Kill Your Darlings, 7.12.13

John Krokidas’s sexy and enjoyable movie, the third on the Beats in as many years (and the best), recreated the early student days of the Beats at Columbia in 1944.  While some young men were spilling their guts at Anzio, others were engaged in more ‘normal’ adolescent rites-of-passage: murder, buggery and the like!

The student Beats were shown posing as sexual and literary rebels while disguising their insecurities behind competitive testosterone-driven displays of intellect. 

Moody freeze-framed B&W scenes from Greenwich Village jazz clubs were intercut with lecture hall rebellions against academic orthodoxies (“there is no creativity without imitation”) and symbolic liberations of banned transgressive works (Henry Miller’s “Tropic of Cancer” etc). 

Daniel Redcliffe as Allen Ginsberg

Daniel Radcliffe was impressively convincing as the young Allen Ginsberg, whose unrequited puppy love for strutting aesthete Lucien Carr segues into offering himself fearlessly to strangers in Village bars. 

Pouting blue-eyed blond Dane DeHaan (a kind of male Scarlett Johansson) was Lucien Carr, the devil-may-care garçon fatal.  Carr, proclaimer of a so-called “New Vision” for literature (yes, another one) and the original dedicatee of ‘Howl’, provided much of the intellectual (and other) energy to the Beats. 


Jack Huston as Jack Kerouac (L);
Dane DeHaan as Lucien Carr (R)

There was a fun vignette where Carr was shown giving his name as ‘Arthur Rimbaud’ on trying to enlist with the Navy, although funnier still was the scene where Radcliffe/Ginsberg is shown being blown by a horny cantilevered female librarian beneath serried shelves of dusty college tomes, only ‘to get off' himself once DeHaan/Carr eyeballs him back.

On a more elevated note, the flick’s theme was perhaps that the creative impulse (primarily here Ginsberg’s poetry) is escapist, driven by a desire to flee the complicated mess of life into a reality that the protagonist hopes to shape and control more easily.


Radcliffe's Ginsberg tries to go mano-a-mano
with DeHaan's Carr

The film turned darker with the “honor slaying” (according to NY’s antediluvian penal code) of David Kammerer by Lucien Carr (“Another lover hits the universe; the circle is broken”).  

Carr, “the Fourth Beat” (after Ginsberg, Burroughs and Kerouac) was depicted, arguably with some licence, as profiting from a “gay panic defence” to ‘get away with’ a mere eighteen months in jail for the murder of his besotted ex-lover. (He went on to sire three children and to head up UPI’s NY news bureau for decades, only finally shuffling off his mortal coil in 2005 long after the other major Beats were dust.)

Poseurs, nous?
Radcliffe as Ginsberg, DeHaan as Carr,
Huston as Kerouac

Michael C Hall (from ‘Six Feet Under’ and ‘Dexter’) 'played gay' once again as the bearded stalker-cum-murder-victim, while Jennifer Jason Leigh (“Mrs Parker and the Vicious Circle”) was Ginsberg’s disturbed Mom, who was carted off to the psychiatric hospital that more than one character from this virtual roll-call of case-studies might well have benefited from! 

Although the disturbing murder scene carried echoes of Tom Kalin’s “Swoon” (1992), the prevailing tone of Krokidas’s movie was more playful and less pretentious.  That said, the parents amongst you probably still won’t want your offspring watching it before they too go up to university!     


































  



Fortune's Fool, 6.12.13

Rare revival of Turgenev's nineteenth-century social satire at the Old Vic.

Written when he was thirty in 1848, at the height of Tsar Nicholas I's autocracy, "Fortune's Fool" (or "The Hanger-On") predates each of "A Month in the Country" (his best-known play), "Fathers and Sons" (his best-known novel) and his internal exile and subsequent emigration to Western Europe.  Its satire of provincial Russian society led to its banning by the censor.  It wasn't until the new reign of Alexander II ('the Liberator') that it was finally published in 1857, four years before the Emancipation of the Serfs. 



Ivan Turgenev (1818-83)

An enthusiast for both Emancipation and for Gogol, Turgenev was less prolific than his contemporary Ostrovsky, scripting nine plays against Ostrovsky’s forty-seven. Better known as a novelist and short-story writer (all the great Nineteenth Century Russians were masters of multiple forms), Turgenev had strained links with Dostoyevsky (three years younger) and Tolstoy (ten years younger).  They caricatured him, unfairly, as only affecting to challenge Tsarist autocracy in order to curry favour with the young.  Whilst the direct political satire in “Fortune’s Fool” is necessarily muted, its social satire is savage, and savagely funny at that. 

First produced in this Mike Poulton version at Chichester in 1996, ‘”Fortune’s Fool” bypassed the West End by going direct to Broadway in 2002, where it garnered Tonies for Alan Bates and Frank Langella.  Consequently, this production at the Old Vic marks the play’s first ever West End appearance.  Director Lucy Bailey (former artistic director at the Print Room) plays it in broadly authentic period style, with a design by William Dudley which ingeniously bisected the stage with multiple door frames. 


Lucy Briggs-Owen, the heiress of'Fortune's Fool'

Young nobles Olga and Yeletsky (tautly played by Lucy Briggs-Owen and Alexander Vlahos) return to their country estate from Petersburg after their marriage.  Estate manager Trembinsky (Daniel Cerqueira), full of empty bluster, doesn’t know how many serfs they own and is constantly under-cut by the pertly capable footman Pyotr (Dyfan Dwyfor).  Plus there’s a sitting tenant in the laundry cupboard, and he's been there thirty years!  And as this squatter, one Kuzovkin, though penniless, is nominally a 'gentleman', he needs must be tolerated at the dinner table.

Richard McCabe (Tropatchov, the pushy neighbour)
and Iain Glen (Kuzovkin, the hanger-on),
co-stars of Fortune's Fool

Worse than the staff and hangers-on are the neighbours. Flamboyant Tropatchov, the sort of egocentric who’ll snatch a mile before the proverbial inch is even offered, attaches himself to the young couple.  A full-figured Regency dandy and “an infamous, fatuous windbag”, Tropatchov loses no opportunity to lord it over Kuzovkin.  A welcome-home supper for the newly-weds goes disastrously wrong when Tropatchov plies the vulnerable Kuzovkin with drink, and unexpected revelations ensue.



Richard McCabe as Wilson in this
summer's West End 'royal' hit 'The Audience'
(the Helen Mirren HMQ play)

Richard McCabe, fresh from his Olivier-winning role as Wilson in “The Audience”, memorably played Tropatchov for laughs.  Iain Glen (ex of 'Game of Thrones') also excelled in the harder task of generating sympathy for the put-upon Kuzovkin.  Remote though Tsarist Russia may be to contemporary London, McCabe and Glen smoothly steered the audience through any temporal and spatial barriers, generating a strong first-night response.  Although we're still waiting for press night, Motley had the distinct sense the Old Vic has a sure-fit hit on its hands.  Recommended!