Start as you mean to go on, Zasu!
But the purpose of this post isn’t to discuss Marshall Neilan’s 1917 film of A LITTLE PRINCESS. It’s a scattershot round-up of a few recent doings that don’t quite suit a post of their own.
IT’S ALL BACON
I don’t engage in modern culture that much — I watch one TV show (Breaking Bad) and read one comic (Batman Inc, which has just finished its run under Grant Morrison) and follow one stand-up comedian, Stewart Lee. And at this year’s Edinburgh Fringe Festival I was too tardy even to get a ticket for him. But there were still tickets for Baconface, a Canadian cult comic who performs in a wrestling mask adorned with strips of glistening bacon. This is ironic, since (a) the tickets for Baconface are cheaper than the tickets for Stewart Lee and (2) Bacon Face IS Stewart Lee. So we have now usefully established that Stewart Lee with bacon on his face is worth less than Stewart Lee without bacon on his face.
Lee’s first appearance with a new character (which might either clear up or further confuse the problem of distinguishing Lee the man from the character he portrays in his stand-up, an exaggerated version of himself) was an unexpected revelation. Much of the material was stuff Lee could have done as himself, but much of it was demented backwoodsman parody, and the rest was a parody of that parody, vanishing down a plughole of deconstruction. And there was a movie reference, which allows me to tie it in to the function of this blog: Bacon Face was probably the only artiste at the Fringe to mention Volker Schloendorff’s film of THE HANDMAID’S TALE, part of an extended routine about dragging up as Margaret Atwood for Canada Day.
WORLD OF PUB
THE WORLD’S END is the least impressive film of Edgar Wright and Simon Pegg’s informal “Cornetto Trilogy” but it’s still very enjoyable. I have only three criticisms are (1) It feels a bit like a first draft — I would have liked to see little clues to the alien invasion dropped in during the first half hour, a la Philip Kaufman’s INVASION OF THE BODY SNATCHERS or THE BIRDS — instead, the movie attempts an abrupt genre switch like FROM DUSK TILL DAWN, OK in principle but leaving the first act to get by purely as situation comedy, with a rather irksome lead character (deliberately so, but an escape valve of sci-fi suspense would have helped) (2) Wright overuses the device of having a foreground object wipe frame and invisible lead into the next shot. Shame to hide a good cut, I say, and if you play this card too often it comes to look like you’re short of ideas, which we know is not the case with Wright, having seen the dazzling kinetics of SCOTT PILGRIM (3) the ending is really terrible, protracted and unfunny and inexplicable in character terms. That’s a real shame, but the middle is incredibly enjoyable. Not that new, after SHAWN OF THE DEAD and HOT FUZZ, but hysterical entertainment all the same.
MONDO TEENO or TEENAGE REBELLION is a 1967 mondo shock doc — as dreadful as you’d expect, but with interesting credits, as the IMDb and Wikipedia list Eriprando Visconti (Luchino Visconti) and Richard Lester as co-directors. Lester is uncredited on the film, and it seemed unlikely he’d get involved in something like this, especially at the height of his career.
There IS some London street footage which looks a bit like the hidden-camera stuff in THE KNACK, so that might be how the rumour started.
I asked him about it and he said “As to Teenage Rebellion, this has been attributed to me before, usually on Wikipedia. I don’t have the skills required to remove it, perhaps you can do it.” So I am saying this here so I can cite the director himself when I try to edit Wikipedia. Sort of like Woody Allen pulling Marshall McLuhan in to win his argument for him in ANNIE HALL.