1950s
Sarah Kent
A lone slice of cherry pie sits on a plate inside a glass case (pictured below), waiting to be released from its solitary confinement and guzzled by a hungry diner. There it is again, in an eye-watering display of sickly offerings (main picture). This time, four slices are lined up alongside their chocolate, pecan and lemon meringue counterparts. The display goes on and on, for as far as the eye can see.At first glance, Wayne Thiebaud’s pictures of cakes, pies, hot dogs, ice creams and gob stoppers look like euphoric celebrations of abundance; but gazing at this glut of comfort food soon Read more ...
Sarah Kent
The title of Joy Gregory’s Whitechapel exhibition is inspired by a proverb her mother used to quote – “you catch more flies with honey than vinegar” – and her aim is to seduce rather than harangue the viewer.
It’s a good stratagem, especially if you are pointing to things your audience may prefer not to consider. And Gregory’s images can be beautiful (the seduction); but in order to avoid a diatribe, she often approaches her subject obliquely and quietens her voice to a whisper, requiring the viewer to pay close attention and hone in on the message.
If most photographers use the Read more ...
graham.rickson
The best Ealing comedies are surely the three darkest: specifically Kind Hearts and Coronets, The Ladykillers and The Man in the White Suit. The latter pair were helmed by Alexander Mackendrick, a cosmopolitan director who’d arrived at the studios with a thorough understanding of trends in mainstream European and American cinema.Take the final act of The Man in the White Suit: watched with the sound turned down: it’s an expressionist noir thriller, Alec Guinness’s naïve scientist Sidney Stratton pursued through the streets at night by a vengeful mob, cinematographer Douglas Slocombe making Read more ...
Sarah Kent
Tate Britain’s Lee Miller retrospective begins with a soft focus picture of her by New York photographer Arnold Genthe dated 1927, when she was working as a fashion model. The image is so hazy that she appears as dreamlike and insubstantial as a wraith.It exemplifies one of the hallmarks of a good model – the ability to become a screen that invites projection, rather than expressing your own personality. And in shot after shot for British and American Vogue, Miller remains an enigma – impassive and searingly beautiful. Would the exhibition bring her into sharper focus, as I hoped, or would Read more ...
Helen Hawkins
Hot on the heels of Goodnight, Oscar comes another fictional meeting of real entertainment giants in Los Angeles, this time over a decade earlier. Michael McKeever’s The Code is a period piece, but one with a resonating message for today’s equivalents of the Hayes Code and the House Un-American Activities Committee. It’s 1950, on the eve of the opening of a sword-and-sandals number starring Victor Mature as Samson, who, when not waving at Hedy Lamarr’s Delilah, will apparently be seen wrestling a taxidermied lion. At least, that’s the on-dit in Hollywood, gleefully relayed by one of its Read more ...
Robert Beale
Manchester Camerata is enhancing its reputation for pioneering with three performances featuring Nick Martin’s new Violin Concerto, which it has commissioned, two of them in art galleries rather than conventional music venues.So the concerto had its world premiere in The Whitworth, Manchester’s university-linked gallery, with the second performance at The Hepworth in Huddersfield. There’s a reason for that: Martin has taken his inspiration from “a carved torso-sized, cradle-like form, in elm, with nine strings of fishing line” by Barbara Hepworth: it’s called Landscape Sculpture.In it ( Read more ...
Helen Hawkins
Back in the day, when America’s late-night chat show hosts and their guests sat happily smoking as they shot the breeze for a growing audience, the most sought after guest was Oscar Levant. No longer a household name except to fans of vintage Hollywood musicals, in some of which, notably An American in Paris, he appeared, Levant (b 1906) was the Swiss Army knife of the entertainment business: a virtuoso pianist, composer, conductor, actor, a writer of hilarious memoirs, a raconteur with his own TV chat show. He was also beset with mental health problems, notably OCD, hypochondria and Read more ...
Helen Hawkins
Following confirmation that he was the owner of the bones found in a Leicester car park in 2012, Richard III has never been a hotter, or cooler, subject. So his fans will welcome a new play, based on an old book, about the misrepresentation of his character. The uninitiated, possibly not so much.The old book in question is Josephine Tey’s much loved The Daughter of Time (1951), in which a bored Scotland Yard type, Alan Grant (Rob Pomfret, pictured below right), bed-bound for six weeks with a broken leg, passes the time teasing out the truth (the “daughter of time”) about Richard: his Read more ...
graham.rickson
Heart of Stone (Das kalte Herz) was the first colour film produced by East Germany’s state film studio DEFA, a big-budget spectacular which attracted huge audiences upon its release in 1950.This adaptation of a macabre 19th century fairytale by Wilhelm Hauff was greenlit on the proviso that the film would be a parable about the virtues of hard work, lowly coal merchant Peter Munk’s downfall caused by his use of dark magic to improve his wealth and status rather than honest toil. DEFA brought in the West German Paul Verhoeven (not to be confused with the director of Robocop) to adapt and Read more ...
Sarah Kent
Tate Britain is currently offering two exhibitions for the price of one. Other than being on the same bill, Edward Burra and Ithell Colquhoun having nothing in common other than being born a year apart and being oddballs – in very different ways. And since both reward focused attention, this makes for a rather exhausting outing – I’m reviewing them separately – so gird your loins.I’ve always been intrigued by Scylla (méditerranée) 1938 (pictured below right) a painting by Ithell Colquhoun that Tate Modern has shown with Surrealists such as Salvador Dali. It’s a double image that, like a “ Read more ...
Gary Naylor
Older readers may recall the cobbled together, ramshackle play, a staple of the Golden Age of Light Entertainment that would close out The Morecambe and Wise Show and The Generation Game. Mercifully, we don’t have grandmothers from Slough squinting as they read lines off the back of a teapot in this show, but there are still too many callbacks to those long-forgotten set pieces of Saturday night telly.There’s a lot of effort put into creating a 1950s Cold War vibe in Emma Rice’s adaptation of Alfred Hitchcock’s North by Northwest, but that jokey 1970s tone overpowers set design, costuming, Read more ...
Matt Wolf
The water proves newly inviting in The Deep Blue Sea, Terence Rattigan's mournful 1952 play that some while ago established its status as an English classic. Lindsay Posner's production, first seen in Bath with one major change of cast since then, takes its time, and leading lady Tamsin Greig often speaks in a stage whisper requiring you to lean into the words. (This is that rare production that, praise be, is unamplified.) But what develops is a study in coping that is required once people arrive at a place beyond hope, not to mention a scalding portrait of the lacerating effect of Read more ...