Jack Nicholson plays Badass Buddusky in The Last Detail (1973)

Three sailors on a road trip. Two Navy lifers, portrayed by Jack Nicholson and Otis Young, are assigned to escort the hapless 18-year old recruit, Meadows (Randy Quaid), from Norfolk, Virginia, to military prison in New Hampshire, after he was caught stealing from a charity, which unfortunately for him happened to be the favourite charity of the Admiral’s wife. “Badass” Buddusky (Nicholson) and “Mule” Mulhall (Young), are given a week to carry out their duty, and initially aim to hustle Meadows to prison while keeping his per diem expenses for themselves, allowing for a bit of holiday drinking and whoring on their way back.

As the disproportionate severity of the eight-year sentence handed down to Meadows dawns upon them, Badass and Mule change their objective; now they want to show Meadows the best time of his life before he is incarcerated. Numerous shenanigans ensue, as the three eat, drink and fight their way across a naturalistic 1970s America.

Nicholson is a marvel to watch. Initially in a sour mood and underwhelmed by this “detail” that has been handed to him out of the blue, eventually the realisation of freedom sinks in and the prospect of fun beckons, at which point Nicholson ignites. His character, Buddusky, soon shows why he got his “Badass” nickname. He lives in the moment, is highly impulsive, and never squanders an opportunity for a good time, like the scene in which he spots some Marines entering the public lavatories at the station. He promptly follows them in to start a ruckus, drawing Mule and Meadows into the caper by dint of military solidarity. After battering the Marines in typically chaotic fashion they charge recklessly and hilariously out of the toilets and the station itself to seek their next adventure.

The film was nominated for three Academy Awards, but it failed to win any, and good critical notices did not translate into box office success. A few months later, Chinatown exploded onto the scene, and The Last Detail was somewhat eclipsed. Nicholson would soon go on to win an Oscar for One Flew Over the Cuckoo’s Nest – and quite rightly – but for me, his performance in The Last Detail is as fine an achievement as that role.

Here, we’ll see two representative scenes: first, a simple master class in how to eat and relish a hamburger, Buddusky-style; and second, the infamous bar scene in which Badass completely loses it when the bartender refuses to serve the underage Meadows and contrives to push all the wrong buttons as far as Badass is concerned. The disturbing and highly intimidating over-reaction from Badass toward the bartender is then tempered by a huge release of tension on the sidewalk afterwards as they laugh like drains at their escapade. “I am a bad ass, ain’t I?” says Buddusky. Yes sir, you certainly are.

Jack Nicholson as Badass Buddusky

Laurel & Hardy in Thicker Than Water (1935)

Stan Laurel and Oliver Hardy were arguably the most successful comedy team of all time, thriving during the early Classical Hollywood era of American cinema from the late 1920s to the mid-1940s. Known and loved throughout the world under a large variety of names (among them Dick und Doof
in Germany, Flip i Flap in Poland, and Cric e Croc in Italy), to the English-speaking world they were of course Laurel and Hardy: Stan the loveable simpleton and Olly the ambitious but pompous butt of many a “fine mess”.

The duo, like W C Fields and the Marx Brothers, had deep roots in stage and music
hall before making the successful transition from stage to screen. Stan Laurel began his career, when he was plain Arthur Jefferson, as Charlie Chaplin’s understudy when they were both stablemates of “Fred Karno’s army”, Karno being an influential theatre impresario and pioneer of slapstick comedy. Oliver Hardy, meanwhile, was cutting his teeth performing vaudeville and working for the Lubin motion picture production company, appearing in scores of one-reeler movies, mostly playing the “heavy”. Their paths began to cross when both worked for Hal Roach Studios in the early 1920s, but it was in 1927 that the two shared screen time together in the silent comedy films, Slipping Wives, Duck Soup, and With Love and Hisses. The positive audience reactions to the pairing was noted, and a comedy duo was born, and then cemented as they transferred so perfectly to the advent of the talkies.

Their comedy timing was impeccable, their physical comedy honed to perfection. With a pair of unmistakeable, born-for-comedy faces and physical morphology, just looking at a picture of them is enough to bring a smile to the face. Whilst so much early comedy has become dated, the comedy of Laurel and Hardy remains timeless, a whole eighty-odd years later. Testament to their enduring charm is the large group of modern-day Laurel and Hardy fans known as the “Sons of the Desert” (taken from their 1933 film of the same name) with chapters all over the world. A few years ago I took the family to a screen showing of some Laurel & Hardy reels at Birstall, and was both amused and reassured to see some of the chaps in the audience sporting the trademark Sons of the Desert fez! I was equally delighted to see my young daughters lapping up the physical comedy and giggling at these gags from a distant age.

Here, I have chosen a nice clip of the two getting into typically amusing bother, with Olly, as usual, paying for his imperious and blustering treatment of Stan, by coming off considerably the worst. It’s from the 1935 film, Thicker Than Water.

 

Laurel & Hardy

Robert Browning’s How They Brought the Good News from Ghent to Aix (1845)

In 490 BC, the Athenian army defeated the invading Persian army in a battle on the plain of Marathon, roughly 26 miles north of Athens. According to legend, and brought down to us via the writings of Herodotus, Lucian and Plutarch, the Athenians then ordered the messenger Pheidippides to run ahead to Athens and announce the victory to the city. Pheidippides raced back to the city in the intense late summer heat. Upon reaching the Athenian agora, he exclaimed “Rejoice! We conquer” and then collapsed dead from exhaustion.

This trope, of the long distance chase to deliver vital news, we see again in Henry Wadsworth Longfellow’s Paul Revere’s Ride (1860). This told the (highly embroidered) tale of Paul Revere’s valiant ride to Concord to warn the militia that the British were coming, thus promoting him in American culture to the status of hero and patriot of the American Revolution.

In the same spirit – though this time wholly imaginary – is Robert Browning’s How They Brought the Good News from Ghent to Aix. The poem is a first-person narrative told, in breathless galloping meter, by one of three riders, only one of whose horses, the narrator’s brave Roland, survives to fulfil the epic quest. The midnight errand is urgent — “the news which alone could save Aix from her fate” — but what that good news actually is, is never revealed. The sequence of towns flashing by between Ghent and Aix-la-Chapelle is true to life, though they are characterised only by the associated times of night, dawn, and day (also a feature of Paul Revere’s Ride) as the narrator charges through them.

This poem is one of my earliest memories of poetry, from schooldays, and its rollicking movement and sense of adventure resonates with me now as it did then. There is a recording of Browning himself reciting the poem on an 1889 Edison cylinder, but it’s far too crackly for our purposes, and besides, he forgets the lines and gives up after the first verse (“I’m terribly sorry but I cannot remember me own verses”) so instead I offer this more modern and professional version!

 

Robert Browning

Camille Saint-Saëns’ The Swan (1886)

Charles-Camille Saint-Saëns was born in Paris in 1835 and raised by his widowed mother and his great-aunt, who introduced the young Camille to the piano and gave him his first lessons. The boy was a real prodigy, demonstrating perfect pitch at the age of two and giving his first public concert at five. Over the course of his long life Saint-Saëns was incredibly prolific: after writing his first symphony at 16 he went on to write four more, along with five piano concertos, three violin concertos, two cello concertos and some 20 concertante works.

Nor were his talents limited to music. He was profoundly knowledgeable about geology, botany, lepidopterology, and maths, and his celebrity allowed him to enjoy discussions with Europe’s finest scientists.

Of all Saint-Saëns’ astonishing output, though, the most famous is undoubtedly The Carnival of the Animals, composed in 1886. He hadn’t considered it a serious piece at all and in fact worried that it might damage his reputation. He needn’t have worried. The 13th and penultimate movement of The Carnival of the Animals, The Swan (Le Cygne), became acclaimed worldwide as The Dying Swan after 1905 when it was choreographed for legendary ballerina Anna Pavlova, who performed it about 4,000 times.

The legend of the “swan song” grew from the popular belief among the ancient Greeks that the mute swan is silent until its final moments of life, at which point it sings the most beautiful of all birdsongs. Saint-Saëns captures this idea in the music…and here we see ballerina Uliana Lopatkina effortlessly evoking in dance the gracefulness of the animal (almost entirely en pointe) and the heartbreak of its demise. Beautiful.

 

Andrea Bocelli sings Con Te Partirò at Sanremo Music Festival (1995)

Most people are familiar with the 1996 collaboration between Andrea Bocelli and Sarah Brightman, Time to Say Goodbye, since it was a worldwide smash, selling over 12 million copies and making it one of the best-selling singles of all time. However, it was the year before, in 1995, that Andrea Bocelli first performed this sumptuous neo-classical song in its original Italian form, as a solo piece: Con Te Partirò.

The song was written specially for Bocelli by Francesco Sartori and Lucio Quarantotto, and appeared on his second album. Bocelli had already had his big break a few years earlier in 1992 when Luciano Pavarotti heard a demo tape of Bocelli singing Miserere, a song intended for Pavarotti (and co-written by U2’s Bono of all people). Pavarotti was impressed and in the end, he and Bocelli recorded it together. That song became a worldwide hit and catapulted Bocelli into the limelight. At Italy’s Sanremo Music Festival in 1994 he won honours in the newcomers’ category, and success was cemented.

In the following year, Bocelli appeared at Sanremo again. Watch him here, performing his signature piece, Con Te Partirò. His honeyed voice and distinctive timbre, together with the beautiful melody and rich orchestration, produced a masterpiece of emotional strength. Stupendous.

Andrea Bocelli

William Harnett’s The Old Violin (1886)

William Harnett (1848-1892) was an Irish-American painter of the nineteenth century, whose fame may not have withstood the passage of time very well but who nonetheless was responsible for some excellent work in the trompe l’œil still life genre. Trompe l’œil, meaning “deceive the eye” in French, is a style of painting that seeks to create a highly realistic, three-dimensional depiction of objects, using perspectival illusionism.

The Old Violin is one of Harnett’s most famous paintings and a superb example of painted realism. The subject is deceptively simple; a violin, rendered in actual size, a sheet of music, a small newspaper clipping, and a blue envelope are shown against a background formed by a green and rusty-hinged wooden door. It created a sensation when first exhibited at the Cincinnati Industrial Exposition in 1886, where viewers were enthralled by the technical virtuosity of the picture. A local newspaper reported that “a policeman stands by it constantly, lest people reach over and attempt to see if the newspaper clipping is genuine by tearing it off”.

Along with other Harnett pictures that convincingly tricked viewers’ perceptions, The Old Violin aroused considerable contemporary debate about the aesthetics of imitative artwork. The genre is hardly unprecedented, however – there’s a great little story in Greek myth about the 5th century BC contest between painters Zeuxis and Parrhasius. The contest was to determine which of the two was the most realistic painter. When Zeuxis unveiled his painting of grapes, they appeared so real that birds flew down to peck at them. But when Parrhasius, whose painting was concealed behind a curtain, asked Zeuxis to pull aside that curtain, the curtain itself turned out to be a painted illusion, and Parrhasius won the contest.

Back to The Old Violin…note how every element of grain and worn area of the violin is reproduced in impeccable detail. The age of the violin is clearly key; as Harnett himself said: “As a rule, new things do not paint well; I want my models to have the mellowing effect of age”. Well said!

The painting is currently held in the National Gallery of Art, Washington DC, and, although there is no longer a need for it to be guarded from touch by a less credulous audience of modern times, I for one will pay my regards to this charming still life should I ever be passing through Washington.

 

 

Mike Leigh’s Abigail’s Party (1977)

In 1977, British director, Mike Leigh worked with a small group of actors to develop an idea he had for a play, a comedy of manners, in the form of a suburban situation comedy satirising the aspiring middle class emerging in 1970s Britain. The play was called Abigail’s Party and opened at Hampstead Theatre in April; later that year, in November, a recording was made for the BBC’s Play for Today.

Beverly and Laurence (Alison Steadman and Tim Stern) are holding a drinks party for their new neighbours Angela and Tony (Janine Duvitski and John Salthouse), along with another neighbour, Sue (Harriet Reynolds), whose teenage daughter Abigail (whom we never see) is holding a party next door. Leigh got his actors to build their characters through repeated improvisations and the cast largely constructed their own characters’ back stories themselves. The result is a rich tapestry of characterisation.

Alison Steadman’s aspirational Beverly is the star of the show. She slinks like a cat around her kitsch living room, cigarette and drink in hand, and you just know she’s feeling sophisticated and oh-so-modern. She’s got the latest gadgets in her kitchen but doesn’t know how to use them. She has the rug, the drinks cabinet and built-in record player, the cigarette case on the coffee table, along with a host of other pretensions…in her mind, she has clearly “arrived”, though her Estuary English points perhaps to a different background: a former life as a department store cosmetics demonstrator. She dominates her husband who, though he has clearly made her lifestyle possible by working long hours as an estate agent, is constantly hen-pecked and undermined by Beverly, to the extent that he becomes increasingly neurotic as the play progresses. The cracks in the suburban facade are evident.

The plays is at turns amusing and excruciating, especially to those of us old enough to have had some real-life insight into seventies suburbia. Watch this glorious scene as Beverly, with barely-veiled irritation at her husband’s lack of pliancy, cajoles him to put contemporary crooner Demis Roussos onto the record player (could Mike Leigh have picked a funnier example of an inherently-seventies artiste?).

So please…do you think we can have Demis Roussos on…?

 

The cast of Abigail’s Party

Herman Melville’s Moby Dick (1851)

This is one of my wife’s favourite works of literature, and whilst reading it she was intrigued to the point of obsession by its descriptive majesty concerning the whale hunter’s trade. Not that Sal is an adherent of whale killing, you understand, but in Herman Melville’s Moby Dick no stone is left unturned in his descriptions of life at sea for a nineteenth century whaler, and to read the book, as I did myself later, is a fascinating voyage indeed.

D H Lawrence called it the “greatest book of the sea ever written”. It is a sweeping and detailed study of the obsessive quest by the enigmatic one-legged Captain Ahab to track down and kill the elusive white whale that was responsible for his missing limb. The ship that Ahab captains is the Pequod, leaving the Maryland port of Nantucket on a whaling expedition and crewed by veterans of this toughest of careers: expeditions typically lasted six months or more, often years (the longest whaling voyage is believed to be that of the Ship Nile from 1858 to 1869 — eleven years!).

The narrative voice is that of Ishmael (Call me Ishmael…the novel’s famous opening line) and he has signed up with the Pequod amid an array of colourful characters. Nantucketers rub shoulders with Polynesians, American Indians, Africans; harpooneers with boatsteerers; blacksmiths with carpenters…and all of them under the absolute control and command of Ahab. Ishmael may be a “green hand” but he is evidently a widely read man, as the literary and Biblical allusions fly thick and fast, alongside a dizzying array of technical expositions, cetological lore, and abundant nautical vocabulary and seaman’s slang.

Long regarded in the last century as a “Great American Novel”, the book was actually a commercial failure during Melville’s lifetime and had only sold about three thousand copies by the time of his death. Like many works of genius, it perhaps needed the rest of the world to “catch up” with it its broad sweep.

In any event, here’s a pivotal encounter with Moby Dick himself in which Ahab’s demented obsession is starkly manifested.

Suddenly the waters around them slowly swelled in broad circles; then quickly upheaved, as if sideways sliding from a submerged berg of ice, swiftly rising to the surface. A low rumbling sound was heard; a subterraneous hum; and then all held their breaths; as bedraggled with trailing ropes, and harpoons, and lances, a vast form shot lengthwise, but obliquely from the sea. Shrouded in a thin drooping veil of mist, it hovered for a moment in the rainbowed air; and then fell swamping back into the deep. Crushed thirty feet upwards, the waters flashed for an instant like heaps of fountains, then brokenly sank in a shower of flakes, leaving the circling surface creamed like new milk round the marble trunk of the whale.

“Give way!” cried Ahab to the oarsmen, and the boats darted forward to the attack; but maddened by yesterday’s fresh irons that corroded in him, Moby Dick seemed combinedly possessed by all the angels that fell from heaven. The wide tiers of welded tendons overspreading his broad white forehead, beneath the transparent skin, looked knitted together; as head on, he came churning his tail among the boats; and once more flailed them apart; spilling out the irons and lances from the two mates’ boats, and dashing in one side of the upper part of their bows,
but leaving Ahab’s almost without a scar.

While Daggoo and Queequeg were stopping the strained planks; and as the whale swimming out from them, turned, and showed one entire flank as he shot by them again; at that moment a quick cry went up. Lashed round and round to the fish’s back; pinioned in the turns upon turns in which, during the past night, the whale had reeled the involutions of the lines around him, the half torn body of the Parsee was seen; his sable raiment frayed to shreds; his distended eyes turned full upon old Ahab.

The harpoon dropped from his hand.

“Befooled, befooled!”–drawing in a long lean breath–“Aye, Parsee! I see thee again.–Aye, and thou goest before; and this, THIS then is the hearse that thou didst promise. But I hold thee to the last letter of thy word. Where is the second hearse? Away, mates, to the ship! those boats are useless now; repair them if ye can in time, and return to me; if not, Ahab is enough to die–Down, men! the first thing that but offers to jump from this boat I stand in, that thing I harpoon. Ye are not other men, but my arms and my legs; and so obey me.–Where’s the whale? gone down again?”

But he looked too nigh the boat; for as if bent upon escaping with the corpse he bore, and as if the particular place of the last encounter had been but a stage in his leeward voyage, Moby Dick was now again steadily swimming forward; and had almost passed the ship,–which thus far had been sailing in the contrary direction to him, though for the present her headway had been stopped. He seemed swimming with his utmost velocity, and now only intent upon pursuing his own straight path in the sea.

“Oh! Ahab,” cried Starbuck, “not too late is it, even now, the third day, to desist. See! Moby Dick seeks thee not. It is thou, thou, that madly seekest him!”

Herman Melville

The Pogues and Kirsty MacColl play Fairytale of New York (1987)

Fairytale of New York by the Pogues and Kirsty MacColl is an Irish folk-style ballad and Christmas song, written by Jem Finer and Shane MacGowan. It was released in November 1987 after two years in the making and – although it never quite made the number one slot in the UK Singles Chart (it was kept off it by the Pet Shop Boys’ Always on my Mind) – has proved enduringly popular, consistently topping polls of the “nation’s all-time favourite” Christmas songs.

The opening lines make it evident that this is no typical Christmas song: it’s Christmas Eve in a New York City drunk tank, with an Irish immigrant in inebriated reverie about the song’s female character, and their hopes and dreams, destined to be crushed by alcohol, drugs and circumstance. No bells jingling and children playing here.

The famous call-and-response duel between Shane MacGowan and Kirsty MaColl is doubtless the element that stamps its mark on the listener’s consciousness, with its amusing tirade of abuse in words only just on the right side of the radio censor (in fact, Radio 1 did ban the words “slut” and “faggot” on 18th December 2007, only to reverse the ban later in the same day due to criticism from listeners, the band, and Kirsty MacColl’s mother!). I might add, incidentally, that “faggot” is Irish slang for a lazy, no-good person, so need not be confused with the pejorative word for “gay”.

The melodious voice of MacColl fits in perfectly with MacGowan’s rough drawl, though the involvement of MacColl only came about due to a fallout between the band and the original choice for the female voice, bass player Cait O’Riordan. When O’Riordan left the band in October 1986, producer Steve Lilywhite suggested letting his wife (MacColl) lay down a new guide vocal for the song, simply with a view to helping future auditions. When they heard it, the band of course loved it and realised that this was the voice for the song. As MacGowan was quoted later: “Kirsty knew exactly the right measure of viciousness and femininity and romance to put into it”.

Backed by the consummate musicianship of the Pogues, the song’s vocals and lyricism add up to a very rounded, meaningful and bittersweet piece of music that has unarguably captured the imagination of a nation. Merry Christmas!

It was Christmas Eve babe
In the drunk tank
An old man said to me, won’t see another one
And then he sang a song
The Rare Old Mountain Dew
I turned my face away
And dreamed about you

Got on a lucky one
Came in eighteen to one
I’ve got a feeling
This year’s for me and you
So happy Christmas
I love you baby
I can see a better time
When all our dreams come true

They’ve got cars big as bars
They’ve got rivers of gold
But the wind goes right through you
It’s no place for the old
When you first took my hand
On a cold Christmas Eve
You promised me
Broadway was waiting for me

You were handsome
You were pretty
Queen of New York City
When the band finished playing
They howled out for more
Sinatra was swinging,
All the drunks they were singing
We kissed on a corner
Then danced through the night

The boys of the NYPD choir
Were singing “Galway Bay”
And the bells were ringing out
For Christmas day

You’re a bum
You’re a punk
You’re an old slut on junk
Lying there almost dead on a drip in that bed
You scumbag, you maggot
You cheap lousy faggot
Happy Christmas your arse
I pray God it’s our last

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells were ringing out
For Christmas day

I could have been someone
Well so could anyone
You took my dreams from me
When I first found you
I kept them with me babe
I put them with my own
Can’t make it all alone
I’ve built my dreams around you

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells are ringing out
For Christmas day

Kirsty MacColl and Shane MacGowan

Sir James Guthrie’s A Hind’s Daughter (1883)

During a work visit to Scotland some years ago, I took the opportunity to visit Edinburgh’s National Gallery of Scotland. It has some excellent artworks and is well worth an afternoon’s tarriance. It houses the subject of today’s blog, Sir James Guthrie’s A Hind’s Daughter.

The Glasgow School was a circle of influential artists and designers that began to coalesce in Glasgow in the 1870s, and flourished from the 1890s to around 1910. Dubbed the Glasgow Boys, these men had a passion for realism and naturalism, as well as a distaste for the Edinburgh oriented Scottish art establishment, which they viewed as oppressive (cf. the Impressionists). Driven and motivated by naturalistic ideals, they embraced change, created masterpieces, and became Scottish icons in the process.

James, later Sir James, Guthrie was one of the leading lights of the Glasgow Boys. He focused on the life and landscape of rural Scotland for his oeuvre; the land and its inhabitants provided a rich resource for Guthrie and none typifies his artworks of this period more than A Hind’s Daughter (a hind being a skilled farm labourer). The small girl has just straightened up after cutting a cabbage and looks directly and arrestingly at the viewer, as if she has just spotted you. It’s a quintessentially Scottish scene, with girl and landscape inextricably merged.

Guthrie painted the picture in the Berwickshire village of Cockburnspath. The warm earth colours and distinctive square brush strokes demonstrate the influence of French realist painters such as Jules Bastien-Lepage, who similarly sought inspiration from the peasant farmers of rural France. I love it.

 

 

Sir James Guthrie

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