Remind me to watch movies on my own !!

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A recent bar à vins that I’ve found is Au Père Louis, located in between Odèon and le Jardin du Luxembourg in the 6th. It’s actually a restaurant, but upon entering you’ll find a spacious area full of barrel-shaped tables and stools, packed with fellow wine drinkers as well as guests waiting to be seated. I haven’t actually dined there yet, but from what I’ve seen, the atmosphere is lively, diners looks happy and the food looks delicious.

Au Père Louis is swarmed with locals, exuding a très francais ambiance but remains friendly to foreigners so be sure to stop in for a quick drink, a nibble or a few hours of wine night debauchery. Get there before 7:30 p.m. and you can even score happy hour prices on wine! Santé! 

Cheese + charcuterie plate

Au Père Louis, 38 Rue Monsieur-le-Prince, Paris (6th)

But any ways, maybe you could give me a little advice on which film is better. I don’t care if you spoil it for me, I’m just up for the whole atmosphere of being in a cinema eating junk food and watching amazing movies. I’ve always been a fan of Bruce Willis, he’s been in a lot of really good action packed films such as: Pulp Fiction, Set Up, The Expendables and Die Hard which he is more known for.  I’m also a beloved fan of Nintendo and I recognise some of the video game characters which is going to be in Wreck it Ralph.

• Title: Umrieť v purpurovej krajine – Cena vraždy – Dohodnúť sa so žralokom
• English Title: Dying in a Purple Place – The Price of Murder – Agree with the Sharks
• Canon: Omnibus
• Language: Slovak
• Country: Czechoslovakia
• Format: Unknown
• Year: 1982
• Publisher: Odeon
• Collection #: 607
• Cover Artist: Unknown

You don’t see too many JDM omnibuses — that is, collections of novels — outside of Russia and some English language Travis McGee collections, but this is one. It contains an odd mix: A Purple Place for Dying, The Price of Murder, and The Drowner (gotta love that title: Agree with the Sharks).

The cover art is bizarre. I simply refuse to believe that whatever she is wearing could possible be a swimsuit, even in Eastern Europe before the fall of Communism, so I’m going to assume it must be Bermuda shorts and a halter top, although why anybody would actually wear that combination is beyond me.

I don’t know why I’m wasting my time discussing her sartorial faux pas when the real question is why did a shark bite her head off? It should be obvious to anyone that this must refer to The Drowner because … well … because it’s called Agree with the Sharks. Yeah, that’s it.

– Citeste tot articolul: http://www.constanta.ws/stiri/cand-se-face-film-pe-scena-de-la-teatrul-odeon/

Lakshmi Building has been declared a heritage building

Lakshmi Chowk, also known as Maulana Zafar Ali Chowk, is located at the juncture of Mall Road and Abbott Road. The chowk is named after the culturally significant Lakshmi Building that stands nearby. The area surrounding the chowk was considered a hub of culture, art and entertainment even before Partition; and while its cultural significance has dimmed with the passage of time, Lakshmi Chowk remains a busy area thanks to the dining and entertainment options it provides.

A heritage building… Lakshmi Building has reverberated with activity since it was erected circa 1935. It is believed that prior to Partition, several political leaders of the Pakistan Movement frequented the building; post 1945, the Pakistan Muslim League’s office was located there for a short duration of time.Lakshmi Building has been declared a heritage property by the local government, which recently carried out some (rather controversial) restoration work on the building, painting its grey-white exterior a rather garish shade of blue intermingled with beige. A statue of the Hindu goddess Laskhmi is believed to have once adorned the building, and the façade was embellished with scenes depicting scenes inspired by Hindu mythology. Today, the detailing is no longer clearly visible and the statue is nowhere to be found.

The entertainment district… Lakshmi Chowk was once the heart of Pakistan’s entertainment industry; several film studios were located in and around the area and the city’s most renowned cinemas including Gulistan, Metropole and Odeon were also concentrated there. Most of these cinemas still operate and primarily screen Punjabi films attracting large audiences, most of whom are male.

The cinemas attract large audiences

A foodie destination… Before Gawalmandi and the New Food Street and much before the swanky restaurants and cafés on MM Alam Road, Lakshmi Chowk was Lahore’s ultimate foodie destination. Favourites include Butt Karahi, Lasani Restaurant, Murgh Chanay, Tabaq, which have attracted generations of Lahoris thanks to the desi fare they serve, such as the taka tak, liver, gizzards and haleem.

In a nutshell… Lakshmi Chowk has always been the heart of Lahore; it has been the centre of work, entertainment and food for decades. However, over time it has unfortunately lost its former refinement. Yet, the buildings there continue to stand proud, as if in remembrance of their former glory. n

– Maheen Hassan

– Citeste tot articolul: http://www.constanta.ws/stiri/un-spectacol-despre-cum-se-face-un-film-la-odeon/

The HomArt Rod Iron 14-inch by 14-inch by 21-1/3-inch Odeon Pillar Holder Chandelier is a wonderful blend of sweeping lines made of iron. Each chandelier holds 9 pillar candles (3-inch diameter candles recommended and sold separately) in three groups of three. This chandelier is beauitful inside over a dinishingroom table out outside in the covered living area, linei or covered area. Hanging hardware and links sold separately. This chandelier can be cleaned with a damp cloth for years of enjoyment and use. Also available as a taper holder.

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Now after waiting for my tiny sister in the bitter cold, she arrived with her opening words being
“J if this films sh*t I’ll hurt you”
Already starting the evening on a bitter note. I decided to be a cool bigger brother and pay for the extras seeing as the tickets were free, cheeky treats from friends.

So after spending £12 on bits and bobs from counter. We were escorted by a friend of mine to the screen and shown our seats. (The seats were great, I got the hook up)
My friend then tells us
“Someone walked out earlier saying it was too racist”
This made me think this person was clearly extremely small minded as it’s set before the Civil war. Therefore meaning SLAVES were in use!

So back to the film. As it begins my sister looks over and says
“Don’t get upset. I would never do this to you. Because I’m white. “
After overcoming laughter from my now newly racist sister. The film begins.

So at the beginning of the film, you see someone get his head shot off by a double barrel shot gun. You then see the same gun hit a horse at close range. Now I understand that due to it being so graphic it would be fair to hear my sister or anybody else scream. I mean the man’s head was blown into pieces smaller than broccoli your mother would feed you, so that’s cool. BUT my sister screams and kicks the chair in front and me for that fact and says
“That poor horse”
Now hold on. While this statement shows my sister to be a kind heart lovely person, does it not also show how heartless and cruel she is for simply forgetting the man with gravel and cranium for brains? Ridiculous.

Later in the film when Django sends everyone to hell, I was seated at the back shouting certain statements (OH MY GOD, DUN KNO, KILLER ETC) that doesn’t help the youth of the 21 Century. I apologise to anyone that see’s a film in a screening that I or any of my friends attended. This is simply ‘our’ / my way of appreciating a good film.

Anyways as I was going to review Django Unchained, However I am not someone who writes about films or albums because I doubt I could do better, with this in mind I thought I’d rather have told you about my experience of watching it. I only compliment so I will say. DJANGO WAS SO GOOD I AM GOING AGAIN NEXT WEEK.

The term ‘independent cinema’ is an uncertain and at times confusing one, particularly in light of the recent sale of the Picturehouse group of cinemas to Cineworld. So what is independent cinema, and what will the effects of the Picturehouse sale be?

Time Out London’s website displays cinemas organised by chain and type.

In film as well as music, the term ‘independent’ or ‘indie’ has developed and changed over time. Literally, the phrase refers to an absence of outside control or influence and the ability for the independent body to make its own decisions. But with more and more cinemas operating as part of commercial chains and many cinemas being programmed to some extent by a central organisation, the term ‘independent’ in regards to the film exhibition sector has taken on more meaning than just control and decision-making.

Often now, the term independent is applied to cinemas in terms of the types of films they show. This is certainly the case with listings publications such as Time Out, who include the smaller, non-multiplex style chain of Everyman cinemas in the Major Cinema Chains section on their website alongside Vue, Odeon Cineworld and Empire, but file the majority of Curzon cinemas and Picturehouse cinemas in their ‘Independent Cinemas’ category. The inference is that the likes of Everyman cinemas on the whole show a more mainstream range of films than the more ‘specialised’ or ‘alternative’ programming of the Curzon or Picturehouse chains, even though all three are part of commercially run companies.

Additionally, the programming for all of the above is carried out centrally, rather than by the cinemas themselves, obviously saving man hours and allowing more skilled full-time programmers with greater negotiating power with distributors over title bookings. Indeed, alongside City Screen, which programmes the core programme of a number of venues in addition to their Picturehouse cinemas, the Independent Cinema Office also programme a number of smaller, regional cinemas, that are mostly independent in the literal sense of not being part of a larger chain.

However, even this category can be further divided as Simon Ward, Director of the ICO points out:

“An Independent Cinema from our perspective falls into two main camps. Both are defined by not belonging to a chain with a centralised commercial (i.e. for profit) owner. Independent cinemas are therefore stand alone and divided into two categories, those showing typical commercial films such as US Studio product, blockbusters etc. and those which have a cultural remit and screen a much wider range of cinema from all kinds of distributors, producers etc. The latter kind is the type the ICO works with. These cinemas largely have charitable status, are therefore not for profit (although of course have to pay their way to survive) and put any profit from showing films back into the organisation rather than paying out to their commercial shareholders.”

So whilst a not-for-profit is almost certainly ‘independent’, commercially-run cinemas’ ‘independence’ are often judged by whether the range of films screened are more commercial, mainstream, or specialised, ‘independent’ film, regardless of whether the majority of these films are programmed centrally or ‘in-house’.

But for many, the issue doesn’t end there. ‘Independent’ is often seen as a description of the spirit or ethos of the cinema, which applies to more than just the films screened. Generally defined in opposition to the perceived multiplex ‘experience’, an independent cinema will be spoken of as friendly, welcoming, personalised, etc. even those individually owned and run cinemas more often found in the regions, which screen almost entirely first-run mainstream films.

This independent ‘spirit’ is what many audiences really appreciate and is the reason for much of the response to the purchase of the Picturehouse chain by Cineworld. The Managing Director of Picturehouse, Lyn Goleby stated that:

“The Picturehouse cinemas, and all that we stand for, will remain as before and will operate as a standalone division of Cineworld. Everyone recognises that the success of this change depends on the unique nature of the Picturehouse Cinemas being protected; the programming policy will not change, the membership schemes will remain in place and the independent identity of the cinemas will be protected.”

However, the majority of online comment regarded the perceived threat to the Picturehouse ‘independent spirit’ by the multiplex chain.

But there doesn’t appear to be any reason as to why the Picturehouse will actually change. It is already financially profitable, there is nothing broken that needs fixing by Cineworld and their plans to roll out the brand with a further 10 sites surely depend on the continued success of the Picturehouse business model. Nevertheless it does show that for the majority of people, the ‘independence’ of Picturehouse is perceived very much in terms of the ‘spirit’ of the cinemas, rather than the programming or financial control.

Cineworld experimented with their luxury cinema brand The Screening Rooms, launched in Cheltenham in June 2011.

In fact, it may be that it is this ‘spirit’ that attracted Cineworld. The growth in older audiences compares favourable to the traditional multiplex teen audience, which is being tempted away by alternative ways of viewing film.  Additionally, it would appear that the bar/cafe operations in many of the Picturehouses generate a far higher income and are more profitable than the concessions sales at Cineworld, a fact mentioned by the financial chief Philip Bowcock, “For example, Lyn [Goleby] buys alcohol cheaper than we do.”

Is this ‘independent spirit’ actually becoming more commercial than the ‘multiplex spirit’ in today’s rapidly developing sector?  The Everyman, Picturehouse and Curzon groups all have ambitious plans to expand and open or takeover new venues (which is not to say the multiplex chains don’t).  But the majority of smaller, individually-owned ‘community’ cinemas certainly aren’t hugely profitable, with some still struggling to convert to digital, and many receiving public funding in order to survive.

On that subject, a little mentioned point was that some of the Picturehouse cinemas received considerable public funding. Admittedly Picturehouse have always been a commercially run private company with shareholders, but clearly Cineworld wouldn’t have received similar funding. As the cinemas have been clearly profitable on the back of partial funding, should this money be returned to the Arts Council, particularly in light of the cuts to their income?

In a sense though, it should be right that some funding enables cinemas to become financially stable (the funding Picturehouse received was capital funding as opposed to operational costs).  As we heard on the radio show, the three ‘independent’ cinemas in Newcastle are in danger of all of their council funding being cut and are being forced to try to balance their budgets going forwards without public money.

So can a cinema be truly independent without being part of a chain, benefitting from central programming or receiving public funding?  Or will ‘independent’ now purely reflect the spirit and ethos of the venue’s atmosphere and programming?

Footnote: Cineworld might also be interested in following the development of day and date releases by the more specialised distributors who are starting to release more films on VoD platforms at the same time as the theatrical release. Perceived as a major threat by the chains this is only likely to increase and is surely an area Cineworld want to monitor closely. This is a topic we’ll be focussing on in February’s radio show and blog.

Below, is a picture of one of the many beautiful views that Guernsey has to offer…

Smoke from the Red Arrows appearing as the French flag

It will probably not have escaped your attention that this musical has recently adapted into a film, starring Hugh Jackman, Russell Crowe and Anne Hathaway, amongst other big names. It was with unbridled excitement that I scampered off to the ODEON at the Metro centre this weekend, to watch the must see film of the year… in IMAX, no less.

During my time at school in Guernsey, I did a lot of musical theatre and also sang in several school choirs – now I can’t recall the exact amount of times I was forced to sing songs from “Les Mis”, but let’s just say that when I was sat in my plush seat at the ODEON this weekend watching the plot of the film unravel, I was lip syncing along. Yeah, that’s right, growing up in Guernsey means that you have quite an intimate relationship with this particular work, whether you like it or not… Luckily, I love everything to do with Victor Hugo, and this film adaptation was no different!

If I had to sum up the film in one word, I would have to simply say… GLORIOUS.

It really was.

I didn’t notice the time passing. Hugh Jackman was awesome and Anne Hathaway was haunting in the role of Fantine (finally managing to convince critics that she is ‘Mia Thermapolis’ no more*) I particularly adored Isabelle Allen in the role of ‘Cosette’ (you can see from the above poster just how ethereal, vulnerable and credible she looks in the role). The whole film was a sumptuous feast for the eyes and for the senses – at the end I heard the men around me sniffling as they clapped when the credits started to roll. If you enjoyed the film ‘Warhorse’ and the emotions that it stirred up inside you, then please go see ‘Les Mis’… and bring an industrial size box of tissues. At the end, I had to be walked around the Metro centre a few times and shown happy sparkly things until I managed to perk up.

Would I go see it again?

YES, in a heartbeat.

I’m sure that Victor Hugo would have loved to see his novel make it to Hollywood. If you enjoyed the film and ever find yourself in Guernsey, then make sure that you visit Hugo’s old residence, Hauteville House, which has been kept as a monument to him by the City of Paris. if you’re interested in literature, stunning views or wacky interior design, his house really is a must see.

Knock on the door, make an appointment to visit, and you will find yourself stepping out of the hustle and bustle of St Peter Port into a sombre French hallway. You will be led on a visit into Hugo’s world by a guide who will explain how the objects in the house are not what they seem… Mirrors, ornate carvings and the repeated initials V and H alongside other symbols and motifs will reveal themselves to you and remain in your mind long after your visit. The stunning view of the Archipelago of the Channel Islands from the top of the house is worth the trip alone!

 *Although, in my opinion, ‘The Princess Diaries’ is a great film and I will hear no bad word of it!!!

PS. For those interested in reading ‘Les Misérables’, it is available for free on Kindle in both English and French – below is the link for the English version

http://www.amazon.co.uk/Les-Misérables-English-language-ebook/dp/B004GHNIRK/ref=pd_ts_zgc_kinc_341689031-f_3?ie=UTF8&s=digital-text&pf_rd_p=285525267&pf_rd_s=right-6&pf_rd_t=101&pf_rd_i=341677031&pf_rd_m=A3P5ROKL5A1OLE&pf_rd_r=1K7FY04R3W9VABBR7M2K

Last night councillors were given a report on the progress in finding a future for the former cinema in Bradford, with some saying everything must remain transparent to maintain public confidence.

Owned by the Homes and Communities Agency, the cinema has been offered to the Council for just a pound, and a decision must be made by the end of March. The Council first wants to see how big a task it taking on such a large, decaying building would be, and last year commissioned a structural survey to look at bringing it back into use.

via Bradford’s Odeon could become another Westfield saga, says councillor (From Bradford Telegraph and Argus).

We were pretty early to the film and having not had any lunch decided that Nachos were a pretty decent option for foodings. Despite their appearance they were actually really tasty…

The World’s most unappetising bowl of Nachos…

Before I start going on about how much I liked the film, and before I start waffling to the point of no return, I feel I should just make my points here and now so you can see them before you die of old age…

1) Everyone had a brilliant singing voice ! I had goosebumps all the way through the film

2) The acting was stunning. I believed everything that was happening (hence why I cried 11 times…)

3) Eddie Redmayne is rather Lush (also a fabulous actor and singer… but lush…)

4) Sweet Crumpets ! Sacha Baran Cohen was bloody brilliant with Helena Bonham Carter !

5) I really want to go and see it again… like REALLY want to go and see it again…

6) My opinions might be a little incoherent as I’m only picking out bits of the film with the assupmtion that you’ll know what it’s about, but you can google the plot if you get lost, or even better, go and see it

7) and finally, I think Ben is sick of hearing my renditions of all the songs after I downloaded the soundtrack …

Phew… okay now I’ve got that out of the way I can waffle a bit and you’ll still get the general idea of what I’m saying. The film began with Jean Valjene (Hugh Jackman) singing “Look Down” with all the other revolutions prisoners and from that moment on, I don’t think the goosebumps went down. As the song carried on, I was anticipating Russel Crowe’s input (if I’m honest, I wasn’t really a Russel Crowe fan until seeing Les Mis… apart from Gladiator, that was a decent film…) and he was surprisingly really good and played Javert down to a tee ! At this point Ben was still awake…

The next big song (after Valjene’s Soliloquy and the Bishops Song ) was “At the End of the Day” which is probably my favourite Les Mis song, and it’s the start of Fantine’s (Anne Hathaway’s) ‘demise’. It’s a fabulous song and the lyrics are brilliant, but it is nothing compared to what it leads on to. Perhaps the most famous Les Mis song of them all… “I Dreamed a Dream”… The thing was, I knew it was coming so I had my tissues at the ready and by God did I need them ! From the end of the previous song to the end of “I Dreamed a Dream” I genuinely don’t think I stopped crying! I did look over to Ben for some emotional support but he’d nodded off…much to my dismay … I love Anne Hathaway anyway, but it was such a marvellous and moving rendition of the song that I don’t think there was a dry eye in the cinema. In all fairness, the following few songs with Fantine and Valjean/M. La Mer were tearjerkers.

Thankfully, there was some comic relief in the form of Sacha Baran Cohen and Helena Bonham Carter as the Inn Keeper and his Wife looking after Fantine’s child Cosette. The scene at the Inn is absolutely brilliant and visually stunning. As a duo they seem to just feed off each other- I doubt they could have found a more perfect pair to play those roles ! Ben woke up again and began to actually watch and seemingly enjoy the film.

The rest of the film (once Cosette has been rescued by Valjene/M. La Mer) is full of songs based around the second bout of the French Revolution. It centres around the bravery of the revolutionary young men; the heartache of Marius, Cosette and Eponine; the fight for freedom; and the conflict of the two worlds. Two of the most powerful images I have seen in any film are in Les Mis…

1) When the young revolutionaires are stood on their make-shift barricade waiting for the army to attack them…

Not the best example, but if you watch the film you’ll know what I mean

2) When Javert places his medal on the waistcoat of Gavroche after he is killed (needless to say I cried at that part…)

Once the revolutionaires are quashed leaving the streets behind them soaked in blood and the only survivors being Marius (Eddie Redmayne) and Valjean/ M. La Mer (Hugh Jackman) Marius sings “Empty Chairs at Empty Tables” which, once again, is a fabulous songs with amazing lyrics and sung to perfection by the lush Eddie Redmayne ^_^ And yet again, it did make me cry…

Although the ending isn’t particulary nice (in the sense that pretty much everyone you grew to know was killed or died) it was bittersweet. At the end, when Cosette and Marius marry, Valjean tells Marius about his true identity and writes his letter explaining everything to Cosette. Once he does so, he passes over and is taken to the other side by the spectral Fantine who leads him into the light where he once again encounters the young revolutionaries, Eponine (who died in the arms of Marius after being shot trying to save him on the barricade) and Javert (who earlier committed suicide when Valjean let him free after he was given the opportunity to kill him because he couldn’t stand the thought of owing his life to a ‘criminal’) and the entire ensemble stand on a huge barricade in the centre of Paris waving a red flag and sing the final song which, surprise surprise, made the hairs on the back of my neck stand up and made me cry ! Even Ben cried… even if it was the first and only time throughout the film !

I could easily see it again and I would advise anyone who wants to see a brilliant rendition of the original stage play to go and watch it before it goes off the cinemas. It really did do the original production justice.

When I realised the location for this presentation was held at Odeon Cinema,  I was looking forward to watch a film screening (haven’t seen much this season)! However, when I went into the cinema I realised it was a live movie, yes male models right infront of the big screen. I instantly thought it was such a great and simple concept as you can have to go through the same procedures to find your seat, and seat down and watch the models and to see the collection!

This time Baartman and Siegels focused on outerwear, which has always been their strength. This collection was very down-to-earth, wearable and uses references from puffa coats we used to wear in primary school. Classic silhouettes have been added with details such as mink collars and scarfs, such a contemporary edit I would say!  All photos taken by Jiro Hsu at LCM 

The Erofili Theatre is part of the Fortezza complex on top of  Rethymnon’s Paleokastro Hill.  This is not an ancient Odeon; it was purpose-built in the 20th century and retains the beauty and feel of an ancient odeon, whilst benefitting from modern technology for performances.  I don’t know what it is about Greek open-air theatres, but even more than in regular  theatres, I feel like a participant, rather than a spectator.

This theatre was named after a famous play written by a Cretan author in the XVI century, when the Venetians ruled Crete.  It’s a tragedy that tells the story of Filogonos, an Egyptian king who has killed his brother, the legitimate king.  This traitor has taken the throne and his dead brother’s wife.  The king has a daughter, Erofili, who falls in love with a young man from the palace, Panaretos.  It turns out that the young man is the son of a king, no less, but had been kidnapped by enemies and then concealed, as he would be in danger by virtue of being the rightful heir to the throne.  Erofili’s love is returned by Panaretos, and they secretly marry.  Of course, the murdered king’s ghost appears and vows revenge.  And so, the king discovers the secret marriage of his daughter and, possessed by rage, decides to kill Panaretos.  In extreme savagery, he does kill the heir to the throne, and even presents Erofili with his ripped off heart.  Erofili, destroyed by grief, commits suicide, and in the end some form of justice is served when the murderous king is killed by the chorus.

The Erofili theatre has a lively programme of events, which includes classical and contemporary concerts, modern and ancient plays.  To me, the most fascinating are still the ancient tragedies.  It is really not about the well-known myth being represented, whose ending is known to all or most of the audience.  It is about being a participant, and witnessing a hero’s decisive moment, where he battles with his conscience and faces destiny.  It is really about the most human conundrum of  facing one’s music and grappling with fate.

If you would like to visit Rethymnon and use the opportunity to be a true participant in a performance at the Erofili, contact Karma Travel! They will be able to advise on the current programme of events and find you tickets.  Beyond these, Karma Travel can also sort out your accommodation and travel needs, and make your journey a pleasure.

15th-century map of Florence, Francesco Rosselli

Traces of Florence | Now until February 3

There are still a few days left to visit Palazzo Vecchio and learn about the history of Florentine streets. Hannah has laid out all the reasons why you should go here.

Masaccio, Tribute Money, Brancacci Chapel, 1425

Free Museum Sunday | February 10

One day (almost) every month, city dwellers enjoy free entry to the Palazzo Vecchio, the Stefano Bardini Museum, the Fondazione Salvatore Romano Museum, the Santa Maria Novella Museum, and the Brancacci Chapel at Santa Maria del Carmine. All you need is a card and a reservation - click here for the details.

Lovers, carousel at night by Robert Crum

Valentine’s Day | February 14

Since San Valentino was a Roman saint, there’s no place more appropriate to celebrate Valentine’s Day than in Italy. Here are our dreams of how to spend the day – for free, of course.

In the spirit of love, however, we recommend stopping by Piazza Repubblica at 3 p.m. to participate in 1 Billion Rising, when 1 billion people worldwide are expected to stand up and dance in opposition to violence against women. So shake what your momma gave ya for all the mommas and future may-be-mommas out there! We promise it will make your heart happy.

Cellar of the Abbey of San Salvatore a Settimo via Wikapedia

Free Museum Tours | February 16 & 17

In celebration of International Tourist Guide Day, visitors can receive free guided tours to some of our favorite (but often lesser visited) museums: Sant’ Apollonia, Chiostro dello Scalzo, San Salvi’s Last Supper, Museo Casa Rodolfo Siviero, and the Abbey of San Salvatore (in Settimo). The idea is to encourage sustainable tourism by drawing visitors to smaller museums – sound familiar?

One tour we’re particularly psyched about is of the historic movie theaters in town. The walk starts at the Odeon and then moves to the Gambrinus, an old cinema that’s better known today as the Hard Rock Café.

For tour times and more details click here. If you’re interested in any, be sure to make a reservation by February 12.

Bird exhibit at La Specola by Darren and Brad

Free Concert at La Specola | February 24

Throughout the spring, music lovers and natural history enthusiasts alike might enjoy free concerts at La Specola, Florence’s Natural History Museum. This particular Sunday features tap dancing in the Fireplace Room, but the lineup includes everything from solo violinists in the Observatory to a full band in the Skeleton Room. Attend each show to see all the different rooms; if you can’t contain your curiosity once inside, pay 6 euro for a full ticket and enjoy a tour of the museum after the concert.

For full dates, times, and details, click here.

Hubba, hubba!

So once again I’ll proceed with this post and continue my film chronicle of what I’ve seen so far this year…

The Miserables – expect a laugh a minute!

Thursday, 24 January: “Les Misérables”

I remember seeing for the very first time the trailer for this film in the cinema, after recently stumbling upon a first look of Hugh Jackman sporting a wild beard and a rugged lack of hair on his head. I was quite shocked when Russell Crowe appeared on screen, bellowing his lungs out, and being completely unfamiliar with the concept of Les Misérables since I’d never read Victor Hugo‘s novel or witnessed the stage show for that matter, I hadn’t taken much notice of the fact that a movie adaptation was soon to be released worldwide. None the less, I couldn’t help but find the spectacle of the footage in the trailer impressive, although at the time I couldn’t actually imagine myself ever going to see it in the cinema. However, the more and more press I saw for the film, accompanied by trailers and posters and billboards completely obscuring my vision during the second part of 2012, the more I found myself tempted to watch the picture. In fact, over time I’d even began to grow fond of the extracts I’d heard from the songs. Believe it or not, I actually became desperate to go and see Les Misérables for myself!

Now I can honestly say that I cannot remember the last time I watched a film in the cinema that has had quite as much impact on me as this one. I would imagine that anyone who has been to see this adaptation in all it’s glory on the big screen, be them fans of the source material or new to the whole thing like myself, would agree that it is quite spectacular to say the least. I’d go further to describe it as absolutely tremendous!

I payed a visit to the local IMAX screen at the ODEON Metrocentre one Thursday afternoon, again on my own as I did for The Impossible. That film moved me terribly, but this monster hit me in the stomach like a sledgehammer as it began with it’s fierce opening sequence in which hundreds of slaves are to be seen tugging an enormous warship into its dock whilst enduring the blast of waves caused by a relentless downpour of rain. The booming voices of the men begin to chant the first song in the film, “Look Down”, which is a thunderous and brutal introduction to Tom Hooper‘s juggernaught of a musical. On the treacherous waves of it’s opening, the director continued to thrust me through a tale of high emotion which unsurprisingly for a musical is communicated almost entirely by song.

Led by an astonishing performance from Hugh Jackman as the seemingly doomed Jean Valjean, this film boasts glorious performances all around, most notably to me by Sacha Baron Cohen and Helena Bonhma Carter‘s delightful Monsieur Thénardier and Madame Thénardier (the couple also shared the screen in Tim Burton‘s own musical adaptation of Sweeney Todd), and pleasingly the cast members who I don’t recall seeing before, such as Eddie Redmayne, Samantha Barks, and the wonderful little Issabelle Alle, who were also fantastic. But of course it has to be said that Anne Hathaway‘s magnificent portrayal of the character Fantine, who could penetrate your soul with an incredible but limited screen time of approximately twenty minutes throughout the entire film, is groundbreaking. There is plenty within these 158 minutes that has Oscar-worthy written all over it, but I swear that I will eat my wooly hat if this woman is not standing by a podium come the 24th of February gripping an Academy Award for Best Actress in a Supporting Role. What she does in this film is nothing short of remarkable and I am not afraid to admit that she had me crying my eyes out during her devastatingly upsetting performance of “I Dreamed A Dream”. I’ve never even heard Susan Boyle‘s version, but for all I care she can eat her heart out, as they say.

On the other hand, I’d been warned that Russell Crowe was something that was not to be as desired. Basically, I had heard that the man just can’t sing. I think this is slightly unfair, and although I agree that his voice is a little raw and “Rock ‘n’ Roll” compared to the rest of the cast, I think that his character, Javert*, benefited from it since I’m sure he isn’t supposed to be someone who the audience is rooting for anyway.And besides, let’s face it. There is no denying that there is nobody who looks better in a uniform than Mr. Crowe! Anyway, this issue may have also had something to do with the directors decision to insist on live performances of each number, which makes the whole thing even more hugely dramatic. This is one hell of an achievement, and it’s a shame that Tom Hooper was not recognised for it by the Academy and nominated for the Best Director award.

The only problem I remembered having with the picture was around the middle section when Eddie Redmayne‘s Marius finally sets his eyes on Amanda Seyfried‘s beautiful Cossette, which must have been a key set piece, but to me almost began to feel insignificant in comparison to the French Revolution that was looming on the horizon. However, everything still fell neatly into place and the excitement levels were high by the time those talented youngsters led their men to the barricades, and fortunately this didn’t happen to feel as stretched or as lengthy as I had found Django to be.

Overall, Les Misérables has had an enormous impact on me and if I am lucky enough to enjoy another cinematic experience as phenomenal as this musical, then the rest of 2013 must have a couple of tricks up its sleeve for us. There were a handful of moments throughout the film when I would have been caught turning the waterworks on and off, but the final scenes actually had me weeping my heart out, unexpectedly touched by this motion-picture adaptation of the beloved global stage sensation that I have been left determined to experience.

And if all of this is not enough to convince you, then please tell me the last time that you remember an audience applauding in unison as the grand finale of such a film drew to an epic and heart-warming closure as this one did during its Epilouge, blasting the voices of the entire cast through the powerful speakers of The IMAX Experience‘s state-of-the-art surround sound system.

Holy moly!

Easily one of my favourite teaser posters that surfaced during 2012

Friday, 25 January: “Zero Dark Thirty”

The following evening I went to my favourite venue, the superb Tyneside Cinema in Newcastle, to see this Oscar-tipped movie reuniting the award-winning duo of director Kathryn Bigelow and writer-producer Mark Boal. Zero Dark Thirty tells the story of the lonely Maya, played by Jessica Chastain, and her struggle over a decade’s worth of analysing intelligence that she believes could eventually lead the CIA to their prime target, al-Qaeda leader Osama bin Laden.

This was one of those rare occasions where I found myself completely engrossed in the story and where the director had me gripped from the unsettling beginning and refused to release me until the very final moments of the film drew to an end.

I am well aware that the sensitive subject matter of this picture could easily be disapproved by some people, but I found the film to be exciting, intelligent, and engaging form start to finish, and never felt like I was being fed an overly patriotic or Americanised version of the events in question. In fact, it would appear to me that the director tolerates no bulls**t when it comes to cutting to the chase and portraying her own nation for exactly what they could be seen to be. The early scenes of torture and interrogation are entirely dark and disturbing, and by no means feel glorified, but actually quite the opposite. Discomforting to watch.

There is plenty to marvel at, primarily the performances from the brilliant Mark Strong, and an outstanding central performance from Jessica Chastain, especially during her impressive meltdown in which the fiery redhead attempts to smite the higher power as they stand in the way between her and the pursuit of her goal in tracking down and killing one of America’s Most Wanted Terrorists.

Biggelow and Boal manage to maintain the momentum throughout the best part of three hours, constantly upping the tension levels until a climax in the form of the mysterious raid of the Hunted’s fortress in Pakistan. These final twenty minutes are executed by the filmmakers with a precision which, like The Hurt Locker, has the audience on the edge of their seats trying desperately hard not to break a sweat before the story winds down, again similar to The Hurt Locker, to another haunting aftermath in which Chastain again flaunts her capability as a brilliant actress. I was so immersed in the film during this nerve-racking climax, that I suddenly had to remind myself that I was watching a movie. Escapism and illusion at its best in my opinion, the latter word being one that I am sure the naysayers could elaborate on in their own way.

So it’s been a good month for cinema, as far as I’m concerned. I’ve already made it to watch five new films, all of which I have enjoyed, and as well as Lincoln now being out, next month sees the release of Hitchcock and Monsters Inc. 3D, both of which I am very much looking forward to!

Thanks for reading, anyone and everyone.

Fin.

*Special thanks to Bethany Fraser, who corrected my mistake in naming Russell Crowe‘s character as Javier rather than Javert!

In terms of my library work on Monday, the day was important and eventful because David came in for a brief period of time (from about 12-2) to discuss with me cataloging, putting items on reserve, as well as discussing my learning objectives. He had suggested in an e-mail that I make a fourth learning objective, and I decided to add in the possibility of going through one box out of a collection of several boxes that was donated by a college to the study center.

I worked until 2:30 that day before taking my lunch break, and since a lunch break is usually half an hour,  I essentially got off work early. Les Miserables started at 3:45, so John and I left at 3:15 and got there at about 3:40, which would have been fine if you were going to a movie theatre in America, but this was the cinema in Britain. The movie didn’t actually start until 4:15, after half an hour of previews. This coupled with the fact that the movie was 2.5 hours meant that we didn’t get out of there until nearly 7:00.

Despite this however, I had two things going for me. One of which was the fact that John was gracious enough to buy me my ticket (£13.00 per person!). The other was the fact that I enjoyed the musical, even if I thought it was a bit long and draggy toward the end, and, after spending £6.90 on medium drinks for John and myself, I spilled my about 20 minutes into the movie (the cupholders are not placed in the same spot as in the US, which makes it important to pay close attention to what you are doing). The central conflict of the story, between Jean Valjean and Javier, was excellent, and portrayed admirably by both Russell Crowe and Hugh Jackman. The weaknesses in the movie’s plot mostly stem from weaknesses in the novel itself, and the love story of between Fantine’s child and her future husband was a bit off kilter from what I had been expecting. Of course, Anne Hathaway’s performance of “I Dreamed A Dream” was, apart from the opening and closing song, the best part of the movie (although Sasha Baron Cohen and Helena Bonham Carter totally own “Master of the House”). Singing in a choking, halting, sobbing voice, right after she sells her hair, her teeth, and, ultimately, her body to pay for food for her daughter, she sings a lament which becomes, in effect, a funeral elegy for herself. It was a powerful moment, one that brings to the fore the cruelties of life, that, like Job, make us question why this is happening to us.

The song is thus, in effect, a microcosm for the entire movie, as most of the characters die, and you only really see the sun at the very end of the movie, which begins in a prison shipyard and ends with the main character dying. Of course, there is a time for everything under heaven, as Ecclesiastes puts it.

Coming back to the study center, I headed to the lecture theatre to watch the inauguration for Barack Obama’s second term, but was saddened to learn that it had started at 6:00, and not 7:00, which meant I had to watch it after it had already happened live. This was a disappointing feeling, but there was little I could do about it.

I completed my evening by doing laundry, and even though I separated both towel and clothes and only washed three days’ worth, it still took longer than I expected. I’m starting to think the dryers hate me.

I went to bed way too late that morning, but it wasn’t so bad, as I was able to have a free dinner (from Subway), so I went to bed looking forward to what Tuesday would bring.

This was my experience at a recent Sunday afternoon screening of ‘The Hobbit’.

I could only imagine how furious the Sound Editor of this film would be, having no doubt laboured tirelessly to create a perfect soundtrack for this movie, if he knew that most of it was being drowned out by the incessant rustle of food wrappers.

It was this crazy cacophony of packaging related noise that distracted from the movie – a movie that I had paid £11 or my hard-earned to see.

Now while I am well aware that ‘snacking’ in cinemas (movie theatres to my American audience) is a long held tradition, the historic choices of popcorn and hotdogs are somewhat silent in comparison to the modern offerings. When was the last time you heard a frankfurter ‘crunch’, or winced at the ‘crackling’ of a cardboard popcorn carton? Even Maltesers were traditionally sold in boxes for this very reason.

I always believed that such packaging precautions were in deference to the performance which, after all, is the main reason for attending!

Doritos – Not renowned as a ‘Stealth’ Snack!

It would now seem that ODEON Cinema’s tag line ‘Fanatical About Film’ should be changed to ‘Fanatical About Food’. During a brief inspection of their food concessions after the film, I found large bags of Doritos and a myriad of sweets in noisy plastic bags – not exactly Film Friendly Fare!

Have the owners of these establishments forgotten what their core business is all about? Yes, Mr Odeon, you are a cinema, you show movies; it’s all about the movies!

So why would you want to encourage the less considerate amongst us to crawl out of the shallow end of the gene pool and consume food that would have adversely affect everyone else ability to enjoy your main product? Unless thats the point here?

There’s not enough money in selling movie tickets, so you have to supplement your income with snack and drinks? Now, as a businessman myself, i understand this. But what i do not understand is that you are quite able to limit this fare to that which is less audible, but for some reason you are not prepared to do so.

It has even been made easy for you with some free advice, courtesy of the BBC which I have reposted below. Anyone who is vaguely into films should listen to Mark Kermode and Simon Mayo’s brilliant 5live show/podcast – you will quickly pick up on the theme that movies are there to be appreciated considerately, and their ‘Conduct of Conduct’ is the embodiment of this movement.

Until such time that modern cineplexes take note of such concerns and return to their roots, i say:

“Odeon – Fanatical about Fuck-All except Feeding their Fat Faces with our Filthy Lucre!”

An idiots guide to attending a movie