Month: February 2018

Ollie in the snow (photos)

~ beetleypete ~ 103 Comments


The shot above is Ollie racing ahead, excited by the deeper snow today.

It was still snowing on and off when we went out today. I had to fiddle with the exposure compensation on the Sony, as the brightness was fooling the meter. All photos are reduced files, but can be enlarged by clicking on them.

Beetley Meadows covered in the white stuff.

Ollie by the picnic benches.

Hoe Rough, looking across the river to Beetley Meadows.

The ‘Flying Flock’. These sheep are well camouflaged in the snow over on Hoe Rough.

Let’s hope that’s the last snow of 2018!

Winter arrives. Fashionably late

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Tomorrow is the first of March, so Winter has made an appearance in Norfolk, in case we were silly enough to be expecting Spring. After some light snow for two days this week, it finally got serious during the night. Still falling heavily as I type, and not much above freezing either. So, it is settling, and there is a good six inches or more on the cars, and covering the lawn.

As always, despite warnings of this avalanche from Siberia, this country cannot cope. All the major roads are closed, and most trains have been cancelled. People have been killed in road accidents, and we are advised not to drive anywhere, unless it is ‘essential’. Schools are shut too, as the ‘Health and Safety’ aspects make the authorities worry about children falling over. It doesn’t seem to occur to them that the children given a day off school will be falling over happily elsewhere, as they play out in the snowy countryside.

Just as well I went shopping on Monday. I doubt the online delivery services will be getting through to small villages. When you think of countries like Russia and Canada, coping with ten times as much snow and significantly lower temperatures, it does seem pathetic. In the 21st century, we are shut-in like medieval villagers, with walking the only option.

At least Ollie will enjoy the chance of a romp in the snow later.

Retro Review: if… (1968)

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At a time when street protests were all the rage in Europe, and British society was going through a period of great change, this unusual film was released in cinemas here. Directed by Lindsay Anderson, a one-time darling of the British New Wave Cinema, and starring many stalwart character actors, alongside some exciting new young discoveries, including Malcolm McDowell, in his first screen role. It lampooned the old Public School (read expensive private school) system in the UK, and injected the revolutionary spirit of the time too.

Set in a fictional boarding school, we follow the antics of a disillusioned trio of older boys who are all more than ready to rebel against the privileged system that they are a part of. The familiar hangovers of Victorian schooling are still there. Younger boys used as servants for the Prefects, and harsh corporal punishment dealt out too. Homosexuality is rife, and frustrated female staff feature, with one wandering naked around the school, when the boys are out.

Travis, Wallace, and Johnny are the truculent trio, opposing authority at every opportunity. They drink, they smoke, and even steal a motorcycle. On one of the jaunts, they meet a young girl working in a cafe. She joins their group, and it soon becomes apparent that there will be a clash between the stuffy staff with their allied compliant pupils, and the defiant group that refuses to conform. The catalyst for this is a brutal episode where the Prefects cane all three of the boys in the gymnasium. Following that incident, the girl arrives to help, and they find a store of military weapons, used by the school’s Officer Training Corps.

In the climactic finale, a gun battle ensues, with the rebellious group firing on the staff and pupils as they assemble for the annual Founders Day parade.

This film is deliberately surreal at times. Switching from colour to black and white for some sequences, and not shying away from sex and nudity either. (Which gained it an ‘X’ certificate) The soundtrack is superb too. I was 16 when I saw it at the cinema, and thought it was simply marvellous. It poked fun at everything I detested, and had a fantasy plot that I was attracted to, in every way. The supporting cast is top-notch, including such familiar British faces as Peter Jeffrey, Arthur Lowe, Graham Crowden, and Mona Washbourne. It won the Palme D’Or at Cannes in 1969, and has been hailed by the British Film Institute as one of the greatest British films of all time.

But I have to say that the last time I watched it on TV, around ten years ago, I wondered if it wasn’t past its prime…Here’s a trailer.

Retro Review: Jason And The Argonauts (1963)

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Long before the days of computers and green screens, when special effects had to be achieved using superimposed images, stop-motion models, and colour-changing imagery, I went to see an exciting new epic at the cinema. I was 11 years old at the time, and my parents promised me that I would enjoy the film they were taking me to see.

And they were right.

I didn’t care that some of the lead actors were dubbed into English. I wasn’t in the least bothered by the fact that no big Hollywood stars were on screen, though of course recognised some well-known British faces, like Honor Blackman, Nigel Green, and Patrick Troughton. This was the cinema experience at its best. Vivid colours, beautiful blue skies, legendary Gods and monsters, and wonderful music from Bernard Hermann filling the auditorium.

The story is a version of the search for the Golden Fleece, familiar from Greek Mythology. Jason is transported to Mount Olympus, and given an audience with the gods of Ancient Greece. He is commanded by Hera to find the Golden Fleece, and she tells him that he can call upon her help five times as he does so. Jason sets about finding the strongest and bravest men in the land to form his crew, with heroes competing to join him in the search.

Not long after they set off, they begin to encounter all sorts of dangerous events, and various villains and monsters. The huge metal statue Talos comes alive, and they have to fight desperately to overcome it. The ship is almost crushed by the terrifying Clashing Rocks, only saved by the appearance of the undersea god, Triton. Later, they have to fight off vicious flying Harpies too. Then the climactic ending, when the dastardly King Aeetes sows the teeth of the Hydra into the ground, and they grow into an army of sword-wielding skeletons who attack Jason and his men.

The stop-motion models of the legendary Ray Harryhausen bring all those creatures to life, and are a sight to behold, even now. The cast does a fine job of fighting thin air, looking genuinely terrified as they battle monsters that only existed once the effects were edited in. It won’t win any prizes for the acting of course, but this film is a fun and exciting sword and sandals romp for all ages, and I never tire of seeing it.

Significant Songs (168)

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God Gave Rock And Roll To You

In the 1960s, I used to really like a British group called The Zombies. Their keyboard player was Rod Argent, who also wrote many of their hit songs. After the band split up, Argent went on to form a new group, using his own surname for the name of it. With distinctive organ sounds, and cleverly-constructed songs, the new group attracted a large following, and success in the US, as well as Britain.

The sound was generally regarded to be in the genre of ‘Progressive Rock’ at the time, and the talented bunch of musicians manged to achieve huge sales, and were awarded Gold Discs. I wasn’t a fan at the start. I usually didn’t go for ‘anthem’ songs, and the sometimes ponderous organ and keyboard solos put me off too. But when this one came out in 1973, I could tell immediately that Argent had come up with a classic. It still sounds just as good today, and I always enjoy hearing it.

Thinking Aloud on a Sunday

~ beetleypete ~ 73 Comments

Internet TV.

Last March, I received a birthday gift from one of my step-sons. It was a small device called a NOW TV box, which allows the television to connect to the wi-fi at home, and use streaming services. At the time, we had a usage cap on our home broadband, with financial penalties for exceeding the allowance. So I put the box on a shelf in the office, and pretty much forgot about it.

Then we changed home phone providers, and opted for unlimited broadband, in an inclusive package with no extra charge. Once that contract was in operation, we could connect up the new box, and embrace the joys of Internet TV. Well, at some stage, anyway. Anyone who knows me will tell you that I am reluctant to get to grips with any new technology, and always expect it not to work.

The step-son who bought me the box last year is currently staying with us, so I was a little embarrassed when he discovered that I had not installed his kind gift. I hadn’t even unwrapped the box, to be honest. So yesterday afternoon, he suggested we set it up. I couldn’t very well say no, after it had lived on a shelf for eleven months, could I?

I was pleased to discover that it was tiny. Hardly larger than a packet of cigarettes, and connected to the TV with an HDMI cable supplied in the box. I am one for reading instructions, so sat down and looked at the small ‘how to’ sheet that came with it. I had to go online and set up a user account, before I could turn it on. Despite also coming with a voucher that gave me the first three months free, I had to add my bank card details too. They need those to claim any extra money I might spend, or to get a monthly payment if I don’t cancel after the three months.

Once I had the account, we switched on the box and started to go through the setup routine. This involved entering my account name and password, plus the code from the voucher, using the four-way pad on the remote control. I almost fell at the first hurdle with this, as heavy-handedness on my part meant that I misspelled my email address, and could find no way to get back into the system to correct it. Naturally, I flew into an unreasonable rage, calling the box makers all sorts of idiots for having a system that was so far from intuitive. Hearing my expletives, my stepson appeared from the kitchen, and quick as a flash he set the whole thing up. Well, he is half my age, and very used to electronics. That’s what I told myself, anyway.

The TV is now connected to the Internet. No Netflix, unfortunately, as I discovered they are a ‘competitor’, and require a different payment. But we have all sorts of pre-loaded box sets (mainly of shows I don’t want to watch) access to apps like You Tube, Google Search, and so on, as well as numerous television ‘catch up’ services, useful for when you have to miss one of your favourite programmes. I can also access sports and film channels, but I have to pay extra if I want those. A lot extra. It is also not compatible with my existing PVR, so can only be watched separately. In addition, you can’t record anything on ‘normal’ TV when you are watching it, as the receiver is turned to a different channel to view the NOW TV content.

This morning, I woke up wondering if I will ever get around to watching anything on it it. Once the free period expires, it is only £2 a week, a negligible sum. But I was happy enough before I had ever received it, and still didn’t have time to watch everything I wanted to see anyway.

But I am now in the 21st century at last, with a television connected to the Internet.

Isn’t progress wonderful?

Retro Review: Vanishing Point (1971)

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The same year as the lamentable ‘Straw Dogs’, I went to see this unusual American ‘road film’ at a cinema in East London. There had been a lot of ‘buzz’ about this film, and despite the low budget, and rather C-grade star, (Barry Newman) I had a feeling that it might be worth watching. It was only playing at one cinema by the time I got the chance to go, so I had to drive right across London from my usual South London haunts, to the Art Deco edifice that was the Odeon Cinema, Mile End. I dragged my then girlfriend along too, though I doubted it would interest her.

Barry Newman plays Kowalski, a Vietnam vet, former racing-car driver and police officer; a man drifting in life. He works in a job delivering cars to all parts of the United States, keeping himslef going over long distances by taking numerous ‘uppers’. Late one night, he arrives in Denver, and takes on the delivery of a car all the way to San Francisco, rashly betting that he will make the very long trip by the following afternoon, a day early. The car in question is a powerful Dodge Challenger 440, certainly fast enough for the job in hand. Leaving Denver and heading west, Kowalski embarks on an adventure that will bring him into contact with a disparate mix of individuals on the way.

He soon comes to the notice of the police, who attempt to apprehend him for driving at great speed. Managing to evade them, he becomes the subject of a widespread police manhunt, his progress followed closely by Super Soul, (Cleavon Little) the blind disc-jockey on Kowalski’s favourite radio station, K.O.W. Super Soul monitors the police radio, and begins to urge Kowalski to continue his escape, offering tips and advice live on air. His listeners get in on the act, and soon Kowalski is in danger of becoming a celebrity, with thousands following his progress around the south-western states of America.

Newman plays Kowalski as a man past caring. Disillusioned and bitter, his life seems to have come down to this rather pointless cat and mouse game with the authorities, who become more incensed, as they are unable to catch him. At one stage, he heads into the desert, where he is helped out by an old prospector, played by Dean Jagger. He also picks up some gay male hitch-hikers, runs into trouble from a man driving an e-type, and makes allies with some hippie bikers, who conspire to help him avoid the numerous police road blocks. Meanwhile, racist thugs attack Super Soul’s studio, furious that the man is helping Kowalski. I won’t ruin the ending with a spoiler, but suffice to say it is not what you might have expected.

At the age of 19, I thought it was great. The eclectic soundtrack suited the mood, and Newman was a competent hero of the people, outwitting the forces of law and order. The scenery was amazing, and the driving sections were so exciting, I got home in half the time it took me to get to the cinema, imagining I was at the wheel of that Dodge Challenger. (Many years later, I almost bought one.)
Only decades later did I even begin to think what the film was perhaps trying to say to the audience. Forgotten veterans, a changing country where they had little place. Violent racism still evident, and law enforcement agencies operating not unlike the Keystone Cops. Open homosexuality surfacing, and a misunderstood generation that felt they were living in a country they no longer understood, and which didn’t understand them.

Or maybe it was just a fun and exciting 98-minute car chase? You decide.

Significant Songs (167)

~ beetleypete ~ 27 Comments

True

Back to the New Romantic period, and British bands of the 1980s. After the recent post about Wet Wet Wet, I was reminded of that popular bunch of lads, Spandau Ballet. Formed in 1979, with brothers Gary and Martin Kemp, and front-man singer Tony Hadley, they merged electronic pop music with the fashions of the New Romantic movement, and attracted the attention of many young female fans.

On the surface, they were not really my thing at all, but there was one thing that made them appeal to me, and that was the fact that Tony Hadley had a great singing voice, and delivered powerful vocals. Like many before or since, they fell into the category of groups that I was happy to listen to, but didn’t want to watch. Reaching the height of their popularity in the mid 1980s, they received the Brit Award in 1984, and became one of the biggest selling bands of the decade.

The members went their separate ways in the 1990s, falling out after well publicised disputes over royalty payments. Despite a reunion in 2009, they no longer perform together. Although they rose to fame on fashion and pop, two of their biggest hits were power ballads, showing off Hadley’s vocals perfectly. And this is one of them.

Retro Review: Straw Dogs (1971)

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An occasional series, looking back at some good and bad films I have watched over the years.

This film was released at the time when graphic violence in films was on the rise. After decades of killings ‘off camera’, and little focus on the aftermath of violent acts, film-makers were beginning to push the boundaries, realising that public outrage was very good publicity indeed, as with ‘A Clockwork Orange’, and ‘Dirty Harry’, both released around the same time. Director Sam Peckinpah appeared to want to outdo both of those with this mainstream thriller, and apparently embraced the storm of controversy that followed.

I was nineteen years old at the time, and very much in the target market for films like these. They felt fresh and new, more realistic, and although we might not have wanted to admit it, the violence was exciting. It was released in the UK with an ‘X’ rating, meaning that only people over the age of eighteen could watch it in cinemas. It was also shown here uncut, unlike in America, where it was edited in order to be given an ‘R’ rating. The video release years later (1984) saw the film actually banned in Britain, as sensibilities had changed, and it was considered to be a ‘video nasty’. The full uncut version was not allowed to be released on DVD until 2002.

The story is set in a remote part of Cornwall, where American mathematician David (Dustin Hoffman) has come to live with his attractive English wife, Amy. (Susan George) It is her home village, so her return with the bespectacled academic causes a lot of interest with her former friends, family, and in particular, her ex-boyfriend. David employs some local men (including that ex-boyfriend) to make repairs on the house, and he withdraws into his studies, unaware of his wife’s provocative flirting with them. Hoffman plays his character as weak and ineffectual, settling the scene for events that follow. Amy is eventually raped by one of them. In the scene that caused all the controversy, she is shown to begin to enjoy the assault, and eventually becoming a willing participant. That changes when a second man arrives, and the first one holds her down, so he can also rape her.

Unaware of the attack, David makes some attempt to integrate into the community, but events spiral out of hand when the family cat is killed, then a local girl is murdered, and David and Amy unknowingly shelter the killer. A group of vigilantes arrive at the isolated cottage, intent on seizing the murderer, and a siege situation develops, with David attempting to fortify the house, and improvising traps and weapons. In the frantic last scenes, David finally finds his courage and tackles the intruders, with grisly results.

This is a film that ultimately leaves a bad taste in the mouth of anyone unfortunate enough to watch it. A big star at the time, Hoffman was wasted in this pointless exercise, along with a crop of fine British and Irish character actors, like Peter Vaughan, T. P. McKenna, and Colin Welland. We are presumably supposed to root for the mild-mannered David, as he gets his revenge on those who mocked him, and sexually abused his wife. But there are no winners in this story, just unnecessary exploitation of sex and violence that doesn’t have a single redeeming feature.

Here’s an Australian trailer.

Significant Songs (166)

~ beetleypete ~ 49 Comments

Love Is A Battlefield

You wont see many Rock songs on this blog. I am guessing you might have worked that out by now. Over the years, I never really warmed to the genres of Rock, Heavy Rock, Metal, and most things that involve people shouting very loudly, over the sound of crashing guitars and hammering drums. I have to quickly add that there is nothing wrong with that music, as I know it has a huge worldwide audience. But generally, it’s just not my thing.

There have been few exceptions. Times when I just went with the beat, or enjoyed hearing the song lyrics for a change. Often this happened when a famous band of rockers decided to mellow for a while, as in the Guns and Roses version of ‘Live And Let Die’, or when the driving beat was irresistible, as it was with Golden Earring’s ‘Radar Love’.

Back in 1983, singer and actress Pat Benatar made this record. Perhaps not a true Rock song, at least for die-hard fans or purists. But it was about as Rock as I was going to get at the time.
Pat is the same age as me, and still performing today. This promo video is great!