Music Review – MARILLION: MISPLACED CHILDHOOD (1985)

Misplaced Childhood (2017 Remaster): Amazon.co.uk: MusicMISPLACED CHILDHOOD (LP, EMI, 17 June 1985, 41:17) – score 82%
 
Musicians: Fish – vocals; Steve Rothery – guitars, additional bass; Pete Trewavas – bass; Mark Kelly – keyboards; Ian Mosley – drums, percussion
Producer: Chris Kimsey; Engineer: Thomas Stiehler; Mixing Engineer: Mark Freegard; Recorded at Hansa Tonstudio, Berlin, Germany, March – May 1985; UK Album Chart: 1; BPI Cert: Platinum (300,000+).

Marillion found their musical voice with their third studio album. It effectively splits the music into two inter-linked side-long (old LP terms) suites. Here the band have dispensed with trying to re-create the sounds of their heroes and have unearthed a musical palette that has a fresh sound and is creatively progressive. Fish’s lyrics recall the growing pains of youth, both figuratively and emotionally. His vocal delivery is less abrasive and more in tune with the music here and the marriage is a vast improvement on the first two albums. Rothery’s guitar has the sublime grace of Dave Gilmore along with the creative colouring of Steve Hackett; Mosley and Trewavas have merged into a propulsive rhythm section and Kelly’s keyboard textures are less showy and serve the songs admirably. MISPLACED CHILDHOOD would catapult the band from a cult following to a mainstream one, albeit for what would prove to be one more album before change was forced upon them.

Side 1:
1. Pseudo Silk Kimono (Fish, Kelly, Mosley, Rothery, Trewavas) (2:15) ***
A sinister keyboard refrain from Kelly opens the album. The piece acts as an atmospheric entrée to the album.
2. Kayleigh (Fish, Kelly, Mosley, Rothery, Trewavas) (4:04) ****
A song of regret surrounding a broken relationship, which became the band’s biggest hit single. It is a slick song with a strong melody that maybe suffered from overplay on the radio and is the track every non-Marillion fan associates with the band. Rothery’s mid-song solo is graceful and fluid. Released as a single on 7 May 1985 peaking at #2 in the UK singles chart.
3. Lavender (Fish, Kelly, Mosley, Rothery, Trewavas) (2:28) ****
A boy dreams of walking in the park and meeting a girl and falling instantly in love. The song riffs on the nursery rhyme “Lavender’s Blue” with a delightful singalong melody and soaring Rothery solo. Again, it shows the band could write with restraint. Released as a single on 27 August 1985 peaking at #5 in the UK singles chart.
4. Bitter Suite (Fish, Kelly, Rothery, Trewavas, Mosley) (7:53) ****
A series of short song vignettes opens with moody atmospherics as Rothery’s guitar weeps over a droning synth. The piece also highlights Fish’s penchant for spoken lyrics. The vignettes skilfully link short musical themes with a reprise of Rothery’s guitar refrain from “Lavender”.  The suite’s subtitles: i) “Brief Encounter”; ii) “Lost Weekend”; iii) “Blue Angel”; iv) “Misplaced Rendezvous”; and v) “Windswept Thumb” are all titles of old films.
5. Heart of Lothian (Fish, Kelly, Mosley, Rothery, Trewavas) (4:08) ****
A song of connection with your roots. It has a triumphant, celebratory and uplifting guitar figure and is delivered by Fish with vocal panache. Subtitles: i) “Wide Boy; ii) “Curtain Call”. Released as a single on 18 November 1985 peaking at #2 in the UK singles chart.
Side 2:
6. Waterhole (Expresso Bongo) (Fish, Kelly, Mosley, Rothery, Trewavas) (2:13) ***
A fast syncopated drum pattern from Mosley drives the opener to the second side with Kelly’s urgent repeated keyboard riff. Rothery’s guitar colours in the background.
7. Lords of the Backstage (Fish, Kelly, Mosley, Rothery, Trewavas) (1:53) ****
The rhythm changes to 7/8 and the band is perfectly in tune as the urgency is heightened in this short connecting section of music that leads seamlessly into the side’s centre-piece.
8. Blind Curve (Fish, Kelly, Mosley, Rothery, Trewavas) (9:30) *****
The pace slows to mid-tempo and the band get to demonstrate their instrumental prowess through some gorgeous, lilting melodies. Fish’s vocal delivery is nicely restrained and allows the music to breathe. This is the band’s strongest work top date and shows how they could piece different musical sections and tempos together to make for a dynamic whole. The theme of disillusionment is perfectly captured in the final section of the song before the mood changes as we merge into the following track. Subtitles: i) “Vocal Under a Bloodlight”; ii) “Passing Strangers”; iii) “Mylo”; iv) “Perimeter Walk”; v) “Threshold”.
9. Childhood’s End (Fish, Kelly, Mosley, Rothery, Trewavas) (4:33) ****
Rothery’s plucked guitar figure softens the mood before it abruptly picks up again as we switch from a reflection to revelation. The song’s title is a reference to the Arthur C. Clarke novel, which itself was a source of inspiration for Genesis’ “Watcher of the Skies”.
10. White Feather (Fish, Kelly, Mosley, Rothery, Trewavas) (2:24) ****
The album closer puffs out its chest with pride with its exultant cries of defiance. A wonderful close to a remarkably consistent album. The title reference is grounded in superstition relating to a plucked white game cock feather, which if placed in the clothing of a person marks them as a coward.

Single B-sides
1. Lady Nina (Fish, Kelly, Rothery, Trewavas, Mosley) (5:50) **
Inspired by German brother houses. This is the only song in which a drum machine was used for the final recording (the song loosens up when Mosley’s real drums enter). The song harks back to FUGAZI in its awkward marriage of rhythm and melody and Kelly’s showy approach to keyboards. B-side to “Kayleigh” released as a single on 7 May 1985.
2. Freaks (Fish, Kelly, Rothery, Trewavas, Mosley) (4:08) ***
Kelly’s repeated riff gives the song its foundation, whilst Rothery offers crashing guitar chords in this rocking song that fails to build on its promising opening but does increase in intensity in its closing moments.  B-side to “Lavender” released as a single on 27 August 1985.
3. Lavender Blue (Fish, Kelly, Rothery, Trewavas, Mosley) (4:23) ***
A different mix and longer version of “Lavender” which effectively brings different instrumentation to the fore through exclusion and emphasis. As such it draws attention to the instrumental changes rather than the winning melody. Included on the 12-inch single release of “Lavender” on 27 August 1985.

Book Review – ANTHRAX ISLAND (2021) by D.L. MARSHALL

ANTHRAX ISLAND (2021) ****½
by D.L. Marshall
This paperback edition published by Canelo, 2021, 342pp
© D.L. Marshall, 2021
ISBN: 978-1-80032-275-2

Blurb: FACT: In 1942, in growing desperation at the progress of the war and fearing invasion by the Nazis, the UK government approved biological weapons tests on British soil. Their aim: to perfect an anthrax weapon destined for Germany. They succeeded. FACT: Though the attack was never launched, the testing ground, Gruinard Island, was left lethally contaminated. It became known as Anthrax Island. Now government scientists have returned to the island. They become stranded by an equipment failure and so John Tyler is flown in to fix the problem. He quickly discovers there’s more than research going on. When one of the scientists is found impossibly murdered inside a sealed room, Tyler realises he’s trapped with a killer…

Comment: The debut novel of D.L. Marshall mixes the ingredients of an Alistair MacLean adventure with a locked-room mystery,  a James Bond spy caper and the group paranoia of John Carpenter’s The Thing (to which the author adds an overt nod on page 83 ). All great influences and all blend together to create a highly enjoyable page-turning thriller. Marshall’s story is told from a first-person perspective by the hero, mercenary spy John Tyler, who is transported onto the titular island under the guise of a technician to repair a faulty protective door unit. The group of scientists working on the island are testing for remnant samples of experiments undertaken secretly during WWII. The death of Tyler’s supposed predecessor is followed by others and the group quickly become distrustful of Tyler and each other, whilst the discovery of a new strain of the deadly anthrax attracts international interest. Marshall takes us through many twists and turns in his mazy plot and the tension builds as the paranoia amongst the group increases. Marshall’s prose style is fluid and engaging. Tyler as a character feels real and human and has depth along with a personal motivation which unfolds throughout the story. Writing the novel in the first-person Marshall succeeds in elevating the “whodunnit” elements of the plot allowing the reader to unravel the mystery along with the protagonist. Marshall keeps a trick or two up his sleeve right up to the story’s protracted denouement, which veers off into more traditional action movie tropes in the final chapters. That said, this remains a hugely impressive and thoroughly enjoyable read that promises great things for the intended series.

Music Review – MARILLION: FUGAZI (1984)

Fugazi [VINYL]: Amazon.co.uk: MusicFUGAZI (LP, EMI, 12 March 1984, 45:56) – score 61%

Musicians: Fish – vocals; Steve Rothery – guitars; Pete Trewavas – bass; Mark Kelly – keyboards; Ian Mosley – drums, percussion
Additional musicians: Linda Pyke – backing vocal (on “Incubus”); Chris Karen – additional percussion
Producer: Nick TauberEngineer/Mixing Engineer: Simon Hanhart; Recorded at various studios, November 1983 – February 1984; UK Album Chart: 5; BPI Cert: Gold (100,000+).

The inconsistent nature of Marillion’s second album was perhaps inevitable given the chaotic scheduling of the recordings and the revolving drum stool during the album’s conception. The band pushed for a more personal and distinctive sound without fully achieving their goal – mixing hard rock with progressive and pop overtones in a seeming effort to please all. Drummer, Ian Mosley proves to be a great addition to the band and over the years would form an excellent partnership with bassist Trewavas that makes some of their efforts here feel a little stiff rhythmically – likely due to both playing it a little safe. Fish’s lyrics tend toward the wordy and metaphorical showing a frustrated novelist. Rothery shows glimpses of the wonderful guitarist he was to become.

Side 1:
1. Assassing (Fish, Kelly, Rothery, Trewavas) (7:03) ****
Indian and African influences in the opening give way to more traditional driving rock tropes with jazz tinges, muscular bass and big musical statements, notably from Kelly’s keyboards and Rothery’s guitar synth. Inspired by their pagan surrounds in Wales during the writing. Released as a single on 30 April 1984 peaking at #22 in the UK singles chart.
2. Punch & Judy (Fish, Kelly, Rothery, Trewavas, Mover) (3:22) ***
A pacey keyboard riff and stuttering rhythm underline the lyrical use of the children’s violent puppetry as an allegory for the breakup of a marriage. Lacks substance but doesn’t outstay its welcome. Released as a single on 30 April 1984 peaking at #29 in the UK singles chart.
3. Jigsaw (Fish, Kelly, Rothery, Trewavas) (6:51) ***
The opening musical box sound introduces the band’s first power ballad with a big chorus. It is another lyrical allegory from Fish in that relationships can be like jigsaw puzzles with missing pieces and frustration. The song contains an elegant, gliding Rothery guitar solo, but rhythmically is a little static.
4. Emerald Lies (Fish, Kelly, Rothery, Trewavas, Mosley) (5:12) **
A song about jealousy and infidelity that begins like a hard rocker, before moving into a more delicate acoustic section. The song then runs through various musical sections alternating the heavy and the quiet. Overall though the song lacks its own distinctive character.
Side 2:
5. She Chameleon (Fish, Kelly, Rothery, Trewavas) (6:55) **
An atmospheric and hypnotic repeated organ phrase from Kelly runs intermittently through this tale of metaphoric chameleons. A mid-song keyboard solo serves little purpose as the song fails to gain momentum with its multi-sectioned approach, although once again Rothery shows how he was growing as a distinctive and sensitive guitarist with a short fluent solo.
6. Incubus (Fish, Kelly, Rothery, Trewavas) (8:32) ***
Fish stays on the subject of doomed relationships as the band play a menacing and atmospheric backing. The song is given room to stretch and breathe and weaves its way through short musical sections behind Fish’s wordy lyrics. Another fluent Rothery solo is again the highlight, and it leads into the kind of dramatic end section that would become a band trademark.
7. Fugazi (Fish, Kelly, Rothery, Trewavas) (8:03) ****
A cynical album closer based on the slang phrase used by US soldiers in Vietnam begins with a neat piano section from Kelly as Fish’s lyrical similes dig into our psyche. Echoes of Pink Floyd emerge as the song slowly builds momentum through its sonically creative mid-section, before playing out in anthemic style. The song showcased the band’s strengths and pointed the way forward.

Single B-sides
1. Cinderella Search (Fish, Kelly, Rothery, Trewavas, Mosley) (5:32) **
Another rhythmically stiff and undistinguished song, that tells of seeking out the opposite sex in nightclubs and bars. The music and lyrics fail to tie together and the song meanders through pieced together segments before gathering some momentum in its closing section. B-side to “Assassing” released as a single on 30 April 1984.

Notes:
– All individual tracks scored * to *****
– Album scored as a % based on individual track scores weighted by track length.

Film Review – THE SONG OF BERNADETTE (1943)

SONG OF BERNADETTE, THE (1943, USA) ****
Biography, Drama

dist. Twentieth Century Fox; pr co. Twentieth Century Fox; d. Henry King; w. George Seaton (based on the novel by Franz Werfel); pr. William Perlberg; ph. Arthur C. Miller (B&W. 35mm. Spherical. 1.37:1); m. Alfred Newman; ed. Barbara McLean; ad. James Basevi, William S. Darling; set d. Thomas Little; cos. René Hubert; m/up. Guy Pearce; sd. Alfred Bruzlin, Roger Heman Sr. (Mono (Western Electric Recording)); vfx. Fred Sersen; rel. 21 December 1943 (USA); cert: U; r/t. 156m.

cast: Jennifer Jones (Bernadette), William Eythe (Antoine Nicolau), Charles Bickford (Father Peyramale), Vincent Price (Prosecutor Vital Dutour), Lee J. Cobb (Dr. Dozous), Gladys Cooper (Sister Marie Therese Vauzous), Anne Revere (Louise Soubirous), Roman Bohnen (François Soubirous), Mary Anderson (Jeanne Abadie), Patricia Morison (Empress Eugenie), Aubrey Mather (Mayor Lacade), Charles Dingle (Jacomet), Edith Barrett (Croisine Bouhouhorts), Sig Ruman (Louis Bouriette), Blanche Yurka (Aunt Bernarde Casterot), Ermadean Walters (Marie Soubirous), Marcel Dalio (Callet), Pedro de Cordoba (Dr. LeCramps), Jerome Cowan (Emperor Louis Napoleon III).

Based on the popular novel by Franz Werfel, this drama focuses on Bernadette Soubirous (Jones), a young French woman who experiences vivid visions of the Virgin Mary. While many dismiss her claims, certain people, including the priest Dominique Peyramale (Bickford), slowly begin to believe her. Eventually, Bernadette is deemed a saint, and becomes a nun at a convent, where she must deal with jealousy from others who resent her revered status. An earnest adaptation that nails its colours to the mast from its prologue. The deeply religious tale is played out at great length, perhaps overlength. The production, however, is very strong with King’s direction giving encouragement for an exceptional cast to deliver consistently excellent performances. Jones’ wide-eyed innocence perfectly embodies Bernadette’s voyage of discovery. Revere as her mother conveys the emotional turmoil of a woman torn between her familial struggles and the love of her daughter. Price is restrained and almost sympathetic as the cynical politician, whilst Bickford is sturdy as the priest who is initially sceptical of Bernadette’s claims. Technical attributes are also top-notch with Miller’s photography making the most of the production design and Newman’s score evocatively complementing the unfolding drama. Linda Darnell appears uncredited as the Virgin Mary.

AA: Best Actress in a Leading Role (Jennifer Jones); Best Cinematography, Black-and-White (Arthur C. Miller); Best Art Direction-Interior Decoration, Black-and-White (James Basevi, William S. Darling, Thomas Little)’; Best Music, Scoring of a Dramatic or Comedy Picture (Alfred Newman)
AAN: Best Picture; Best Actor in a Supporting Role (Charles Bickford); Best Actress in a Supporting Role (Gladys Cooper); Best Actress in a Supporting Role (Anne Revere); Best Director (Henry King); Best Writing, Screenplay (George Seaton); Best Sound, Recording (Edmund H. Hansen (20th Century-Fox SSD)); Best Film Editing (Barbara McLean)

Film Review – CAPTAIN PHILLIPS (2013)

CAPTAIN PHILLIPS (2013, USA) ****½
Action, Drama, Thriller

dist. Columbia Pictures (USA), Sony Pictures Releasing (UK); pr co. Michael De Luca Productions / Scott Rudin Productions / Trigger Street Productions; d. Paul Greengrass; w. Billy Ray (based upon the book “A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea” by Richard Phillips & Stephan Talty); exec pr. Eli Bush, Gregory Goodman, Kevin Spacey; pr. Dana Brunetti, Michael De Luca, Scott Rudin; ph. Barry Ackroyd (Technicolor. 35 mm (anamorphic) (partial blow-up) (Fuji Eterna-CP 3514DI), D-Cinema. ARRIRAW (2.8K) (source format) (some scenes), Digital Intermediate (4K) (master format), Super 16 (source format) (some scenes), Super 35 (also 3-perf) (source format), VistaVision (source format) (visual effects). 2.39:1); m. Henry Jackman; ed. Christopher Rouse; pd. Paul Kirby; ad. Aziz Hamichi; set d. Dominic Capon; cos. Mark Bridges; m/up. Frances Hannon; sd. Oliver Tarney, Michael Fentum, James Harrison (SDDS | Datasat | Dolby Digital | Dolby Atmos | Dolby Surround 7.1); sfx. Dominic Tuohy; vfx. Daniel Barrow, Andy Taylor, Kris Wright, Charlie Noble, Adam Rowland; st. Rob Inch; rel. 27 September 2013 (USA), 9 October 2013 (UK); cert: PG-13/12; r/t. 135m.

cast: Tom Hanks (Captain Richard Phillips), Catherine Keener (Andrea Phillips), Barkhad Abdi (Muse), Barkhad Abdirahman (Bilal), Faysal Ahmed (Najee), Mahat M. Ali (Elmi), Michael Chernus (Shane Murphy), David Warshofsky (Mike Perry), Corey Johnson (Ken Quinn), Chris Mulkey (John Cronan), Yul Vazquez (Captain Frank Castellano), Max Martini (SEAL Commander), Omar Berdouni (Nemo), Mohamed Ali (Asad), Issak Farah Samatar (Hufan), Thomas Grube (Maersk Alabama Crew), Mark Holden (Maersk Alabama Crew), San Shella (Maersk Alabama Crew), Terence Anderson (Maersk Alabama Crew), Marc Anwar (Maersk Alabama Crew), David Webber (Maersk Alabama Crew), Amr El-Bayoumi (Maersk Alabama Crew), Vincenzo Nicoli (Maersk Alabama Crew), Kapil Arun (Maersk Alabama Crew), Louis Mahoney (Maersk Alabama Crew), Peter Landi (Maersk Alabama Crew), Angus MacInnes (Maersk Alabama Crew), Ian Ralph (Maersk Alabama Crew), Kristian Hjordt Beck (Maersk Alabama Crew), Kurt Larsen (Maersk Alabama Crew), Bader Choukouko (Somali Boy), Idurus Shiish (Pirate Leader), Azeez Mohammed (Pirate Leader), Abdurazak Ahmed Adan (Pirate Leader), Duran Mohamed Hassan (Asad’s Crew), Nasir Jama (Asad’s Crew), Kadz Souleiman (Asad’s Crew), Scott Oates (Navy SEAL Group), David B. Meadows (Navy SEAL Group), Shad Jason Hamilton (Navy SEAL Group), Adam Wendling (Navy SEAL Group), Billy Jenkins (Navy SEAL Group), Mark Semos (Navy SEAL Group), Dean Franchuk (Navy SEAL Group), Rey Hernandez (Navy SEAL Group), Christopher Stadulis (Navy SEAL Group), Roger Edwards (Navy SEAL Group), John Patrick Barry (Navy SEAL Group), Raleigh Morse (Navy SEAL Group), Dale McClellan (Navy SEAL Group), Hugh Middleton (Navy SEAL Group), Raymond Care (Navy SEAL Group), Stacha Hicks (UKMTO Officer), Will Bowden (US Maritime Officer), Len Anderson IV (USS Bainbridge VBSS Officer).

In April 2009, the U.S. containership Maersk Alabama sails toward its destination on a day that seems like any other. Suddenly, Somali pirates race toward the vessel, climb aboard and take everyone hostage. The captain of the ship, Richard Phillips (Hanks), looks to protect his crew from the hostile invaders, and their leader, Muse (Abdi). The pirates are after millions of dollars, and Phillips must use his wits to make sure everyone survives and returns home safely. Greengrass provides a masterclass in building tension and then holding it, whilst Hanks gives one of his absolute best performances and is totally believable as the experienced captain trying to stay one step ahead of the Somali pirates. Abdi is also excellent as the skinny leader of the pirate group. The film has been criticised for lacking sufficient background and motivation on the Somalians, but in fact there are subtle points made about the gulf between the might of those who have (represented by the US Navy) and the futility of those who have not (the Somalian fishermen forced into piracy). Credit to Greengrass for showing the shock and trauma of Hanks’ character once rescued – a scene devastatingly real as performed by Hanks.

AAN: Best Motion Picture of the Year (Scott Rudin, Dana Brunetti, Michael De Luca); Best Performance by an Actor in a Supporting Role (Barkhad Abdi); Best Achievement in Film Editing (Christopher Rouse); Best Achievement in Sound Editing (Oliver Tarney); Best Achievement in Sound Mixing (Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro); Best Writing, Adapted Screenplay (Billy Ray)

Music Review – MARILLION: SCRIPT FOR A JESTER’S TEAR (1983)

Script for a Jester's Tear (Deluxe Edition): Amazon.co.uk: MusicSCRIPT FOR A JESTER’S TEAR (LP, EMI, 13 March 1983, 46:45) – score: 64%

Musicians: Fish – vocals; Steve Rothery – guitars; Pete Trewavas – bass; Mark Kelly – keyboards; Mick Pointer – drums, percussion
Additional musicians: Marquee Club’s Parents Association Children’s Choir – choir (on “Forgotten Sons”); Peter Cockburn – newscaster’s voice (on “Forgotten Sons”)
Producer: Nick Tauber; Engineer/Mixing Engineer: Simon Hanhart; Recorded at The Marquee, London, December 1982 – February 1983; UK Album Chart: 7; BPI Cert: Platinum (300,000+).

Marillion deliver an assured debut LP with a growing confidence in their song-writing resulting in a reasonably consistent collection. The production is weak, however, lacking dynamic range and musically the rhythm section fails to jell successfully – with band founder member Mick Pointer’s drumming lacking personality and rhythmic drive (something that would be rectified for FUGAZI with Ian Mosley joining the band). Fish’s lyrics tend to be wordy and are often dense and overly-literate, but he does grapple with subjects of the modern-day grounding them with a post-punk conscience.

Side 1:
1. Script for a Jester’s Tear (Fish, Rothery, Trewavas, Pointer, Kelly) (8:40) ****  With lyrics grounded in a relationship break-up, the song weaves through various musical segments from the expansive to the quietly acoustic. More confident than the songs on their debut EP. Rothery and Kelly show their instrumental skills and ear for melody. It fades over its final lamenting appeal from Fish. Hampered only by Pointer’s robotic drumming.
2. He Knows You Know (Fish, Rothery, Trewavas, Kelly, Pointer, Minnitt, Jelliman) (5:23) ***  Hesitant, rhythmic song in which Fish sings of drug abuse over a wash of lush keyboards from Kelly who also provides a fluid mid-song solo. Tewavas’ stuttering bass lines give the song its underlying tension. Released as a single on 31 January 1983 peaking at #35 in the UK singles chart.
3. The Web (Fish, Trewavas, Kelly, Pointer, Rothery, Minnitt, Jelliman) (8:48) ***  Dense and highly literate psycho-analytical lyrics compete for attention with musical dynamics resulting in a promising, but ultimately not fully satisfying merger.
Side 2:
4. Garden Party (Fish, Kelly, Rothery, Trewavas, Pointer, Jelliman, Minnitt) (7:16) ***  With its stuttering rhythm prompted by Trewavas’ excellent bass work and complemented by Fish’s witty lyrics, which take a stab at social snobbery, this was an unexpected chart success for the band. Whilst it was relatively punchy and concise there were still rhythmic complexities within and an excellent Kelly keyboard solo that made it stand out on the radio. Released as a single on 6 June 1983 peaking at #16 in the UK singles chart.
5. Chelsea Monday (Fish, Rothery, Trewavas, Kelly, Pointer, Minnitt) (8:17) ****  The song that points the way forward for the band’s sound. It would become the template for their future approach with its ambient dynamics, Rothery’s clean guitar lines and Kelly’s lush keyboard backdrop.
6. Forgotten Sons (Fish, Rothery, Trewavas, Kelly, Pointer, Jelliman, Minnitt) (8:21) **  Fish goes political with his comments on the Irish situation and the associated victims of the violence. He delivers an angry and abrasive vocal over a musical backdrop that does not successfully marry with the lyrics.

Single B-sides (not on album)
1. Charting the Single (Fish, Rothery, Trewavas, Kelly, Pointer) (4:51) ***  An apt title for this simply structured song, which attempts to capture a new wave feel with its pulsing bass and repetitive chorus hook. The lyrical subject is the promiscuous rock and roll lifestyle. B-side to “He Knows You Know” released as a single on 31 January 1983.
2. Margaret (Traditional) (12:17) **  Fun combination of two traditional Scottish folk songs – “Mairi’s Wedding” and “Loch Lomond”. The song opens with a ghostly Rothery guitar figure, which along with his mid-song solo, is the only thing of recommendation here. Recorded live at the Edinburgh Playhouse, 7 April 1983 and used as the B-side to “Garden Party” released as a single on 6 June 1983.

Film Review – FRANKENSTEIN (1931)

FRANKENSTEIN (1931, USA) *****
Horror, Sci-Fi

dist. Universal Pictures (USA), General Film Distributors (GFD) (UK); pr co. Universal Pictures ; d. James Whale; w. Garrett Fort, Francis Edward Faragoh (Based on the novel “Frankenstein or, the Modern Prometheus” by Mary Wollstonecraft Shelley and the composition of John L. Balderston from the play “Frankenstein” by Peggy Webling); exec pr. Carl Laemmle; pr. Carl Laemmle Jr.; assoc pr. E. M. Asher; ph. Arthur Edeson (B&W. 35mm. Spherical. 1.20:1); m. Bernhard Kaun (uncredited); md. David Broekman (uncredited); m sup. Gilbert Kurland (uncredited); ed. Maurice Pivar, Clarence Kolster; ad. Charles D. Hall; set d. Herman Rosse (uncredited); cos. Mae Bruce (uncredited); m/up. Jack P. Pierce; sd. C. Roy Hunter (Mono (Western Electric Sound System)); sfx. John P. Fulton (uncredited); vfx. Raymond Lindsay (uncredited); rel. 21 November 1931 (USA), 25 January 1932 (UK); cert: PG; r/t. 70m.

cast: Colin Clive (Henry Frankenstein), Mae Clarke (Elizabeth), John Boles (Victor Moritz), Boris Karloff (The Monster), Edward Van Sloan (Doctor Waldman), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), Lionel Belmore (The Burgomaster), Marilyn Harris (Little Maria). Uncredited: Ted Billings (Villager), Mae Bruce (Screaming Maid), Jack Curtis (Villager), Arletta Duncan (Bridesmaid), William Dyer (Gravedigger), Francis Ford (Hans), Mary Gordon (Mourner), Soledad Jiménez (Mourner), Carmencita Johnson (Little Girl), Seessel Anne Johnson (Little Girl), Margaret Mann (Mourner), Michael Mark (Ludwig), Robert Milasch (Villager), Pauline Moore (Bridesmaid), Inez Palange (Villager), Paul Panzer (Mourner at Gravesite), Cecilia Parker (Maid), Rose Plumer (Villager), Cecil Reynolds (Waldman’s Secretary), Ellinor Vanderveer (Medical Student).

This classic horror film follows the obsessed scientist Dr. Henry Frankenstein (Clive) as he attempts to create life by assembling a creature from body parts of the deceased. Aided by his loyal misshapen assistant, Fritz (Frye), Frankenstein succeeds in animating his monster (Karloff), but, confused and traumatized, it escapes into the countryside and begins to wreak havoc. Frankenstein searches for the elusive being, and eventually must confront his tormented creation. Following hot on the heels of the release of the phenomenally successful DRACULA six months earlier, Whale produced a masterpiece of image and atmosphere. From the opening graveyard scenes to the climax in a burning windmill, the film grips tight and refuses to let go. Edeson’s use of light and shadow is wonderfully creative and Whale uses the camera frame to get maximum effect from Hall’s gothic set designs. The iconic moment where Clive’s monster shows signs of life leading to his creator’s exultant cries of “It’s alive!” are chilling. Karloff conjures both menace and pathos as the monster and Pierce’s ground-breaking make-up has entered cinema folklore. The supporting cast is led by Van Sloan as Clive’s mentor, whilst Frye is memorable as his hunchbacked assistant. Clarke plays Clive’s fiancé, bemused by his obsessive behaviour. Boles is a little too wooden as a friend of the family, but Kerr as Clive’s father is wonderfully dotty. Watch out for the memorable restored scene with Karloff and a young girl by the lake, which leads to the torch-bearing mob climax. Van Sloan (Dr Waldman) also makes an uncredited appearance as himself in the film’s prologue, to warn audiences of what follows. In 1991, the Library of Congress selected Frankenstein for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant.” Followed by BRIDE OF FRANKENSTEIN (1935).

 

Film Review – CAST AWAY (2000)

CAST AWAY (2000, USA) ****
Adventure, Drama, Romance

dist. Twentieth Century Fox; pr co. Twentieth Century Fox / Dreamworks Pictures / ImageMovers / Playtone; d. Robert Zemeckis; w. William Broyles Jr.; exec pr. Joan Bradshaw; pr. Tom Hanks, Jack Rapke, Steve Starkey, Robert Zemeckis; assoc pr. Steven J. Boyd, Cherylanne Martin; ph. Don Burgess (DeLuxe. 35 mm (Kodak Vision 2383). Spherical. 1.85:1); m. Alan Silvestri; ed. Arthur Schmidt; pd. Rick Carter; ad. Stefan Dechant, Elizabeth Lapp, William James Teegarden; set d. Rosemary Brandenburg, Karen O’Hara; cos. Joanna Johnston; m/up. Daniel C. Striepeke, Kathryn Blondell, Ronnie Specter; sd. Randy Thom, Dennis Leonard, William B. Kaplan, Ken Fischer, David C. Hughes (SDDS | DTS | Dolby Digital); sfx. John Frazier; vfx. Harry Gundersen, Eric Hanson, Ken Ralston; st. Doug Coleman, Bud Davis; rel. 7 December 2000 (USA), 12 January 2001 (UK); cert: PG-13/12; r/t. 143m.

cast: Tom Hanks (Chuck Noland), Helen Hunt (Kelly Frears), Nick Searcy (Stan), Jenifer Lewis (Becca Twig), Geoffrey Blake (Maynard Graham), Peter Von Berg (Yuri), Chris Noth (Jerry Lovett), Lari White (Bettina Peterson), Paul Sanchez (Ramon), Leonid Citer (Fyodor), David Allen Brooks (Dick Peterson), Yelena Popovic (Beautiful Russian Woman), Valentina Ananina (Russian Babushka), Semion Sudarikov (Nicolai), Dmitri S. Boudrine (Lev), François Duhamel (French FedEx Loader), Michael Forest (Pilot Jack), Viveka Davis (Lady from Dick Bettina farm), Jennifer Choe (Memphis State Student), Nan Martin (Kelly’s Mother).

Hanks stars as Chuck Noland, a FedEx systems engineer whose personal and professional life are ruled by the clock. His manic existence abruptly ends when, after a plane crash, he becomes isolated on a remote island – cast away into the most desolate environment imaginable. Hanks delivers a superb performance, holding then screen for the most its running time. He superbly relays the character’s instinct and will to survive in a hostile environment along with the mental impact and emotional scars the experience leaves on him. The film is bookended with a set-up and resolution to his relationship with Hunt. It is here the film admirably tries to keep a balanced view but falls into some of the trappings of soap opera, However, the two stars play the scenes perfectly and elevate them above the material. Also notable in a supporting role is Searcy as Hanks’ closest work colleague. Technical attributes are strong. The photography is colourful; the plane crash scene tensely portrays the terror and confusion; Zemeckis directs with a sure hand and uses the FedEx delivery system as a neat way of topping and tailing the story. But it is Hanks’ film and his solo turn on his desert island that is the heart and soul of the production. The film was shot in two blocks over a year apart to allow Hanks to lose weight and grow his hair for the four-year gap in the story.

AAN: Best Actor in a Leading Role (Tom Hanks); Best Sound (Randy Thom, Tom Johnson, Dennis S. Sands, William B. Kaplan)

TV Review – INTERGALACTIC (2021)

INTERGALACTIC (UK, 2021, 8 x 45m) **
Sci-Fi, Action, Adventure

net; Sky One; pr co. Babieka / Moonage Pictures / Tiger Aspect Productions; d. Kieron Hawkes, China Moo-Young , Hannah Quinn; cr. Julie Gearey; w. Julie Gearey, Laura Grace ; exec pr. Paul Gilbert; series pr. Nick Pitt.

cast: Savannah Steyn (Ash Harper), Eleanor Tomlinson (Candy), Natasha O’Keeffe (Emma), Sharon Duncan-Brewster (Tula), Thomas Turgoose (Drew), Oliver Coopersmith (Echo), Imogen Daines (Verona), Diany Samba-Bandza (Genevieve), Hakeem Kae-Kazim (Yann Harper), Craig Parkinson (Dr. Lee), Parminder Nagra (Rebecca Harper), Neil Maskell (Wendell), Samantha Schnitzler (Captain Alessia Harris).

The year 2143. Climate change has screwed the planet and the world’s cities, now mostly underwater, are controlled by a pseudo democratic government called the Commonworld. After sky cop Harper (Savannah Steyn) is set up for a crime she had nothing to do with, she is placed on board prisoner transport ship the Hemlock bound for an off-planet prison. On board she is thrown into the melee of a mutiny stirred up by a band of hardened female criminals who threaten to kill her if she doesn’t fly them to safety.

Intergalactic must be one of the biggest wasted opportunities to hit our TV screens in recent years.  Backed by Sky with a top-notch production design (by Mark Geraghty); more than acceptable visual effects; and a solid-gold premise inspired by one of British TVs best sci-fi adventure series (Blake’s 7) this should have been a celebration of what is great about British TV. Unfortunately we had to deal with characters, who for the most part were very difficult to like and left us with no-one to root for; incessant and overly gratuitous use of foul language; banal and cliched dialogue and storylines; and a finale that wasn’t. The latter is partly explained by the fact there were two more scripts to shoot before production was curtailed by the pandemic. The producers, directors and writers must take the blame for the rest. Tonally, the series veered from witty and tongue-in-cheek to violent and abrasive – often in the same scene. The former losing out increasingly to the latter as the series progressed. That would have been okay, as the stakes were raised in those later episodes, but what we were left with was a depressing tale of self-centred characters whose cause and motivations were never fully explained to any logical or believable level. The performances were almost universally one-note and ranged from the awful (Duncan-Brewster, who simply snarls her way through her entire performance) to the passable (most of the rest) . Only Turgoose managed to inject any depth into his character, whilst Coopersmith struggled to bring some Han Solo-esque charm to his. The series had admirable qualities in its use of a diverse cast and its pushing most of the leading roles to females. There are also the occasional amusing and witty lines of dialogue that shine like beacons amongst most of the writing (Turgoose remarking the one planet they visit was “worse then Bolton”). Stereotypes are much in evidence, however, and the story becomes increasingly predictable and derivative of other, better productions (and that is saying something when one of the inspirations was Con-Air). The design of the Hemlock, the prison ship stolen by the mutineers, is genuinely impressive and it is a shame it is not peopled by characters we would like to spend more time with. The camera work is good, but the direction often feels amateurish and the cast seem unable to bring any level of empathy to their characters.  There is a backstory for each that feels like it was taken from the “bumper book of prison characters” and there is insufficient subtlety in the writing to present these backstories in anything other than flat monologues. For an example of how to write a sci-fi show about a group of misfits and a totalitarian government, Geary should have looked no further than Firefly, which attacked similar themes with much more style and wit as well as characters you wanted to spend time with, rather than wince at every aggressive use of the “f-word” – instead she did not even look to the strengths of Blake’s 7 and landed much closer to Con-Air – more is the pity. It is hard to see the series being picked up for a second run, which is a shame in that it will likely kill off any further attempts to create a rebirth for British sci-fi TV for the foreseeable future.

Film Review – THE BRIDE OF FRANKENSTEIN (1935)

BRIDE OF FRANKENSTEIN (1935, USA) *****
Horror, Sci-Fi

dist. Universal Pictures; pr co. Universal Pictures; d. James Whale; w. William Hurlbut (adapted by William Hurlbut and John L. Balderston and suggested by the original story written in 1816 by Mary Shelley); pr. Carl Laemmle Jr.; ph. John J. Mescall (B&W. 35mm. Spherical. 1.37:1); m. Franz Waxman; ed. Ted J. Kent; ad. Charles D. Hall; cos. Vera West (uncredited); m/up. Jack P. Pierce, Irma Kusely (both uncredited); sd. Gilbert Kurland (Mono (Noiseless Western Electric Recording)); sfx. Ken Strickfaden; vfx. John P. Fulton; rel. 19 April 1935 (USA), 27 June 1935 (UK); cert: PG; r/t. 75m.

cast: Boris Karloff (The Monster), Colin Clive (Henry Frankenstein), Valerie Hobson (Elizabeth), Ernest Thesiger (Doctor Pretorius), Elsa Lanchester (Mary Wollstonecraft Shelley / The Monster’s Mate), Gavin Gordon (Lord Byron), Douglas Walton (Percy Bysshe Shelley), Una O’Connor (Minnie), E.E. Clive (Burgomaster), Lucien Prival (Butler), O.P. Heggie (Hermit), Dwight Frye (Karl), Reginald Barlow (Hans), Mary Gordon (Hans’ Wife), Anne Darling (Shepherdess), Ted Billings (Ludwig).

In this sequel to Universal’s classic 1931 FRANKENSTEIN, Mary Shelley reveals the main characters of her novel survived. After recovering from injuries sustained in the mob attack upon himself and his creation, Dr. Frankenstein (Clive) falls under the control of his former mentor, Dr. Pretorius (Thesiger), who insists the now-chastened doctor resume his experiments in creating new life. Meanwhile, the Monster (Karloff) remains on the run from those who wish to destroy him without understanding that his intentions are generally good despite his lack of socialization and self-control. Whale brings in elements of wit and the macabre thereby opening out the story. Notable amongst these new elements is the addition of Thesiger’s Dr. Pretorius. Bizarre, sinsiter and camp in equal measures Thesiger is unforgettable and provides a much needed offset to Clive’s more melodramatic turn as Frankenstein. Karloff returns as the monster and is given the added power of speech following his meeting with a blind hermit (Heggie) in a scene that adds both pathos and humour. The film comes into its own in the climax laboratory scene with Thesiger and Clive bringing Lanchester’s “bride” for the monster to life. The sequence is technically superb with its use of light and shadow, obtuse camera angles and rapid editing. The sequence shows what a true artist Whale was. The gothic set design, innovative creature make-up and dynamic photography are all top draw. Whilst some of the performances may come across as hammy, you must remember this is the early days of the talkies and a certain staginess is inevitable. The look and atmosphere are unforgettable and the film has come to be rightly regarded as a classic of the genre. Clive broke a leg in a horse riding accident. Consequently, many of his scenes were shot with him sitting. John Carradine is one of the two hunters that appear at the hermit’s cabin proclaiming the hermit’s guest is in fact the monster. Followed by SON OF FRANKENSTEIN (1939) and remade as THE BRIDE (1985).

AAN: Best Sound, Recording (Gilbert Kurland)