Known mainly to me through his roles in Jarman's Sebastiane and Jubilee. He made it to 80 but no further. Sorry to read of his passing. I will watch Jubilee this evening in his memory.
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I can't comment with any authority but to my mind he is a very big name. It stands out. I googled him and tbh thought that there was much more film work than appears on Wiki. 80 wasn't bad, was it? As someone who has never been to a ballet - although I had friends whose very refined middle class mothers loved it - I have increasingly felt that it is such an important art form. I'd certainly give money towards it if I were wealthy. Perhaps because it isn't the obvious. I don't know. It's just how I feel. And to modernise it is something else.Originally posted by Bryn View Post
As for Jarman, I'm not overly familiar but I always think of the take on Dungeness which in some respects is an update on Quatermass. As we headed through glorious heather towards Sizewell last year, it was very filmic in that sense to me. Less so, perhaps the punk ethos. That feels more of its time and too culturally angled rather than universal but all of that is ok.Last edited by Lat-Literal; 25-08-18, 16:09. -
The association likely to be dredged up is that with Bowie, but for me it is that final "tennis match" in Antonioni's "Blow Up". I made the locale for that an annual pilgrimage while I still had a car: the tennis court is still there; the terraces running down to the Woolwich Road with that antique shop long gone.Comment
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I'll always remember him for the Ballet Rambert production with Christopher Bruce and Carlos Miranda, Cruel Garden, based on the life of poet Federico Garcia Lorca, and setting the poet's cruelly truncated life as sort of a bullfight, the ballet talking place mainly in a bullring set.... devastating, visual and emotionally.
I saw it live in Liverpool in the 1970s, and came home with a paperback of the poems. It all spoke so very vividly to someone who felt like a very isolated outsider herself...Comment
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