1930s
Hanna Weibye
“The touch is light. We like it so,” wrote Ninette de Valois in one of her later poems. You didn’t know the founder of the Royal Ballet wrote poetry? Don’t worry, you’re not missing much – except the occasional phrase which can serve as an epigraph for early English ballet. “Light touch” is one of those expressions – like “very English” – which crop up in almost all descriptions of the work of Frederick Ashton, founder choreographer to de Valois’s company, later its director, and a reserved genius who knew pomposity and po-facedness only as traits to satirise (gently, of course) in his Read more ...
Matthew Wright
Many successful writers turn to their pens having failed miserably at everything else. Ian Fleming, creator of James Bond, and subject of Sky Atlantic’s new mini-series, spent all of his youth failing, but unlike literary contemporaries Graham Greene and Evelyn Waugh, failure seems to have been a thoroughly enjoyable experience. The side effects of a racy lifestyle required his withdrawal from both Eton and Sandhurst, while a brief engagement, to the exquisitely titled Monique Panchaud de Bottomes, had to be quashed by his well-connected but overbearing mother.Professional life Read more ...
Matthew Wright
For his new band, Pigfoot, trumpeter Chris Batchelor has gathered three virtuosos of British jazz. Between them, pianist Liam Noble, tuba player Oren Marshall and drummer Paul Clarvis have made some of the most original British jazz of the past few decades. In this, Pigfoot’s debut album, they not only blow the cobwebs off eight favourites of the trad repertoire, they sandblast away decades of treacly cliche, revealing music of both immense joy and subversive power.Footage of 1950s crowds dancing to trad jazz shows an audience not unlike modern clubbers, wild-eyed and ecstatic at the novelty Read more ...
David Nice
Read Erich Kästner’s 1928 novel about young Emil Tischbein and the Berlin boys he enlists to catch a thief, and you’ll come away feeling warm if slightly incredulous at the strong moral compass of all the kids and most of the adults. Gerhard Lamprecht’s early (1931) “talkie”, with a screenplay by Billy Wilder, has darker undertones, much admired by the obsessive 19-year-old Benjamin Britten. Carl Miller’s adaptation for Bijan Sheibani’s racy new National Theatre production sees it from a slightly different angle, scrupulously mindful of Weimar Berlin, but last night I had the feeling that not Read more ...
Graham Fuller
Vivien Leigh deservedly won the Best Actress Oscar for her portrayal of the mercurial Scarlett O'Hara in Gone With the Wind, so producer David O. Selznick's legendary Civil War epic has been re-released to coincide with her centenary. It is a tactless choice to have been made, however, at a time when movies are conscientiously addressing the horrors of slavery and the movement to overthrow it.Django Unchained and Lincoln have been followed by 12 Years a Slave, Steve McQueen's landmark depiction of the degradation and brutality relentlessly inflicted on slaves working Louisiana sugar and Read more ...
Kieron Tyler
Beyond being made in the 1930s, being a British production, being a musical and two having the same director, nothing links these four films. But the randomness of this double DVD set brings bucketloads of charm. There’s a songwriter trying to break into showbiz with the help of a plucky chorus gal (Harmony Heaven, 1930), a frothy Vienna-set love story about a star and her secretary who cannot reveal their emotions (The Song You Gave me, 1933), a tangled comedy of class and manners (Over She Goes, 1937) and – the jewel in this crown – a vehicle for bandleader Henry Hall (Music Hath Charms, Read more ...
kate.bassett
Forever breaking into song and dance, musicals are fun, fun, fun. They are primarily what folks go to for uplifting entertainment, are they not? Actually, many of the best aren't anything like that simplistic. Opening at the Young Vic last night, The Scottsboro Boys is no mere barrel of vacuous laughs, though it is comical and buoyant along the way.With its score and lyrics by America’s John Kander and Fred Ebb, and its book by David Thompson, this is a barbed biomusical about racism and miscarriages of justice. Set in the Deep South of the 1930s, it plays – sometimes very sharply – with the Read more ...
Adam Sweeting
We know, not least through her own account, of Marianne Faithfull's colourful progress as winsome Sixties pop star, lover of Mick Jagger, junkie on the streets of Soho and her artistic rebirth as gravel-throated chanteuse. Here, her frequently gruelling trawl through archives from the 1930s and '40s helped to explain how she became the artist she is, while throwing up some morbidly fascinating details about the inner workings of the Third Reich.At the core of the film was her mother Eva, whom the young Marianne first came to know while growing up inside her cramped little house in post-war Read more ...
Toby Saul
There was an unmistakable trend within Modernism to try and record absolutely everything about ordinary life. Think of Joyce and his attempt to set down all of Leopold Bloom’s thoughts, or the cubists and their use of even the tiniest scrap of newsprint in a collage. The Photographers’ Gallery has had the excellent idea of revisiting Mass Observation, the movement from the Thirties and Forties that wanted to document the mundane to an unprecedented degree. Formed in 1937 at the height of totalitarianism, Mass Observation sounds like it might have been a tool of the police state. Instead Read more ...
Thomas H. Green
It’s one thing to sound like an oldster recording back in the Twenties, Thirties and Forties, it’s quite another to look the part. In the half-century rise of gym body hegemony and homogenous Barbie’n’Ken facial aspirations, normalcy of human appearance has slowly become regarded as offbeat. All those years ago, from Hollywood stars - Humphrey Bogart to Leslie Howard - and musicians - Hank Williams to Bing Crosby - they just looked like themselves, a certain gauntness, faces and bods that were characterful but far from sculpted. Pokey LaFarge could have sprung from the same era, hair slicked Read more ...
Tom Birchenough
Nikita Mikhalkov’s Burnt by the Sun was one of the few good news stories in Russian cinema in the Nineties. Made with his longterm scriptwriter Rustam Ibragimbekov, it picked up a main prize at Cannes in 1994 and the Best Foreign Film Oscar the following year. Its small Chekhovian story - adapted later by Peter Flannery for a successful run at London’s National Theatre - resounded far above its weight.Red Army hero-general Sergei Kotov (Mikhalkov himself, a fine actor, main picture) felt the chill winds of the Stalinist 1930s. The reappearance of Mitya (Oleg Menshikov), a friend now turned Read more ...
Sam Marlowe
A champagne cocktail with a hefty dash of bitters, Jonathan Kent’s production of this exquisite Noël Coward comedy of impossible passions is as wince-inducing as it is delightfully effervescent. A hit at Chichester Festival Theatre last autumn, it sees Toby Stephens slip suavely into the role of Elyot Chase opposite a sloe-eyed Anna Chancellor as his ex-wife, Amanda.From the moment the two collide on their adjoining balconies at the French resort where both are honeymooning with new spouses, the atmosphere fizzes with sexual tension. For all their elegance, all the artfulness of their verbal Read more ...