Film

Spectator Play: what’s worth watching, listening to or going to this weekend | 26 April 2013

Perched at number 3 in The Times’ ‘30 Richest under 30’ list this week were Fawn and India Rose James, aged just 27 and 21 respectively and with an estimated fortune of £329 million. Who are they, and how did they get on the list? Their grandfather, Paul Raymond, was dubbed the ‘King of Soho’ for buying up swathes of the area, and was infamous for his Raymond Revue Bar strip club and his adult magazine empire. The Look of Love is his biopic and, says Deborah Ross in this week’s film review, is ‘visually fantastic, with more retro kitsch than you can shake a stick at’. The trailer’s below,

Spectator Play: what’s worth watching, listening to or going to this weekend

In a week where the news has been filled with stories about a certain ‘strong woman’, Kate Chisholm has found another strong woman to write about. In this week’s radio column, she argues that the radio presenter Sue MacGregor managed to be the only female presenter on the Today programme without the need to deepen her voice or worry about power dressing or pussy-bow blouses. Like Thatcher however, MacGregor ‘has always done things her way’, and her radio programme The Reunion is a prime example of this. In this week’s episode, MacGregor unites five survivors of the King’s Cross fire; here’s a clip: This week’s television review comes from James

Spectator Play: what’s worth watching, listening to or going to this weekend

When Lara Pulver hit our screens brandishing a whip and wearing little more than a pair of high heels in the BBC’s Sherlock Holmes-influenced drama Sherlock, she became something of a viral hit, with that episode becoming one of the most-watched items on the BBC website. Now she’s back, this time in Da Vinci’s Demons, a big-budget American TV series looking at Da Vinci’s ‘lost years’, and we sent Will Gore along to meet her. Here’s what she had to say on Benedict Cumberbatch, Renaissance rulers and James Bond. From a beautiful woman to beautiful men. This week’s film review stars both Ryan Gosling and Bradley Cooper – which makes

Spectator Play: Audio and video for what we’ve reviewed this week

If you succumbed to Downton fever, then the BBC’s latest period-drama, The Village, might have attracted your attention. But if it was Downton Revisited that you were after, you might have been sorely disappointed, says James Delingpole in his Television column. Set in 1914 Derbyshire, The Village is everything that Downton is not: ‘taut, spare, grown-up, accomplished, dark, strange and poetic, according to the critics’, and according to James, both clichéd and clunky. Here’s a clip from the first episode: Classical quartets seem to be all the rage in Hollywood at the moment, as this week’s Cinema review – Clarissa Tan on ‘A Late Quartet’ – illustrates. The film is,

Robot & Frank

Robot & Frank is about a robot, and Frank, and I’d like to say it is as charmingly irresistible as you might suppose from the cute posters all around town, but hand on heart?  I cannot. It’s OK, I guess, as far as it goes, but it doesn’t go far enough, and, in the end, settles for what I most feared it would settle for: sentimentality. A pity, as the set-up is brilliant, and the questions it throws up — are you still you, once your mind starts to fail?; who is going to look after all our old?  — so worth asking, but it never properly gets to grips

Could Malcolm Tucker take on Alan Rusbridger?

Sad news has broken. If the online speculation is true, it appears that casting agents for the upcoming Guardian movie have overlooked Daniel Radcliffe for the part of Alan Rusbridger. Given that Harry Potter and AR are dopplegangers, Mr Steerpike reckons that the agents have missed a trick. For those who haven’t heard, the film will chart the paper’s stormy relationship with Wikileaks. Benedict Cumberbatch is already getting to grips with the role of Julian Assange; the question now is, who will play Rusbridger? Incongruous rumours are circulating that the softly spoken editor will be portrayed by Scottish actor Peter Capaldi, aka Malcolm Tucker. The foul mouthed ranter from the BBC’s The Thick

The Last Days of Alfred Hitchcock

For the last 40 years it’s been impossible to interview Anthony Hopkins without him doing his Tommy Cooper impression. He’s obsessed with the bloke, constantly interrupting Silence of the Lambs anecdotes to do Cooper’s chuckle and hand flicking and patter. He was, therefore, the absolutely perfect choice to play Alfred Hitchcock. Actually, the new film’s not that bad. It tells a good yarn about the director’s wife Alma rescuing both him and Psycho, not to mention the 800 grand of their own money they’d sunk into the movie. The other actors are so good that most of the time you can almost forget Anthony Hopkins is wandering around in the

Murder at the British Library

If you happen to be passing through King’s Cross and can spare 10 minutes, drop by the British Library to see Murder in the Library: An A-Z of Crime Fiction, a small but perfectly formed exhibition about crime writing. The exhibits range from first editions of famous classics, such as a copy of Dorothy L Sayers’ The Nine Tailors that has been loved a little too well or the crispy pages of a 1926 issue of The Sketch magazine, the first to feature Miss Marple; to brief thematic studies on subjects like the development of the female detective over 150 years or the true crime sub-genre; to memorabilia such as private photographs of

Set down one sentence

Warning: this is a very January 17th sort of thought. It’s meant to be comforting, though you may well find it the exact opposite. Try it on for size, anyway, and see what you think. (You might want to keep hold of the receipt.) The thought concerns something in The Ghost by Robert Harris. The book is as gripping as any of his works, and as if that wasn’t praise enough it also gave us, via a truly woeful film version, the comedic delights of Ewan McGregor’s London accent. Next to that performance Dick van Dyke becomes Ray Winstone. At one point in the novel the unnamed ghostwriter penning the

Jobs for the girls

Unless you’re a twenty-something year old woman, you probably have no idea who Lena Dunham is. Well you will soon. Until now Dunham’s cult followers have been downloading her HBO series, Girls, illegally but at 10pm tonight viewers will get a chance to see it on UK TV. Lena Dunham is the latest pin up for those of us young women who think Caitlin Moran (a drooling fan of hers) is a little too old, a little too Wolverhampton and a little too successful to be a figurehead for our rudderless ship. Happily married since she was twenty-four, Moran isn’t exactly representative. Girls seems to have hit a nerve with

Film protests in Middle East

It’s about time we revamped the rather stale format of the BBC film review show, the one that has that Nina Simone signature tune and was presented by Barry Norman and more latterly Jonathan Ross. I don’t even know if the programme is still extant. Anyway, my idea is for a new review show which would be set in a branch of the KFC franchise and presented by fundamentalist Muslims. Any film they didn’t like they’d burn down the restaurant and decapitate the manager, or manageress. Are these people running riot in Khartoum, Cairo and Tripoli just very stupid, or mentally ill? Or both?

Government, the enemy

‘I should not have written the book,’ said Anthony Burgess in 1985 of his most famous work, A Clockwork Orange (which celebrates its 50th anniversary this year). Burgess’ disavowal was total. The novel, he said, had been ‘knocked-off for money in three weeks’. The book was overhyped, ‘misinterpreted’. That alleged misinterpretation owes much to Stanley Kubrick’s film adaptation, or at least that is what Burgess claimed. He said that Kubrick’s interpretation was ‘interesting’, which was not a complete compliment. Burgess had offered Kubrick a script based on the British edition of the book, which Kubrick ignored in favour of a screenplay adapted from the American edition, which excluded the positive

The end of the affair?

Of those caught up in the 1963 Profumo affair, the only winner seems to have been that blithe spirit Mandy Rice-Davies. Everyone else lost. Profumo’s family bore the brunt, of course, especially his son David, archetype of the boy sent crying home from school, who wrote a brilliant book about it, Bringing the House Down (2006). Harold Macmillan and the Conservative party were driven from office. Yevgeny Ivanov was recalled to Russia. Stephen Ward was hounded to death. And poor Christine Keeler… In that mesmerising scene in the film Scandal (1989), where Mandy (played by Bridget Fonda) and Christine (Joanne Whalley-Kilmer, as she then was) are getting dressed, to the

Loves, hates and unfulfilled desires

Montaigne, who more or less invented the discursive essay, had a method which was highly unmethodical: ‘All arguments are alike fertile to me. I take them upon any trifle . . . Let me begin with that likes me best, for all matters are linked one to another.’ Geoff Dyer could say very much the same thing, and it follows that Zona, though nominally a book about Tarkovsky’s maddening 1979 masterpiece Stalker, goes off in any number of directions. There are other ways of describing a circle than setting out to draw all its tangents, but that is Dyer’s preference. If the style of approach hasn’t changed, then the cultural

Stronger than fiction

I think it was a Frenchman — it usually is — who observed that the English love their animals more than their children. At first glance, General Jack Seely’s Warrior: The Amazing Story of a Real War Horse — originally published as My Horse Warrior in 1934 — is striking proof of this. In an entire book devoted to the exploits of his horse, the author’s final mention of his son Frank is stunning in its brevity: We had a last gallop together along the sands, Warrior and [Frank’s charger] Akbar racing each other; then I drove him in a motor-car to rejoin his regiment .… He asked me to

Who’s the real monster?

‘The first monster that an audience has to be scared of is the film-maker. They have to feel in the presence of someone not confined by the normal rules of decency.’ Thus decreed Wes Craven, that maestro of horror who gave us, among other gems, The Last House on the Left (1972), in which a girl is forced to urinate on herself by a gang of rapists. And on some level, he is obviously right. But as Jason Zinoman points out in his deft study of the rise of New Horror — that is, horror movies of the late 1960s and 1970s, which were more realistic, and so a hell

Lights, camera, education

Earlier this year I went as a reporter to cover Julie Walters’ return to her hometown of Smethwick, where she was talking to schoolchildren as part of the FILMCLUB charity’s Close Encounters programme. The town where Oswald Mosley was MP, and where Malcolm X once came to challenge racist election campaigning, remains a place struggling with deprivation and poverty. However what I saw in that room, organised by teachers and pupils in their spare time, was the power of a simple idea: to use film to improve aspiration and educational achievement. Walters shared experiences of her difficult grammar school days, her career change (from nursing) and most importantly the idea

Switching off the spotlight

Having tea with Gillian Anderson is a thoroughly pleasant business — a splash of muted glamour in a fairly drab London autumn. I thoroughly recommend it, as a more engaging companion it would be a challenge to find. We meet in the studiously bijou surroundings of the Zetter Townhouse in St John’s Square, chosen, I suspect, because no one there has the slightest clue who she is. She is wearing the no-make-up disguise, and glides serenely under London’s radar, something she clearly enjoys. She is a tad jetlagged, she says, having just arrived home from a three-week stint ‘doing press’ in LA. We are talking in the Games Room downstairs

From the archives: “The bugger’s bugle”

Today marks 50 years since the release of Victim, a ground-breaking film about homosexuality that was granted an X-certificate. Writing in the latest issue of the Spectator (subscribers click here), John Coldstream explains the significance of this frank and truthful film and its contribution to the national debate about decriminalising homosexuality. It was made four years after the publication of Sir John Wolfenden’s report into ‘Homosexual Offences and Prostitution’, which recommended that homosexual acts between consenting adults in private should be decriminalised. This contentious reform was not secured until 1967. When Wolfenden’s views were first unveiled, the Spectator defied the prevailing consensus in Fleet Street by arguing that homosexuality should

Scenes from the Mad Hatter’s tea party

I only ever heard my mother admit twice to fancying other men. One, remarkably, was Saddam Hussein, the other was Richard Burton, and of each she said, ‘He’s a good-looking old man.’ She said this the way only a Welsh Baptist matron could: grimly, and because she was secure in the knowledge that she was not likely to meet either in chapel or on the streets of Carmarthen. Richard Burton, once of Port Talbot, later of the Dorchester Hotel, was cat-nip to women. He had a face ravaged by acne and his feet smelt, but he managed to sleep with the most beautiful leading ladies of his time, something his