A lot of the information included in Digital Garage is not relevant to myself as a writer, because I don’t have a business – or do I?
If you have read the ‘About’ me section on my blog, you will appreciate what a technophobe I am. However, as a blogger, I am interested in reaching people who may be interested in the same things as myself. I admit that my ego is massaged when I get notification of a new follower or a like (come on, we all like positive attention, don’t we?)
I like to comment on other bloggers pages; if I am sufficiently piqued or irked! There are some truly amazing people in the world and blogging provides an, albeit connection to them and their ideas. I mean, think about it – I live in England, and someone in New Zealand reads my blog!!! That’s when technology is f***ing amazing !
Google’s Digital Garage has given me some tools to reach a greater audience; like I did not know, for example, that you had to put text with your photographs because search bots can’t ‘read’ pictures! Okay, so you did – you’re probably 30 years younger than me then.
So back to – I don’t have a business – or do I?
Yes I do, unfortunately. As a writer, who wants to get my stories published it is not enough any-more to simply – write – edit – get MS accepted by publishing house – print – make money. Do you know how many books are published each year? Even in your own country? Me neither, but it’s A LOT! ( Bowker reports that over one million (1,052,803) books were published in the U.S. in 2009). You cannot simply write and expect your creation to make it’s own way in the world, it needs a helping hand.
And what if you aren’t a writer or you do not run a business? Well, you probably spend a large part of your time on a computer somewhere in the world, and a few lessons in a previously unexplored area will keep the little grey cells ticking over!
At the end of lesson, there is a little test. At the end of each topic there is a quiz.
You can do as much or as little as you want; it’s all under your control.
23 topics broken down into 89 lessons; including useful subjects such as ‘Your online presence’, ‘Make search work for you’, ‘Get noticed locally’.
Each lesson is delivered as a very short online video. Accompanied by a transcript.
It isn’t overly technical (I had absolutely no clue what SEO was before)
It’s a good starting point if you’re new to all things digital and the online space.
It could actually help you in you in the workplace; or help you promote your blog or book.
However, being the lazy individual I am – no, I’ll rephrase that… being the distracted yet multi-tasking individual I am, it is taking me longer than it should to work through this training, but hey, isn’t that the point?! So give it a go; Boost your digital knowledge today!
*There will be spoilers, stop at the red message if you don’t want to know more*
Last night, hubby and I went to see Darren Aronofsky’s latest film, Mother! I had ‘ummed’ and ‘aahd’ about going to see if for a while, based on feedback from people I know and their usual tastes in films, I was not convinced. The I read a review by WordPress blogger, Misfit Vinagaroon and that made my mind up.
I had not read any reviews of the film, I had seen a single, brief trailer and was led to believe that it is a ‘psychological horror’.
Briefly, and basically, Mother! Is about a husband and wife who live in a beautiful yet isolated house. Their existence is, if not happy, then it has equilibrium. This is upset with the arrival of a stranger then his wife, and from this point on the couple have their lives turned upside down by a succession of ‘visitors’. Javier Bardem and Jennifer Lawrence give wonderful performances; as do Ed Harris and Michelle Pfeiffer.
So, what’s my take on this movie? Did I enjoy it? Would I recommend it?
So what is it all about? (in my opinion). Stop reading now if you don’t want your point of view ruined…
*****SPOILERS FINAL ALERT*****
If you are a creative type, and know your Biblical references, you will get this film pretty quickly.
The film is from the perspective of “The Woman”, Lawrence, who is in the process of repairing their home, decorating, plastering, painting; everything.
Bardem and Lawrence remain without names throughout the film – as does everyone. Lawrence’s character is easier to fathom – she represents Mother Earth, nature, Gaia if you like; she is part of the house, she listens to the house; she even feels it’s pain. Bardem, “The Man” I think, represents creativity, he is a poet yet is having writers block at the time we first meet them. Bardem could also be all that mankind represents materially – or he could be an aspect of God – I said he was more complicated!
The opening scene is the placing of a glass-like, rock onto a stand and a destroyed house ‘repairing’, a woman wakes up in bed and calls for her husband.
The man and woman who arrive (Harris and Pfeiffer) are “Adam and Eve”; he is ill, perhaps dying, and the house begins to display signs of this illness; as felt by Lawrence’s character. Eve brings disharmony, chaos, irritation. When the sons arrived on the scene, this was when it clicked with me – “Cain and Abel” – Cain slays his brother in a fight in the living room; with “The Woman” watching on in helpless horror – what are they doing to her home? The World????
“The Man” invited them into their home, he invited them to stay; he even allows them to bring others when they have a funeral for their dead son.
As the film progresses we see how impotent “The Woman” is, she can only look on and plead and beg for people to stop intruding on her private space. “The Man” will not turn anyone away, despite the friction and the damage caused between himself and his wife, and their property – he keeps saying, “But where else will they go?”of “They have nowhere to go.”
Then despite all expectation, “The Woman” falls pregnant, ( I was not and still am not sure about this part of their relationship, why couldn’t “The Man” have sex with his wife previously?) And suddenly, “The Man” can write again, joy for both of them; he writes the most beautiful poem that makes her cry. His publisher turns up, fans of his writing turn up – and never leave!
Throughout “The Woman’s” pregnancy, the film appears to race through time. The house becomes crowded with people coming to see the poet and adore him and his work. We see people taking advantage of “The Woman’s” home (and you do feel it is her home – even though she is repairing it for her husband), they enter her bedroom, they eat their food, they steal things and break things.
There are groups of people putting up pictures of the poet in his honour, there are people chanting in another room, there are religious cults popping up all over the house.
It rushes through some awful scenes of protesters and police, it becomes a war-zone, people are herded behind barbed wire; incarcerated, executed. “The Woman”, by this point very heavily pregnant, seeks to leave her home with a little bag packed. She gets caught up in the ‘affairs of man’; we see a team of men digging away in her kitchen with pickaxes and shovels. And at each change, she feels the heart of the house shrivel, harden; die a little. Her birth pains start and at each wrack of agony, all about her shakes and blurs – (earthquakes)
“The Man” finally comes to her aid, ushering into a room where she gives birth to – you guessed it, a baby boy. For days she is trapped with him; she wants to leave, he wants to hold the baby; she won’t let him, and here we what I felt was the crux of the matter. He goes to take his child and when she refuses he says, “I am the Father.” and she retorts, “And I am the Mother!” (Hence the exclamation mark in the title.)
Finally, exhausted, she sleeps, then awakens to discover baby boy gone, door open, and “The Man” presenting his son to the people. The crowd are ecstatic, Mother is terrified and chases her baby through the tight crows as we see his little form passed overhead throughout the house – until the inevitable happens. Baby boy dead, Mother inconsolable, a new religion emerges – Christianity – and everyone eats little bits of the dead child.
“The Woman”, after being beaten and abused escapes and makes her way to the basement, opens the fuel tank of the burner and sets fire to it all. “The World”, “The Woman”, “The Man” and “Mankind” go up in smoke.
But then there is a twist.
The next scene has “The Man”; unharmed, carrying the burnt, barely alive “Woman”, he asks for her help,he wants one more chance, he thinks he can make it right this time, but she has nothing to offer him – but her ‘heart’, which he removes from her body in the form of a crystal we saw placed on a stand in the beginning – and the destroyed house ‘repairing’. A woman awakes in bed and calls for her husband…The End.
I really enjoyed this film, I love the symbolism, and if you go to see it expecting a horror film, then you will be disappointed. I have never before watched something where everyone, literally every cast member is a symbol for someone or something else. Mother is an allegorical piece, much like religious paintings from the Middle Ages I feel.
I would recommend it to people who enjoy heavy symbolism in their movies. To people who like to think about what they watched, rather than be spoon-fed. Creatives will recognise themselves – I did; the selfish, self-obsessive nature of creativity. I could actually go on for ever about what Aronofsky did or did not mean when making this film, what message is he trying to convey? I think we need to take care of the world, it’s our only home (for now), is one message for sure.
The camera work can be a bit dizzying, lots of tight close-ups, hand held and following Lawrence around made me feel motion sick at the beginning, so if you like your multi-cam, tripod mounted mid shots, this might be awkward for you visually.
But yes, go and see it, I’d love to know what others thought, and whether my take on it makes any sense to other viewers.
I bought a music magazine today for the first time in about 25 years. I don’t even pretend to be knowledgeable about this creative industry, (I’m a visual artist by training), I sing along to the chorus of songs and forget the lyrics of the verses of even the most famous songs in the world.
As you get older, it is easy to settle in your ways; however, I fight this, and am aided by the young people I work with. I like to think I am open-minded, I will give most things a try; last year I began listening to Marilyn Manson and Nine Inch Nails; makes me want to be eighteen again. I love Manson’s version of Tainted Love (and the video!!!)
UNCUT magazine was giving away a free CD; that’s why I bought it. I wanted to listen to something I had never heard before and see if the new kids could challenge me and my musical limitations.
The Clientele – Everyone You Meet
Like stepping back in time, to the 60’s. Not terribly exciting or original. Maclean’s whispery vocals do little for me.
Chris Hillman – Here She Comes Again
Another retro style. A kind of sixties-country-rock mix. Hardly surprising given it is made by former Byrd members and Tom Petty. Not a fan.
Wand – Plum
With it’s thumping piano opening reminiscent of a Beatles song, whose title I cannot recall, this is another retro feel. Then we go a bit Buffy The Vampire Slayer. Some intermittent discord and hint at industrialisation adds some interest – I like musicians that experiment, but it returns to the melody – and ends with some odd whistling! Not sure, but might find other tracks to listen to of this group.
Antibalas – Gold Rush(edit)
Well “Hello 70’s”; African influenced rock-psychedelic-brass horns mix. Even this edited version is longer than the previous songs. Great beat that keeps things moving along. Though I would have preferred something more funk it’s quite good fun.
Lee Ranaldo – Purloined
Synth-guitar-drum led tune. Could be the opening of a TV show. Okay.
Hiss Golden Messenger – Jenny of the Roses
Country induced coma – no –
Mark Olsen – Seminole Valley Tea Sipper Society
So reminded me of another 60’s piece. A kind of hippy-trippy-folksy outing. Either the the singing is deliberately out of tune or….
The most interesting thing about this is the title.
Willie Watson – Samson and Delilah
Country meets Gospel – no –
Filthy Friends – The Arrival
Ah, now this is more like my kind of thing. Punk influence is clear here and Corin Tuckers vocals are strong with hints of Poly Styrene.. Love the thrashy quality of the guitars and drums. Will certainly be seeking out more of this lot.
DAF – Kebabträume
Sorry, but Kraftwerk got here first! And did it better!
Moses Sumney – Quarrel
Sumney has a gorgeous voice, his vocal range is impressive and the alterations between fragility and power reminded me of Kate Bush. I wanted to like this, but I got bored half way through. It feels like there’s something missing.
Acetone – Shaker
Acetone is, the dictionary says, a volatile, flammable liquid’. Unfortunately, there was nothing volatile about this piece at all. Whispery vocals, again; leave me cringing.
Deer Tick – Sea of Clouds
No! Next! That voice!
Mogwai – Coolverine
This is the only artist I have previously heard of in this compilation. This is the first time I have heard their work, and unless it accompanies a TV drama, it will be the last time.
The Dream Syndicate – How Did I Find Myself Here?
Interesting opening with the instruments sounding like they are tripping over each other. Unfortunately, this is another that sounds like a pastiche of 60’s/70’s sounds. Not very original.
So, no challenge there then, how very disappointing. It seems like the people who compiled this CD were either, a)my age and wanted something reminiscent – in which case – make way for new creativity guys! Or, b)youngsters in their twenties who think its retro and cool – in which case – make way for something new and creative guys!
Not impressed, undewhelmed; meh!
But I did say at the beginning I’m not good with music – that’s my excuse – and at 52 years of age I feel like all this was just a rehash of stuff I have heard previously in my life.
It is quite disappointing when creatives churn out the same old, same old. I want to be challenged, I want to go, “Hmm, not sure, will have to listen again or come back to that.”
A lovely voice does not make for an interesting song, Tom Waits and Leonard Cohen do not have lovely voices, but they have interesting voices, with character and feeling, plus they both write fantastic music and poetical lyrics.
Is it just me, or are the arts and culture becoming more homogenized? Less interesting? Less creative?
Maybe I’ll buy another music mag in 25 years time, lets see if they can impress and challenge a 77 year old!!!!
Published : 2007, Hodder & Stoughton.
YOU CAN TELL A LIAR BY HIS EYES.
Special Agent Kathryn Dance reads people the way other investigators read crime scenes.
But she’s never seen eyes like Daniel Pell’s. Back cover blurb.
I have been a fan of crime fiction; and non-fiction, since my late teens. My habit was to read a book and if I enjoyed it I would then acquire and devour everything published by this author. My only surprise, to myself, is that I have neglected my crime reading in recent years, returning to it this year with Jeffery Deaver’s The Empty Chair. Also, I realised I had never written a review of a crime novel. So here goes.
Even if you have never read one of Deaver’s books, you may be familiar with his work as many have been turned into films:
Dead Silence (1997) starring James Garner. The Bone Collector (1999) starring Denzil Washington and Angelina Jolie.
The Devils Teardrop (2010) starring Tom Everett Scott and Natasha Henstridge.
The Sleeping Doll introduces a new detective; Agent Kathryn Dance, a widow with two young children who works for the Californian Bureau of Investigation, “Like an FBI for the state.” Dance is a specialist in interrogation and reading body language, so we get, not only her analysis of a criminal but of some of those around her in her working and private life. In this way, Deaver uses this as a tool for the reader to have a window onto the minds of other characters without having to head hop and it works really well, as not only do we get this inkling into another characters possible feelings, but we spend over half the book in the mind of Kathryn Dance – and considering the line of work she does, it is not an unpleasant place to be. For the rest of it, we enter the thoughts of Daniel Pell…
The Sleeping Doll of the title refers to a little girl (who is a teenager when the story begins), who survived a murderous assault on her family because she was asleep amongst her toys; hidden. The perpetrator of the crime, Daniel Pell, is currently serving time in a Correctional Facility. Dance has come to interview Pell regarding a newly uncovered crime. Pell has never spoken about his involvement in the ‘sleeping doll’ murders, and neither has the surviving child.
Dance recognises a Svengali type personality in Pell, who’s chilling blue eyes are equally taking the measure of Agent Dance as she does his.
Dance is smart, capable and strong, she is going to need to be on peak form when Pell escapes, leaving a bloody trail in his wake.
Deaver is a great storyteller who engages his readers without any superfluous text. He gets straight down to business; much in the manner of Kathryn Dance, and keeps us hoping and guessing all the way through. He nearly always adds a twist in the end of his tales, and The Sleeping Doll is no exception. I’m a great one for trying to second guess who did what, to whom and many times I’m pretty close.
I like to think I’m fairly familiar with the work of Edgar Wright, I first watched his work in the TV series Spacedwhich he directed in 2001, and just fell for his quirky, cross-cutting style. The opening scene of Spacedis excellent; the two sets of dialogue between Tim and Daisy I think has yet to be beat.
This is essentially a romance story – boy meets girl, boy tries to get out of debt with criminals, boy does one last job…
Does he get the girl? Watch the film!
There is good balance of action, dialogue and drama; often directors today get so excited by new toys/technology, that they fill the screen with eye-watering action top to bottom, left to right, continuously; to the detriment of any plot there may have been. Wright tells us a story, which is how it should be, after all, movies are just another form of storytelling, and he tells it well, through the driving, through the lines;
Buddy: Is she a good girl? You love her?
Baby: Yes, I do.
Buddy: That’s too bad.
Wright has excellent timing, not only with his trademark cuts of visuals and hyper sound effects, but just when you begin to wonder if the whole film will consist of Baby dancing down the street for his coffee, he, Wright, cuts to a new rhythm, and that’s what the film has running through it – rhythm. It is excellently choreographed from start to finish; people walking, dancing, talking, counting money, placing items down on tables, cars whizzing past trucks, every last element is perfect.
Ansel Elgort (The Divergent series) is the titular Baby; he appears at turns vulnerable, cool and collected, and incredibly sweet; especially in his scenes with Debora, played by Lily James (Downton Abbey)
Kevin Spacey (House of Cards) plays Doc, the brains and organiser behind each job. Jamie Foxx (Django Unchained) is Bats, and he is; he claims the monopoly on the one with ‘mental problems’. Jon Hamm and Eiza González are deliciously deadly as Buddy and Darling, a couple with ‘His’ and ‘Hers’ tattoos on their necks, they stand side-by-side like Mexican anti-heroes in a Robert Rodriguez movie.
Cranked up to the max; the car chases combined with the playlist that is always playing in Baby’s ear-buds, are as balletic as any performance of Swan Lake. I imagine Wright designed and planned the furiously fast and dizzying manoeuvres as ‘car-dance’ deliberately.
Baby’s playlist –
1. Jon Spencer Blues Explosion—“Bellbottoms”
2. Bob & Earl—“Harlem Shuffle”
3. Jonathan Richman & The Modern Lovers—“Egyptian Reggae”
4. Googie Rene—“Smokey Joe’s La La”
5. The Beach Boys—“Let’s Go Away For Awhile”
6. Carla Thomas—“B-A-B-Y”
7. Kashmere Stage Band—“Kashmere”
8. Dave Brubeck—“Unsquare Dance”
9. The Damned—“Neat Neat Neat”
10. The Commodores—“Easy (Single Version)“
11. T. Rex—“Debora”
13. Incredible Bongo Band—“Bongolia”
14. The Detroit Emeralds—“Baby Let Me Take You (in My Arms)“
15. Alexis Korner—“Early In The Morning”
16. David McCallum—“The Edge”
17. Martha and the Vandellas—“Nowhere To Run”
18. The Button Down Brass—“Tequila”
19. Sam & Dave—“When Something Is Wrong With My Baby”
20. Brenda Holloway—“Every Little Bit Hurts”
22. Focus—“Hocus Pocus (Original Single Version)“
23. Golden Earring—“Radar Love (1973 Single Edit)“
24. Barry White—“Never, Never Gone Give Ya Up”
25. Young MC—“Know How”
26. Queen—“Brighton Rock”
27. Sky Ferreira—“Easy”
28. Simon & Garfunkel—“Baby Driver”
29. Kid Koala—“Was He Slow (Credit Roll Version)”
30. Danger Mouse (featuring Run The Jewels and Big Boi)—“Chase Me”
Baby even halts a job – mid getaway – until he’s found Golden Earring’s Radar Love, before flooring a ’86 purple Chevy Caprice. Baby remains cool at all times; given his age compared to his ‘colleagues’, it’s a pretty impressive performance he puts on for them; whilst his ‘crew’ shout and panic around him to get driving, Baby won’t be pushed till he finds the right tunes.
Is Baby scared? Hell yeah, he’s got his old foster dad, Joseph, back home (CJ Jones), from whom Baby has learnt sign-language and lip reading, and he wants to keep him safe. There is an incredibly touching moment near the end when Baby is taking Joseph to safety, I admit I nearly cried – Baby’s not a bad guy really, he just got in with the wrong crowd. And inevitably, his new love Debora becomes a target in the bid to squeeze more out of Baby, whether a job or simply pain.
I take my hat off to the stunt drivers; way too many to name, but what a fantastic job!!
NB: Don’t sit too close to the screen – like we did – it’ll make your head spin as fast as the cars – my eyes were seriously challenged.
Following ‘Deep Space Accountant’, this is the second book in the Sphere of Influence series.
Bob Slicker and his navigation officer, Florence McConnachie, are blamed for the open-ended jump that dropped their battle fleet into deepest, uncharted space. They attempt to make amends and are pushed together into an unlikely alliance. Can they find a way home to the Sphere of Influence? Nobody ever managed it before, so they couldn’t make things worse.
Or could they?
Back in October 2016, I did a review of Deep Space Accountant, Mjke Woods first in the trilogy – The Sphere of Influence.
I had been eagerly awaiting this second book in the Sphere of Influence trilogy, and Mjke Wood does not disappoint. Following on from Deep Space Accountant – we have left Elton Philpotts behind – literally – and travel with the erstwhile slimy accountant, Bob Slicker into deep space. When I realised that the story had moved on from Elton, I was momentarily piqued, I liked Elton Philpotts, I had become irrationally attached to him – even though he is an accountant. However, Wood has managed to transfer my loyalties as smoothly as an Eddie Stobart entering a SLOG; smoother.
And so to Bob Slicker; Bob is a spineless, sweaty appendage to the hideously megalomaniac Martin Levison, can he REALLY be our new hero?
Can Bob find home? Can Bob find a girl? Can Bob find a spine?! Whilst Bob is spineless, Martin Levison is heartless. Bob wants Eccles cake. Martin wants Cognac. Bob wants to go home. Martin wants the world!
Along for the ride with Bob Slicker, is Florence McConnachie, second navigation officer. Florence is quick-witted, independent, dexterous, and no navigator. Like Bob, she has a boss who ensures that the blame is passed onto and firmly held by their subordinates, unlike Bob, she is about to get married. She dislikes Bob Slicker due to his association with Levison, and refers to him as ‘The Slicker’; he is a sweat machine of great magnitude. And alas for Florence, she is going to have to work with the man.
Some of the characters are beautifully awful; Lieutenant Commander Kurasov is an excellent portrayal of an American style military officer; but with a private life back home that is worthy of its own story! Meera, the navigation officer, is a preening, self-promoting egotist who will undoubtedly get what she wants. And although these are characterisations that we recognise, Wood somehow manages to NOT make them feel clichéd.
A couple of characters are who you would want on your side in an emergency; Winker Watson especially fits the bill (I am presuming the name was taken from the schoolboy who played pranks on his teachers and classmates in the popular British comic, Dandy). Watson is a bow-tie wearing, coffee-making, cake-eating Payroll officer, who enjoys tinkering with spacecraft in his spare time. I suspect that Wood is quite attached to this Watson chap, as he is more fully depicted than any other secondary character.
Although the story takes part in the vastness of space; where many American movies have been set, and some American language features are use, this is a quintessentially British story; the tone of writing contains no ice or vinegar like so many American novels do, by this I mean sarcasm or nasty wit (not that I don’t like a bit of sarcasm and bite), the reactions to emergencies, behaviours, idiosyncrasies and flaws strike as ‘terribly English’, small things matter; as Bob discovers when the kestrels power system is drained!!! (Beer anyone?!) – I love that.
I haven’t seen one of these for a book before – or maybe I just lead a sheltered life – If you get British humour, you understand that the YouTube trailer has it’s lollipop licking tongue firmly in its cheek; all those big movie trailers, influenced by American film industry, that we have become used to are pastiched here in a short space of time – the dramatic music, the panoramic views of space, and the bold text.
Do read Deep Space Accountant first, it gives background to Slicker and Levison – which gives the ‘Lollipop’ story it’s tension.
And what is a lollipop of influence anyway? I hear you ask – well, you’ll just have to read it to find out!
The Lollipop of Influence has
Spaceships! Alien Planets! Bad Guys! Good Guys! Cake!
If you have not yet seen this film, you may want to give this whole article a miss.
“Wonder Woman” is yet another origin story, but so what? I’ve had to sit through decades of testosterone to get to this point.
I enjoyed that the movie took it’s time to introduce the warriors of Themyscira; a lush city-state and island nation (Somewhere hidden in the Aegean according to some sources). Where we learn that Diana is not unique in her abilities; we get a real sense of where she is from, that although she is semi-divine, Diana is very much an Amazonian, and those women ALL kick ass. For me, that was one of the wonderful things about the Wonder Woman movie, they were all wonder women.
I felt that the story contained a good balance of action and drama. There is nothing worse than sitting for an hour or two, being bombarded with scene after scene of fast-paced-look-we-got-multiple-cameras scenario and bellowing sound – this, I think, is the film-makers version of an extended guitar solo played by an unaware man-child. ‘Wanking off’, a muso friend of mine used to say. I think there are loads of directors who have become over excited by the CGI and ‘exciting’ bits.
Maybe it has something to do with the director of this Wonder Woman being female? Maybe she just enjoys a good story? Maybe she is just a little more grown-up in the emotional department? Whatever the reason, it works.
I have to admit, I was also rather apprehensive about going to see this film. I love the comic book/super hero genre (see my earlier post on Female Super Heroes) But I grew up with that garish 1970’s WW, and have seen very few women lead in an action film. (Yes, I know you’re going to name a couple. People always do, but balance it out against ALL the films you’ve ever seen – then go away)
I think directors and producers have become lazy when making this genre, after all they have a ready and willing audience who will go and view it whether its shite or not. Now, thousands of women, like me, of my age, must have been waiting for this film. Where ARE all the female comic/superheroes??? So again, a ready and willing – if cautious and cynical-by-now audience was waiting for this film. Thought’s that passed through my mind in the build-up and trailer overload included – ‘I bet it’ll be overly moralistic’. ‘If she’s showing her cleavage…’. ‘It’ll be something for the boys really’. And finally, ‘I bet it’s shit.’
I went with my 19 year old daughter – so a broad age range to cater to – I’m 52. We both enjoyed it (apart from the sound of crisp/sweetie/nacho crunching dolts that surrounded us) It was not shit. It was not ‘for the boys’ and I almost wept to see women, actual women not youngsters, playing seriously physical roles. The fight scene on the beach is truly astonishing and deeply sad. For no matter how fast you run, or strong you are – bullet beats bow every time.
Let’s just take a look at those women –
Ages and Nationality
Robin Wright, plays Antiope – or should I say General Antiope! She trains and leads what could be termed, the militia of the Amazonian. She is hard as nails, can fight with fists, sword, and bow (in fact, she doesn’t even need a bow!!!) And get this, best of all, Robin Wright is 51 years of age – I am just gonna have to say that again – FIFTY ONE people.
Gal Gadot, plays Diana, Princess of Themyscira, Daughter of Hippolyta. Diana wants to be a warrior from very early childhood. She does not know, and we the audience learn as she does, that she is not quite like every other Amazonian (in fact, at the end of the film, Diana still does not know the full extent of her origins and abilities) Diana works hard; she strives for perfection and to impress the General; her Aunt. Gal Gadot is 32 years of age, not a ‘slip of a girl’. And best of all, she is NOT American!! Gadot is Israeli and I thank director, Patty Jenkins for making this decision.
Connie Nielson, plays Hippolyta, Queen of the Amazons and Diana’s mother. She is regal, cool with a restrained passion. She is engaging as a loving mother and ruler, and you can feel her anger and pain as her only child makes the decision to leave their island home to head off with a man, to save the world of men. Can you imagine the homecoming?! (I think I’m gonna cry) Two best of all’s; Connie Nielson is also 51 years old! And she also is NOT American, she is Danish.
And some of the others –
Elena Anaya, plays Doctor Poison. She is Spanish and aged 41 years.
Lucy Davis, plays Etta Candy. English and aged 44 years.
Lisa Loven Kongsli, plays Menalippe. Norwegian and is aged 37 years.
For me, a fantastic multi-cultural selection of women who are not girls.
That costume –
Some of you might remember that awful, hideous outfit that poor Linda Carter had to wear in the 1970s TV series of Wonder Woman.
But take a look at what Queen Hippolyta originally gave her daughter to wear in the earliest comics –
Gal Gadot’s costume seems to have had the current trend for ‘dark costumes’ applied to it. The semiotics are not lost on film buffs and media students – still the red, white and blue are evident for all to see.
I have to be honest; I have an issue with American and how it perceives itself as the ‘policeman of the world’. It feels as though it foists its ideals on the rest of us. Most of the superhero costumes bear the colours or imagery, or both, of the ‘good ‘ole US of A’. Except Batman (huh, never realised before, maybe THAT’S why he is my favourite) I balk at the way many costumes imply an association with a country and it’s values/governmental policies. Captain America being most guilty of this – however, he is called Captain America.
And yes, I know other countries use red, white and blue as their flag colours – but we all know, don’t we, that ‘they’ mean America.
Another thing. Superhero females, at least in comic art, are invariably ‘sexy’. They have the tightest fitting clothes in the history of clothes manufacturing. They have more curves than an Italian mountain road. Their breasts could act as twin dirigibles. Women have railed against this for so long, we’re hoarse. In Wonder Woman 2017, Gadot’s costume has had the colours toned down, and although we still see bare legs, arms and shoulder, it is not sexy (I guess some men would argue against that, but it isn’t out-and-out-here-it -is –for- the –male- viewers sexy)But that’s it. No cleavage in sight. Curves are mostly concealed. The Amazon ‘uniform’ is more reminiscent of the Spartans. Look at Hellenic period armour; the bare arms and legs, the leather ‘flaps’, the moulded breastplate. It is practical and believable, whilst remaining true to the original design.
The physicality of this new Wonder Woman made evident in this lasso scene.
There isn’t any. HALLELUJAH!
99.9999% of films have a romance. Dull, dull, dull. Men and women can and do have relationships without becoming sexually or romantically entangled. And yes, there is a suggestion of Diana and Steve being ‘interested’, but this is clearly more him fancying her. Diana is here to do a job, she is focused and love isn’t getting in the way. She may have grown up in a glorious paradise inhabited only by females, but she is not ignorant of how sex works, and even suggests that men have become irrelevant and unnecessary except for procreation. Steve’s mental squirming is soon forgotten when they get to the nub of who is doing what in the war. Thank goodness.
The Men –
I suppose I should say something; I wasn’t going to write anything about the male stars at all. There’s enough information about ‘the great white male’ (as Grayson Perry puts it) without me adding.
So a quick nod to Chris Pine, Danny Huston and David Thewlis – the ‘good guy’, the ‘bad guy’ and the ‘badder guy’ in that order. Pine was great, Huston good, but, as much as I love Thewlis, he simply seemed wrong for the role of Ares.
Was it a great film? No, it was good; possibly in the Top 3 of this genre of films. Again down to lazy directors relying on a ready and willing audience, most of whom have become so desperate that there discerning monitor seems to have broken.
The storyline was simple, but that works as it is almost an ‘intro’ to Wonder Woman and her world. However, I did guess who was who quite easily.
It’s beautifully shot with the holiday brochure scenes of Themyscira; where you can almost smell the aroma of blossoms on the warm breeze, contrasting with the misery of brown and grey of London and the battlefront.
But I do believe this film will be talked about for years to come. When Sigourney Weaver first appeared as Ripley in Alien, a generation of women cheered and said ‘At last!”
Now I believe we are doing it again.
It is 2017 people.
50% of the world population is female.
Wonder Woman is the first female-led superhero film since 2005, when Jennifer Garner played the lead role in Elektra.