I suspect fellow bibliophiles and reading addicts will identify with this, I certainly do. After a couple of decades as a bookseller, reviewer, editor and writer I generally accrue more books than I can find time to read (let alone review), and I’m in the fortunate position of regularly being sent interesting new ones to look at. And yet I still love a good browse round a decent bookstore, especially second hand and charity ones, where you never know what you’ll find. Couple of weeks ago, despite having a pile of new and forthcoming books waiting on my attentions (and having several on the go at the same time) I still went off with a chum to rummage through the charity bookstores on Edinburgh’s Southside.
I decided since the bulk of my reading recently has been fiction (prose and graphic novel) I would limit myself to only non-fiction (like that matters when you have piles overflowing the shelves into corners, but hey, whatever justification works, right?). And I ambled off after our bookstore troll to the pub with several books – couple of history works, a pop science book and a collection of poetry. Necessary when you have so many other books waiting? Technically, practically, no. On the level of my reading soul though, yes, of course! And it made me feel better.
Most recently my reading has been focused very much on the books of authors I will be talking to next week when I am again chairing a couple of events at the Edinburgh International Book Festival, as I read then re-read to try and pick out some relevant questions for the events, but it’s good to vary the reading diet – and for a break – to dip into some other pieces, so I am also taking quick peeks at Dee Brown’s Bury My Heart at Wounded Knee, a history of the American West but from the perspective of the Native Americans, a book I have been meaning to read for years, and which I found on the shelves of one of those charity bookstores recently. Which I take as a sign from the literary gods and accordingly grabbed it.
It’s August and it’s festival time here in Edinburgh, the city bursting at the seams as the Fringe and the International Festival kicked off over the weekend, the world’s largest arts festival now in full swing, and the Edinburgh International Book Festival, the world’s biggest literary fest, starts next weekend (and I will be chairing a couple of events there again this year). Part of the Royal Mile is given over to the Fringe performers – with hundreds of shows it’s no easy task to get audiences, they have to fight for bums on seats, so they strut their stuff on the Mile, many in costume, some doing excerpts from their shows on the mini stages to entice audiences. It’s madly busy – almost literally wall to wall with people across the breadth of that historic thoroughfare – but it’s also a happy hunting ground for me to snap some more photos, and I tend to take a ridiculous amount this month (and the views on my Flickr tend to go mad as well as folks all over look for pics of the festival).
The first pic I shot at this year’s Fringe, actually a couple of days before it officially started, but it was on my way home from work and I thought some performers may be out already (some preview show were running by then), and my first shot was this group of Asian performers posting up their flyers for their show. Just as I lined it up the lovely lady turned around, saw me and gave me a nice big smile and wave, which was a nice way to start my festival season of photos.
Sushi Tap 2, with their rather eye-catching neon pink costumes, hard to miss, even once the Mile filled up with more people over the weekend!
Korean troupe Maro have brought Leodo: the Paradise to the Fringe
“Living” statue performer as a cyclist
Hibiki, a troupe of traditional Japanese drummers – wonderfully kinetic performance
John Robertson’s The Dark Room
Follow the Faun!
Charming performers from A Midsummer Night’s Dream
Of course all the hurly-burly of the crowds and performers and the summer sunshine can be too much for some – this chap just settled right down on the busy steps of Saint Giles Cathedral and nodded off
Waking Beauty, a look at fairy tales from a feminine perspective
This musician was singing arias, which rang out beautifully clear even across the din of the busy festival street
With their black garb and white masks the performers from Baggage were just perfect for a monochrome shot
Taiwanese dancers from Gaze of the Kavaluan
Actors from Knowledge and the Girl, a reworking of Snow White for a more feminine and sexually mature audience
Pirate gals from According to Arthur – they very kindly offered me a balloon too!
Singers from The Sweet Nothings, an all-women a cappella singing group
“Shine like an arclight, Sing like a bird might sing, When he was higher than heaven, Higher than every other thing, Some kind of arclight, Sparks in the street, I know that you’ve no answers, All I need is for you to shine.” Arclight, The Fat Lady Sings
Short review: the most gorgeous looking comic I’ve seen in this week’s releases.
OK, for those who want slightly more than that… It’s the start of another new creator-owned series from Image, and as I’ve noted a a bunch of times recently, they’ve had an impressive record in interesting series over the last few years. And then there was that lovely fantasy cover artwork, an androgynous (almost young Bowie-like) figure in a costume that partakes of bits and pieces from real history but which just screams elegant fantasy. I think I liked this before I even opened the pages, truth be told, between that cover and the familiar old bookseller’s Spidey-sense I sometimes get that just tells me I need to read something even though I know nothing about it.
And then I did open those pages… And oh my… Eschewing the usual inner cover page where all the copyright and publisher and creator information is normally printed, and indeed what would normally be page one of the actual story also not marked by lettering for the writer and artist’s names, this literally opens with a glorious double-page spread, right from the inside cover page, a gorgeous hilly landscape tinged creams and browns and rust and orange and red from the lowering sun. Right from the opening two-pager we’re being immersed into a fantastical realm, and that’s no bad thing. In my book a good fantasy has to win over the reader, make them feel this alternative world, so they feel like they can touch it, feel it, smell it – again I return to using the word “immersed” because, simply, that’s something the best fantasies do. It’s like weaving an enchantment.
We meet Sir Arclight and the robed, hooded Lady, who have travelled far over those hills and mountains and on into dark forest lands (there should always be some dark forest lands in fantasy and fairy tales, they’re a powerful part of our shared dreamlands), sensing something wrong, something alien, passing through their kingdom. Whatever it is, “it shaped the trees as it passed. It’s big,” observes Arclight, regarding a line of trees bent over to form a tunnel of their branches. Finding a dying border creature the Lady works a spell to keep it alive in the hopes it may reveal something of the strange and unknown magical creature that has passed this way; if they find they have to take action against it, obviously it makes far more sense to have foreknowledge of any potential adversary. They return to the city, Arclight happy, being an urban person, the Lady less so, but it is where she needs to be, so they set off.
And again we are treated to some wonderful fantasy art from Churchland, with a vast stone bridge spanning a valley, with great stone staircases to lead one up or down from it, the design seems to hint at an overland cousin to the great stone stairs and bridges inside the Mines of Moria, while the straightness and length recall the marvels of the mighty Roman aquaducts. And then another double-page spread, Lady and Arclight on this great, straight stone line of bridge, the landscape below and beyond spread out and the walled city with towers and spires and domes rising from the plains, the sun hanging behind. I remember back when I would pick up each monthly issue of The Sandman, and how even though I was eager to read quickly through the next part of the tale after waiting for a month I would still often be brought to a halt by certain scenes, the art just so beautiful my reading would pause and I would simply drink it all in, feasting like an art-vampire who hungered for paints instead of blood. And it’s a truly wonderful feeling when that happens.
It’s also very hard to articulate exactly why some pages can stop you like that and leave you simply wallowing in an emotional warm state. It’s like when you read a perfectly crafted stanza of poetry, or a prose line that was shaped just right, or hear certain lyrics, they stop us because they have an emotional resonance above and beyond the cognitive aspect of reading and understanding, yet they are an intuitive component of reading, and they richly compliment the more logical parts of our brains which are interpreting the actual narrative, the story’s rhythm, perhaps, to its melody, neither part whole without a feeling, a grasp of the other. You can try to say why exactly certain pieces do that to you, and talk of the phrasing, the colouring, the imagery, but really it is simpler than all of that, the part of your mind which is where stories and storytelling dwell (and humans are creatures of story, our language makes us so, even though many seem to let that remarkable gift atrophy), it chimes at such moments, in sympathetic resonance; you just know and feel it.
The pace of the story here is slow, almost languid, and that suits it perfectly – this shouldn’t be rushed, we should be slowly immersing ourselves into this world as we would into a cool pool on a hot day. We only find out fragments here, hints more than anything, of what may be going on that has piqued Lady and Arclight’s attention, and also who and what they are, with small glimpses of their lives in the city to hint that they may not be all that they once were, but we don’t know the bones of any of it yet. And that suits me just fine – there is nothing wrong with packing a whole lot into an opening issue and I’ve read many terrific series that started that way and left me impressed with how much they accomplished in a small space of pages. But this feels like it needs to go more slowly, let the reader breathe, absorb colour and feeling and fuller understanding and explanation will follow. I think it is also a mark that Graham and Churchland are treating their readers as intelligent, that those who get it will understand the pacing, that this beautiful but slow opening is just a precursor, an overture to the great symphony to come, and it’s always rewarding as a reader when you feel the author and artist are colluding with you, that they expect your interpretation of their pages to be an important part of how a tale will look and feel.
This review was originally penned for the Forbidden Planet blog
The remarkable – and apparently huge – statues of the Kelpies have been a great success since they were erected by the canal near Falkirk, rapidly becoming a landmark as well as an artistic installation. For a short time the original maquettes – the scale versions the actual statues would be based on – are on show in the West End of Edinburgh’s New Town, quite striking even at this scale. I’m looking forward to eventually seeing the full scale versions at some point. As ever, click on the pics to view the large versions on my Flickr.
Strange Fruit #1,
Mark Waid, JG Jones,
“Southern trees bear strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees.
Pastoral scene of the gallant south, The bulging eyes and the twisted mouth, Scent of magnolias, sweet and fresh, Then the sudden smell of burning flesh.” Billie Holiday, Strange Fruit
This first collaboration between two highly respected creators, JG Jones and Mark Waid, caught my eye on the racks this week. Actually it caught my eye earlier than that, truth be told – I saw it the day before as colleagues were unpacking and preparing the new releases to go out on New Comic Book Day (best day of the week, of course!), and was drawn to it right away, partly because of the creators but largely that cover art and that evocative title grabbing my attention, the allusion to that darkly bittersweet song by the great Billie Holiday, oh so beautifully sung in her distinctive, sultry, emotional voice, yet the lyrics detailing a scene of horrific racism, violence, even lynching. Given some of the issues highlighted worldwide by the multitude of highly suspect police shootings of people of colour and the furore around them, and the backlash from certain groups against the Black Lives Matter campaign, some might say that race relations in the US have not improved as much as we had all hoped from Billie’s time, and it means Strange Fruit arrives laden not only with historical baggage, but with an awful lot of contemporary resonance (a scene with thugs in those ludicrous KKK pointy-headed costumes in a car festooned with Confederate battle flags feels like it leapt out of the newspapers of the last few weeks, although this art would have been painted long before those events).
Opening in rural Mississippi in 1927, the first of this four-part series offers up a setting drenched not only in relentless rains and floods, but with Jones’ use of colour, especially his background skies, all dark but pale blues and greens, or by evening bruised purples, giving the sense of storms gathering, his art even catching that reflective quality the puddled ground water takes on, even at night, moonlight or car headlamps bouncing off the standing water in silvery brightness. A group of cars full of very angry looking and armed white men pulls up outside a wooden shack cafe with a sign declaring it caters to coloured people, one man cautioning his young boy, riding in the back of the truck with his dog, to stay there or go play with his dog, but not to follow him because “this ain’t no place I ever wanna see you in.” Before they enter we see a flashback to the same man talking to a very dapper black gentleman in suit, bow tie and boater hat, epitome of 20s style. The black man is an engineer sent from Washington to help beef up their flood defences – the rains, he explains, have already breached many levees further up-river, flooding entire towns.
The white man is less than impressed to be talking to a black man who is clearly far more knowledgeable and articulate than he is. The engineer’s explanation is interrupted by a single panel, wordless, of the white man glaring at him, until the engineer adds “sir” to any sentences addressed to him, a tiny moment but one which speaks volumes. As the engineer continues to outline possible contingency plans he also describes the problems they face. “Our problem is that we got too many n*****s ’round here wearin’ suits,” is the reaction of the white man. In a later scene we find that even though he is clearly a loathsome racist, he’s actually one of the more restrained of his group, holding back one of the others who pulls a gun in the cafe for coloured people as they force them occupants back out into the rainy night, insisting they continue with the levee reinforcements. As one black man in the cafe points out, this isn’t a job – sure they are paid for the work, but poorly, even less than on the plantations, and besides they were forced into it, coerced, slavery in all but name, “let that ol’ man River take this whole damn delta” is his response. Unfortunately this leads to exactly the sort of scene you might think, a bunch of angry, white redneck bigots grab their white sheets, shotguns and ropes to pursue him out into the rain-filled night.
But something is about to happen – more than rain is falling from the skies (warning, possible spoilers), as a fireball streaks across the night, crashing, of all places, right into the already strained levee, causing a breach. As the men rush to try and plug the gap with sandbags, the lynch mob pursuing the black man who dared to stand up to them in the cafe are about to find out what that fireball contained, in a scene with obvious and heavy connotations to the origins of a certain much-loved comics figure, something that even their baying hounds will shy away from (you see why I warned of spoilers – I debated not mentioning this at all, but it’s an important part of the first issue so I thought it had to be covered, with appropriate spoiler warning alert first).
The atmosphere here is beautifully handled, the entire issue is permeated with that sense of the time, the place and the issues, to the extent you can almost feel that uncomfortable mix of humidity and heat as the rains keep pouring down on the land, and as I noted earlier the colouring is especially effective in helping conjure that scene, used as diligently here are a cinematographer would frame and light a scene for their camera. Jones once more employs fully painted artwork, and it is gorgeous to behold, even when depicting scenes of awful events unfolding, detailed, realistic, beautifully posed, lit,coloured, just wonderful to look at, and it doesn’t hurt that Boom have decided to publish this with a card cover instead of paper, adding to the quality feel. I’m interested to see where this goes in its four-issue run, and also interested to see if it helps plant more thought in readers’ heads about the issues it confronts, issues which should damned well be in buried in the overgrown cemetery of history but which sadly still keep raising their ugly heads even in the supposedly more enlinghtened, advanced society of the here and now.
This review was originally penned for the Forbidden Planet blog
Quick shot from top deck of the bus to work as it was paused at the lights – this it Tom Gilzean, fundraiser extraorindaire and well-kent Edinburgh character. Mr Gilzean is a veteran in his mid 90s, yet is regularly at his post, usually outside the old Jenners Department Store on Princes Street, right across from the towering Scott Monument (I’m sure the statue of Sir Walter Scott looking across the road to him approves of his diligent work). He’s raised over £100,000 for charities, quite remarkable, as he is seen on Princes Street, medals polished, a charity collection box in each hand rattling away.
There are certain stories that are, essentially, immortal, which will be told and retold for as long as humans tell each other stories. The Norse Sagas, the Ramayana Cycle, the Epic of Gilgamesh and, of course, Homer’s Iliad and The Odyssey; these stories and characters have been passed down through the millennia, they remain in our shared, collective imagination and dreams because they speak of very human elements that we 21st century types still share with our Bronze Age ancestors, of human pride, arrogance, love, hate, of the whims of fate and the struggles of life. And, simply, because they are bloody good stories. And as such they are also endlessly open to re-interpretation in every medium, because their basic elements can be refitted and interpreted to each new generation. And here, as you may infer from the title, Matt Fraction and Christian Ward are taking the Odyssey, the epic Classical tale of Odysseus (also sometimes known as Ulysses), the crafty warrior of Trojan War fame, and the voyage of his vessel home after that decade of war, a voyage wrecked by capricious gods and fates, turned into a long trial of endurance.
“Leaving behind the last century, leaving behind all their dead and their loss: Paris the coward and killer and thief. Here where Keles last stood. Here brave Hekta was bodily disgraced in death. Here where so many great women died. Three ships leave Troiia’s remains. Three adventures now start. Three great heroes begin their last odyssey…”
Except here Fraction and Ward transform Homer’s epic into a great space-faring, science fiction tale, but an SF version of The Odyssey which is also gender-swapped: this is an epic of great women heroes and goddesses. And so instead of the crafty Odysseus we have “cunning Odyssia” and her fellow Achaeans at the sack of the siegeworld of Troiia, the only male visible being He, now on a collar like a dog, “thousands of swiftships once launched in his name”, now but a spoil of war for the victorious captains. The final ships make their sacrifices to the gods – again all female, save for the “mother-father” who partakes a bit of both genders in this female-centric universe – for a safe voyage home after their long, long war. But those familiar with the Odyssey will already know that this is not a voyage that will go smoothly…
“Well, Olympians? What say you now? The war is over. Where shall we find our entertainment?”
Yes, Fraction and Wards’ gods of the stars are as capricious, malicious – and downright mean and childish – as those ancient Greek gods of Homer’s day, less interested in helping mere mortals, more in using them as playthings. The war over, how shall they find their diversions now? Well, there’s this long voyage home, a lot could happen, and these gods are quick to take offence and equally swift to deliver revenge for slights, imagined or real (never hurts to be able to justify your violent actions, even if you’re fooling nobody, a sexed-up dossier is still useful for justifying your actions, eh?). One reprimands the Mother-Father, telling her it is vulgar to find pleasure in creating new tortures for great women like Odyssia, while another declares “why should we let these bloodthirsty wanderers roam our spaceways so freely?” and more talk of punishment for their hubris (and as is often the case in Greek myth, when the gods argue about human arrogance, pride and hubris they epically fail to see that they themselves are displaying exactly the same qualities. Never trust a god). It is quite clear that any excuse will be taken by some of these petty gods to inflict suffering and misery.
I don’t want to spoil the story too much here – yes, it does generally follow the line of the Odyssey’s arc, so if you know your Homer you will already have a fairly good idea where this is going. But that’s part of the joy of it for those of us forever in love with the great Classics, in seeing how Fraction and Ward will tell their version of this ancient tale, of the clever re-imagining and re-workings of those events and characters, such as the gruesome encounter with the vile Cyclops, or the dream-like lure of the lotus eaters. Those not so familiar with the original though, are still in for a treat – there is a reason this story has stayed with us for over two and a half thousand years, after all – and after reading it you really should seek out the original Odyssey, one of the cornerstones of world literature.
The gender and science fiction components of Fraction’s version of the epic are intriguing, a fresh take on an old tale, well-told, and it’s interesting to see crafty Odysseus of legend still being the same clever, devious and brave figure as a woman, a reminder that the both the heroic aspects and our not so fine behavioural traits are not confined to one gender or the other. And Ward’s artwork? Oh, but Ward’s artwork is utterly sublime here, from the curving swiftships (mentally linked to their captains and crews) to the various bickering gods, from scenes of carnal sensuality to cannibalistic horror and vistas of distant stars. And on top of this some quite remarkable use of colour, giving some scenes an amazing, vibrant intensity, sometimes almost a visual cacophony, an overload, like being on a trip, as if someone had taken Brendan McCarthy’s innovative palette and thrown a Psychedelic Bomb into the paint, a riot of colours, forms and unusual page layouts adding to the otherworldly feel of the story and inviting the eye to linger and drink it in – a wonderful reading experience.
This review was originally penned for the Forbidden Planet blog
While I was off enjoying a week at the Edinburgh International Film Festival naturally I sought out some of the SF&F and horror flicks in my feast of festival screenings. I was a bit busy going from movie to movie to do full write-ups, so thought instead I’d do a brief round-up of a handful that really made an impression on me. They’re still doing the international film festival circuit, so I have no idea when (or indeed if) they may get a general release, but do keep an eye out of them if they get a screening near you, especially Therapy For a Vampire and Liza the Fox Fairy, which are films I think anyone who loves fantasy will enjoy and which I think deserve some support (distributors, if you’re reading, these films all got big rounds of applause with the festival audiences, always a good sign, and well worth considering picking up for distribution):
Director: Corin Hardy,
Starring: Joseph Mawle, Bojana Novakovic, Michael McElhatton, Michael Smiley
Corin Hardy’s debut Irish Indy horror arrived with impressive credentials – it did well at the Sundance Festival, and Edinburgh’s own hugely respected horror flick fest Dead By Dawn (the UK’s longest running horror film festival) had selected it for the Edinburgh Film Festival (London peeps, I hear it is also getting a screening at Fright Fest this August). The central notion of a young, successful couple moving into the middle or rural nowhere and finding the surly locals to be less than welcoming is not a new one in horror, of course – film academics have filled many essays on the urban-rural horror tropes. But Hardy delivers some menacing, creepy rural locals here largely as a bit of a red herring. As Adam Hitchens (Joseph Mawle) and his wife (Bojana Novakovic) and infant move into a creaky old dwelling in the middle of an ancient bit of Irish forest, it isn’t long before things start happening. Things go bump in the night, strange leaks appears, stones are thrown and the nearest neighbour has made his loathing for them quite clear. But quite why the locals wish them gone and Adam’s forestry job to be axed (pardon the pun) isn’t terribly clear. It feels a little Straw Dogs – the isolated rural home, the disgruntled, hostile locals surrounding the incomers. But this changes quite quickly…
(Corin Hardy in a post-film Q&A at the Edinburgh International Film Festival, pic from my Flickr) After several incidents the police make a half-hearted investigation, although it is clear they really care little. But the local sergeant does let slip that some of the locals do – silly superstition, you understand – believe that these very old woods are home to very old beings, a form of the fair folk, pushed back millennia ago by the spread of the towns and cities of man to these few isolated woodland refuges. And they do not care for anyone trespassing on what is left of their territory, and if you cross into their borders then they have carte blanche to cross into your own space too. Naturally the Hitchens don’t believe this talk of of fairy belief at all (despite learning their unfriendly neighbour lost his young girl in the woods decades before, he maintains spirited away by odd beings – perhaps he’s not just unfriendly but worried their presence will disturb the area once more). Hardy slowly ratchets up the sense of unease and we, along with the Hitchens, start to realise perhaps it’s not badly behaved locals reacting to incomers but that there may well be something else in those woods. A something that’s now targetting their home, and most especially their baby… Despite the low budget Hardy and his team use their scant resources well, making maximum use of the locations and a tight script to generate ever increasing levels of suspense and tension. What elevates it above that classic rural horror though is weaving in multiple elements from Celtic myth and folklore into the tapestry, which gives it a nice Hellboy-ish vibe in places, using some nice, creepy, disturbing effects. And in an era where so many horror films seem to rely far too much on jump-shocks, “torture-porn” or over-gore for the sake of it (I have no problem with a bit of gore, but some weak film-makers rely on it to overcome poor storytelling) it’s always good to see someone putting the effort in to build atmosphere and let it permeate out into the audience – and also to trust their audience to go along with that slow-burn, rewarding approach. I saw this at a late night screening, with a packed festival audience, which is probably the best way to enjoy a good horror movie.
Therapy For a Vampire,
Director: David Ruehm,
Starring: Tobias Moretti, Jeanette Hain, Cornelia Ivancan, Dominic Oley, David Bennent, Lars Rudolph
This Austrian flick was one of the first films I saw at the festival this year, and it pretty much ties with Hungarian fantasy Liza the Fox Fairy as my favourite festival movie this year. It’s Vienna, in the early 1930s, and the Count Geza von Közsnöm is having the vampiric equivalent of a mid-life crisis. He’s lost all his lust for life, the long, endless nights of immortality weighing down upon him till little seems worth it anymore. In fact he doesn’t even bite his victims any longer, he gets his (increasingly bolshie) “Renfield” henchman to bludgeon them on the streets of nocturnal Vienna then use blood donation equipment to siphon off his “claret” into a bottle. His wife – a proper 20s/30s vamp, both in the vampire sense but also in the period use of the word to mean a dark femme fatale – is also adding to his world-weary feeling. She’s also finding their vampiric condition a little restrictive and is tired of not being able to see herself (we see her patting her face with a powder puff in a vain attempt to catch a glimpse of her face in the mirror), and her endless demands to him each night of how is my hair?, how do I look tonight? is driving him to fantasies of staking her in her coffin. In desperation who does the vampire count turn to? Why to Sigmund Freud, of course! And perhaps the famous father of psychoanalysis can also help him with his other problem – Freud is collaborating with an up and coming young Viennese artist who is illustrating his book, just the person to send the countess to for a portrait. Naturally Freud doesn’t know they are vampires, he’s too busy analysing all of their problems as a scientific challenge and assumes her inability to see herself is a mental problem, not that she literally has no reflection. The artist, meanwhile is having problems of his own – his girlfriend is a thoroughly modern Millie (she even wears – gasp! – trousers!), but he has a troubling penchant for always painting her not as she is but as he wants her to appear (rather more “girly”), which understandably is not helping their relationship. And into this come the count and countess, and oh, while the countess is distracted with the artist and her portrait, the count is drawn to his girlfriend who bears a striking resemblance to his long lost love (beheaded by dervishes many years ago, I’m sure we’ve all had relationships end like that). If Woody Allen did a 1930s tale of crossed-wire romantic misunderstandings in Vienna with vampires it may look a little like this…
(Director David Ruehm talking after the Edinburgh International Film Festival screening of Therapy For a Vampire, pic from my Flickr)
The comedy-horror flows brilliantly, the 30s setting used nicely, both for style and also for referencing films (there is some lovely cinematography here) and art of the period, while there’s a fine lacing of various vampire myths through the story (such as the compulsion for counting small objects) and relating that to the emerging field of psychoanalysis (two different ways of understanding the human brain, one ancient, one new), and there’s a nice bit of relationship and gender stuff going on there too. The film is replete with lovely little details and references – the count, lying on the psychiatrist’s couch, a picture of middle-aged-man-misery, until Freud asks him when he was last happy, and as he talks of his lost love he starts to float upwards off the couch (Freud is too busy taking notes to see this), but as soon as they return to the subject of his wife, bang, straight back down on the couch (no prizes for guessing that that symbolised!). For every reference I picked up on though, I am sure there were several I missed – this is one of those films that will happily bear repeat viewings and deserves a wider audience. It also makes for a fine European shelf-mate to the Kiwi genius of What We Do in the Shadows.
Liza, the Fox-Fairy,
Directed by Károly Ujj Mészáros,
Starring Mónika Balsai, Szabolcs Bede-Fazekas, David Sakurai, Piroska Molnár, Zoltán Schmied
It’s Hungary in the 1970s, but not quite – this is, as director Mészáros explained in a post-film Q&A, a slightly fantasy version – for starters the town looks like Budapest but isn’t (the name is slightly changed) and in his version of the 70s and all its tacky, beige style (or lack thereof) Hungary isn’t oppressed behind the Iron Curtain and a totalitarian Communist state but is enjoying the (sometimes dubious) pleasures of Capitalism. Which includes the Makky Burger chain of Japanese fast food diners, which is one of the few places Liza (Mónika Balsai) treats herself to with her swiftly diminishing pool of money. Liza is a nurse, engaged for several years now to look after the bed-bound wife of the late Japanese ambassador. From her elderly employer she’s picked up the Japanese language and a love for the literature and pop culture too – she endlessly, obsessively re-reads the same Japanese novel, especially a scene detailing a lonely woman who finds true love over the crab-burgers at Makky’s on her thirtieth birthday. And with Liza’s thirtieth imminent this isolated woman is convinced this is a Sign for her to follow for True Happiness. Leading her into a series of attempted liasons with mostly inappropriate suitors. And also to a series of bizarre accidental deaths which soon lead the police to suspect her…
Why the string of deaths? Ah, well, that, you see, will be Tomy Tani, the spectral form of a deceased 1950s/60s Japanese crooner. Her employer and Liza love his music, but only Liza actually sees him, and once her elderly employer is gone, leaving her the apartment as a thank you (cue jealousy from the family, who add their suspicions to the police’s), the ghostly Tomy is her only real companion. But is he just an invisible friend, a figment of her imagination conjured up by an unfilled woman to ease her isolation? Or is he a real supernatural entity? And if he is, is he really her smiling, singing friend? Or does he perhaps have his own motivations? What’s behind that smiley J-pop facade? Could it be he likes Liza to be so isolated, so he receives all her attention? Could it be that poor Liza is like the fox-fairy women of Japanese myth, lonely, craving love, but when they do sometimes find a man on their wanderings that man is usually doomed to die? Is she cursed?
(Károly Ujj Mészáros speaking after the screening of Liza, the Fox-Fairy, pic from my Flickr)
Imagine early-period Jean-Pierre Jeunet (around his Delicatessen era), but if he’d been Hungarian and with a penchant for (deliberately) bad 1970s style and with that delightful fusion of comedy and horror, the touching and the ludicrous, fantasy and real. The film glows with details – it’s clearly a labour of love, with much attention paid to making scenes appear just-so, using real locations, sets and some CG augmentation (which I have to say I didn’t really notice, it was blended in well, and being on a tiny budget took the film-makers months to complete in post-production), giving the film a particular, individual look, feel and even sense of light that’s jsut pitch-perfect. An absolute delight of a film, which deserves a cult following.
I should also give a quick shout out for Simon Pummell’s British-Irish-Dutch co-production Brand New-U, another film working with a small budget and overcoming it by the use of some clever science fiction elements, which despite the five minutes into the future type of setting does what most good SF does, and uses those tropes to address the concerns of today – relationships and identity becoming mere commodities and services we purchase like a new smartphone or holiday thinking they will solve everything. And Takashi Yamakazi’s first in a series adapting the popular Japanese manga horror Parasyte was another late night slice of fun, some bonkers J-Horror, riffing on post-Croneberg body horror (intelligent parasitical creatures taking over humans) and also, by dark reflection, on the nature of human relationships in busy, urban city settings, “pod-people” given a J-Horror twist.
This article was originally penned for the Forbidden Planet blog
As the news shows the usual pile of cringing royalists who camp out for a brief glimpse of the royal family passing, I see the actual christening ceremony likes to evoke a healthy slice of medieval superstition – water specially flown in from the River Jordan for the actual christening. Really? They do know it’s 2015, the Earth goes around the sun and the medieval trade in oogy-boogey magical artefacts is somewhat discredited? Nice to see the creaking, outdated notion of hereditary monarchy embracing modernity…. Seriously though, magic religious water from the Middle East to splash on a baby to mark it being more privileged than others? What utter rot.
Scott Snyder has really established himself as major comics writing talent in the last few years, not least with his highly regarded Batman run for DC’s New 52, but arguably it was his and Rafael Albuquerque’s American Vampire which first seriously established his credentials as a new writer to watch out for, and the fact that the first volume includes work from no less a literary luminary than Stephen King doesn’t exactly hurt. I’ve a long fascination for vampire and Gothic tales, but it’s not an easy genre to do something new with. Every now and then someone reworks the genre and shakes it up – Stoker took the earlier 19th century tales and crystalised them in Dracula, Anne Rice revamped (pardon the pun) the genre in the 70s with Interview With the Vampire, Twilight brought romantic vamps to a mass teen audience while Niles’ 30 Days of Night made them gut-wrenchingly monstrous and terrifying once more. It’s one of the reasons the genre refuses to lie quietly in its coffin, but always rises again in one form or another, to stalk our nightmares, the vampire mythos is, in the right hands, endlessly elastic and able to be refitted to suit so many cultures and times. And here, these are the right hands.
The first volume is split into two linked tales, switching back and forth between them, and it isn’t titled “American Vampire” for nothing – these two settings are ones which strongly evoke a sense of Americana from their respective eras, periods most of us would associate so strongly with the US, the final decades of the Old West in the 19th Century and the early days of the silent movies as they establish themselves in a booming LA in the Roaring Twenties. Cowboy gangs and vengeful lawmen on horseback (hell, there’s even a train heist thrown in!) on one side, the glitz and sleaze of early Hollywood and Flapper girls trying to make it in the big city on the other. They’re well chosen eras that ooze the sense of the period, even now, and Snyder, King and Albuquerque use them to give their vampires a uniquely American personality and setting. Yes, there are more traditional European vampires here, hiding in dark corners, away from the sun, greedy, decadent, self-satisfied Old World monsters, much like the east coast wealthy elite who, for all the republican nature of the US in the 1800 and 1900s, were Old World style aristocracy in all but name.
“Skinner Sweet, 1850 –1880, Outlaw, Killer, Defiler of Women, Born in Kansas, Burns in Hell,” inscription on Skinner Sweet’s grave in the local Boot Hill, in finest Western tradition.
But this is America, the land of opportunity, where you can arrive with only a dollar in your pocket but build yourself up, or at least so the myth that everyone can make it goes. And here that seems to apply to the undead as well. And when a hard-nosed lawman tracks down and captures the infamous Skinner Sweet (a gang leader with a real sweet tooth) at the behest of a wealthy banker (whose banks Skinner robbed), it sets up a chain of events none of them could have foreseen. The wealthy banker is in fact secretly an Old World vampire, here to mine the Western Frontier for new wealth, but when Skinner’s gang ambushes the train carrying him, in a rescue attempt, a fight ensues, and while the lawmen are distracted the vampiric banker attempts to deal with Sweet himself, but Sweet doesn’t die easily and wounds the vampire, his blood falling onto Sweet’s open wounds. Forced to flee he doesn’t realise at first that this has transformed Sweet, but when he does suspect he arranges for a dam to be built and buys up the local town before it is flooded – thus drowning the cemetery in which Sweet lies. Vampire or not, he can never rise now, or so they think…
But this is, as the title implies, a new type of vampire – somehow the alchemy of the change brought on by the vampiric blood causes something different in this New World, creating different vampires, with different powers and weaknesses, and Sweet does eventually rise, and soon discovers his new powers. He doesn’t need a gang anymore, not with his abilities, he can tear a place apart all on his own. And he does. But when he surfaces again in the 1920s, despite still being a killer, he seems to have his own agenda, and he actually warns two naïve young actresses, Pearl and Hattie, about attending a party thrown by one of the major studio heads, but they don’t listen to him, and at the party Pearl is taken to a private room, where it turns out more of those in power are also Old World vampires, eager to use and abuse her before dumping her body in the desert. But like Skinner, she doesn’t die and instead transforms, desperately trying to figure out what has happened to her, what these new impulses and abilities are, and as she comes to terms with them, determining to take vengeance on the powerful men – these smug, wealthy, Old World vampiric elite – who did this to her.
”You, Pearl Jones, are a different kind of vampire… Just picture it in automotive terms, Bloch and his kind, they’re like old, broken-down European clunkers, okay? But you and me, Dolly? We’re like shiny, new 1926 Fords, top of the line, just rolled out onto the showroom floor.” Skinner explains why he and Pearl have different abilities from the Old World vampires.
It’s a hugely compelling read, and a great twist on the old vampire mythos, and it really does give it a truly American identity. Both story arcs plunder their periods for detail and atmosphere, and Albuquerque does art duty on both, handling Old West and Roaring 20s Hollywood with equal dexterity, giving us cowboy raiders attacking a train, or riding into a sunset on one chapter, or a Flapper Girl making her way in this brave, new post-war boom world of the big city, the bright lights (and dangers), and the lure and magic (and hidden darkness and sleaze) of the emerging magic factory that was Hollywood in the 20s, going from a wonderfully demonic grin on Skinner’s face in his Boot Hill coffin to Model T cars chugging along 1920s LA’s boulevards. Both periods, which could so easily have clashed, dovetail nicely, and of course in the real world the tail end of the Old West did indeed overlap with the early years of the movies, with genuine Western characters moving to LA and taking part in Hollywood’s early “horse operas”, so they’re a good choice for linked tales, and they are eras we’re all used to from a thousand films and books (and as I said, also suitably, iconically American), so we instinctively recognise the styles and tropes of those historical periods.
And it mixes well with the great American myth of itself which grew up during that great Westward Expansion and carried into that new modern, 20th century era (building bigger, better, smarter, always upwards, onwards, boudless optimism), but here translated to brash but bright, eager, capable new energies of new kinds of vampires, evolved to suit this New World (and totally vulgar to the sensibilities of the Old World vamps). I’m always impressed when someone can do something fresh with the vampire myth, and here King, Snyder and Albuquerque have done just that, giving horror fiction terrific new characters in Skinner Sweet and Pearl, in a book dripping with period atmosphere and style.