Podcast: Elspeth Cameron on Hugh MacLennan (1981)

Author  Hugh MacLennan in 1984.

From 1981 to 1989, I was assistant producer and co-host of the radio show On the Arts, at CJRT-FM (today Jazz 91.1) in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to writers and artists from all fields. In 1981, I sat down with Canadian biographer and poet Elspeth Cameron, whose biography of author Hugh MacLennan had just been published.

Cameron would go on to make a career of writing about Canadian literary figures, and Hugh MacLennan: A Writer's Life was her first book. (The biography was nominated for a Governor General's Award that same year.) She followed it up with, among others, biographies of Irving Layton (1985), Robertson Davies (1991), and Earle Birney (1994). In 1997, her memoir No Previous Experience: A Memoir of Love and Change won a W. O. Mitchell Literary Prize.

– Kevin Courrier.

Here is the full interview with Elspeth Cameron as it aired on CJRT-FM in 1981.

Poetic Absurdity: The Genius of Beatrice Lillie

Beatrice Lillie (aka Lady Peel) in Exit Smiling (1926).

There’s a tradition of eccentric English actresses who made improbably triumphant careers for themselves in the twentieth century. One was the great high-comic technician Gertrude Lawrence, who couldn’t sing a note without quavering yet became a musical-comedy star, performing songs by Noël Coward, Cole Porter, the Gershwins and Rodgers & Hammerstein. Another was Margaret Rutherford, who embodied a kind of British dottiness – an unassailable uprightness and forthrightness, like that of a nanny shepherding her charges through the park – even when she was playing Agatha Christie’s sleuth Miss Marple. But my favorite was Beatrice Lillie, who was born in Toronto in 1894 but became a star in the West End twenty years later and performed on stage and occasionally in movies and on television for just over half a century. (Her final appearance was in the ill-advised 1967 musical film Thoroughly Modern Millie, in the role of the white-slaving villainess Mrs. Meers. It was hardly a worthy valedictory, though she did get to wear chopsticks in her beehive hairdo and execute a modest tap dance to get a stubborn elevator moving.) Canadian she may have been by birth, but no one could have captured so acutely a specifically English brand of silliness, though possibly the fact that she was officially an import from elsewhere in the Dominion may partly explain the fact that her portrayal of English aristocratic hauteur was always parodic – even though in real life she married a baronet (she was Lady Peel) and lost a son, a naval officer, in World War II.

Stripping Away the Cobwebs from Castle Bran

Bran Castle is situated on the border between  Transylvania and Wallachia.

Castle Bran, purportedly the inspiration for Castle Dracula in Bram Stoker’s 1897 classic Dracula, is less than 200 kilometers from Bucharest. On a major holiday weekend in August, our tour bus set out from the capital to drive us through Transylvania to this magnificent thirteenth-century edifice, whose foundation seems an extension of the rocky ground with a palace emerging from it. Unfortunately, Romanians gathering from near and far blanketed the mainly two-lane highway, preventing us from reaching our destination until early evening. Nonetheless, I was excited to visit this historic site that has spawned so many misconceptions. While our guide – one of the best during the tour – rightly acknowledged that Stoker never visited Transylvania, then part of the Austrian-Hungarian Empire, and that the connections between Bran Castle and Stoker were tenuous at best, he did think that the fortress Poenari, 200 kilometers away in Wallachia, the domicile of Vlad Tepes, the fifteenth-century Wallachian ruler, was associated with Stoker’s novel. While he was right about the one-time owner of Poenari, he was wrong about its link with Dracula. His mistake is understandable given the plethora of disinformation about the subject.

Man of a Thousand Faces: Eric Clapton Crossroads (1988)

Back in 1970, when Eric Clapton ducked for cover under the name Derek and the Dominos, he actually revealed more of himself than he had earlier in his best music with The Yardbirds, John Mayall and Cream. On the album, Layla and Other Assorted Love Songs, the passion that drove his voice and his playing also had the element of losing control – as he did playing "Crossroads" with Cream on Wheels of Fire – where the music took hold and pulled him kicking and screaming into its tumult. Since Clapton's addictions, I believe, emerged from that plunge into desperate pleasure, it didn't surprise me that as he tackled the substances, the substance of his music became more careful and craftsman lite. While there may indeed be legitimate reasons for not touching the flames that ignite both your follies and your genius (after all, Derek and the Dominos were decimated by drugs and self-destruction), it may be that Clapton never really had a fully defined personality, a self that might have carried him through his addictions without letting him lose his spark.

Neglected Gem #106: Bad Timing (1980)

Art Garfunkel and Harvey Keitel in Bad Timing (1980).

The feeble pun of its title is the least of several apparent strikes against Bad Timing, the once-controversial psychological thriller directed by Nicolas Roeg. (At one point it carried the subtitle A Sensual Obsession, which didn’t help.) Among its other off-putting elements are dialogue that often evokes bad New Yorker fiction; a soundtrack which, while wide-ranging (Pachelbel, Tom Waits, Billie Holiday, Keith Jarrett, The Who, Harry Partch), is intrusively, even obnoxiously, employed; and a star, Art Garfunkel, whose presence places a question mark at the center of the movie. But for all that, Bad Timing is gripping and lasting, a steel trap whose fingers close slowly but surely. Roeg’s choices, though they often jar against the unwritten rules of psychological thrillers, dramatic realism, or simply agreeable narrative, never feel confused or hedged. The movie knows what it is doing; you may take it, leave it, or, like me, come back every few years to look again.

Partners in Quick-Time – Uncharted: Lost Legacy

Nadine (Laura Bailey) and Chloe (Claudia Black) in Uncharted: Lost Legacy.

Uncharted: Lost Legacy is the result of developer Naughty Dog's making a ton of money on Uncharted 4: A Thief’s End and deciding to keep that money train a-rollin’, despite the fact that they had publicly declared it to be the final game in the series. You can’t argue with clear market demand, and though the curtain had fallen on Nathan Drake’s personal saga, it was fairly unsurprising to learn this past June that a fifth Uncharted title was in development – this time centering around Chloe Frazer (Claudia Black), treasure hunter and erstwhile Drake love interest. Lost Legacy is a fully stand-alone side story about Frazer teaming up with mercenary Nadine Ross (Laura Bailey) to find an artifact called the Tusk of Ganesh in wildest India and prevent a political fanatic from sparking civil war. It makes determined efforts to function as its own game, whose success doesn’t depend on the famous series protagonist – and at that, at least, it succeeds.

Fleetwood Mac, the Time Ghost: Rumours Turns 40

Fleetwood Mac (circa 1968): John McVie, Danny Kirwan, Mick Fleetwood, Peter Green Jeremy Spencer.

“The past isn’t dead. It isn’t even past.” – William Faulkner

“Don’t stop thinking about tomorrow.” – Christine McVie

The recent release of a new duo album by Lindsey Buckingham and Christine McVie is a good opportunity to re-examine the long strange trip of the phenomenal pop band they belong to. Fleetwood Mac was originally formed in 1967 by Peter Green, but Christine Perfect-McVie had already been on the scene in her own remarkable British blues band, Chicken Shack, even before her talented husband became the stellar bass player for one of the most successful rock outfits in music history. 

It’s hard to believe that it’s already been ten years since I published my book on the weird evolutionary leaps of Fleetwood Mac from gritty British blues to shiny Californian pop and yet, incredibly, it’s true. Back then, in 2007, it was the band’s 40th anniversary, hence my title 40 Years of Creative Chaos, and now suddenly I’m having to try and convince my publisher that they definitely deserve a 50th-anniversary update to their twisted saga. I suspect my editor can barely believe that they’re still together, despite the fact that Stevie Nicks has made one of her frequent departures to pursue her solo muse (herself) and Lindsey Buckingham has released an eponymous duet with the other sultry blonde in the group, my far-more-favourite British blues chick turned pop-diva, Christine McVie.

Even more incredibly, or at least ironically, Fleetwood Mac is being given a special award next year which cements their acclaim in even more glowing terms: the Recording Academy’s 2018 MusiCares Person of the Year, an honour that will be extended to the veteran rockers in conjunction with the 60th Grammy Awards. Amazingly, the Grammys themselves are only ten years older than this stalwart but grizzled crew of pop wizards. The award singles out musicians both for their artistry and for their frequent philanthropic contributions, with previous recipients including Dylan, McCartney and Stevie Wonder.

Hitting the Jackpot: Guys and Dolls at the Stratford Festival

Evan Buliung (centre) with members of the company, in Guys and Dolls at the Stratford Festival. (Photo: Cylla von Tiedemann)

Let there be no confusion. In Guys and Dolls, the Pulitzer Prize- and Tony Award-winning musical at Canada's Stratford Festival until the end of October, men are men and women are, well, the dolls in the musical comedy Jo Swerling, Abe Burrows and composer-lyricist Frank Loesser created almost 70 years ago when gender identity, sexual orientation and gender expression were a whole lot less complicated than they are today. Based on newspaper man Damon Runyon's 1930s collection of short stories about the denizens of New York's Depression-era underworld, the show is a throwback. But a rollicking one that makes no apologies for wanting to revel in stereotypical portraits of gangsters, gamblers and showgirls with seam-stockinged gams.

Prince of Broadway: Overstuffed and Undernourished

 Karen Ziemba, Emily Skinner, Chuck Cooper and Tony Yazbeck in Prince of Broadway. (Photo: Matthew Murphy)

The new revue Prince of Broadway, built around the career of Harold Prince, is like an all-you-can-eat buffet at a mediocre restaurant. It runs just over two and a half hours and contains thirty-five songs from sixteen musicals (plus a finale, “Do the Work,” written especially for the show by Jason Robert Brown, who also contributed arrangements and orchestrations), presented in mostly tepid reproductions intended to conjure up the feel of their sources, one after another. (Susan Stroman, who co-directed with Prince and choreographed, has barely left her mark on them.) The entire project is misconceived. It makes sense to plan an evening around the work of a theatrical artist whose work is distinctive and unified; that’s what the joyous 1999 Fosse! did, and Ain’t Misbehavin’ and several Stephen Sondheim revues. But you can’t get a sense of the shows Prince has directed by restaging numbers from them: a pair of singers in working-class Victorian costumes standing in front of a flat don’t suggest the spectacle of Sweeney Todd (1979) and eight actors in shtetl garb dancing briefly across the stage of the Samuel J. Friedman Theatre are more like a parody of Fiddler on the Roof (1964) than an evocation of it. You’d need the original set designs and, more importantly, the original performers to provide any indication of what these musicals meant. Prince of Broadway doesn’t even distinguish between the shows Prince directed and the ones he only produced, like Damn Yankees (1955), West Side Story (1957) and Fiddler – as if there were no difference between what directors and producers do. In a lengthy program note, Prince credits dozens of collaborators, yet the revue implicitly tells us that he was the creative force behind every one of these shows, even when other people devised their staging and helmed their rehearsals. This is a vanity production that verges on the delusional.

Another America: Remembering Dick Gregory 1932-2017

I arrived home this past week from a short holiday in Florida to the sad news that activist and comedian Dick Gregory had gone to spirit at the age of 84. Although in recent years, Gregory existed more on the periphery of mainstream culture, a barely remembered figure of an earlier era of Civil Rights reforms and anti-war ferment, he was nevertheless still being sought out by eager young videographers who'd visit his home as if on a pilgrimage. With the goal of consulting with a famous relic of another America, they sought him out for help in making sense of the current one. But often the Gregory you'd find on YouTube of their quests from those endless sojourns was a ranting hermit caught up in Truther campaigns who saw conspiracies in everything including "faked" moon landings, 9/11, Prince's death (which he believed was murder), the Rodney King beating tapes (the C.I.A. and the Australian "secret police" were behind the people who filmed it), Bill Cosby being framed for sexual assault because he was attempting to buy a major media company, etc. Yet Dick Gregory's flights of fantasy, often painfully funny to watch (especially since his proteges didn't possess his knowledge and experience of history), did little to diminish his authenticity as a powerful advocate for justice. Whatever outlandish tale Gregory would tell those budding militants, he seemed to speak for the idea of a country that they felt was in jeopardy of disappearing, and it was that very notion of a nation, containing a citizenry that he was once a prominent part of, that these willing apprentices appeared to see rapidly vanishing before their eyes. The fact that Gregory died as white supremacists and American Nazis marched freely and candidly in Charlottesville makes their view even more vividly painful to consider.

The Beat Beneath Your Feet: A Conversation with Lindy Hop dancer Nancy Hitzig

Nancy Hitzig & Carl Nelson (photo by Jess Keener)

The Lindy Hop is wildly acrobatic, fun without gravity. But there is an underlying political dimension to the dance that swings. Born in Harlem at the Savoy Ballroom in the 1920s and practiced throughout the 1930s, Lindy Hop was among the first American social dance forms to bring whites and blacks together for a common cause: the beat beneath your feet. Named for Charles Lindbergh, the legendary aviator whose aerial feats the dance emulates with spectacular air steps, Lindy Hop sparked a cultural revolution back in the day, a subject explored by Alive and Kicking, the 2016 dance documentary examining Lindy’s revival in the disaffected 21st century. The energy is today as manic as ever, but with a whole new set of controversies fuelling the fire. As Toronto-born, London-based Lindy Hop dancer and teacher Nancy Hitzig, a participant in the upcoming International Lindy Hop Championships taking place this week (Aug. 24-28) in Washington, D.C., explains, touch dancing remains as contentious today as it was during the Great Depression.“The basic lead and follow structure of Lindy establishes a conversational connection, making it incredibly complex,” says Hitzig who, in January, will present original choreography she has created for Lindy at The Rag Factory, an intimate performance space on London’s Liverpool St. “But in what other environment do you get to have an informal, but structured conversation with a stranger? In what other environment do you get to hold another human being in your arms in a carefree but respectful way?”

War for the Planet of the Apes: World of Wonder

This review contains spoilers.

The beginning of War for the Planet of the Apes, in which U.S. soldiers attack apes on horseback on a wooded hill, has the breadth and specific detail, the terror and excitement and pathos, of a classic battle sequence by D.W. Griffith. Like the opening scene of the last movie in the series, Dawn of the Planet of the Apes (2014), where apes on horses hunt down a herd of deer, it’s sumptuously shot and grippingly edited, and its bold visual conception is thrilling. (The cinematographer, Michael Seresin, and the editors, William Hoy and Stan Salfas, all worked on Dawn as well.) Matt Reeves, who helmed both these movies, directed a variety of TV episodes before making his first picture, Cloverfield, nine years ago; at fifty-one, he’s too old to be called the best young filmmaker in America, but since War is only his fourth picture it’s tempting to think of him that way. (After Cloverfield he made Let Me In, the remake of the Swedish child-vampire film Let the Right One In.) He’s a master storyteller and an ace director of actors, and unlike most of our filmmakers, who think only in terms of images and effects, Reeves thinks in terms of complete sequences. That’s not to say that he can’t dream up beautiful, memorable images as well and frame them magnificently: he has a remarkably sophisticated sense for the tension between foreground and background, periphery and center. And he imbues his sequences with so much feeling that you walk away from both his Apes movies shaken up.

Glitterbomb: Valerian and the City of a Thousand Planets

Dane DeHaan and Cara Delevingne in Valerian and the City of a Thousand Planets.

Valerian and the City of a Thousand Planets wasn’t that a hard a sell for me. I’m drawn to outlandish action sci-fi fantasy like a moth to a flame – the weirder and more wondrous the better. But it’s easy to get burned that way, so it’s common these days for me to feel a twinge of excitement when I see a name I like attached to a project, and then immediately quash that excitement with a sober examination of the facts. Watching the trailer for Valerian was like being a juror in the Film Court of my mind. Points in its favour: Luc Besson is clearly back in Fifth Element mode; it stars Cara Delevingne; it looks colourful and vibrant; it’s not based on an existing property that’s been milked bone-dry. Points against: Besson hasn’t made a decent film since the mid-90s; it also stars Dane DeHaan; the visuals look to be heavily reliant on airy CGI; the source material looks trite and derivative. The Film Court ruling was clear: perform two hours and fifteen minutes of public service with minimum expectations (bail to be set at non-3D prices).

If it please the court, I will present my findings herewith.

Newman, Kronos and Presley: Americana On Both Sides

“Welcome, welcome, welcome . . . ," sings Randy Newman like a midway barker inviting us into his tent for a little sermon on the current state of mankind. Dark Matter (Nonesuch) is Newman’s 11th studio album of original songs and one of his most musically ambitious. The record opens with “The Great Debate,” an elaborate piece featuring a cast of characters in a musical battle among climate change, evolution and dark matter. The song is full of Newman’s sarcastic wit about scientists and religious fanatics juxtaposed with the power of gospel music, and, like much of this new album, it swings. By the end of "The Great Debate,” he settles for divine providence -- “Someone is watching me . . . " -- as the angels applaud. Dark Matter isn’t a concept album per se; it’s simply a set of interesting topical songs reflecting Newman’s current observations. Yet even a song about the 1962 Cuban missile crisis featuring John and Robert Kennedy, called “Brothers,” only seems out of place until we realize that the president is more interested in saving Celia Cruz than in a Russian blockade. And speaking of Russians, “Putin” stomps in with Newman’s acid tongue in full force, only to be calmed by the beautiful orchestration behind “Lost Without You.” On this record, one of his best in years, we get a fair share of satire, mockery and beauty all soaked in Newman’s unique sense of Americana, a gumbo of jazz, gospel and revivalist choirs.

Always Bet on Red: Amazon's Comrade Detective

Corneliu Ulici and Florin Piersic Jr. in Comrade Detective.

"You don't become a good Communist by going to meetings or memorizing the manifesto. You do it on the streets. You do it with your fists. The rest is bullshit and you know it."

This is how we are introduced to Detective Gregor Anghel, one of Bucharest PD's finest and the man at the centre of Amazon's mind-bending new buddy-cop satire, Comrade Detective. Hardened by the mean streets of Bucharest, cigarette in hand and draped in a leather jacket, Anghel is a cop who plays by his own rules – at least when he's not quoting from The Communist Manifesto or testing his tactics against the simple mantra: "What would Lenin do?" (before concluding firmly: "Lenin would fuck him up!").

Created by Brian Gatewood and Alessandro Tanaka (the team behind NBC's short-lived Animal Practice in 2012, and currently working together on Andrew Dice Clay's Dice on Showtime), Comrade Detective begins straightforwardly enough, with Channing Tatum and Welsh journalist and author Jon Ronson sitting side by side in a screening room, Siskel & Ebert-style. Tatum flashes a gorgeous smile and together with Ronson they set up what we are about to view: a Communist-era Romanian television series from the '80s, dredged up from the archives, remastered, dubbed into English and now ready for its Western debut. Of course, none of that – except for the dubbing – is true. But it is begging to be believed.

Bad Behavior: The Treatment, Gloria, Ink

Aisling Loftus in The Treatment at the Almeida Theatre in London. (Photo: Marc Brenner)

London’s Almeida Theatre revived Martin Crimp’s 1993 play The Treatment in late spring, and I was lucky enough to catch it before it closed. Crimp’s plays are unfamiliar to North Americans, but this is the work of a very gifted playwright – an absurdist comedy roughly in the style of Harold Pinter, but funnier and more sly. Lyndsey Turner’s first-rate production showcased those qualities. In New York City, a young woman named Anne (Aisling Loftus) answers an ad to tell her story to a husband-and-wife producing team (Julian Ovenden and Indira Varma) who are on the lookout for promising film properties. As Anne relates a bizarre tale of a husband who locked her in their apartment, tied her to a chair and gagged her, Jennifer, the female half of the team, adds her own commentary, subtly changing the story to make it more camera-worthy. As the project acquires a screenwriter (Ian Gelder) and a star (Gary Beadle), it undergoes more alterations. Everyone has his or her own take on Anne’s story, including the young intern (Ellora Torchia) in the production company office who winds up playing the leading role in the movie. Eventually we realize that everyone – including Anne – is operating in an entirely self-serving mode, except, ironically, for her notorious husband Simon (Matthew Needham), who is crazy and violent but not toward her, and who is devoted to protecting her from a crazy, violent world. There are no reliable versions of the narrative; everything’s up for grabs, including the truth about whether Anne or Simon is the controlling figure in their marriage. Turner had an excellent cast, including Ben Onwukwe as a blind cab driver and Hara Yannas, doubling as a waitress and a madwoman; Varma, memorable as Ann in the Simon Godwin’s production of Man and Superman at the National, was the standout.

Recent Nordic Noir in Print and Television, Part Two: Finland

Ville Virtanen in a scene from the Finnish television series Bordertown, currently available on Netflix.

Part One of this piece, which looked at recent Icelandic work, was published here on August 8.

Readers of Nordic noir may not have had much exposure to Finnish authors writing in the genre. This may owe in part to the lack of English translations but the oversight is gradually being remedied. Kati Hiekkapelto is a Finnish writer whom I have recently encountered and based on her latest, The Exiled, the third book in her series about Anna Fekete, and her previous foray, The Defenceless (both published by Orenda Books in 2016 and 2015), she is a writer who will likely acquire a larger profile. I have not yet been able to access her debut novel, The Hummingbird.

A Lighter Company at Barrington Stage

Aaron Tveit (right) and the cast of Company at Barrington Stage. (Photo: Daniel Rader)

To say that a production of a Stephen Sondheim musical treats the material like sketch comedy would normally constitute an insult towards that production and its creative team. However, in the case of Barrington Stage’s version of Company (1970), which stars Aaron Tveit as the only single man among his group of married couples, it’s a savvy move that undercuts the over-the-top reverence that threatens to turn this flawed but often enjoyable show into an unbearable slog. 

Neglected Gem #105: Made for Each Other (1971)

Joseph Bologna, Renée Taylor, and Paul Sorvino in Made for Each Other (1971).

THEDA: Read Melanie Klein. They say Sigmund Freud is the father of psychoanalysis . . . Well, Melanie Klein is the mother.
VITO: And who are you, the cousin?
– Renée Taylor and Joseph Bologna, It Had to Be You (1981).

When Joseph Bologna died this week at the age of eighty-two, the obit writers quite reasonably showcased his uproarious performance as King Kaiser, the TV comedy star modeled on Sid Caesar in the 1982 movie My Favorite Year. But though Bologna was a prolific character actor with a long string of credits, much of his energy went toward the writing he did with his wife Renée Taylor for the theatre, movies and TV, beginning with the comedy Lovers and Other Strangers in 1968. That play, a series of sketches on the relationships between women and men, was reconceived as a movie two years later. In the film, the central event around which the action coheres is the wedding of a young couple (Bonnie Bedelia and Michael Brandon) who have, unbeknownst to their traditionalist parents, been living together for more than a year but are now experiencing eleventh-hour trepidation about tying the knot. It’s an entertaining picture with a remarkable cast – Gig Young, Bob Dishy, Richard Castellano, Bea Arthur, Anne Meara, Diane Keaton, Harry Guardino, Cloris Leachman, Marion Hailey and Joseph Hindy play the other characters – and it was the only script Bologna and Taylor produced that garnered much attention. Made for Each Other, about the Loony Tunes courtship of a pair of chronic losers and misfits, which they wrote and starred in the following year, didn’t make it onto many people’s radar in 1971 and it’s been forgotten, but I think it’s amazing – one of the few great comedies of its era. (You can view it complete on YouTube.)

Nuclear Waste: Atomic Blonde

Charlize Theron in Atomic Blonde.

David Leitch is uncredited as co-director of John Wick, when in fact both he and Chad Stahelski helmed the film. Leitch, a career stunt man with an extremely impressive resume (name an action blockbuster between 1998 and now; he was probably involved), was content to offer his action expertise on the Keanu Reeves sleeper hit while Stahelski – himself a stunt man-cum-filmmaker – handled most of the, you know, filmmaking. Now that I’ve seen Atomic Blonde, which Leitch directed by himself, it’s clear which half of that cinematic partnership provided the storytelling skill that made John Wick such a quality film. Hint: it was the other guy. 

Purveyor of Thresholds: Why Scott Walker Is God

"See the man with the stage fright
Just standin' up there to give it all his might.
And he got caught in the spotlight,
But when we get to the end
He wants to start all over again."

                                  – from "Stage Fright" by Robbie Robertson

Author Barney Hoskyns has rightly observed that though The Band’s leader Robbie Robertson wrote this 1970 song ostensibly about Bob Dylan, who had stopped touring live in the late '60s, it could also have been about the shy Robertson himself, who had experienced stage fright the year before during The Band’s first live concert. Naturally it could also be about any emblematic singer who has experienced what Levon Helm called “the terror of performing” or any person who, as William Ruhlmann once put it, has discovered “the pitfalls of fortune and fame.” And as the song itself declared so openly, “Since that day he ain’t been the same,” largely as a result of the personal price he had to pay for being able to “sing like a bird.”

But given the year, 1970, and given Scott Walker’s own notoriously famous stage fright (which was known to be almost paralyzing), I’ve always felt that the song especially captured some the core dilemma eating away at Walker himself. Like Dylan, who rejected both the trappings and the demands of celebrity after flying too high and too fast in the '60s, not to mention mangling his motorcycle, Walker also withdrew from the public eye after his own Icarus-like trauma: the discouragement he felt after his first four post-Walker Brothers solo records failed to meet his own exacting (and probably unattainable) expectations.

Podcast: Interview with Filmmaker Morley Markson (1988)

Former Black Panther Donald Cox in Morley Markson's Growing Up in America (1988).

From 1981 to 1989, I was assistant producer and co-host of the radio show On the Arts, at CJRT-FM (today Jazz 91.1) in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1988, one of those people was Canadian documentary filmmaker Morley Markson.

In 1971, Markson made Breathing Together: Revolution of the Electric Family, a documentary which interviewed prominent counterculture figures and social activists from the '60s, including Allen Ginsberg, Timothy Leary, Abbie Hoffman, Jerry Rubin, William Kunstler, and Donald Cox. When I sat down with Markson in 1988, his follow-up film Growing Up in America had just been released.

In Growing Up in America, Markson returns 18 years later to many of those featured in his original film and reflects with them on their impact and the current state of politics and culture in the United States. Considering the dark events of the past few days, it seems timely today to reflect on the larger sweep of American history, through the eyes of some of its most vocal and idealistic figures.

– Kevin Courrier.

Here is the full interview with Morley Markson as it aired on CJRT-FM in 1988.

 

More New Plays at Williamstown: Actually and A Legendary Romance

Joshua Boone and Alexandra Socha in Actually. (Photo: Daniel Rader)

Both these reviews contain spoilers.

The characters in Anna Ziegler’s two-hander Actually on the Nikos Stage at Williamstown Theatre Festival are Princeton first-year students who hook up in the first weeks of the fall semester and wind up sleeping together when both are considerably under the influence. Amber (Alexandra Socha) is a white Jewish girl who has never thought of herself as especially pretty or been especially popular; her high school experimentation with sex was mostly an attempt to avoid the embarrassment of getting to the end of senior year with her virginity intact, and the boy who initiated her, her best friend’s brother, was aggressive and insensitive. Tom (Joshua Boone) is African American, charming and sexually experienced, and hides his own insecurities under a façade of cockiness. When he shows some interest in Amber, she can’t believe her good fortune, and Tom, always eager for sex but not seeking a relationship, is surprised at the tender feelings she generates in him. But when they go to bed her finely tuned radar picks up something off in his behavior, and she finds the sex too rough. What happens then is unclear since their recollections are different. But after the fact she tells her friends that he “practically raped her” and they encourage her to lodge a complaint. Both students end up in front of a faculty board on sexual misconduct. Actually is mostly a set of intercut monologues in which each of the characters presents a self-portrait while narrating the story of their interaction; only in the opening minutes of the play and in the final scene do they talk to each other, aside from a heated moment in their relaying of the events of the night in question, when they quarrel over exactly what happened.

Dance of the Dispossessed: Bangarra Dance Theatre's Bennelong

Bangarra Dance Theatre performing Bennelong. (Photo: Vishal Pandey)

Even non-Australians are familiar with Bennelong Point, a former tidal island in New South Wales that since the early 1970s has served as the home of the Sydney Opera House. Architect Jørn Utzon's sculptural design, inspired by a segmented orange but looking more like the white sails of the convict ships that first landed at this very location in 1788, has made Bennelong Point internationally famous as a World Heritage Site. More than eight million international tourists visit the promontory each year, participating in a sort of pilgrimage of high Western culture.

The building is so strikingly innovative that few notice the layers of history lying underfoot in the surrounding stones. Bennelong Point is so named because this is where once stood the brick hut occupied by an Aboriginal man born of the Eora clan in 1764. It had been built for him by the British, who founded a penal colony on his ancestral lands. His name was Woollarawarre Bennelong and, more than 200 years since his death in 1813 in the nearby suburb of Putney, he has returned to the place that bears his name to retell his story.

Directly assisting in his resurrection is Stephen Page, artistic director and chief choreographer of Sydney's Bangarra Dance Theatre, the critically acclaimed Aboriginal and Torres Strait Islander company which has been seamlessly blending indigenous storytelling traditions with modern dance technique and contemporary movement styles for the past 28 years. Bennelong is Page's latest creation and it dynamically recounts the life story of the first indigenous Australian to forge an alliance with the Europeans.

A Ghost Story and Dunkirk: Failed Experiments

Casey Afflect and Rooney Mara in A Ghost Story.

A Ghost Story is an experimental film embedded in a commercial feature. An unnamed couple (the credits list them as "C" and "M"), played by Casey Affleck and Rooney Mara, lives in a house that appears to be haunted; as they’re about to move out, C (Affleck) dies suddenly. The rest of the picture is from the point of view of the ghost who rises from his body in the hospital morgue. The movie’s subject is time, and we experience it as the ghost does, hovering in the house (in the classic mode of a specter in a sheet with holes for eyes) as M grieves and then takes up her life again and departs; as another family – a Hispanic single mother and her two young children – move in and then, spooked by the ghost’s announcement of his presence, move out again; as the house becomes dilapidated and is razed to the ground (along with the one next door, inhabited by its own ghost); as the land is taken over by an office building and the neighborhood becomes a gleaming cityscape. Then time reverses itself, taking us, with the ghost, back to the first settlers in this (unspecified) area, a farmer and his family, who are killed by Native Americans. Eventually the movie catches up to itself and we return to the first scenes between C and M, only now we see them from the perspective of the ghost, who has been there all along. (The noise that alarmed them in bed and brought them into the living room at the beginning of the picture turns out to be the sound of the ghost plunking on their piano.)

Orthodox Views: Menashe, The Women’s Balcony and The Wedding Plan

Menashe Lustig and Ruben Niborski in Menashe.

It’s probably a bit ironic that, of late, movies about Orthodox Jewish communities in America and Israel (Holy Rollers, Ushpizin, Fill the Void) have been popping up on our movies screens, made by both secular and religious filmmakers. I say ironic because unless they get dispensation from their rabbis, Orthodox Jews won’t go see any of the movies even if they're interested in doing so. Yet their closed-off and rule-driven world will likely continue to be fodder for directors who find them to be fascinating subjects for the cinema. Three new movies offer proof positive of that curious view.

Like A Midnight Cowboy: Glen Campbell, 1936-2017

Glen Campbell performing on the BBC in 1970. (Photo: Michael Putland/Getty/Hulton Archive)

It wasn’t shocking to hear, two days ago, that Glen Campbell had died: for nearly a decade, he had been making highly public acknowledgements of his affliction with Alzheimer’s disease. Rather than lachrymose interviews or TV appearances, these mostly took the form of actual work. A worldwide concert tour spanned August 2011 to November 2012; referred to variously as “Good Times – The Final Farewell Tour” and “The Goodbye Tour,” it couldn’t have been more upfront about its theme and raison d'être. I’ll Be Me, a documentary about the tour and about the disease, premiered on CNN in 2014. Campbell’s last three studio albums – 2011’s Ghost on the Canvas, 2013’s See You There, and this year’s Adiós – were concerned entirely or partially with the singer’s contemplation of his own looming mortality. These years and works amount to a concerted resistance against dissolution and death, and they comprise, whatever their artistic results, an exemplary final act.

Pink Floyd Redux: The Piper at The Gates of Dawn

Pink Floyd (left to right): Nick Mason, Syd Barrett, David Gilmour, Roger Waters, and Richard Wright.

Fifty years ago, Pink Floyd emerged from the underground music scene of London's Soho district and released their debut album, The Piper at The Gates of Dawn (Columbia/EMI). The band played the UFO club (pron. YOU-faux) under the steady guidance of Joe Boyd, the American owner of the venue, who said they “engrossed” the crowd every night, not by playing dance music or pop songs but adding a light show to complement their improvisational sets. It was a band trying to find their sound with a slightly flamboyant front man by the name of Roger “Syd” Barrett.

Listening again to this album I’m struck by its enthusiasm and promise, but it’s difficult to ignore the simple fact that this handsome lad from Cambridge, Barrett, who had taken his first LSD trip in 1965, eventually got lost in the shuffle because of his addiction. By the end of 1967, he was persona non grata in Pink Floyd since his habit made him too unreliable to the other members of the band. As Boyd reports in his autobiography, “One evening in May [1967] I ran into Syd and his girlfriend in Cambridge Circus . . . [He] was sprawled on the [curb], his velvet trousers torn and dirty, his eyes crazed. Lindsey told me he’d been taking acid for a week.” When the album was released and Pink Floyd had a gig at UFO, Boyd saw the band just before they went on stage: “Syd’s sparkling eyes had always been his most attractive feature but that night they were vacant, as if someone had reached inside his head and turned off a switch.”

Recent Nordic Noir in Print and Television, Part One: Iceland

A scene from the Icelandic television series Trapped, currently streaming on Netflix.

Arnaldur Indridason is one of the most acclaimed Icelandic writers of police procedurals for his novels about Detective Erlendur, a brooding, lonely officer who is tormented by ghosts from his past: the disappearance of his younger brother, a failed marriage and two children whose lives have been scarred by drugs. Fittingly, he investigates a number of cold cases. One of the best Erlendur books, The Draining Lake (2009), begins with a discovery of a corpse that has a bullet in his head in a lake where the water level has dropped in the wake of an earthquake. Erlendur’s investigation takes him back to the time of the Cold War when bright, left-wing students would be sent from Iceland to study in the “heavenly state” of Communist East Germany.

Indridason has recently decided to put the Erlendur series in a deep freeze while he pursues another project. Making connections between the past and the present is a driving impulse of The Shadow District (Harvill Secker, 2017), the first of a projected trilogy that is set in wartime Iceland after the war, and in the present. A young girl is found murdered by an Icelandic young woman and her American beau behind the National Theatre in Reykjavík in 1944, a frequent site for trysts between local girls and foreign troops when the country was occupied by British and American forces. Two officers investigate: the more experienced Flovent and his young partner, Thorson, a Canadian with Icelandic roots. The two officers are conscientious investigators who ultimately arrest a student of Icelandic folklore for her murder and the disappearance of another young woman three years earlier who may have been driven to her death by a local folklore story. Unfortunately they botch the case when the accused is under their care, and that and external pressure cause the investigation to be officially closed. But the case shadows the two men for the rest of their lives. Thorson is so dissatisfied that he returns to Iceland after the Second World War, hoping that some new clue will turn up.

A Fresh Prince: Robert Icke’s Hamlet

Andrew Scott as Hamlet in Robert Icke's production of Hamlet. (Photo: Manuel Harlan)

Robert Icke’s new Hamlet, which began at London's Almeida Theatre (where he is artistic director) and moved to the West End in June, is elegiac, cerebral, mysterious. The designer Hildegard Bechtler’s palette is understated – blacks and whites and browns, silvers and grays. During the wedding party Claudius (Angus Wright) and Gertrude (Juliet Stevenson) dance among their guests beyond an upstage scrim that simultaneously reflects Hamlet (Andrew Scott) approaching Ophelia (Jessica Brown Findlay) downstage: as anyone who was lucky enough to see Icke’s 2015 Agamemnon (with Wright as Agamemnon) knows, he loves doubling and echoes, and throughout this production he juxtaposes the two couples, both passionate, in suggestive, surprising ways. Bob Dylan’s voice murmurs on the soundtrack, his deceptively monochromatic drone veiling delicate whorls of phrasing and depth of feeling. (The play begins and ends with “One More Cup of Coffee.”)  In this contemporary setting, Elsinore Castle is lined with video monitors; the motif of electronic visuals – the Ghost (David Rintoul) makes his first appearance on one, spotted by Horatio (Joshua Higgott) and the palace guards in the control room; Fortinbras (Nikesh Patel) communes with the king through an exterior video camera; Hamlet and Horatio shoot “The Mousetrap” so that they can review it afterwards for signs of Claudius’s guilt – is, of course, partly about the omnipresence of surveillance. Other twenty-first-century Hamlets have explored this theme (Michael Almereyda’s 2000 movie version with Ethan Hawke, to pick one particularly effective example) but Icke is more concerned with the ghostliness of digital imagery, which builds on the doubling motif to investigate the idea of meanings hidden beneath the surface of the everyday. It’s this supernal quality that especially distinguishes Icke’s from other modern approaches to the play: there are hints of surrealism and neo-romanticism.

Music to the Ears: Metal: A Headbanger's Journey (2005), The Devil and Daniel Johnston (2005), Festival Express (2003) and Be Here to Love Me (2004)

Metal: A Headbanger's Journey (2005)

Since it's summer, and the sound of live music is always in the air, my mind immediately turned to some music docs that might add some flavour to the outdoor festivities. Cutting through any preconceived notions of (or prejudices toward) heavy metal music, Metal: A Headbanger's Journey is a pretty informative and entertaining crash course in the genre. Co-director Sam Dunn, who first got his eardrums thundering when he was a high school student, took his passion for hard rock into an anthropological field study of the dark lords of mayhem. Along with co-directors Scot McFadyen and Jessica Joy Wise, Dunn lays out the roots of the music, which he connects to a series of influences: the theatrical and romantic bombast of grand opera, the blues, and the very insolent, nose-thumbing qualities of rock itself. The filmmakers travel through America and Europe, following tours and talking to metal heroes from Rob Zombie to Black Sabbath lead guitarist Tony Iommi. They also examine the darker metal bands in Europe that deliberately play into parents' worst nightmares of hard rock as the product of Satan. Metal: A Headbanger's Journey tries to go further and explore why heavy metal is held in such disrepute, but here it fails: the filmmakers are fans before they are critics. To bring more depth to the subject, they would have to call into question some of their own darker impulses and attractions. Nevertheless, Metal: A Headbanger's Journey is an intelligent historical study of rock's loudest spectacle. (In 2007, they followed up with the more ambitious Global Metal, which showed the impact globalization had on the heavy metal underground.)

Making Formula Work: Recent Disney Films

Maui (voiced by Dwayne Johnson) and Moana (voiced by Auli'i Cravalho) in Moana.

At one point in Moana, Disney’s animated offering for the holiday season of 2016, the title character, voiced by Auli’i Cravalho, reprimands the demigod Maui (Dwayne Johnson) for referring to her as a princess. Unimpressed, Maui – indicating her clothing and dim-witted pet chicken Hei Hei – retorts, “If you wear a dress and have an animal sidekick, you’re a princess.” It’s a telling line: screenwriter Jared Bush & company are having a laugh at the expense of the traditional Disney formula and surreptitiously congratulating a certain segment of the audience for getting the joke, but they’re also acknowledging that, mutatis mutandis, Moana still fundamentally adheres to that formula.

As a father and uncle to young children, my moviegoing habits have of necessity included a heavy dose of Disney in recent years. However, I’ve been continually surprised, especially when considering these movies in conjunction with their parent company’s juggernaut Marvel and Star Wars franchises, at how consistent they are in terms of quality and style. Films from Disney’s various subsidiaries have dominated at the box office in recent years, especially since its acquisition of Pixar, Lucasfilm, and Marvel Studios. That matters, not least because the company’s success contributes to a larger phenomenon whereby blockbusters increasingly crowd out the sort of mid-budget, creatively adventurous work that used to lend added variety and excitement to the cinematic scene. (Meanwhile, low-budget indie projects increasingly seem to find their outlet on small-screen platforms such as Netflix and its competitors.) Despite dire predictions from the likes of Steven Spielberg and George Lucas a few years back, this top-heavy reliance on blockbusters hasn’t destroyed the movie industry yet, nor has it caused audiences to abandon theaters in disgust. Part of the answer may lie in that same formula that movies like Moana – as well as more recent offerings such as the recent live-action remake of Beauty and the Beast and Cars 3 – both rely upon and wink at.

Podcast: Interview with Filmmaker Mira Nair (1988)

A scene from Mira Nair's Salaam Bombay! (1988).

From 1981 to 1989, I was assistant producer and co-host of the radio show On the Arts, at CJRT-FM (today Jazz 91.1) in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1988, one of those people was film director Mira Nair.

When I sat down with Nair, her debut feature film Salaam Bombay! was winning her praise worldwide. (In 2011, the film was included in The New York Times' s list of "The Best 1,000 Movies Ever Made.") She would go one to direct many more popular and acclaimed films, including Mississippi Masala (1991), Monsoon Wedding (2001), and most recently Queen of Katwe (2016).

– Kevin Courrier.

Here is the full interview with Mira Nair as it aired on CJRT-FM in 1988.

 

Love Craft: The Big Sick

Kumail Nanjiani and Zoe Kazan in The Big Sick.

The Big Sick, which chronicles a barely fictionalized version of the real-life romance between comedian Kumail Nanjiani (playing himself) and therapist/writer Emily V. Gordon (played by Zoe Kazan), has to be one of the best romantic comedies I’ve ever seen. Applying the label of that genre, and all the baggage that comes with it, feels wrong in this case, because part of what makes The Big Sick so brilliant are the ways in which it subverts and elevates the genre it belongs to. It’s a romantic comedy in the sense that it’s hopelessly romantic and ruthlessly funny, but it’s also much more than those surface-level elements, so I’m not sure what else to call it. I guess it’s enough to say that it’s one of the more finely crafted films, full stop, that I’ve seen all year.

Tomorrow Never Knows: The Private Music of Paul McCartney

Be prepared to be shocked. Paul McCartney considered as an avant-garde musician? As usual, truth is stranger than fiction, and certainly more interesting than myth. Thrillington, recorded in 1971, was merely the second of several secret identities that McCartney cleverly used to further his creative ambitions while still delivering the bright and shiny pop goods we have all come to identify with his illustrious name. The first persona was the world famous Sergeant Pepper, the second was Percy Thrillington, the third was the relatively unknown and more recent Fireman: all are reflections of the complicated artistic world of this highly innovative and experimental musician. Yes, that’s right, Paul is experimental. Even Thrillington, an orchestral concurrent rendition of his complete 1971 Ram album under a completely fictional composer’s name, is, in its own quirky way, a totally avant-garde experiment in anti-pop.

In a Groove: Revisiting High Fidelity (2000)

John Cusack as vinyl collector Rob Gordon in High Fidelity 

Chances are, if you've ever spent a great deal of time in a used record store (in the days when there were used record stores), you will probably recognize the crackpot characters that populate Stephen Frears's frisky comedy, High Fidelity. I would also venture to guess that you might see something of yourself in the adolescent obsessions on display – especially if you are a music enthusiast. Based on Nick Hornby's delightfully funny novel, High Fidelity is about how pop music might sow the seeds of love but can't bear the fruit to nourish and sustain our relationships.

Didacticism and Virtue at the Shaw Festival

Shawn Wright and Jeff Irving with the cast of Androcles and the Lion at the Shaw Festival. (Photo: David Cooper)

At every performance of the Shaw Festival’s production of Androcles and the Lion, George Bernard Shaw’s 1913 dramatization of the Aesop fable, a member of the audience is picked to play the lion. Other theatregoers who have been handed colored balls before the play begins are invited to throw them onto the stage at will, interrupting the dramatic action and prompting a variety of responses from the actors, who have to tell an anecdote or recite a section of Shaw’s preface to the play or share any thought that pops into their heads. This process is in the service of what Tim Carroll, the Shaw’s new artistic director, calls “two-way theatre,” which is intended to break down the barrier between the actors and the audience. Carroll directed Androcles, but his mission is visible in the productions he didn’t stage, too. In Wilde Tales, the lunchtime show, adapted by Kate Hennig from four Oscar Wilde fairy tales and directed by Christine Brubaker, children from the audience sit along the sides of the Court House stage with signs and other props; their participation is encouraged at certain points in the action. In Alan Bennett’s The Madness of King George, directed by Kevin Bennett (who trained with Carroll during his tenure as associate director at Shakespeare’s Globe in London), the house lights remain on during the performance and the cast interacts with members of the audience – especially those who are sitting right on the stage of the Royal George – just as actors at the Globe play up to those groundlings who have found standing room right below the thrust, within easy reach of the performers. Five of the six plays I saw at the Shaw began with a member of the staff – an assistant stage manager or head dresser or what have you – addressing the audience and providing some tidbits of information about his or her job.

Living Spaces: The Family Camera at Toronto's Royal Ontario Museum

The Dewan family visiting Niagara Fall, August 1980. (Photo courtesy of Deepali Dewan)

There is a fascinating photography exhibition at the Royal Ontario Museum (ROM) this summer with a partner site at the Art Gallery of Mississauga (AGM). The Family Camera is based on the premise that family snapshots play a key role in defining, celebrating and memorializing the idea of family, even if some of those photographs are missing. Many of them record the migration process to Canada of a wide variety of families, and the photographs have been taken not only in Canada but in countries from which the families have migrated. This is an exhibition that is rich in storytelling and history, large and small.