Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Jean Mcneil

Ghost writer

East Anglia, the rump of the British Isles, has inspired a disproportionate number of writers: Robert Macfarlane, Daisy Johnson, Mark Cocker, Sarah Perry, to name but a few. Towering over them all is the ghost of a soft-spoken man with a shoe-brush moustache and sardonic eyes. Eighteen years after his death, W.G. Sebald’s reputation only grows. Few writers have inspired the commemoration industry Sebald has given life to while still so recently claimed by the past tense. Before he was killed in a car accident in 2001 at the age of 57, Winfried Georg Maximilian Sebald enjoyed several years of fame as a writer of what he called ‘prose fiction’

Jasper Rees

Weed thriller

You don’t come across too many films from Colombia, but every few years one wriggles its way through the festival circuit and on to an arthouse screen, fingers crossed near you. Any film that survives that Darwinian journey will be robustly fit for purpose. Such is Birds of Passage (original title: Pajaros de verano), which with startling freshness tells a tale of gruelling familiarity. There tend to be two Colombian subjects that work for distributors: the international drugs trade or, for more rarefied tastes, indigenous tribes. What are the chances of encountering a film that fuses both? Slim, you’d suppose. And yet this narco-ethnographic thriller is inspired, we are advised,

James Walton

Thinking inside the box | 16 May 2019

These days, a common way of introducing radio news items is with the words ‘How worried should we be about…?’ The trouble with this formula is not just the strange notion that anxiety has apparently become some sort of moral duty — even a badge of honour. It’s also that we generally know what the answer will be: we should be very worried indeed. Now, in Russell T. Davies’s Years and Years (BBC1, Tuesday), the same formula serves as the premise for a television drama. The first episode began by introducing us to three adult siblings, scrupulously chosen to represent modern Britain — at least as seen on TV. (The

Lloyd Evans Lloyd Evans

Labour pains | 16 May 2019

Colour-blind casting is a denial of history. The Young Vic’s all-black version of Death of a Salesman asks us to believe that an ordinary African-American chap living in Brooklyn in 1928 might have owned a Chevrolet, and that a black businessman in the 1940s would consider asking a friend for ten grand to purchase a ranch in Texas. Younger viewers may assume that US society has been racially integrated for nearly a century. Is that the right message? Willy Loman, the duffer at the play’s core, is one of American drama’s least attractive heroes. A preachy, devious, boastful, fawning, angry, narcissistic misery guts, he’s professionally incompetent and morally bankrupt. His

Kate Chisholm

Women on top | 16 May 2019

On returning from a brief trip to Istanbul, where inside the mosques women are still very much kept to one side, only allowed to look on from an angle, unable to contemplate the full mystery of the space created within those extraordinary domes, I was intrigued on Sunday to happen upon Heart and Soul (produced by Lindsay Leonard) and to hear a Muslim woman leading the prayers to Allah. She sounded so natural, so intent, her voice modulated and firm, uplifting and authoritative. But how, I wondered, is this possible? Where is this female imam allowed to practise? It turned out that Samira Ahmed (from Radio 4’s Front Row) was

Laura Freeman Laura Freeman

#MeToo Medusa

Medusa is the bad hair day from Hades. Sidi Larbi Cherkaoui’s retelling of the Greek myth is frizzy, tangled and splitting at the ends. The premise is promising. This Medusa story is a Perseus prequel: the girl who became a gorgon. The young Medusa (Natalia Osipova) is a priestess at the temple of Athena (Olivia Cowley). Her beauty is legend and the sea god Poseidon (Ryoichi Hirano) is keen to get his webs on her. Poseidon rapes Medusa and angers the virgin goddess Athena. But it is Medusa, not Poseidon, who is punished. Athena makes Medusa a monster. Then along comes Perseus (Matthew Ball), no hero he, to cut Medusa

Thursday

Daisy Dunn

The write stuff | 9 May 2019

The Mesopotamians wrote on clay and the ancient Chinese on ox bones and turtle shells. In Egypt, in about 1,800 BC, someone even found the space to scrawl on a portable sandstone sphinx. Look closely towards the base of the sculpture and you will find a delicate line drawing of an ox head. Remarkably, this picture reveals the origins of the letter ‘A’. At the first stage in its development, the ox was simplified, so that an engraver could express it with just a couple of lines. An Egyptian seal stone shows the animal’s head in abstract form. Next, the shape was flipped 90º, so that by the time the

James Delingpole James Delingpole

All in the worst possible taste

‘Unfunny, boring and utterly unrelenting,’ says the Guardian’s one-star review of Chris Lilley’s new sketch series Lunatics (Netflix). And if that’s not incentive enough, our woke critical chum goes on to declare the series ‘problematic’. That’s a weaselly way of saying ‘this triggered all my snowflake sensitivities’ but in such a way as to make it sound like a loftily objective judgment. In truth, Lunatics is only problematic if a) you have no sense of humour and b) you’d prefer all comedy to be politically correct, inoffensive and utterly devoid of satirical edge. Sometimes, Lunatics is so cruel that it’s almost too painful to watch. But this isn’t because —

Jasper Rees

Body and soul | 9 May 2019

Each December in Washington DC, the Kennedy Center Honors anoints five performing artists who have contributed to American life. In 2015 one of the inductees was Carole King, to whom Janelle Monáe and James Taylor sang nicely in tribute. Then on came Aretha Franklin in a floor-dragging fur coat. She placed her handbag on the piano and broke into ‘(You Make Me Feel Like) A Natural Woman’. As the Queen of Soul hollered, howled and damn near put a hole in the roof, King went forgivably nuts and Barack Obama wiped away a tear. More than 30 million hits on YouTube confirmed that here, still, was a singer who could

Kate Chisholm

Afghanistan’s got talent

The cheering fans, the dramatic Hollywood-style drum rolls, the excitable host all sound just like The X Factor or The Voice. It’s hard to believe that beyond the lights and cameras there’s a huge security operation keeping the singers, TV staff and audience safe. But the Afghan version of the talent show is still under attack from the Taleban. In The Art of Now: Afghan Stars on Radio 4 (produced by Roger Short) we heard from Massood Sanjar, who set up the TV company that produces the programme, and Zahra Elham, this year’s winner, voted to the top spot by the audience, the first woman to win the show in

Lloyd Evans Lloyd Evans

Hilarity with heart

Small Island, based on Andrea Levy’s novel about Jamaican migrants in Britain, feels like the world’s longest book review. We meet Hortense, a priggish school teacher, and her cool, handsome boyfriend who survive on a pittance in the Caribbean. Then we skip back to Hortense’s childhood in a house dominated by a bullying preacher who forbids conversations at mealtime. Then we cross the Atlantic to Lincolnshire and meet a chirpy blonde, Queenie, whose auntie runs a sweetie shop. Does Queenie want a job selling sweeties? Yes, says Queenie to her auntie. All this takes ages, and it feels like a deadly earnest sociology lecture. Then a stiff young bank clerk

Justin Marozzi

Full of eastern promise

Most of Hollywood’s Arabian Nights fantasies are, of course, unadulterated tosh. The Middle East, wrote the American film critic William Zinssner, is transformed into ‘a place where lovely young slave girls lie about on soft couches, stretching their slender legs… Amid all this décolletage sits the jolly old Caliph, miraculously cool to the wondrous sights around him, puffing his water pipe.’ It is box-office commercialisation at its worst. As a cinematic franchise, however, Arabian Nights is the gift that keeps on giving, which goes a long way to explaining why Wikipedia has a list of 72 films (nowhere near complete) based on One Thousand and One Nights, starring everyone from

Lionel Shriver Lionel Shriver

It’s time for feminists to call it quits

You would think that the British Film Institute’s sponsorship of a month-long festival celebrating some of the most memorable female characters in cinema would draw plaudits from feminists. You would be wrong. Featuring the likes of Nicole Kidman in To Die For, Meryl Streep in Death Becomes Her and Bette Davis in The Little Foxes, the BFI’s programme ‘Playing the Bitch’ is meant to explore the female anti-hero. But in a petition originating with academics at King’s College London, 300 signatories have objected that the festival’s theme ‘uncritically parrots rather than questions the misogynist logics that inform so much Hollywood cinema… The women of Bitches do not subvert gender norms,

Thursday

Laura Freeman Laura Freeman

Knight fever

Emperor Maximilian I liked to say he invented the joust of the exploding shields. When a knight charged and his lance struck the opposing shield — bam! — the shield shattered and the shrapnel went up like fireworks. It’s almost impossible to turn the pages of Freydal. Medieval Games. The Book of Tournaments of Emperor Maximilian I and not imagine Batman-style captions. Clank! Thwack! Kapow! The knights and princes of the painted miniatures are all-awl, all-action iron men. Their horses are hooded to stop them bolting and every harness is stitched with bells. All the horse would have heard was the jangling, not the thunder of hooves or the roar

Martin Gayford

Let there be light | 2 May 2019

Henry Moore was, it seems, one of the most notable fresh-air fiends in art history. Not only did he prefer to carve stone outside — working in his studio felt like being in ‘prison’ — but he felt the sculpture came out better that way too, in natural light. What’s more, he believed that the finished works looked at their best in the open air. This last idea is tested in a new exhibition, Henry Moore at Houghton Hall: Nature and Inspiration — and it turns out that the artist was absolutely right. This — the latest in an enterprising series of shows at this north Norfolk mansion — is

Daniella Greenbaum Davis

Censored in the City: Deborah Lipstadt on modern-day anti-Semitism

Censored in the City is a new podcast taking you through a round-up of news, politics, and culture in New York City, Washington DC, and abroad, focusing on stories and issues beyond the 24/7 news cycle. Each week, Daniella Greenbaum Davies is joined by a guest to discuss the long-term, underlying issues behind the headlines.  In the first episode, Daniella Greenbaum Davis is joined by Deborah Lipstadt: historian and author of, History on Trial: My Day in Court with a Holocaust Denier and Antisemitism: Here and Now. They talk about Holocaust denial, the changing face of anti-Semitism, and the unfortunate New York Times cartoon that was published last week. 

Deborah Ross

The invisible man | 2 May 2019

Tolkien is a biopic covering the early life of J.R.R. Tolkien (Nicholas Hoult) and it is not especially memorable. I’m even forgetting it as I’m trying to remember it. Yes, it’s one of those. Come back, come back, I need to remember you at least until the end of this review. But, no, it’s fading, fading, fading. Still, I’ll do what I can before it is fully gone, which may happen any minute now. This is quite the race against time, in fact. So, quickly, quickly. The film opens in 1916, during the first world war, with Tolkien, then 24, on the front line at the Battle of the Somme.