Bah! Humbug! It’s Mark’s long-awaited, newly-minted Xmas joke

and so anyway, me and Jesus were walking around the mall the other day, bemoaning, as you do, all the tinsel and streamers and baubles and flying reindeer displays and proliferating grottoes, our ears assailed by a cacophony of festive banalities by Elvis and Slade and Jona Lewie and Shakin’ Stevens and David Bowie/Bing Crosby and Band Aid and Wham and Chris Rea and the Pogues/Kirsty MacColl and the Wombles and Wizzard and Perry Como and Andy Williams and Mud and Boney M and Cliff Richard and the Pipes & Drums & Military Band of The Royal Scots Dragoon Guards and Mr Hankey booming out of different stores, and I turned to Jesus and asked him, ‘Of all the Xmas singles, which is your favourite?’

And, lo, Jesus, despairing, turned to me, and said: ‘Meretricious. Every one.’

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(‘Oh, so Shakie it is.’)

 

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Žižek and the dawning light not quite dawning; or, a little self-knowledge is a dangerous – but unlikely – thing

Admit it. For the longest time you’ve suspected there’s a reason these two men have never been photographed together.

 

Ben Stiller, of all people, was the first to draw attention to the rhetorical strategy that the professional contrarian and incessant Lacanian shares with the Sphinx. But since it pissed Stiller off so much, we were so busy relishing his impotent fury that we failed to think through the implications – that beneath the Sphinx’s masks must lurk not the excellent Wes Studi but a certain Slovenian philosopher.

Over the last decade, fractures have appeared in Žižek’s work that suggest even he is beginning to suspect himself of being one of the Mystery Men. For example, 116 pages into Violence: Six Sideways Reflections (New York: Picador 2008) Žižek writes:

It is, however, all too easy to score points in this debate using witty reversals which can go on indefinitely.

However, the remainder of the book and many of his subsequent pronouncements  merely indicate the depths of his denial.

Typo of the day: passive-egressive

Adjective

  1. denoting or pertaining to a personality type or behaviour marked by the desire not to be there in the room with you, expressed in passive, indirect ways, as through noncooperation:

a passive-egressive academic who ‘just nips to the loo’ during a faculty meeting, leaving all their stuff behind so as to imply they will return imminently, but does not come back for hours until it is all safely over

a passive-egressive acquaintance who you insist on thinking of as friend even though you barely know them and who, when trapped in an unwanted ‘conversation’ by you, slowly nods off

Origin of passive-egressive
Belatedly coined to describe the great wave of self-defenestrations, initially believed accidental and coincidental, that swept away-days back in ought-six.

Also, of course, this guy.

Ballard’s Cinema: Notes for a Retrospective – Track 12 (Joseph Losey 1967)

JG-Ballard-photographed-i-006Frustrated at repeatedly missing out on the chance to film one of Ballard’s novels, Stanley Baker optioned a number of his short stories through his production company Oakhurst Productions, including ‘Track 12’ (1958). Of the intended anthology picture, only one, the 22-minite ‘Track 12’, was completed, shot by Joseph Losey from a script by Harold Pinter, during a break in production on Accident (Losey 1967). 

bf65b22ea58a62662420952923502ec196986099Dirk Bogarde is chilling as the diffident biochemist, Sheringham, avenging his cuckolding by Baker’s robust Maxted. An unbilled Julie Christie was persuaded by Bogarde, who had worked with her on John Schlesinger’s Darling (1965), to provide the glimpsed fragments of Susan Sheringham’s face and body – and the overwhelming, screen-filling kissing lips of the film’s startling conclusion, an image that had a profound influence on David Cronenberg’s Videodrome (1983).

Christie would, of course, go on to co-star in Losey’s Palme d’Or-winning The Go-Between (1971), his fourth and final collaboration with Pinter; and Ballard later scripted the contemporary sequences that saved Pinter’s adaptation of John Fowles’s 1969 The French Lieutenant’s Woman, directed by Karel Reisz in 1981, from mere historical pictorialism.

Other films in the retrospective
Apocalypse Now (Francis Ford Coppola 1979)
Carry On Getting It Up (Gerald Thomas 1977)
The Drowned World (J. Lee Thompson 1974)
The Drowned World: The Director’s Cut (J. Lee Thompson 2015)
El Dorado (BBC 1992-93; 156 episodes)
Gale Force (Val Guest 1967)
Jodorowsky’s Burning World (Frank Pavich 2013)

Ballard’s Cinema: Notes for a Retrospective – Jodorowsky’s Burning World (Frank Pavich 2013)

JG-Ballard-photographed-i-006Broadcaster David Frost and his partner Hazel Adair, perhaps best known as the creator of the long-running soap opera Crossroads (1964–88), bought the rights to adapt The Drought aka The Burning World (1964) in the late 1960s.

Frost knew little if anything about science fiction, but Adair was no stranger to the genre. She was the author of one of the first sf television shows, Stranger from Space (1951–53), and of an ultimately unproduced Doctor Who serial, Hexagora. However, despite her many television successes, the state of the British film industry at the end of the sixties meant her career as a film producer had rather ignominious results: some sex comedies, a horror movie and a lethargic international adventure movie.

It remains unclear whether it was Adair or Frost who commissioned Ballard to script the adaptation himself, and it is possible it was actually intended for television rather than film. There is no copy of the script or the contract in the Ballard archive at the British Library, and Ballard’s scattered interview comments do not give a very clear picture. (In 1979, Adair commissioned Ballard to adapt his 1974 Concrete Island, although this too went unproduced.)

George Harrison was one of several producers to approach Frost over the rights to The Drought only to be put off by his extremely high price. In a famous prank, Peter Cook ‘let slip’ during a television interview with Frost that he was partway through filming the novel with himself in the lead role. For half a minute, the usually unflappable Frost became extremely flappable. Bizarrely, this incident brought the novel to the attention of Dino De Laurentiis, who hired Alejandro Jodorowsky to direct it – a doomed project, the story of which is told in Frank Pavich’s celebrated documentary Jodorowsky’s Burning World (Pavich 2013).

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Conceptual art for Jodorowsky’s doomed adaptation of The Drought

Other films in the retrospective
Apocalypse Now (Francis Ford Coppola 1979)
Carry On Getting It Up (Gerald Thomas 1977)
The Drowned World (J. Lee Thompson 1974)
The Drowned World: The Director’s Cut (J. Lee Thompson 2015)
El Dorado (BBC 1992-93; 156 episodes)
Gale Force (Val Guest 1967)
Track 12 (Joseph Losey 1967)

Ballard’s Cinema: Notes for a Retrospective – El Dorado (BBC 1992-93; 156 episodes)

JG-Ballard-photographed-i-006In the late 1980s, the BBC began to spin off and divest parts of the organisation, laying the groundwork for establishing autonomous but wholly owned cash-cow subsidiaries. Central to this plan was the transformation of BBC Enterprises into BBC Worldwide. In order to monetise the BBC brand, production reoriented to programming that could be sold overseas. One outcome was the three-times-a-week upmarket soap El Dorado, set in a not-too-precisely futuristic gated community and exclusive resort town on the Mediterranean.

Based on Ballard’s Vermilion Sands (1971), it began by interweaving plots and characters from his collection of linked stories into an unfolding, soap-opera structure featuring more typical character types and narrative arcs that expanded beyond Ballard’s focus on cutting edge and/or imaginary artforms.

After some teething problems and initially poor ratings, the series attracted a dedicated and growing audience, especially when changes to the production team led to a significant change of direction. Influenced probably as much by Dark Shadows (1966-71) as by the more recent Twin Peaks (1990-91), El Dorado took a decidedly weird turn.

Key to this was the altered ending of the arc derived from Ballard’s ‘Venus Smiles’ (1957), which concluded with the destruction of the statue the town commissioned from Lorraine Drexel (Kate O’Mara). Three months later, this thread was picked up, as the scrap metal, now being used in construction, starts to vibrate at a peculiar resonance, driving Hamilton (Christopher Cazenove) to visionary madness.

When Jonathan Powell, a staunch supporter of the show, was dismissed as Controller of the BBC1, it was clear the writing was on the wall. Producer Corinne Hollingworth took the unusual step – suggested by Robert Holmes, whom she knew from her Doctor Who days – of mashing up the series with elements of Ballard’s High Rise (1975) so as to kill everyone off before Powell’s replacement, Alan Yentob, could.

El Dorado was not a massively successful contribution to BBC Worldwide’s export drive, but it did achieve a measure of notoriety when Toronto’s CIVIC-TV cable channel broadcast the series with newly filmed hardcore inserts.

This screening will feature: episode one, in which El Dorado’s louche patriarch/architect, played by Peter Wyngarde, dies under mysterious circumstances; episode seventy-eight, for which Cazenove received his BAFTA nomination; and the terrifying series finale, in which a crash-landed astronaut washes ashore in the deserted resort and uncovers the archaic horror lying beneath.

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Other films in the retrospective
Apocalypse Now (Francis Ford Coppola 1979)
Carry On Getting It Up (Gerald Thomas 1977)
The Drowned World (J. Lee Thompson 1974)
The Drowned World: The Director’s Cut (J. Lee Thompson 2015)
Gale Force (Val Guest 1967)
Jodorowsky’s Burning World (Frank Pavich 2013)
Track 12 (Joseph Losey 1967)

Ballard’s Cinema: Notes for a Retrospective – The Drowned World (J. Lee Thompson 1974; director’s cut 2017)

 

JG-Ballard-photographed-i-006Thwarted in his attempt to produce and star in an adaptation of The Wind from Nowhere (1961), Stanley Baker optioned Ballard’s follow-up novel, The Drowned World (1962), before the ‘Seer of Shepperton’ had even completed a draft.

However, dogged by financial difficulties arising from his South African film projects, Baker was forced to abandon his plans to adapt it.

Some years later, a chance meeting led to Patrick McGoohan – who had co-starred with Baker in Cy Endfield’s gravel-pit noir Hell Drivers (1958) – persuading Lew Grade to finance the film, with Endfield directing. But when The Prisoner (1967-68) flopped, the TV mogul, who had yet to break into film production, dropped McGoohan from the project.

Grade offered Robert Shaw the lead, and replaced Endfield with J. Lee Thompson, who had until recently been attached to direct Gale Force (Guest 1967), as producer Michael Carreras had retitled The Wind from Nowhere.

While Grade got cold feet about branching out into film, Thompson’s enthusiasm for the project never waned. He tried to persuade Gregory Peck to become involved, but when he turned down the lead, Peck suggested it would be more suited to Charlton Heston – who only agreed to briefly reprise the role of Taylor in Beneath the Planet of the Apes (Post 1970) if producer Arthur P. Jacobs took on the now-lapsed option.

18s3rujcms82tjpgAPJAC Productions hired Thompson to direct, then replaced him with John Guillermin, who insisted on relocating the story to New York. A week into shooting, Guillermin and Heston got into a now notorious on-set argument. Filming crashed to a halt. Jacobs backed his star over his director. Guillermin was fired, and Heston personally entreated Thompson to return to save the film.

Which, some suggest, was Heston’s intention in provoking Guillermin all along.

Not that things then proceeded smoothly.

The shoot became increasingly tempestuous as Thompson and Heston fought over their different visions for the film. Thompson accepted the change of setting – really he had no choice, since the expensive New York sets had already been constructed –  but insisted on revising the end of the script so as to retain Ballard’s conclusion.

Heston, conscious of his titanic persona, and feeling that Thompson owed him, argued for a more heroic ending, The scenes he scripted acknowledge that, while he cannot save the world, his willingness to sacrifice his own life might bring respite and hope to the remaining survivors of the global climate upheaval.

To everyone’s surprise, Jacobs, irked by Heston, this time backed his director – until mediocre preview screenings changed his mind. Thompson begrudgingly shot Heston’s ending, but the film still performed poorly.

After Thompson’s death in 2002, reels containing footage from his original ending were discovered, enabling its reconstruction in accordance with his notes and those of his editor, Marjorie Fowler.

We are thrilled to present not just the original release version but also the UK premier of the newly-restored director’s cut.

Other films in the retrospective
Apocalypse Now (Francis Ford Coppola 1979)
Carry On Getting It Up (Gerald Thomas 1977)
El Dorado (BBC 1992-93; 156 episodes)
Gale Force (Val Guest 1967)
Jodorowsky’s Burning World (Frank Pavich 2013)
Track 12 (Joseph Losey 1967)