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Features

Sections

Film Features: Eternal Sunshine of the Spotless Mind ................. p. 9

Music ............................... p. 12 & 13

An analysis of the in die hit especially in relation to other mentally manipulative mind movies Un Chien Andalou and Eraserhead...

9/11 and Cinephile Vampire Hunter D: Bloodlust .................. p. 4 An in depth look into the murky world of 'pop-corn politics' in light of the coming election and a cinephile on the blood-drenched manga epic...

TV Feature: The Simpsons are coming ...................................... p. 8 With the coming of the Simpsons to Channel 4 we have a look at the cartoon colossus...

Music Feature: Futureheads ..............................p. 5 Classically trained punks the Futureheads speak to The Event...

Arts Feature: Andre Brink .......................................... p. 6 Andre Brink comes to UEA, The Event sends Arts Editor Luke Roberts to investigate ...

Centre Spread ................. pp. 10 - 11

IS:

Albums ............................................... p. 12 Fat Boy Slim, Palookaville; The Dears, No Cities Left; Estelle, The Eightenth Day; The Soundtrack of Our Lives, Origin One; Placebo, Once More With Feeling; Le Tigre, This Island; Mad Capsule Markets, CiSTm KOnFLiqT.

Singles ............................................... p. 13 Kings of Leon, The Bucket; The Hidden Cameras, I believe in the Good Life; The Departure, Be My Enemy; Clinic, Circle of Fifths; The Roots, I Don't Care; Do Me Bad Things, Time For Deliverance; Fault Line/The Flaming Lips, The Collosal Grey Sunshine (remix); The Datsuns, Girls Best Friend; Outkast,Prototype/Ghetto Music.

Film Cinema .......................................... p. 14 Shark Tale, Layer Cake, Five Children and It.

DVD ...............................................p. 15 Deep Blue, The Fog, Troy.

Arts ........................................ p. 16 Book Review: Nervous Conditions; Theatre Review: Hamlet Comedy Review: Natalie Haines

TV & Digital .......................... p. 17 TV Preview: French and Saunders; TV DVD Review: The Office Christmas Special; Soap News: Hollyoaks and Neighbours; Digital Stuff路 Tiger Woods PGA Tour 2005.

In the run up to the American Elections we take a look at the current fashion for protest songs and ask if these atrists can really make a difference ...

concrete.editor@uea.ac.uk Philip Sainty Archduke of Boogie (Designer & Last Year's and Acting (semi) Event Editor) Nathan - Peacenik -- Hamilton concrete.event@uea.ac. uk TimBarker & Sarah Edwardes concrete.eventeditorial@uea.ac. uk (The Steadfast) Tim Barker (The Great) Sarah Edwardes Proofreading: Toby Hine, Helen Pilch, concrete.arts@uea.ac.uk Editor: Luke Roberts Critics: Gabriel Barnes, Daisy Bowie-Sell, Susan Vittery, Alexander nux, Dean Bowman concrete.film@uea.ac. uk Editor: Dean Bowman Assistant: Dan Chandler Critics: Kate Bryant, Joe Espiner, Dan Peters, Dan Chandler, Mark Simpson, Anthony Jackson, Sebastian Manley, David McNaught concrete.music@uea. ac. uk Editor: (The Great) Sarah Edwardes Assistant: Ben Patashnik 路 Assistant: James Banks Critics: Miranda Bryant, Alexander Flux, Hayley Chappell, James Miles , Ben Patashnik, Susan Rickenback, David Riley, Mark Crawley, Julie Therese, JarrJ.es Banks, Laurence Guymer, Joe Espiner, Hanah Edney, Stuart Masters, Jim Parker concrete. tvI digital@uea. a c. uk Editor: Kate Bryant Critics: Martha Hammond, Kim Howe, Paul Stevens

Photo Contents:

The Event is published fortnightly by Concrete: Post: PO Box 410, Norwich, NR4 7TB

p. 11

Tel : 01603 250558

Fax: 01603 506822 E-mail : su .concrete@uea.ac.uk Printed by: Archant

Editorial ord of explanation regarding the ont cover. I don't like Bush. I don't ean that I'm opposed to privet, or that I have an aversion to the lesserknown- this-side-of-The-Atlantic-andquite-bitter-about-it band of the same name, or that I don't like ... ahem, moving on, enough of bad puns .. .

A bit of an anti-neo-con feel to this issue, so apologies to any right-wing warniks that are offended. We solemnly promise that our next issue will be full of propaganda justifying the righteous war in Iraq to balance things. Actually, no we don't. We aren't going to say sorry. The politicians don't. If you're pro-Bush, there's something wrong with you. Send your letters to the editor and we'll try not to ignore them.

In case you're worried, don't be. We have a crack team of German lawyers ready to jump to our aid should the US government wish to shut us down for sedition. We reckon, however, that we might just get away with it. And anyway, we're out of their jurisdiction here in the 51st state. Peace and long life to all ...

Nathan 'neo-liberal' Bantilton

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p.09

Not Thelina from

Scooby Doo

20.10.04

04

•

Cinefile

Popcorn Pol it ICS • • •

no. 46

So there's vam.pires and blood. What 's the 'D'?

'D' is in fact the e ntire ty of our hero's name.

Se tting on a second gothic anime adventure (following 1985 's Vampire Hunte r D), D is h ere on the tracks of vampire Me ier Link, apparent kidnappe r of highborn d amsel Charlotte Elbourne.

A lone b ounty hunte r and ve ry much in it for the money, D employ s his considerable powers as a half-man half- vamp ire 'Dunpeal' to fight th e baddies and recover the girl, whilst all the time retaining the proper air of black-cloaked mystery.

A lo ne rang e r l aden with issu es?

Yes - D is shunned by humans and vampires alike for being too much like the other, and has no real life but the hunt. Not to worry though, he has a fast-talking comedy sidekick in the shape of his own left hand. Lefthand p rovides insistent camaraderie and , more impressively, the ability to break powerful spe lls a s he ope ns his m outh and breathes in nearby magic.

Is this really a sword and sorcery anirne?

Swords, sorcery, hi-tech weap onry, Hammer h orror, e laborate sci-fi, super-viole nce and carnival fantasy. Bloodlust sucks up g e nres and film traditions with relish, creating a world that is both dark with menace and engagingly familiar; witness for example some thrilling X-Me n style toe-to-toe combat, scenic set-pieces to match The Lord of the Rings, and a sheriff vs. stranger face -off out of a Sergio Leone movie. While this kind of tonal range sometimes se es the film come unstuck - most noticeably in the palely tragic-romantic sce nes betwe en vampire Link and Charlotte - the mix is generally rich enough to provide for an exhilarating action narrative.

What 's the animation like?

Very striking. As the artwork ranges from d e licate watery backgrounds to the bold colours and high-definition detail of the characters, the e diting remains fluid and pacey, allowing for some impressively horrific action sequences, rivers of blood and all. Those familiar with Ninja Scroll (by the same director, Yoshiaki Kawajiri) should know what to expect.

Subtitles, or appalling English dub?

Neither! Unusually for anime film, Bloodlust got an English language track right off the bat, so no mismatched voices or unintentionally comic dialogue. Which you may or may not appreciate.

Sebastian Manley Vampire Hunter D : Blood/us/ is released on 18th October by Optimum Home Entertainment.

20.10.04

a fi lm does surprisingly well at the box office, the phrase "the public are queuing round the block" is often bandied about. As we all know, this is rarely the case. The only time I've ever experienced it was for Fahrenheit 9/11 in San Francisco. On a sweltering June day I endured an hourlong wait, featur ing false fire alarms , grumbling Americans, and an e ntertaining and divertin g altercation b e tween two queue-push ers and a lady wieldin g a p ram (with sleeping child inside) a s if it were a C owcatch e r.

Once the film started rolling, I then h a d to put up with the long-standing obnoxiou s American tradition of wh ooping at the s creen and high-fiving.

Because this was a Moo re film , there was also the ubiquitous "look how left-wing and right-on we are " applause every time Moore op e ned his not insubstantial m aw and m ad e a smug comme nt.

I was pre pared for this syc ophantic reaction. Whe n I went to see Mich ael Moore speak at San Francisco State University a few months p reviously, th e m ostly stude nt a udie nce hung on to his every word, practically begging him to tell them wh at to think, and how to feel about certain issues. An onlooker would feel as if they were witnessing a modern Sermon on the Mount, rather than hearing the writer of Canadian Bacon talking in a rather shabby basketball court.

Even then, in March, the issues of the November elections were clearly laid out. Moore gave his own personal opinion on each of the likely candidates, and even sh ared the stage b rie fly with San Francisco's liberal mayor, G avin Newsom. Now, with the populari-

A right-wing response film has been quickly reeled off, entitled Fahrenhype 9/ 11. Its tag-line of "You knew it was a lie ... now you'll know why " neatly encapsulates its aims. The criticism of Moore being "Anti-Arne r ican " h a s als o been shockin gly p revalent, sinisterly reflecting 1950s McC arthyism . A group calling itself Move America Forward even attemp ted to forcibly block cinemas showing Fahrenheit 9/ 11. A larg e part of this dissent h as b een exchan ged over the interne!, a t sites like David Horowitz's fron tpag e magazine.com, or the most popular Moore-bashing site, b owling fortruth .com . These websites , along with score s of othe rs, dire ct the ir ire particularly at Moore's prese ntation of the Bush family 's long-standing e conomic tie s with Saudi Arabian aristocracy, claiming the m to b e exagge rate d, unsub stantia ted rumours .

Some of these criticisms are well founded, such as the charge of Moore b e ing a shamele ssly s e lf-infa tua ted p opulist, which few will deny. As a p ole micist and a political satirist h e is first-rate, which can also be somewhat of a problem. The p olarisation of the Ame rican public's views of this film h a s b een a lmost to ta l, with individua ls either lavishly praising it, or vigorously maligning it. This means th at people naturally fall into an entrenched ideo- Moore logical position, which usually means ups the ante by there is little hope of chan ging their kidnapminds or their being able to see anoth- ping Bush. er's point of view. owever, whether people have a good or bad reaction to the film, at least it is a reaction.

Fahrenheit 9111 has been a genuinely exciting political event in a time of blan d, slick, spi n-doctored, stage managed politics. Furthermore,

H

Fahrenheit 9 I 11 has been a genuinely exciting political event in a time of bland, slick, spin-doctored, stage managed politics. ty of Fahrenheit 9/ 11, and the elections looming, the question remains : has Moore got enough clout to change the e le ctions , or is he preaching to the conve rted? If he can't convince the rightwing, can he at least sway the crucially influential bloc of undecided voters to vote against Bush Jr's regime?

If most of the film's audience is already anti-Bush, Dubya's got a lot to worry about. The opening weekend of Fahrenheit 9/1 1 (the 25th to the 27th of June, normally one of the largest blockbuster weekends of the whole ye ar, and the weekend before Independence Day) alone saw over three million Americans buying nearly $24 million worth of tickets, at ove r 2,000 cinemas around the US. Bowling for Columbine , Moore 's previous film , h a d playe d in under 250 cinemas, and, by grossing $21 million in its e ntire run, was considere d a huge success . At this time, Fahr enh eit 9111 has grossed over $120 million in the USA alone, becoming far and away the most successful documentary feature in history.

However, this widespread popularity has been countered by a wealth of anti-Moore sentimen t, surprising in both its amount, and in its vehemence.

Moore has led the charge of interesting, witty, bold documentaries that have spoken out agains t right-wing ideology a nd the military-industrial complex.

Other films that would usually have been largely ignored have been granted more press and a wider release because of Moore 's cache. Morgan Spurlock's Super Size Me , exposing the dangers of fast food and its effects on children, has been a major sleeper hit.

As has Ma rk Achbar and Jennifer Abbott's Th e Corporation. Normally people would be put off by Th e

Cor p oration , a two an d a h alf h our d ocum e ntary featuring Noam Chom sky a nd Howard Zinn, b ut no t any more. Je h ane Nouj aim 's C ontrol Room, which give s an empathetic portrai t of al-Jazeera, the Arab television network, has made m any Americans question the nature of news broad casting and biased coverage of the Iraq war. These films, along with a slew of others, are ch allenging Bush's previously airtight reasoning of "if you criticise me, you h ate America ". These pop ular, thought-provoking films are reaching large audien ces , and their possible effect on vo ting turnout and political outlook is now b ein g re ferre d to as " Multiplex Politics ".

The events of Se pte mber ll th clearly ch anged many aspe cts of socie ty, and its imp act h a s affecte d eve ry facet of p opular culture, including the movie world.

Film producers have rathe r shrewdly take n advantage of this change, to have their say on certain issues and, ultimately, make a great d eal of money. These biased viewpoints are very rarely challenged, as the mob m entality of "follow the leader" is still the norm. For example, when Ronald Reagan died in June, the outpouring of public grief in America was phenomenal. Several n ews channels decided to show the ultimately very tedious 24-h our uninterrupted coverage of Reagan lying in state. This was all for a man who was widely despised when alive , a man normally recognised as one of the worst presidents of the 20th Century.

When it comes to the c urrent President, Moore himself obviously has a political ace up his sleeve. Fahrenheit 9/ 11 's Lila Lipscomb, the mother of a young man killed in Iraq, impress e d many with her sober dignity. Only the harde st me mb e rs of the audie nce were le ft untouched by Moore's footage of Lipscomb breaking down in front of the White House. Th at few seconds of film alone will turn a fair number of votes over to John Kerry, e specially amongst mothers. Therefore, the se Multiplex Politics films , to use 11 classic Bushism, should not be misunderestimated.

Fahrenh eit 9111 is released on 18th October by Optimum Hom e Entertainment.

................................................................. Feature OS

Seeing into the路 Future infiltrates The Futureheads to find out.

tour," says Jaff, The Futurehea ds' bass player, between large bites out of a cheese and pickle sandwich. "We thought maybe we shouldn't be supporting. But The Zutons are canny big.

We couldn't play venues this size."

It's true that at this point in time Sunderland's finest, The Futureheads, could not fill the LCR. But that's okay because at the moment they're enjoying being something far more impressive the support band that like to make twats out of the headliners.

They have just come off a fifteen date US tour with Franz Ferdinand, who were in a similar situation this time last year: receiving regular ego massages from the adoring press and soon to be playing the make-or-break January NME tour. Even rock's glitterati have been coming out to show their coked-up appreciation: most recently Noel Gallagher and Jarvis Cocker were at

never play on CD:UK. Certainly Later with ]o6ls Holland (next week in fact) but just not Cat Deeley.

One way into understanding The Futureheads' sound is to know that they never had a vocal PA in their practice room. They had to practice their instruments and the vocals in separate sessions. This must be part of the reason that it seems so difficult to believe that there are only four of them making such an intricate racket. They even have influences that you can actually hear. From Fugazi and Kate Bush to Tom Waits and the Television Personalities, whose song The Picture of Dorian Gray they magnificently cover.

There is also a sense of clashing musical sensibilities between the members of the band. Jaff and Ross, the guitarist, are the music geeks, whilst Barry and Dave bring the noise. "I couldn't play the bass when I first joined this band," Jaff says nonchalantly until - seeing the look of disbelief on my face - he adds: "But I am a bit of a music theory geek: I used to play the cello." On stage, guitarist Ross 's hands perform a quick geography lesson in chord shapes : Madagascar, Italy and the Norwegian

"The Futureheads do that rare thing of giving the impression of being a punk hand, whilst slyly concealing the fact that they're tighter than PVC." their shows. Both bands fall into the category of 'well-dressed geeks' with a lot of 'industry buzz' but as these similarities suggest, the comparison is a superficial one. No matter how many people in the know think that they are going to be huge I'm still not convinced. They just seem too talented.

While Franz Ferdinand pulled off a song with an audacious tempo change half-way through, they still have their guitar amps set to pop-rock crossover.

In contrast, there's hardly a Futureheads song that doesn't dip into some dazzlingly off-killer time signature, change key more times than the last chorus in a Celine Dion song or have an acappella break down that could shut down the last of the barbershops. There's so much experimentation, so much diversity, so much anti-coffee-table attitude that when they cover Kate Bush's Hounds of Love as a finale, with a constant stream of four-part shouts, yells and harmonies, you can't help but think they could

cover songs are better than their own tunes. He also wor ries that people just think they are really tight as musicians and not much else. Not many bands can claim that as a concern.

They're not at ease with the reality of success either. Jaff shows genuine surprise that UEA has given them a decent rider: a fridge full of Becks, beaucoup de vino and a bottle, albeit a small one, of Jack Daniels. Jaff's surprise at such treatment gives you an idea of how quickly things are changing for The Futureheads. This is their first UK tour when they haven't been slumming it in a van. Instead they have been cruising in a deluxe tour coach. There's none of that faux-modesty either where a band claims to be bored of impersonal

large venues. In fact , they are stoked to be playing to crowds of two thousand and up. "Small venues are cool. You get a good intimacy with the crowd but if you can play in front of thousands of people then hey - why not? There's nothing quite like walking out in front of three thousand." I wouldn't know.

I would hate The Futureheads to get too big. Like any band who you liked before everyone else, you have to dislike them once they're famous. But luckily, as Jaff tells me, not everything is going their way. "David Bowie tried to come and see us play but missed the gig, which he said he regretted. Yeah, well, whatever. Besides, if I'd met him I would probably have just done me Labyrinth impression."

Fjords. Jaff mentions that "Ross is a bit jazz, he's a good guitarist."You don't say.

The Futureheads do that rare thing of giving the impression of being a punk band that might fall apart at any minute, whilst slyly concealing the fact that they are tighter than PVC. Punk sensibilities - two minute songs, abrasive, sometimes discordant melodies and no effects - meet impeccably crafted songs and, when you least expect it, a few bars of perfect pop harmony just to let you know they could be The Beach Boys if they wanted to. Not surprising, then, that Jaff admits: "It takes us a long time to write a song." he Futureheads know how talented they are, but they are definitely not expecting mass success. And they're not immune to criticism either.

Jaff is occasionally defensive, telling a story of a journalist who "wasn't very nice" when he suggested that their

T

20.10.04

And re Brink

l

ndre Brink was sedate when I met him. A liveliness in his eyes showed that his ten day program of traveling ound Britain in conversation with other prominent South African writers is not tiring him too much. Born in 1935, Andre Brink has written fifteen novels, won numerous awards, and lived through a period of great upheaval. South Africa's apartheid system and its struggle for equality has been the thematic touchstone for much of his writing.

"It's amazing to see the changes that we have undergone in South Africa," he told me. "My father was a magistrate in a township . All magistrates, lawyers , teachers were white. I grew up in the priVlleged white class.

All the top jobs were held by whites.

When I was growing up I hardly remember being aware of black people. " I became aware of clea ners, serva nts a nd labourers. But it ctidn't even occur to me that black people could be university lecturers, or doctors or politicians. And I think most whites thought like this. It is astonishing that they, that we, managed to overcome the system. It was so deeply entrenched; that the whites deserved their privileges, and that black people were not capable of achieving. There

was no way we couldn't write about apartheid. It wasn't like a blind spot. It was there. There were efforts to prevent some writing, or pressures not to write about certain things. But it was impossible not to write about what was going on around us.

"It was exciting to be a part of the great changes that the country has experienced. It set up many new challenges. South Africa is now a very dynamic place. It is a very interesting country to live in. And of course it was mainly the black writers who were there. But it was a very positive experience to be part of this reformulation, these new challenges. There was only one voice before, the voice of the white establishment.

"After so much was repressed, the country has been in a kind of euphoria since 1994, when Nelson Mandela

"I wish I could carry on living for many lifetimes just to be a part of what is happening in the world, and carry on writing about it." ca me to power, and supposedly the apartheid system came to an end. Of course , many things remain . The apartheid mentality still has a presence."

Perhaps Andre Brink's best known work is A Dry White Season . The narrator is given some documents by an old school friend who cties mysteriously shortly afterwards. The dead author of

Photographs by Chris Carus o these documents is Ben Du Toit, a white sympathiser who investigates the death of Gordon, an activist member of the Black Consciousness Movement, who was murdered in police captivity.

In the final paragraph, the narrator says he has written down these events that have been passed on to him so that "no one can claim they ctidn't know about it." It was said by Northrop Frye of Shakespeare, that he writes chronicles and not histories. Perhaps Andre Brink engages in a similar process, chronicling the political and social climate of So uth Africa during the la tter half of the twe ntie th century. " I think that the Shakespeare paralle l could b e a useful one. Of course there is also what you want to put into the writing. I do write a bout historical eve nts, and what I think and feel must be balanced Wlth h1ston c al m a terial. But then, the historica l material influences your instincts as a writer. So that there is a curious blend, or interaction between the two. Of course, we (South African writers] are not just chrorucling events.

The re is a lot more at stake. There are a lot more factors in play."

There is a strong moral thread that connects most of Andre Brink's writing.

Although he chiefly uses South African politics and culture as a narrative backdrop, the new novel shifts the reader's focus to American/British foreign policy.

"During the turm01l that was gomg on in my mind while I was trying to write Before I Forget, I stayed up a lot and watched the news on television. At that time , the coverage of the war in Iraq was pretty unrelenting. These images from Iraq were with me a lot through that awkward phase of getting the book written. So they appear frequently m the book." mages of war in Iraq punctuate the episoctic recollections of innumerable love-affairs that play through the mind of the central character Chris Minaar. Minaar is a 78-year old writer who is tired of his craft and looses himself in erotic reveries. I asked whether there was any connection between a failure of democracy over the Iraqi situation and the acceptance of old age and decrepitude Minaar experiences.

"Inevitably they are linked. That was not the intention. It just happened. The war happened to be going on while ; was struggling with the novel. I suppose Minaar is relaxing mto acceptance though. He accepts his age. He accepts that he does not have the energy he

I 20.10.04

once had. The war is a more traumatic thing obviously. But also, it was a great chance to write about South Africa over the last few decades . Minaar reminisces about his life ... there is a lot of stuff in there about South Africa from apartheid to liberation. So they are linked in some ways. But I think that dealing with the situation [in Ira,q] , was something I had to go through, and it worked its way into the book."

I had to ask whether, like Minaar Andre feels he might lay down his pen soon.

He laughed loudly. "No t in the slightest. I am still a lot more energised than Minaar. It helps b e ing te n years younger. But not at all. I wish I could carry on living for many lifetime s JUSt to be a part of wha t 1s happerung in the world, and carry on writing about it. It's fascinating. I want to be a part of it."

We'd been skirting the issue of the women in his fiction. Some of his books are written from a first person female perspective. But there is also an intriguing passage at the start of A Dry White Season which links to Before I Fo1get , where the male narrator acknowledges that the sexual partners he's had have been the driving creative force behind his writing. In both books the narrators are novelists themselves.

"Really," he replied. "I don't actually remember that being in there. But if you say it is, then I'm sure I wrote 1t." His eyes twinkled merrily. "Women are very important in my work. I think that the history of marginalisation, the history of suppression of rights, is largely a story about women. It is not just about race. I have tried to acknowledge the part that women have played. There have been some fantastic women in recent South African history. It has been the women that kept going after Soweto in 1976.

When men go droopy and defeated, it is the women who pull things back together. I mean this in more intimate terms too.

"I wanted to show something of the quite fantastic gallery of female figures that make up, and have built society. The women of South Africa are very strong. I felt it was time to show these liberated inctividuals, and not the version told by the pre-apartheid dominant group; the white males. So a very wide spectrum of women appear in the book. There are all kinds of ctifferent female characters, not just a narrow minded and unrealistic view."

Before I Forget is published in hardback by Random House for ÂŁ17.99.

07

â&#x20AC;˘

exhibit 1ons relocated Dean Bowman and Alex Flux take a last, tearful look at Photo credit: James Austen is easy to connect the name Sainsbury to one of Britain's largest, oldest business dynasties and, therefore, to assume that the Sainsbury's art collection would be quite a conservative one. Yet one look at the collection, based at the University of East Anglia since 1978, immediately demonstrates its innovative and eclectic nature. This has led Marina Vaizey to call it " one of this century's most remarkable, strikingly individual collections." Where else, indeed, can you go from looking at a Francis Bacon to an ancient Polynesian fisherman's god or an African tribal mask? The juxtaposition of these ancient and modern objects places into question our conceptions surrounding the display and appreciation of art objects.

Robert and Lisa Sainsbury were not ruthless collectors with unlimited financial means , obsessively acquiring art for prestige; they were very daring in their choice of objects, which they obtained under a strict budget that they called the "art

wide-open space without any vertical supports.

The Sainsbury Centre was one of Foster's first buildings and was revolutionary in many respects, not least in its pioneering use of environmentally sound building techniques. Even more important is the informal environment the works are displayed in, intended to allow for a closer interaction between viewer and artwork, which has set the standards for modern gallery design. Foster himself notes that " the Sainsbury Centre challenges preconceptions about museums. All the varied functions and user groups - galleries and teaching spaces, students, academics and the public - are integrated into a single unified space. It is a gallery without walls in the traditional sense" .

The building continues to evolve with the generous financial help of the Sainsbury Family. A considerable expansion took place in 1993 to include extra display and education space in the form of the underground Crescent Wing gallery. Now

the collection that has defined the University and the seminal building that houses it. But it's ok, it opens again in late 2005. Phew. the SRU is in part of the Crescent Wing.

The accommodation isn't exactly luxuriant, and the rooms can get very warm but they are acceptable. One student remarked that the situation is "better than expected," and general opinion is positive.

I

The Sainsbury Centre was one of Foster's first buildings and was revolutionary in many respects, not least in its pioneering use of environmentally sound building techniques. account". Steve Hopper in the prologue to the collection catalogue, has said that "in some respects the history of the collection is the story of the application of limited resources to the acquisition of the unfashionable, until these thing became fashionable - and expensive - when attention was turned to other possibilities" .

One is immediately struck by how personal the collection is. The Sainsbury's didn't consider themselves to be collectors so much as "passionate acquirers", and Robert Sainsbury often said that his reaction to art was sensual rather than intellectual. A personal curiosity drew the Sainsbury's towards certain objects, which occasionally turned them into patrons of unrecognised, struggling artists. For example, they purchased various works of sculptors Brian Epstein and Henry Moore when popular support was far from unanimous.

They established close and enduring friendshi;;>s with some of the artists whose works they owned. Moore for example, and also Francis Bacon, whom they gave artistic and financial support early in their careers.

The spirit of innovation and openness that marks the collection is reflected in and is enhanced by the architecture of the building that houses it. With its clean lines and well-lit open spaces, the Sainsbury Centre is well suited to the functionalist university campus. It was designed by Sir Norman Foster, Britain's great high-tech architect, whose early work combined a simple elegance and the use of modern engineering methods, such as the Sainsbury Centre's space-frame ceiling, which allowed for a

Sir Norman Foster has returned to the drawing board once more to design more enhancements to the building. The main changes will be in linking the upper gallery and the Crescent Wing directly, by extending the spiral staircase standing just inside the main entrance. There will also be a new underground corridor bathed in natural light via several well-placed windows.

The Crescent wing will incorporate an improved education and learning centre, a cafe, a shop and other visitor facilities.

Other minor changes will be the introduction of a lift where the smaller spiral staircase is now, and new doors on the east entrance that will be more suitable for disabled persons. Initially these were the only changes due to take place, however the building is in need of minor structural repairs and refurbishment , and it was decided to complete these now, rather than have more closures in the future. According to Foster the new additions are necessary as they will "unify all the Sainsbury Centre's facilities, and are part of a continuing dialogue with the university and the building's users to ensure that it is able to meet the needs of a new century" .

The renovation is expected to take at least a year and will leave the main gallery closed as much of the collection goes out on tour. Apart from the gallury staff, those most affected are the staff <iiid students of ART, as teaching and learning resources including The Sainsbury Research Unit (SRU), have had to move. The school of ART is now located in temporary accommodation adjacent to the Sainsbury centre, whilst

t is important that students are still able to access the resources enjoyed in previous years. To ensure this , 100 works from the collection, chosen by members of ART, SRU and SISJAC, are on display in the Crescent Wing for the use of students of ART, who are taught, as previous students have been, in close relation to specific works, particularly in the first year. The Slide Library, which is an invaluable source of pictures used in class presentations and lectures has been moved in its entirety, and is now on the ground floor in the temporary building. The Dean of ART, Sandy Heslop commented that the refurbishment is "highly desirable" and that "the resulting disruption would have to happen at some time soon."

The Sainsbury Centre is not only a valuable learning resource for the students at UEA but has a history of education in the wider community, and during the forthcoming year the management have arranged a tour around parts of Norfolk and Suffolk. Entitled Art as a Window on the World, the intention is to

An artist's impression of how the foyer will look.

bring arts teaching and resources to schools in particular, but also to different community and social groups. A 2-3 day workshop programme has been created to show schools exactly what will be included. Each visit is based on a choice of five different themes which will be the focus of each workshop, from which general skills such as observation, criticism and understanding of art objects will be developed.

It is a great opportunity for people in East Anglia to see important pieces of art, and to interact with them more closely then usual, and could be interpreted as just a different way for people to enjoy the collection. The project is expected to climax in the summer with a proposed open-air exhibition of artists from around the world, to take place on the University lawn overlooking the lake. The exhibition called Out There is to be part of an unprecedented coming together of artists in Norfolk, of which the Sainsbury Centre's staff are deeply involved.

Closing the Sainsbury Centre presented both problems and opportunities, and those involved are working to solve the former to focus on the latter.

The changes taking place are expected to produce a superior environment in which to enjoy the resources, benefiting everyone from students to the public, whilst also allowing the collection a new environment, and a new audience.

I

l

08

Channel 4 Cough up the D'osh hannel 4 is more than a little bit pleased about its newest acquisition, The Simpsons, and so it should b e at roughly ÂŁ700 ,000

ashamed that they'd bought it in the first place when they really should've been making groundbreaking docusoaps about the working class or something with Simon Schama in it.

Little on telly manages to hold a torch to The Simpsons at the moment, and so we 've missed them terribly. Whilst animated series like

terre strial stations , but the BBC (who p reviously owned th e r igh ts to scree n the show) bucked at such a high figure. It seems that the BBC can't justify spending the license fee on the most popular animated comedy of all time. Nonethele ss, Channel 4 will b e showing twelve Novembe r, and have the rights to future series and the extensive Simps ons back-catalogue.

For those of us limited to terrestrial viewing only, The Simpsons provide d just a little b it of that glossy digital chic that all the cool kids were watching.

Usually pairing it off with other U.S. imports like The Fresh Prince of Bel-Air, BBC TWO never really got to grips with The Simpsons' prime-time potential.

Easily a rival for the geria tric episodes of Friends that Channel 4 are fond of wheeling out for their Friday night comedy-fest, the Beeb never realised what a ratings trump card they were holding. Instead they tucked it away,

Monkey Dust and

slots, which is exactly what makes The Simpsons such great value for money.

With any luck, Channel 4 will see Th e Simpsons having the top b illing it deserves and not just used to fill slump s in weak schedules. Although the likeliho od is tha t, like any guaranteed ratings winn e r, The Simp sons w ill be p layed a d nauseam to m ake sure that every possible a u dience dynamic is re a c h e d and we' ll be c omplaining about th e m by the e n d of the ye ar.

toons can have an adult audience , the emphasis seems to be on making them far too a dult. At the othe r end of the scale, kids' TV is ge tting b e tter and better with My Parents Are Aliens being the cause of many e mpty late -afternoon lectures. Still, there are few shows that could be played just as easily at tea time as the y could in late-night comedy

ess likely candida te s C hannel 5 were also repor te d to be very interested in b uying The Simpsons, but just didn't have the cash.

However, th e dopey younger sibling of Channel4 when it comes to p icking hits from the U.S., Channel5 h as managed to snap up joey, th e eagerly awaited spin-off from Friends.

While this may raise the station's profile, C hannel 5 lacks the homegrown programming that all its m ore prolific counterparts h ave to b alance their imports. On top of this , Channe l 4 has spent decades es t ab~shing itself as the station for the best sitcoms from over the Atlantic, with meg a-hits like Cheers, Frasier and Sex in the City und er its b elt. Ch annel 5 h as a long way to go before it takes away this image.

Not to m e ntion the vicious rumours circling joey suggesting that it might crash and burn, taking Channel5's hopes of becoming known for something other than porn with it.

Of course, The Simpsons is a safe bet for Channel 4, bringing a guaranteed fan-base with it. Lesser known shows like Nip /Tuck and The OC have p roved to b e unwis e investments despite fitting the criteria of all the

L

most black humour of Six Feet Under, b ut n ever managed to catch on because it lacked likable characters. The OC is a feeble replic a of the already p retty feeble Dawson's Creek, with irritating twentysomethings p laying angst-riddled teen s ,

The Be eb never realised what a ratings trump card they were holding

I

but never caught on with the youngsters .

At the very least, The Simpsons comes with volumes of vintage episodes even if future serie s prove unpopular.

Still, it will b e good to se e those familiar ye llow fac es b ack on our screens ag ain. Whether they were worth the money that Channel 4 have paid for them is difficult to judge, but needles s to say they're quality viewing of the highest ord er. It would be difficult to imagine them n ever returning to our screens.

With such vast quantities of cash being thrown around it is easy to forget that it makes little difference what channel it's on : The Simpsons is good telly and that counts for a lot.

20.10.04------------------------------------

09

The Stuff Dreams are Made of When did you say you redec orated the bedroom, honey? ternal Sunshine of the Spotless Mind is now

available to buy on DVD, and it's a very good idea that you do so. Containing some of the finest human insight from writer Charlie Kaufman (Adaptation), the film is built upon the concept that individuals can erase unhappy memories never to deal with them again.

Following the romance of Joel Qim

ty. It is allowed to venture outside of attempting to recreate the world on our doorstep and tackles the world of dreams and memories. Its verisimilitude relies on us letting go of the conventional rules of classical cinema.

Finally we can escape discussing how real the images in a film seem in favour of appreciating how diverse the medium of cinema can be. We can all see the real world, but to see the human mind mapped out is a raie feat indeed.

One of the first films to attempt to

forces himself on a woman and, when rebuffed, turns from her to pull two pianos piled high with rotting donkey carcasses down a street. To attempt to relate these events requires great leaps of tenuous logic, whereas to accept that they are not related revolutionises the way we receive films in general. This hypothesis not only begins to disintegrate the most basic rules of montage, but by extension excludes the audience from any narrative. Eternal Sunshine of the Spotless Mind stops short of this process of alienation, instead using the unstable mise-en-scene of the film to cultivate an affinity with Joel and Clementine. We begin to cherish the way our mind works, but accept we have less understanding of it than we'd like. avid Lynch's Eraserhead (1977) takes the notion that our own subconscious can be a great source of discomfort and fear to greater levels even than Un Chien Andalou. The film can be best viewed as a nightmare, where all the insecurities of its protagonist Henry Spencer are amplified to a point where scenes are related by that theme alone rather than consequential factors. The film begins when Henry attends dinner at Mary's house, who he had sex with some time ago. Her mother tells him there's a baby involved, or at least they think it's a baby, and from this moment on Henry continues to be swallowed by uncontrollable circumstances that force him into caring for the child.

Eraserhead is filled with disturbing images, so poignant because of how odd yet familiar they are. The baby is a deformed creature, foetus-like yet definitely not human, a woman with inflated cheeks dances and sings and industrial noise swamps the soundtrack.

Analysing these images removes their intended purpose, they can be understood immediately in their visual impact, and that is their aim. Relatfug them to one another lessens their significance.

D Carrey) and Clementine (Kale Winslet), who both chose to undergo this erasure process, the film doesn't dwell on the gushing excitement of the first few tentative moments of their relationship.

Instead it proves to be a reflection on all of the memories that can be taken from a long-tenn relationship, good and bad, and ultimately an embrace of experience regardless of regret.

The film reaches its most engaging points when it is entirely immersed in the chasms of Joel's mind. We are into a world

delve into dreams is Un Chien Andalou (1929) made by Luis Bunuel and

S'alvador Dali. Perhaps only still discussed because of its opening image of a woman having her eye sliced open by a razor blade, the short film can be appreciated as far more than just one gruesome scene. Although it does prove to be a perfect demonstration of just how much of an assault on the eye the piece is. Designed to be shocking and thought provoking, the film juxtaposes images in its montage whilst defying any attempt the viewmakes to fonn of

many we've that have sense the time in the light of no longer A man

Eternal Sunshine of the Spotless Mind provides a mediation of the out-

landish attempts of Lynch et al and the conventions of more mainstream cinema. However, this is not to say that the film is without its own individual use of effective imagery. Characters Joel has seen only oriefly appear throughout the film with no features or somehow mutated as though his memory cannot fonn them properly. Scenery becomes less detailed as Joel's attention to detail dwindles. We therefore are absorbed by people, and not their surroundings or even storylines. The relationship

between Joel and Clementine is explored in great depth, but as it is not dealt with chronologically it is allowed to exist as an entity separate from both individuals in

The film reaches its most e ngaging points when its entirely immersed in the chasms of Joel's mind many ways. The film separates the individuals from the relationship, and by traipsing through Joel's recollections of events already having taken place, the audience gains a deeper experience of his character rather than the experiences he has. As a result the film seems far closer to what might be dubbed real and the relationship is far more believable, despite divorcing itself from convention in many ways.

With sublime acting from both Carrey and Winslet, beautifully filmed and most importantly of all very entertaining, Eternal Sunshine of the Spotless Mind is one of the most fascinating filtns of recent years. It stands amongst more alternative pieces like Un Chien Andalou and Eraserhead and, although less controversial, it manages to raise similar issues with just as much insight. It is saddening to think that, like these similar films, it may be forgotten and only brought up as an obscure example of interesting cinema. Nonetheless it is an example of interesting cinema and hopefully its big-name cast will ensure it is not dismissed in years to come.

10 Feature

''How many t imes • • • For:

t's all too easy to criticise American musicians for waking up to the world of politics just a little too late. The Iraq war has been at the forefront of media attention for so long now, and these bands are clearly exploiting the exploitations of our good friend George. However, you can't go lumping all protest songs into one category there 's a whole plethora of political protest poetry to ponder over, despite the obvious bandwagon jumping by certain o-so-angsty Californian bands.

It might make us feel all politically educated and exclusive as we carry

tackle the question: "what are the ( neo) pros and (neo) cons of protest songs?" What's all this shouting? We'll have no trouble here...

yourself anymore".

There's no doubt that music is the best way to get a message heard.We all saw Bruce Springsteen and Michael Stipe on the "Vote for Change" tour, telling us to "take a real close look at both of the candidates and then vote for the smar: one" . These are our role models, normally above the dog eat dog world of politics. We connect with them far :nore than we do with politicians, and maybe music will structure future manifestos: it's all about trust.

Where the press is limited in its ability to criticise politicians, artists can say what they think and feel through music.

Take Bono giving John Kerry the rights

"Protest m usic is evolving from compl aining about the world 's problems to actu ally doing something about them, and how can we criticise that?" home our shiny copies of American Idiot, but a power-mad cowboy really isn't the target of every political musician's anger. In fact, this new wave of American protests has only come about since the world's problems popped up in home territory. "Yeah, we're not really known for our politics, but maybe it's time we were," says Green Day's Mike Dirnt. Protesting through music really does have more to it. Your twelve-year old cousin is the voter of tomorrow, so maybe it's a good thing that Jordan Pundik of New Found Glory is reminding him that "it's so easy not to think for

Green Day's American Idiot, was an obvious protest against George Bush & hysteria.

• • • must

The Event recruits two able student journalists to

to play Beautiful Day as his campaign anthem, then appearing at the Labour Conference to give a speech on Aids and third world debt. Protest music is evolving from complaining about the world's problems to actually doing something about them, and how can we criticise that?

The serious issues in Iraq are widely known and not all American and Briti.s h citizens want to be associated with the bloodshed, however hard it is to ignore. Aside from this new wave of anti-war anger, there is much more to protest mlSic that is often overlooked.

This includes campaigns ag ainst genocide in Rwanda, or highlighting conflicis and authoritar ian measures in Cambodia, the Congo, Kosovo and Nigeria. These issues are easily overshad.owed by Beckham's love affairs or claims of Republican incompetence.

Bands like the RX Bandits remind us of them, but you're not all going to rush off to purchase In all Rwanda 's Glory because this issue is not in the media spotlight. Even when they haven't been heard these protesters have always spoken out: they are an important and ever-present voice.

It is impossible to write about protest music without mentioning Rage Against the Machine and Zack De La Rocha's tireless rebellion through music. He spent his career with Rage defending his Mexican roots, providing a voice for the Mexican natives whose speech was suppressed by restrictive media monopolies. Even now, after Rage 's split, he is campaigning for freedom, and is at the forefront of the death penalty debates. This is not the hypocritical capitalism that we usually associate with major record labels. Not that bands like Green Day or NOFX are to be criticised: Green Day's Billy-Joe stood up against the Afghanistan war even before Michael Moore set the trend. t's true that when we come home from a long day of lectures we don't want to have the world's worst news adding to our ever growing list of social and academic misfortunes. We want to chill out or rock out, or at least find something to smile about, and our brewing psychological tensions can do without the

I

extra fuel of inte rnational politics. So we'll whack on the Bees or check out Goldie Lookin' Chain - but aren't the Bees just some weird reincarnation of 60s ideals, and aren't GLC a rip on gangsta rap rebellion'? The course of protest music through the generations has shaped our modern perception of pop: the evolution of the music we hear today has b een nurtured at the hands of rebellion and anger. The punk 70s were a revolt against conformity, while the arty 80s were a backlash against social distinctions and restrictive definitions of sexuality. We can't attack the growing popularity of political music simply because music is the most honest form of communication.

So will we be hearing Beautiful Day played across the US on November 2nd or will the "rock against Bush" continue to roll? Protest music has hadthechance to rear its ugly and angry head into the fickle world of popular culture. If John Kerry gets the chance to smoke out his rival, surely the anti-Bush bandwagon will be forced off the road, overtaken by songs about broken hearts or a Bob the Builder revival? Perhaps. It won't b e the end to terrorism, though, and it won't capture Osama, or disarm any militants. What it might do is give way to other important issues, the world does not revolve around one man, no matter how many friends he has. We might start singing protest songs about the state of student finances, which could prompt Sting to go on a "Vote for Spare Change" tour, and people will listen. That is what protest music is all about.

Charles Rumsey

Against: rrelevanr Pop Stars Unite Against Bush", ran the headline in last week's issue of online satirical magazine The Onion, as the '.'Vote for Change" tour rumbled on around the swing states of America. Meanwhile, on our side of the pond, political commentators and newspaper cartoonists sharpened their pencils in gleeful readiness for Bono's address at the Labour Party conference, hoping to puncture the inflated ego of yet another musician turned publicspeaker. The cynicism that greeted both of these protests bridged the political divide, and it seems that making a statement without attracting ridicule is a tricky business. So why, in a climate where we otherwise invest our celebrities with so much authority, are we against pop stars spe~ng out for their beliefs?

At the core of this distrust of the politically-conscious celebrity is a conviction - rightly or wrongly - that they do not have the power of their words. It remains to be seen if the Vote for Change tour will have an effect on the voting habits of the American electorate, but protests of this nature are unlikely to have a significant effect. The pro-Kerry voters don't need to be told why to vote democrat, the pro-Bush brigade are unlikely to shell out good money to see their president derided and the floating minority, by their very nature apathetic, probably won't remember to buy their tickets in time.

The musicians on the tour (amongst them big names sli'eh as Bruce Springsteen and REM) have also opened themselves up to the same accusations of propaganda that have been levelled at Michael Moore: that telling people what they want to hear does not amount to a rational political debate. Of the few artists who have consistently maintained a socially active songwriting ca.x,eei:~most spe~ to a limited fanbase Who already converts to their particular brand of politics.

Suffice to say you'd be hard pushed to spot a Tory at a Billy Bragg gig or a Wall Street trader rocking out with Rage Against the Machine.

Much less palatable than the career protesters are those who appear to turn to current affairs on a whim, or worse still, to generate some much-needed

''

are

20.10.04

Bon o,whorecently called for Britain to 'get real' at the Labour party conference; plus stars and s~ripes.

publicity during a career lull. It is all too easy to doubt the motives of a public figure who has previously taken little overt interest in politics, no matter how genuine their sentiments. Politics are profitable, and have certainly proved lucrative for second-generation punks Green Day, who recently revitalised their radio-friendly sound with jibes at George W. Bush - and sold nearly two million records in the process. REM also attracted controversy for scheduling the release of their new album to coincide with the protest tour, a market-friendly decision that delighted sceptics eager to prove their self-interest.

More pertinently, the record buyers haven't forgotten that a number of the current high-profile protesters didn't speak out against the war in Iraq when they first had the chance. Comforted by hindsight and the knowledge that their views are now more widely shared, musicians are today able to protest without risking the censorship and resentment that hounded the Dixie Chicks when they did the same thing 18 months previously. Once a subversive

- or, ultimately, the desire - to keep it up. hose who do maintain their radical status can sometimes fall foul of something far worse: piety. Despite their good intentions, there is nothing more insufferable than the sanctimonious megastar (we're looking at you, Paul "Bono" Hewson) who lives in a different world to the rest of the nation, yet presumes a right to lecture us on our liberal failings. While we happily aspire to the lavish lifestyles of celebrities, we are understandably reluctant to trust their judgement on more weighty issues. The image of a Britain in thrall to the wisdom of the rich and famous is wholly inaccurate, and when it comes to everyday politics (a place where their lives differ so radically from our own) we are quick to notice, and to condemn,

T

"There is nothing more insufferable than the sanctimonious megastar who presumes a right to lecture us on our failings." comment becomes acceptable it loses its power. Now that it is fashionable to make a statement against the status quo, it is no longer so vital that these artists do so - the bands that The Onion dubs "irrelevant" are striving for a timely relevance that passed them by long ago.

The attempt to take an anti-establishment stance frequently backfires particularly when the proponent is clearly a part of the establishment they are trying to criticise. Just as all underground movements soon absorbed into the mainstream, all punks eventually mellow with the effects of fame. Look at the Manic Street Preachers, who went from snarling "deny your culture of consumption" on their nihilistic 1992 debut to demanding their own private portaloos at a recent Glastonbury festival.

Being anti-establishment is a precarious occupation, and few have the discipline

the cannon balls fly. •• ?''

• when a celebrity is out of line.

Hence the question of authority.

Having a platform to speak from does not make a pop star an authority on their chosen subject, particularly if that subject happens to be the highly contradictory issue of personal principles.

As anyone who has ever felt themselves alienated by the over-simplified slogans of demo protesters will know, the reality is always far more complicated than the message. A simple soundbite is not enough, and more often than not this is all the pop star can give us.

Like the person holding forth in the pub, the musician speaks for themselves, not for their audience. When the bands bombarding us with their opinions realise that, we might start listening.

Sarah Edwardes

are

The DW.e Chicks, well·known for ther e p rotesting antics

20.10.04

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~--·-·

:1.2 Music

The Ferryboat

Albums Norman Cook,returns from apersonally difficult fouryeaxs in exile with his new album, Is his musical comeback life-affirming or stillborn? Well, a miXture of the two but sac:Uy with a lot more ot the latter than the former. Cook effectively gives us nothing new with this album, but this is no bad thing. He has intelligently :retained, most of the elements (joJiy big-beat, a slight element of cheese and interesting samples) which is such a strong part of his appeal His recent sojourn in BfilZi,l is. also obviollit With a strong ·Latin ~eri~ (eel ~g through a large tn.<Uority of the tracks. PUsh_ and Shove is probably the best on the album, Cook utilising a earn~ ple of acid-rock guitar and a catchy vocal :refrain to good effect. aawe'O'er, the . central problem With the album is that most of the tra,c!Qi pverstay t1teir welcome by atlea$t two ltlinutes and are frijstratingly si1Jlpli$tie and often directionless. The mferencea to ' 'chemiea1s" axe little more than embarrassing considering"Cook's age and qte ill-advised co~r of Steve Miller' Band'~ The 'JOker is ~y dir~ With PillciOkp.ville Cook effectively lim!>$ back mto consideration, I~• ;JtOl a.l>fd albwn.Just too coJISistently u:pinsp)ring and pxedictable.

Jim Parker ~

Nestling comfortably between 'J.Ihe Waterfront · and · Millen:t'lium Bridge on King Street is The Ferryboat Inn. Until now thi,s .YJas wl\ere every new band in Norwich came to cut theit teeth ,on Ute Uve sc~e. hut witb. the :recent ch~qe of management the profile ot the Fe)"ryboat is sure to rise ip. ~e coming IJ~.Onths.

"I wanted to take a step up," explains Alan., who has taken over as landlord alongside his Wife Yvonne. "Making this into a music venue rather than 'just a mlisic pub. We want to put on real shows and get more established touring bands to headline alongside two or three local supports a night." .A nyone who has been to"the Ferryboat recently will notice the huge changes that axe integral to this plan- a full l Olc sound rig and PJ) with stpge lights has been installed, firmly banishing cill memorieiJ of the horribly tinny effect that ricocheted off Riverside and back again. What was once only a meagre room for bands to play in is now professionally set up and is turning into a com'fortp.ble place to stage a show rather than a small room with a couple of amps in it.

After 'being xu.n by Alan andYvonne for a month or so, the Ferryboat played host to the Anti-Nowhere League (the seminal punk band famed for their obscenity-strewn So What?, covered by Metallica amongst others), an expensive gamble that pai~ off when l50 paying punters crammed into the back room for what Alan described as "one of the best nights ever". The s_uccess of the event signalled a mQVe upward in terms of the size of bands being booked and led to the pub itself moving in a new direction. "Word is spreading, the AntiNowhere League have put a nu:m:ber of bands in touch with us who want to play simply because they enjoyed it so much here. We're trying to build our reputation up, especially with our vegan and vegetarian menus. that are very imppr;tant to us as well as the music."

Even before the change in management, the Fetryboat was always at the centre of Norwich's live music scene, and even with the proposed influx of bigger bands this will hopefully remain fhe same. Alan's plan is to "draw out the people that ha,ven't been~o gigs for a while. The majoricy of the crowd for the Anti-Nowhere League I'd never seen before, and if they see the support bands when they wouldn't normally be at a gig an~y everyone's benefiting. The scene itself win do better as the younger bands get :recognition from the older generation that wouldn't usually have the opportunity to see them:" Anyone familiar with local music in Norwich will know that the very idea of cooperation has hitherto- never really been considered, with rival promoters and unscrupulous bands booking gigs against each other, leaving the scene itself fractured and directionless. Alan and Yvonne's desire to forge a solid scene 1s admirably ambitious, and they see the need for a wide range of venues and bands. "One of the first things we dia here was make contact with the Waterfront because we want to get some collaboration, we want to make the music scel)e in Norwich better as a w)l.ole, and you. can't get that if no one talks to each other. What's the point of competition when you can work together? We want to make sure that Norwich doesn't get flooded with the same stuff over and over." Amen to that.

Ben Pataslmik

fl9coming Shows at th~ Ferryboat; Friday ZZnd October- Bucket + SevenDayStory Saturday 23td October- The Varukers + Kaotixx Sunday 24th October - Fluffgirl Burlesque Society Monday 25th October - Sonic Boom Six + Catch-It Kebabs 'J'uesday Z6th October- Tile Peacocks + Hotwired Wednesday ZJth October- Stretch Arln$trong +jets VS Slrarks

The De ars

N o Cities Left Those of a cynical mind cannot see hope in the black abyss of fear that is modern life. No Cities Left is a record about darkness, but strives to demonstrate that brilliant flashes of light can be found beyond. The piece is ambitious, and is a sophisticated, atmospheric product. The songs range from elegant orchestral delicacies to feedback driven cacophonies, and from melodic pop to lush strings. Yet the albUJm does not seduce the lis tener: it lacks immediacy and freslmess, and the songs are simply too long.

Murray Lightburn's voice is powerful and emotive, but he sounds too much like Nick Cave, Damon Alba:rn, and Ian Curtis. The record strives too hard to be Joy Division's Unknown Pleasures' younger brother, just as Lightburn sees himself as the heir to Morrissey's throne. Passionate optimists who need reassurance should buy the record, the rest of us miserable bastards should just put Suede on and accept apocalypse.

§

Laurence Guymer

Estelle

The 18th Day Benefiting from the latest in a long line of UK Hip-Hop "explosions", the formerly hip underground rapper Estelle has gone pop. Her major-label debut has some fine moments, opening with two accessible catchy tracks, the singles 1980 and Don't Talk. It is also evident that Estelle has a beautiful singing voice, which is both emotional and technically superb. Herein lies the prob-

lem: instead of displaying her considerable rapping abilities, Estelle opts for singing on a seemingly endless barrage of bland R'n'B tracks. How much the listener likes this album will depend on their own tastes. If they're partial to a bit of Beverley Knight or Kele Le Roq, then this album is well worth the money.

However, those looking for a groundbreaking new UK hiphop album will be disappofuted, and should get Ty's Upwards or Skinnyman's Council Estate of Mind instead.

]oeEspiner

Sound tra c k Of O ur Lives

Origin I This is a straightforward, good old rock album, plain and simple. It's not ball-busting, or strangled with an over-abundance of acoustic guitars, nor will it provide for people who like their music with adrenaline rushes, fast guitars and a loud · amp. However, while understated in areas, Origin 1 boast awesome 70's-esque riffs in songs like Royal Explosion that invariably make you nod your head. What you hear is what you get - no complications and no shiny overproduction. Depending on what mood it catches you in, you may be tempted to either inject sugar into their blood flow or take in the often striking chilled groove music that they've created. Relatively unknown in this country, SOOL have toured with Oasis, appeared on the jay Leno Show and received awards in their native Sweden- these nuggets of info don't impress but this album does.

~Suzanne Rickenback

Placeb o

Once More With Feeling: Singles 1996-2004

on the protest song. This Island is also shot through with a dose of lyrical and musical humour, Don't Drink Poison being a prime example.

Although it's hard to imagine Le Tigre having anything more than a niche market, that's probably missing the point it's witty, serious, crazy and political. If you can get past the kitsch of This Island, you could learn to love it.

Otherwise, I suspect not.

Stuart M asters Placebo have attained 'bestof' status in their eight years of fame. The provocative lyrics and distinctive sound of songs such as Pure Morning and Nancy Boy have earned them their place as a landmark band. This collection displays their commendable catalogue of releases whilst also popping in a couple of newbies. It is meant - besides bringing them a bit of extra cash - to give those of you who have heard of (but never bought) Placebo a taste of all four of their albums, and maybe a hint of a fifth? The already lovely Without You I'm Nothing is much improved here by adding David Bowie's classy vocals to Brian Molko's perhaps iffy voice, and the new songs I Do and Twenty Years are good but not phenomenal examples of what Placebo are all about. They're not ready to give up yet, and why should we let them?

Hannah Edne y LeTigre

This Is lan d In the less-than-crowded arena of feminist political electro-pop, Le Tigre are a force to be reckoned with. This Island's swirling layers of guitars, synths, beats, samples and vocals won't be everyone's cup of tea but it's hard to ignore the originality and quirkiness of this album as it displays definite breadth with catchy melodies to boot. While opener On the Verge sounds like an Eighties incarnation of the Yeah Yeah Yeahs, the antiwar New Kicks is a fresh take

Mad Capsule Markets

CiSTm KOnFLiqT The eleventh album from Japan's most interesting musical export since Tokyo Ska Paradise Orchestra finds them still in no mood to settle into one particular genre as CiSTm KOnFLiqT's schizophrenic collision of computerised beats and ferocious punk power chords proves. For every melodic sing-a-long like Scary or Sunny Beach Rd there's a viciously kinetic descent into machine-like drum 'n ' bass subtitled by Takeshi Ueda's deep tones, like the relentless RETALK and Track 6 (I don't read Japanese to translate).

What is initially frustrating and confusing clicks into place about fifteen minutes into the album and what's left is a genuinely thrilling collection of songs that is unlike anything since, well, MCM's last release 010. CiSTm KonFLiqt succeeds because it stands out so unashamedly from the pack.

Anyone with a passing interest in anything from punk to IDM and electronica should give it at least a fighting chance to impress.

~

Ben Patashnik

13

Singles

Live Reviews

When the Kings of Leon first stepped onto these hallowed shores they were famous for being four, bearded, skinny young men from Tennessee. In fact, on first looks you could be mistaken for thinking that someone had taken the four phases of Jim Morrison's life and moulded them into these four different people.

Well all of them (except the drummer) have had a spruce up since then and ditched the trademark stubble.

The removal of their facial hair has not sliced away this band's identity, but it seems to have revealed a new dimension to their music. But don't worry, though; the classic Leon formula remains throughout the record. "Your foot will be shakin'/ and your head will be bobbin' I while your speakers do the pumpin"'. Their newly visible faces have revealed that it's not only their cheekbones that are chiselled: The Bucket is a perfect example of a smooth rock song that will make you want to go to the bathroom sink and have a wet shave. Or if you haven't got a beard, it might make you want to grow a week's stubble, and then shave that off to see if it reveals a new you.

James Banks

The Hidden Carneras I Believe in the Good of Life Imagine a single made in the 60s by Belgian hippy farmers that got lost in the record collection of time and was picked up by an unsuspecting reviewer 40 years later. It 's simple (yet succeeds in being quite surreal), the vocals concern the virtues of a "good life" and wouldn't sound too out of place as the theme to a kids cartoon program. The closest description for this could be "endearingly peculiar" and has succeeded in weirding out this writer for today. So weird in fact the only thing that could make it adder would be a Noel Edrnunds cameo.

Suzanne Rickenback

Clinic Circle Of Fifths Much like Clinic's career, their latest single Circle of Fifths begins promisingly, but ultimately fails at what it sets out to achieve. The driving piano line gives Circle of Fifths an intense and urgent feel, however it fails to build to anything and becomes tedious.

Ade Blackburn's vocals are frustrating and sound like a muffled Thorn Yorke. This is not necessarily a bad thing in Clinic's case: their formula has become tired despite the band's somewhat "unique" sound. To give Clinic credit, Circle of Fifths is not a bad single, it is just disappointing for a band that had so much promise.

The Roots I Don't Care

Outkast Prototype/GhettoMusick

Second off the back of new LP The Tipping Point, The Roots new single, released on the 18th October, has a hook that snares within the first few bars but fails to hold for the whole track. It has got some good lyrics (and the kind of music that seems like it's aimed at club audience) but what Black Thought is talking about shows how aware he is of what he's doing. The Roots are always worth a listen, being a major musical landmark in Philadelphia, but this is less piercing and more easily forgotten than other recent tunes.

This double A-side from hiphop's foremost funk soul brothers brings together silky smooth ballad Prototype and previously released single GhettoMusick. The former, a horizontally laid-back tribute to the woman to whom all women should be compared ("I hope you are the one/If not you are the prototype"), loses some of its mellow charm outside the context of the album.

Much better is GhettoMusick, which takes a groovy Patti LaBelle sample and throws musical ideas at it until the whole thing groans with affable innovation. It's as outlandish as Andre 3000's dress sense and just as beguiling.

JUexander 11ux

Sarah Edwardes ]ames Miles The Datsuns Girls Best Friend

The Departure Be My Enemy Do Me Bad Things Time For Deliverance

Driving guitar riffs, pounding rhythms and best of all David }ones's elongated haunting voice: The Departure are one of Parlaphone's hottest recent signings. Be My Enemy, mixed

by Adam Moulder, opens in a captivating fashion, equally exciting-sounding as their Top 30 single All Mapped Out. Despite the funk in the bass line, the song overall becomes a little formulaic and in this respect predictable. The Departure's early 80s influe nces , namely Joy Division, permeate their music to create an individualised and energising product. Their rise to success has been truly rapid, and live - as on record - The Departure are magnetic.

single from nine-piece Croyden band Do Me Bad Things, makes their individuality obvious. The unique sound is refreshing in what is fast becoming a repetitive industry as the staccato drumbeat, falsetto vocals and rousing guitar combine to produce a funky tune that promises more good things to come.

Imagine Justin Hawkins doing the Rocky Horror Show with Britney and Queens of The Stone Age and you might start to get close to Do Me Bad Things. With up-coming tour dates supporting Ash and The Darkness, watch this band!

Miranda Bryant

Hayley Chappell

Time For Deliverance, the new

Faultine (feat. The Flaming Lips) The Colossal Grey Sunshine The two collaborators' mix of electronica and floating acoustic guitar provides a laid-back song reminiscent of the eclectic sound of Grandaddy, but one that unfortunately fails to rise above the average. The song builds slowly into a simple repetitive chorus before dropping into electronica-infused verses that entertain the ear but never demand more than a casual listen. Wayne Coyne's vocals suit the slow pace, keeping the disjointed style together but not raising the overall standard of this fairly bland track.

Perhaps this is a song best kept for playing in the background to a late night cup of tea.

Another attempt to be unique or maybe just another pseudo Brit-pop sound. Either way, I was expecting something different from what came to my ears when first listening to this track. Jumping head first into the lyrics, the rather intrusive vocals grab and drag you into the almost instantly arduous rhythm that is Girls Best Friend. Rather than trailing at the end of the worn bandwagon that housed the archetypal Strokes and White Stripes crew, The Datsuns have chosen an "alternative" approach this time.

Unfortunately, Brit flavoured Nirvana or hyperactive Pearl Jam is what you get in return.

An drew Wall en

With one of the most diverse crowds ever to grace 路the sticky floor of the LCR eagerly awaiting the arrival of one of the strangest acts to visit Norwich, how could tonight be anything other than a pure blast of surreal hedonism? From the moment the nine members of Newport's most intelligent export in living memory explode onto the stage it's clear that what they lack in lyrical dexterity they more than compensate for in energy. Bounding around like a middle-schooler gorged on Frosty Jack's, GLC know exactly how to work a crowd by interspersing more recognisable tracks like Roller Disco and the fantastic Soap Bar with older material that still manages to keep the crowd's interest despite a mid-set dry patch. The sound was a touch muddy and it was difficult to discern the wordier rhymes but on the whole the GLC put in a remarkably solid performance. At the very least GoldieLookinChain are a hugely enjoyable spectacle and how can you argue with a thousand people shouting "Your mother's got a penis"?

Ben Patashnik

"Quality" and "f***ing ace". Just two of the remarks overheard from fellow tea-drinking wibbly wobblers. The distinct smell of herbs, illuminated tea stall and quirky Mr Scruff anecdotes and cartoons created an atmosphere that was, in the least, surreal. Far from the cries of screeching guitars and prepubescent shaggy-haired boys, Mr Scruff was as original as his audience. There was no dress code or pretentious vibes as high heels and hippies, old and yotmg were all there for one reason: to listen to the seamless stream of diversity that came from Mr Scruff's boogie-inducing turntable abilities . Although the entire night was a blinder, Fish and Keep On Moving were obvious winners, leading up to the ultimate peak of the night.

Mr Scruff himseU remained entranced by the music; reserved and quiet. It was refreshing to see a talented artist really appreciate both his music and his audience.

julie Therese

Four overweight Texans take to the stage flanked by two giant inflatable "devil-horned" hands to a barrage of girly screams. From that moment on the tone is set for the rest of the evening. Bowling for Soup's set comes complete with "beerbreaks", immature one-liners, two stage invasions from one drunken loon and of course three minute long catchy poppunk songs.

Mention the name Bowling for Soup to someone and you will no doubt get a variety of responses - and they will not always be particularly complimentary. Judging by the average age of the crowd in the LCR tonight , it is easy to see why some would dismiss the band as nothing more than prepubescent pop-punk. However, amongst the twelve year olds "rocking out" with their parents, there are in fact a large number of students for whom being a teenager is in fact a fading memory. When Bowling for Soup bring their encore to a close with an excellent cover of Bryan Adam's Summer of 69, it becomes clear why they too are here: because, like the kids, they want to have a bloody good time.

Mark Crawley

David Riley

20.10.04

Layer cake ayer Cake is the directorial debut of Matthew Vaugh an, the producer of Snatch and Lock, Stock and Two Smoking Barrels. Vaughan, the lucky husband of Claudia Schiffer, is a good friend of Guy Ritchie and so you could be forgiven for expecting more of th e same London cockney-g a ngster cliche.

Fortunately for us , and the British film industry, Layer Cake brings a fresh approach to British gangster movies . The notable absence ofVinnie Jones and the inclusion of the suave Daniel Craig immediately signals a changing of the guard. To further improve the credibility we see the accomplished acting talent of Michae l Gambon (Open Range) and Colm Meaney (Far and Away, Con Air).

Layer Cake is based on the critically acclaimed novel Layer Cake by J. J. Connolly. It looks at the underground drug world through the perspective of C raig's unnamed character XXXX. Craig's character is a young drug entrepreneur who has always adhered to a strict and very professional code of conduct. The film begins just as XXXX is ready to retire from drugs with enough money to live comfortably. Unfortunately for Craig the drug baron that he works for does not b e lieve he should be allowed to just walk away. From this point on the film twists and swerves as the audie nce views the backstabbing and paranoia central to the crim e world. So far you could be forgiven for thinking that Layer Cake sounds like just about any other gangster film. Howeve r the brilliance of the film is in the originality it brings to a tried and tested genre. It removes needless expletives and ste reo-

Shark Tale

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type d villains and moves the ac tion interestingly between wealthy manors and dingy boat yards . Layer Cake still includes loud-mouthed Londoners but these characters are mo cked within the context of the film. Vaughan highlights the business side of drug pushing and opens the audience to a world of calculated operations and designer suits. Possibly a factor that sets it apart from Lock, Stock is that it does not try hard to be funny. Layer Cake ultimately revolves around the clever narrative. It has som e comedic scenes in moments of camaraderie and conflict but these are only a side show to the main attrac tion.

Whereas Lock, Stock has the memorable quotes and funky soundtrack, Layer Cake has clever plot twists and impressive locations.

This film really is a refreshing injection into the British Film Industry. It undoubtedly will attain a US release , which should secure more money for further British projects, yet Layer Cake's success could find more impor tance in the message it sends to the rest of the world. In recent years Britain has been exporting Gl!Y Ritchie 's cheeky cockneys or Richard Curtis' upper-middle-class romantics. The result of these successes is the projection of a very narrow British identity. Thankfully, Layer Cake shows more diversity in its characters and proves that the British film industry can still provide some originality. It is worth noting though , that it took an American director to achieve this .

There is some British talent to be found , though.

Daniel Craig is excellent in his role as an intelligent 'yuppie' villain. He swaggers round the film with a cool, mature style. It appears he has a big future in the film industry, landing the lead in the !an McEwan adaptation Enduring Love and starring alongside Adrian Brody and Keira Knightley in The jacket next year. Sienna Miller, Jude Law's current partner, also stars as the love interest. Her character possibly serves as a cause of annoyance in the film. Le t's hope her atrocious American accent does not carry over to her next film Alfie.

Layer Cake is in cinemas now and is released by Sony Pictures. Even if you did not enjoy the previous gangster offerings it is definitely worth a look. It has a great soundtrack and is shot in a slick m anner that enables you to become absorbed in the plot and carefully carried along to the exciting climax.

Anthony Jackson

20.10.04

ear after Disney Pixar's supe rb Nemo , Dreamworks elease their own underwater animation Shark Tale , the story of Oscar (Will Smith), a down on his luck fish who achieves celebrity status by supposedly killing the son of local mob boss, the great white shark Don Lino (Robert De Niro). Don Lino 's second son Lenny (Jack Black), a vegetarian, sees his opportunity to escape his fa ther's pressure to take on the responsibilities of the family by teaming up with O scar to fake his own death. With such a talented cast and a 20-minute preview, which generated a Jot of excitement earlier this year at Cannes, Shark Tale promises much, and Dreamworks has already scored one mega-hi t this year with Shrek 2.

However, a few years ago, Dreamworks' Antz lost out in the box-office battle with Pixar's A Bugs Life and it looks like it could be a similar story this time aro und , wi th Shark Tale unlikely to match the huge success of Nemo.

At the heart of Nemo, Shrek and Toy Story are a funny, engaging, likeable duo - Nemo a nd Dory, Shrek and

Al

Finding

Donkey, Woody and Buzz - each has a great dynamic. There is the straight one and the one that provides the laughs, who grinds away at the patience of the other but retains our affection and always comes through in the end.

Shark Tale has no such duo. Will Smith's Oscar needs to be likeable, even if flawed there must be something that makes us root for him , but instead he's just shallow and selfish. His goal in life is to live in a penthouse with a top-ofthe-range home entertainment system, all so he can b e a somebody. He 's irritating, too. His constant singing/ rapping/ jive-talking routine gets very tired, very quickly. Jack Black as Lenny also feels like a missed opportunity. A slightly more interesting and likeable character than Oscar, he manages to raise a few laughs, but Black is unable to Jet loose as you would like him to and never re ally hits it off with Smith. Smith and Black both seem perfect for voice acting but sadly this is not the film for them to display their talents.

One duo that does succeed is De Niro and Martin Scorsese (as Osc ar 's boss Sykes). They have some great exchanges, and Scorsese as a blow-fish p rovides some nice comic moments, but sadly these are only marginal characters. Renee Zellweger does a good job as Angie, who dotes on Oscar, and although we can't help but feel she could do a Jot better than him, we do at least like her. Elsewhere Peter Falk (C olombo), Michael Imperioli and Vincente Pastore (Chris and Pussy in The Sopranos) all enter tain in smaller roles , managing to raise some muchneeded laughs . One other notable voice is the inclusion of Fiona Phillips (of GMTV ) as a reporter. We h ad

Jonathon Ross and Kate Thornton in Shrek 2 and now Phillips in Shark Tale instead of the original Ameri can actress. Thornton was awful in Shrek 2 and Phillips mana ges to b e worse here, sounding h orribly wooden and unc omfortable.

However, the animation is superb and Dreamworks h as created a colourful, rich underwater world, though it fails to match the standard set by N emo.

There is a nice atmosphere to the reef, with a Times Square-like centre full of grid locked yellow taxi fish . Adverts for Coral-Cola, Gup and Fish King are everywhere, but this really stopped being funny in Shrek 2 and just suggests a lack of ima gination this time round.

There are plenty of sight-gags and film references and while some might find that Godfather parodies have been done to death, it works well here thanks to the voice actors. Having the characters resemble their actor counterparts is a nice touch a nd works well, Sykes/ Scorsese 's eyebrows being a particular highlight.

Whilst Shark Tale follows the basic formula of past successes, there simply isn't the gag count or the quality characters of Shrek and eo. There isn't really enough to appeal to adults or children. It's mildly entertaining but on the whole feels tired and unnecessary. It is unlikely to match the success of some of its predecessors and will be justifiably overshadowed this year by Shrek 2 and probably by Pixar's forthcoming The Incredibles for which advanced word has been extremely positive.

Shark Tale is released Dream works on 15th October.

by

David McNaught

Five Children and lt hrown onto the big screen for the first time , E. Nesbit's novel here provides for another chunk of family fantasy cinema, complete with agreeably eccentric adults , plankish child-acting, and misconceived CGI creations . Next to the H arry Potter model though, Five Children and It looks a much more modest affair, and is clearly an attempt to tap some of that quirky English charm tha t m ade The Railway Children and The Lion, The Witch and The Wardrob e such wellloved fictions. Accordingly, the film make s much of its World War I setting, painting a rain-drenched but picture sque English countryside, where the children (relocated from their family home in London) move in with Uncle Albert in his gothic mansion by the sea.

Here they find a secret passageway that leads to a beach, home of the wish-giving sand fairy that the youngsters name 'It'. Not one to be overworked, It grants one wish a day, warning that the magic may prove a rather unreliable force, and further that it will fade at sunset.

The results of the children's wishmaking fill the rest of the film with a predictable mix of wide-eyed astonishment and frantic rushing: they wish for their chores to b e done , but they get a horde of clones who wreck the house; they wish for money to pay for the breakages, but they get pots of gold that nobody in town will accep t, a nd so on. While the action is fairly uninspired (and laughably shoddy in the case of

T

the German Zeppelin encounter), the scenes with It deliver some welcome laughs, thanks mainly to Eddie Izzard's surreal stand-up, which manages to instil life in both the second rate CGI and a disappointing model from Jim Henson 's Crea ture Shop. Kenneth Branagh and Zoe Wanamaker are the barmy a nd bene vo lent grownups whose house the children w histle round,breaking Ming vases and making dinosaurs in the basement.

Despite some nice touches , Five Children and It never really recovers from its central, hopelessly overplayed, theme of father-son separation.

Robert's love for his absent father is

routinely brought up to provide some moments of se rious e motion amid the good-natured clatter, but these scenes seem clumsy and unconvincing; the other children don't quite know what to do, and the father, when he appears , is s o idealised as to b e unreal. The twofoo t-high magic sand-snail makes for a more convincing and e ngaging sage.

Happily, Izzard gets the last word in as he muses over the e nd credits with Pixar-style self-reflexiVlty, envisioning his own top billing in a sequel entitled ' It and Five Children' . May his proposition not go unheard.

Sebastian M anley

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15

Deep Blue

F

ew people realise that more people have travelled into space than have been to the depths of our oceans. Deep Blue, directed by Alastair Fothergill and Andy Byatt, therefore aims to capture what very few have been privileged enough to see before.

The film originated from the BBC 8part TV series The Blue Planet, !ranted

by David Attenborough. Although fans of this programme are likely to enjoy this film, viewers should not expect merely an extended version of it.

One of the foremost differences is the narration - Sir David is replaced by Sir Michael Garnbon (Gosford Park, Sleepy Hollow, The Singing Detective), who is given a lot less to say. This says

quite a lot about the difference between the two productions.

Attenborough, of course, is strongly associated with nature and wildlife documentaries; Garnbon is contrastingly known as the leading thespian of his generation. In short, Deep Blue is not primarily about providing the audience -,ooith fascinating facts and information, l:. ·• rather it seems more concerned '•"~ · t being a visual spectacle.

This objective is certainly one that is achieved: advanced camera techniques and experienced wildlife filmmakers are used to get really close up to some of the planet's most adored animals and some truly incredible-looking ones too. In fact, you would barely believe some of the descriptions of these creatures if you didn't see them for yourself! Deep-sea animals that shoot out exploding flares of light, anyone?

These pictures are accompanied throughout by a powerful, classical music score composed especially for

The Fog

the film by George Fenton (Sweet Home Alabama as well as The Blue Plane f) and performed by The Berlin Philharmonic Orchestra, which has for many years been one of the premier orchestras of the world.

Together, what is created is a truly cinematic experience, and this is one of the main problems with this DVD: it is meant for and should be seen on the big screen. Marvelling at the whales, penguins, polar bears, crabs and sharks on your 25" screen - or even on your 42" screen- just doesn't compare.

While watching the rnade-for-TV Blue Planet (also available on DVD) on the small screen makes a great deal of sense, watching the film Deep Blue, which often features very similar material to that contained in its TV predecessor, on the same format, sadly does not. Due to the fact that the pictures are deliberately left to do the talking, anyone who's most notable experience with creatures of the sea to date has been Finding Nemo is unlikely to get the most out of this DVD. There is not even as much as what can be called an introduction, which could have provided an overview of the film and some useful context.

The rest of the film is also somewhat lacking structure. The intent was to start the film at the beach, a place we are all familiar with, and to end up in the mysterious depths of our oceans, which few have seen before. The journey between these two points, however, is often jumpier than crossing the Atlantic on a raft. While suddenly changing the mood is sometimes deliberate (in order to create contrast), it is done too much, and the structure that is present should be communicated in a clearer fashion.

I

Agamernnon yet is compelled to follow his destiny at the siege of Tray. Trouble is, the character of Achilles isn't really very nice and while that needn't be an issue in itself, the developments of the narrative elements that the script has drawn from the original source make it very difficult to find sympathy for his cause. Indeed, it is the quiet dignity of the Trojans, in particular King Priam and family man Hector, who the audience warm towards. Agamernnon is portrayed as a merciless, spiteful tyrant who only craves power, which makes the inevitable fall of Tray and its gentile rulers a hard pill to swallow. Out of the Greeks, only the sage and level-headed Odysseus (a surprisingly good Sean Bean) comes across as being cut from the true hero cloth.

In the time of Homer, love and the whimsy of the gods would be understood as a just cause for a whole nation to go to war, whereas now this would probably be sneered at by a modern audience and so practically all interference from divine powers, so instrumental in all Greek tales, have been removed (except for Julie Christie's fleeting appearance as Achilles divine mother Thetis). It doesn't help matters that Kruger's performance as Helen is so insipid that you couldn't imagine anyone crossing the street for her; let alone the Aegean.

The battle scenes are impressive, but you get the feeling that you've already seen this kind of monumental

efore The Blair Witch Project, John Carpenter's 1978 horror classic Halloween was the biggest grossing small budget film of all time. Made for several hundred thousand dollars, it went on to gross $55 million at the box office. With Carpenter and his producer/eo-writer Karen Hill being offered a twofilm deal with the studio, they set out to make a horror film that was more ghost story than slasher horror.

The end result is The Fog and, while not his greatest film, it is still interesting to see Carpenter taking a different approach to the genre.

The Fog starts with a quote from gothic writer Edgar Alien Poe, "Is all that we see or seem but a dream within a dream?" With Halloween safely being categorised as a teen-slasher piece, there is an obvious attempt by Carpenter to acknowledge a different and more mature audience. Throughout the film Carpenter pays homage to the work of great horror fiction writers of old such as Poe, H.P. Lovecroft and The Tales from the Crypt line from 1950s EC Comics.

In the tradition of these storytellers, Mr. Machen Gohn Houseman) tells the plot of the film in an eerily effective campfire ghost story. The plot is essentially quite simple, 100 years ago in the then-unfounded town of Antonio Bay, a ship is lured to the shore by a giant beach blaze and it crashes on the rocks during a shadowy fog. All the crew drowned, their gold was ransacked and as all dying pirates do they vowed to gain revenge under cover of fog at midnight on April 21st.

As Mr. Machen is scaring the children with this tale the fated witching-hour is fast approaching, just in time to armoyingly coincide with the town's centenary.

B

If you already have an interest in animals of the sea or enjoyed what you saw in The Blue Planet, however, then this DVD is well worth a look. It offers some totally unique images and features many animals that have never been filmed before. Certainly, the work that has been put in to achieve this should not be taken for granted. For example, as the "Making Of" documentary on the accompanying second disc reveals, on one occasion over 200 days of filming at one location produced nothing of note. More seriously, the crew often put themselves in danger, such as when they were required to film on ice that could have easily floated away from the mainland.

See this film if your interest in sea wildlife goes beyond Finding Nemo.

And liking Shark's Tale as well doesn't count!

Deep Blue is released as a 2 disc set on October 25th by Optimum Releasing.

Dan Peters

Troy nspired by Horner's ancient and epic tale The Iliad, and where possible, playing down the wonderfully hornoerotic undertones that pepper most legends from the Hellenic world, the film thrusts us into the greedy world of Agamernnon (played with a delightfully large slice of ham on the side by Brian Cox), who is marching across the Mediterranean, uniting - sometimes by force - all the kingdoms of Greece with the thinly-guised aim of total Club Med domination. His victories are, on the whole, a success due his employment of the reluctant Acliilles, "The Greatest Warrior Who Ever Lived" (Brad Pitt) and his army of Myrmidons, or hired goons, to use the parlance of our time.

Things kick off when Paris (Orlando Bloom) a simpering prince from the land of Tray (a particularly desirable patch of coastline real estate on the other side of the Aegean Sea) pinches Queen Helen of Sparta, (Diane Kruger) right frornunder the nose of her husband King Menelaos, (the wonderfully gruff Brendan Gleeson), brother to Agarnernnon. And so to war; the Greeks unite, sailing off to kick up a sandstorm against King Priam of Tray (a refreshingly restrained Peter O'Toole) and his army, led by the noble Hector (Eric Bana).

The main problem with this film is that the central story itself doesn't really lend itself to a modern audience. The focus of The Iliad is Achilles and his constant inner turmoil; he loathes

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scrap done with more finesse in Return Of The King or Gladiator. Russell Crewe would have made a far more convincing Achilles than Pitt, who may be physically impressive in the combat scenes, but he is just too pretty and gives a onedimensional performance.

That said, the film does entertain.

Like Pitt, it is pretty to look at. There are some good performances to be enjoyed, and the duel between Achilles and Hector is a thrilling, emotionallycharged highlight. However, it lacks the style that directors like Ridley Scott or Peter Jackson have brought to this kind of film and Tray doesn't quite gel as satisfyingly as it should.

Tray is released on October 25th by Warner Home Video.

Dan Chandler

With the narrative revealed in the title sequence, Carpenter slows the pace in a bid to gradually build up the tension. He does this by showing what an average town Antonio Bay is, and also shows the viewer the main locations. Carpenter also utilizes this time to reveal the ensemble of characters that will have to face the horror of the fog; Stevie Wayne (Adrienne Barbeau), Nick Castle (Torn Atkins), Father Malone (Hal Holbrook), Kathy Williarns (the late Janet Leigh) and Elizabeth Solley Garnie Lee Curtis). Because of the size of both the location and the cast, the film is effectively shot in widescreen to emphasize the space and the fact that horror can appear from anywhere.

The widescreen shooting also shows how isolated the town is and that there is no chance of help from outside forces.

Along with the slow build-up of tension, the ghosts of the fog are only faintly seen, however there are still some urmecessary close-ups of the violence and of the ghosts themselves. As revealed on the accompanying documentary, Tales of the Mist, this was done to compete with the gore of the recently released Scarmers. Whilst the producers may have been thinking of the box office, it does not really suit this type of horror, the ghosts are more effective from a distance than up close and personal. However, these faults are admitted in Tales of the Mist after it was felt that the first cut was bland and not at all scary (this eerily resembles the many problems that faced Exorcist: The Beginning).

Whilst the characters (especially the femaleroles) are well written and the narrative does have some interesting additions, the film still seems to lack something and is at times unsure ofits style. The Fog's problems are examined in the excellent extras section on the second disc and horror fans should see this just to hear Carpenter's honest and objective view on his flawed take on the ghost story.

The Fog will be released as a two disc special edition by Momentum Pictures on October I 8th.

Mark Simpson

20.10.04

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16

Two ideOlogies do battle

Favourite Books your secondary school English teacher might not have done either, (mine hadn't). But this novel's obscurity is far from being well-deserved.

Nervous Conditions won the African section of the Commonwealth when it emerged as the first novel to be published in English by a Zimbabwean woman.

Given this historical importance, it comes as no surprise that the copies of the novel you will find in libraries tend to come complete with pencil underlinings wherever a remark is made that

Comedy Review he lights dim and on bounds Perrier nominee , Natalie Haynes, looking bizarrely more like a schoolteacher than a stand-up, in her full-length jersey skirt and comfortable slip-ons. I wonder what sort of routine is coming, and if I don't pay attention, will I have to write lines?

Still Not Sorry is Natalie's third solo show,

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could be construed as feminist. To see the novel solely in the light of its polemical importance, however, does little justice to its psychological complexity.

I am not saying that gender relations - in terms of access to tangible privileges such as education, and less tangible ones like obedience and authority - are not at the heart of the novel. They are. In fact , Dangarembga's feminist agenda is so uncompromising that the narrator of the novel, Tarnbudzai, opens Chapter One with the words, "I was not sorry when my brother died" and invokes his blind subservience to patriarchal attitudes as a reason for her lack of compassion. However, the real interest of the book lies in the fact that the poles of masculinity and femininity, authority and subservience, are not solely external. Instead of being divided up between different characters they become internalised, so that the two conflicting ideologies do battle for control over the

protagonist's mind.

I

Nervous Conditions, sadly, is not the kind of book that you can walk into Waterstones and pick up off the shelves, but neither is it exactly hard to get hold of. A few days' wait while the bookstore orders it in for you, or an on-line shopping trip, is a small price to pay for Tsitsi Dangarembga's first novel, and hopefully not her last.

touring nationally with high acclaim, since the Edinburgh festival. She charms audiences both sides of the pond with her trademark style of caustic wit and self-criticism.

So the show begins. A surreal routine consisting of food, Parmesan bullets, H. G. Wells , Rod Hull, the etymology of the word vagina, dead grandmothers, Smurfs, and The Bible Code. But how is this material delivered? Unfortunately in a rushed and clumsy performance, with Haynes speaking very quickly, as if attempting to squeeze an hour and a half's material into a 60minute slot. Sneeze and you'll miss a joke. Apart from when it's one the comedienne is particularly proud of, where you'll be subjected to ver-

bal abuse for not laughing. She is a self-confessed bitter person, and it comes through in the show. Though not, perhaps, in as entertaining a way as intended.

were the stand-up not lacking in comic performance? Instead we get thrown a statement 3. clumsy giggle, a dash of self-deprecation, < nd then we are hurried on.

ORWICH THEATRE ROYAL BOX OFRCE (01603) 63 00 00

t is not only the role of women that is at stake in this conflict; it 1s also the question of cultural identity. Traditional rituals and behavioural expectations are displaced in the course of an English education at a mission school for one character, and transplantation to England itself, for another. The result is cultural hybridity and a sense of alienation from both traditions, with near-fatal consequences.

Admittedly, it takes a while for these conflicts to develop and the first third of the book is best tackled with some kind of sociological interest in Rhodesian society. Dangarembga, after all, describes social rituals in detail in anticipation of a Western audience who would not already be familiar with them. However, if the early part of the novel is a little slow-moving it is well worth persevering until the simmering tensionreach boiling point.

Sophie Johnson here was, however, an abundance of witty ideas. The comedienne explained that she had such an extreme love of cheese that she refused to drink milk, believing it to be aborted cheese. A fantastic idea but, alas! We were not given the chance to enjoy the joke before she continued in her erratic, !curettestyle delivery.

Smurfs are actually Nazis? Again, it sounds a funny concept, and the evidence Natalie showed on her schoolteacher flipchart , including a Smurf Nazi rally, certainly made for amusing evidence. Looking back it does sound funny.

But can something be funny only in retrospect?

Or are we just seeing how it could have been,

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Theatre Review Hamlet, Theatre Royal here are a lot of things to deal with in Hamlet. Sexual tension, role playing, fall of not only a king but a kingdom, madness, love, oedipal jealousy, death, tyranny, the list goes on and on. This is nothing new, I hear you saying, are not all of the bard's plays layer upon layer of meaning? Of course, and that said, it is unnecessary to portray all of these important themes in one sitting. Unnecessary? Bloody impossible.

This is whyYukio Ninagawa's production of Hamlet at the Theatre Royal had just a little too much going on. This production tried harder than it should have done to follow all of the themes , which resulted in a play which seemed stretched, and at times frustrating.

Gertrude, played by Francis Tomelty, should be a woman of dual natures. Wracked with guilt from marrying her dead husband's brother only two months after his death. She should be seen as a woman strong in the face of the public eye.

Her sexuality should ideally be extrernly prominent when in public, yet weak in private.

Whereas Tomelty began portraying a woman filled with sexuality, a temptress, yet pursued this line for no more than a scene, after which she seemed to forget her deadly charm.

This was the same for the play as a whole; starting and never quite following things through. The costumes were thoroughly confusing, starting in the style of Japanese samurai, an interesting touch, which by the end seemed slightly pointless as the rest of the costumes became a mish-mash of modern, western and Elizabethan styles. Michael Maloney playing Hamlet, was strong in performance, supporting

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1H ATRE STREET. NORNIOH NR2 1Rl 20.10.04

both his character and his cast well. However, nothing new came up from his performance, and his portrayal was carried upon the tension within Shakespeare's words.

The most beautiful part was the play within the play, conducted in Kabuki style. The actors wore Japanese masks in silent performance.

This could have existed on its own however, and again the director managed to dilute the effect with another play immediately after, explaining the story which was entirely unnecessary.

Shakespeare's texts in this day and age are there to be experimented with, torn apart, brought down to the fundamentals. This was in no way achieved by Ninagawas' production It was wonderful to hear the words and I'm glad people are still attempting Hamlet, it just needed a little more passion, a little more of a path to follow.

Daisy Bowie-Sell.

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TV DVD: The Office

TV Preview: French & Saunders

The Office Christmas Special Released: Oct 25th

BBC ONE, Fridays 9.00pm

Dawn French: I like blinkin' I do

n

of French and Saunders have been eagerly awaittheir sixth series, which gan last Friday on BBC NE. Unfortunately, like many other recent efforts of the comedy double-act, it failed to live up to the high expectations we all had. This is no surprise when it is considered that both have had incredibly successful solo careers and a very respectable laughter track record.

The first episode was amusing, and hints at a very good series developing from it, but didn't quite hit the mark. The pair spent most of the show bumming

efinitely one of the best Christmas specials of all time, The Office's Yuletide offering will be an essential part of the best shopping lists this December. While any selfrespecting fan of the show will have caught it on the telly last year, and probably cheekily recorded it too, the DVD provides lots of delicious special features that shouldn't be missed. Commentaries, documentaries and a special video of 'Free love Freeway' pepper the DVD, making it a lot easier to shell out for what is essentially only two episodes of The

D

around their office trying to avoid writing their upcoming series, reasoning "its never not happened ... has it?" which is all a lot of fun but not Friday nite prime- time fun.

With a cracking spoof of Cold Mountain proving a real high point, we're all reminded of why we're tuning in in the first place. Middle-aged ladies dressed as movies stars equal damn fine comedy. There's F and S style Footballers Wives, Troy and Kill Bill all still to come. Perhaps with a little more filler than desired, French and Saunders have still got it all.

KateBryant

••

Soap News: Hollyoaks and Neighbours Darcy makes a return to Ramsay Street to throw a spanner in lzzy's works, and Debbie continues to make a pest of herself...

Office.

All the ends left open in the soulcrunching ending of Series 2 are tidied up. Not winning the blinking lottery style tidied up, but convincingly and pleasingly resolved. We wanted to believe that in the bleak world of The Office things could eventually get better, and they did. The Office Christmas Special is feel-good seasonal comedy that will warm even the frostiest of cockles.

n Neighbours, Izzy's baby secret proves too much of a test for exFather Tom as he prepares to tell all to Susan. He is, however, unable to expose Izzy's lies and break the vow of confidentiality he took

I

KateBryant

Debbie, bit of aDaneater

whilst a Priest. Luckily for cowardly Tom, Izzy's plans may be foiled by another man in Susan's life. Convicted felon and all round Mr. Nasty, Darcy appears to be a reformed character as he accepts a job as a cleaner at the hospital. Being a former doctor and big fat liar he spots the tell tale signs of lzzy's deceit. How long is it going to take before Dastardly Darcy re-surfaces?

Meanwl}ile, romance is blossoming in the Hoyland household, where it seems that the youngest member of the family has hooked herself a man, and a millionaire no less! Whilst Summer lives the high-life, Jack confesses to Steph about his own high-life. After a heavy night out, Jack wakes up on an unfamiliar grass verge without the slightest idea how he came to be there (sound familiar, anyone?) . Steph is worried about the effect the drugs are having on

the family business and demands that Jack regains control.

Over in Chester, the Freshers' Ball goes with a Pop! The constantly drunk and thieving Hollyoaks students get down and er ... well clean actually, at the Freshers' foam party. Zara wages war on her student neighbours over unreasonablE! noise regulations.

The Dan and Steph saga continues as they decide to spend a day getting to know each other a bit better. A minirace track, fun as it is, is not the most conductive location for a getting-toknow you session. Things go from bad to worse when Debbie turns up to ruin the couple's already ill-fated day out. Is Debbie turning into a psycho stalker, or is this all part of Steph's master plan?

Martha Hammond andKimHowe

Digital Stuff: Tiger Woods PGA Tour 2005 Golfing on the PS2 and X-Box? Whats next, step aerobics on the PC?! here are many golf games on offer today with very similar styles and game play. The thing that makes Tiger Woods PGA 1bur ZOOS (£39.99) so different from all its counter parts is simple: choice. The variety of alterations that can be carried out on your character alone will keep you amused for hours on end. You can also customise the course you play on, create logos for use either as tattoos or on your flag and of course a soundtrack that allows you your choice of music. These extras are amazing in their depth and variety and, most importantly, are based upon a very solid game play. Those who have played the previous Tiger Woods games will find it easy to pick up and play while

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those new to the series are given a helpful tutorial at the beginning of the game.

The game play is fluid and makes learning more advance techniques challenging enough to reinforce the role of practice while not taking away from the overall enjoyment of the game.

Another feature that the more golf savvy among us will find alluring is the inclusion of actual golfing stars who you will eventually play against in the legend mode. This is a feature typical of E.A. games, and a darn good one at that.

The graphic elements of the game are very much at odds with each other, with beautiful character models playing against quite bland backgrounds. This small discrepancy does not affect the game but will deter you from going too

deeply into the course creation mode.

Sound-wise the game suffers like most sports games from annoying commentators who will belittle every bad swing and missed putt you make, but the sound effects and background music more than compensate for this shortcoming. In the end, whether or not you will enjoy Tiger Woods PGA 7bur ZOOS comes down to one key question - do you enjoy golf? If the answer is yes you've probably got everything this game could offer in one of its predecessors. If not then you could do much worse as a starting point. It's easy to pick up but difficult to master style will have you playing just one more hole.

Paul Stevens

20.10.04

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18 C elebra ting Bla c k History Month : Baka

Jools Holland Friday 29th Octob e r

Beyond

D izzee Ra s c al

Friday 29th O ctober Heads pace and Ten M iles O f Bad Road

Sunday 31st October

Saturday 30th Octob er 3 Men & Black Tuesd ay 2nd November

The Telescopes + Sennen +The Sargasso

Drumming Workshop

Literary Festival

LTl

Trio

27/ 10/ 04 - Krazy Kat The a tre pre sents: Tales of

Waterfront

Brer Rabbit

Genetica & Analogue: Digital

28/ 10/ 04 - Performance skills - Attitude ?

Friday 22nd Octobe r

David Le avitt

29/ 10/ 04 - People's History

18/ 10/ 04

The Mingus Project

Dead Men Walking

2/ !I / 04 - Led by saxophonist Simon Youngman

Sunday 24th October

The Playhouse

Monday 1st November East Coast Jazz Festival: The Mingus Project Tuesday 2nd November

Listings

Atnici Dance Theatre Company

Jazz Jam 3/11104 - Cliff Andrews leads this exciting and

22-20s

23/ 10/ 04 7.30pm

unpredictable night.

Monday 25 th October

Union Film Society

26110/ 04 7.30pm

Maddermarket Theatre

Hope of the States

Kill Bill 2

Rumpelstiltskin at the Fairytale Laundry

The Importance of Being Earnest

Wednesday 27 th O ctober

27/ 10/ 04 I! :30arn/2:30pm

21 -30/10/ 04

En-Trance

All films screening in LTl at 7.30 21 / 10/ 04 Troy

Written and performed by Ailie Cohen, for

Enjoy the verbal brilliance and farcical come-

Killa Kela

22110/ 04

ages 4-7

dy ofWilde's portrayal of The Importance of

Thursday 28th October

Fahrenheit 9/11

Mark Thomas

Being Earnest two girls in search of a husband

28/ 10/ 04 7:30pm

called Ernes!, and the two men who try to

Rock Club presents Alike Cooper

Halloween

Friday 29th October

30/ 10/ 04

28/ 10/ 04

His new show is about crusties, hijacking arms

become Ernes! and cause infinite confusion in

dealers and ending up in the dock .

the process Once Upon a War

Arts Centre

Cinema City

The Theatre Royal

3-6/ 10/ 04

Howlback Hum

Code 46

Wednesday 20th October

24-25110/ 04

Lulu 24/ 10/ 04

Norwich Puppet Theatre

Celebration Gala

Red Riding Hood

Celebrating Black History Month: Big Joe

25110/ 04

25-28/ I 0/ 04 14:30

Turner & the Memphis Blues Caravan

Supersize me

Le nny Henry ' So Much Things To Say'

Stick Puppets Workshop

Thursday 2 1st October

29/ 10/ 04 - 04/1 1/ 04

My architect 24-25/ I 0/ 04

Hero

26-27110/ 04

2611 0/ 04

The show tackles a variety of subjects includ-

In this session you will make two stick puppets

Martyn Joseph

29/l 0/ 04 - 04/ 11104

ing: Parents, Love, Sex, War ('Huh! What is it

to take home with you. All mate rials are provid-

Friday 22nd Octobe r

Superfly

good for? Absolutely no thin', Say it

ed - just bring your creativity! For age s 5+

again ... a ctually, better not ') and reggae music .

The Jumblies

Celebrating Black History Month:

The Life and Death of Peter Sellers

It 's a r ip-roaring tour de force of character

29-30/ I 0/ 04

Kusanganisa & Friends

29/ 10/ 04 - 04/ 11104

comedy, brought to you by the man himself -

This delightful nonse nse poem by Edward Lear

Saturday 23rd Octob er

Lenny Henry.

is retold with colourful shadow puppets and

Halfway to Paradise

accompanied by live singing. For age s 3+

29/ 10/ 04

Released this Week Neal Casal & The Needle Drops +Jus tin

AI fie

28/ 10/ 04

Rutle dge

22/10/ 04

Bill Wyman's Rhythm Kings & friends

Monday 25th October

Alien Vs Predator

29110/ 04 Ladysmith Black Mambazo

Night of the Black Cat

22 / 10/ 04 Five Children and It

30/ 10/ 04

LCR

The Dresser

Fatboy Slim

2-6/ ll / 04

Thursday 21st October

Tuesday 26th October

22110 / 04 Finding Neverland

Celebrating Black History Month: Bob

29/ 10/ 04

Brozman

by Ronald Harwood Starring Nicholas Lyndhurst and Juli an Glove r. Dire cted by Peter

Kings of Le on

Hall

Friday 22nd October

Wednesday 27th October

48th London Film Festival 20110/ 04 - 04/ 11 / 04

Fernhill

Norwich Arts Centre

Keane

Half term workshops for kids

Thurs day 28th October

Thursday 28th October

Short Film Festival at the UCI 31110/ 04

25 / 10/ 04 - Make a short film.

26/ l 0/ 04 - Rhythm Works present: Hand

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