Films you've seen lately

[Hitch]

All good points, but I wonder how many orchestral film soundtracks Mayo has listened to and enjoyed over the years. Where does he suppose that tradition and training comes from? Not to mention that for many years he was paid a healthy salary to broadcast music to the nation, at least some of which will have been made by trained classical musicians. It's not his fault that freelancers and independent companies are now responsible for so much of the BBC's output, but it's a bit rich of him to complain that his particular section of the arts doesn't get enough funding and that another should suffer as a consequence. The Reithian ethos was supposed to be comprehensive, not an exercise in robbing Peter to pay Paul.

The "perks" you mention might also be described as pastoral and essential to a civilised society.

As for classical performances being London-centric and unpopular, that's another topic. The BBC should follow its remit and build an audience for the classical repertoire by broadcasting more performances, discussions and documentaries on its four television channels and numerous radio stations other than R3 - a proposal that is not unknown to this forum. Anyway, my apologies for derailing the thread.

[Ein Heldenleben]

All good points, but I wonder how many orchestral film soundtracks Mayo has listened to and enjoyed over the years. Where does he suppose that tradition and training comes from? Not to mention that for many years he was paid a healthy salary to broadcast music to the nation, at least some of which will have been made by trained classical musicians. It's not his fault that freelancers and independent companies are now responsible for so much of the BBC's output, but it's a bit rich of him to complain that his particular section of the arts doesn't get enough funding and that another should suffer as a consequence. The Reithian ethos was supposed to be comprehensive, not an exercise in robbing Peter to pay Paul.

The "perks" you mention might also be described as pastoral and essential to a civilised society.

As for classical performances being London-centric and unpopular, that's another topic. The BBC should follow its remit and build an audience for the classical repertoire by broadcasting more performances, discussions and documentaries on its four television channels and numerous radio stations other than R3 - a proposal that is not unknown to this forum. Anyway, my apologies for derailing the thread.

If I was to look at the totality of BBC Arts and Music output and point out where I think the gaps are it would be no.1-
Film esp world cinema and film criticism - very little given its popularity - foreign language films are even winning main Oscars now.
Literature esp modern UK fiction , world fiction and poetry . Surprising given how much is adapted for drama e.g. Rooney , Atkinson , Atwood
It wouldn’t be classical music but it would be jazz and brass band music(almost totally neglected)

[Hitch]

You're... you're not suggesting that BBC Arts and Music actually serve the arts and music, are you? That kind of talk...

...Brings the priest and the doctor
In their long coats
Running over the fields.

[Ein Heldenleben]

You're... you're not suggesting that BBC Arts and Music actually serve the arts and music, are you? That kind of talk...

...Brings the priest and the doctor
In their long coats
Running over the fields.

Of course they do . Their annual spend on programming on both runs into tens of millions.

[Belgrove]

Cabaret has been rereleased in cinemas to mark its 50th anniversary and the print transfer has been cleaned up and looks pristine. It always requires a suspension of belief when characters burst into song in a film, but in Cabaret the musical numbers occur in the seedy Kit Kat Klub or a country beer garden, and so appear entirely natural. The cast is flawless with two Oscar winning acting performances. The sleazy club is a model for the decaying Weimar Republic, populated by characters straight out of an Otto Dix painting. The club scenes are fabulously shot, one can almost smell the smoke and sweat as silhouetted waiters pass in front of the camera, giving the impression one is seated in the audience. Each frame is a masterpiece of colour, lighting and composition. The editing is flick-knife sharp; a larky thigh-slapping lederhosen routine is intercut with brown-shirt thugs beating up the club manager in a back-alley. We watch as Germany lives for the moment whilst blithely sliding into fascism without especially noticing or caring. Only the creepy MC, a diabolical master of the revels, seems to understand, mirror or presage what is happening through the satirical club-acts over which he presides. The image accompanying the final drum-roll and cymbal crash refers back to the opening shot, but with a crucial difference, providing a chilling ending. It remains a very powerful, insidious and unsettling film - how many musicals can claim that?

[Serial_Apologist]

Cabaret has been rereleased in cinemas to mark its 50th anniversary and the print transfer has been cleaned up and looks pristine. It always requires a suspension of belief when characters burst into song in a film, but in Cabaret the musical numbers occur in the seedy Kit Kat Klub or a country beer garden, and so appear entirely natural. The cast is flawless with two Oscar winning acting performances. The sleazy club is a model for the decaying Weimar Republic, populated by characters straight out of an Otto Dix painting. The club scenes are fabulously shot, one can almost smell the smoke and sweat as silhouetted waiters pass in front of the camera, giving the impression one is seated in the audience. Each frame is a masterpiece of colour, lighting and composition. The editing is flick-knife sharp; a larky thigh-slapping lederhosen routine is intercut with brown-shirt thugs beating up the club manager in a back-alley. We watch as Germany lives for the moment whilst blithely sliding into fascism without especially noticing or caring. Only the creepy MC, a diabolical master of the revels, seems to understand, mirror or presage what is happening through the satirical club-acts over which he presides. The image accompanying the final drum-roll and cymbal crash refers back to the opening shot, but with a crucial difference, providing a chilling ending. It remains a very powerful, insidious and unsettling film - how many musicals can claim that?

You are in no way suggesting analogies with our world of today, I am quite sure!

[johncorrigan]

It remains a very powerful, insidious and unsettling film - how many musicals can claim that?

'Sound of Music'?

[Belgrove]

'Sound of Music'?

[johncorrigan]

Cabaret has been rereleased in cinemas to mark its 50th anniversary and the print transfer has been cleaned up and looks pristine. It always requires a suspension of belief when characters burst into song in a film, but in Cabaret the musical numbers occur in the seedy Kit Kat Klub or a country beer garden, and so appear entirely natural. The cast is flawless with two Oscar winning acting performances. The sleazy club is a model for the decaying Weimar Republic, populated by characters straight out of an Otto Dix painting. The club scenes are fabulously shot, one can almost smell the smoke and sweat as silhouetted waiters pass in front of the camera, giving the impression one is seated in the audience. Each frame is a masterpiece of colour, lighting and composition. The editing is flick-knife sharp; a larky thigh-slapping lederhosen routine is intercut with brown-shirt thugs beating up the club manager in a back-alley. We watch as Germany lives for the moment whilst blithely sliding into fascism without especially noticing or caring. Only the creepy MC, a diabolical master of the revels, seems to understand, mirror or presage what is happening through the satirical club-acts over which he presides. The image accompanying the final drum-roll and cymbal crash refers back to the opening shot, but with a crucial difference, providing a chilling ending. It remains a very powerful, insidious and unsettling film - how many musicals can claim that?

I still recall being shocked by the scene where they are in the beer garden and the member of the Hitler youth stands up and starts singing 'Tomorrow Belongs to Me', and by the end of it almost everyone is on their feet with their hands outstretched. Frightening, especially for those not taking part.

[richardfinegold]

Cabaret is one of my all time favorites for many of the reasons Belgrove cites. I remember reading some of the stories that the film is based upon after I had known the movie for many years. Liza Minnelli isn’t quite the Sally Bowles character of the stories, but this might be one instance of where a Play/Movie improves upon its original literary inspiration. Of course the movie has the advantage of knowing that this World became extinct, whereas the stories predate Hitler and only have vague premonitions of doom, as opposed to certainty.

[johncorrigan]

I hadn't watched an animation for ages, but the other night I was trying to find something to watch and came across Pixar's 'Soul'. It took me a wee bit to get to the pitch of it, but I really enjoyed it. Very funny with some terrific gags, especially when the main character is transported into the body of a cat ; and it also had a most enjoyable jazz soundtrack - actors included Jamie Foxx, who voices the main character, and Richard Ayoade...and Graham Norton Great stuff.

[Stanfordian]

'The Good Liar' (2019) - crime thriller staring Ian McKellen & Helen Mirren

'The Courier' (2020) - historical spy film staring Benedict Cumberbatch

On Netflix and both well worth watching.

[RichardB]

I hadn't watched an animation for ages, but the other night I was trying to find something to watch and came across Pixar's 'Soul'. It took me a wee bit to get to the pitch of it, but I really enjoyed it. Very funny with some terrific gags, especially when the main character is transported into the body of a cat ; and it also had a most enjoyable jazz soundtrack - actors included Jamie Foxx, who voices the main character, and Richard Ayoade...and Graham Norton Great stuff.

And Geoffrey Rush! Having a young person in the house, I have a very good excuse to see films like that, and I (and he) thought Soul is one of the best recent ones. Another one in that general sort of vein is Inside Out, which I recommend if you're ever feeling in that mood again.

[pastoralguy]

We watched a movie called ‘The Surprise’. Set in Belgium, it concerns an extremely wealthy young man who wishes to die after his mother’ demise. He contacts a company who specialise in causing death to those who desire it. However, he’s only just shaken hands on the deal when he encounters a beautiful woman who also wishes to die. Chaos ensues…

Lovely movie.

[johncorrigan]

And Geoffrey Rush! Having a young person in the house, I have a very good excuse to see films like that, and I (and he) thought Soul is one of the best recent ones. Another one in that general sort of vein is Inside Out, which I recommend if you're ever feeling in that mood again.

Thanks, Richard. I remember when that came out and thought it looked interesting, but I had nobody to go see it with. My daughter (mid-twenties) has also recommended 'Incanto'.