María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason) live on their isolated farm in rural Iceland. Though they talk little, there is clearly affection between the two – but there is also a sadness lingering in the air, much like the fog that shrouds the hills around the farm. They look after the sheep, assisting in the births: work that they make look both arduous and, in their laconic way, loving.
And then, one day, something unexpected is born. Something different. Something that, possibly, isn’t quite right – though who defines what is right, when it comes to these things?
Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
There is hardly any other living actress of her generation that has been as universally adored as Angela Lansbury (96). That might sound like a pretty bold statement at first, considering that she was never really considered an ‘A list’ actress in the world of cinema, and her roles, although charming, were often supporting in the best sense of the word. However, reading about the Stephen Sondheim musical adpatation of the tale of Sweeney Todd in Julie’s comprehensive piece from last week, in which Lansbury so memorably played murderous pie-maker Mrs. Lovett, only increased my adoration for this truly universally talented actress in the many fields of her craft.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
What better way to start the Sunday trailer post than with barbers and meat pies? I mean, everyone needs to look good and everyone needs to eat – and who’s more aware of this than one Benjamin Barker… though most people might know him better under his alias: on Friday, Julie took our Six Damn Fine Degrees feature to dark places to write about Sweeney Todd.
What is the perfect Bergman movie for Halloween, if that’s how you roll? Is it Hour of the Wolf, with its surreal phantasmagoria? Wild Strawberries, with its uncanny dreamscapes? Through a Glass Darkly, perhaps – think of the spider-god monologue. Or what about Bergman O.G., The Seventh Seal, with its sardonic personification of Death stalking a band of Bergman regulars, if that gets your ghoulies going… or even Scenes from a Marriage, which I expect will play like horror to anyone whose biggest fear is a failing marriage?
The film we ended up watching on Halloween was The Magician, made one year after The Seventh Seal and Wild Strawberries and two years before The Virgin Spring(which, come to think of it, also has a moment or two of ghoulish atmosphere). And, reader, I’d say that it was a pretty good match.
No, A Damn Fine Cup of Culture, we expect you to podcast… Obviously we cannot let a cultural phenomenon such as Daniel Craig’s final James Bond outing go uncommented – especially since Alan, Julie and Sam already talked about the Bond franchise a year ago in preparation for the (oft postponed) release of James Bond: No Time to Die. In the meantime, it has been time to watch No Time to Die, and our three intrepid baristas return to finish their mission. Did they enjoy Daniel Craig’s last hurrah as MI6 agent James Bond? What were they shaken and/or stirred by most? What did they think of the villain, the women, the hidden lair – and especially the ending? Just as importantly: whither James Bond? Where do we want the franchise to go next? And… who do we want to have a crack at the iconic secret agent next?
Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
“Sweeney Todd was a barber of the old school, and he never thought of glorifying himself on account of any extraneous circumstance. If he had lived in Henry the Eighth’s palace, it would have been all the same to him as Henry the Eighth’s dog-kennel, and he would scarcely have believed human nature to be so green as to pay an extra sixpence to be shaven and shorn in any particular locality.
A long pole painted white, with a red stripe curling spirally round it, projected into the street from his doorway, and on one of the panes of glass in his window was presented the following couplet:
Easy shaving for a penny, As good as you will find any.
We do not put these lines forth as a specimen of the poetry of the age; they may have been the production of some young Templer; but if they were a little wanting in poetic fire, that was amply made up by the clear and precise manner in which they set forth what they intended.”
— James Malcolm Rymer and Thomas Peckett Prest, The String of Pearls: A Romance (1846/47)
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Once again: what do you do if you want to post a trailer, but the post it refers to isn’t about a film? Books and music are difficult – but with musicals it’s a bit easier, because even stage shows get trailers nowadays. So, while there’s no Uncle Sam analogue in it, here’s a trailer for a recent(ish) staging of Stephen Sondheim’s Assassins. Because, hey fella, feel like you’re a failure? Feel misunderstood? C’mere and kill a president! Trust me, it’ll all make sense if you read the post.
I wasn’t sure what to expect of The Last Duel, Ridley Scott’s medieval drama about justice and gender. The trailer looked interesting (once I accepted that some of the hairstyles in the film took some getting used to, to say the least), I liked the actors, and Scott knows how to do a good-looking movie. At the same time, the director has been rather hit and miss for me, in particular in the last ten, fifteen years or so. Obviously Alien and Blade Runner are stone cold classics, and I’ve enjoyed quite a few of his later films, but while the likes of Prometheus and Alien: Covenant looked gorgeous, they were saddled with scripts that were uneven at best and weak at worst, which in turn wasted the usually solid, at times even great acting in these films. Scott and his collaborators have often been better at the cinematic craft than at picking material deserving of the craftsmanship.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Boy oh boy, as always it’s difficult to find a trailer if the post it relates to is about a song. Mege’s Damn Fine Degrees post about Elvis Costello’s “I Want You” makes it a bit easier by mentioning the Michael Winterbottom film of the same name – though it seems it only exists in very, very bad quality on YouTube. Ah well.
I’ve seen seven or eight films by Akira Kurosawa, but other than Ikiru and Dreams, the latter of which I saw about twenty years ago and don’t remember particularly well, it’s all been the Jidaigeki films, i.e. period dramas set during the Edo period (more or less) and featuring samurai, ronin and the like. Even Ikiru, which isn’t clearly set in the past, feels like it is about the past to some extent, as it is the story of an old man looking back at his life.
High and Low immediately makes for a striking contrast: it is set in the present day in a big city, its protagonists are businessmen and police detectives. More than that, while the film was released in 1963, there are many elements that would easily translate into our present day, and while High and Low comments on class in specifically Japanese contexts, much of its commentary could work equally well outside Japan. All of this comes together to make High and Low feel modern, in terms of the story, characters and the filmmaking itself – even almost sixty years after its release.
