It's always the way isn't it, somebody else's loss is your gain and so it proved last night;Friday 29 November 2019.
Binding commitments meant that I was now in possession of two tickets to see Tony Law at The Punchbowl. Who is Tony Law was my first thought and Google and You Tube led me to believe he was a surreal stand up who's momentum had stalled a little recently.
Having visited the venue before I thought the room was gonna be a bit small, surely.
I turned up early and had a quiet pint with a mate before climbing the stairs to be greeted by the same stamp machine that inked me last time and sure enough it was the same room, this time with chairs.
Things were running late and a Greek comic, 15 years now a Geordie, came and did a 20 minute set whilst Tony battled the unexpected vagaries of North Eastern traffic. Didn't catch the name of our Greek friend but he entertained us royally for a short time before a harassed Tony Law entered the room smiling, quickly departing to get ready for his spot.
Armed with a clipboard, to which he made comical references, a guitar and a non-descript bag, he grabbed the mike and took apparent control. By this time I had developed a very distracting eye irritation that made concentration random, but Steve and I quickly cottoned on to his patter and enjoyed. His musical prowess was comically non existent and I'm sorry to say that the the only section of the set I remembered for its title was 'testicle mince' (Ask Tony)
Sitting behind us were a quartet who were suspiciously copious with their laughter, I wondered about their green fingers; they certainly acted like a plant!
I wish I could remember more actual dialogue but you could tell he was a pro no matter where he currently stands on the ladder, looking for ways to get back on telly. He captured the absurd (hominids a speciality) and the moment really well and even evaluated his own performance at the end and he got it about right. He seemed to need reference to his clipboard and was distracted by the odd occasion of punters leaving the room for toilet but quickly got back on his own disjointed track.
I've never seen a comic so up close and personal and it was quite revealing. See him again? Yes I probably would, I think the circumstances would be less fraught, if that's not putting a negative spin on the night. The bloke's a fine comic and I wish him back to where he wishes to be. Best of........
Running late, I took offence at the bank teller putting my copper coins of the realm into my bank account. A whole two pounds and I'd asked him to cash it - Boy did I give him a stare! I'm now hungry and there's only 15 mins till the start of the program, Greggs it is, two sausage rolls and a feeling of guilt for breaking my new no pastry rule but at least something on my stomach before showtime.
So, sitting comfortably in the back rows of the Tyneside, something seems amiss - its already well after 12 and the curtains haven't gone up yet. Delayed trailers and then a fifteen minute blank screen with assurances of "just a minute, it will be on in a minute"
Off we go, this one's old school with opening titles and cast list straight from the genre its dealing with. Tick.
We meet our stars almost immediately in an old 60s sedan and its just great, we're in Los Angeles amid the outskirts of Burbank I assume with the raucous accompaniment of radio advertising and Tarantino's usual scene stealing taste in related music. Tick.
De Caprio is an insecure 50s television western star of now diminishing favour (check out a wonderful scene with Pacino where he is told that you're basically on the way out when you play guest baddies in the networks current hits) and Brad Pitt (Cliff Booth) plays the cool unflappable best mate and stunt double to Rick Dalton (De Caprio) Another big Tick.
I could go on for ages talking of the cameos from Tarantino's screen family - Michael Madsen, Tim Roth who appears only on the credit list under 'cut' which is a splendid touch.
This A4 type sheet only allows me so much info and I don't want to overstay my welcome but just to say that despite its occasional calendar references, its not really a linear film I feel as it just drifts off around details of the time - hippy generation, a little uncomfortable Bruce Lee stuff, Sharon Tate and the the spectre of Charles Manson in the background. I found it immensely entertaining, even down to the geeky mentioning of names like Morey Amsterdam from the Dick van Dyke show and Dean Martin's Matt Helm spoof on James Bond and a sort of Quinn Martin voice over late on in the film. If you're from that generation I think you'll enjoy it, but watch out for the gratuitous violence which was applauded from behind me and I can't make my mind up as to whether it was cartoon or a statement of the time. Go & see. Big Tick.
Stretching a point here as I don't often get to the theatre these days. I dare say you are all aware of the source material being Monty Python and the Holy Grail, adapted for stage and song by Eric Idle etc.
Well this was an enthusiastic amateur production at Newcastle's prestigious Theatre Royal, on for a week, and I was visiting the Thursday matinee. This may account for the afternoon's events.
I'd received a ticket for the Stalls (a first) and was struck by my luck, great view and surely an opportunity for great fun! Not feeling at my best (nip & tuck as to whether I made the show) I knew that if the humour really kicked off I would start coughing and probably inflict my ailment to those sitting close by. About 10 mins in and sure enough, funny bone well and truly tickled, I burst into a small coughing fit and knew that, come the Interval, I would have to seek another seat. After adjourning to the bar in the interval, I returned to use up one of the many available seats further back and that was disappointing in itself as up till now things had been a mite quiet.
(What about the bloody performance then Gordon? Ed.)
All the expected highlights were there, Knights of Nee, the French soldiers on the battlements, the Black Knight with a smattering of cocoanuts & shrubbery! All of it seemed to go either above the heads of an uninteractive audience or they just weren't enjoying it. Even the chiselling in of "Always look on the bright side of life" from Life of Brian didn't spark the watching customers into life. Another late attempt at audience participation indicated the Grail was under a seat in the auditorium and a poor unsuspecting victim, yes victim, struggled under Dr Footlights with no help from those watching. You got the feeling that perhaps it was raining outside and they'd all come in to get dry or their own funny bone had done an Andy Murray and become painful. Shame because the kids gave it a grand go, the lighting was fine, the effects worked and after all we were into day four, I think, of the run. Maybe it's just a matinee thing.
I'd been intrigued to see how a musical was created from the movie, in the end I just felt sorry for the cast who all deserved better. Cast 8, Audience 2 - after extra time.
Welcome back to my fairly irregular comments on visiting the local fleapit!
I've waited quite expectantly for Rocketman to land somewhere in Newcastle and managed to catch within days of it opening at trusty old Tyneside Cinema. I tried my best to avoid all the hype but it was well promoted and only added to my desire to view.
I've followed Elton's work for a number of years, dating right back to 'Your Song' and quite possibly my favourite double album of all time - 'Goodbye Yellow Brick Road'. Lucky enough to see him a couple of years ago at the Arena, and even ended up dancing in the aisles as I recall. Great night.
Having been told this was a musical experience rather than a straight foward biopic, I kind of winced a bit as these events can be such a personal taste but got to say the whole thing was an unqualified success. Dexter Fletcher was in the director's chair again after triumph with Bohemian Rhapsody, Taran Egerton appeals in the title role (long way from Eddie the Eagle) Jamie Bell seemed a slightly unconvincing Bernie Taupin and Richard Maddern was a topical choice playing aginst type as Elton's manager and lover, John Reid.
The choice of tracks moved the story on, providing substance to Elton's situation at any given time. The timescale was also interesting as it kept returning to an outrageously attired Elton unburdening himself at a meeting of addicts - and he held his hands up to plenty of addictions. I believe all the tracks played were reworked by Giles (son of George) Martin and Taran was mentored to sing in an Elton vein and a good job was done by all concerned.
I did notice that like Bohemian Rhapsody, Fletcher had chosen to incorporate original footage (Live Aid at Wembley for BR) and finished Rocketman with inserts of Egerton amidst the original video for I'm Still Standing ( look out for a young Bruno Tonioli)
Looking forward to more from this genre of musical cinema, it seems to have got a foothold!
Oscar season has come and gone and if at all possible, I like to see the winning film sometime before the ceremony along with some of the competition. This wasn't possible this year but Green Book arrived with much praise from friends and I was happy to find a seat in my favourite haunt at the Tyneside.
Quick precis of the film - an Italian 'bouncer' from the Bronx is employed to drive and take care of a renowned black jazz pianist by the name of Don Shirley. Shirley decides to take his trio from Manhattan down to USA's deep south in the early 1960s and all the problems of race and culture come tumbling out as these two try to come to terms with each others appreciation of life. The 'Green Book' title comes from a directory, a booklet on the scant and spartan accomodation available to African Americans on the road.
Viggo Mortensen, nearly unrecognizable as Bronx heavy Tony Vallelonga, and Mahershala Ali, totally unknown to me, play the lead characters. Ali as the cultured but tortured black pianist who attempts to educate Mortensen on the finer things in life and Viggo who introduces Ali to the delights of Fried Chicken and self preservation.
Directed and co-written by Peter Farrelly it runs for 130 minutes of absorbing material as this odd couple go on a never to be forgotten life changing journey. The film is based on a true story and it is quite touching to find that both the original characters died in 2003 within months of each other. I really enjoyed my return to the cinema after a long break and this was a memorable re-introduction. Recommended viewing.
Vue, Gateshead, 12.30 pm on a grey cloudy day - perfect for a spot of cinema visiting.
You have to do a bit of research these days to get your best deal and though it meant crossing the river via one of our historical bridges, the exercise was gonna do me good.
The Vue is a nice little facility with pleasant staff and a spacious foyer to catch up on some trailers you would normally expect to see before your main event in your chosen screen....and at least a quid cheaper than anywhere else locally. Shame about Gateshead High street though.
For the under 40s and the uninitiated, Laurel & Hardy are two of the greatest names from cinemas early black and white comedies; placed together by famous studio boss Hal Roach. They were at their peak in the late 30s where their childlike innocence and uncontrived nature filled the screen and apparently their business accumen too, as both were only ever on contract and they gained nothing from a future generation falling in love all over again on TV.
'Stan & Ollie' starts as they prepare for the dance in Way Out West (1937 I think) and its a testament to the team that they got the original back projection to accompany them. Steve Coogan takes the mighty role of Stan Laurel, the eternal scriptwriter and gag creator for the team and John C Reilly plays 'Babe' the affectionate term for Oliver Hardy, the perfectly suited foil to Stan's follies. The plot moves on some 16 years I believe, and the team have been handed something of a lifeline by Bernard Delfont; a music hall tour of Great Britain. Delfont is portrayed as somewhat slippery and has more time for the next best thing - a certain Norman Wisdom - and the ageing two seem unaware of his half hearted efforts.
I don't really want to explain the entire nature of the film as I really want to encourage you to see a warm poignant tale of two old troupers trying to maintain what they've tried so hard to achieve over the years. It's made by BBC films (another triumph) with warmth and affection.
