Discover Top Posts Tagged with #karl johnson

Have you seen Close My Eyes (1991)?

Yes

Haven’t even heard of this movie

Voting ended onMar 1

#polls #movies #Close My Eyes #Close My Eyes 1991 #Close My Eyes movie #90s movies #stephen poliakoff #alan rickman #clive owen #saskia reeves #karl johnson #lesley sharp #requested #have you seen this movie poll

The Other Side- Only Connect (1979)

'He taught me it was possible whatever the world said. In 1924, I found out that men could love each other and it was lawful no matter what they called it. When you know that, you don't give up trying to find it. And when you find it, you fight hard to keep it.'

#only connect #tv play #joseph o'conor #sam dale #karl johnson #great play #really liked it

Close My Eyes (1991) Stephen Poliakoff

January 12th 2025

#close my eyes #1991 #stephen poliakoff #saskia reeves #clive owen #alan rickman #karl johnson #lesley sharp #kate gartside #film 4

Lady Chatterley's Lover by D. H. Lawrence

The Chatterley Affair

#Lady Chatterley's Lover #d. h. lawrence #The Chatterley Affair #rafe spall #Louise Delamere #Karl Johnson #Pip Torrens #david tennant

Frankenstein

Frankenstein [trailer]

Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, determines to track down his creator.

The jump from child-like creature to philosophising creature takes a moment to getting used to. But after that it's much more easier to follow. You could even say that the way the play's message gets conveyed is not very subtle. but definitely an interesting watch.

It's really an interesting idea that on different days Cumberbatch and Miller switched roles playing Frankenstein and the Creature.

#Frankenstein #National Theatre #Danny Boyle #Benedict Cumberbatch #Jonny Lee Miller #Naomie Harris #George Harris #Karl Johnson #like #recommended

The Tempest (1979)

Oddly enough, the last time I entered a room full of dancing dudes in sailor outfits, I said “O, brave new world that has such people in’t” too. Except that was at fetish night at CC’s and not going into my own wedding. Derek Jarman takes Shakespeare’s final play and retools it to become a space of unfettered personal expression. Where Prospero is often made out to be the overprotective father who needs to learn to let go, here his relationships to Caliban and Miranda, and theirs to him, instead paint a picture of extreme repression and self-denial. Miranda’s affection for Ferdinand is innocent and yet desiring, her rebuttal of her father a sort of coming of age that suggests no amount of direction or programming can overcome the powerful bonds of attraction. Caliban, here much more human than he is sometimes portrayed, ridicules that man who overthrew the island on which he says he lays claim, preferring debauchery and revelry to endless studiousness and darkened rooms. Prospero’s increasing lack of control over the island is first met with violent tantrums: he even tries to control the very air in the form of Ariel, so comprehensive is his need to wrest might over the intangible. But that doesn’t change the nature of these other island dwellers. Such a journey is not limited to Prospero, though. Various people enter into this space with different capacities for change or receptiveness to what the island truly holds. Ferdinand washes ashore wholly unclothed, born again in a sense and made anew in this space of self-expression. The same cannot be said of his father and retinue, who arrive in the regalia of outside authority figures, dressed as generals and clergymen. Authority proves no master to love and celebration, and even Prospero has to yield the floor to a goddess singing a 1930s torch song. She’s too damn fabulous not to be allowed all the time in the world.

Transporting the island largely to interior spaces anticipating a pastel-hued early Tim Burton mashed up with occult graffiti, the whole of the film becomes something of a Mad Hatter tea party where “normalcy,” whatever that means, is swept away. Caliban and his entourage of drunken ship’s crew bang about a space that looks like the backstage of an ancient playhouse and the central couple in love become ever more floral and florid in their attire. All the same, there is a certain eeriness to the proceedings, especially in the sound design which features the sounds of heavy breathing throughout. This dreamlike, off-kilter quality is summarized by Prospero in the close, reflecting that they are such things as dreams are made on.

THE RULES

SIP

Someone says 'wench'.

A span of time is named.

Ariel appears to Prospero.

Atmospheric breathing in a scene.

BIG DRINK

Ariel disappears into thin air.

Caliban's companions take a drink.