trips, acquaintances were renewed and the changes absorbed.
Personally, I could take or leave the lengthy passages extolling the virtues of various jazz musicians, and of the source and impact of their artistry, but I accept that they are important in forming an understanding the world of Dean, Sal and company.
Criminality raises its head more and more as the story progresses. They may have been testing the boundaries, but were they in reality flagrantly breaching them? A theme which gradually predominates is the decision of people to shun and ostracize Dean. Of course, Sal was not one of these. I identified with Sal more than I did with Dean, but Dean's story is admittedly more heart-rending, vibrant and eventful.
The chapters set in Mexico are the most stimulating, and in some respects the centrepiece of the whole story. Mexico as a metaphor for the promised land, what these people have been searching for? Needless to say, the ultimate outcome is rather ambiguous.
One of the lessons which I detected in the pages of "On The Road" is that however dismal and monotonous things may appear, there is always something good just around the corner, and there is plenty to relish and savour in the "here and now". Much of the problem is one of perception, and how we have been conditioned to think and approach our lives and the world around us. Life is a never-ending cycle...
This is a novel which it is possible to read quite quickly, as it has a flow to it, and does not compel the reader to take in every semi-colon and comma. Not quite what I was expecting, in all honesty, but equally I enjoyed "On The Road" more than I had anticipated.
Tuesday, 8 September 2015
The Korean War - Max Hastings - book review
"The Korean War", written by Max Hastings, was originally published in 1987. Having read this book about four years ago, I recently went back to it.
I won't fall into the trap of describing it as "the forgotten war". That said, if you ask people, even those who consider themselves reasonably well informed, the finer details and the precise chronology might be somewhat hazy.
This is just the sort of history book which I relish. It feels comprehensive and authoritative, but does not outstay its welcome and, whilst satisfying curiosity, induces a thirst for more knowledge on a range of topics.
There is a good outlining of the background to the conflict. The failings of the South Korean government, the shaky unity in the south, the ill-preparedness of the US and its allies. Throughout the work a picture is created of post-war exhaustion, and of the world adjusting to new circumstances and new alliances. It may surprise some people how stretched the military resources of the US were, early in the war at least. Everybody's inventory was depleted, and forces had to be scraped together and improvised in a short timescale.
The unflattering portrayal of the South Korean regime of that period is a reminder of how many times the West has found it necessary to prop up distasteful administrations in pursuing what it perceives to be noble ends. Hastings does assert that the nature of the North Korean regime justified Western intervention, though.
"The Korean War" is written in a lively but forthright style. Whether the reader agrees with the author's opinions or not, his arguments are generally well reasoned and supported by evidence. A strength of Max Hastings is his knowledge in both political and military spheres. This gives the book some real depth and authority, and his views and interpretations carry some weight.
As the story unfolds, numerous "case studies" are given, detailing the experiences and recollections of servicemen and civilians. These passages serve as a window on how things were on the ground, as well as hinting at some of the prevailing social and political attitudes in the early Fifties. This "personal" dimension assists in enhancing understanding, as well as instilling some variety, when set against the analysis of grand strategy, Cold War politics and military tactics.
A recurring theme here is the lack of knowledge and reliable intelligence possessed by the West about North Korean intentions, and of attitudes in Moscow and Peking. Also, the differing interpretations between the Americans and the British about the extent of Soviet involvement or control are illuminating, and perhaps reflect the contrast in intensity between the anti-Communist crusades on the two sides of the Atlantic.
This work contains some pretty hard-hitting stuff about the unrest among commanders, and the tensions and military "culture clashes" between the UN countries. The role of Douglas MacArthur is naturally a major topic, especially in the first half of the book. The author spends considerable space explaining why and how the mercurial general made his position untenable.
Whole chapters are devoted to the role of air-power in the war, and to the question of prisoners-of-war. The section which deals with the POW camps on both sides is very powerful and illuminating, and in places disturbing.
I must admit that I found the political and "social" questions more interesting than the discussions of military intricacies. I see this as a tribute to the quality of the book, and a barometer of my own attitudes...
Hastings's summing-up at the end of the book is well-argued, based as it is on an assessment of the geo-political fall-out and the reflections of those who were involved. I was also impressed by the author's capacity to blend a humane approach with a cool appraisal of political realities. It seems that military and political lessons were not learned as fully as they should have been.
I won't fall into the trap of describing it as "the forgotten war". That said, if you ask people, even those who consider themselves reasonably well informed, the finer details and the precise chronology might be somewhat hazy.
This is just the sort of history book which I relish. It feels comprehensive and authoritative, but does not outstay its welcome and, whilst satisfying curiosity, induces a thirst for more knowledge on a range of topics.
There is a good outlining of the background to the conflict. The failings of the South Korean government, the shaky unity in the south, the ill-preparedness of the US and its allies. Throughout the work a picture is created of post-war exhaustion, and of the world adjusting to new circumstances and new alliances. It may surprise some people how stretched the military resources of the US were, early in the war at least. Everybody's inventory was depleted, and forces had to be scraped together and improvised in a short timescale.
The unflattering portrayal of the South Korean regime of that period is a reminder of how many times the West has found it necessary to prop up distasteful administrations in pursuing what it perceives to be noble ends. Hastings does assert that the nature of the North Korean regime justified Western intervention, though.
"The Korean War" is written in a lively but forthright style. Whether the reader agrees with the author's opinions or not, his arguments are generally well reasoned and supported by evidence. A strength of Max Hastings is his knowledge in both political and military spheres. This gives the book some real depth and authority, and his views and interpretations carry some weight.
As the story unfolds, numerous "case studies" are given, detailing the experiences and recollections of servicemen and civilians. These passages serve as a window on how things were on the ground, as well as hinting at some of the prevailing social and political attitudes in the early Fifties. This "personal" dimension assists in enhancing understanding, as well as instilling some variety, when set against the analysis of grand strategy, Cold War politics and military tactics.
A recurring theme here is the lack of knowledge and reliable intelligence possessed by the West about North Korean intentions, and of attitudes in Moscow and Peking. Also, the differing interpretations between the Americans and the British about the extent of Soviet involvement or control are illuminating, and perhaps reflect the contrast in intensity between the anti-Communist crusades on the two sides of the Atlantic.
This work contains some pretty hard-hitting stuff about the unrest among commanders, and the tensions and military "culture clashes" between the UN countries. The role of Douglas MacArthur is naturally a major topic, especially in the first half of the book. The author spends considerable space explaining why and how the mercurial general made his position untenable.
Whole chapters are devoted to the role of air-power in the war, and to the question of prisoners-of-war. The section which deals with the POW camps on both sides is very powerful and illuminating, and in places disturbing.
I must admit that I found the political and "social" questions more interesting than the discussions of military intricacies. I see this as a tribute to the quality of the book, and a barometer of my own attitudes...
Hastings's summing-up at the end of the book is well-argued, based as it is on an assessment of the geo-political fall-out and the reflections of those who were involved. I was also impressed by the author's capacity to blend a humane approach with a cool appraisal of political realities. It seems that military and political lessons were not learned as fully as they should have been.
Monday, 20 August 2012
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 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.....
Subscribe to:
Posts (Atom)