TIFF FILM REVIEW: Jude Law in ‘Dom Hemingway’

Lionsgate 'Dom Hemingway'

By Ray Bennett

TORONTO: Petite and cultured Jude Law in his new film “Dom Hemingway” aspires to become a tough-guy London gangster type and fails risibly.

He’s bulked up and balding but he’s more Phil Collins than Jason Statham in the title role of a preening cretin who gets out of  jail and goes to collect his reward for taking the rap in a crime caper.

Given verbal diarrhoea by New York director Richard Shepard, who writes with a tin ear, Dom Hemingway would be odious if he were not so palpably and laughably fake. He is seen first naked in his cell as he delivers a farcically ornate paean to his penis as he receives fellatio from an unseen benefactor.

Short and bloated, Dom is an ill-conceived character who implausibly is supposed to instill fear in men and desire in women but make us somehow like him because he is so stupid. No sooner is he out of prison than he beats a hapless rival almost to death and romps with some bought and paid for painted ladies.

Richard E. Grant plays a fawning sidekick who we’re supposed to believe admires the nasty little creep even though we know that he could break him with a single sneer.

Laughably unconvincing, the film moves quickly through the usual clichés of English gangster films that become unbearable after about 20 minutes, which is when I left despite the appeal of Rolfe Kent’s score.

Other reviews suggest that the film continues with a torturous blend of violence, sentimentality and wretched dialogue that would make even that other Hemingway blanch.

Venue: Toronto International Film Festival
Opens: UK: Nov. 15 (Lionsgate) / US: April 4 (Fox Searchlight)

Cast: Jude Law, Richard E. Grant, Demian Bichir, Emilia Clarke, Kerry Condon, Jumayn Hunter, Madalina Ghenea, Nathan Stewart-Jarrett; Director: Richard Shepard; Screenwriter: Richard Shepard; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Rolfe Kent; Costume designer: Julian Day; Editor: Dana Congdon; Producer: Jeremy Thomas; Executive producers: Steve Norris, Peter Watson, Zygi Kamasa; Production: Recorded Picture Company, Jeremy Thomas Production. Runs: 93 minutes; Rating: UK: 15.

 

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TIFF FILM REVIEW: ‘Mandela: Long Walk to Freedom’

Mandela-Long-Walk-to-Freedom cliff

By Ray Bennett

TORONTO – “Mandela: Long Walk to Freedom” is altogether earnest and honourable with fine performances by Idris Elba and Naomie Harris but its natural home appears to be television rather than the movies.

Director Justin Chadwick is a noted TV director (“Bleak House”, “Spooks”) although screenwriter William Nicholson knows his way around epic material (“Gladiator”, 2000) and love stories (the superb “Shadowlands”, 1993). They do a good job to condense a mass of events in a very big life into an engaging narrative but their approach is too even-handed to make a lasting impression.

Based broadly on the South African leader’s autobiography, it sketches his rural childhood quickly and moves on to his early days as a lawyer. The institutionalised casual racism is marked along the way as Mandela turns from political protest to radical action that leads to charges of sabotage and treason.

His early marriage gives way to the dynamic involvement with his second wife Winnie Mandela and the trial in which he and his fellow activists avoid the death sentence but are condemned to almost three decades in prison.

The facts of Mandela’s life have been known for a very long time and the film almost inevitably lacks the degree of contextual information that would match the man’s phenomenal impact on his country and around the world.

The scenes of barbarism lack real power and often the landscapes, even those full of poverty, are bathed in warm tones. At 146 minutes, the picture settles into episodic narrative.

Elba applies his considerable presence and charisma to the role and adds increasingly subtle nuances as the character ages. In the key scenes of history depicted, he steps up to embody a hero of almost unfathomable courage and conviction. Harris conveys Winnie’s fiery magnetism and determination and the chemistry between the two actors is striking.

As a record of an extraordinary man’s life, “Mandela: Long Walk to Freedom” will do for now but perhaps one day we’ll see a drama that truly captures his struggles, strife and victories.

Venue: Toronto Film Festival (Gala Presentation); Opens: US Nov. 29 (Weinstein Co.); UK Jan. 3 (20th Century Fox); Cast: Idris Elba, Naomie Harris, Tony Kgoroge, Riaad Moosa, Jamie Bartlett, Lindiwe Matshikiza, Terry Pheto, Deon Lotz; Director: Justin Chadwick; Screenwriter: William Nicholson, based on Nelson Mandela’s autobiography “Long Walk to Freedom”; Director of photography: Lol Crawley; Production designer: Johnny Breedt; Music: Alex Heffes; Editor: Rick Russell

Costume designers: Diana Cilliers, Ruy Filipe; Producers: Anant Singh, David M. Thompson; Executive producers: Cameron McCracken, Francois Ivernel, Geoffrey Qhena, Basil Ford, Sudhir Pragjee, Sanjeev Singh, Philisiwe Mthethwa, Hlengiwe Makhathini; Production company: Videovision Entertainment; Rating: UK-12 / US-PG-13; Running time 146 minutes.

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TIFF PREVIEW: Awards season kicks off

Lionsgate 'The Railway Man' Cliff Edge

By Ray Bennett

The Toronto International Film Festival, which kicks off on Sept. 5, has a long record of spotting films destined for prizes and commercial success. This year will be no different.

Veteran Time Magazine film critic Richard Corliss calls the first Friday at the Toronto International Film Festival “Oscar night” because for three years the film screened then has gone on to be a big hit and win best picture at the Academy Awards.

Last year it was “Argo”, which grossed $232 million in theatres worldwide; the previous year, low-budget French film “The Artist” went on to earn $133 million; and before that “The King’s Speech” coined $414 million.

As the 38th TIFF gets under way, all eyes will be on the first Friday night gala, which this year will be Australian filmmaker Jonathan Teplitzky’s “The Railway Man”. Colin Firth and Nicole Kidman (pictured) star with Jeremy Irvine (“War Horse”) in the story of a World War II prisoner who decades later seeks out the Japanese man he holds responsible for his years of torment in a labour camp. It’s based on the acclaimed memoir by Eric Lomax and will reach UK theatres on Jan. 3 from Lionsgate UK.

On top of that, the film that audiences at the Canadian shindig have voted as their favourite also has gone on to acclaim and riches. “Chariots of Fire” (1981), “American Beauty” (1999), “Tsotsi” (2005), “Slumdog Millionaire” (2008) and “The King’s Speech” (2010) each won the TIFF popular vote before landing an Oscar. Several others have landed Academy Awards for acting such as “Places in the Heart” (1984), “Shine” (1996), “Precious” (2009) and “Silver Linings Playbook” (2012).

High profile pictures announced for TIFF this year include Bill Condon’s “The Fifth Estate”, about the founders of Wikileaks, which eOne will release in the UK on Oct. 11. Benedict Cumberbatch plays Julian Assange in the film, which co-stars Daniel Bruhl, David Thewlis, Stanley Tucci and Laura Linney and will play on the first night. Artistic Director Cameron Bailey says, “With ‘The Fifth Estate’, this year’s festival kicks off with an electric, timely drama that promises to get people talking. Information is is the most potent currency of our time, and we’ve found a film that charts just how volatile it can be.”

To close the festival on Sept. 15, TIFF has selected “Life of Crime” starring  John Hawkes and Yaslin Bey (Mos Def) as writer Elmore Leonard’s characters Louis and Ordell, who were played in Quentin Tarantino’s film “Jackie Brown” by Robert DeNiro and Samuel L. Jackson. That film was based on the 1992 Leonard novel “Rum Punch” while “Life of Crime” is based on his 1978 yarn “The Switch”. Directed by Daniel Schecter (“Supporting Characters”), the film stars Jennifer Aniston, Isla Fisher and Tim Robbins, and TIFF Director and CEO Piers Handling says, “We want to wrap the festival with a fun ride. ‘Life of Crime’ invites audiences to enjoy the pure pleasure of watching great actors bring the words of Elmore Leonard to life.”

Alfonso Cuaron’s astronaut thriller “Gravity” starring George Clooney and Sandra Bullock, which opened the Venice International Film Festival, will have its North American premiere at TIFF before it opens in the UK on Nov. 8 from Warner Bros.

World premieres at Toronto will include several that have a major British presence including “August: Osage County”, a family drama based on the award-winning hit play by Tracy Letts and directed by longtime TV producer John Wells (“ER”, “The West Wing”). Entertainment will release the film in the UK on Dec. 26. It stars Meryl Streep, Julia Roberts, Benedict Cumberbatch, Ewan McGregor, Abigail Breslin, Juliette Lewis, Dermot Mulroney, Sam Shepard and Chris Cooper.

British directors on hand will include Jonathan Glazer (“Sexy Beast”, “Birth”) whose latest, “Under the Skin”, is a tale of aliens in Scotland based on the frightening novel by Michael Faber and starring Scarlett Johansson. It’s World Premiere was in Venice. Richard Ayoade (“Submarine”) will debut “The Double” in which Jesse Eisenberg plays a shy man who faces a strange rival for the woman of his dreams. Mia Wasikowska, Wallace Shawn and Noah Taylor co-star.

Kevin Macdonald’s “How I Live Now” stars Saoirse Ronan as a teenaged New Yorker sent to England one summer to stay with cousins she has never met. In the pastoral idyll, she falls madly in love but then war breaks out. Tom Holland and George MacKay co-star. Steve McQueen’s “12 Years a Slave” stars Chiwetel Ejiofor as a free black man sold into slavery in New York in 1841. Michael Fassbender, Benedict Cumberbatch, Paul Dano and Paul Giamati co-star in a large cast that includes Brad Pitt and Alfre Woodard. The film is due here on Jan. 24 from eOne.

Richard Shepard’s “Dom Hemingway” stars Jude Law as a convicted safecracker who seeks what’s owed when he’s released with Richard E. Grant and Emilia Clarke. Ralph Fiennes tackles his second feature as director following “Coriolanus”, a love affair between a mother and schoolteacher played by Felicity Jones and the writer Charles Dickens, played by Fiennes. Titled “The Invisible Woman”, the film co-stars Kristin Scott Thomas and Tom Hollander and will be in UK cinemas on Feb. 7 from Lionsgate UK.

Stephen Frears’s “Philomena”, which Pathé will release in the UK and Ireland on Nov. 1, stars Judi Dench in the title role of an Irishwoman who spends 50 years in search of a son she was forced to give up for adoption a convent. Steve Coogan plays a journalist named Martin Sixsmith who aids her quest in America and writes her story. Roger Michell’s “Le Week-End” follows a couple who return to Paris where they honeymooned 30 years earlier. Jeff Goldblum stars with Lindsay Duncan and Jim Broadbent.

Justin Chadwick (“The Other Boleyn Girl”) directs “Mandela: Long Walk to Freedom”  based on Nelson Mandela’s autobiography with Idris Elba in the title role and Naomie Harris (“Skyfall”) as his wife Winnie. Twentieth Century Fox will release it here on Jan. 3.

Clive Owen will have two films at TIFF this year. In Guillaume Canet’s “Blood Ties”, he plays a convict released after a long stint in jail who tries to make amends with his younger brother, a police office played by Billy Crudup. Marion Cotillard, Mila Kunis, Zoe Saldana and James Caan co-star. In Fred Schepisi’s “Words and Pictures” he plays opposite another Oscar-winning French actress, Juliette Binoche, as teachers whose romance sparks a contest over which art form is more powerful.

International premieres at Toronto will include Ron Howard’s Formula One saga “Rush” starring Chris Hemsworth as 1970s British racer James Hunt and Daniel Bruhl as his Austrian rival Nikki Lauda. StudioCanal will release the picture in the UK on Sept. 13.

This story appeared in Cue Entertainment.

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FILM REVIEW: Woody Allen’s ‘Blue Jasmine’

Cate Blanchett in Woody Allen's 'Blue Jasmine', which opens wide in the UK on Sept. 27.

Cate Blanchett in Woody Allen’s ‘Blue Jasmine’, which opens wide in the UK on Sept. 27.

By Ray Bennett

TORONTO: Woody Allen’s “Blue Jasmine” is the work of a seasoned filmmaker in full command of his considerable gifts as he tells of two sisters who each in their way rely on the kindness of strangers.

Cate Blanchett’s Oscar-worthy performance as a woman fallen on hard times will rightly get most of the attention as an echo of Blanche Dubois although the actress told a Bafta audience that Allen behaved on set as if he’d never heard of Tennessee Williams. Continue reading

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FILM PREVIEW: ‘Rush’ – the hunt for F1 glory

StudioCanal 'Rush' xCliff

By Ray Bennett

LONDON – Although car chases are the backbone of most action adventure movies, few Hollywood directors have braved the circuits of real racing but now Ron Howard steps up with “Rush”.

Due in the UK from StudioCanal on Sept. 13, it’s the first blockbuster to deal with the globally popular Formula One circuit since John Frankenheimer’s epic attempt in 1966 with “Grand Prix” (Warner Home Video) starring James Garner. That was a multi- national affair with plenty of cinematic tricks including multiple screens and some mushy romance but the film has become much loved by F1 fans for its depiction of the sport even though the director used F3 cars in order to bear the weight of the cameras of the day.

Ron Howard, who has two Oscars as director and co-producer of “A Beautiful Mind”, has no such problems today and the trailer for “Rush” suggests that the combination of real stunt action and computer generated images will make it highly entertaining.

Bafta-winning writer Peter Morgan (“The Last King of Scotland”, “The Queen”) who adapted his own play “Frost/Nixon” for the film version that Howard directed, wrote the script for “Rush”, which deals with the fierce rivalry between two F1 racers in 1976.

Austrian perfectionist Niki Lauda reigned as World Champion for Ferrari in a season that saw playboy English driver James Hunt push his McLaren to a fight to the finish. The film explores the contrast in their approach to racing, their personality clash, love affairs, and deadly competition.

In a behind-the-scenes clip online, the director says he wanted to make the film because it was based on a true story. Howard says: “It’s the really, truly entertaining nature of these two guys. The way they went about the business of trying to be great was fascinating.”

Australian actor Chris Hemsworth (“Thor”) plays the blond, flamboyant womanising Hunt while Spanish-German Daniel Bruhl, who has starred in films such as “The Edukators”, “The Bourne Ultimatum” and “Inglourious Basterds”, plays the studiously obsessed Lauda. Howard says: “Their story is so remarkable that you could only do it if it was true because people wouldn’t quite believe it. They were willing to risk their lives to obtain this elite status. They paid a price for it but they defined themselves.”

Olivia Wilde (“House”), Alexandra Maria Lara (“Control”), Stephen Langan (“Episodes”) and Christian McKay (“Me and Orson Welles”) co-star in the film with music by Hans Zimmer (“Inception”).

Shot on actual racing circuits in England and Germany, the film uses vintage cars and replicas. The director tells SpeedTV that the challenge for filmmakers was the need for technology to come along to make everything appear authentic: “To recreate those tracks in 1976, that’s where we used our computer generating stuff. But there’s still a hell of a lot of driving in our movie and I was relieved when we finally wrapped because I tried to get the audience into the action, which meant putting the actors and the stunt people into the action. We had a couple of near misses but everybody was fine and I felt we’d serviced the needs of the movie.”

To recreate the incident at the old Nurburgring track in Germany in which Lauda’s car smashed and caught fire, Howard tells SpeedTV that while original film of the crash was limited, it was helpful: “We did rely on that footage. Niki couldn’t remember a whole lot, but we broke it down and tried to understand what the physics were and we actually filmed at that corner on the old track at Nurburgring, which was amazing. Then, in order to really put the audience in the middle of that horrific moment, we used every trick in the book.”

Howard tells Entertainment Weekly the experience was like a cross between his earlier films, the space story “Apollo 13” and firefighting tale “Backdraft”. He says, “In the case of ‘Apollo 13’, that’s for the complexity and the authenticity and the intent to capture an era and an endeavor that blends technology, action and danger. But, then speaking of danger, it reminds me of ‘Backdraft’ because those fires scared me and so did shooting racing action in this film.”

Formula One is not as popular in the US as it is around the world and previous pictures that have involved professional racers have veered towards US tracks although Steve McQueen’s “Le Mans” (1971, Paramount Home Entertainment) deals with the famous 24-hour endurance race in France.

Paul Newman starred in “Winning” (1969, Universal Pictures UK), about the Indy 500 but otherwise they focus on stock-car or hot-rod racing such as Jeff Bridges in “The Last American Hero” (1973, Second Sight), Burt Reynolds in “Stroker Ace” (1983, WHV), Bonnie Bedelia in “Heart Like a Wheel” (1983, Starz/Anchor Bay), Tom Cruise in “Days of Thunder” (1990, PHE), and Sylvester Stallone in “Driven” (2001, WHV).

Howard says that he was not a fan of motorsport until he made “Rush”. He tells SpeedTV: “If you understand and love Formula One, I want you to appreciate the movie and think we did a good job with it. If you don’t know anything about it, you’re going to realise what you’ve been missing. That’s what I’ve discovered, the non-motorsport fan coming in and making this movie, and that’s what I want to convey.”

He has gone to great lengths to get out his message including appearances at the American Film Market, the Monaco Grand Prix and the BBC’s car show “Top Gear”. But he tells SpeedTV it’s not just about racing: “Peter Morgan had known Niki Lauda for some
years and he began to learn about these two very different champions. He began to feel there could be something there emotional, interesting, surprising, even funny but also action-packed and intense. It has great acting opportunities, and there’s real human stuff going on, drama, comedy, all authentic and visually great.”

This story appeared in Cue Entertainment.

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World Soundtrack Awards noms, Desplat set for concert

Zimmer concert Gent 2011 Cliff

By Ray Bennett

LONDON – Concerts at the World Soundtrack Awards are among the best film music events in the business – Hans Zimmer’s performance of his “Inception” score a couple of years ago (pictured) was one of the best. Organisers have announced that this year’s awards ceremony will feature the great French composer Alexandre Desplat.

The World Soundtrack Academy also announced the list of its nominees for the 2013 Awards in three of five categories: Film Composer of the Year, Best Original Score of the Year and Best Original Song Written Directly for a Film.

The names of the winners will be announced at the World Soundtrack Awards & Concert on Saturday Oct. 19, the closing night of the 40th edition of the Ghent International Film Festival.

FILM COMPOSER OF THE YEAR

(Award can be presented in respect of one film or in respect of a body of work in the year)

Mychael Danna

(Life of Pi)

Alexandre Desplat

(Argo, Reality, Renoir, Rise of the Guardians, Zero Dark Thirty)

Danny Elfman

(Epic, Frankenweenie, Hitchcock, Oz The Great and Powerful, Promised Land, Silver Linings Playbook)

James Newton Howard

(After Earth, The Bourne Legacy)

Thomas Newman

(Side Effects, Skyfall)

BEST ORIGINAL FILM SCORE OF THE YEAR

Anna Karenina by Dario Marianelli

The Hobbit: an Unexpected Journey by Howard Shore

Life of Pi by Mychael Danna

The Master by Jonny Greenwood

Skyfall by Thomas Newman

BEST ORIGINAL SONG WRITTEN DIRECTLY FOR A FILM

The Bathtub

from “Beasts of the Southern Wild”

music & Lyrics by Dan Romer & Benh Zeitlin

performed by The Lost Bayou Ramblers

Young & Beautiful

from “The Great Gatsby”

music & lyrics by Lana Del Rey & Rick Nowels

performed by Lana Del Rey

Pi’s Lullaby

from “Life of Pi”

music & lyrics by Mychael Danna and Bombay Jayashri

performed by Bombay Jayashri

Oblivion

from: “Oblivion”

music & lyrics by Anthony Gonzalez and Susanne Sundfør

performed by M83 feat. Susanne Sundfør

Skyfall

from “Skyfall”

music & lyrics by Adele & Paul Epworth

performed by Adele

AWARDS CONCERT

French composer Alexandre Desplat will appear for a traditional film music concert during the second part of the World Soundtrack Academy award ceremony. Last year, he scored eight feature films: the Oscar winning “Argo” by Ben Affleck, “Zero Dark Thirty” by Kathryn Bigelow, “Rise of the Guardians” by Peter Ramsey, “Renoir” by Gilles Bourdos, “Reality” by Matteo Garrone, “De Rouille et d’Os” by Jacques Audiard, “Moonrise Kingdom” by Wes Anderson and “Cloclo” by Florent-Emilio Siri. This year’s Cannes Film Festival programme featured two more films for which Desplat has written scores: “Venus in Fur” by Roman Polanski and “Zulu” by Jérôme Salle.

LIFETIME ACHIEVEMENT AWARD FOR RIZ ORTOLANI

This year’s Lifetime Achievement Award to be presented during the award ceremony of the WSA concert goes to the Italian composer Riz Ortolani, born in 1931 in Pesaro, Italy. Together with Ennio Morricone and the late Carlo Rustichelli and Nino Rota, Ortolani is one of the greats of Italian film music from the golden era of Italian cinema. While the best-known titles from his filmography may be entrenched in the Sixties and Seventies, in recent years, he has once again become a ‘cult’ composer thanks to Quentin Tarantino. Nicolas Winding Refn also played his part in the Ortolani revival. In his stylish thriller ‘Drive’, he introduced the most hypnotising song by the composer (performed by Ortolani’s muse Katyna Ranieri) to new audiences: Oh My Love, originally written for the notorious exploitation classic ‘Goodbye Uncle Tom’ (1971) by G. Jacopetti.

DISCOVERY AND PUBLIC CHOICE AWARD

At the end of August, the Academy Board will announce the 5 nominees for the category ‘Discovery of the Year 2013’. In addition to the Awards presented by the Academy, film music fans around the world can vote for the best soundtrack of the year (see www.worldsoundtrackacademy.com).

 

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When Duane Eddy played in a supper club band

duane-eddy-corbis-630-80

By Ray Bennett

Duane Eddy, who turns 65 today, is celebrated rightly as one of the top rock ‘n’ roll guitarists of all time but there was a period after his first string of major hits that his career slumped into the doldrums.

It was August 1970 and he was just a member of a band when I interview him. In a story for The Windsor Star in Canada, I wrote:

They used to call him the Guitar Man when his twangy rock’n’roll music sold gold records along with Elvis, Buddy Holly and the Everly Brothers.

Duane Eddy.

With his group The Rebels, the well-scrubbed, fresh-faced young Arizonian was the supreme instrumentalist of the early rock’n’roll revolution. His driving twanging guitar made hits of tunes such as “Rebel Rouser”, “Ramford” and “Forty Miles of Bad Road”. He was on top.

Today, Duane Eddy at 32 is backing singer Al Martino at the Elmwood Supper Club. No solo spot, no limelight. He’s there as an expert and professional musician.

Duane Eddy 1970 is very different – at least in appearance – from the man who helped lead pop music into a whole new era back in the fifties. A quiet, soft-spoken man, now with longer hair and a beard, he gives the appearance of being a little weary, perhaps a trifle ravaged by the cruel business he is in.

But there’s no bitterness, not even the slightest suggestion of being defeated or down. The man is a fountain of quiet energies and enthusiasms that he reveals gingerly as if he’s been let down by people in the past. But his smile is warm and genuine.

Duane-Eddy x325If you didn’t mention it, he wouldn’t talk about the big days, the fame and subsequent decline. “They were good days”, he will agree. “It really was a time of revolution in pop music. For the first time, it began to be a youthful thing. Before Haley and Presley and those people came along there was the Top 10 but soon it became the Top 100.

“It’d be fun to think of a group of those guys playing together like the ‘supergroups’ – it would be difficult, though – Jerry Lee Lewis, Little Richard, Fats Domino, Chuck Berry. All good people. That was one of the aspects of pop music in those days, the guys in it really were nice guys. It was all new to them and many of them got taken for a ride. Now, it seams to have gone the other way with some of the rock people – they look after themselves.”

Eddy has little tolerance for the myths of show business. He doesn’t react with indignation, though, just a knowing smile. “There are pressures in the business but you find the people who cannot handle it are those who aren’t really stable. The ones who do all the complaining about being harassed by fans and other things are the first ones to complain if it all disappears. But don’t believe that story about helping people on the way up because they’ll help you on the way down, either. When you’re on the way down, you never see those people.”

The Rebels’ last big hit was in 1963-64. “The guys reached a stage where it was tiresome doing endless one-nighters, constant touring. They wanted to get married and stay home. I got married too and felt the same way.

“Well, that’s all over with now. I have a little girl 6-years-old. When the marriage ended, I went to Europe – I’d still been recording and doing session work. I lived in London and formed a group called the Quotations – most guys from the old Merseybeats rock group. We toured all over Europe.”

The guys from the Rebels – pianist Larry Knechtel, sax and flautist Jim Horn and guitarist Al Casey – are the top session men in Los Angeles today, Eddy says, “When I returned from Europe, I was doing more recording work, then in March this year I was working with Al Martino and he asked me if I’d like to play for him in Las Vegas. It seemed like a good idea and we’ve worked together several times since.

“I’d like to get back into recording. I’ve just got a single out – a soft, gentle version of George Harrison’s ‘Something’. I don’t think I’ll get into the heavy rock sounds, though. In the fall, I’m going to get a group together and tour the Orient and see what comes out of that.”

Duane Eddy will be back. As his buddy, drummer Wayne Hudson, said: “Don’t worry, he’ll be there; he’ll get it together when he’s ready.”

This story appeared in The Windsor Star newspaper on Aug. 25 1970

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Raymond’s Revue Bar and the music of Henry Mancini

Jean Raymond 1967 001 Cliff

By Ray Bennett

For all I know, the late London land baron Paul Raymond might have been the “porn king” of Soho but what I recall is that he published innocuous nudie magazines and ran a strip club called Raymond’s Revue Bar that was pretty good fun. Continue reading

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THEATRE REVIEW: Lester and Kinnear in ‘Othello’

Rory Kinnear as Iago and Adrian Lester as Othello.

Rory Kinnear as Iago and Adrian Lester as Othello.

By Ray Bennett

Nicholas Hytner’s production of “Othello” at the National Theatre has drawn rave reviews from UK critics and in the theatre it was easy to be consumed by the power of the play and the great acting, but it has diminished a bit upon reflection. Continue reading

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An evening at the Idler with Tinker and Sir Tim

Dudley Sutton 'Talking Existentialist Blues'

By Ray Bennett

Dudley Sutton (pictured above) says that although he has done a few, he prefers not to record his poetry and songs, which is a great shame for posterity but makes his performance at the Idler Academy, along with actor Timothy Ackroyd, as precious as it was entertaining. Continue reading

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