1940s
mark.kidel
Apart from Leni Riefenstahl’s insidiously seductive celebrations of Nazism and the propaganda excesses of Veit Harlan’s Jud Süß (1940), the films that were made in Germany during the Hitler period have been air-brushed out of cinema history, almost in mirror image of the culture that was entartet, or banned by the Nazis themselves. There is something repulsive about cinema that was micro-managed by “Dr” Goebbels, in most cases served the regime rather than questioned it, and during the war provided increasingly fantasy-driven escapism to soothe both the women left behind and the troops at the Read more ...
David Nice
Lightness and gravity in perfect equilibrium have always graced Vladimir Jurowski's Stravinsky. From his first London Rake's Progress at English National Opera, proving that he could do the delicate and translucent after his Royal Opera debut conducting Verdi's Nabucco, via the Glyndebourne revival to this, much the most strongly cast, a London Philharmonic Orchestra concert staging – direction uncredited – executed with more ingenuity than several recent productions, Jurowski's sleight of hand has been paramount. Though the finesse is remarkable, there's no need to put words like "emotion" Read more ...
David Nice
Single adjectives by way of description always sell masterpieces short, and especially the ambiguous symphonies forged in blood, sweat and tears during the Stalin years. The Barbican's advance blurb hit one aspect of Shostakovich's Ninth Symphony - "startlingly buoyant" - and another in Prokofiev's Sixth - "contemplative". Yet you could also, piling on the adverbs, call one fiercely disorenting and the other nightmarishly expressionistic. Sakari Oramo conducting a BBC Symphony Orchestra on top form focused all facets without selling the unsettling underbelly short - while in between, Read more ...
Rachel Halliburton
As the Syrian conflict enters its final convulsions, renewing memories of how the Sykes-Picot agreement – between an Englishman and a Frenchman – would cause more than a century of political resentment in the Arab world, The Outsider seems particularly piquant. Yet Ben Okri’s beautifully measured adaptation of Camus’s piece of existential provocation – in which a man who doesn’t weep at his mother’s death then shoots an Arab – also derives power from the restraint with which it explores its troubling questions.We begin on a tone of a dark comedy as Sam Frenchum’s mesmerising Meursault begins Read more ...
David Nice
It's Britten outside-in time for English National Opera. Regent's Park Open Air Theatre, which played host earlier this year to an only partially convincing production of his 1950s masterpiece The Turn of the Screw, would have been the perfect choice for the prelapsarian American forests of his pre-Grimes operetta/musical Paul Bunyan. Instead, Wilton's Music Hall and Jamie Manton's sometimes hazy office-clutter production between them defuse the wild-woods magic as well as much of the fun and sharpness of this often miraculous collaboration with W H Auden, furnishing the best libretto Britten Read more ...
Saskia Baron
Can we ever really know the passion that brought our parents together? By the time we are old enough to hear the story of how they first met, that lovers’ narrative has frayed in the telling and faded in the daily light of domestic familiarity. But what if we could be transported back in time to when that romance was at its peak? Cold War is Pawel Pawlikowski’s first film since winning the Oscar for Ida in 2015. It’s a long-nurtured drama inspired by his parents’ own volatile relationship which saw them leaving Poland, leaving each other, marrying other people only to Read more ...
David Nice
1944 was one hell of a year for Bernstein the composer, with a perfect ballet and a near-perfect musical sharing a general theme of three sailors loose in New York, but nothing else, in their boisterous originality. Perhaps their only equal among Bernstein's works - more contestably – is MASS of 1971, surely his biggest and most resonant score, but hardly a candidate for comparable classicism. What John Wilson applied last night to make On the Town work as unremittingly well as the much shorter ballet, Fancy Free, was precisely that classical focus, high on energy and cutting no slack. Never Read more ...
David Kettle
There were two immediate casualties at Pierre-Laurent Aimard’s high-energy account of Messiaen’s monumental Des canyons aux étoiles… with the Scottish Chamber Orchestra at the Edinburgh International Festival.First was one of the strings in the Usher Hall’s Steinway grand, which finally gave way during the piece’s eighth movement. Well, it had been given really quite a pounding by Aimard, and went on to emit a prepared piano-like buzzing rattle until the end of the piece. Second – less crucially – was the handle of the percussion section’s wind machine, cranked so furiously to conjure Read more ...
Tom Birchenough
Kevin Brownlow and Andrew Mollo’s It Happened Here surely deserves the acclaim often accorded it as “the most ambitious amateur film ever made”, and the rich supporting extras on this BFI dual-format release make clear why. Best of all is a 65-minute interview with Brownlow, in which he recounts how he set out in 1956, at the age of 18, to make this ambitious “alternative history” of England living under wartime Nazi collaboration.The development of the film – the 17-year-old Mollo came on board the following year as co-director after Brownlow sought his advice on war-time costuming and Read more ...
Katherine Waters
“When you were our age, how did you imagine your life? What did you hope for?” It is a video of a classroom south-east of the Périphérique separating Paris from the working-class suburbs. The students are mostly girls between fifteen and sixteen and they wear make-up, jewellery, low-cut tops – we understand they’re sexy, confident, cool. Several are African, North African, Caribbean. When the teacher laughs, which is often, it bears vestiges of the provincial attitude of “a young girl who acknowledges her lack of importance,” though it’s unclear whether the students notice for she Read more ...
David Benedict
What’s that? Joan Crawford had no sense of humour? Well, take a look at It's A Great Feeling. It’s a pretty bizarre (and pretty bad) 1949 musical with Jack Carson and Dennis Morgan playing themselves running round the Warner Brothers lot attempting to make a picture. For reasons too daft to explain, they want to turn waitress Judy Adams (Doris Day) into their leading lady and all three wind up at a swanky gown shop. Doris disappears to try on a red gingham number, when who should pop up in a fur stole knitting what looks suspiciously like a baby bootee? Real-life Joan.Appalled by Read more ...
David Nice
First palpable hit of the evening: a full orchestra in the pit under hyper-alert Opera North stalwart James Holmes, saxophones deliciously rampant. Second hit: they've got the miking of the voices right (very rare in West End shows). Third: the first ensemble number, "Another opening, another show", sends spirits soaring. What follows is very good, sometimes excellent, occasionally fresh and startling.Any sense of slight anticlimax may well the fault of a musical which, while stocked higher with hit songs than most (Cole Porter at his wickedly rhyming, melodically snaking best), has always Read more ...