Macbeth : A Film Review

Macbeth The players – Michael Fassbender, Marion Cotillard, Sean Harris, David Thewlis, Paddy Considine, Jack Reynor, Elizabeth Debicki
Directed by Justin Kurzel UK/France 1hr 53 mins Cert. 15

Macbeth the concept.
In telling the story of Scottish Generals and Kings Shakespeare provides the genius construct of the weakness of all mankind.
Corrupted by evil at once the pyramidic value set in dominions across the world are cast forever into repeated downward failure to imagine the world without violence.
The repetition is beset long before the play is written or it’s many formulated interpretations, some set on distant continents, in modern as well as medieval times.
Without fail it is easily the most accessible work created by Shakespeare and here is a version put to film as another contender to open our wounds.
Stunningly gripping
It is a mesmeric version, full of visually stunning broads-cape earthbound gravitas. It is full of magical otherness with the Witches tale, – and Thomas Middleton it is often said, wrote for theatrical guile the well known witches scene, Act 4, Scene 1 having Macbeth, now empowered with the formation of rule over all of Scotland, an encounter with the three witches who in the very first scene of the play had foretold his future.
They stir the cauldron – a Scots Broth of root of Hemlock, Gall of Goat, Finger of birth-strangled babe amongst other delicacies. “Though Palaces and pyramids do slope, Their heads to their foundations, though the treasure Of natures germen tumble altogether Even till destruction sicken : answer me To what I ask you”
This asks Macbeth as the apparition of the witches, the satan like opposite ‘God’ he turns in his head, provide the prophesies wildly but close to the fate he will endure.
First apparition, “Macbeth, Macbeth, Macbeth; beware Macduff” An excellent and explosive Sean Harris.
Mercurial Macduff.
The potency of the prophecy equivalent to Caesar’s deliverance.

This film too has at the beginning another thing in mind.
Pay attention from the very beginning in other words!
It begins with a funeral scene which attests to the blood Macbeth and Lady Macbeth conceive as their future.
Justin Kurzell obviously wants us to not only consider the treacherous nature of alliances but the fruits of the unions chosen.

We see the witches proclaim “Fair is foul, and foul is fair”, in thick garrulous Scottish dialect which immediately requires your utmost attention.
It is language made to conceive ideas, truths, dilemmas, reversals and all kinds of twists and turns. It is without compromise we are fastened into the iambic pentameter of the astonishing insightfully transposed emotions brought through linear 8/10 vowels and dialogue. Instinctively Shakespeare has wrought and stretched occasional verses and speeches into everlasting contemporaneous floods of thought washing like Macbeths hands under the waterfall of natures presence.
It is from a battlefield where we encounter the savagery of the generals Macbeth and Banquo played by Paddy Considine slaying the Norwegian enemy and his ally Thane of Cawdor. They return to the Scottish King Duncan the head of the slain for picking on the Castle battlement.

From that moment forth the darkness descends even more black and the figure of Duncan, an amenable righteous King, friend and fair governor, though how he achieved his own status is itself overlooked, – is played brilliantly by David Thewlis. Amiable affable David Thewlis is tall and ideal as this seemingly benign King.

The casting on all fronts is astute and faultless. Michael Fassbinder without one flaw is Macbeth the troubled hero. Lady Macbeth likewise. Marion Cottilaird is stunning portraying the malice as the evil cohabitant of the joint liaison both have summoned to seek for their contentment, symbols of their combined wisdom.
It is faultless as soon as the conspiracies and parameters are set. They are set in the context of King Duncan’s choice of a successor which shocks Macbeth and is seen by Banquo as a fate with which there can be no real contest. Banquo has his son Theance in mind it seems and as his sons protector shows only practical contempt of Duncan’s actions.

Not so Lady Macbeth.
The Pivot
The Castle interior is not a lavish set on a fairly low budget film but there is little to denounce as the story unfolds in speedy courses of original dialogue and scene setting speeches. The memorality and cadences are very clearly interpreted and the swift edit cutting, present from the beginning where we see sufficient landscape and facial expressions as to be wholly convinced of this period interpretation. The tonal colourscape of the film is as the highlands of Scotland have appeared it seems for millennia.

For modern Shakespearian audiences it is in film entirely manageable (will a directors cut fill in all the absent dialogue?! Hardly!) to absent, omit certain scenes, for example Lady Macduff and Ross and their metaphor laden discourse.
We are instead delivered immediately to the cut and thrust of the pulsating pace of the outcomes from the major characters.
Breathtaking and troubling nature at once mocking and providing lush life and long genus loci.
That’s Scotland for you and Macbeth is at home at best it seems in Inverness. From England will come to the other Lowland Castle an army set by Malcolm and Macduff.

Evil unleashed
The loss of self control and judgement is fast enveloping as indeed is the protagonist of evil, Lady Macbeth, herself while alone subjected to self doubt and conspiracies of internalised composition. This is in itself a power play of acting and actorial genius first imagined by William Shakespeare himself a doubter of the sovereignty in his midst.

Alternative themes
Primarily to be successful it was necessary for him to quell his own judgement and only to slightly if that infer the cosmos of his beliefs. After all The Tempest being his final play, act spoke of the alienation, not an underrated descriptor, of his own mostly hidden or overlooked Catholicism. I believe he had realised the difficulty of criticising the Monarchy as the reformation began to take root.
This play set when a period of calm in religious fervency was destabilized by these acts of ‘play’ evoked Kings pyramidic violence laden betrayal of the ‘truth’ seen in a possible ‘outlier’ of religious discovery, instead is encroachable and lost in this human failure seen in the dramatic form with an intensity never encountered before. (Or since you might argue)
Justin Kurzell has excelled in delivering this drama so effectively and accessibly to the big screen. This is were it is meant to be seen – it so happens TVs are becoming so big as to encroach on Cinemas singular and specific medium! So see it in a large space on a large screen and be dragged into it without distraction.

You will see – for no other reason than visual stimulus – play on the majesty of spaces – the serenity of the truly unique environment of Ely Catherdral is invested and charged to acquaint us with ‘awe’. The light streams into a space which happens to be so close to London it’s almost Home Counties and therefore distinctly not Scottish or Glamis as to provoke the directors determination to satiate our thirst for context and meaning.

Conclusion ####+ 4+
Mesmerising, convincing and superbly acted and directed film of a classic narrative which will envelope all drawn into it, those repaired to be immersed in the surreality of the use of language, metaphor or other driven of a tale resonant still in this millennia. It is never open or close to acclaiming itself as a definitive version. That will never be possible as the whole circuit of present day culture hovers around subjects Shakespeare has left as a jumping off point for ‘the story’, our meaningful human quest of a meaningless or impossible act of judgement of origin and place.

Such is the deserved acclaim warranted of a film which has expanded the thinking and not wasted its opportunity to shift minds and awaken things long left to sleep – that we may turn to anew – to something that is already there unknown.

John Graham

1 October 2015


Showing from Friday 2 October to Thursday 15 October 2015 at QFT Belfast
and over wider distribution venues.

The Wonder of Science : Fusion

New Science Energy Technology
I happen to know a brainy man who has posted on his Facebook page some details of a breakthrough in Fusion energy as achieved in America by some Scientists.

The Secrets out then as written up on as

Exclusive: Secretive fusion company claims reactor breakthrough

So questions arose and the post advisor wrote the following –

Fusion for beginners
The key to nuclear fusion and the potential of energy release is the binding energy in the nuclei and famous Einstein mass energy relation. The binding energy is what it takes to disassemble a nucleus into it components parts, I.e. Protons neutrons (please see

The binding energy for nuclei of lighter than Iron is much smaller compared to higher Z ones and this in fact is the difference between nuclear fusion and fission process (where atoms split like 235U in conventional fission reactors).

Therefore in fusion process for the two light atoms are fused to form a nucleus with higher binding energy thus releasing energy according to E=mc2.

There are many fusion process that can take place however the problem relies on igniting such a reaction.

The solution will be through producing a high initial kinetic energy impulse that can be used to overcome the coulomb repulsion (since two equal charges repel each other, this need to be overcome for fusion to take place) and only can be at higher temperates, done either in a controlled way with reactors or thermonuclear combustible. Now the beauty is to do it in a controlled way.

When the temperature is very high the hot ionised conducting gas has the chance to have high thermal velocity and overcome the repulsion force (there are other processes if the temperature is not right to overcome the problem such as tunnelling we will ignore those for the present.)

However at these conditions they tend to fly apart and be unstable so there should be a way to keep them together.

In fact there are two path ways to achieve fusion, Inertial Confident Fusion known as ICF (that sort of things we do in Queen’s with laser) and Magnetic Confinement Fusion known as MCF.

MCF does this at low densities and over a relatively long time whereas ICF is quite the opposite (ICF known to do more with weapon research, please see National Ignition Facility).

In MCF the plasma tends to be confined through using a magnetic field as mentioned in the article and requires to avoid touching the wall due to millions of degrees it has.
On the subject of instabilities which the lay person might raise, there are two ways it can these occur, one is through the collision process when a particle(s) move away from their trajectory and second by disturbances through perturbations i.e. change in pressure.

This can be occurred with tiny mechanical failures/changes in magnetic force surrounding the plasma leading to pressure change and in the change in actual ring formation.

Hence the nature of safe enclosure being the primary goal before it’s utilisation.

The means is forming of a stable environment for very high levels of ‘mobile’ energy.

What this company introduces is the H+11B leading to 4He, which is a dream reaction.

So there you have it.

An explanation of the processes which will potentially change our lives.

As a footnote I add another energy related subject I recently became aware of concerning salt.

Other advances touch on this as techniques from different fields of Science Around energy contribute to one another.

For example salt and sea desalination techniques are also a source of energy release and the process is now enabled at less bar – pressure – virtually nil – as to be a massive benefit where water shortages are occuring and with water access – (Water Aid are a charity dealing right now with this issue) – becoming critical as populations increase; are sometimes remote from fresh water resources for changing reasons, the techniques have dual outcomes – fresh water and energy from the salt.

Salt. An Amazing Mineral!
Find your answers their out there!

John Graham

27 August 2015


A return to much more mundane and escapist things again soon.

The Wolfpack : A Film Review

Director : Crystal Mosele, Documentary, USA, 2015. 1hr 30 mins. CERT. 15.
Bhagavan Angulo, Govinda Angulo, Narayana Angulo, Mukunda Angulo, Krisna Angulo, Jagadesh Angulo, Visnu Angulo, Susanne Angulo, Oscar Angelo, Crystal Moselle, QFT Belfast, The WolfPack Film review.

NYC Lower East Side.
Darkness of the city opens this fascinating Documentary on a family inhabiting an apartment high in a huge Municipal Lower East Side Manhattan Housing Block.
Some sixteen or more storey’s up live a family in reclusive retreat.
The Angulo’s one by one appear before the lens of astute gentle filmmaker Crystal Moselle’s alert and curious camera. Night life of the street is where she begins though high above is where the story really is about to unfold.
Far from being street wise, six brothers, young sister Vishnu and father Oscar, Mother, Susanne are bonded to the interior home circumstances have pressed them into. An anterior of suggestive other worlds is no longer viable. Surrounded on the walls are child drawn lessons, Susanne has extracted from her children. Infant colorful, like any families collection of the paths of education by children everywhere these are juxtaposed in the present by the brothers as performers.

Film by re-enactment
Liberal doses of six brothers enacting current films and fully transcribed, into script, theme and role play are ranged out. The elder, z, sets out before Crystal the process. The process is part of the travelogue. Only it is Resoviour Dogs, Halloween, any one of the favourite movies singled out for treatment. Of Five thousand tapes, DVDs, copies are library catalogued and the obsession is revealed meticulously and frighteningly as their means of reasoning behavioral complexities, know about, fictional but erstwhile rubicons dialing up reality fixations as narratives ‘there but for the grace of God went us.’ Actually the brothers find the very same responses millions of others have exposed. Their emotions, and here is the bewildering, fearful and accepting fiction as narrative and non-real. The deal each of us subscribe to. Even those incarcerated 98% of the time as they happen to admit to. They are very much alone with that one. Scarily so.
House Arrest
Over the first half hour we see several other cameras come into action.
Crystal’s and the nine others bringing archive family movies. All interior, from around a 2005 onwards, the growth of the children is woven into the matrix of this surreal vision. Later ‘The Scream’ is depicted for Cinematic value. It is seen later through a window. The outside world being the screen filler. The home made movies are reportage, historical, glimpses of behaviour. Oscar does not say anything nor do we have any insights until about half an hour or two thirds of often movie heavy story.

We are presented gradually with elements to build a wholistic view. That view is a despairing, failing, imprisoning, confining, constraining life lived by this family. None of the boys are allowed out onto the streets. They assume other identities to shift their thoughts and they are courtesy of Oscars own obsession of staying indoors watching movies, not working and ambiguously going of to collect food. The meals a content of malnutrition at times and poor dietary function.

The rustic action of mid-America experienced by Susanne growing up unfortunately is not this reality. Her love of the children has contained compromises and both parents have a static view which delivers their contempt of the harmful ways so prevalent particularly outside their door and to their credit they protect their children from without any expression of evaluated sense.

How can it be evaluated as they have no parameters other than the miracle of their children’s acceptance of the deal?
They are bound by the parental constraints which Crystal Moselle’s restraint allows space to be private and for its self resolution. She keeps at a respectful distance and allows the siblings to seek it out among themselves.
There are quite a few key moments and these are not revealed here but they are equally wonderful and bamboozling.
Camera. Stifling
Just when I begin to suffer the intensity of the Films claustrophobic beginning relief begins to arrive. The film opens up. Eldest, Visnu begins to access the open world.

There is a continuing ongoing relationship, differing across the brothers in their feelings for their father and the Visnu being eldest gets to disclose most. The situation never harmful or threatening but spaces widen.
In keeping with the film makers approach the softly softly approach works also with both parents.

Paradoxically a lot of what should or could have been revealed to the children concerning motives and other things influencing the parents are revealed for the first time to the camera. No discussions or talk about issues seems to have gone on so this is further vexatious and may amount to new life lessons on the group – they call themselves The WolfPack.
Open the shutters
The expanse of the world outdoors as each is given allowance by the seemingly innocuous process of this film, seems to creep up on them.
Soon they are for example going to the ‘beach’ at Coney Island and from here on it is mostly open mouthed amazement.

The NYC of before is now less threatening in three D.
The trees and quality of all natural things is intense as The Yellow Brick Road.

Conclusion ####4
For us it is warming to see all the family develop. For them fear is a continual factor and the watchful, turnpike of the road is yet to be journeyed even the road taken by the sagefull, self aware Oscar.

The pitfalls are bound to present but the success is the ingrained sense of innocence, it’s intrinsic value. The landing on a new planet bit should overwhelm but it does not and wonderment instead is revealing.
How much the false values, wider scoping, novel and collective nonsense of Cinema will become continuing escapist stock is for the future to provide.

Crystal Moselle has been given a task or chosen a task which has not of itself been unsettling but it is a harvest.

The mature years are now before them and hopefully the choices they make will be fruitful and worthwhile because they have missed much of the ‘socialisation’ with the rest of humanity that forged or has formed life’s anxieties big and small for all of us.

This is a truly fascinating film and it has provided more questions than answers because there are more than ever could be asked.

I am even beginning to make parallels with Go Set a Watchman.
The scene where Doctor Finch, cat on his shoulder begins to ask what the place of identity is as Atticus has set up his white mans supremacist organisation.

John Graham

19 August 2015


Opens this Friday at QFT Belfast as a new release.

Check their website for bookings and times. Also it will only be around for a week or so so get to be first!

Iris : A Film Review


Director Albert Mayles. USA. 2014. 1hr 18 mins.
New York Doll
Fashion is for those seeking iconography as seen through a collective obsession of times or self abstraction.
Iris Apfel is such a creature.
You will be surprised how she began with a style which would grace any woman and then set about downing grace for an arcane beauty which becomes her armory. “I don’t do pretty” see soon explains. Why not? Why is because the allegiance to money and hybrid textural pattern and drapery is a bigger payload.
Descent through ascendancy.
Is it female dandyism? Her suppression of a sexual sole.
Through the outer shell?
There have been many designers whose pell mell has been to lead the following crew through hype and wayward stimulation into collecting clothes and paraphanalia in order to entrust their outer shells in hopeful association to the now. Something has to convince them of the reasoning for taking their appearance fetishly towards endorsement of what has become.
Mercifully there are times when fashion has provided an anti-thesis to that represents. The Com de Garçon, Chanel, Parkinson, type of less is more objectivity. Truly ordinary people have been transformed by their acceptance of certain principles of dress and have had their souls lightened.

Formless people, short, tall, wide, stooped, masculine, feminine types all have endless need to wear comfortable and well made clothes.

Iris is a film documentary by the late Albert Maysles who passed in March of this year aged 88 , he having all the composition and natural demeanor and quiet charm to form a penetrating film of the superficial art which makes for good visual kaleidoscopic memoir. For Iris is not young. At 94 she is at a risen star status in New York, so much so she holds centre stage at her husband Carls 100th birthday party and makes his ‘acceptance’ speech for him. Not that she over consumes him or overwhelms him but simply she is the kind of Jewish lady once she gets talking is hard to rein in.

You may have seen this magpie Fashion Guru. She has made a lot of picture driven magazines and found promotion of ‘iris inspired’ fashion houses, exhibitions and helpfully student scholarships a part of being alive.

By being public and doing things s her way of confirming her alive status.
Quite the opposite of sitting bordered and idol after a lifetime searching her search continues.
Nouvelle Search
Once in a while there is a ferocious devoted upsurge in self expression as a movement of retention or marking of territory.
It happens after displacement and after war both uniformed bloody and horrific sudden shifts take place.
1920’s and 1950’s and to a lesser extent 1970’s all saw roles in reshaping nations and global taste and identity.
Pre history also has significant similar occupation of fashion and national vibrancy, concordance, reverence, rectitude and plain wealth expressed across its borders.
Old World Weavers
Old World Weavers is the name of the company the newly married couple set up to follow through with commissions. It is in the name. Just as the Romans ripped off the Asiatics and Middle Eastern Art then this is a small homage to it.
Tribal art is such that it is both normal and extrordinary to watch vats of colourscape, tanneries in places like Morocco go to local industrial scale lengths to craft and create the basic components for the variety of produce, carpets, curtains, textiles of every kind.
Metallurgists, dyers, shoemakers, weavers and secondary intricate button makers, adornments all are examples of offering the God of Light some return for vision and formation.
Blossom or fade
The film through her storytelling speaks of the early years.
Far from being outspoken she tells a tale naturally with the extraordinary touch of a perception which has all things otherwise bland and uninteresting. Very dismissive of lives she knows or cares little about. Charitable?
This is only plausible through the availability of contrast and not the operation mode beauty in all things.
Formative comparison drops
Her editorial gaze is despite an early years mild and soft appearance taken over by an addiction to jewelry which eclipses textiles, design of interiors and her apartment is now only a collection of highly crafted and well painted UN gauche works of art.
None of her collections are in anyway ugly or able to stand the light of day. Instead they are a summoned token of the century she is passing through and like Cleopatra is meant to engage the eyes.

She was born in Queens New York, in the early twenties, and with Carl Apfel, formed a textile company after meeting at various publications and arts occasions which and placed a combination of skills she explains for us needed follow through by traveling which like Sir Hans Sloane brought back containers full of all cultures. They bargained a lot and obtained high end for low rent.

Somehow she became a pillar of what was then regarded as taste but gradually this became replaced by notions and replications.

Architectural Digest v The World of Interiors camps.
Where is the Art
She never really was taken seriously by artists or writers except fashion house chiefs adored her because she helped the churn. No talent arose from her except having that editorial eye which was identifiable as her own.

Known for having glasses the size of a two wheeled children’s bicycle this more became an unshift-able iconographic label.

It is no more no less. It simple is trademark trash. As such it damages her esplanade of virtuous bonhomie and other literal partially conspicuous breaches of standards which do the fashion world a service.
Fashion heights
Alexander McQueen brought busters as a hoc idea when short of runway filling costume. His art was exceptional gearing of the traits and it showed perhaps the onset or preset of greed avarice hidden allegories which now beset the globe which he had not cared for in so far as it belittled tradecraft.

The same can be said of Karl Lagerfield. The remainder such as Giovanni Versace Ralph Lauren etc, are of the glamour magpie camp and discolor and remove insight idea wise and it is lapped up throughout the world of uniform clothes merchandising.

Conclusion ###3
What you see on this travelogue of the Twentieth century is rarely a glimpse of the past but a record of collections and reputation all shifts. It harmonica sees and juxtaposes while being harmless frippery.
It lifts the lid on nothing insightfully unrecognized yet is pleasant and sidewinding. Never will iris be recalled as plain and she has an admirable eye for the detail as sculpture with the ability to acquire for no other reason than that hoards of splendid things.
Stravinsky, Diaghilev, Nijinsky combined sets of extravagant exuberant panoply for a reason which this shines towards but the fact is Firebird resulted. Other balletic interpretations existed whereas here none is apparent other than the capability to convey to a wider audience – commendable though that is in the educational sense – the intrinsic beauty that surrounds us and structure being a dismantable cradle which it is criminal to ignore

To be seen at QFT Belfast from Friday 31 July 2015 to Thursday 6th August 2015.

Eden : A Film Review

Director Mia Hansen Love
cast: Greta Gerwig, Golschiftch Farahani, Felix de Gevry,
Genre: Drama, Music
Language: French with English subtitles
Country of Origin: France 2014 131 mins.

Eden, from French director Mia Hansen Love looks like a movie, vims like a movie and is a visceral blazing dance music festival of a movie.
Joy and Ecstasy
In around twenty years of Electronica many have wondered how the off mainstream, dance genre, which is a part of global pop music will be retained on film as well as paying homage to the core essence of its obvious record for generations who propelled themselves forward into a new century on the vast issue of tracks and digital recordings at hand.

It was not apparent and there have been lame attempts at what is a block of energetic sound delivered for immediacy, digestion, entrancement and thrill. Enjoyment was the sub-cultural text unashamedly and intuitively correct in the sub-real hotly contested near paradoxical pop music it showed contempt for. Recording companies wished to corner the four to fourteen market and went for it tooth and claw.
The ‘are you into that?’ is never more a reality than with dance.
House was a growing up part for me and you would be able to leave a jazz emporium in London pass a club and hear dance music and be drawn into it straight away. Straight through the doors into a roomful of trance ambient, or a steaming rocking House in ripping loud thunderous classic dance pouring out on conscious peaceable smiling faces in tune with it to the second. It was a fusion of tastes interwoven as never contemplated as technology equipped certain DJs and meritorious musicians to experiment with the veil lifted by the erudite electronic keyboard maestros except no lingering classicism except for Thomas Dolby, other ingenues who would find dance superficial or baseless repetitive soup for advancing sexual relations asap. Attractions and opposites, cliches are thinly persuasive.
Permacultural Organisms
What we had stumbled across as the lightening rods of this French duo known as Daft Punk colonised as French House. Their clubs named in this party as ‘DJ Cheers’. It scalloping out and presenting the dynamic of American nineties deep house embedded and coded with soul enriched words and recall. Words and recall. What if sister? What if brother?
They are actually referenced come to think of it.
Those words not used but grabbing the what if we were a brotherhood.

It was certainly a time which sought the removal of prejudice, which expressed togetherness, which emitomised, just as the Band Aid thirthieth anniversary fades away an awakening to impoverishment, of exclusion, division, war – the ’19’ of the (the Simon Fuller, 19 Management, Paul Hardcastle encourager found embedded in Amy) struck a colossal vein in popular consciousness which morphed in many directions. Even informing ‘American’ themed disco anthems and their cross appeal.

Tree lined Parisienne Streets.
The wide expanses of the Hausmann Boulevards and small commercial trading streets, of counter revolution and now Le Haines contested areas within the periphique had a bourgeoise set who sought out along with other sturdy and not so sturdy youth a culture not derived from Mitterand and his merry band of Eurocrats.
Daft Punk
Social thought indeed was in the ‘Air’ (another French electro device) as self confidence after a one man World Cup! – can I lay that down for discussion at least! – a brimful of Zinedine Zidane from Marseille! head butt upfront! brought out a French exuberance once again on the move. Giacometti meet Serge poster culture with a bit of Rough Trade signature self-identity.
Mia’s beautiful vision
The beautifully thought through delivery of a fictional account of the years French House, a repoclaimed Garage Electronic Vocal House albeit nuanced with the indigenous fluid smooth sounds they heard off the local radio from the populations incoming but barely regarded as influential and probably still not.

The permeation was to be embed without knowing. Frankie Knuckles etc. did lay down plenty of the rhythm and soul inflections understood by the French youth while the UK was direct and in your face. So much so it was back at you from the US who recognised the works worth.

The film is like a groundswell of Music. The first tunes hit off in the daylight opening sequence of a gathering through the more parklife tree lined, (London Planes?) into the – and it was the ozone era – where the air got skinned of its protection, our harmful emissions reached towards a revengeful sky, where the lines of Charlie were across credit lines of harmful business and profit was a book to own.

The tunes are the narrative form. They carry the scenes and Mia drops each as an acid drop with splendid servile subconscious alacrity.

The acid is not so deep as to be found wanting or lost. The scene is derived by the fictional account of her brother, Sven Hansen Love who was a DJ of note and merit. The Eden of the title referring to a Radio/Club publication which aroused the senses by written word, contextural art and drafting a of the nearby Daft Punk luminaries.

Who’s in Da House
Time to introduce Daft Punk properly. Da Funk they drop in a home House party. Meet them, Thomas Bangalter and Guy Manuel de IIomen Christo.
Headbangers of corporate idolatry worth. Unlike the fictional character Paul who is so carefully built by the 23 year old actor Felix De Givry who has to cover the whole twenty or so years of Mia and Svens choice of storyboard.

Each delivers. The point is that the music in essence delivers. It is not full of or has any undercurrents of angst, Prodigy, Underworld come to mind but is up front fusions of joyous sounds making for the first time globally probably French music a serious common bonded sound. How else would it go down so well it hard on United States of America in the home of House, Disco and Dance. It grooved and caresses. It was loud while it did it with no hang up chords or lack of creativeness.

Paul delivers. Sven has his own account of club success and this story has the pairing of Paul with Stan, played by ..who is his encouragement along with Clive another partner in the Club nights which shine. Where is that name derived? They call theirs Cheers. Sort of Aquaplane (Danish) good it’s that bad as a name!
They set up club night high in production values. Not Stockwell! Boston! Hoxton! Sweaty! Non-stop partying. chill and outdoor jeanesse dori blend into the noise and only occasionally does a guest get off their head on screen. The acting of the Mia gathered youth are remarkably well behaved and they dance themselves alarmingly like naturally beguiled lovers of the genre.

These are of the current era made up to be of the former era showing the music is so familiar and loved as to wish a revival of sorts to happen. It looked so innocent but plainly wasn’t. Lots of harm through its drug use and dependency put many into an early grave.

The DJ of Paul’s time worked hard and the labour of love meant he could not pay attention to the love in his own circumference. The adorable, adored, partnerships are true shapeshifting. The loss of his first true love Julie, an American already divorced and who gets his talent is what drives him and returns to America to follow her own goals. The next is the childlike presence of a woman earthling Parisienne girl who also shares his music pedigree but eschews all that it sits alongside. She gives him space and he develops because of her catch a mood wisdom.
A Story in two Parts?
Binary is a recent theme, Love and Mercy, Amy and Mitch, Back to Black, Sid and Nancy, Daft (binary) Punk, Paul and Stan, so this is again perhaps a kind of reflection forward.
The relationships are not so carefully balanced though the synergy is.
They are suited. So it is throughout the film. That he finds love in his life but has another love which he – and because of its acceptance and maybe even being able to make numerous people happy – at the expense of the other and for a part his own mother, his own self worth is undercut.

The success of tracks and his club takes him across to America where again a daylight festival, filmically beautifully choreographed human in scenic harmonious dance sequences at MOMA PS1 courtyard plays out as a
natural segment with Mia’s touch excelling here in both the music and interwoven storytelling pace of her holding onto the challenges at ever encounter.

New York, New Times.
The Paul we know, love and trust is in a difficult place and his own refusal to confront what troubles him and face the loving faces staring back at him is heart felt. Young French actors I have noticed don’t do anger convincingly as they try to hard to be ‘honest’ while simply having taken too much of this that or the other and senses have gone to s*** while the taxi(s) or friend rescue them without much in the way of repercussions.

Not exactly a homage to the delirium delinquency, sangfroid, raw mouthed French unspeakables I have encountered in a blessed return to the world.

The true tried tee shirt thievery is ubiquitously labored or is that just French dressing? Sangfroid gestures are no usual but bad manners and lack of recall are fail safe mechanisms deployed by the French and possibly to a greater extent than others.

The story as this repressed editorial account is struggling to explain for you – the story is good well received baleful and a bit clean – the music is monumentally blissimo innocentia reality fast rhythmic creative vibe full – is paced extremely well and directed knowingly skillfully and very expressively human as to reach where other music films leave you cold.
It is split into the parts of Paul’s life where he is mature and childlike at the height of his musical powers – I detected a downward element to the work later as it went on his own productions – to the aftermatch of money being soaked up by extinctions of guestlists – some nights were the leggy models and dancers drank fluid gold and snorted free gear as complimentary incidentals. To the inevitable turn in fashionable gatefillers, to real life booking of ‘names’ for fortunes and small return took it down to an unrecoverable set of circumstances business wise.

Stop to move on
The dryness at the end was an awakening and there was no trailing over the debris as we had seen the slow demise through these zestful eyes.
The photography slowed to a turning tide and some recall was occasionally invite with the Daft Punk pairing appearing every so often as rudders on another ship.
Conclusion #####5
It is worthy of a five in this (locally) mixed bag Summer.
It reminds us when massacres didn’t appear on beaches along with refugees struggling across continental Europe were never envisaged nor were we mistaken that globally mankind was an outfit which can and ultimately will be the suitor to heaven or a vanished planet. This is the story of a youthful experience.
It is a tender well handled tale thoroughly intelligently written and directed with the deft and utterly convincing playing by the principals who along with the extras equally bring to life that hope which this generation. Now hopefully and do have to hold dear as they venture forward.

Once John Lennon explained it for use.

‘Life is what happens when your making plans.’
John Lennon

Through the train window on route to Washington.

John Graham

23 July 2015


Opens this Friday night at QFT Belfast and on general release from then.
House full so Eden TV
Provides a soundtrack for you

‘Eden boasts a truly outstanding soundtrack’
JAYDEE Plastic Dreams (original version)
SUENO LATINO Sueno Latino (illusion first mix)
ALY US Follow Me (club mix)
THE ORB A Huge Evergrowing Pulsating Brain That Rules From The Centre Of The Ultraworld (Orbital dance mix)
FRANKIE KNUCKLES The Whistle Song (original version)
AARON SMITH FEAT. D’BORA Going Round (UBQ original mix)
JULIET ROBERTS Caught In The Middle (gospel revival remix)
JOE SMOOTH Promised Land (club mix)
LIQUID Sweet Harmony
JASPER STREET COMPANY Solid Ground (Spensane vocal)
ROSIE GAINES Closer Than Close (mentor original)
MK The MKapella
BRYON STINGILY Get Up Everybody (parade mix)
DAFT PUNK One More Time
CHARLES DOCKINS Happy Song (4007 original mix)
JT VANELLI The Cricket Song
WATANABE Odoru (unreleased version)
CHEEK Venus [Sunshine People Cheek] (DJ Gregory full length mix)
KINGS OF TOMORROW Finally (original mix)
OCTAVE ONE FEAT. ANN SAUNDERSON Blackwater (string vocal mix)
JON CUTLER It’s Yours (original distant music mix)
VIOLA Little Girl
MASTERS AT WORK FEAT. INDIA To Be In Love (12 inches)
ANGIE STONE Brotha (DJ Spen & Karizma remix)
LOVE COMMITTEE Just As Long As I Got You
CRYSTAL WATERS Gypsy Woman [La Da Dee] (basement boy strip to the bone mix)
PAUL JOHNSON Tak A Lickin [and Keep on Ticking]
DAFT PUNK Veridis Quo
POLO & PAN Rivolta (get a room! remix)
KERRI CHANDLER We Are [I’m Here For You]



PAUL Félix de Givry
LOUISE Pauline Etienne
ARNAUD Vincent Macaigne
CYRIL Roman Kolinka
STAN Hugo Conzelmann
ANAI’S Zita Hanrot
THOMAS (DAFT PUNK) Vincent Lacoste
GUY-MAN (DAFT PUNK) Arnaud Azoulay
QUENTIN Ugo Bienvenu
HERVE Sébastien Chassagne
NICO Laurent Cazanave
ANNE-CLAI RE Signé Bouaziz
THEODORA Léa Rougeron
ESTELLE Olivia Ross
BASTIEN RADIO FG Pierre-François
MIDORI Garel Claire Tran
RENEE Arsinée Khanjian
JULIA Greta Gerwig
Brady Corbet
MARGOT Laura Smet
YASMIN Golshifteh Farahani

Love & Mercy : A Film Review

Dir. Bill Pohlad USA 2014 2hr 1min. Cert.12a.
Cast. John Cusak, Paul Dano, Paul Gametti,
Script. Oren Moverman and Michael Alan Lerner.
Home is where the Love is
The word is out that The Beach Boys sang the summer for us and ever since have recall days without a cloud, without a moments unhappiness, of surf, sand and sea. This reality of course was a false perception.
Nothing was exposed to the theatre of sound and blue and white stripes of The Beach Boys as much as the fulfillment of the wishing it was fun, fun, fun, sun, sun, sun, more than ourselves the musician fan than themselves and chief among them Brian Wilson.
‘The Worlds most important man of the twentieth century – Woodrow Wilson, according to Scott Berg, Pulitzer Prize winner. Maybe it was for culture, Brian Wilson. It cannot be true though as hype and reality are so inalienable conceptual tangible absolutes as to render us to pulp as fiction.

We need the hype of something in popular media to latch onto as escapism is part of the deal. Woodrow Wilson, origins near Strabane. Conned his country into thinking he was well, a President in full capacity of control, when he was abroad for six months and out of the US! The hype of his life was carried by Newspaper and the Washington Briefing which he invented.
Modern Cinema
This was The Beach Boys new world he had created out of the post war years. The USA needed much in the way of family friendly tones of drama and self identity it gave us Doris Day, Dick Van Dyke, Bob Hope, Dean Martin, as well as The Supremes, The Drifters, The Beatles and poor old Elvis tanned, tanked and Tahiti bound out of a war uniform he had a duty to render the Male American in apart from the alternative – often naval gazing reflection on war – and unceremonious cowboys such as John Wayne preceding Shane soon to be Butched up and moved in town. Voight incoming.
Modern ‘Sinema
There were the, American Betty Davis Betty Davis Eyes types the curious admixture of vice and crime noir and Hitchcock rendezvous films for the unsquemish. Blood on the blade was an escape tool also employed to this confection of a.nice cosy world.

For some crystallizations of the America ‘all we ever wanted’ appeared in popular culture of a clean and type which those in the centre of the stardom were equally susceptible to.
Sound booth stores
Traditionally Crooners and Ballad signers told the narrative but the breakaway was and often is assumed by mentioning The Beach Boys.
The cafés next to the record stores with listening booths were hip as cheapster music nowadays churned out as pop.

This year 2015 is becoming in film alone for Music centered films. Whiplash straddled the entry to the year as it became Oscar commodity.
Then advancing were spacious movies of biographical canvas.

That stretch reaches today to Amy, after the Kurt Cobain visual feast. We have Dustin Hoffman to look forward to in The Choir as well as the month of Music Documentaries QFT Belfast is embarking on concerning our more contemporary rendering documentaries. Music of Bjork, Damon Alborn musical based theatre. Even the film Eden on Daft Punk should be well worth seeing. Barely enclosed as Musical or film they again say we are forever to look at music culture against a visual forest of personalities who stood up to entertain us.

Such is this backdrop it is further disseminated as a story of Brian Wilson’s as QFT programme puts it ‘era defining life’ Bill Pohlad runs two parallel tracks as a very unique take on the two voyages undertaken by Brian Wilson. Some one liners are dropped in which are repeatable. Not here. They are about Brian’s essence and wisdom. The veil is lifted on ourselves through such crafting of thought and a huge amount of unheard of musical literacy.

Music he found to be his souls medium of expression. A handful of melodies and away he went. The generous heart of fellowship, of the band found him creating the most fluid and well received pop music imaginable as his counties technicolor open skied haven.

Just over the past weekend fellow Californians The Grateful Dead, play their final concert having amassed a 44 million dollar event. It took place at Soldiers Field Chicago where Jerry Garcia last played June 1995.

They were close to the edge of where Brian Wilson wanted to be as he sought something beyond what they were narrowly fastened into as the Beach Boys. It’s hard to disavow success and the riches.
The performances within this film are awesomely close to perfect. The division and derision of fellow band members who take to tour without Brian return to find his new book of songs incomprehensible and depressing or close to ailing wailing self indulgent aganst driven worry harnessed in notes and chord complexities even seasoned session musicians had found difficult in constructing.

Paul Dano who added pounds in weight to inhabit the world of Brian Wilson is exceptionally close to any perception we are likely to have of the menacing self-examination which in the opening frames curates the medical condition of hearing other voices in his studio settling the arguments of value on the music he is conceiving. It is an adopted case of proprietorial regions of the brain under challenge from each other. Reason for, as Paul Dano transmits, ‘in peril’ alone as Brian cuts a force, a never seen duality on screen before as insightfully played and told without realism or prurience.
We have seen hothouse voices from the depictions of Elizabeth Taylor, in manic episodes, male versions well covered also, yet here the coil spring nuances of thought are demonstrably resonant.
John Cusack is cast into the role of ‘future’ Brian the credits have us told.
This is a case of extrordinary implicit schizophrenia when it is assertainable, perhaps due to hindsight it is expectatious or expressed in only small measure, something more akin to psychoneurosis.
The brain is not even now so easily categorissed but we know a great deal more than then.

The future is made possible by using two actors. The eerily accurate narrowing of the brow, slight hesitant recoil, pulling his will inward through expression abstracts the inner feeling so well Cusack deploys it’s constant question mark for us to engage with. John Cusak is achieving little in the way of help in large part through another main player in this format. The John Landy psychiatrist whose power of attorney seems large and is dealt strongly and dismally with acerbic scenes of disagreement and darkness seen in sunlight.
There is in the construction of Smile, the album Brian assembled while the remainder, Mike Love, Carl Wilson and the other siblings, that is becomes apparent this is no ordinary man and he operates on a split level mind.
Exceptionally honest about his inner senses therefore unable to obliterate, deny, suppress the feelings of hurt found when dealing with the outside world, particularly his father who accounts for the loss of 85% hearing in Brian’s left ear by repeated punching.
The editing by Dino Jonsater match episodes of period unerringly back and forth. The scene where it appears Brian Is having an episodes when making “God Only Knows” one of their masterworks literally routes us the viewer from thinking one thing to seeing another as this finite, glorious tune is brought out. You will be astonished by the sweet and savage use of character here.
Melinda Ledbetter (Elizabeth Banks), the woman who was his saviour is outstandingly portrayed giving a sparkling beautifully nuanced and attractive accurate account as provided through the riches of script deposition and filmic period resonance, fashion and style wise.
She is first encountered in the Cadallaic showroom where a relationship of forces meeting is established without any claims from either. She sells cars, he buys one. One they have an adult and childlike conversation in breaking the rules of attraction through aa heartfelt moment of greeting a friend.

It begins the middle core love story which becomes transitory.
Eugene Landy (Paul Giamatti), Doctor Damage. A control freak psychoanalyst whose appreciation of Brian’s condition relies on a fragmentary reponse first initiated from a period of reclusive, very reclusive self withdrawal made by Brian.
Various theories are thrown like projectiles at us. One comes that Brian is consciously aware albeit occasionally, of the regression he goes through at times. His maid and housekeeper keeps the over prescription of Landy a secret and Melinda develops as does Brian a truly bonded relationship.

Not surprisingly this undermines Landy enormously. The effect is to send the film into a multiple of editorial and stimulating scenes of harrowing, joyous action.

Not simultaneous. No the schizo dynamic is over wrought in reality as in Landys mind. So Landys position as Wilson’s personal physician and legal guardian, becomes another fore fronted part of the music dynamic which all along is mesmerizing us. Not least because, here is another master stroke. Atticus Ross blends his own score an Beach Boys work so intensely and ferociously we have a narrative both Oren Moverman and Michael Alan Lerner send director Bill Pohlads head into a tailspin no doubt trying to switch the direction of emotions, the highs and breaking points.

It is a masterwork and in parts where Paul Dano takes off in the studio as a maestro planner of plenitude, we see exchanges of dialogue which are collected and delivered in such environments as the ubiquitous swimming pool.
Homage to a floating baby Nirvana in which separateness is key.
Or the slant across the pool. The water sloping from Paul Danos side and readjusted level when seen from the bands side. Of course some dialogue is superfluous but for those unused to the capers of directors in shoeing in favourite vibes one supplants these.

The conversations, on the terraces of balconies with views it is not reasonable to be expected in a normal world; (the locations of these are breathtakingly beautiful as to be heavenly locations for heady differences and cruel irony) is another master stroke.
The colourscape is never restful as you can drown in the lush pleasure and production ‘shots’ even of roadside stationary scenes are of the texture and whole belying underbelly of misdirection taken on the road to becoming the great Uniteed States of America. They also have a scene watching at Landys choice no doubt a Moody Blues Concert!
He turns to Melinda seated next to him who has just spoken to Brian and asks something like “What did he just say? What were you saying?” Full of not just a controlling irrigation, yes not irritating, misapplied sickness I read this a reflection of Landy wanting to know what both sought of the song.
‘Nights in white Satin’. The duality and multiplicity of uses for the song being Landys own personality.

Conclusion ##### 5
This ends as many do not as a recovery gone right.
You don’t often get that but the journey was costly.
The mercy bit comes in the song. The film is put together with a lot of Americas discovery of itself after the relase from war and is an unprecedented release of a sectio of popular historical biography. A fictionised true life story made for the adoration of millions of fans.
Melinda Ledbetter carried and carries the torch.
The Wilson family have a history told for their own benefit and sustenance as unforensic as is both proper and practical.
It is a work of depth and extrordinary insightfulness.
It explains the lack of medical explanation of so many cross genetic and societal forms of interaction.
The contusions and left orbital senses damage is but one derivation of the harm and bi-polar state he fluctuates from though no such diagnosis or any diagnosis is rightly put across as the closing sequences gather us for the close.

QFT Belfast Fri 17 July to Thurs 30 July 2015 check the screening times lose to the date as times sometimes shift a little.

Julys Calendar

image image

And here is a BT9 Event


Here is a July Calendar which may be suitable for a download/print or inspire you to make your own.

Soon I shall be sending to post a blog review of the film Amy which is on general release from Friday. It is a film I am rating at 4/5 despite it’s many flaws and the inevitable gaps. The woman was beautiful gifted and has left a world which needed more of her than she could give.

John Graham

1 July 2015


Amy : A Film Review

Directed by Asif Kapadia, Documentary, Cert 15. 2hrs 8mins
From the cradle
The North London world of Amy Winehouse was modern life in a close Jewish family. The calendar approach of the chronology leading to her passing is in this film capturing a small part of the true Amy.

It is not a biographical film. Neither is it remotely complete or a true picture of her life. Self provokingly it postulates as a history of the composite music files, both Amateur record, professional parasitic paparazzi takes, concert footage and many personal tapes made by her entourage including decisively her first manager Nigel. A lot of footage making this film is apparently YouTube footage but it’s hard to tell.
The sharp contrast of titles used throughout, even sub-titling for lyrics which is a bit of a cosmic fudge akin to Amy’s dislike of a producers over dub inclusion of strings on one of her tracks is presented across speckled, low res film.

It looks hip. It reads unctuous and for a non Amy audience tells a part of the already seen crushing media and music business hardships she endured.
The period between Frank and Back to Black are, remain a mystery. Despite all the exposure and written words Amy accounts for it simply as a period when ‘I started drinking and I fell in love.” Then after marrying Blake she began at what seemingly is the height of personal fulfillment, taking crack cocaine.

“What Is It About Men,” (“I can’t help but demonstrate my Freudian fate / My alibi for taking your guy”) does Mitch no favours, his “Amy: The Untold Story” — Mitch Winehouse is seen in the film as being a part of her pressures. Ambivalence towards drug treatment is direct and bullshit bravado as is ignoring his own manipulative misappropriated skills in time management.

19 management and other management appall. The ones around Amy, her closes friends are not ‘the management’ but gatekeepers employers. The constant roundabout of Virgin Mobile this and Q awards, Brit Awards etc, with relentless rock and radio appearances are precursors to a breakdown.
Amy was highly intelligent and instead of playing the roster of awards questioned the whole. Why have a best female?
Why not best Artist?
It is only too apparent. The music performances in certain places worked. You could never say she failed in an open air sunlit park gig no more than she failed in a night club atmosphere as it depended on so many things. She was in or out of the grooves he created and constructed.
Her writing is about something else. It gets a good airing but is in the end only a fleeting glimpse of the reality.
Mick Jagger and others are quoted in Chas Newkey – Burdens book with a radically more persuasive dialogue than mere rockumentary can elucidate on. The depiction in visual form of a women’s downfall is treated here as burlesque homage. It is at times fragile and individuals get to express certain things they have longed to express no doubt. When x comes to y the journey is over for the women at the centre and the tragedy is immense beyond measure or retrieval.

Some folk will need to take a long hard look at themselves and have probably done so. Let them heal themselves. Let them access places Amy was forbidden to go and let them experience the healing brought.

Let them use their ears. The soundscape is amazing throughout with additional (occasional strings)assembling at the fine images of Amy stretched across the screen.

The film is set out as a filmic exploration of the mess and entanglements managerial, personal and familial that were scrutinised at times in the media. Many famous people are depicted at their zenith of exposure to Amy.
It sets out to be all that appears for a tag happy prescriptive account, as a prolonged encounter with destiny.
Never missing in bathos the footage takes to the skies in a hovercam, steadi-cam or drone hatchling. Rising above North Finchley, Southgate, Thames at Waterloo, Lee at Camden Lock, Kings Cross or from higher the whole of London we are lifted not only by words or narrative.
The choices made are presumably visual punctuation in a frenetic balls of a horror intervention.
As things come round Southgate Priory is now one of its flagship clinics.
Renown psychiatrists who encountered Amy give freely of confidential details of their post justificatory analysis.
Give us a lesson on the effects of drugs and alcohol.

For a film to make you turn almost to tears it must have sincere and heartfelt truth along the journey. It essentially comes from your reading of the talent of Amy Winehouse.
All else is bile and hearsay, reconstructed, edited for proprietorial reasons.
Double jeopardy
At one point the Director Asif Kapadia cuts a scene in the retreat of St Lucia which her trustworthy bodyguard has found for a family retreat and recuperation which nearly acts as a catalyst for the journey to wakefulness so required by Amy, of her father Mitchell Winehouse, directing his own movie crew around the private gathering which shows – through Mitch’s own footage his berating her attitude when he sidles up two tourists for a selfie and he is merciless in having it on his own footage as a father controlling her attitude when peace and tranquility is foremost in Amy’s thoughts.

It is a father securing his own persona of protectiveness. Of showing her he is there. Witness the crew and his own little film. Then the undercurrent of Amy’s need for him to show her love which he as we say in these parts – ‘he’s a funny way of going about it’ – it is not only like throwing stones at swifts flying above seeking food and pleasure but a despicable tale told for us to be later subjected to and share this private unease.
The Earliest times.
The film misses the early times.
From Amy Winehouse The Biography by Chas Newkey – Burden which I thought was a superb bit of journalistic endeavour though inevitably suffering from gaps as the film, I fill in with some of its points which are illuminating.

The Biography, the book tells a great deal.
It may drop off towards the end of the book as journalist are interviewed about interviews but it copes with the mystery and is hopeful of recovery.
It shows from her singing at school and being told to stop, her mothers Jewish jazz musician brothers, her adherence to Jewish tradition and the contradictory promise of Amy which took in the National Youth Jazz Orchestra (film features) the Sylvia Young School indebtedness of which she said “..Although unlike my Dad, and his ancestors, I want to do something with the talents I’ve been ‘blessed’ with.”

She was a virtuoso from the time her most influential guru – her maternal grandma who became her mother in effect around the time of Mitch Mitchell leaving the family home for an affair and the Sylvia Young School predicting failure in the academic part the coping – inability of Janis her mother to restrain a creative force and where does autism strike? Where were the helpers in the schools or background faith brethren? How bi-polar defendant are events unfolding? Where do food issues enter?
Origins of her genetic gift.
Mitch Winehouse brought the jazz music world into the house they had in Southgate. 250,000 Jews settled in North London and loud was to be a feature of Amy’s upbringing. It seems Mitch was the connoisseur while Janis had the background music genes.

Amy’s brother Alex was a very big influence which she acknowledged and her schooldays were happy day’s and she took up guitar by buying a Fender Stratocaster not that she and her friend at school Juliette Ashby, who features a great deal in the film, had much call for playing blues or heavy metal.. More inclined to act as Shangri-Las and perform as a duo ‘Pepsi and Shirley’ or as pseudo ‘Wham’ backing band they formed a duet as ‘Sweet and Sour’.

Nan had the notion of grooming them, Alex included and Amy was able to sing behind her brothers Frank Sinatra repertoire. He was eighteen to her fourteen. Her own breakthrough she maintained happened around nine!

Troubled teens
Influences and loves are installed from nine until around fourteen and the disintegration from the absence of her father had a mighty effect.
Janis Winehouse had to work as well as look after her family and often would find a party started at the Winehouse residence with music blaring and often the teenage hangers on. Dross music was abashed for jazz and hip hop open sounds.

Amy’s words come across brilliantly on this period through the diligence of Chas Newkey – Burden and his characteristic love of the songs which emerged. The early years are so fascinating and at the same time make you weep for her and the troubled souls she leaves behind.

Chas Newkey – Burden is full of hope and optimism throughout his book and burns out hatred and the caterwaul talk – Jonathon Ross gets a great by-ball roughing it as a fellow commoner in the films TV footage. This film in interview clips is not short but in the book Chas Newkey – Burden repeats the intentional slur on her after some awards thing.
A hip Jonathan Ross. Forget it. Surrounded by Jewish culture though he does take faith in the Unitarians of Golders Green with his family which probably saves him. Others are snipping at her from a distance, Graham Norton, who never knew a Jazz song worth listening to and many cloth eared vampires and DJ sorts.
From the Sheffield premier came these comments.
‘Nick Shymansky, who discovered Amy as a 16-year-old and became her manager, said he could not turn down the opportunity to speak out.

“The reason I did this is actually to focus on her brilliance,” he told Radio Times.

“The dark side is so well documented, available and overly publicised. The one thing you know when you go and see this film is that Amy’s going to die. And I felt that for a long time before the end came.”‘

Julie Birchill got wind of her early but didn’t act on the lead given. Surprisingly. Is that correct? No show?
The former NME rock journalist found herself in conversation on the making of a TV Medical programme about asbestosis – the ironies just pile up – with Amy’s Aunt Debra Milne – a consultant histopathologist who convinced Julie to go see her niece in performance.

As for 19 management Amy put her link down to Tyler James, Chas Newkey – Burden quotes her as saying, ‘I had one gig with the National Youth Jazz Orchestra and Tyler, he was with his A&R guy Nicky (Shamansky), and Nicky said to him, “I heard this girl singing jazz on the radio,” and Nicky said “We’ll my friend Amy sings jazz and she’s great.” I think I must have been about 16. So I think Nicky was the one who convinced me to make a tape.’ The story goes on to quote her ‘I met Simon Fuller, like, two times.’

Fuller was no Svengali or Chris Wright (Chrysalis) type and had a ear but dealt in ‘churn’ of his own kind franchising Pop Idol.
The Chrysalis thing was his start and knowing the Beggars Banquet shop in Kingston Upon Thames I know there is a side to that enterprise, much is owed, to Jazz, darker themes and genuine avant garde or music with a quark strangeness and charm. Did they ever record Hawkwind!?. Certainly Tindersticks and the like. Tindersticks lead singer selling vinyl when it was naff. Not many bands canclaim a track on The Sopranos though!
Amy complained they played her songs in the bar on Emmerdale!
In the book as opposed to the documentary here both are only snapshots but genuinely play a role which escapes the film dealing with the same periods.

Some roads lead to other places and after the Sylvia Young endorsement she won a scholarship at the Brit School Selhurst Croydon which the book covers in some detail.
Brit influence
I can correct some of that because I was involved on the initial phases of it setting up and opening.
The design of the school came about through the genius that is George Martin, not the xyz, mentioned.
Ambitions at the school existed but the forging of them took a quantum leap with BRIT involvement.

It was obvious to him the need existed and he knew how to get it organised so set up the British Recording Industry Trust organizing board or commitment to it.
BRIt had a prospective location at a secondary school wishing to diversify in South East London.

The practice Cassidy Taggart Partnership, I was subsequently to work for, won the Architectural design competition George Martin had set up.
My boss, Brian Taggart, I.O.M. of Liverpool schooling, who is a genius in his own right, designed a formidable praying mantis like building with a very large theatre box central core.
It was over two stories in height and had the structural elements hanging of it supporting and clearing the created opened studio floor space in the process around the block.
So at first floor the whole roof floated above areas without the standard column distances found otherwise.

The central performing space happens to be acoustically of the correct scale and composition. Attention to surfaces and size was the starting block.
Former offices I occupied for the practice had a central Dunlopillo(foam rubber pyramidic sheet) central wall and hoop sound block separating room noise either side!
It was apparent the building fabric and scale has a great deal to contribute as does the guidance much applied from George Martins career as studio producer.

The tuning of it into a finely calibrated Performing arts college took place and it opened at a cost which has been repaid several times over – the budget was extremely small and every trick in the book was used to make the building unique, buildable and functional at an unbelievable cost.

George Martin loved the result. Amy walks up the steps of Abbey Road into the studios he also designed in a house in Hampsted. It was just down the street from where the final detail works of design were formulated in a ‘temporary’ office for the BRIT SCHOOL which was alongside the ‘Spitting Image’ factory. You would go for a smoke on the fire escape staircase and several Dummies seen on TV would be staring from the windows at you. They would shake and sometimes move assisted by the folks indoors (in need of a smoke themselves).

Step one you kiss and hold her tight.
The book tells of Amy Winehouse not liking the school but I can imagine the slim figure crawling the steps of Selhurst station to get to the exposed platform late at night. The echoes of sound still resonating in her head from the building behind and from that cold wet vantage point see North and also wait to be taken down to London Bridge Station. The same is true of many a gig and artist I’m sure. Adele must have felt so much a part of a proper cultural force that London duly provided her and others with opportunities which they were in the vanguard of shaping.

The most revatory pieces come with the analysis given to the songs which she Amy Winehouse has given us.

Of Frank. Well, brother Alex, father Mitchell, Blake, Nicky and all men were possibly Frank (Sinatra) in her eyes.
She opened up in songs as no one ever has before.

Conclusion ####4
Back to Black tracks like you know I’m no good, show Amy as she struggles with the demons. It is bad news when TV take it beyond its angst against fidelity. ‘Secret dairy of a Call Girl’ used it while ‘Rehab’ is made darker than it’s fast loaded tongue in cheek origins. Just friends is high fidelity jazz along the lines of Aretha Franklin at her height.
Some of the takes on her songs as mainstream press and tabloids eschew their purpose driven diatribes are woefully abundantly squeamish to read. They are so unlike the music pilots and jazz messengers of the press whose writings inform.
Imagine the fun and superb judgement the late Derek Jewell would have had in hearing her perform and sing towards a new spectral age of music.
Sadly he is no longer around. He had years though that Amy did not. To see this film is to see only a small part which is how I have sought to construct this set of observations.
To direct you into music as delivered and to return to music and mix it with the current. The film is very well cut and fills a void of a kind but it has soured some.
I feel for people whose participation was an attempt at being free at last to speak their minds. Today tribute. To support the gracious memory of such a breathtaking lady.

She was dynamite unfolding but it need not explode in CinemaScope, is not intended to be trawled over using the very paparazzi footage of news hounds as it is counter to the apparent mine of other records that surely exist.
It is no doubt positive to be reminded of her worth and it is going to be an entry route for many to music of a magnificent kind so what’s the problem? Discuss?

John Graham

2 July 2015


The film opens on 3 July 2015

QFT Belfast Friday 3 to Thursday 9 July 2015 then from

Thursday 16 to Thursday 23 July 2015

Multiple opportunities!

Slow West : A Film Review


Slow West. UK/NZ 1hr 24mins 2015. Cert. 15 Thriller Western.
Director John Maclean, Cast includes Ben Mendelssohn! Michael Fassbinder, Kodi Smit-McPhee, Rory McCann, Cary Pistorious, Brooke Williams, Edwin Wright, Jeffrey Thomas, Madeline Sami, Andrew Robert, Michael Walley,
Go West
A 16 year old Scotsman barely grown into his lanky frame sets out to pursue a love across the classes and across the Atlantic. His background is Cavendish and he is alone, a surviving aristocrat. Jay Cavendish (Kodi Smit-McPhee) journeys across the American plains towards the West.
It is the late 1800’s let’s say 1870 and by this time he would have had choices which for the purposes of this story are rejected. He could have joined numerous Scots Irish groups as a driver and forged and travelled with safer links.

For the sake of this preposterous narrative he is already nearing his destination of Colorado. Perhaps he got of a train in Denver or Boulder, such is his good fortune of trekking alone while Indian territory and insurrection abound. The seceding of the states took place in 1860.
Confederacy was to carry forward many ills as far as British ‘settlers’ were concerned.
The high ranges of hills cross the cinematic gorgeous backdrop of the Rocky Mountains.
Given New Zealand to work with cinematographer Robbie Ryan transforms New Zealand convincingly to be showy and big picture effective.
On a small budget, grafted together by John Maclean and Michael Fassbinder as Silas Selleck whose previous work together was small making this a first mainstream big picture in scale which delivers for its craft-work.

He, JM, has made band videos for his music career with The Beta Band and often the sharp short shot is a kind of music ingredient which he calls on to make an altogether obvious point. The plainer it is the better it seems.

Then there are the cinematic references which is indulgent at the best of times and unnecessary flannel at the worst. The singing trio on route, the skeletal leviathan remains on the valley between mountains, the incidental absurdities. All are there offering little of cogency to a narrative.
The join up between Silas and Jay is central and into it enters the scalawag Cowboy, Ben Mendelsohn as Payne – no heads up there then – in the mere costume affectation of a fur coat stolen from Granny Henderson of Cullybackey no doubt, as an erstwhile – what else – sock to Fassbinder’s foot. He is unconvincing as a malevolent bully – the down payment for the role as such – but excels at attempting to upstage Fassbinder in their limited scripted parts.
they claim to have aims similar but different and i would not argue because it is as a gang leader BM acts out a fantasy role which his life expectancy goes beyond his cerebral count.

Silas is as we know a bounty hunter. A competitor also arrives in a sub-plot.
The intensity is nowhere near that of frontier or discovery movies.
you may not accept the comparison but this film, Slow West is essentially about self discovery. The grown ups (Silas and the merry band are all outliers) so it is no shift of imagination to take it to the high seas.?
The Bounty, admittedly entirely different, (boats adrift, seas and chronic conditions) which I recently watched again.
So many levels of complexity with character and incredible levels of acting at its best, – Antony Hopkins in his prime possibly, Mel Gibson acting with humility which he later lost maybe were evident.
Silas is able to extract Jay from an improbable word exchange quickly entering killing and body scavenging. He steps in, off frame and Jay is rescued. Then he forges the mentor, guide role which Jay entrusts him to.
The morality of not killing a sixteen year old is with him as a part allowance in ethical consideration.

Jay signs him up as his needed guide as the story unfold sol with more embarrassing crossed paths. Still they bond over the leviathan carcass as miniature scale earners.
Small print
Another little episode involves a random ‘Dutchman (?)’ who is another lone traveller of a writerish kind, one who is not lacking in courage but falls over his own propriety.
Jay asks for guidance here when estranged from his own hired hand Silas.
This is another sidetrack of black comedic note.
The playing of each actor fluctuates. Sometimes MF is accustomed to being on target with the complexity of the story he is conveying. It is when he is using stillness. Pure Clint.
Then again sometimes westerns go long without dialogue. The camera follows unobtrusively. Not this one, in his knickerbocker glory (flesh is not displayed much to his annoyance) when a flood washes them – a scene(s) as convincing as a studio set down the studio lot – strung out like a washing line literally the joke is lank.

Bounty of a different kind
There is no debate about whether Michael Fassbinder can act. there simply has not been a robust enough character for him to perform. The likes of Niall Tobin, Richard Harris, Peter O’Toole come to mind as actors whose skills were kept in store until they reached a part suddenly Harris and O’Toole were exceptionally out of the blocks and Tobin was around with little of consequence until later life. How is it going to be for Michael Fassbinder?
Does it matter to him? Is it possible these days to become a ‘comet’ of an actor?
The reason the subject came up is because i reminded myself of Antony Hopkins forgotten piece the in The Bounty and all the outstanding performances around him. It just falls in place.

A Le Carre piece perhaps. Alec Guinness remembered years later for his role above all in Tinker Tailor. The cadences are remembered through the actors provision of inhabiting the character of an exceptional reading brought forward by the writer. In both instances the originating author let go of the screenplay and the story became cinematic gold.
Some spontaneously funny moments arrive and go without overstaying however which makes this doubly inordinate. There are the sub-plots, on the subject of bounty hunting, a character, name forgotten. This ‘Bill Stickers’ ‘Bill Posters’ whatever, concerns how notoriety travels and how to manage it. Comic relief from the violence except the quickening, advancing abattoir of dead bodies spurs on relentlessly.

The tragedy is only a downward spiral from the very first non accidental killing. The film manages a very bleak tragedy which is corporeal and of a kind which startles. The story moves outward and leaves a question of discovery and recovery unanswered.

Conclusion ###3+
When it comes to a story there is indeed quite a weave of one but it is remarkably short of realism given it has core western ingredients.

The given – he has reached Colorado unscathed – is landlocked by the arrival of Bounty Hunter Silas (Michael Fassbender), – Silas, wily old fox has lightened upon him on his own journey in basically the same direction except he knows we’re it is best to find the thing Jay is looking for, for they are one and the same.

Flashback tells the story of why Jay has found himself chasing the love he constructed in his proprietorial heart. He has accustomed himself to seeking out, through a modicum of guilt Rose (Caren Pistorius) and her father Michael McCann.

There is entertainment aplenty in this freshing of a genre, the last one I liked concerned dead people burials etc. Gruesome also.

This has a very violent ending sequence which sorts matters out as far as a conclusion is concerned so do not worry about feeling short changed in that regard.
take it for what it is as a traditional Western scoping of the nerve endings with lots of unintended consequences running in and out with very little to learn about real life except the telling is a reminder of our potentiality (existing – intact) to be entirely wicked and stupid and never satiated or satisfied by what is in front of us.

John Graham

26 June 2015


Opens tonight at QFT Belfast for a weeks worth of scheduled screenings and on general release.
It is sure to be popular.

if you are into art movies then check the work on Youtube of

Lílian Campesato: “V Encontro Mulheres na Música Experimenta” whose take of Black and white film with her soundscapes makes for a memorable set of pieces which is explained through her medium of Brazilian. I have set a few questions to her on the work and poised a few intangibles!

Take a look.

A Pre – Nuptial Agreement Part1


Bringing into your life some new living thing is our expectation of giving up something of ourselves. In reality all that is being considered is that in order to be a person we will need another person. That might be a mirror of the self and we see their self in us. Will they see themselves in you?

I understand I need you you as you I am being true to you and I?

This need be said of The Lord. For this essay is on God.

One week last week I found I was writing about God at the foot of the Mountain. At the foot of the Mournes. Now this week after the dozen or so young travellers took off their clothes in a far away place as an act of liberation stood naked male and female a discreet distance apart and took what was felt spiritually in, at the top of the Mountain.
They had reached there communally and found it affected them and gestural though it was of freedom and of each individuals feeling of connection with a place it was again the nature which became the souls bonding with a universal. Firstly the minor separation in order not to distract its value to sexual expression became evidence of soul.

So how is the soul? I ever was aware, haing not paid much attention to that often asked question laid at children’s feet when they encounter practice of religion of the organised kind.
Here we are .. As The Blue Nile song goes .. Caught up in this big ..
Why did we ever come so far ?
I knew I’d seen it all before
Tall building reach up in vain
Tinseltown is in the rain
I know now love was so exciting
Tinseltown in the rain, all men and women
Here we are, caught up in this big rhythm
One day this love will all blow over
Time for leaving the parade
Is there a place in this city?
A place to always feel this way
And hey, there’s a red car in the fountain

It could be many things. Here we are this gathering in Belfast offering together the opportunity to explore the fundamental challenges beset our world of today. Each being there to listen to a series of talks, readings of significance as small measurable interventions.
The speakers using their writings, readings as reinforcements of the beliefs and how they conduct their minds to create the organization sought within their intellect of the union with the word and the oneness of in this case, Christianity.

It is not a Buddist form of faith, nor Muslim, even Hindu or Judism but intrinsically Western and Christian.

It is also those religions as it seeks union with them as the separations are significantly minuscule as to be inessential. The sense of identity is what makes this clear. Everyone gathered is it seems, European or American or of a Western mindset. They are of a habitué of the inter-rail adventurous kind, gone to the top of the mountain and found a soul apparently amongst them or even individually. The identity is it seems the burden.
Others are of the elements of Churches of wider thinking, of a kind perhaps who are wholesome lay rejected by in the kindest way as belonging, if they do to formalities of Church.
Wanting some meaning in reaching a person whose life before or now is more rigid than his, Gareths, life is flexible so seeks to bend towards grace as a ruminant of this persons or ‘types’ ‘ faith’. He uses pastoral advice from a John (Barlow) whose advice was to always respond to those who cannot help understand your faith an beliefs in a state of graceful reply at the same time leaving them perplexed rather than on the cusp of an argument.

That is basically a nonsensical attitude and is without grace. I disagreed with someone who asked me to become involved in something in order that I fought their cause for them just a day or so ago. I explained I disagreed wholeheartedly with them and I was but an individual and in any case should they not address the person they need discuss the matter with more directly and put to them what they put to me. They were an individual with a right to question and challenge I said and should, though I disagree fully with them, did not have an issue with which to make a case on their behalf, they should not be afraid. I did it in a fairly robust way so as to leave no doubt or leeway in seeing plain they were perfectly capable themselves of ‘acting’ of facing rejection maybe at the heart of the difficulty?

Within a nano second they acted and went to the person and succinctly found themselves being listened to and being won to a compromise (of sorts) through their own imboldenment. I got rewarded with a repost that I was of no use and they were strong enough to do the work themselves. I smiled through their strength and wondered why more people did not project their own set of assessments more radically. The direct approach is useful. So the path of grace is a cop out in many ways and it is one world we share not divisions of sects made up of groups.

The way the talk dealt wit it was two fold – “I believe this, am I welcome here?” – “become a gracious advocate.”
First ask the question though will it make a difference should you not share beliefs though are welcome? Simply if disagreement is going to be continual then plainly that group or faith community will not be suitable for you. To ignore it or dismiss it is akin to considering it diseased. Like leprosy it need be shunned. That also need not be the attitude to adopt. More helpful would be to search the innermost feelings and explore the differences with time open ended. With an open mind. Second. Graciousness is your default or should be.
Tolerance perhaps the most powerful word of all. Alongside forgiveness. I often ask what is the most important word of all lying beyond the axiomatic word love which manifests in a multitude of ways.
Brian I think took out three things in respect of graciousness.
1. Courage.
2. Difference.
3. Graciously.
They probably have more to do with emotional intellect.
Position, usage, according to attitude and circumstance?
There happen to be no fixed ways. Flexibility is another tool to achieve understanding.

Another mantra of mine is –

To know is to understand.

I’m not being helpful am I? I do not adhere.
Nor should you other than to the summoning within your heart and mind to the very strong instinctive good you are capable of and this vestige of soul driven virtue is our most valuable gift. How improperly and and others use it. Or fail to act with it when we should.

The animal behaviour of groups is sometimes and often cherished a pathway but as individuals God is beside us among is and we are never alone.

The speaker, Gareth, from Belfast introduces Brian via. an excursion. An inter-rail ticket somewhere on or near his person 16 or so years ago, tells of his moment of epiphany, my word not his – is there one?. He confides therefore it must be epiphany and he values we all may have a similar tale to tell.

It is not January 6, nor, is it cold but is a hot summers day and the rank, dank to smell of an observing French man. Jean Luke I’ll call him, meets our speaker whose cigarillos, set of Cuban cigars aside for the present is attracted to the man spread still and perhaps as a cruciform under the plan shape of the Eifell Tower amid the four corners and tourists encountering the point mentally from below.

A transaction is considered or a gesture of sharing a cigarillo exchanged only it is the act of Jean Luke’s whose full on embrace creates a sense of wonder, of sensory experience which is offered as a doorway to more. The us ping hands along with gracefulness in the kissing Jean Luke is instilling a further kind of encounter.
It is not the case however, just a sharing of pleasure so plain and direct as to be eschewed as the act of a ‘madman’ or other than person whose begging is at once insatiable and unstilted except by the beggar.

Do you decide together with the one you love most of all whether you will love God forsaking all others? Shall you discard all preconceived, taught ideologies because in this resent enlightenment on your journey you have arrived at a the point where it is natural to be in the presence of God.
You are not depending on an evocation of God or betokened God but are one with God. The nuptial is intact in place and ever present.

With you and beside you. Your partner, nearest can see you are with another and that other is with them. Take up the glass and add water.
Offer the glass to the other person and ask that they too add water.
Pouring it you see both are indivisible when they symbolise the joing made by you as it has been facilitated by God.

The combination is of two uniform things such they are as one.

Where next to and outside the world seems no different than it was encountered Millions of years back. You are aware some bits have been taken away in the form of space craft and satellites but hence there they shall be outside ever to return.

So what was the assembled group here to discover or confront. The immensity of good vibes was there, a few Budwieser bottles, many glasses of wine, hummus, strawberries, food taken, babies breast fed, orange juice and coffee taken in abundance.
The talk centered on CHRISTIANITY CONVERTING the theme chosen by Brian Ammons who has many followers from a standing, start in a little part of North Carolina. As a chaplain his congregation has grown and his marriage to Gareths who is soon also to be ordained in he is not yet already fully a minister has found a wider context of meaning through attitudinal upsurge of equality, socialist forms of convergence, basic Christianity and taken in from many other belief systems support and harmonious appraisal.

In my own words it equates to the same thing I have held to for many years particularly resulting from growing up here and explaining further afield the basis of difference clouded by sects and creeds, by belief and tradition et al.

Religion cannot divide, it converges on the same spirit.

I found myself making a connection on Gareths behalf as he said to the international audience as he pointed through the South East corner of the nave he was born less than a mile from here in Tate’s Avenue.
If you take a look at the earlier blog in my postings – Religion : Something New (put the title or the name John Stewart Bell in the white box top right) you will come across the said John Stewart Bells phenomenal theory regarding universality which defies reduction.

It goes something like this.

Action at a distance.

If a small explanation of his principle theorem is made it is this – Our world is non-local as sub atomic particles act on each other no matter how far apart. Regardless of relation in time or light.
Problematically it has of its relation to quantum theory one thing most evident.

Here we are…
Caught up in this spell-binding world with a Bible as a wondrous history and guide. We are asked by Brian what happens now or what the projections and traumas after (whilst acknowledging us still to be harnessed to the divisions, chasms) unsettled ness do we do? Do we make new statements ends, cast out old statements?

That there is no place for paralogism and we can be certain of uncertainty. I believe he draws into the reasoning he is making, wrongly, cosmology. Since he has been around more surely can we gather that for ourselves. We have in truth an ascendancy, not declension, in that the ability is proven we as human have the improvability within us and collectively have reached out to the universe quite literally and extended the natural lifetime of the species even two fold. Returning to the Bible for thoughts of the cosmic is only partially rewarding. The Psalms are evocative passages of intersellar thinking. Psalm 91: 1-8 among the more direct in that it uses the metaphor device –

‘He who dwells in the secret place of the Most High
Shall abide under the shadow of the Almighty.’

It comes at a time when we are considering the travails beset the world. It compares the unknown place of the goal we are set ‘outside’ of us. The curse described in Deuteronomy 28 is of our earth laden sin out of ‘original’ sin for which repentance is offered through acceptance of the word through Gods greatest sacrifice. A refuge of safety? We provide our neighbour, deprive our neighbour of safety, continually. We choose to despise their actions and lack of morality despite it being visited upon them continually for as long as their actions persist they will suffer. Those neighbors who share the knowledge of the word on the other hand stand and suffer to be helped and so are helped. Every action is theirs not ours. The key difference is the enlightenment force which Psalm 91 encourages each to seek and it shall be a force for their salvation.

The knowledge often then is not of a cosmic dimension though is in the Psalmist writing taken forward as doubly metaphoric being of the plumage and winged ‘buckler’ kind sets us of a mind where ‘universality’ the quantum level of physics need not be so alternative a leaning for thought of our abiding thirst for learning. The extraordinary nature making wings and atoms things of flight and distances covered. It is as we are.

As we are is realizable to us. Who a short while ago would have believed humans could be capable of barbaric acts in such common currency today? Few. To gas millions. To create chemical weapons, nuclear destruction, operate as lone evangelists or jihadists.
‘There will be…’ Luke 21: 11. These are not Jesus’s words so not the word of God. They are a reinforcement of the kingdom as a source of evil and self destruction however. As Daniel in the lions den is such a powerful tale of delivery it flexes Gods abundance to forgive and protect.

To effect change Daniel trusted in Gods protection. Shadrach, Meshach and Abednego too we’re not perishable in defiance of their ‘Ruler’ who had instead destroyed his servants who worshipped false idols. Nebuchadnezzar is an exotic pre-Christian King circa 550 BC and also a volume circa 19 liters bottle to contain wine. The wine is like the Bible you could say.
The tale of Daniel new wine in old bottles, something new placed in or superimposed on an old or existing form, system, etc. Matt. 9:17.

The force of the story is all the more for acknowledging the truth within it, not that it itself is the system of life.

The series concept of time is as if it is a plateau of which we know very little. Therefore we cannot commit to series as a word of sequence in belonging to an era of pre-God effectual God or with the advanced nature of God. We are on plateau looking to prophets who came before.

To return to God we have to do it through the teachings from a time that existed from a prophet that existed.

It is something we do in any case. We reconceive. The DNA even changes within us we now learn. Our bodies survival conditions rematerialise differently and environmentally.

We adapt to massive upheaval and fundamental destructive forces – force change upon us. So it is not a case of refreshing practices but a continual re-evaluation needed at every possible level.

The curative mind
Antinomy – opposition between one law, principle, rule, etc., and another.
Philosophy . a contradiction between two statements, both apparently obtained by correct reasoning.
It is reasonable to ask if the theories we espouse as part of a series. If in Kants mind the antimony of separateness makes it impossible for us to take up the think inking alone in series form. That everything occurring occurs to pattern and in God, freedom and immortality, (that last one is even dismissible) is the metaphysical. The dialect (Kants) contains room for disjunction. That there is no place for paralogism and we can be certain of uncertainty. I believe he draws into the reasoning he is making, wrongl, cosmology. Since he has been around more surely can we gather that for ourselves. We have in truth an ascendancy, not desencancy in that the ability is proven we as human have the improv ability within us amd collectively have reached out to the universe quite literally and extended the natural lifetime of the species even two fold.

The series concept of time is as if it is a plateau of which we know very little. Therefore we cannot commit to series as a word of sequence in belonging to an era of pre-God effectual God or with the advanced nature of God. We are on plateau looking to prophets who came before.

To return to God we have to do it through the teachings from the Bible. It is the most important resource we will ever have besides faith. Whatever ‘consumes’ you take to seeking out answers and guidance from the Bible first.

Theism is found in Mills and the Cartesian approach is reckoned with by Goethe, by Hume, Rousseau all conject to the extent their is a common defiance if not philosophical outlier question. The unresolved. Darwin’s ‘notion of a providential government by an omnipotent Being for the good of his creatures must be entirely dismissed.’ (X:482) was a stumbling block to Mills for he realised quite ordinarily magnificently, ‘something grander and more beautiful than we see realized in the prose of human life’ (X: 419) was as a flood on Mills mental being. Clearly both Darwin and Mills as we cannot find the words to express the infinite unknown while in awe of its evidence in existence.

Concluding. Part 1.

The group organizing the All Souls Meeting on Sunday 14 June 2015
Will be involved in the Corrymela, Ballycastle, Co. Antrim Aperture event over the weekend there of 30 July > 2 August 2015.

They are currently changing their group title however which is not always a good way of finding out more about their work.

It should be quite easy to find in your area people on this journey. Every best wish to your hopes and feelings as they are relevant as you must know to the thoughts and progressive ideas and collective voices you can hear being channelled.

The meeting at All Souls was of a centuries old tradition on converse within a formal prosaic setting. Out of such places and since Churches mediate and meditate on Gods word.

We make a road by walking.
Learning a Religion is like learning a language.
Passing on the faith by coming together Elishah to Elijah.

Over the heads of us were certain steps to our communion with Christianity. It seemed a time to bring these closer to earth and amongst us.

Through the discussion unfolded
1. Christianity Connecting to a way of life.
Staying remaining connected. Challenge isolation.
2. System of Belief. Produce loving People.
That our way of life is the way of love through our understanding of God.
3. Institutions are dangerous.
Bringing togetherness is adverse to separations.
4. Inspire change through the Bible and the word.
The progressive. The Christian. The Perspectives.

So much is unsaid that needs to be said.

You are welcome ‘here’ and can contribute so much by the enlightenment you have and can share.

For instance

The individual level. Let it be known that you are uncertain in this or that and the readings of the Bible are proving difficult to assemble through a plethora of issues and concerns.

Stand apart from them and use the force of the Bible to overcome them. Let the word advance into you.

Unsettledness we may be in but it has been always so.
From Moses came new beginnings. Choose a point of connection each time and reconcile the immediate with the present about to unfold. The encryption of certitude is not what is important. I would go so far as to say the Books of the Bible are small windows upon the life and work of the Creator.

The abundance is everything.

John Graham

23 June 2015