Thursday 22 December 2016

'Once More, With Feeling' extract




Back in her room, Katie tries to cheer me up with Dawsons Creek re-runs and a warm bottle of rosé, but I am monosyllabic, and after a while she leaves me to it. I gaze at the ceiling, letting the muted sounds of the telly wash over me until I fall asleep. Sometime in the wee small hours, I awake to an inky dark room. The faint rumble of traffic is punctuated by the whoosh of Katie’s soft snoring, in and out, like a gentle tide. Thirsty and disorientated, I slip out of bed.
The hallway is deep blue with shadow, lit only by a shaft of moonlight leaking in through a small, circular skylight above my head. When I was young, I was fascinated by this peephole to the trees and purple stars. I gaze up at it for a moment, before a noise behind me makes me jump.
Robbie stands at the top of the stairs, his shiny hair messier than usual, sticking up dramatically at the back.
‘Hello,’ I whisper. ‘Did you just get home?’
‘Nah, been home for ages. Mum and Suzy stayed… They were on a roll with Dolly Parton. Thought I’d leave them to it.’
‘Ah. Sorry, I just needed to get some water. Did I wake you up?’
‘No, I was up. Jerry.’ He gestures to the little grey dog with his foot.
'Why's he called Jerry?'
‘He's a Springer spaniel.'
‘Oh right… Should have got a Cocker. Then you could have called it Jarvis.'
‘Yeah. That would have been better.'
‘Yeah.’
A branch scratches against the oval window above his head, the moon flitting in and out of view behind it. 
Maybe it’s the silence of the house, or something to do with the way the light falls over Robbie’s face, but suddenly I feel relaxed and calm in his company; the gaucheness of this morning’s exchange in the kitchen mercifully evaporated.
'I used to love that window,’ I tell him. ‘Looking out of it, I mean. At night'
Robbie turns round to look properly, rubbing the back of his neck.
'Yeah, I remember that. You'd sit in the middle of the hall and everyone would trip over you.'
‘It was only you that tripped over me because you were galumphing about like a bloody boy and not looking where you were going. You were like something out of a Robinsons barley water advert,' I tell him indignantly.
‘That's normal boy stuff, though. You were—’
‘What? Abnormal?’
‘It was sort of normal until you started serenading the moon.’
‘Get lost—’
‘You did. In a strange, high-pitched squeal. Sitting there in the middle of the hall staring up at a window singing about the moon. Nutcase.’
He looks at me like I’m an alien. But his eyes are crinkled, and I feel like a nice alien. An alien that he’s actually quite fond of.
I wonder how Suzy feels when he looks at her. I doubt aliens are involved at all.
‘Come in here a minute,’ says Robbie after a pause, motioning to his bedroom door.
I pull my cardigan around myself like a fluffy shield, and watch him as he opens the door wider to let me into his bedroom. Robbie reads the look on my face and rubs his hair again.
            ‘Just for a sec. So I can talk to you.’
I do as I’m told. He closes the door gently behind me and I hesitate, unsure where to put myself. He begins to clear large piles of books and clothes from his bed while I gaze around. Rita has kept his room the way it was when he lived here; the same glow-in-the-dark plastic stars and moons on the slanted ceiling, globules of violet Blu-Tack showing through their centres. Faded grey T-shirts puddle the floorboards, his jeans on the heated radiator, so the air smells of washing powder and something else familiar and Robbie-ish. Only Suzy’s sequinned dress on the hanger indicates that things have moved on.
Robbie allows a final book to slide from his duvet to the floor with a loud clunk, and gestures to the uncluttered space on his bed. I perch on the corner, watching him sink into a frayed chair. A beat before he looks at me. I’m suddenly very aware that I’m not wearing much, and that my eyes are carrying the smudged remains of Rimmel's Granite and Fog.
‘Are you alright?’
            I know what he’s getting at. I look at him questioningly all the same.
            ‘Just… the karaoke thing with your dad. I wondered if you were alright with it.’
            ‘Alright with it?’
            ‘…Yeah,’ he says, embarrassed.
            ‘Would you be alright with it, Robbie?’
            ‘Probably not, no.’
He bites his thumbnail briefly, then rubs his chin with the palm of his hand. I wonder why I sound so angry when I suddenly feel safe and warm. He tries again.
‘He was pissed.’
‘Yeah.’
‘Not that that helps.’
‘No.’
‘I did Sweet Caroline once, when I was pissed. That’s my point.’
Sweet Caroline wasn’t the bittersweet soundtrack of your recently-failed marriage though. Was it?’
He sighs, leans back against the desk, and searches the ceiling for inspiration. He hasn’t noticed that I’m smiling.
‘Look, I’m just… He’s having a sort of… Martin-Clunes-does-divorced-dad-for-BBC-2 moment. Going through the motions to see if anything helps. Tonight was just the whisky and singing stage. It won’t last.’
            ‘It’s alright, Robbie. You’re off the hook.’
He looks at me properly, and is relieved enough to show his teeth when he smiles, taking himself by surprise.
            ‘Sorry, that was shit. I’m not really—’
            ‘No. Was good. Thanks... I’m alright.’
Seconds pass, silent. I feel buoyed up by his care for me, as though a fragile, transparent film surrounds us and his bedroom, floating away from the other rooms of the house, the street beyond, the fears of tomorrow. Robbie’s bedroom is a tiny planet, drifting in the gentle night time, with new and delicate rules of gravity. I want to stay here, to hold on tight to the yellow warmth.
Robbie stretches back against his chair. His thin black jumper rises for a second to reveal a sliver of navel. As I watch him, my thoughts are stolen by another memory.
I’m sitting cross-legged in the middle of the floor in our old living room, covering my school jotters with wrapping paper. I can just hear the puffs and sighs of Mum’s iron over the radio. The song changes: Natural Woman, by Carole King.
 ‘Listen to this one,’ says Mum.
I pause in my jotter-wrapping, intrigued by the rapt, dreamy look in her eyes as she sings along quietly, fluently.
‘Looking out on the pouring rain, I used to feel uninspired…’
 I listen for a while, before going back to my jotters.
‘Yes, well,’ says Mum. ‘Give it about ten years. You’ll know what she’s on about.’
Presently, Robbie opens his eyes, gazing at the ceiling. I know how I want to thank him. Test these new rules of gravity. Cross the room, settle my body around his on the chair, draw his face to my neck, let my hair fall around him. Let him make me feel graceful. For a second, it feels almost possible. Natural.
He looks at me, worried about my silence. I smile.
‘It’s alright, Robbie. Really. Whatever it is I’m feeling, I’m going to channel it. I’m going to make it into something good.’
He frowns, puzzled.
I close the door softly as I leave.






Thursday 8 September 2016

'Day of the Flowers' film review

‘Day of the Flowers’ review – 03.9.16
          
Respecting Cuba on the big screen demands that the country’s contrasts are addressed without glorification, and Eirene Houston’s screenplay provides the necessary balance of locational beauty and unpatronising social commentary in her 2012 film ‘Day of the Flowers.’ When their father dies suddenly, contrasting sisters Rosa and Ailie fly to Cuba – a place close to the heart of the family – to scatter his ashes. On their first night in the country, they are taken to a popular dancing club: a money-making outlet dealing in crude approximations of Cuban authenticity. Ailie loves the spectacle; Rosa is uneasy. ‘They have to give tourists what think they’ll like,’ she is solemnly informed by a fellow traveller. 
       Some may argue that in turn, giving cinema-goers ‘what they like’ would involve a multiplication of sassy, humid dance scenes on one hand, and less focus on Rosa’s unpleasant experience with a poverty-stricken Cuban family on the other. However, the sequence depicting Rosa’s trauma is powerful and valid: not only does it frankly acknowledge conditions which for many are a reality; in addition, the results on Rosa’s character are complex and pivotal. For the first time, the viewer is shown the value she holds for her own life: a value previously eclipsed by her admirable (yet occasionally misguided) compassion for others. As she is gently reminded later in the film, one cannot ‘fight for the revolution every day.’ Before her ordeal, she had begun to lose vital strands of her own self in the attempt.
This a film with a deep reverence for Cuba; its vitality, strength and contradictions… yet with a simultaneous commitment to the parallel nuances of its human characters. Carlos Acosta’s Tomas is serene yet deeply powerful, and one cannot miss the luxurious twinkle during his first meeting with Rosa. He understands that she must make peace with herself before she can achieve her goal of facilitating peace for others, and as such, there is a complexity to their rapport which elevates it beyond that of a generic, plot-driven romance. An unfaltering understanding of the blossom and thorns of another’s character is an essential ingredient of love as it should be. The film understands this, and watching the pair bristle towards their combined fate is genuinely cathartic; a dynamic that is mirrored and complimented by the presentation of the sisters’ own relationship.
Eva Birthistle’s Rosa is sincere and relatable in her humanity, while Manuel de Blas and Charity Wakefield provide what is – for me – the most moving moment of the piece, in a single exchange of glance. This is a thoughtful, sumptuous piece of cinema which should not be allowed to fall off the map through lack of deserved exposure. 

By Rosa Barbour

For information about the Havana Glasgow Film Festival, visit


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 Twitter: @hgfilmfest




Tuesday 16 August 2016

Draft: opening

We play at Paste –
Till qualified, for Pearl
Then, drop the Paste –
And deem Ourself a fool –

The Shapes, tho’, were similar,
And our new Hands
Learned Gem Tactics
Practicing Sands
                                                  Emily Dickinson


‘Shrink Plastic’, it was called. Louise didn’t like the name. ShrinkING Plastic would be better, she felt. The lack of ‘-ing’ was somehow unglamorous. It stripped the whole concept of its magic. The stuff inside the box starts off big, and then you do things to it - apply heat or something - and it ends up small. It’s fucking plastic… that shrinks! ShrinkING plastic. Take the ‘-ing’ away, and it sounds like it’s already shrunk. It sounds ominously practical. It sounds… kitchen-utility-ish.
The box was pretty though, in a block-colour-clear-plastic-Tamagotchi-packet sort of way. She didn’t feel depressed when she looked at that box. She felt… wide-eyed 90s café girl. Making coffee in a big bright room. Morning radio. Flirting with Jack Davenport. Better, anyway.
It was getting dark outside her studio. Louise could tell because she’d left the shutters open. She could see two boys scooting around on their bikes, edging carelessly into privet hedges and dragging their feet on the pavement. She could see the rosy glow from the restaurant across the road, spilling out when the doors were opened by couples and families from the nearby houses, ready for their Friday night treats.
Louise liked her view. She liked the people in the restaurant window, and her amusing boyish bikers. Two weeks of filing precious metals with the shutters closed had knitted her muscles together. It was time to cut her shrinking plastic into moons and ice creams and sarcastic kittens, and bake them alive in the oven. 



Wednesday 11 May 2016















Saturday 23 April 2016

For Prince. 21/4/16



For years I've been unable to find the footage of the performance of 'Purple Rain' that was used in the film... As a result, I've only ever seen it a handful of times. In a way I'm glad. I don't think the hairs on the back of my neck could have coped with more frequent exposure. The faces in the crowd looking up as all that passion and sincerity and melody flow out of him... Omg. Years ago, Buff Club played the whole of 'Cream,' unabridged and untainted. It was a quiet night, but an unforgettable moment. The unadulterated sex appeal of that introduction moved everyone in a rare, magical way that I have rarely seen before or since. It did what music should do: it shook everyone to the core, I could see it happening, and I felt it happening within myself. I only wished it was live, that we were transported to a place where all the sultry promise of that song could be a reality, and where our personalities could inherit a sliver of its strut and silk and glitter. From that, to the 'beautiful... earnest... brutal' (Dylan Matthews) account of a love triangle in 'When You Were Mine,' and the cinematic drama of 'I Could Never Take The Place of Your Man,' I'll always look to his music for its emotional authenticity and plain gale-force brilliance. Goodbye, Prince! Nothing compares.








 

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