Fragments of David
(XI)
Trapped inside the van
It took the Police thirty seconds
To get the door open
And then five minutes
To get inside it.
The running engine
Splashing in the darkness
In a broken green light
Striking any hope he was alive
The longer it took into dust.
(While in lock down I have also started watching loads of old films while in lockdown from a massive box under my bed - people have got me or I have picked up over the years and will be mentioning this some of the footnotes over some days - first up is Douglas Sirk's classic 1956 film - There's always Tomorrow. The trailer can be found here.https://www.youtube.com/watch?v=clgI3jvwZzw
The film is described as "Between his twin masterpieces All That Heaven Allows and Written on the Wind, Douglas Sirk created this razor-sharp study of male crisis, both a glittering testament to love's labours lost and his most unforgiving vision of suburban conformity. Disregarded and neglected by his family, executive toy manufacturer Clifford Groves (Fred MacMurray) is unexpectedly reunited with his former co-worker Norma Miller (Barbara Stanwyck). As the old friends catch up on lost time, his children's suspicions and hostility to the new relationship threaten to push their father away permanently and throw into disarray the lives of all concerned. With crystalline, noir-tinged cinematography from Russell Metty (Touch of Evil) and heartbreaking performances by Stanwyck and MacMurray, reunited 12 years after Double Indemnity in their final on-screen pairing, There's Always Tomorrow finds one of Hollywood's greatest dramatists at his finest.
I saw this film originally in university I guess after getting told by one of my Film Tutors to watch this film after watching Double Indemnity. Double Indemnity is much of a film noir I guess, There's always tomorrow is much of a Love Noir almost, a search for youth again twenty years afterwards as a middle aged man meets up with a old flame by chance after years of neglect (not on purpose) by his wife and his family. I won't give loads away here but Fred MacMurray and Barbara Stanwyck are both terrific and I love the subtle nature of how this relationship develops and doesn't fall into the bedroom which would have happened twenty or thirty years later.
The film is dated somewhat I think but the quality of the film making shines throughout and with it only been a little over 80 minutes, the film does really out-stay and leaves a major impact instead of been two hours plus.
8/10. Well worth tracking down)
(There is a new Spoken Label Podcast - a audio version of the live feed Amanda did on twitter the other day where she read out a extract of her book and I asked her a few questions in relation to it. This can be heard here and all the usual networks, Itunes, Spotify, Anchor, Streaker, Radio public etc, etc)
(While in lock down I have also started watching loads of old films while in lockdown from a massive box under my bed - people have got me or I have picked up over the years and will be mentioning this some of the footnotes over some days - first up is Douglas Sirk's classic 1956 film - There's always Tomorrow. The trailer can be found here.https://www.youtube.com/watch?v=clgI3jvwZzw
The film is described as "Between his twin masterpieces All That Heaven Allows and Written on the Wind, Douglas Sirk created this razor-sharp study of male crisis, both a glittering testament to love's labours lost and his most unforgiving vision of suburban conformity. Disregarded and neglected by his family, executive toy manufacturer Clifford Groves (Fred MacMurray) is unexpectedly reunited with his former co-worker Norma Miller (Barbara Stanwyck). As the old friends catch up on lost time, his children's suspicions and hostility to the new relationship threaten to push their father away permanently and throw into disarray the lives of all concerned. With crystalline, noir-tinged cinematography from Russell Metty (Touch of Evil) and heartbreaking performances by Stanwyck and MacMurray, reunited 12 years after Double Indemnity in their final on-screen pairing, There's Always Tomorrow finds one of Hollywood's greatest dramatists at his finest.
I saw this film originally in university I guess after getting told by one of my Film Tutors to watch this film after watching Double Indemnity. Double Indemnity is much of a film noir I guess, There's always tomorrow is much of a Love Noir almost, a search for youth again twenty years afterwards as a middle aged man meets up with a old flame by chance after years of neglect (not on purpose) by his wife and his family. I won't give loads away here but Fred MacMurray and Barbara Stanwyck are both terrific and I love the subtle nature of how this relationship develops and doesn't fall into the bedroom which would have happened twenty or thirty years later.
The film is dated somewhat I think but the quality of the film making shines throughout and with it only been a little over 80 minutes, the film does really out-stay and leaves a major impact instead of been two hours plus.
8/10. Well worth tracking down)
(There is a new Spoken Label Podcast - a audio version of the live feed Amanda did on twitter the other day where she read out a extract of her book and I asked her a few questions in relation to it. This can be heard here and all the usual networks, Itunes, Spotify, Anchor, Streaker, Radio public etc, etc)
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