I went to see the new film of Anna Karenina directed by Joe Wright and staring Keira Knightley. I quite liked it - I'm not saying I was blown away by it. No it doesn't do the novel justice - but it's a great big doorstop of a book - so no adaptation will. And one could argue endlessly about inclusions, exclusions and what it all means. They included the Levin story - unsurprisingly as a rather sketchy subplot - but they didn't cut it altogether as previous film (as opposed to TV) adaptations have done. This is good, the book actually has more pages about Levin than it does about Anna. I know this, because I counted them for my MSc dissertation.
Now I don't do the fashionable thing of hating on Keira - in fact, sometimes I think she can be quite good. In the Duchess, her meatiest role to date, I thought she was rather good. And I think she handles the action, comedy and contortions of the Pirates of the Caribbean franchise with a great deal more aplomb than she's' commonly given credit for. Her performance here does perhaps lack substance. But as several reviewers have said so does the film. She's certainly capable of raising her game (I thought she was good in The Duchess and better in Atonement than she has here). If anything it's Aaron Taylor-Johnson who comes across as a lot more vacuous than Vronsky might be. Especially compared to Jude Law, reminding us once again that he's a fine character actor, trapped in the looks of a leading man. Kudos to Alicia Vikander for a fine performance the sadly fleeting role of Kitty.
I liked the visual boldness of the concept - setting much of the Moscow/Petersberg/Anna story in a theatre. Supposed to represent the artificiality of the characters lives. In many ways I found the whole film gloriously stylised with elements of dance-like choreography of fans, clerks, and uhmmm dancing. There is a lot going on visually - and I can see myself watching this again on DVD - and having the time to really look and unpick what's going on. On the downside the famous names in the cast don't look as co-ordinated somehow in the movement as the extras - who have perhaps been drawn from a more dance/physical theatre background. This is a seriously sumptuous film - full of little visual details to relish. And although it does 'open up' into more naturalistic setting the lighting cinematography never quite makes these seem real. The whole has the feel of a claustrophobic dream - where one's subconscious has somehow conflated Anna Karenina with another dream about a disused dilapidated theatre.
There's a half-baked thought buzzing somewhere in my head about the history of non-naturalistic theatre in Russia. There is one scene, where Matthew McFadyan's Oblonsky walks through a room full of clerks working at typewriters that put me in mind of Meyerhold's production of the government inspector. In fact the whole non-naturalistic approach to a Russian sacred cow is vaguely Meyerholdian? Is it possible that Joe Wright has encountered Meyerhold & Biomechanics. I can't help feeling that if this were the case - he'd have been touting it - as would the reviewers as markers of erudition. Difficult to say. Ahh. Yes. Meyerhold, my theatrical hero. Who once said "you must make people pay you well to make the theatre they want. You will pay out of your own pocket to make the theatre you want"
The great British Bake-Off. This remains my favourite thing on TV at the moment. Though even this has started, slightly to pall. The novelty, for me, has perhaps worn off. But still...I still love the atmosphere of high drama, the cruel impossibility of the technical challenges. The tension, the nerves, the triumphs & disasters. There's something deliciously shcadenfreudlich watching people being held up to such scrutiny. But at the same time...having two of my teenage heroes Mel and Sue wondering around gleefully reminding us that...it's only cake....and that they've got forks at the ready as soon as the cameras stop rolling.
Saturday
Troyka and Ivo Neame Octet at King's Place. As part of the King's Place festival. I think one of the reasons that I don't go to the cinema much any more - is that there's so much live stuff - theatre, gigs/ etc that's the same price as a cinema ticket. If not less. Makes me wonder what the hell cinemas are charging for (apart from having their buildings/ cafes open for multiple half empty showings three times a day) when you can see two gigs, comprising 11 real life musicians for £9....
I like Troyka. And even though this was a great gig - they were let down a bit by the sound guys. Normally I like King's Place, it's an excellent venue with one of the the friendliest FOH teams in London. But I was straining to hear the bass on Kit Downes's keyboard - and in a bassless trio - that's less than ideal. Downes's left hand lines are a fairly big motor in the rockier, funkier Troyka grooves. I did not come away wishing that they'd play in a proper club with a proper dance floor so I can actually get down to it, as it were. This is how I felt after their recent Con Cellar gig and also how the album makes me feel in places. So I missed that. However, I have now heard a piece of music about decomposing sea-gulls and duly consider my horizons broadened.
My internal jury has been a bit out on whether or not I really like Ivo Neame's compositions. But with the Octet set up...I'm sold. Passing Clouds - which also appears on the latest Phronesis Walking Dark - is not to me a standout track on that album (not to say it's a dud either, just one that doesn't quite catch my attention). But here, suddenly, it lifted and somehow made more sense. And oh my goodness the cream of young british jazz...a reed section comprising Clarinet, Bass Clarinet, Tenor and Alto. Bass clarinet is my new favourite instrument to listen to. I am now itching to get my hands on a copy of the forthcoming album Yatra....Plus girl in the band playing actual instrumental jazz on a jazz instruments (**points and bounces**). 1 in 8 - if only the ratio was usually that good - every third trio would have a girl in it...and every other quartet.
I'm thankful to the chap in the audience who shouted out for more of the Vibes in the mix. He was spot on it was far too quiet - it would have been a real shame to lose Jim Hart's playing. The King's place festival is a wonderful thing with so much for such reasonable prices. But there is an element of being overstretched on the technical side that just knocked a quarter star off their overall five star rating in my head as a venue.
Two contrasting gigs but both rich and complex. Musical creativity is alive and well in the UK with a rich seams of both improvisation and composition that's both complex but also accessible.
Among many other contrasts it should be noted that the Ivo Neame ensemble appear to have figured out the art of appearing on stage in a shirt that has been ironed.
