alan-morton
Entrou em jan. de 2004
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Selos3
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Avaliações15
Classificação de alan-morton
Despite everything the film did to put me off, I really enjoyed it. Basically, what you get is a bunch of aged calypsoists (some of whom have since died) talking about their music and their fellows, and playing a lot of calypsos, interspersed with laughter. It's the music and the laughter that keep you watching. After seeing this film, I mean to track down recordings of some of the people featured.
But be warned that there's a lot you may find off-putting.
(1) The film quality is the worst I've ever seen. At least the sound was good.
(2) Of course, the West Indian accent is difficult to penetrate. After a few minutes, your ear should become accustomed to it, and you probably will understand what people are saying, but if you have difficulty with accents you may never know what is going on.
(3) Apart from an interview with Harry Belafonte (which is very enlightening and increased my respect for the man), the entire film is inward-looking. Every now and again, someone says that the calypsoists are the heirs to the griots, and you can sometimes get a West African "feel" to the performances, but this wider context is otherwise ignored.
(4) At the same time, viewers would probably welcome a little more social or political context to the songs. That would have to go further than than the film's regular shots of bars, shanties and peeling wallpaper.
I gave the film a 7, based solely on the music and the people.
But be warned that there's a lot you may find off-putting.
(1) The film quality is the worst I've ever seen. At least the sound was good.
(2) Of course, the West Indian accent is difficult to penetrate. After a few minutes, your ear should become accustomed to it, and you probably will understand what people are saying, but if you have difficulty with accents you may never know what is going on.
(3) Apart from an interview with Harry Belafonte (which is very enlightening and increased my respect for the man), the entire film is inward-looking. Every now and again, someone says that the calypsoists are the heirs to the griots, and you can sometimes get a West African "feel" to the performances, but this wider context is otherwise ignored.
(4) At the same time, viewers would probably welcome a little more social or political context to the songs. That would have to go further than than the film's regular shots of bars, shanties and peeling wallpaper.
I gave the film a 7, based solely on the music and the people.
I've just got back from watching this on the big screen and my head's still reeling. It's remarkably gorgeous to watch.
What seems to come out most clearly on the big screen is how much the film depends on showing off the trio of handsome women, Jean Simmons, Deborah Kerr, and Kathleen Byron. They're all different, and they're all differently presented by a camera that loves them. In particular, at times the film seems to exist only to display the changes in Kathleen Byron's face as she tumbles into madness.
Because, honestly speaking, this is in many other ways a disappointing Powell & Pressburger film. Big themes are set up and regularly referred to (cold nuns/hot natives, Christianity/Buddhism/Hinduism, the cracking-up of an enclosed community, etcetera) but they aren't really explored. The film is really a big lush bath of sensations, held together by the three beauties, and especially by Kathleen Byron. It's like Gone to Earth, but with more pulchritude and less plot.
Having said that, even a disappointing Powell & Pressburger film will outrank most other films: I gave it 9/10. If the chance ever comes your way to see this film on the big screen, don't hesitate. You'll be ravished.
What seems to come out most clearly on the big screen is how much the film depends on showing off the trio of handsome women, Jean Simmons, Deborah Kerr, and Kathleen Byron. They're all different, and they're all differently presented by a camera that loves them. In particular, at times the film seems to exist only to display the changes in Kathleen Byron's face as she tumbles into madness.
Because, honestly speaking, this is in many other ways a disappointing Powell & Pressburger film. Big themes are set up and regularly referred to (cold nuns/hot natives, Christianity/Buddhism/Hinduism, the cracking-up of an enclosed community, etcetera) but they aren't really explored. The film is really a big lush bath of sensations, held together by the three beauties, and especially by Kathleen Byron. It's like Gone to Earth, but with more pulchritude and less plot.
Having said that, even a disappointing Powell & Pressburger film will outrank most other films: I gave it 9/10. If the chance ever comes your way to see this film on the big screen, don't hesitate. You'll be ravished.
I wouldn't presume to offer a review of this TV series, except that nobody else has done so and the series deserves at least one positive comment.
The earlier Hancock's Half Hour may be more recognizable to people who have never seen his work before. Sid James was a regular supporting character in those shows, and for a while other characters included Kenneth Williams and Hattie Jacques -- all three went on to greater fame in the Carry On films.
However, Hancock never liked the gags and funny voices that came with them, and this TV series marks the point where he left them behind (somewhat cruelly in the case of Sid James, I understand). Alas, a later step was to ditch the script-writers, Galton and Simpson, and it was all downhill from there.
Although IMDb pretends that there's no DVD, in fact The Very Best of Hancock DVD (region-2) contains five episodes from this series. There are some absolute crackers, where almost the only character is Hancock, or almost the only set is a single confined space, or both. The language of the episodes is also purer and more easily understood by a modern viewer (Galton and Simpson's wild excesses were put on hold for a time).
The Blood Donor is a famous episode, and also highly recommended are The Lift and The Radio Ham, which display the virtues of Hancock's comedy at their best. They all bear re-watching.
For people of my generation and nationality, Hancock is the master of comedy. It may be, however, that really he's a rare wine that doesn't travel well. If any of his work actually translates to younger audiences, this series will be it.
The earlier Hancock's Half Hour may be more recognizable to people who have never seen his work before. Sid James was a regular supporting character in those shows, and for a while other characters included Kenneth Williams and Hattie Jacques -- all three went on to greater fame in the Carry On films.
However, Hancock never liked the gags and funny voices that came with them, and this TV series marks the point where he left them behind (somewhat cruelly in the case of Sid James, I understand). Alas, a later step was to ditch the script-writers, Galton and Simpson, and it was all downhill from there.
Although IMDb pretends that there's no DVD, in fact The Very Best of Hancock DVD (region-2) contains five episodes from this series. There are some absolute crackers, where almost the only character is Hancock, or almost the only set is a single confined space, or both. The language of the episodes is also purer and more easily understood by a modern viewer (Galton and Simpson's wild excesses were put on hold for a time).
The Blood Donor is a famous episode, and also highly recommended are The Lift and The Radio Ham, which display the virtues of Hancock's comedy at their best. They all bear re-watching.
For people of my generation and nationality, Hancock is the master of comedy. It may be, however, that really he's a rare wine that doesn't travel well. If any of his work actually translates to younger audiences, this series will be it.