In A Lonely Place: once, twice, three times.
Acrylics, 16x20 inch, 2000
The Lusty Men (1952)
Directed by Nicholas Ray. Starring: Susan Hayward, Robert Mitchum, Arthur Kennedy.
Warning - plot spoilers!
The extensive cuts made to The Lusty Men indicate that RKO studio was dissatisfied with the film. When premiered in England it was seen as a very American subject matter and because it didn’t do well in the U.S. there was a possibility for further cuts. The film is also not firmly anchored to any storyline. It is more wandering and discursive in tone. The sections that include the character Booker Davis, played by Arthur Hunnicutt, were cut for the British audience; these scenes are there for the ideology of the rodeo world being portrayed and as an exploration of character and not for the plot. The film is almost anthropological in terms of locale and character with no real narrative. Only one film critic, Manny Farber, registered any of its qualities. The Lusty Men has subsequently emerged as one of the highest in Nicholas Ray’s oeuvre. It is a modest film that looks ordinary at first glance but has more unusual qualities in many respects.
The Lusty Men was made under ordinary circumstances but is not a streamlined, efficient production. It was the producer’s idea to film the rodeo and to ensure the availability of film star, Susan Hayward who gets the top billing. It was conceived of as a Susan Hayward movie who was only available for twelve weeks of filming and this was not during the rodeo season.
The film went into production with no script and this was a common feature for Ray’s films. The whole film was made in the studio with the rodeo shots filmed by second unit associates. The film script was improvised after the opening setting. At a late stage of filming, it was decided that the film should end on Robert Mitchum’s death. Everything in the film prepares you for the bust up between Robert Mitchum (playing Jeff McCloud) and Arthur Kennedy (Wes Merritt) and the resultant death and “happy ending”. This fits into the norm for Hollywood films but because Mitchum's character is almost suicidal the resolution is not a problem. Ray reckoned the decision to kill off Mitch lost the film a couple of million at the box office.
The story used in the film is a standard success story. This is a regular formulae in film and television and also in stories about sports and entertainment. A young man of talent is trained by an old timer. The young man goes on to achieve success but loses his roots and becomes arrogant. This arrogance leads to humiliation. The resolution involves him undergoing a change of behaviour. But the Lusty Men does not tell this story. Instead of having the rising star as the central figure, Ray focuses on the has-been side kick (Mitchum) and his emotions. The rags to riches story yields another story. It is about Mitch watching another guy have the success he once enjoyed. It has an elegiac quality.
Robert Mitchum and Kirk Douglas make for interesting comparisons. They invariably play characters who are going to be defeated. Douglas has a spectacular downfall while Mitchum’s characters usually register dejection and are mournful. Mitchum is often the fall guy in film noir. In The Lusty Men, his Jeff McCloud character is a wistful country boy of limited intelligence. The role is not a huge departure. But what is unusual is one element in the plot; the story of the hero who consciously wishes the destruction of his best friend’s marriage. This is never seen in 1940’s films where a strict Hays Code and respect for marriage is observed. (Ray said to V.F. Perkins that it was just so natural and normal in the film, how could the censors object. You can get away with things by sheer modesty.)
The originality of the film lies in the presentation of the character of Louise (Susan Hayward). This is one of the most interesting portrayals of a woman in Ray’s films and is unusual. The romanticism and the sentimentality in the film is attached to the macho world of the male characters. The film is acute about the pain of a macho rodeo life to both men and women. Hayward as Louise Merritt is a calculating woman. She is clear sighted whereas the men are romantically deluded. She is realistic about what to get out of life and with whom. Louise is not prepared to give up her life in the face of the male vanity being displayed in the rodeo world. She is a woman controlling her emotions to get material aims. A female character who displays this in a Hollywood film is usually presented as a schemer or villain; one thinks of Barbara Stanwyck. These are not objectives that are stereotypically ‘womanly.” She never talks about children or family. She doesn’t want to work in the “tamale joint.” This is a fresh interpretation of a female character.
Another major aspect of the film is showing codes of masculinity which are presented almost as a theatrical show. The wildest show on earth is not the rodeo but masculinity. The film is successful in making rodeo work not as a lifestyle but as a resonant metaphor which harmonises the presentation of character. The rodeo is about capture and asserting yourself on the past. There is a constant repetition of imagery in the film. At the very ending, after Mitch’s death, a new man enters the rodeo world and there is uplifting music as the film ends for the umpteenth time. The characters are looking for “something they thought lost.” This is not conveyed in the reality of farming where arthritis and the hard labour of tractors are the norm. These have nothing to do with bronc or bull riding. As Wes McCloud becomes more involved in the rodeo, it is not jeans, but the leather rhinestone image that appeals to him. More and more, it is the Roy Rodgers cowboy singing image and not someone dressed for work. The song on the flag. “Old Glory”, and Mitch’s return to rodeo is an attempt to show his past glory. It is an ironic, repetitive, dehumanised rodeo. Ray expressed aggravation that the cruelty involved to get animals wild could not be shown in the film.
Within the structure of the film, there is a dividedness which is common to Ray’s films. Here it is between the nomadic lifestyle and one of stability. In They Live By Life (Ray’s 1948 directorial debut) this is evidenced in the lovers on the run and Bowie wanting money to hire a lawyer to prove he is innocent of murder. In The Lusty Men it is about initially wanting to get money to buy a ranch. But Wes is seduced by the glamour and success and instead he buys a caravan which is the perfect 1950s symbol of nomadic lifestyle. In one sequence, Louise is shown sleeping and the camera tracks back to reveal her seated in a car. This is an image of her floating down a street. This theme is strongly registered in the character of Jeff (Mitchum). He is the centre point of this divided world, caught between the nomadic and settling down. This is best illustrated when he first returns to his old home ranch and rediscovers an illusionary security.
The Lusty Men is one of the best triangle movies. It is all done modestly and treats this theme sensitively. The film refuses to makes its denouement tragic. The pain it is about is too ordinary for tragedy. The frustrated lives the characters lead are ordinary and we are never tempted to believe that Louise has spontaneous love for Jeff that is going to blossom. She is aware that what Jeff offers as a rival to her husband - stability, security and an unspectacular life - is never going to materialise. The relationship between Jeff, Louise and Wes is unstable. Both Jeff and Louise stand in a parental role vis-a-vis Wes. Louise is a mother figure as well as a wife: taking his boots off; the way Wes sits on the draining board wiping up the dishes. “He ain’t two years old and I ain’t his mother.” Jeff enters as a paternal role training the younger Wes. But when Wes is drunk in one scene, he comes up and pushes himself on Jeff, who then punches him down. They are almost forced into the role of a couple because of Wes’s character traits. Then Jeff has to live with Wes as an adolescent. When Wes discards his advice, Jeff is left alone. One character always feels outside this triangular set up that is reshifting in terms of dramatic relationships.
There are a range of other characters who offer models for what the rodeo way of life offers. For Louise it is Grace: “Rodeo will make you an old woman before your time.” For Wes, it is Jeff and Buster Burgess, the latter offering gambling and drinking. Also Booker who is senile, almost mentally incapable of keeping up with the costs and demands of life. None however offer a model of success. Jeff has had success and learnt things. But the movie is consonant with other Ray movies in showing Jeff as simultaneously wise and informed about the ways of the rodeo, with a homespun philosophy where you “eat a little dirt if you have to,” while also substituting guts for good judgement. When it comes to the crunch, he is incapable of good judgement. What he needs and most feels, puts him on the path to catastrophe. Is it logical that his comeback is both a success and a death accident? But this goes with the modesty and unspectacular themes of the film. Jeff (Mitchum) is not a has-been and a wreck. He is not old enough to be a wreck.
The death of Jeff is the film’s final form of disaster. Masculinity means you have to find out if you can still do it. You only find this out when you die. This is what the film says about competitive virility. The image of Jeff and his fate as an action image is one of eloquence, poetry. The film puzzles around images of mastery and control. The pride he feels is offered at the beginning of the film. Jeff is standing above the bull in the pen and the shot is composed as a stable frame. Thirty seconds later, the sequence of shots are wild and subjective. The hand-held camera is almost indecipherable. The stability and claim to control is undermined by Jeff’s fall. As an action image this is morally and philosophically pertinent to the themes of the film.
Lecture delivered by V. F. Perkins, University of Warwick,
Film and Literature, Movies and Methods : Forms of Analysis
It was a great pleasure to make contact with Andrew Haig who shared memories and experiences as a designer. Working with the influential firm Kinneir, Calvert and Tuhilll, he produced the signage for Lancaster West and World's End estates in the 1970s.
As artist in residence on Lancaster West in 2015, I had an opportunity to use art to connect residents with the history of their estates; this is a poignant issue as many estates are now under threat from redevelopment schemes as evidenced with Silchester Estate in the same neighbourhood. This blog completes my set of interviews with former architects and current residents of Lancaster West estate.
At grammar school in England, my academic career was uneventful. I did well at art and athletics (I still compete today). Politically I was a little right-wing shit and a sergeant major myself in the cadets. At the end of sixth form I applied to join Sandhurst for Officer Training but, influenced by my art master who had been to Reading University, I was persuaded to apply to the only two institutions where you could get a degree in art in those days – Reading and Newcastle. Fortunately I failed the eyesight test at Sandhurst and got accepted at Reading despite my indifferent A level grades (including art!). You needed three A levels for university.
The four year Honours course with it's academic underpinning suited me fine. The first year was study for the 'First University Exam' in my case in Art, Geography and Ancient History. We then spent time with the main Art sections: Painting, Sculpture and Typography with a view to specialising in the second term of the second year. I realised that much as I enjoyed painting I had no special talent for it and would need, eventually, to make a living. I chose Typography. Good decision.
I should say that as soon as I started at Reading I dropped all the right-wing militaristic crap and retreated into a somewhat nihilistic shell. (subsequently I became a community-minded leftie. More of that later).
The graphic design profession was only just getting going at that time and despite the dusty academic slant of the course, a bona fide graphic designer was a once-a-week visitor and very influential too. My painting heroes had been Michael Andrews, Richard Diebenkorn and RB Kitaj. Now I started to take an interest in the burgeoning Graphic Design scene in London, particularly the work of those that were serious and analytical.
At the very beginning of the fourth year we had to submit an undergraduate dissertation as part of our finals. Mine addressed the ongoing application of a corporate identity for British Rail with a particular look at the signing systems and the emergence generally of lower case sans serif lettering as the standard (yup – pretty nerdy I know but you can see where this is going!). For my research I interviewed several of the key people at British Rail, Design Research Unit and Kinneir Calvert. Jock Kinneir was informative and patient with me when I went to see him at the Royal College of Art where he was head of course.
On leaving Reading I interviewed with Kinneir Calvert (Tuhill came several years later) and from my dissertation they could see that I fitted well with their set up and I was offered the job of junior designer.
Their office was in Knightsbridge so I started in August 1967 in the heart of 'swinging London'. Bliss!
KINNEIR CALVERT (TUHILL)
Initially I assisted senior designer David Jones who was working on the signing for the miner's new town in the North East, Silksworth. I helped with the visuals for presentation. Soon I was assisting Margaret Calvert with her airport signing system as well as other more general graphic commissions. I must say that Margaret it is who taught me all there was to know about typography, layout and systematic thinking as well as the thrill of finding the right metonymic image; in graphics a well chosen image or symbol speaks volumes! She was very much a mentor for me.
Once a signing scheme was accepted, there was much detail work to be undertaken and I was involved with drawing symbols, doing technical drawing for sign manufacturers and writing and laying out pages of instruction manuals.
Meanwhile, I was accepted as a capable typographer and either worked as an assistant in that capacity or otherwise entrusted with the odd annual report or piece of publicity. In those days we still worked largely with hot metal so layouts were traced with precision on typography paper, the compositors instructed and the resultant proofs pasted up as 'artwork'. I loved every moment of it.
In those days it was considered a matter of status for a young designer to take a day part-time teaching somewhere. In 1970 I started at the London College of Printing on The Diploma in Typographic Design course where I remained for a decade. Jock and Margaret were happy to indulge me. After I went freelance I picked up a second day at Camberwell school of Art 1971-1973. From 1980 to 1986 I taught for two days a week at Middlesex Polytechnic. In each case my speciality was in the basic principles of typography and layout. An underpinning if you like of the work of many a creative student.
I turned freelance in July 1971. This was a moment when Jock demonstrated his inherent generosity. I had learned all the essential procedures for devising a signing system and he tasked me with the job of undertaking such a system for the new London Borough of Kensington & Chelsea estates at World's End Chelsea and Lancaster West in Kensington.
Initially this involved pouring over architect's maps and, indeed, talking to them when necessary. I also met them frequently on site and determined the routes through the development and each point of decision. The job involved not just the signing but given the complexity of horizontal and vertical streets intersecting, working out the most efficient addressing system for the benefit of the postmen as much as residents. An analysis of this hugely complex task was written by me. It was accompanied by display boards which Jock and I presented to a huge planning committee at Kensington and Chelsea.
Using Margaret's slab serif update of her Rail alphabet, the job involved tracing each and every sign onto sheets to be supplied to the sign manufacturers in dyeline form. Margaret's alphabet eventually became formalised as the typeface called Calvert and to this day is used for the signs of the Newcastle underground system. The dyelines would have been backed up with precise technical specifications. The lettering would always have been accurate courtesy of Margaret's tiling system where artwork was pasted up from lettering printed on paper with each letter on a 'tile' to distance it accurately from its neighbour.
I have located some reference photography (1976) of a few of the signs in situ. The blue signs at Lancaster West and the brown ones at World's End, including the large 3D floor numbers that Margaret designed; not sure why she thinks the scheme was not implemented, these shots seem to prove otherwise. (3d signs were only installed at World's End estate, but now not in evidence - Constantine's comment)
Note that our signs took due note of horizontal and vertical brick intervals and used those as sign size determinants. One decision we made and justified at the time was my idea to, instead of using arrows, use words (left, right, upstairs etc). Forty five years later it seems just plain wrong. Not everyone reads English or reads it well. What's wrong with good old arrows?
I continued with teaching and freelance work specialising in non-commercial clients such as charities and public bodies. For several years in the eighties I shared studio space in Islington just down the road from the GLC Learning Materials Service for whom I did a considerable amount of work.
In the mid seventies I had bought a house in Graham Road Hackney (I had to take a full time job for a year as studio manager with Tauber-Fandora Colour Printers – impossible to get a mortgage as a free lancer in those days!). It became obvious that the GLC were planning to formalise our street as an HGV route through from the Blackwall Tunnel to Archway. Along with some neighbours I formed the Graham Road Neighbourhood Group which became a really influential force in the area. I was its first chairman. We did a considerable amount of lobbying and even direct action. We used to do 'zebra walks' back and forth across the road – 70 or so residents, old and young, at 7 o'clock in the morning. This is where I start to connect with your residents!
In 1993 I moved to Brighton where I set up a freelance design "collective" working still for the non-commercial sector. In 2009 I retired and still now am involved with my community but otherwise enjoying getting back to my own creativity. I paint and write short stories and poetry which I self-publish. I am also a heavily involved with a local running club for whom I compete frequently – now in the 70 category!
This is an arts project about the history of the Coronet Theatre from 1872-2017.
The ghostly presence of a Victorian actress, Marie Henderson, will be our guiding muse.
The Melodramatic Elephant in the Haunted Castle will be both a performance piece and an exhibition.
The play will be staged at the Coronet on the 7 November 2017.
The exhibition will take place at Artworks Gallery from 11-23 November 2017
Our project is a collaboration between a visual artist, theatre director, actors and residents of Southwark.
The work will be made available to future audiences by being deposited at Southwark Archives.
The Melodramatic Elephant in the Haunted Castle is the culmination of several years of research into the history of the Coronet. It has a deep-focus on the actress, Marie Henderson, who has hitherto been consigned to the margins of academia. Our challenge is to creatively bring her to life: the pleasures and pains, the life-pangs of a Victorian actress; one who transfixed her audiences with performances that put the oomph of drama into "melos." She will be ghost skating through our artistic timeline, materialising at pivotal moments in the history of the Coronet. This might include the WW2 Blitz and a coda section when Marie trips the light fantastic with raving clubbers. She will transport us from the age of corsets and crinoline to silicon implants, from Bedlam to Brexit and beyond.
I will be using drawings as a medium to explore ideas and emotions, akin to a visual storyboard. The aim is to produce a narrative body of expressionistic imagery that responds to the architectural spaces of the Coronet and poignantly documents its final heart beat. Because our project is fundamentally sociable and public, there is the challenge of inspiring others to participate in the process of making and thinking. I look forward to sketching out the memories and experiences of people who once visited the Coronet as a cinema and those who still club today and sent into a trance with the musical beat. The icing on the cake would be discovering a senior resident, one who is over 100 years of age, who has a story to tell about the Coronet when it was a theatre.
Collaborating with John Whelan and the People's Theatre Company is top of my creative agenda. John has worked on history-based community arts projects in Southwark, but probably none on this scale and ambition. The durational nature of this project will allow John and the actors to become more involved in the development of a poetic play about the history of the Coronet and even get to source their own period clothing in more nuanced detail.
John and I will be exploring ideas and themes of mutual interest. For example, the origins of theatre and how this fused with music to create the melodramatic play and its link to cinematic forms of expression; my educational background was in film studies. We want to show how performance and melodrama are still relevant in contemporary society.
Double bill film poster for The Crimes of Stephen Hawke and the House of Mortal Sin
Melodrama meets horror, Tod Slaughter slices Pete Walker, 1930s resonates with 1970s
Oil pastel, 40x64 inches, 2013
Sketching the spirits that inhabit a staircase at the Coronet, 2017
Shop till the zombie drops
Cultural memories of the railway arches and the shopping centre at the Elephant and Castle seem ripe for melodrama and horror.
Faith, Hope and Charity
The life of Marie Henderson and the melodramatic play she starred in called Faith, Hope and Charity which introduced ghostly special effects on to the Victorian stage. The play is a domestic drama, with three murders, one suicide, two conflagrations, four robberies, one virtuous lawyer, 23 angels, and a ghost.
Singing and sketching in the rain
At the Walworth street festival on 22 July 2017, children sketch images for a scale model of the Coronet and adults talk about their memories of going to the venue when it was an ABC cinema.
History and legacy of Melodrama
Professor Jim Davis and Dr Janice Norwood provide a fascinating overview of melodrama's rich diversity and defining characteristics. We discover that melodrama was one of the most popular forms of entertainment in the 19th century. Although it was often dismissed as a cultural product, there is a growing awareness of its importance and how it influenced both film and TV.
Melodrama Workshop - Introduction
We had great fun with it, as it allowed our imaginations to run riot. The only rule we followed was that each beat of the scene had to heighten dramatic tension - preferably through the means of some jaw-dropping revelation.
Carolyn Cronin from the People's Company - Masks!
I realised how masks conceal the wearer: you’d expect to see their eyes and mouths behind them, but you can’t – the mask itself is the focus.
Interview with Sam Porter, manager at the Coronet
I’ve walked around this building on my own, at night, in pitch black, with just the little fire lights on and not felt uncomfortable at all. Apart from one space.
Culture and Capital at the Elephant and Castle
What makes the E&C Theatre important was that melodrama was established and maintained here when other theatres either adapted to contemporary dramatic fashions or succumbed to the cinema; it even achieved a brilliant burst of fame in 1927.
82 x 56 inches. Oil pastel, pencil. 2017.
Poem to a drawing
Are we walking down a corridor in the National Portrait gallery?
Walls lined with the great and good who have killed and conquered.
This is all rather tiring and I am looking for somewhere to sit.
Commotion in a room ahead, left or right?
A gust of wind blows us into the Euro wing.
We see a mother and child with candle and umbrella.
A man checks his flies are zipped.
Above his head, a tricolour ink roller in suspended animation.
On the ground, footprints of Prussian blue.
Centre stage, chaise lounge.
What is going on? Can we sit here?
Maybe in the next room, next to a woman and her copy of J. G. Ballard's The Atrocity Exhibition.
In front of a painting of the British Prime Minister getting fruity with the American President.
Is that Robert Rauschenberg trapped in twine from a plumb bob?
He appears to be pointing backwards and forward, one hand to 1974, the other, 2019.
Can we trust an artist to TELL US EVERYTHING about this space within space
That has spilled out from a box labelled Highland Shortbread?
Where can I sit?
My legs are killing me.
Notes to myself
This was sketched immediately after visiting the excellent Robert Rauschenberg exhibition at Tate Modern and during the United Kingdom government's formal notification of withdrawal from the European Union. This was also the week when The Daily Mail newspaper on March 28th featured a photo of Theresa May and Nicola Sturgeon with the trivialising head line: “Never mind Brexit, who won Legs-it!”. On the same day, a new 12-sided £1 coin became legal tender across the UK.
Pondering all these matters, I started to sketch a scene using Robert Rauschenberg as an enigmatic muse. His free and easy approach to materials, for example, building an umbrella or fan into a painted surface, had me thinking about how to use everyday objects as part of my art practice. I turned to a biscuit tin in my studio. I don't know why I started to collect objects in a biscuit tin or how long they have accumulated (more than a decade now), but this box with random objects ranging from coins, fuses, tea coaster, plumb bob, pencil emblazoned with "Tell me everything," was raided for inspiration and incorporated into the drawing. This was my equivalent to Rauschenberg's "combine" although I have made no concession to three dimensionality. There is added irony in that the box has a culinary connection with Scotland; a nation destined to have a falling out with the English over the issue of falling out of Europe. All these objects and related ideas came tumbling out of the box and into the composition.
Some other allusions for the cultural critic to register:
As we march towards the spring Equinox
Clouds blink and then cry outside my West London skyline.
Faint rays of light bend through the veiled window of my studio.
In a mere ten minutes, a dull tone of grey pastel takes a walk
With confident, improvised strokes.
As I step back and view, Lautreamont comes to mind:
"As beautiful as the chance encounter of a sewing machine
And an umbrella on an operating table."
I step forward and substitute that sewing machine for a tattoo machine.
There is also no need for an umbrella as the clouds have dissolved in real time.
On the picture plane, we have a domestic interior looking out across suburbia.
A machine vibrates and draws blood.
This is a cottage industry of body art.
Bobbins your uncle!
Bobbin's your uncle!
A New World Order
Pastel drawing, 60x81", 2016
The Grand Christmas Comic Pantomine
At the mythic Elephant and Castle Theatre
Boxing Day, December 26th, 1876
Trump and Farage;
And the Knight that fought and gained the day
Donnie Trump ------- performed by Miss Marie Henderson
A powerful and scheming knight in love with Nigella and himself
Nigella Farage ------- performed by Mr Walter Grisdale
Mistress from Ing - Land who whip lashes her Euro body politic
Hilaricious Clinton ------- performed by Miss Clara Griffith
Deposed Queen trapped in the world wide web
Theresa Maypole ------ performed by Mr Watty Bruton
The titular head of state who is forever Brexiting, stage right.
A production on a grand scale with thrilling scenes:
Donnie and Nigella riding the headless horse of the apocalypse;
Hilaricious hanging onto the tale of the headless horse;
And Theresa, trying to exit stage right, but being trampled under horse hoof.
All told, a magical transformation.
This new world order has to be seen to be believed!
Trump and Farage has been expressly sketched for this theatre by Constance Graf.
1. Pantomine is a type of musical comedy performed in the United Kingdom, generally during the Christmas festive period. It has gender-bending roles and a story loosely based on a fairy or folk tale.
2. Henderson, Griffith, Grisdale and Bruton formed the cast of the Elephant and Castle Theatre company in London between 1875-1880. Marie Henderson was also the directress of the company.
3. If you want to sample a pantomime, here is a link to Valentine and Orson. This text was written in 1877 by Charles Merion and is his third adaption of the medieval romance tale about twin brothers abandoned at birth, one raised in the royal court and the other in the woods. Another version was the first play performed at the Elephant and Castle Theatre when that was opened for business in 1872. The theatre building is now the Coronet Club and this is due for demolition in early 2018 as part of the regeneration of the Elephant and Castle area.
What would you do?
Imagine your neighbour Heinrich Boll had left you a spare key and instruction to water the house plants while he boarded an aeroplane to collect a Nobel prize. Would you steal inspiration from the draft in his typewriter? Or Max Opuls had entrusted you, his dear friend, to retrieve a roll of film from his house; the one the censors didn't see in La Ronde. Would you leer at the said negative being held up to a bright light source? Kathe Kollwitz had to nip out to buy some milk and bread. Mischievous thought of adding a smiley face of ink to the desolate image in the printing press?
The aforesaid fantasies were inspired after listening to an interview Holgar Czukay gave in the early 1990s on the Radio 3 programme, Mixing It. He recounted how as a student of Karlheinz Stockhausen in 1968, he sweet talked the secretary and gained access to Herr Aladdin's electronic cave. Holgar was able to record his debut album, Canaxis 5, with the studios impressive tape recorders looping together his interest in Musique Concrete and ethnographic folk recordings.
Not all studios live up to their profession. In point of fact, given the relative poverty of artists, they invariably have to beg a shed, borrow a broom cupboard or steal a loft. I have only had one bonafide studio. This was once a 1960s council flat (bedroom, living room and a kitchen) and came with the responsibility to practice community art. An author might build a studio around the typewriter on an heir loomed desk or a poet might dream on a hammock in the garden. Maybe virtual studios will one day be the norm for web based artists. The creation of an avatar, perhaps even adopting the identity of the Germanic artists I have already listed.
Expanding on this chain of thought -what about that elusive key to the artist's mind?
Script for This-That by Jacob Barua. Printed on continuous feed paper, Warwick University science block.
I am navigating back to 1989 and the University of Warwick. My fellow Film and Literature student, Jacob Barua, has handed me a film script and declared emphatically: you are the only person in the universe who can play this! I hesitated. Had never acted before. And then there was the troubled central character in the drama who seemed all too recognisable; forever on the edge of everything, nothing, relationships, art, politics. This begged the following question: Jacob are you taking the piss out of me or yourself? For a short period of time we seemed to swap identities. Jacob’s intense cinematic vision became one with my suited and booted persona.
Jacob was going to use this short film to catapult him into the prestigious Lodz film school. But it was no plain sailing. No film production on this dramatic scale had been undertaken at the university where theory ruled the day. It meant sniffing out equipment and resources. After two weeks of filming, a mere two days were spend in the edit suite, using equipment for the very first time. I recall a few expletives. We had set the date of screening, one day after the final day of editing. A key animation sequence shot on 8 mm film only arrived on the day of the screening and had to be added post-haste, post end-credits. Thankfully this has now been re-edited into its proper place in the dreaming body of the film.
We finally have the keys to the digital edit suite.
It's only now after 26 years and working together again on restoring the fading VHS tapes, that we’ve got a new grasp on the importance of this film for us. Let me leave the final words to Jacob Baura who was recently interviewed about his Warwick experience. What on heaven or hell was he thinking about when he made This-That?
"The reason I wanted to become a filmmaker, did not have that much to do with film per se. I had always been enthralled by Art itself in all it's aspects. I had been a poet, a musician, a painter, photographer, amateur actor, but probably loved literature most of all. Somewhat like a brat with his hand in a jar full of goodies, I did not want to let go of any of the Arts and decided that there was was only one vessel that encompassed all of them. The only way, in which I did not have to discard any, but instead fuse them, was through the glowing medium of film.
I arrived in Warwick...by mistake. One of my obsessions when it comes to the written word is History. Right until today I often wonder whether I am a self made historian expressing myself and researching through film. Warwick conjured in my mind the mystery and glory of medieval times. I was convinced that the University of Warwick was located somewhere within the town of Warwick. In those pre-internet days, a major source of information were brochures. And the university's were filled with images of Warwick Castle and the old cobble stone streets. That was enough for me to decide, given that it was simultaneously the only university offering such a broad course encompassing foremost literature and then film. I got off the train in the quaint railway station only to be horrifyingly informed that the university was far away in some fields between Coventry, Leamington Spa and Kenilworth!
I found the course at the university to be exhilirating in it's scope - exactly tailored to my needs. Great lecturers and given the small size of our department, an opportunity to bond with colleagues. The university also happened to probably have the largest independent Art Centre outside London, at the time. There was everything ranging from a philharmonic orchestra to to a cinema with plush seats and a sterling screen, to one of the best equipped professional theaters anywhere in England. Here I was active as a member of the Warwick Drama Society, taking on delicious roles for the duration of my studies. Besides, the university was a beehive of political activity, of all manner of shades. Of course I was aghast that the most prominent ones were for naive fellow travellers of all manner of totalitarian off shots. However the jewel of this mini-city was a massive library, with a salivating wealth of books that was beyond belief.
This-That was the result of a deep inner need to encompass my entire experience as a student who had lived in different countries, cultural and political systems. At the same time I set to creating a time capsule to be sent into the future. All Myths were after all created by somebody, even if that was thousands of years back - so why not make one too, there and then, to be flung into an unfathomable distance? My inspiration for the main character was essential to creating a core, and this was based, at least in terms of the visuals on a readily available 'blueprint'. For I used Warwick's most enigmatic and unique real life student - Constantine Gras. He did not fit into any preconception - as he neither had the persona of a typical student, nor even one from any 'civilian' from our contemporary milieu. Here was Someone who seemed to have been historically misplaced, from a 'wrong' age. Like a potter I used him as my clay, to impose onto him a narrative, which I knew would jar when combined with his persona. So here was a man creating himself i.e. Constantine, whom in turn I was creating further. Layers of creation.
One of the overarching themes is the struggle that each human has to undertake to find a space of comfort, to be able to be oneself, while struggling against the dominant societal forces. By comfort I do not at all refer to a personal one, but that of the Other. For the most crucial single question ever spoken for me, which forever thunders across all ages is; "Am I my brother's keeper?" We live in a world circumscribed by political correctness. The moment you challenge the narrative of the day, you are deemed fit for condemnation and rejection. In the case of the film, the character not only isn't ascribing to Modernity and the race to keep up with fashions both external and internal, but occupies a realm that defies the obligatory 'standards'. He is still both a reflection of the Ancient, Romantic and Future ages. Whether we like it or not from the beginnings of History, politics impinge on almost everything in life. That is why the culmination of the film is congealed within the incongruous figure of a young pyjama clad student who dares to take on the Rulers of the World. The selfish manipulators - the Daeduluses vs the selfless dreamers - the Icuruses. If I were to try to draw a circle; Sleep - Pyjama - Dream - the Impossible - Courage - Death - Eternity - Sleep.
The reception of the film, I will admit, was heart breaking. An outright regurgitating by the audience. Particularly so - when not even our lecturers or collegues could grasp or extract any meaning out of it. But this should have been expected, as it was intentionally put together in such a way as to defy conventional modes of film-making. And again, it was indeed a film made for Another age. But which one? Time will still tell.
I have no regrets about the film as it was then, and in it's curent slightly re-edited form. It turned out prescient. You are Alone among people. To be fulfilled you have to metaphorically fly, even if demise is the price to be paid. There is no escaping Newton's and other more serious Laws.
But just like there was no relevant message in the film for the audience at the time, there similarly isn't any for those today. There are plenty of other better sources, dear audience member, if you are in need of a message. This is not a cerebral feast but mainly a sensory experience.
Once I got there, one of the most satisfying experiences at the Lodz Film School was when all students were herded into a cinema, and made to watch the film by Piotr Wojciechowski; he was a Filmmaker, Scriptwriter, Catholic Philosopher but most of all a living legend as a novel writer ("Skull within a skull", "Is it worth to have a Soul" and others). He immediately took to the film. In his laudatory lecture after the film, he said he felt it had the feel of T.S. Elliot's " The Waste Land". He was the first ever viewer to fully comprehend the ambitions of this film. At the Lodz Film School I carried on with the 'tradition' of making This-Thatian films. With no pretence at all. Poland's greatest ever fimmaker, and it's Chancellor Wojciech Has, would always chide other lecturers for being baffled by my films - telling them that they were wrong to search for conventional meanings in my short films. For him they were "Intricate riddles"
I don't really have any wise tips for aspiring filmmakers. Rather warnings, in that it is going to be a lonely, cruel, and ungrateful journey, except for the very, very lucky few. Well, take heart - at least there's going to be one worthwhile viewer of your creation - Yourself.
Having been trained on 35mm makes a filmmaker by far more disciplined and honed to the workings of a film. The Digital Age has its own advantages. But the downsides are greater. More self indulgence and turning an important medium of Art into a toy.
I have been a gardener for a long time now. There's at least one massive film within me waiting to happen. Then I intend to go back to my gardening.
It's this and that, after all."
If you want to experience This-That, the film is screening on:
10th September 2016 around 7.30pm
Muse Gallery, 269 Portobello Road, W11, London
Portobello Film Festival
Full venue and programme details.
It is with great sadness that I have just received news of the recent passing away of Victor F Perkins. He co-founded the film department at Warwick in 1978 and made a decisive contribution to the acceptance of film as an art form worthy of deep study. I have fond memories of him hunched over the Steenbeck undertaking a close textual analysis of In A Lonely Place with 2-3 students; a more kinetic Victor was found over at the Student Union playing his favourite pinball machine; delivering those impassioned lectures where he poured his intelligence into the vessel of a film; seeing so much nuance in terms of decor and edit, so much so, that I seem to recall, at the end of one lecture, Jacob asked: is it really possible that the film maker meant all this?
Victor bough a copy of This-That in 1989 for the university archive. It was always a pleasure to meet up with him over the decades since I graduated. Alas he missed the screening of the remastered film at the university in March 2016, but I was touched when he specially came in to see me and we had a good chin wag about life: how he was adjusting after a recent stroke, his desire to learn the German language, his concern about the corporate development of education and his cluttered honorary office in the department which he really should tidy up. I told him that we had dedicated the film to our old lecturers who had inspired the young to fly. Victor had a rueful smile.
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Here's a recap of the Open Garden estate weekend that was organised by Silchester Residents Association and Constantine Gras. It had funding and support from Architects for Social Housing, RBKC council and InTRANSIT festival of arts.
The event took place on Saturday 18 and Sunday 19 JUNE 2016. The aim was to celebrate community and cultural life, architecture and garden spaces at both Silchester and Lancaster West estate. The former estate is being considered for regeneration by RBKC council.
Centre stage was a 1:100 scale model of Silchester estate made by Michael Jardine, Nahid Ashby and Constantine Gras. This was a wonderful way of visualising the estate and the potential impacts of regeneration.
In addition to art made by residents, we had a film programme and guided walks. The walks connected the older sister estate of Silchester with its younger brother, Lancaster West, which lies on the other side of the Bramley Road. Residents, Michael Jardine and Piers Thompson lead us from the elegance of Waynflete Square to the more private spaces of Lancaster West; the latter was designed by landscape architect, Michael Brown.
Photo collage by James Mercer, Resident of Waynflete Square
I have lived on Shalfleet Drive for 7 years. From our bedroom windows we have a nice view onto Wayneflete Square which is a nice well kept estate.
I love art, I always have. It seems to relax me and gives me a way to express myself. I mainly do illustrative art, like cartoons, animation. To quote my art teacher I am a "Perfectionist with a pencil”.
Lex Quiambao, resident of Whitstable House
I’m a freelance Artist and a waiter working at a pub. I also do volunteering at the youth club.
I like to paint at home. These two paintings are views from my balcony on the 11th floor. It’s a landscape of London from day to night showing how light and time both changes and grows.
Nahid Ashby, resident of Frinstead House
I was born in Iran and I came here just for the summer holidays in 1970. I loved the freedom and that’s why I stayed. When I first moved to Frinstead House in about 1980. I thought, Oh my God! I probably can’t stay here. But the flats are pretty comfortable.
Waynflete square, with its low rise buildings and small delightful gardens full of trees, shrubs and scented flowers, has a special place in my daily walk. I particularly like this area because it has a wide view of the sky and the beautiful sunset colours that melt my heart. I use these trees, sky and shapes in many of my paintings.
Derek White, Shalfleet Drive Leaseholder
I have lived on the estate for eight years with my wife and am proud to have been Chair of the Silchester Residents' Association since 2011. My hope and belief is that by doing what I am good at, I enable others to do what they are good at. Our community of Silchester Estate is diverse and friendly with a mix of long standing and more recent residents.
I am shocked by the possible plans that the Council has for our area as they do not seem to take account of what is here already, but I am encouraged by the way the community has come out and met together, shared views and supported each other and I firmly believe that it is that strength that will enable us to play a part in continuing to build community. I was privileged to speak at the Cabinet Meeting on 26th May where the Cabinet decided to proceed with further options in the Feasibility Study and committed to working with the RA as a significant partner.
Mary White, Shalfleet Drive Leaseholder
I grew up in suburban London and when I left at the age of 18 I said I never wanted to come back to live here, but I moved into North Kensington in 2004 and we both moved onto Silchester in 2008 and now I’m proud to call myself a Londoner. We live in a great city and a wonderful area. I love the diversity in our neighbourhood and I like it that every time I walk out of the door I meet someone I know – we’re a strong community. I work across the road at Latymer Community Church and our Christian faith is at the core of who we are. So it’s really important to us to be involved on the estate and to participate in the things that matter to us all. We want to stand with our friends and neighbours at a time of potential change and stress and at the same time to celebrate all the wonderful things about living on Silchester. Our community event every summer on Waynflete Square is the highlight of the Residents’ Association’s year and for the rest of the year we enjoy watching the seasons change on our very own garden square.
On the 18th and 19th June we were blessed with fine weather, a good turnout and some lovely feedback. Here's a choice selection:
Cllr Judith Blakeman:
"This amazing exhibition demonstrates what the united community of Silchester does and why it is quite wrong for RBKC to destroy all that has been built up over the years. This vibrant and wonderful community can never be rebuilt."
Peter Radisic, resident of Frinstead House:
"Great work, done so well.”
“An eye opener - I hope something develops for the local residents.”
Edward Daffarn, Grenfell Action Group:
“Great tour and lovely estate.”
"I was the the original homeless people. That means, home is where the heart is."
Save the community!
Nigel Whitbread, architect of Grenfell Tower:
"I particularly enjoyed the tour around both estates; the surprise of the hidden gardens and habitat."
Marco Picardi, Green Westway:
“Great art and videos. Loved the multi layered tour that really captured the local life.”
Simon Elmer and Geraldine Dening, Architects for Social Housing:
“Wonderful exhibition. Great work with children and to see the community alive on the walls.”
Helena Thompson, Spid Theatre Director and her son, Mat:
“We loved the exhibition! So much useful information and so well designed. We had fun in the brilliant gardens too.”
"Wife's age 29. Married 11 years. General condition debilitated.
12 pregnancies: 5 children alive, 5 miscarriages, 2 children died in early years.
Referred from Welfare Centre."
North Kensington Women's Welfare Centre, 1929 Annual Report.
"If you're getting married or are just married, why don't you and your finance, or you and your husband, both come to the North Kensington Marriage Welfare Centre at 12 Telford Road. Ladbroke Grove, W10 on the first Tuesday of any month?
After coffee and biscuits at 7pm, there will be an informal discussion led by a doctor about the many new aspects of the life you will be sharing together."
1950's advertising card.
The North Kensington Women’s Welfare Centre was a charitable organisation opened at 12 Telford Road in 1924. It was the third birth control clinic in England that was set up by three Margaret's: Margery Spring-Rice, who was the niece of Dr Elizabeth Garrett Anderson, the first Englishwoman to qualify as a physician and surgeon in Britain; Margaret Lloyd who was a cousin of Bertrand Russell and devoted to left wing and women's causes; and the Hon Mrs. Margaret Dighton Pollock, daughter of the first Lord Buckmaster who introduced a Birth Control Bill into the House of Lords in 1926. Margery Spring Rice and Margaret Lloyd, who both lived in Kensington, were inspired to set up the centre after hearing accounts of the domestic burdens of their respective char-women who came from the very poor district of Notting Dale.
The centre had the aim of giving contraceptive services to working class women in North Kensington as this was then only available from private doctors. Fees were charged according to the financial circumstances of husband and wife.
Staff at the centre played a major role in setting up the Family Planning Association in which it would operate as a specialist branch. By the 1950’s it was re-named as the North Kensington Marriage Welfare Centre and had become a super-clinic, offering services not available on the newly formed NHS including early treatments for infertility and sexual problems.
Dr Helena Wright and Dr Joan Malleson both worked at the Centre for over twenty years. They played a major role in the international development of family planning, the right to abortion and sex education.
During the period 1924-53, the Centre treated over 46,000 patients. In the year 1963 it had over 10,000 visits to the Centre. The centre was well regarded internationally and visited by Drs and Nurses from around the world who undertook training there.
On the research front, the centre also initiated or took part in research trials for cervical caps, pastes, the pill, IUD and cervical screening.
In the 1970’s, the council redeveloped the site to build a fire Station on Ladbroke Grove and the clinic temporarily relocated to a nearby portable cabin before moving back into the re-formed Raymede Clinic.
Over 1000 FPA clinics were eventually taken over by the NHS in 1973-74.
The FPA archive is held in the Wellcome Library.
My response to the archive is a work in progress. At times, it's been a pitch for a TV series and also as a multi-media art project with actors. I'm now showing the drawings I've made in response to the archive and these are in the style of a narrative film storyboard. These images illustrate scenes from the 1920's-1970's and reflect profound changes in society: the controversy and campaigning undertaken by early pioneers; how birth control was connected with the eugenics movement; the gradual acceptance of family planning as a right for all women, irregardless of marriage status; the impact of the pill in the 1960s; and post-war migration leading to the forming of new British communities.