WEIRD ON TOP: SOME LYNCH STUFF

20th October sees the release of two DVDs which will delight David Lynch buffs. First of all, ERASERHEAD which will include an 86 minute interview with Lynch about the making of this film.

THE SHORT FILMS OF DAVID LYNCH is a collection of six films (all introduced by Lynch): SIX MEN GETTING SICK: 1 minute film projected onto sculptured screen. THE ALPHABET: 16mm 4 minutes. THE GRANDMOTHER: 16mm 34 minutes. THE AMPUTEE: Video - 2 versions 5 minutes/4 minutes. THE COWBOY AND THE FRENCHMAN: 35mm 26 minutes.LUMIERE: 35mm 55 seconds using original Lumiere Brothers camera.

ERASERHEAD will retail for around £11.99, while the short films are just under a tenner. Two essential releases. I've yet to see the shorts, and it will be nice to see Lynch's debut feature again with optimum picture quality.

HALLOWEEN HORRORS: THE ST. FRANCISVILLE EXPERIMENT

In THE ST. FRANCISVILLE EXPERIMENT, a quartet of teens must spend the night in a haunted house, armed with video cameras and a collective IQ lower than your average super model's chest measurement. Right from the start, this ill-advised project Blairs to go where other, worthier films have previously trodden: the result is a mixed bag of tricks where participants on both sides of the camera emerge with little credit; at least, for the majority of the 78 minute duration.St. Francisville apes its illustrious predecessor by taking a mock doc approach, where historians and paranormal experts start proceedings by providing background information which, to be fair, succeeds in raising expectations. We learn of a house on Royle Street Louisiana, where the cruel mistress of the property kept one of her servants chained to the kitchen wall. When the servant deliberately set fire to the house, her employer took flight, leaving a subsequent investigation to discover an attic full of tortured slaves, including: a 12 year old boy - still alive - with half his face peeled off, and a man whose castration appeared to be part of a hideous sex change operation. There's enough here to match that memorable list of atrocities from SESSION 9, but this hugely perverse atmosphere soon evaporates when our quartet of ghost busters unpack their cameras and thermal scanners. Tim Thompson (film student), Madison Charap (psychic), Paul Cason (team leader) and Ryan Larson (history student) make up the gang of four who arrive in the house to be greeted by a falling chandelier that almost reduces their number. This staggeringly familiar ruse sets the tone for a dull 60 minutes containing a number of misfired attempts to spook the viewers, make them jump and, if all else fails, beg them to empathise with those poor souls inside the house. So, we get a cat jumping out from a wardrobe; overly-theatrical complaints about being touched by unseen hands; a seance which fails to inspire any feelings of dread or forboding and if you're looking for a gross-out scene, I can only offer you a roach sandwich. All of this arrant nonsense is punctuated by group in-fighting (always a pleasure) and any number of spurious claims, including Charap's declaration that they're dealing with a mentally unstable ghost! Apart from one halfway decent scene ( a chair is seen flying across the attic), there's precious little to keep the eyelids from drooping: that is until our friends decide to split up, with each being assigned a room to 'cleanse'. Here, the film really does begin to catch fire and if you can forgive Larson's ELM ST inspired encounter with a four-poster, you may temporarily forget the aforementioned opening hour and buy in to a dramatic sequence that is guaranteed to get your nerves jangling. Even then, the director seems determined to throw a spanner in the works, switching from a potentially sadistic scenario (think SESSION 9 again) to a speedy and unhindered evacuation that would make any health and safety exec postively blush with pride.High Fliers' DVD release is a bare bones, featureless affair, with picture quality ranging from pin-sharp during bright, exterior shots, to a more appropriately grainy look where conveniently placed cameras compete with hand-held shots to either enhance or stifle any sudden bursts of action.While this production comes over as a rush job, with emphasis placed on getting it down rather than getting it right, those fleeting moments of terror label it as worthy of investigation by horror buffs who have to see everything.

ANOTHER NEW BLOG TO CHECK OUT

Keith has just launched another new blog, titled SUGAR & SPICE. This, his latest project, will focus on a never ending procession of gorgeous women from the 60s and 70s. There will be reviews, pictures, videos and much more, covering movies and music. Another one to install on your favourites list. http://lotsofsugarandspice.blogspot.com/

HALLOWEEN HORRORS: A TRUE STORY

I'd always kept an open mind where ghosts are concerned. From an early age, I've been fascinated by the possibility of some kind of spectral DNA being deposited in the land of the living, by sight, sound or touch. While I'm aware that many reports of supernatural phenomena can be attributed to over active imaginations or fraud, it's none too easy to accept there are no genuine cases. Although some members of my family did encounter what they perceived to be manifestations at my previous home, I could make no such claim and continued to read and view anything with a supernatural theme without joining either camp of doubters or converts. In my late teens, something happened which I still don't really understand but it most definitely made me a little more sympathetic to the possibility of ghosts.
It was August, 1979. I was in London, staying at a small hotel just off the Tottenham Court Road. I'd previously pitched camp at this particular place maybe a dozen nights in total and my impression was that I'd hit the jackpot by finding a clean, comfortable place to stay that was centrally placed in relation to places I needed to visit and competitively priced. On this particular evening, I'd been to a gig at London's Marquee Club and arrived back at the hotel in need of a good nights sleep. While I sometimes got a room overlooking the busy Gower Street (with London buses and cabs providing a cacophony of sound all night long), I was given a room at the back overlooking the infinitely quieter Sussex Gardens on this visit, and soon got to sleep. After a while, I awoke and checked my alarm clock which showed me it was just a few minutes after 2.00am. Turning back to rest my head on the pillow, I was terrified to see a tall figure standing in front of the bed. He was dressed in a top hat, with a white scarf tied around his neck. While the room was pitch black, I could actually make out the features of this man, with his eyes, ears, mouth and sideburns being composed of what I can only term as gold braiding. Upon catching sight of this frightening figure, I stared for a few seconds before diving under the bedclothes where I remained for several minutes, heart pounding. When I resurfaced, the figure had gone, leaving me with a desire to see daybreak and get out into the streets, away from this room. I've stayed at the same hotel on many, many occasions since and have never seen nor sensed anything of a supernatural nature. To this day, I'm unsure if I did see a ghost in the accepted sense of the term, or maybe a recording of someone who once lived there that can be played back under certain conditions. All I know is that I did see something without a shadow of a doubt.

HALLOWEEN HORRORS: HAUNTED DERBYSHIRE

My home county of Derbyshire is awash with supernatural lore, with the nearby city of Derby renowned as being England's most haunted city. The small market town where I live also has ghostly links with some of the families and characters who lived there many years ago, with tales of Roman soldiers who have been seen walking above the ground and the spirit of Lady Cockayne who can be seen on Winter's evenings walking across a large local pond. Cockayne Hall used to stand approx 200 yards from where we currently live, and the Cockayne family owned land here as early as 1372. One of the transepts in the local church contains a tomb dedicated to this family, and while ghostly figures have been reported on the local churchyard, Lady Cockayne has long been associated with the old Grammar School where her restless spirit has been seen on occasions walking the corridors.
You can find posts on the subject of haunted Derbyshire in the Ghosts section of this blog, but there is another local building which I haven't mentioned until now. Tissington Hall is a Jacobean mansion, built in 1609 by Francis Fitzherbert. In 1862, the hall was the scene of a tragic accident when the nightdress of Mina Fitzherbert caught fire. She died from her injuries a short while after. Her ghost has been seen by many members of the family down the years, and residents and guests have also reported the ghost of a man in black in the cellar, unexplained smells of tobacco and lavender, ghostly apparitions in bedroom 4 where people complain of being touched and of the bed moving, the sound of a woman humming, and a figure ascending the staircase only to suddenly disappear. The current owner is Sir Richard Fitzherbert, and October 31st will see the hall playing host to 11 guests who will each pay £75 to spend the night in a special ghost hunt. The evening will include a tour of the hall accompanied by a medium and there will be seances, vigils and paranormal investigations using state-of-the-art equipment. The ghost hunt takes place between 9.00pm - 5.00am and I only hope it becomes an annual event, as I'd love to take part next year.

NEW BLOG IN TOWN

Just learned of a new blog from Keith, who presents the 'Coolness Is Timeless' Blog. http://coolnessistimeless.blogspot.com/
His latest project is 'That Black Magic', which will focus on black entertainers in the world of cinema, television and music. Plenty to write about and plenty for us to enjoy so check it out! http://thatblackmagic.blogspot.com/

HALLOWEEN HORRORS: A TASTE OF FEAR IN WALES

Ok, this isn't an October event but The Abertoir Horror Festival is well worth publicising. From 12th-16th November,the Aberystwyth Arts Centre in Wales will play host to a rather special film fest. Here, over 20 films will be screened, with book signings, music, theatre and special guests joining forces over 5 frantic days.

HELLRAISER fans will want to look out for a special evening with Doug Bradley, who will present 'An Evening With Death'; a journey through horror, using classic works from HP Lovecraft and Edgar Allan Poe. Fans of Goblin will want to attend the concert from Daemonia, with Claudio Simonetti including some of his most famous scores. Just to put you in the mood, there will be a 35mm presentation of SUSPIRIA beforehand. Some great news also for admirers of Gary Sherman's DEATH LINE, as Gary will be bringing a brand new 35mm print of his classic film, together with his latest film 39 for its European premiere. Also look out for HALLOWEEN, MIDNIGHT MEAT TRAIN, WITCHFINDER GENERAL, MACHINE GIRL, a mystery Grindhouse screening and much more!

The festival is in its third year, and looks set to be an out and out success. Click on the link for full details http://www.abertoir.co.uk/ Sadly, we won't be able to attend but hope everyone has a great time.

HALLOWEEN HORRORS: THE SECT

Following an impressive debut (STAGE FRIGHT) and a disappointing second feature (LA CHIESA/THE CHURCH), Michele Soavi enlisted the help of Gianni Ramoli and Dario Argento to construct a screenplay which, taken at face value, reeks of ROSEMARY'S BABY and other celluloid accounts of demonic offspring.Set in 1970, THE SECT makes Frankfurt it's base camp and begins by introducing two characters who will soon enter the life of schoolteacher Miriam Kreisl (Kelly Curtis). Damon (Tomas Arana) arrives at the makeshift abode of a hippie commune and after slaughtering his unwitting hosts, aided by several accomplices, welcomes the arrival of Moebius Kelly (Herbert Lom) who declares, "It is not yet time. Maybe not for years".When Euro stalwart John Morghen ( playing a character named Martin Romero!) figures in a gory, self-inflicted death scene, it's clear that an ancient evil is about to rise from the depths of history, driven by a loyal band of disciples. Kelly's part in the proceedings becomes more influential as the film progresses, gaining entrance to Kreisl's home after a road accident and displaying detailed knowledge of her personal life. Kelly's disturbing behaviour – punctuated by bouts of ill health leading to his disappearance – is beautifully rendered by Lom, and it's no coincidence that events do lose a little momentum during his temporary absence. Happily, Curtis establishes a grip on our senses, unveiling a pitch perfect range of emotions as the terrifying truth slowly emerges.It certainly doesn't seem like more than a decade and a half has passed Soavi's own loyal band of followers were upgrading third-gen bootleg tapes for Guild Home Video's official UK release of THE SECT. Now, those same people, together with a new generation of fans, can finally see Soavi's classic under ideal conditions, via a Region 2 Italian DVD, with optional English subtitles. Here, image quality is usually sharp as a tack, with only a few instances where the picture is a little on the soft side. On DVD, we can better appreciate those gorgeous colour schemes and gain a heightened awareness of some breathtaking camerawork: Argento-esque? Of course, though the work of Kieslowski also springs to mind. Individual performances benefit, too, from the increased image resolution: Lom's already impressive turn certainly grows in stature, while Kelly Curtis seems better than ever, delivering one of the best female lead performances in 90s horror cinema as Miriam is prepared for the ultimate occult desecration. Which takes us back to ROSEMARY'S BABY. Such comparisons are inevitable, but THE SECT reveals other sundry influences and also offers visual and thematic ingenuity which may have inspired more recent filmmakers. Genre buffs will spot acknowledgments to Hooper's TEXAS CHAIN SAW MASSACRE, and Carpenter's HALLOWEEN where Curtis finds herself facing much the same sort of peril as sister Jamie Lee, some 15 years earlier. There's also a delightful tip of the hat to the films producer (sssh, you-know-who) during chapter 16; this time involving a key, rather than a brooch.Comparisons can also be made to a certain Peter Weir film, with Soavi anticipating THE TRUMAN SHOW where the central character is also placed under surveillance from birth and lives a manufactured life. A far more likely connection can be found in the excellent RING, where a close encounter down a well could have been inspired by the evil at the bottom of Soavi's long, vertical tunnel which turns out to be a birthing chamber for the chosen one.Due to its slow pacing, THE SECT may never receive the acclaim it so richly deserves, but a little patience will bring dividends; particularly if invested over multiple viewings where recurrent images and motifs take control over imagination: a white linen shroud that attaches itself to the heads of enemies and briefly covers Miriam's face to reveal the outline of Kelly's visage; dream sequences which prepare us for Miriam's unholy union, even the initially annoying presence of a pet rabbit forges a compelling link, representing not only a symbol of fertility but also reminding us that our four-legged friends have long been regarded as an emissary of the devil.When the wonderful DELLAMORTE DELLAMORE graced our screens, Michele Soavi seemed ready to sweep all before him, doubtless casting an eye towards the throne occupied by Dario Argento. Sadly, a serious family illness placed his career on hold and we can only hope that his re-emergence will lead to a renewal of his great talent.As a considerable triumph of style over substance, THE SECT is nothing less than Michele Soavi's INFERNO. It remains to be seen whether it's the film he'll be remembered for.

HALLOWEEN HORRORS

It's getting very close to that certain time of the year when horror fans really enter into the spirit of this famous festival, with all-night movie marathons taking them beyond the witching hour where the powers of darkness hold sway. I'll be doing my little bit with a series of posts involving films, books and haunted locations.

If, like me, you have a special fondness for John Carpenter's classic HALLOWEEN, head on over to Jeremy Richey's Moon In The Gutter blog where he's already underway on a rather special tribute to this film. http://mooninthegutter.blogspot.com/

Also highly recommended is Jeremy's new blog on Jean Rollin, titled Fascination: The Jean Rollin Experience. http://requiemforjeanrollin.blogspot.com/

MEMENTO: LFF FAVES

With The London Film Festival almost upon us, I thought I'd console myself over not being able to attend by looking at back at some of the highlights from my time at previous fests. The following are ten films that still give me a warm glow of pleasure, and ones that I will forever associate with Odeon West End and The National Film Theatre.

CRASH

David Cronenberg's twisted love story was on the verge of being banned almost up to the morning of its UK premiere. Thankfully, festival organisers stood firm and the screening went ahead, with DC introducing his film and staying on for a Q&A afterwards. One of those magical evenings that stays with you.

THE SHAWSHANK REDEMPTION.

While I don't count myself as one of those who proclaims this to be one of the greatest films ever made, Shawshank still left a considerable impression on me and I've never seen such a reaction to any film at any cinema. The packed auditorium simply stood up and the end, and gave Darabont's film a standing ovation that seemed to go on and on.

SNAKE EYES.

Ferrara's DANGEROUS GAME (as it soon became known) was screened without fanfare or the presence of cast and director. Disappointing maybe, but this absorbing film-within-a-film features sterling work from Keitel and a more-than decent turn from Madonna, with a psychotic James Russo on top form. More than enough to make it one of Abel's best.

ALMOST FAMOUS.

A gala opening film, with onstage appearances from director and cast members. As we couldn't bag Gala tickets, we opted for the repeat screening the following day. No Kate Hudson to be seen, but we didn't altogether mind as this film simply took over our senses and left us with grins as wide as Cheshire cats. Now, where's my Stillwater CD?

EAT DRINK MAN WOMAN.

Ang Lee's deliriously delicious feast of impeccable acting and the finest of, ahem, fine dining. I'd already demolished a pre-film mixed grill at a nearby pub, but half an hour in, those pangs of hunger returned. Gordon Ramsay eat your heart out!

REQUIEM FOR A DREAM.

So, we'd caught Darren Aronofsky's PI and raved about it. When we heard his latest would receive its UK prem at the LFF, applying for tickets was a no brainer. To be honest, we'd read practically nothing about the film prior to the screening, and turned up with no idea what to expect. When Darren introduced the film, his warning that "In an hour and three quarters from now, you are all going to hate me" didn't cause too much concern. Nor did Ellen Burstyn's declaration that "You're going to feel a lot of pain". Phew! By the closing credits, we could barely move a muscle, after this assault on the senses. As we left the cinema, desperately in need of a JD pick-me-up, I spied Aronofsky in the foyer, and decided to 'congratulate' him for reducing me to a nervous wreck with his brilliant and gruelling film. He simply smiled, slapped me on the back and yelled "Live it. Love it. Feel it". With that he was gone, disappearing into the mild London evening.

GOSFORD PARK.

Yet another missed Gala prem, so we again settled for the second screening after missing Robert Altman and cast onstage (why don't some of the cast stick around for the next day repeat?). No matter, this is a wonderful production, bursting with some terrific actors (as was always the case for Altman films) and remains one of my favourite Altman movies. Whenever I think of this film, I remember the late Sir Alan Bates and the many times I was fortunate enough to talk to him. A real gentleman, I miss his cheery greetings and cherish the memories.

KILLING ZOE.

I'm a big fan of Roger Avery's heist movie and, for me, this is one of those films where the law of diminishing returns does not set in. I'll aways remember that closing scene where Stolz tells Delpi about the blood. A truly downbeat ending if ever there was one.

AUTOFOCUS.

We arrived at the cinema to view Larry Clark's KEN PARK, only to be told the screening had been cancelled due to the mother of all rows between Clark and a film exec. Some 20 minutes into Schrader's film, Clark and KP had been forgotten.

I love "Hogan's Heroes" and this tale of the dark and destructive nature of fame - by way of the history of the vidcam - got under my skin in seventeen different ways.

THE FUNERAL.

Another one from Uncle Abel, with a great cast joining forces to make this one of the great mob movies. While the film was -still is- a powerful experience, an interview with Ferrara at the same cinema some 2 days later also remains in my head, with just as much resonance. Here, Ferrara showed clips from half a dozen of his film, including around 50 minutes from the aforementioned mob classic. The reason we almost got a complete re-run was that Abel simply walked offstage and didn't return for the best part of an hour. I heard, months later, that he went off in search of a beer and eventually found a pizza parlour who could legally serve him booze at that time on a Sunday morning. If anyone reading this knows different, let me know.

Just a few of my LFF memories. For me, London has a magic all of its own and my times at the fest are some of the many highlights of my time there.

THE 52ND LONDON FILM FESTIVAL

Wednesday 15th - Saturday 30th October sees The Times BFI 52nd London Film Festival take place, with several venues primed to screen an exciting mix of the best in world cinema. As mentioned previously on this blog, opening night will see the premiere of Peter Morgan's FROST/NIXON, while the closing Gala screening is Danny Boyle's SLUMDOG MILLIONAIRE. As usual, film fans are faced with an embarrassment of riches, including: TYSON, Terence Davies' OF TIME AND THE CITY, Uli Edel's THE BAADER MEINHOF COMPLEX, Steven Soderbergh's CHE (PART 1 & PART 2), Steve McQueen's HUNGER, Oliver Stone's W., Delphine Kreuter's 57000 KM BETWEEN US (a retuning of French bourgeois comedy for the digital age), The Woodster's VICKY CRISTINA BARCELONA, Palme d'Or winner THE CLASS and BRONSON, which is a brutal portrayal of the UK's most violent 'lifer'. The latter is part of the New British Cinema Strand which includes films from Richard Jobson, Mike Figgis, Justin Kerrigan and Pat Holden's AWAYDAYS, based on Kevin Sampson's cult novel. There's also a screening of TELSTAR, which will be a must for Joe Meek buffs and a bunch of restorations including ONCE UPON A TIME IN THE WEST, THE TRESPASSER (Gloria Swanson's first talkie), THE LAST WAGON and COVER GIRL.

Sad to say, our presence at the festival would be financially prohibitive this year ( in other words, we're skint!) but we'll be there in spirit and hope everyone has an enjoyable time.

For full details, check out the festival site http://www.bfi.org.uk/lff/films

MARQUEE MEMORIES

Following on from my blog on The Marquee, I thought I'd do a short piece on the 10 best/most memorable gigs I attended there, in no particular order of merit.

Generation X. 20th July 1977.

As I mentioned previously, Gen X were never favourites of mine, but this was the first gig I took in at The Marquee and was therefore responsible for many future trips to this wonderful London venue.

The Lurkers. 7th November 1979.

It was so foggy when I left home early morning that you would have been hard pressed to hit a cow's arse with a banjo! Things were little better when I arrived at the club early evening after walking down Wardour Street, barely able to see more than one yard in front of me. Not exactly ideal conditions but the prospect of seeing The Lurkers had kept me going throughout the day. I'd seen Howard Wall's boys before, but this was the best gig I'd witnessed from them, with the crowd joining in on all their classic tunes including 2 renditions of 'New Guitar In Town'. For me, The Lurkers were on of the most underrated punk bands, along with The Adverts and ......

Chelsea. 17th October 1978.

My first encounter with Gene October's outfit. Some great tunes amongst their repertoire, and a real shame their light didn't burn a bit brighter in punkdom. If you wanted rabble-rousing songs with high octane energy, these were the boys to go and see.

The Skids. 1st November 1978.

Ah, this one was truly wonderful! I'd later check out The Skids in far bigger venues, but this Marquee gig remains my fondest memory of Richard Jobson's band. The club was packed to the gills and beyond, the atmosphere hot and sweaty as we sung-alonga-Skids, high on booze and the joys of real audience participation. Wish I could have caught them there again.

The Human League. 21st & 22nd July 1979.

The Human League! Back in the days before those two birds joined the band and when their slideshows provided a stimulating backdrop to the music. Those two nights were the most enjoyable I spent at The Marquee, and were made even better by support band Spizz Energi who played a blinder on both evenings. Classics such as 'Clocks Are Big, Machines Are Heavy', '6000 Crazy' and 'Where's Captain Kirk' were all present and correct, making these two gigs pure heaven. They were also the hottest conditions I can recall experiencing there, with the 'Soho Sauna' working overtime in the old weight loss department.

Penetration. 21st August 1978.

One of my favourite punk bands who gave us a scorching debut album, and boasted one of the finest female lead singers of the decade. Anyone who can cover Patti Smith's classic 'Free Money' and draw honourable comparisons with the original deserves our most earnest attention. That's what Pauline Murray drew from audiences,and I'm more than a little ashamed to declare this was the only time I saw them live. Another top-notch gig, with great versions of La Smith's song and their own classic 'Don't Dictate'.

UK Subs.

Unsure of the date for this gig as I caught Charlie Harper's United Kingdom Subversives on many occasions, at various venues country wide. I can recall the gig was in Winter, that the house lights were kept on for the entire evening and leaping onstage to grab Chaz's microphone and bellow out a few lines of one of the encores, which ended with punters jammed together on The Marquee stage. A very rough collection of punks on that particular evening but everyone entered the spirit of things and not a hint of any problems which is how things should be.

The Rezillos. 9th June 1978.

"Everybody's on Top Of The Pops" sang Fay Fife! The Rezillos certainly were and our screens were certainly livened up by their antics. 'Can't Stand The Rezillos' still stands up as a classic album, and their Marquee gig produced hyperactive versions of much-loved songs. A great night, spent exactly how a hot Summers evening should be.

John Cooper Clarke. 4th April 1979.

The punk rock poet with his wickedly humorous accounts of life in our dark satanic mills. Oh to see him do 'Evidently Chicken Town' and 'Beasley Street' again, while I quaff a pint of the Marquee's less-than salubrious beer.

Flesh For Lulu. 12th October 1987.

Not a particularly inspiring gig, but notable because it was the last time I set foot in The Marquee at its Wardour Street venue. All good things must come to an end. It was a real pleasure while it lasted!

BC: A LEGEND SADLY MISSED

4 years ago today, Brian Clough passed away. With a film in the pipeline about the great man's time at Leeds United, I thought it would be nice to remember him here. Although he was fired after just 44 days in charge at Leeds, he enjoyed great success at my own club Derby County, and also at our bitter rivals Nottingham Forest.

He often said the biggest mistake he ever made was resigning as our manager, and we can only speculate as to what would have happened had he remained there with assistant Peter Taylor. While his man management style was unorthodox to say the least, he built some great sides full of players who would run through a brick wall for him. During his memorial service at Pride Park, Derby, there was a ferocious thunderstorm the like of which hadn't been experienced for several years. How fitting that this should occur throughout the service, given Brian's dislike for fuss.

On this day, I'll remember him with affection and gratitude for taking us from the second division to the top of the first and into Europe, taking on and beating some great sides. Thanks, Brian.

THE MARQUEE, LONDON: GONE BUT NOT FORGOTTEN

The Marquee Club. It was a legend long before I'd even dreamt of going to gigs, and drew tens of thousands of people to its main home at 90 Wardour Street, London. It would take me several weeks to list every band to tread those hallowed boards, but the likes of Jimi Hendrix, The Who, Ultravox, Sex Pistols, Joy Division, Iron Maiden, Led Zep, The Jam, Genesis and The Police are names that demonstrate the club played an important part in live music on the UK circuit.

The Marquee opened April 1958 in Oxford Street, and established itself as a live showcase for Jazz and R&B with Sonny Boy Williamson and Cyril Davies just a couple of artists to appear regularly. The Oxford Street tenure would last for 6 years, boasting The Rolling Stones and Muddy Waters amongst an increasingly impressive roster of acts. At the fag-end of 1963, club owner Harold Pendleton was given 6 months notice to find new premises by the building's owners. In March, 1964, the club relocated to nearby Wardour Street where it would remain for 24 years. '64 proved to be a pivotal year, with the opening of Marquee recording studios and a long residency by The Who announcing that London had a very important club for music lovers. Over the years, The Marquee played host to the Psychedelic Scene, Progressive Rock, Punk, Mod, Heavy Metal and chart-orientated acts, moving with the times while also casting an eye back to 'old friends' who would often drop in to play 'secret gigs'. Those of you wishing to read the full history of the club are directed to http://www.themarqueeclub.net/index.php which includes a year-by-year record of most of the gigs that took place there. I was lucky enough to take in scores of gigs there, and the rest of this piece contains some of my memories of this club.

When Punk reared its ugly head, my taste in live music underwent a real sea change. Up to then, I'd stayed firmly put, in and around my home county of Derbyshire, hooking up with friends to see rock bands such as Man, Budgie, Curved Air and Streetwalkers amongst others. Now, it was time to venture further afield; both geographically and musically. I'd read and awful lot about the London music scene in magazines. Sounds and the NME both painted an exciting picture of life in our capital city, with venues such as The Music Machine and The Nashville playing host to a never-ending succession of live acts. So, on 20th July 1977, I found myself London-bound to take in my first gig at The Marquee. I'd already gained a fair idea of finding my way around London via trips to follow my local football team, and had little difficulty in getting to Wardour Street. Before long, I caught sight of that famous exterior and joined a long line of punks queueing for tickets to see Generation X. While Billy Idol's mob were never really on my list of bands to see, I had little doubt that the gig would be a real experience; a feeling that proved to be entirely correct. Just before I entered the club, two doormen turned away a couple of rough-looking individuals who were apparently banned from the club for fighting at previous gigs. Obviously not a place for the faint-hearted but once inside, I immediately knew this was my sort of club.

After paying for my ticket, I soon located the bar where I had my first pint of Marquee watery beer in a plastic glass. From the bar area, I watched drum kits and mic stands being assembled, followed by Gen X running through a couple of numbers for their soundcheck. Soon, it was time to head out from the confined space of the bar and enjoy a tip-top set from The Lurkers. In truth, Howard Wall and his boys took the honours that evening, but my dislike of Gen X certainly receded as I watched them battle through their set under an assault of plastic beer glasses, cans and shower upon shower of spit. I'd already seen a good many bands walk off stage during the same type of audience abuse but Gen X never took a backward step. Respect!

So, my first visit to The Marquee was over but I already loved this small, ramshackle club with its sticky floor and cramped conditions; the bar at the back offering the chance of a quick queue for a drink for those disinclined to barge through the packed bodies en route to the main bar area, and a selection of hot & cold snacks just to line your stomach for the next alcoholic onslaught. With a capacity of roughly 300, the club often crammed in over three times as many, making the nickname of 'The Soho Sauna' entirely accurate. On many occasions, we were dripping sweat and I swear the walls were having much the same problem. Nobody seemed to mind though, and if anything, it added to the atmosphere. Over the years, I noticed the doormen actively contributing to the numbers of folks attending, ushering in extra punters upon receipt of a premium charge. Fortunately, I never had to pay over the odds, preferring to grab a ticket in the afternoon of any gig where I knew demand would exceed supply. Then, I'd sometimes call in at the nearby pub called The Ship where I spied Siouxsie Sioux holding court on a number of occasions. The Banshees were an absolute legend way before 'Hong Kong Garden' shattered the airwaves, and a piece of graffiti on the Marquee entrance wall remained for many months after their vinyl debut: 'SIOUXSIE AND THE BANSHEES. SIGN THEM UP. DO IT NOW!' This impassioned plea greeted me on many occasions until I arrived there one night to find it gone, and with it went a part of the Marquee's character. I know the great lady herself visited the club as performer and audience member but I never saw her there. Lemmy from Motorhead, Phil Mogg, Joe Strummer, Phil Lynott, Howard Wall, Gaye Advert, Vic Goddard, Pete Shelley, Malcolm Owen, Paul Weller, Gene October and John Cooper Clarke were just a few of the faces I saw in the bar (the latter still looks much the same as he did 3 decades ago): a punk paparazzo's dream!

As far as crowd trouble was concerned, The Marquee was usually a hassle-free night out when compared to The Nashville or The Electric Ballroom. Sure, there were a few flare-ups but the only problem I ever encountered was at a Nine Below Zero gig when someone kicked me and tried to rip my watch from my wrist. A swift right hook to the jaw and he was down, leading to me facing the exit until an onlooker explained to the bouncers that I'd acted in self defence. The Marquee was actually safer than concert halls close to my home in Derbyshire, and I never felt threatened there. Over the years, I spent many, many enjoyable nights there and it remains my favourite venue for live music.

Years after the club shut down, there are still things I miss about my time there. The walk down Wardour Street, past film companies whose window displays were once home to posters for THE CHANGELING, CALIGULA and BLUE VELVET; past strip clubs and brothels where you really did quicken your step in case some over-zealous employee dragged you in, only for the doormen to relieve you of every penny you had, and then catching sight of the amusement arcade just down from Marquee on the right where fuck-knows who was hanging around outside in search of lost souls and their cash. Then, there are many memories of the club itself: the stage barely big enough to contain the band and equipment, the sights and sounds of the gathered masses drinking in the rock 'n' roll stench and finally departing the club in search of a good night's rest before doing it all over again the following evening. I honestly believe I would not be here now if I'd lived in London during the 70s and 80s but am glad I took the chance to visit on so many occasions during holidays from work.

In 1987, time caught up with 90 Wardour Street. A commission undertook a study of the premises and discovered that years of loud music had caused the facade of the building to slip towards the pavement. The last gig there was by Joe Satriani on 18th July 1988. The building was demolished , and it's place was occupied by a restaurant last time I ventured down Wardour Street. The Marquee re-opened in Charing Cross Road in the Summer of '88 and stayed put for 7 years. During that time, I took in several gigs there but it was simply not the same. Since then, The Marquee has re-appeared at several London locations and, at the moment, has ceased to exist. Apart from Charing X, I never bothered to seek it out. For me, it was over.

I'll be listing my 10 most memorable Marquee gigs sometime next week.

TWITTERING ABOUT

Just added a Twitter widget to this blog. I'd never heard of this message service until I checked out Ian Smith's excellent Irascible blog. If you have yet to encounter his work, please hit the link on my list of blogs over on the right. Ian's knowledge of all things computer-related never fails to amaze me and he's got a keen eye and a way with words for the world of movies, too. I'm just going to use Twitter as a record for my wanderings, to maybe swap messages with fellow users and also to record blogs I visit whenever there's something I want to share with you all.
Next up on The Last Picture Show will be a piece on my all-time favourite music venue: the Marquee Club which, for many years, made its home in London's Wardour Street.

MAMMA MIA! ANOTHER CONVERT!

When my wife suggested we check out a certain box office smash, my mind went back several years to the time I attended the London stage show just a few months after it opened in 1999. While I enjoyed the music and choreography, the storyline did very little for me (I had pretty much the same problem with CHICAGO) and though I'm not averse to booking repeat performances of certain shows, I never had the urge to give MAMMA MIA! another whirl. Now, we have a stage-to-film adaptation on our hands and I initially feared I'd be facing the same scenario.

For the opening 15-20 minutes, my reservations seemed pretty much on the mark, as the opening histrionics surrounding preparations for the wedding of Sophie (Amanda Seyfried) echoed your worst teen-movie nightmares. Sophie has invited three of her mother's former lovers to visit the island, hoping to learn the identity of her father. When her mother (Donna, played by Meryl Streep) learns of their presence, the stage is set for a journey towards the truth. It's quite a journey too, as Donna reforms her old group - Donna And The Dynamos - with several subplots punctuated by their own interpretations of songs from Sweden's finest. Streep is absolutely splendid here, with solid support from Julia Walters and Christine Baranski who join her in more than decent renderings of Abba gold. Yes, the film is decidedly lightweight, but it put a smile on our faces and a spring in our steps which makes it hard to knock, in my book.

MAMMA MIA! will be released on DVD in the UK on 24th November, and I'm sure we'll be giving it a spin not too long after it comes out.

Just before the film started, we were delighted to see a trailer for the Coen Brothers latest, BURN AFTER READING. Oh my word, this one does look delicious!

DANNY BOYLE'S LFF CLOSER

Danny Boyle's latest film SLUMDOG MILLIONAIRE has been chosen to close this years London Film Festival. The story concerns an orphan boy who was accused of cheating on the Indian version of 'Who Wants To Be A Millionaire?' and his subsequent interrogation by police. Boyle shot the film on location in Mumbai, and will introduce the screening as well as give an interview in the LFF's 'Screen Talks' series.

The festival opens 15th October, and I'll be selecting promising titles from the programme soon after it's announced. Unfortunately, it looks extremely unlikely we'll be able to attend any of the screenings, but hope the festival is a success.

NEXT ISSUE OF VIDEO WATCHDOG

I've been purchasing Tim Lucas' Video Watchdog right from the very first issue. I was browsing the shelves in London's Forbidden Planet when I spied a magazine cover and immediately knew this was a publication that had only previously existed in my dreams. After handing over the dosh, I sat down in a nearby pub and devoured the entire contents in one sitting. Tim's 'How To Read A Franco Film' was (and still is) a particular delight, and from then on I was hooked. Over the years, I've collected around 98% of the issues - only missing a handful when money was tight or my suppliers screwed up - and still fully intend to subscribe when cash flow permits. I've done the VW book, the special editions and, of course, Tim and Donna's magnificent Bava book which I pre-ordered and was particularly moved by Tim's decision to print a list of patrons in the finished product. If you have yet to purchase this astonishing tribute, I can promise you it's worth every penny and more. In fact, it still seems more of a gift than a purchase and let me also say that the organisation regarding packing and dispatch to me here in the UK was nothing less than customer service of the very highest order.

Tim has recently announced details of the latest issue (#144) which is now at the printers. Contents include a Dabbs Greer interview, Tim's full length review of Zulawski's THE IMPORTANT THING IS TO LOVE and Doug Winter reviewing a feature film for the first time in his Audio Watchdog column. Here, Anton Corbijn's magnificent CONTROL comes under the spotlight and he'll be writing about the music of Joy Division in the very next issue.