When I read the novel Under The Skin by Michel Faber, I found it disturbing and a little distasteful. It’s the story of a woman who fell to earth who lures hitchhikers in a remote part of Scotland to a sticky end. Forget any tales of cute extraterrestrials – this is one alien who does not come in peace. It was all a little too vivid for my taste although I’m tempted to read it again to see if I feel the same way about it now. The main motivation would be that it has now been made into a film which is currently doing the festival circuit – Telluride , Venice and Toronto. The movie gets a bad review in Variety but the critic’s closing complaint about “the thick Scottish brogues rendering large swathes of dialogue incomprehensible” make me suspect that this is not to be taken too seriously. This seems to me equivalent to bitching about the street patois of the black characters from Baltimore in HBO’s ‘The Wire’. One man’s incomprehensibility is another man’s authenticity. I give more credence to Mark Cousins whose magnificent Story of Film (book + TV series) makes him a movie expert whose opinion I respect. He has just written two Tweets which read as follows: “I think it’s years since I’ve seen a film as good as Under the Skin directed by Jonathan glazer. A masterpiece”. “S Johansson + Scotland + hidden cameras + new imagery + death music + tenderness + brutality + sex + Orphee + Glasgow = Under the Skin” Continue reading
Tag Archive: The Wire
Tomorrow sees the official launch of a double CD of cutting edge sounds from the UK underground by Manchester’s Front & Follow records.
The Outer Church is not an occult gathering place but a musical event in Brighton and obviously a place of pagan worship for musicians with no interest in pandering to mainstream tastes.
The 28 previously unreleased tracks showcase the artists who have appeared there.
These have been selected by The Wire’s Joseph Stannard and I can vouch for the fact that the quality is exceptionally high throughout.
You can read my review of the album here and find out more about the album and all matters related at tumblr.
Related articles
- The Outer Church Head Out On Tour (thequietus.com)
Ronan Bennett’s drama, Top Boy, recently broadcast on Channel 4 has been widely cited as UK’s answer to HBO’s The Wire. This is a hugely flattering but not particularly accurate comparison.
The link stems largely from the fact both feature a predominantly black cast of non actors and each is set against the inner city backdrop of drug deals.
Yet while in The Wire, the rivalry between the police, politicians and the criminals was central, in Top Boy the fuzz are conspicuous by their absence. At one point we are told that ‘the estate is crawling with feds’ but we don’t see any of them. If you live in London, you take for granted the sound of sirens even in relatively crime-free neighbourhoods. In the course of the four one hour episodes, you only hear one.
Bennett’s aim here is to write from the point of view of the young kids (the ‘tinies’) so he chose not to include any police characters. His reasoning is sound but the drawback is that it gives the misleading impression that the kids do not need to be constantly looking over their shoulders for a raid. This is a major weakness for a drama that prides itself on social realism. The killings and beatings take place in a surreal vacuum in which the forces of justice are all but invisible.
Despite this, there is a lot to admire and the central performances by the, mostly, non-classically trained actors are remarkable.
Sharon Duncan-Brewster (right) is outstanding as a single mother,Lisa, battling with depression after been left to bring up her son, Ra’Nell, alone by an abusive husband (who we never see).
Her transformation from someone afraid to face the outside world to an assertive woman determined to keep her son clear of the gang culture is both convincing and heart-warming.

Leon
One aspect of the story where comparisons with Baltimore in The Wire and London (Hackney) of Top Boy do hold up is with the character of Leon (Nicolas Pinnock).
He is a family friend who takes it upon himself to help ensure Ra’Nell doesn’t go off the rails. Leon is very similar to Dennis ‘Cutty’ Wise in The Wire, both in looks and character. Each are physically strong, morally upright and quietly spoken ex-bad boys who still command respect on the streets.
The drama was impressively directed by Yann Demange, who is definitely a name to watch. It also features a cracking soundtrack with original music by Brian Eno, some atmospheric drone/noise and plenty of urban soul and Dubstep.
The ‘top boy’ of the title could refer to Dushane (Ashley Walters) as the drug dealer who wants to move up in the world but it makes more sense to say that it refers to Re’Nell.
Personally, I’d have been tempted to call it ‘top mum’ as, for me, Lisa was the true hero.
“Good art doesn’t give answers it just asks the right
questions”, so says novelist Dennis Lehane, best known as the author of ‘Mystic River’.
I’ve just seen the impressive movie adaptation of Lehane’s ‘Gone Baby Gone’ directed by Ben Affleck. Among the questions it asks are: ‘Is it right to carry out a summary execution on a paedophile and child killer or do such ‘monsters’ have a right to a fair trial?; ‘If a mother is a crack head, is it right to take her child from her without following legal procedures?’ ‘Is it ok to plant evidence to ensure you get a guilty verdict?’ Continue reading
I like the letter to this month’s Wire magazine by Vivien Priestley of Walsington, UK who wrote in response to David Keenan’s provocative (and, I have to say, confusing) article on what he calls Hypnagogic pop. This is the name he gives to the strand of (mostly) American music which blends together elements of the nation’s old weird past and more recent pop culture. (It has already been nominated by some as the ‘worst genre created by a journalist’)
The letter points out that musicians like The Skaters, Pocahaunted & Ariel Pink are “wrestling with various versions of the past and trying to get beyond a merely nostalgic revivalism”. The writer asks “……has there ever been a moment in music before now where sound has been so completely soaked in traces of the past without actually sounding like anything other than the present, or the future?”
This question ties in well with a book I’ve been reading by Gene Bluestein on folk and pop in American culture called ‘Poplore’ (University of Massachusetts Press, 1994).
It’s a study which looks at what we mean by these catchall terms ‘Folk’ and ‘Pop’ and, in part, also seeks to lay to rest the myth that the US has no authentic Folk tradition.
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