The Line, the Cross & the Curve

Kate Bush's longtime fans know that it's a mistake to expect conventional music from her (as everyone will be able to verify in the fall of 2005, when her first album in more than 12 years is scheduled to be released at last). It would be just as much a mistake to expect conventional film-making from her. Bush's music is often accessible, but don't look for linear narrative, expository dialog, establishing shots or even consistent angle of view. Kate Bush tells stories not directly, not rationally -- in other words, not from a distance. Rather, she lets her viewers experience her characters' situations from within the vertigo they themselves are experiencing. For example, during the section featuring the song "Moments of Pleasure," there are extended twirling shots done not for want of imagination (Kate Bush lacking imagination?!) but to reach intended expressive and dramatic ends while simultaneously paying tribute to past cinematic models (the most direct references are to the 1948 classic 'The Red Shoes,' by Michael Powell and Emeric Pressburger, the former of whom Bush befriended shortly before his death in 1990 and in honor of whom her attendant album of 1993 was named). When the camera twirls again at several other key points in the film, it becomes clear that camera movement has emerged as a new tool in Kate's rich, thematic symbol-language (the title refers to three slips of paper, each featuring a visual symbol, all fluttering in constant motion throughout the film). Likewise the lighting, costumes, sets, choreography, and dialog insinuate themselves impressionistically, subtly, allusively -- pointing the viewer gently toward unanswered questions, hiding within the glorious folds of Bush's musical cloak-of-many-colors. There is profound organized thinking in every frame of The Line, the Cross and the Curve, but it doesn't appear at first viewing. Fortunately, you don't need to look for clarity to appreciate Kate Bush's art: there's plenty of sheer entertainment value to be had found in the sublime riot of raw genius.

This film actually consists of music videos for the songs from Kate Bush's album "The Red Shoes" joined together with common characters and a plot. There is a lot of imagery and symbolism. Many of the images seem to be inspired by "The Wizard of Oz".

There are a couple of serious flaws here. Kate Bush does not appear to be comfortable in the role, and her acting is quite poor. Since she has been directing and acting in music videos since the 70's, it is disappointing that this is not her best work.

Miranda Richardson and Lindsay Kemp are wonderful and help the film along a great deal. The quality of costumes and special effects varies from excellent to horrible. In one scene, Kate's legs are possessed by the dancing red shoes and are actually a different person's legs. It looks fake, and it is puzzling if this is intended to be humor or simply poor quality.

The bottom line is that this film will appeal to Kate Bush fans because they (we) are very devoted. Fans are also aware of the deaths that occurred in her personal life that are symbolized in the film. But "The Line, the Cross, and the Curve" will never achieve the status of Pink Floyd's "The Wall" or anything like that.

This is Kate Bush at her best. Any Kate Bush fan will admit that most of her earlier videos (see "KATE BUSH: THE SINGLE FILE" (1983)), are basically Kate showing her unique way of dancing, but this video is where she really excels herself. Kate is practising to record her video of the 1993 single "Rubberband Girl", which is cut short when there's a power cut. When everyone has left, Kate is confronted by a strange woman who comes through the mirror (!), and begs Kate to help her get home - in return, she will give Kate her beautiful red ballet shoes. Kate accepts, but soon regrets when she herself is taken into the world inside the mirror - the woman double crossed her, because the shoes are eternal - the never stop dancing! The film then shows Kate trying to get home, while she sings some A+ songs like "Moments of Pleasure", the previously mentioned top-ten hit "Rubberband Girl", and "The Red Shoes", also the name of the album the video coincides with. Kate's acting may not be Oscar standard, but her ethereal beauty, the excellent music and the obvious fun she is having make you forget about that and enjoy the ride, and the acting is pretty good for a first performance. This is a fantastic idea, and should be adopted by more singers. Should appeal to ALL Kate Bush fans, music fans in general, and fans of films such as "WIZARD OF OZ" and "THE RED SHOES". Hopefully Kate will do this again if she does record another album! 10/10 :-)!

Some of the photography and such are very good in this, but Kate's lack of acting ability is apparent and startling in this -- much more so than was evident in her earlier videos.

Lovely to see this film during its short cinematic release in Poole Dorset. We had the pleasure of also seeing Kate's short filmlet Cloudbusting with this. Miranda Richardson is the only shining light, acting wise, although the music is glorious. Eat the music is my highlight, with Kate running through squishy fruit, and gradually getting whipped up into a frenzy, and eventually managing to reclaim the line, cross and curve (path heart and smile) needed to escape the trap that Miranda set for her. The tunnel sequence I believe, was shot in a disused section of the London Underground. Come back to us soon Kate, but PLEASE get some acting practice in first ;)