Archive for the ‘Matt Greenhalgh’ Tag

Rising from the Ashes

nowhere-boy-anne-marie-duffIf I wanted to boost the SEO for Simple Pleasures part 4 I’d be writing this evening about Jim Morrison, The Snowman, lonelygirl15, Dylan Thomas, Lara Croft and Albert Camus, but I’ve got other stuff in mind, first and foremost The Phoenix Cinema in East Finchley, London N2. I’m just back from there where we went for a family matinee outing to watch Glorious 39.

Glorious 39 is considerably less glorious than Inglourious Basterds – basically it belongs on TV like many BBC Films ‘movies’ – but the Phoenix itself was its usual blaze of Art Deco glory, gilded but faded but ready to rise again in even greater splendor…

…which is why two nights ago I arranged a preview screening of Nowhere Boy at the Phoenix. It was just the second public screening of Sam Taylor-Wood’s new film about the young John Lennon and it was raising money towards the Phoenix Restoration Fund. The Phoenix is the UK’s oldest purpose-built cinema and to celebrate the centenary of its 1910 opening the charity trust which runs it is striving to complete a major restoration by its 100th birthday next year. (If you feel like donating a couple of quid, you can do that here – we’ve got 90 grand left to raise to release the lottery grant needed to do the job.)

Anne-Marie Duff – of Channel 4’s Shameless, Film4’s Garage and The Virgin Queen fame (especially Shameless! pretty much the best TV drama of the last decade) – kindly pitched up to do a Q&A after the screening and gave a great insight into her intelligent and feeling approach to acting. She plays Julia, John Lennon’s mother, who found herself giving him up as a child but later helping spark his musical genius. The scene of Julia teaching John to play the banjo and then his swift but hard-earned mastery of the instrument is thrilling.

Film4’s Nowhere Boy was rousing. I didn’t like Matt Greenhalgh’s script for Control but this was a story well told and moving. Anne-Marie as Julia and Kristin Scott-Thomas as John’s aunt Mimi (who raised him) were both powerful and affecting, making sense of a tragic love tussle. But the big revelation was the charismatic Aaron Johnson as the young Lennon, old school charisma and strikingness on screen.

Sam Taylor-Wood came in to visit us a couple of years ago at Channel 4 to talk about her work and inspirations, and showed us a short art video depicting the decomposition of a partridge and a peach – very impactful in a short, sharp way. A feature is a very different prospect and she pulled this one off with energy and aplomb. I suspect her interactions with the actors were lacking in experience but the thesps were all good enough to make up for any wooliness in that aspect of the direction.

One of my first insights into Channel 4 was in 1988 when a programme called Lennon /Goldman: the making of a best-seller was being cut in Solus Productions where I was working, my first job. It was about the rather grubby biographer of Elvis and Lenny Bruce and his biog of Lennon which was due to come out shortly after. The director, Binia Tymieniecka, kindly gave me a copy of  it, The Lives of John Lennon, which I dug out after the Phoenix show.  I could see from a cinema ticket bookmark that the last time I had dug it out was in April 1994 when Stephen Woolley (who I believe used to work at the Phoenix) & Nik Powell’s Backbeat came out. The inscription reads: You’ve heard the gossip. You’ve seen the rough cut. Now read the book. The gossip and the aforementioned insight involved Goldman pulling all his contributions from the documenatry at the 11th hour (not sure what kind of C4 contract allowed for that kind of veto, but Channel 4 was still in its naively golden first decade then).

This week (Tuesday) was the 29th anniversary of John’s death. I remember it clearly – I was in Tijuana in Mexico and saw the headlines in Spanish, struggling to translate them exactly. I associate that time with realising for the first time my eyesight was dodgy, taking off my specs and realising the degree of my myopia (your youropia, his hisopia), getting a bit upset about it as a person who’s always been visually driven, through still and moving pictures. There’s a lot of play in Nowhere Boy about John’s short-sightedness – Mimi’s always reminding him to put on his specs and he’s always taking them off again as soon as he gets out of range. He has to put them on when Paul (superbly played by the fresh-faced Thomas Sangster) is teaching him guitar. The chemistry between John and Paul is palpable. On Tuesday I was listening, trusty ol’ iPod on shuffle, on my walk home past the Phoenix to Yer Blues from the White Album and was greatly struck by the haunting words he wrote in India and recorded just a few miles from the Phoenix at Abbey Road:

Yes I’m lonely wanna die
Yes I’m lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why

In the morning wanna die
In the evening wanna die
If I ain’t dead already
Ooh girl you know the reason why

My mother was of the sky
My father was of the earth
But I am of the universe
And you know what it’s worth
I’m lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why

The eagle picks my eye
The worm he licks my bones
I feel so suicidal
Just like Dylan’s Mr. Jones
Lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why

Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll
Wanna die yeah wanna die
If I ain’t dead already
Ooh girl you know the reason why.

The-Snowman

I'm coming down fast but I'm miles above you

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