Monday, 15 December 2008

What is the Most Pointless Annual Award?


The BBC Sports Personality of the Year....

I've come to this conclusion with no real evidence or quantitative research, just thought it should be this one. Not unlike like what the boys at the BBC do every year with this 'prestigious' prize. Ok, there is the dismal voting turnout made up by the 'viewers' (always sounds quite Orwellian to me that term) whose only sport is the TV dinner toss into the bin.

What does the prize mean? Does Chris Hoy have a better personality than say Ricky Hatton? I'd have a pint with Fatton anytime before the thigh master (do you reckon he would talk in circles? Sorry, terrible joke). Shouldn't it be called 'this years biggest sporting achievement award as voted by those who watch too much TV and/or bothered to call in'? It's not like the current title is catchy, at least it would stop dickheads like me witting this drivel on his day off.

bn

Monday, 29 September 2008

Found Dialogue: Txt msgs

Ok so having an alphabetically prominent name can occasionally lead to the odd unexpected Brucie-bonus, for instance receiving texts intended for other people. Here's two I got on Friday, that provide two very different windows on the world(s) my friends live in;

"Yo baby. The photo does not do it justice. I cant tell what there is. Was the cray fish and coleslaw? love you x"

I can't decide if this is sweet or depressing. Does this couple have nothing better to do than send low resolution photos of their lunches to each other? Do they do this often? You think they keep all the photos catalogued in date order? Weird perhaps, but not nearly as troubling as this next gem;

"Im bk at mine wat u doin i left man tht maty was dodgy n kept givin me evils u stayin there"

That's it. Zero punctuation. A text that shows obvious signs of both drug-induced paranoia and state school inscribed academic laziness. If I weren't so renowned for my philanthropic nature I'd say this cock-pocket probably deserves to rot in Rodbourne.

Alex B.

Wednesday, 24 September 2008

Beat The Crunch

These are testing times for all of us - you're dunking Digestive's but you want to roll with your Wagon Wheel lifestyle. With this easy to follow, step-by-step guide you too can punch the crunch.

Want to buy-to-let but can’t get a mortgage? Don’t be-a-letdown - forget HBOS – you need YesBoss! The high-street bank that says High-Five! to 125% mortgages secured on your grandmother’s kidneys. You’re wife’s nagging at you to take her on a shopping spree but you don’t trust her with your wallet. No problem, with the new Credit-Crunch card from YesBoss she's superstylish, she’s always able to buy a round of drinks and she still seems to be wearing a new outfit every time you see her - she's a Recessionista!

Bored of traipsing round TK Maxx after her? Want to treat yourself but can’t afford the latest Blu-Ray movie releases? Beat the Crunch – Betamax! Some people will try to tell you that it was rendered obsolete by VHS many moons ago but don’t listen - the suffix max comes from maximum which surely suggests greatness. Plus, it comes with Extended Definition as standard – a whole 500 lines of resolution and a promise of reduced luminescence noise.

Food prices getting you down? You might be feeling the pinch but with the crunch-diet saving pounds needn’t mean piling them on! Start the day the way with a lite bite – grain prices might be on the up but Credit-Crunchy Nut Cornflakes have never been so cheap – they’re 99% interest-rate free! Fancy an evening in with the latest video cassette movie and a Takeaway? Has the cost of curry become a worry? Forget about it. You don’t need Takeaway – you need Fakeaway! So cheap you’ll even have enough liquidity left over for a drink.

Fallen behind on your interest payments? You need to save some cash before the repo-depot come knocking on your door demanding your Gran’s precious innards as collateral. You can forget about vacations for a while - that two month tour of Thailand is out of the question - but don't let the sodden English summer rain on your parade. Do what I did – take a Staycation! You’re house can soon be turned into that five-star luxury hotel you had your eye on. Buy a box of After Eights and leave one on your pillow. Be sure to remove the do not disturb sign from the door and your house mate will change your bed-linen whilst you’re out visiting your home town’s “ethnic areas” during the day. If you really want to immerse yourself in the foreign culture you’ve found yourself then why not visit one of those whacky food markets they have. Dried scorpions? Who’d-a-funk it? Send one to your workmates as a novelty postcard and, provided they don’t notice the local postmark, they'll never know you stayed at home for a week! Need a drink to wind down after a long day seeing the sites? Buy a mini-fridge for your bedroom, stock it full of whisky-miniatures and nuts and raisins and kickback and enjoy the first evening of your staycation.

If you’re feeling thrifty then send us your penny pinching suggestions to credit@crunching.com and we can beat the crunch together!

MGB

Tuesday, 23 September 2008

Etymology: A Cautionary Tale.


You know the type, those kids who've taken to their studies a little too conscientiously but still manage to be 'cool' and 'hip,' the ones who pick you up on your grammar even though you're the guy with a reputation for doing that even at three in the A.M. whilst holding some girl's hair back so she can spew on your shoes. Those guys. Don't think that you can get away with pitching up, late, worse for wear from having stayed up all night watching Blade Runner, The Empire Strikes Back and Star Trek VI: The Undiscovered Country (in that order) and get away with it. The first couple of hours may go relatively without hitch, aside from a few failed attempts to turn the conversation to an area more to your comfort. You may miss some literary/cultural references your soaked synapses may have connected with had they been given a fighting (less booze-sodden) chance, but they're still laughing at your anecdotes right? But don't think you've gotten away with it friend. They're on to you. These are the future pillars of society, industry, commerce and ideas. These freaks can bore you with talk of employment law one minute and amaze you with as yet unthought of implications of extented human longevity the next. Don't get caught out now, you were so close! Don't lapse back in to school playground slang that you're not even aware of the last time you used. Yesterday or yesteryear? Don't do it. You did it.


"Yeah, so I pretty much got jipped."


"You got what?"


"Jipped."


"Gypped?"


"Yeah...?"


"You realise how un-PC that is, right?"


"What'chu talkin' 'bout, Willis?"


"The implication was that you got the bum end of the deal because you were dealing with a Gypsy- racial stereotyping what it is -reputed to be wiley, even thieving, bargainers. Hence you were 'Gypped'."


"Err, um no. No I was 'jipped' as in......umm. Well that's not how I understood it as..... a Year 7. In fact I'm not even sure the two are related. If I wrote it down I wouldn't spell it with a 'G'."


"Man, the Gypsies, Romas and their nomadic brethren have been getting a bum deal for thousands of years and you're just adding to their greivances with Western Civilisation with your thoughtless perpetuation of racial stereotype. You call yourself a liberal? You ought to be ashamed."


"Hey look buddy if I was American and enfranchised I'd vote Obama. I'm liberal with a capital 'L'."


"Not if you're spouting B.S. like that."


"Can't we change the subject or something? I like Mountain Dew and Seinfeld.....Who's excited about Star Trek XI?"




Needless to say no one was excited by the next Star Trek picture. I'm still not sure if it was totally fair that I got called up on this. Maybe I got jipped. Or Gypped.



Alex B.

Tuesday, 16 September 2008

Found Dialogue: MSN Rant


Ok, first a little background. I was poking around in my memory stick the other day for some half-baked writing ideas and came across this. It dates from last year, about a month after a particularly painful breakup in which the two parties involved mercifully ended up on different continents. The healing process was well underway until this Scottish guy starts getting all up in my grill; first by convincing my ex to sign into my Hotmail (she knew my password) so she could use innocuous emails from female friends to accuse me of sleeping with other girls and then by signing into her messenger account himself. I've kept it verbatim except for changing her sign-in name to protect the guilty. I'm not sure why I kept it at all, but I guess it seemed funny even at the time.



Now You Die Thriddle Fool says:hey?

Jasmin says:who is this

Now You Die Thriddle Fool says:guess?

Jasmin says:this is Jasmins current, and id like to know why you keep soliciting her against her wishes

Jasmin says:we live together and i know whats up

Jasmin says:not thatits your business

Now You Die Thriddle Fool says:whatever you say buddy boy

Jasmin says:what ever insults youd like to volley my way

Jasmin says:buddy boy

Jasmin says:you wanna be my buddy

Jasmin says:i suggest you concentrate on your attempt at a career path and leave her to me

Jasmin says:riddle her with guilt all you want

Now You Die Thriddle Fool says:this is all very amusing im sure but i have better things to do

Jasmin says:but it wont work

Jasmin says:really

Jasmin says:i could have sworn youre a malingering post grad oblamov

Jasmin says:but ill leave you to it

Jasmin says:if you got sth better to do what are you doing attempting to pull an ex

Now You Die Thriddle Fool says:who said i was doing that?

Jasmin says:dont gimme that, i know what happend when she was home for grad

Now You Die Thriddle Fool says:you really have no idea what your talking about, and i f were you id stop worrying about a non exisent risk in another country and get on with it.

Jasmin says:right and im sure your face book mssg wherein you subtly imply ur pulling some spanish chick was pure randomness

Jasmin says:exes are always a threat specially ones who treat their gfs like shit

Jasmin says:and who try to convice to dump their current

Now You Die Thriddle Fool says:why you are even reading Jaz's stuff i have no idea, and you seem to be the one who has trouble treating people with respect.

Jasmin says:so u dont deny u tried to pull her then at home and have her dump me

Jasmin says:she must be lying

Jasmin says:treating with respect, fuck do you know bout me

Jasmin says:i know bout you

Jasmin says:full stop

Jasmin says:i have access to all her mssgs , including the text wherein you offer a free b and b

Now You Die Thriddle Fool says:id didnt ry anything with Jaz, and you dont know anything about me you paranoid jerk. i really have got stuff to do so i would appreciate it you signed out of the msn account that isnt yours and left me alone.

Jasmin says:ah no think ill stay online. fuck u get the nerve to tell me .. if you got stuff to do i suggest doing it though strongly doubt it.,. just remember im not a one of your fucking buddies and im keeping my ears and eyes open.

Now You Die Thriddle Fool says:oh im scared, really scared. mr fancy pants thinks he can cross channel threaten

Jasmin says:thats cute, well how bout i head to swindonw

Now You Die Thriddle Fool says:bring it on fuckwad

Jasmin says:think ill drop by to Jaz's mums for xmas and stop by

Jasmin says:haha

Jasmin says:thats cute

Jasmin says:wonder why im fucking her and you arent

Jasmin says:so u got shit to do dont you?

Now You Die Thriddle Fool says:thats real choice, such a nice way to speak about your 'current'

Jasmin says:lets not mince words, if you gave two fucks about her why would she have left you. go write a dissertation on womens rights

Now You Die Thriddle Fool says:dont worry the way you are treating her it'll happen

Jasmin says:reason i dont like what ur up to is i care about her and love her i wont let u fuck up her head anymore

Jasmin says:not that shes that dumb

Jasmin says:u did a real number on hr i have to say

Jasmin says:anyway this is becoming less intersting so good luck with ur career in japan?, rome or what was it?

Jasmin says:oh yeah with your buddies down the bus shelter

Jasmin says:its ok

Jasmin says:i hear hanabi is ur favourite flick

Jasmin says:remember what the cop does?

Jasmin says:take his example

Now You Die Thriddle Fool says:futures dicknose

Jasmin says:fuck do i care

Jasmin says:anyway

Jasmin says:u know





My favourite bit, I think, is when he realises that his chances of causing me bodily harm from another country are so slim he attempts to use my love of the film 'Hana-bi' to convince me to commit suicide. He wasn't right about it being my favourite film by the way. It's not even my favourite Takeshi Kitano movie.

So a couple of days after this I started getting calls from the guy while I was at work threatening me even further. Jeez, I get the picture already...buddy?

Alex B.

Sunday, 7 September 2008

First in a series of short stories from guest writers:

Sylvia
(By Norman Plum)

Many years ago, not more than four but certainly less than seven, a series of poorly managed business affairs had convinced me to bury my light in the northern English town of Crewe for a short spell. This may seem a peculiarly random and unlikely choice for a man of my Ulster climes but the nature of the conclusion of aforesaid business engagements and the characters of the second and third parties involved made random and unlikely particularly appealing. The exact nature of the entanglements I cannot divulge here for reasons of legality and simple good taste, enough to say that my intentions were divergent from my desires on that occasion and my grammatical grandeur may have led to a misunderstanding of mutuality twixt myself and the baser elements of the Belfast black market economy. Be not concerned with this past however as it has no bearing on my tale of the heart, save only for impetus of direction.
I had taken up residence in a bijou studio bed-sit sited within a two up two down Georgian terrace sundered into eight self contained domiciles, perfectly suited to my needs of anonymity and adequately provided for monetarily by means of night shift employ within a twenty four hour petrol station. The hours were an excellent fit for a man of my vicarious lifestyle choices, having always been considered quite the night owl eleven pm to six am fitted my waking hours succintly, and the nocturnal nature of the shifts prevented me from making my habitual splash amidst the small hours nightlife of Crewe and encouraging news of my presence to spread.
I could not however bring myself to lead a completely monastic life and became quite the regular at a local gentleman’s venue in the company of the third finest troupe of ladies of negotiable clothing the town had to offer, the cocktail bar providing refreshment to my sober mind and the girls up on stage proffering enough happy memories for pleasant preponderance whenever a five minute let up in my late night labours would allow. As a place to spend in limbo Crewe was certainly bearable.
As my countenance became familiar at ‘Madame Creamy’s’ I came to be on first name terms with the lavatory attendant, a veritable prince among men called Kwame. It was through Kwame that I sourced information concerning the pecuniary methods by which the temporary affections of Sylvia could be acquired. Sylvia was a dancer on Monday nights, Tuesday afternoon’s, and a glass washer on Wednesdays, Thursdays, and Sundays. On the busy Friday and Saturday nights she wasn’t allowed on the premises due to an unfeeling aesthetic prejudice towards her glass eye and eczema. Strippers can be a cruel breed. Suitably knowledged I approached the lass and enquired to ascertain her interest in a dalliance.
With her good eye she looked me up and down while her glassy peeper held my smouldering amorous gaze with impassive haught. She bit gently on her lower lip and her working eye fired alight as it came to rest upon my crotch. I was much relieved that I had had within myself the presence of forethought to position mine own wallet so as to exaggerate the stature of my solitary corduroy bulge. Possibly aroused (Her glass eye betrayed nothing and the eczema at the corners of her mouth denied the portraiture of sensuality in a smile) she acquiesced in sexily aloof fashion fan-fared by a low snarled grunt of husky native northwestern angleterre tones.
There were caveats however, as any prudent young lady should impose upon a new suitor. The time and place of the rendezvous would be of her choosing, being a lady of a dense and hectic social schedule a time had to be found when I could fit into her needs so she could take care of mine. She decided that she would meet with me at six thirty on the morning of the Thursday of that week at the petrol station when my shift was finished, being as how she finished ajaxing the poles at ‘Creamy’s’ around six this time most opportunely slotted into her schedule. Thence a taxi to chez moi and forty five minutes of hot passion, no more because she had to meet a postman at quarter past eight and had a doctors appointment at half nine.
I endeavoured to haggle the time reasoning that any mail she needed to collect could wait on the doormat, or in case of a bulky package or a recorded delivery could be collected at the mail depot at a more convenient time. At any rate an hour and fifteen minutes seemed a rather excessive amount of time for any lady of letters to expend upon the simple collection of correspondence. She was a brass tacks kind of girl however and promptly reminded me exactly who the professional was and exactly where my business and my nose lay, indeed she grew quite agitated and it took all my wiles and charm to convince her that I was not in the pay of the local constabulary; or as she assumed to ascertain from the manner of my speech… a poof… or as she put it ‘a fuckin’ scuffer or a bumboy are ya?’
My heterosexuality and depravity assured the only remaining issues to be discussed were that of cost and payment, forty pounds sterling for the work to be done and the expense of the taxi fares were to be borne by myself, we agreed that an amount to the tune of fifteen pounds should suffice, but more interestingly my little rented minx suggested a rather alluring sweetener. For the price of twenty-five pounds half a gram of nefarious white powder could be procured to aid the fumbling proceedings. At this my heart leapt and I immediately gained a stronger sense of kinship with this woman, her face locked expressionless by eczema clearly concealed many mysteries. I must take this chance to explain that a man of my keen and active intellect can find the sedateness of sobriety a trifle cloying, and while narcotic stimulation may be regarded as unhealthy voluntary lunacy in some of the more unenlightened and repressed quarters of society I must confess that I find the emotional lubrication of such intoxicants quite exhilarating. Indeed I do not feel I should be able to call myself even half the man I am today without the learned awareness of my more bestial nature. To look upon my countenance you would surely agree, though unfortunately I must deny you knowledge of my current localities, again for reasons of taste, decency, and investigation pending, but please take my word for my character as golden. However, I digress.
The tryst was set and the concord secured with currency of eighty pounds up front. I proffered my hand across the steaming glass washer and having agreed to all caveats and sub clauses with deposit of monies (showing a standard of trust any young gallant should show a young lady, although ‘young’ is a generous term as Sylvia was most likely between thirty and forty-five, her skin condition made ascertaining her age rather difficult.) we agreed to meet. She spasmed the left side of her face in a process that looked not without discomfort, it may have been a mild stroke but I like to think she was coyly endeavouring to wink her glass eye.

The time the two days took to elapse felt like an eternity to my yearning groin and the wee small night hours drudged past turgidly as I toiled in the petrol station, my mind a mile away from charcoal briquettes and microwaveable burgers. Finally, at long last my labours were relieved at six a.m and I only had to wait in the icy Crewe morn for my Sylvia and the fulfilment of my desires. At ten to seven she duly arrived, resplendent in tight lycra and caked, smeared, lipstick. With haste we adjourned to my lodgings, and I emphasise the haste as her tardiness was to be deducted from my time with her. She really did have to see that postman.
Now to aid your understanding of events to come I should furnish upon you a description of my bijou studio bed-sit as it’s condition was crucial to what was to unfold. Being quite the man about town I was rarely in residence, and when I was it would be chiefly in an unconscious and supine state. The meagre furnishings were a single bed, a kettle, a toasted sandwich maker, and a chair for said appliances to sit on, essentially serving as a kitchen. Due to this culinary arrangement and my financial inability to employ a maid the carpet beneath was a veritable smorgasbord of breadcrumbs, sugar, melted cheese, and instant coffee granules. Unbeknownst to myself this hygienic neglect had attracted verminous mice that had taken up a squatters residence in my abode, they came for the cheese but stayed for the coffee. The presence of these unwanted neighbours had never come to my attention vis a vis my regularity of unconsciousness, inebriation and slight use of my dwelling space.
Sylvia was quickly alert to the timorous wee beasties existence however. On opening the door her nose wrinkled emphatically, ‘Urrgh, mings of fuckin’ shite in ‘ere.’ She promptly informed me. This was news to me as I can only suspect my thirty a day Dunhill habit had rendered my olfactory senses immune to the aroma of excrement. I can only assume that the loss of half her sight and rash impaired sense of touch had enhanced her sense of smell to compensate. I assured her that the shit was not my own, being of exemplary toilet habits were solids were concerned, and that I was totally at a loss as to how such a filth could have transpired within my residence. This cut no ice with Sylvia who recognising the rodential infestation insisted a refusal to divest her clothing in ‘this pit’ lest she contract some disease. I pointed out to the lady that with her already rampant collection of skin complaints it was highly unlikely that she could catch a worser affliction at which point she kicked me in the bollocks and smacked me in the face. The punch to the head was excruciating since her fist was heavily weighted with many sovereign rings, I must also mention that this was a well rehearsed right hook and it tore a bloody gash across my right eyebrow. To this day I still sort a scar in that place in the shape of the badge of Crewe Alexandria football club branded from a gold plated band she wore in partisanship. While incapacitated she purloined my kettle and sandwich maker then absconded, presumably to meet that postman.
Believe it or not dear reader I was feeling very disappointed at this turn of events, quite low indeed. The kick in the happy sacks had put paid to any idea of lovemaking, even to myself, and I rued my misplaced trust in a Monday night stripper without first getting references. Achingly and slowly I hauled myself to sitting position on my now vacant chair and took stock of my situation. I fortuitously had roughly half a bottle of Serbian cognac left over from a previous nights revel and after locating it in my laundry pile cum wardrobe fond it still roughly half full. I raised the comforting elixir to my lips and began my ruminations. The cocaine I had prudently acquired from Sylvie on our meeting, being rather eager to feel the security of possession of said substance and wasted no time in ingesting the lot. It was a nowhere near the weight of half a gram and I can only assume a generous helping had been the fuel to fire my concubines fists. The blood in my eyes was proof enough of its potency.
Almost instantly liquor and chemicals flared rage at my mistreatment. Once again my attempts at happiness had been foiled by someone else’s crap. It was like that botched horse theft in Dungannon all over again, all my careful scheming ruined by idiot accomplices and the telltale smell of shit once more, whatever possessed that mushroom addled wanker Cairan to muck that stallion out into domestic bins for the council rubbish collectors to find I’ll never know. I only planned to keep it in his mum’s house for a day, who could have thought a horse could shit that much in twenty four hours, it wasn’t even as if we’d been feeding the thing. However I digress once more and let slip more than I should. The booze and drugs offered not the solace I had hoped for, having planned of course to share the feast. Debauchery for one is a flavourless meal.
What had done this to me? Why had I been brought to this nadir? Whose fault was it? Not my own doing surely? I sought answers in another caustic slug of rum and the coke numbed my tongue so my brain had silence to analyse. Of course I was not to blame, the architecture of the scheme had been flawless arranged and secured by the profits of my unusually honest toil. Could Sylvia be possibly the one in the wrong? Certainly she could not escape the taint of culpability, the manifestation of her displeasure in violent form was most unladylike, but then was not the reason of her vexation not entirely ladylike and proper? How could I blame a creature for so correctly comporting herself in the daintiness of her sex and refusing to roll in excrement with me? Although a refund would have been nice, at least thirty pounds would have done as saw no problem with her keeping ten for her trouble. Clearly it was the shit that was to blame and therefore the mice by direct association. Everything had gone entirely to plan until her discovery of the vermin’s droppings. Yes, that was the culprit, the mice, the very same fucking mice that even now I daresay hid in my bijou studio bed-sit mocking my despair though they had grown fat on the crumbs of my existence and the generosity of my presence.
‘The fuckers!’ I cried and rose swiftly from my kitchen throne in righteous anger. I kicked apart my laundry pile which I assumed to be the most comfortable space for them to dwell, but there they were not, the drawers I wrenched from the sideboard and flung upon the floor screaming all the curses of heaven and hell to fall upon their evil, furry, little heads. I bellowed assurances of their slow destruction and that their very hearts and brains I would take from them and lay at my ladies feet for the insult they made to her. The covers I tore from the duvet and pillows and let them fall, the bed I upended and dived to the ground where it had stood, there I made search along the walls for sign of entry or possibly a telltale trail of cheese, crumbs, and coffee, but aside from shit there was nothing to find. Temporarily beaten back I made myself as comfortable as possible on the pile of shattered debris that made up the whole record of my existence in Crewe. Torn newspapers unrecycled documented the dates and events of the world elsewhere, a chronology that mocked the meagreness of my experience. Looking around me I saw no mice to conquer, my enemy had vanquished me before I even knew the fight was on, my rage had achieved nought but my own destruction.
Another slug of rum from the bottle I had prudently stored in the corner so as to protect it from my rampage restored a modicum of clarity (also I assume the initial rush from the cocaine was wearing off true to the drugs famously ephemeral quality). Looking at my bed I could see that I had snapped the frame, also certain legal ramifications of obligations of short term rented tenancy were beginning to dawn on me. The time to leave Crewe had clearly arrived; I had gained nothing from my stay save shredded maelstrom of worthless possessions and a pile of mouse shit. In fact I mused that I had also lost two hundred and fifty pounds as I saw no hope of ever reclaiming my deposit back from Mr Sharma the landlord. The foreign voiced thundering from next door also promised the imminent arrival of the local constabulary, which while I won’t enter into details was not advisable for a man of my well documented history.
Taking all that was worth saving, the rum and the fags and the coke in my nose, I absconded with haste still attired in the uniform of a Maxoil petrol station employee. A badge of allegiance now woefully inappropriate as I would never again re-enter their premises, possibly maybe for scotch eggs and pornography but certainly not for work as I could be certain the boys in blue would certainly attempt to locate me there and this I could not allow. I proceeded to the bus station and embarked on an unusually random direction once more changing my attire and name on my way, as was my custom. Norman Plum is a nom de plume after all.

I never saw or heard of Sylvia again but I’d like to think she remembers me fondly every time she has a toast sandwich.

Saturday, 23 August 2008

SucSLINcT

Recently all my discussion on cinema with friends and randoms has shifted towards achieving simple answer to simple questions. For example, what is Cinema? Is it what Godard would like us to think, truth twenty four times a second? Or is Haneke’s opposing musing that film is twenty four lies a second to be believed? What is the future of Cinema? Is it going to become blander or more diverse? However, the question that I’ve found most intriguing has been where does film (or movies, cinema, the picture etc) exist? There seem to be many answers to this (on the screen, inside the viewer’s mind, somewhere in between…) but consider one that came from a woman from Liverpool eating a chip and chilli butty on the number 29 night bus: “inside the cinema” was her swift response, adding “y’know the buiding like” (the addition clearly for my benefit so I would understand that it was a joke). Before you think I’m about to slag off the northerners, I feel she has got something here. Plus she let me have a bite of said butty which was surprisingly rich in flavour.
I know with her answer she wasn’t trying to suggest that film is a self referencing art form with its centre residing in a kaleidoscope of Echer style drawings; she was proudly stating the obvious. And sometimes, as Sid Field would surely agree, the simplest and most obvious solution is the correct solution.Yet I’d like to think that “inside the cinema” could mean more than just an attempt at wit though and if you can be bothered to read on I will present some lukewarm analysis coupled with some amateur comedy and a hint of plagiarism along these very lines.

Actually fuck it, she’s right. Films exist in the cinema (or zavvi). Now, if only I could find those god damn tweezers!

Ben New

Friday, 22 August 2008

Mark David Chapman Was Nothing But A Patsy For The C.I.A And Jesus.






Chapter 27 and The Killing of John Lennon would never have gotten made if this man had any chance of parole. However, of the same token neither would they have gotten made if the American justice system wasn't so open to giving killers access to the media, for these movies share as their basis in 'fact' the many interviews granted by Chapman, beginning in '87, as well as the same eyewitness accounts of the assassination. It shows. Certain scenes are done verbatim to the point at which you find yourself wondering if it is the same actor playing that photographer, that doorman, that bystander.
However, there is no possibility of confusing the lead actors for the same man. Jared Leto and his stomach could never be mistaken for Jonas Ball's slimmed down Chapman; nor could either be confused for Mark David Chapman himself. Leto may have enjoyed his couple or three months Zellwegger-to-Bridget-Jonesifying, but it was for little merit. Maybe this reviewer has simply seen too many My So Called Life bootlegged dvds but the transformation wasn't complete. Granted, Leto may have benefitted from being in a better-funded picture, and being closer to the correct poundage, but there was little to differentiate the performances. The needless addition of Lindsay Lohan to Chapter 27 makes the decision (as if there needs to be one made) between the two movies even more difficult. Take it from me that your time would be better spent watching any of the actual Beatles movies than any of the examples of this new sympathy for a criminal/psycho genre. I even found Monster a bit morally objectionable, especially after such a good documentary had already been made about Eileen Wuornos' spree and subsequent plight. Hollywood has always loved violence, and in the last couple of decades it turns out it also loves a killer.
Alex B.

Part One of an Occasional Series: Things to be Written on One's Tombstone.

"Dear World. I am leaving because I am bored. I feel I have lived long enough. I am leaving you with your worries in this sweet cesspool. Good luck."
(from George Sanders' suicide note)

"Nobody ever asked me to judge a fuckin' bikini contest..."
(Stevie Glasser-the old guy from ' Porn: A Family Business')

Alex B.

Thursday, 14 August 2008

Generational Dislocation, The Sequel

Ever wanted to read the work of a guy trying really hard to say sorry, failing, then just trying to justify some shit and ending up with an act of imperfect contrition? Well, treat yourselves;

"Waking up with a horrible thought which is then quickly realised to be true by your surroundings evokes in people different reactions. Mine was to run (not without stealing a bag of Hula Hoops). Where to run?
Out on the street I walk what I thought westwards heading nowhere in particular. For some reason (maybe it was for sentimental reason, maybe it was out of convenience or maybe because in this post Spurlock world I new the balance of E numbers, salt and sugar would give that giddy buzz to numb my inquisitive head) I marched, against my usual better judgement, in to McDonalds. It was the breakfast rush and I had plenty of time to eye up a sausage and egg McMuffun. In the reflective green interiors I realised how crumby I looked concluding that my answer to the ‘is this to take away?’ question would be a resounding yes as I needed to act fast and find refuge away from here.
Unsurprisingly, the thought of the cinema reared its head. It seemed logical to me (in retrospect it seemed logical in the filmic sense of my life. I wanted to become one of those peasants from Cinema Paradiso or feel as isolated as Anna Karina from Vivre sa Vie. I was looking at myself through the fictional eyes of a fictional director. Life however is not a film) so theatre land was the chosen spot, forgetting it was the fucking morning.
On arrival, even after the discovery of time, I though what do theses gigantic buildings have to offer me? I had a drunk super hero (which my mind thought was some knowing referential joke), A dark night (wait is there a theme going on?), the love guru (you’re shitting me) and Wall-e (bom fucking bom). The titles alone seemed to be reminding me of my actions, the exact opposite of the very purpose of coming here. Even during this time of confusion, I found myself laughing at Tom Cruise’s small handprint in a pavement slab; it was smaller than Meryl Streep’s. Oh, I was still drunk. I bought a paper and some water and headed home on the tube.
I read the sport pages. I didn’t want any stories that contained anything that would remind me of what I had done. I learnt we had won the final test against the Kiwis, I saw that that little 10 year old diver had fucked it in the Olympics and I read the usual guff about Ronaldo’s future at Man United. It was working! My mind was elsewhere. Yet at the back of my head, I was all knowing, I was merely super imposing these words and thoughts over more pressing matters. I was going over decisions I had made and asking why I hadn’t just gone home last night?
So then why? Sleep seemed to veto the conclusion of this answer, even though I knew the full force of the hangover was at the other end of my slumber.
I woke up to my phone ringing, I began a discussion about keys being handed over plus I was asked what I had got up to the previous night. I spoke in a nursery rhyme almost, was I trying to lighten the situation? Yes, trying to trivialise it. I heard the voice on the other end reply with my name in a slow manner. It filled me with fear. I got up and decided I needed to do something, something creative (whatever that means). I tried my video cameras but they were both still broken. I didn’t feel right about playing guitar and when I tried to write my thoughts returned to why. I saw my stills camera and I began taking photos. The flash would go off (as they always seemed to do when they are set to auto mode no matter how light it is) and each time it was blinding me slightly, I continued to take more and more photos. It kept me concentrating on the immediate moment of the frame in view, nothing else existed. I continued to snap and walk around my place taking pictures for the sake of taking pictures, to be doing something.
Eventually the battery wore out and charging it would take time. I was again left with ‘why’ going around my head. A sentence was forming: ‘why did you fuck over your friend’? Parts of me would defensively jump to my aid suggesting paper thin arguments justifying my actions. Other parts seemed to be triggering some spastic safety mechanism to laugh, but the majority of the time I felt stupid and despised.
The rest of the day I spent taking picture after picture, creating a photographic path around my house and surrounding area and (when charging the battery) watching extreme French cinema (this seemed to numb my senses as much as the photos did; the shocking tone more than the actual images). Unavoidably I was going to be alone with my thoughts before sleep, something even the great Kundera was unable to stave off.
Why then? I can only conclude that it obviously wasn’t my intention but I was overcome by a feeling of vertigo that I wasn’t strong enough to fight, wasn’t conscious enough to fight and wasn’t noble enough to fight. I took the easy route (do I think like electricity?) to appease those inner temptations and sidelined everything else. In short an asshole.
I finally made contact with whom I needed to apologise the next day. How I had ranted about the over use of text messages (and other forms of digital announcements), their ability to un-romanticise relationships and generally saturated communication. Yet, how quickly did they come to my aid and be my first thought.

Thanks for your reply."

P.S. Ben New is still loved and still loves all you ladies (the motherfucker).

Wednesday, 13 August 2008

Generational Dislocation


You know how your getting old? It's when you finally realise girls aren't complicated, they're just fucked up. It's when you realise your best friend is going to fuck the girl you had your eye on and were playing it cool with in the bed you were supposed to be sleeping in, leaving you with nothing but ball-ache and a long taxi ride across town. It's when you find yourself stood outside the 'hippest' club in town chaining off rollies thinking you'd rather be at home alone watching Peepshow on a laptop on your chest. It's the same thing that drives the DJ's inside the club to program Italo-Disco nights; their need for musical anachronism (claimed as somehow new) is fuelled by the same sense of dissatisfaction and contempt for contemporaries and contemporaniety. This sense of mid-twenties generational dislocation is to be differentiated from what makes teenagers potentially creative, or at least interesting subjects for Larry Clark movies. It doesn't drive kids to angst-ridden statementally heroic acts of genius/idiocy. It's what drives people in their twenties to spend whole mornings self-satisfiedly engaged in Blue Peter style acts of 'creativity' in order to don costumes every other weekend just so that they can bosh gurners guilt-free and dance to 80's 12 inch remixes from an era just too early and feel safe in the knowledge that it's ok to do that stuff if you don't really mean it. To be irony-clad is to be out of one's time. I guess as you get even older the feeling morphs into 'real' nostalgia as opposed to nostalgia for something you couldn't even legitimately pretend to have witnessed. Boomer's buy 10 cd Grateful Dead comps, this gen buys into sub-par Batman remakes and movies about toys they remember their older brothers had but they were too small to play with. It's the same feeling that drives kids like me to write these kind of State of the Union Addresses and think that anyone gives a shit.

Occasionally though some bastard does something so beautiful, even if it does contain a certain amount of irony and anachronism, it gives you hope for not only for Art after the triumph of postmodernity but for humanity itself. http://www.myspace.com/sweetbreadsounds

Sunday, 10 August 2008

Some Stuff You Might Like to Gaspar Noe

His latest film (still in post production) Enter the Void is due out early 2009 and I, along with many fans, am eagerly awaiting this like a bunch of vigilantes waiting for an excuse to take the law in to their own hands. One of the reasons for this anticipation is Noe’s own words in an interview stating his ambition with this project in regards to film history, “enter the void will try to improve upon its predecessors and accompany the hero just as much in his normal state of awareness as in his altered states: the state of alertness, the stream of consciousness, memories, dreams ...”. Although this idea in film isn’t new, Noe suggests he wants to push the boundaries of cinematic language, create “the Magic Mountain which I, as a spectator, dream of riding on”. This is exciting news considering this is the man that produced the most shocking film of the first decade of the 21st century in Irreversible and the superb dark drama debut I Stand Alone (a film which led some critics to call him “some sort of genius”). I thought this an apt time as any to give some thoughts (mainly in respect towards the editing) on his previous works.
I was introduced to this director through watching Irreversible late night, alone a year or so after its (very limited) cinematic release. I had read bits and pieces about it being a very graphically depicted story but I wasn’t prepared for the sense of terror and blunt object to face style visuals. The next day I still felt the film’s affect on me, something which hadn’t happened since the days when my main income was some imaginary tooth merchant. Images would appear in my mind, the emotion of the film would manifest inside me, it really had restored the power of cinema in my eyes. On repeat viewings I began to realise the level of skill in terms of production and acting that was on show here. The use of digital editing is arguable the films biggest achievement. Nearly every single frame has been manipulated in some way, yet the film still looks and feels organic. The entire picture consists of six single takes which have been stitched together with some impressive hidden edits and bravado camera work (a lot of which Noe filmed himself) to create a film that feels instantly modern but not gimmicky. It also allowed Noe to ‘direct after shoot’ as the frame can be digitally moved to create new shots (the majority was filmed in super 16mm, giving a large area to crop and adjust in the edit). You really have to see how the camera zips from inside an apartment building to outside a night club in one seamless movement or how the camera moves in and out of a moving car during a frenetic taxi ride to understand.
It has been criticised for its ultra violent depictions, something the film is more than notorious for but I believe its lasting impressions come from the talented acting, which breathes real life in to the images conveying real emotion. I was even more impressed when I learnt it was largely improvised and shot within three weeks. It must be Monica Bellucci’s finest (if horrific) performance as the ill-fated Alex. Cassel and Depontel both give great turns as current and former lover of Alex depicting the different sides of the male condition.
It is very much a male film that taps deep into ones inner desires and fears; man’s right to seek revenge, man’s want for revenge? It’s a powerful cinematic experience that should be undertaken with caution as Noe gives you a skilfully crafted visceral dose of fear.
He also manages to squeeze in a scene at the beginning with ‘The Butcher’ (Phillippe Nahon) from his first film I Stand Alone, which impressively links the two worlds of his two features together, also resolving the open ending from that film in the process.
I naturally sought out this film which wasn’t available in the UK but, thanks to ebay, picked up a DVD copy distributed by Strand (a smudgy print I have to add) and watched it as soon as it dropped through my letter box. It definitely feels a more sedated work (maybe the fact that slow infrequent budget injections slowed the films production forcing a more regimented work flow) but still has the feel of Irreversible, that feeling of a real filmmaker at work and ultimately I believe a more complete picture.
It tells the story of an unnamed middle aged former butcher who (after a brief stint in prison) has begun to give up on life. He only sees things at the most cynical and primeval level and Noe forces us to see the world through these eyes. A subtle but powerful performance by Nahon brings this character and world to life as we head towards the climax of the film which is signposted by inter-titles giving you 30 seconds to leave the cinema or turn off your DVD player.
Again the editing is outstanding. A recurring editing theme deployed throughout is what I refer to as ‘bang cuts’ which resemble rapid, frame jumping cuts with camera movement accompanied by loud gunshot sounding audio. These type of edits aggressively punctuate the film, reminding you of cinema’s constructed nature and reflect the brutal thought process of our (anti) hero (He also audaciously uses one for an ellipsis in time).
A more subtle use of editing is also on display here which demonstrates Noe’s grammatical flair. For example, near the beginning of the film we move from a night time interior of a bedroom to the daytime interior of a butcher’s shop. Instead of a fade or dissolve, Noe uses an inter cut sequence of 4 images (both the spiked corners of the butcher’s shop interior, a close up of the Protagonists’ face and a mid shot of him and the other characters inside the shop) to move us between the two settings and give graphical representation of the protagonists’ inner feelings. It’s the filmic version of a brilliant writer who seamlessly links two paragraphs, something (unlike my co-blogger Abe) I could obviously improve on!
It wasn’t surprising to read that some critics had drawn comparisons with I stand Alone and Taxi Driver. Both films force us to view the worlds through cynical and sometimes evil eyes. I feel I Stand Alone however, dares to show you more, dares to probe deeper. It shows us a decaying world where all colour of life have been saturated so much that “entering the void”, as the butcher puts it, becomes a viable option.
The filmic life of the butcher doesn’t finish with I Stand Alone, his first outing was in Noe’s short (well medium) film Carne. Made before I Stand Alone, it depicts his earlier life and the incident that led to his imprisonment. Shot in near identical fashion, Noe’s superb attention to dramatic tension and brutal cinematic techniques are on clear display. The red and brown colour palate of these films are in complete contrast to Noe’s other collaborative short feature La Bouche de Jean-Pierre. Tackling the issue of paedophilia, it is obvious to glean that Noe isn’t afraid to take on difficult subject matter. After an attempted suicide by a middle aged woman leaves her hospital bound, her daughter is taken into care by a friend. The film focuses on the young girl as she deals with the absence of her mother, the advances of the friend’s partner and social isolation. It has an interesting editing style of whip pans and graphic matches coupled with loudly punctuated inter-titles (the latter technique resurfaces in I Stand Alone).
His other work includes numerous music videos (I suggest checking out the inventive video for Arielle’s Si Mince on youtube), the bluntly titled We Fuck Alone which was part of the Districted collection of short films about pornography. A horrifically gruesome but strangely funny short piece Sodimites (worth sitting trough for the rapid editing and roaming camera work), four poetic pieces called Eva 1-4 and films for the French government about safe sex.
So what does he have in store for us in with his new film? For the first time he has a serious budget, an experienced production team (the team that helped produce the Japanese Vengeance trilogy) and time. It certainly won’t be easy viewing but given the choice between easy bland cinema and challenging works of art I think I’m going to give the void a try.

Ben New

Wednesday, 6 August 2008

Some thoughts on La Dolce Vita

Ah Fellini... butt of many (affectionate) jokes, progenitor of what would become many arthouse-cliches. Despite having owned this movie for a long time it's taken enforced near-bedridden status to get around to watching it. I just didn't get along with 8 1/2. By that point I'd seen Last Year in Marienbad, a movie I still regard as the apotheosis of that kind of guys in suits/girls in gowns- films as much about architecture and mise en scene as anything else-picture. As my esteemed colleague Mr New is in the habit of quoting Seneca, I shall refrain. But considering the fact that I'd heard so much about the movie, even seen a lot of it before, in clip or homage-form I was surprised by how much there was to enjoy in this movie. Maybe it was the painkillers, or the fact I'd spoken all of about three words to anyone other than triage nurse all day. Maybe I just identified with the story of a dude struggling to reconcile what (and who) he does for a living with what (and who) he is really interested in doing.
Damn it, the last thing I need is another well-known, prolific European director to have to find some obscure, forgotten masterpiece in order to sound knowledgeable about.

Monday, 4 August 2008

Summer hours wasted

“£12.50, £12.50” My brain logs another complaint, “£12.50” but this time adding “you should have gone to see WALL-E instead”. This slight schizophrenic discussion was all happening on the my bus journey home after watching L' Heure d'été (Summer Hours) at one of London’s over priced art house cinemas. On paper the film looked ok as the assembled cast included Juilette Binoche (possible one of modern cinema’s greatest actresses) and Jérémie Renier (who I thought was outstanding in L’enfant). Also, the director, Olivier Assayas whose prolific genre crossing output has given him more than just an air of respectability, at least in his native country France. Yet the old book and cover cliché couldn’t apply more sweetly than here.
The film is very much a middle class film dealing with middle class issues populated by characters with middle of the road traits. It’s driven along by the decision that is to be made by three middle aged-some-things about what to do with the inheritance left by their recently deceased mother (who we meet at the beginning of the film during a birthday party in her honour. She is shown to be to be getting on a bit by proclaiming the gift of a telephone “too complicated”). Anyway, as the plot unfolds I felt the opposite of what a good film should do; instead of being drawn in I felt less and less a participant. For me this was evidenced towards the end of the film during a dinner scene between two principle cast members who share a joke. The camera lingered over the two of them laughing vigorously and I felt the director was trying to make a point about the devolvement of this couple and the devolvement of the story but what I actually felt was a complete lack of connection with these people. I didn’t care anymore. I didn’t care if they kept the family heirlooms, I didn’t care if that vase is actually worth something and I certainly didn’t care about an unfunny joke! Maybe it was the intention of director Assayas as it has been rumoured that this could be the first in a series. Will this film take on a different form when viewed as a whole alongside the others? You know what? I don’t care. It would take something (to quote Dr. Raymond Stantz) of biblical proportions to retrospectively save this film.
Ultimately the film suffers from what Walter Murch might call a chimpanzee film trying to be a human film. This isn’t implying that it is a silly film trying to be too clever, what I mean (and Murch) is that it doesn’t know what it is. The end result is something of a family drama with little tension, comedy and, most importantly, no sense of empathy for any of the characters.
The film’s only saving graces are it’s eloquent cinematography photographed by Eric Gautier, giving the images a richness that the characters seem unable to match. And one scene where Binoche slowly and subtle demonstrates her sadness for the lose of her mother. But I’ll let you decide whether I thought this was worth the price of admission.

Ben New

Saturday, 2 August 2008

ID4


Ok so this review may be a little tardy, but rating Independence Day on the rebound seems particularly apt since so much of the movie is recycled and rehashed from other sources. A contemporary review of Star Wars described that movie as 'a subliminal history of movies'. ID4 is no Star Wars, though Emmerich did once say Jedi was the template for the pacing of the movie. Star Wars utilized the syntactic and semantic elements of many genres, yet Emmmerich and Devlin restrict themselves to Sci-Fi, specifically 1950s Hollywood Sci-Fi. One could consider the film as a subliminal history of Hollywood B Sci-Fis, but that would credit Emmerich and Devlin with a level of sublety they patently lack (a conviction bourne out by the fact they have been unable to repeat the success of ID4 with the series of semi remakes like 10,000 BC that have ensued). Everything here is smash your head against the wall liminal, even down to the obligatory shot of someone watching an old genre picture on tv that gets shoe horned into every 'knowing' piece of Hollywood output since the seventies-in this case it's The Day the Earth Stood Still, it's like watching a clockwork mechanism inexorably winding down to self-satisfied stasis: Em and Dev cynically ticking boxes narratively and visually on their way to opening weekend cigars and blow-jobs.
Ok, I know shouldn't let myself get riled by Will Smith pictures from the mid-nineties. It's just not cool. But then neither is staying up until 4am watching Will Smith pictures then blogging about them the next day. It's just that Smith had a potential as an actor that perhaps only once since Six Degrees of Separation has he shown any intention of fulfilling: the movie Ali. And what is he doing now? Remaking Charleton Heston B-Sci-Fis (I am Legend), and badly at that. There was a time when Smith looked like he could become the new Sidney Poitier, talented, angry, respected. Now his idea of being cast against type is as a superhero, but get this-this superhero drinks! Smith is perhaps the ultimate in self-satisfied Hollywood dull now, without the crazy Oprah appearances, getting loaded with Vince Vaughn headlines of his peers he doesn't even get enough stick over his dalliance with Scientology. I just can't watch an episode of The Fresh Prince without the words 'WHAT A SHAME' flashing in front of my eyes. Other people have started Save Britney/Lohan campaigns, maybe I should start a Save Will Smith campaign. I don't think just taking down his agent would work. On the strength of his recent appearance on the Colbert Report he's too far gone and is need of drastic remedial attention to rid him of his leading man dependency. He'll do anything as long as he is in the lead role. I call it Wild Wild West syndrome. We/he need(s) an intervention people.
Right I'm off to register getwillsmithandstevecarellinaremakeofseenoevilhearnoevil.com
Alex B.

Thursday, 17 April 2008

Not Great Expectations

I did not see The Da Vinci Code on the big screen. The critics had unanimously concluded that burning in hell would be a more pleasant way to spend an evening. Furthermore, I made absolutely no effort to watch the film when it made its crossover to DVD. What I did not plan on though was my French housemate returning from France with a copy, proclaiming I should give it a try. Not to tarnish our friendship I placed the ‘Le Must En DVD’ labeled disc in my player, dimmed the lights and gave it my full attention. Was I pleasantly surprised? Well, no.

The famous philosopher Lucius Annaeus Senica had mused on the subject of expectation. He stated something along the lines of if one sets their own expectations (in all aspects of your daily life) low, one is more likely to feel happier as ones expectations are more frequently met or exceeded. I thought of this as the opening credits began to roll because my expectation was so incredibly low, the very act of light moving to sound should have been enough for me to proclaim it the most enjoyable film ever. Instead I realised Ron Howard had created something of an anti masterpiece. A film that no matter how bad the reviews or word of mouth is, you will still feel unfairly misinformed.
During the first thirty minutes you just feel embarrassed. Inter cut scenes where we meet the main cast. Firstly, Robert Langdon, played by Tom Hanks as a reprised Josh from BIG except for the ability to solve anagrams at great speeds and to give unbelievably simplistic lectures on symbolism. Then there is Audrey Tautou whose range is tested by the two expressions of concerned and slightly more concerned as the feisty, maybe-has-some-deep-secret, Sophie Neveu. Also Paul Bettany who is (when not talking Hebrew in to his mobile) frolicking about as an albino monk getting up to no good and flagellating himself in that so post Passion of the Christ way.
And so the story unfolds in much the same vain apart from the embarrassment turns to boredom. Laundon and Neveu are on the run trying to solve the murder they’re being wrongly accused for and maybe discovering the deepest secrets of religion along the way. Or something like that, a bit of blu-tac on my wall was getting some glances by this point.
During this journey we also meet the undeterred police captain, Bezu Fache, who gets the standard performance from Jean Reno, Sir Ian McKellen as Sir Leigh Teabing (who comes across as some drunken bond villain) and all the other stock characters that fill any run of the mill thriller. I really didn’t care towards the end; the twist became more sudden and pointless as our protagonists (without the aid of food or sleep) jog over the finish line.
Any avid filmgoer will not be surprised at the revelations revealed during the films closing scenes. I did, however, feel some kind of satisfaction as it all drew to a close; I have seen the worst film of modern times! But I’m with The Guardian’s Peter Bradshaw with this one (and his cryptic penultimate paragraph in his review), ‘Wayne Rooney will be the next Pope long before I watch this film again’.

Ben New

Tuesday, 15 April 2008

Factotum.


On first impression this '05 adaptation of Bukowski's '75 novel is more successful than Tales of Ordinary Madness. It feels more authentically American; the earlier movie suffered from a consciously European art house sensibility (owing to its Italian production team) that not only jarred with domestic audiences at the time but still seems to do a disservice to Bukowski's mythology of the (American) self. Matt Dillon's Bukowski may have the benefit of seeming geographically in place (despite it being another foreign production with an American cast, only this time Norwegian) but is strangely out of his time. Factotum at first appears to be set present day, but one is soon desperately trying to guess the period by the age of the cars; the autmotive furniture in the film places it to now but so much of the Bukowski universe is at odds with contemporaneity, the constant cigarettes even in offices just seems anachronistic. This leads one to believe that this was either a conscious decision for budgetary reasons or some sort of statement is being made about the 'nowness' of Bukowski's writing. Certainly Bukowski's writing is more contemporary than perhaps almost all of the Beat generation writing, but he was never really a part of that crowd to begin with. No, this portait of the artist seems intentionally to wrench Bukowski's alter-ego from his time and place him in ours, for what purpose I am unsure, but the confusion also seems to bleed into the narrative; I for one was surprised by the inclusion of the scene where Chinaski visits his parents as I was working under the assumption that Dillon was playing the part as an age older than his own and this seemed to create yet more conflict in terms of chronology. Well, at least they did a better job than Barfly.
Alex B.