Tomorrow could be boring

In a hole in the ground there lived an Englishman

Despite my grumbles about the Hobbit being made into three films instead of one, we did go to see the first of the new trilogy today and enjoyed most of it. I'm assuming that readers of this blog will have read the book so can go on to say that the way they handled the troll scene really irritated me. The whole point of the scene in the book (about the use of wit instead of weapons) was sacrificed in favour of an all-out action sequence, seemingly created by nervous film executives for the attention-span-of-a-gnat generation.

My favourite scene? When Bilbo's hobbit hole was being slowly taken over by strangers and he was trying to make his fury known by repeatedly saying "I'm sorry". That clip should be shown as an instructional video to people emigrating to the United Kingdom.

(Part of the same kit should also be Watching the English, Notes from a Small Island and a towel).

In other news, Lucy Mangan's columns in the Guardian Weekend magazine are always good but today she really excelled herself with a well observed, poignant column about the luck of the draw:

I consider myself lucky. But, despite all their wealth and security, I suspect our political and business leaders never think that of themselves.Do they never have moments when the weight of their astonishing luck makes them buckle at the knees and fall to the ground in gratitude? I suppose not. It can only be by thinking yourself entirely responsible for your own fortune that you can think of all those who are poorer, less successful or less independent of the state as personally responsible for theirs. Thus they deserve punitive policies and sanctions designed to remedy their immorality and sloth. A moment's honest thought, that's all it takes. I wager that you'll agree, because I wager you have them yourself. It would take an inhuman, almost sociopathic degree of arrogance and lack of imagination not to.

I have often wondered whether most people born into exceptionally lucky circumstances or those who have had the fortune of an unusually lucky break ever stop to think about the ratio of luck versus their own efforts; whether they have narrated their situation internally so that they deserved it, were entitled to it and therefore feel arrogant and protective about it. Many people in positions of power, especially in politics and leadership roles tend to hold "lesser beings" in thinly veiled contempt. Things like the workfare scheme in the UK have, quite frankly, been a disgrace.

Snow Totoro

The good side of snow - you get to play in it. Last week when we were forced to dig out the car from what resembled an igloo, I continued getting myself wet and cold and made a snow Totoro.

 

And then it started to rain. R.I.P. snow Totoro.

Moomins next year! (Or next time it snows this heavily).

I must admit I am relieved that the roads are a bit clearer again, but childish winter fun has been almost worth the hassle.

Perfumery tour of London, anyone?

I'm almost on holiday again (in the timeline of my blog entries, "again" seems appropriate, as I tend to update more when I'm not buried under worky things).

I'm going to spend some time with my close, old friends Katja & Tuulia next week in London. We're probably going to make some museum trips (Tuulia likes museums even more than I do and she's visiting only for a few days). Science museum is always cool and we'll pop over to the V&A museum too.

On Wednesday evening, we're planning on seeing Mamma Mia in the cinema. Timo groans when I mention this. I can understand... we went to see Avenue Q on our wedding anniversary recently and Mamma Mia, the movie, is hardly in the same league. Still, Katja really wants to watch it and I do too. So there!

However, I'm probably the only only one of our little group who would love nothing more than to devote an entire day to a perfumery tour of London. I might just set out to do that on my own sometime. I even made a Google map to help.

Turns out the Chinese invented Breakdance

Shaolin Monks was great. A mixture between Martial arts prowess, energetic dance and stagemanship; it was a Martial arts circus. Definitely something to see (I could add the nauseating: for the whole family). There were spectacular shows of well-practiced moves, the circus-element of brick-breaking and balancing on sharp spikes seemed to appeal to the younger audience and there were moments when the cartwheels and rolling on stage held a striking resemblance to Breakdance.

The highlight of the show was a double-act by two very young boys - they looked like they were under 7 years old, but their size might have been misleading. They effortlessly sparred, skipped and hopped through complicated Kung-Fu moves with the sort of ease that usually follows years and years of tireless practice. Watching them was like an optical illusion that made the audience gasp time and time again; it was like watching miniature adults.

We did notice one thing - the audience was completely different from the last Sadler's Wells production we went to see. Yes, lots of families, but also people who looked like they'd never set foot in a theatre before. Many people arriving really late. Or talking during the performance. I don't care if it's your first time when you're 48 years old, but you could at least observe some polite common sense rules on how to conduct yourself.

Perhaps that's harsh. But seriously. Granted, not everyone was taken to their first concert/opera/theatre performance at under 5 years old, taught to sit still and focus, taught to figure out the plot of an opera sung in another language from looking through the programme booklet, but I do idly wonder whether common sense about certain things has to be taught too. Is common sense something you can, or have to teach?

It seems that many Finns still value opera, classical music and the theatre in the sort of way I was used to. In that you don't have to be wealthy, or in any kind of particular social class to take yourself (and your kids) off to see the latest production of The Magic Flute. At least that's the impression I get from the delightful film "Pelikaanimies" (Pelican Man), a film we watched yesterday. I bought it on our Finnish trip this summer, but we hadn't got around to watching it until now. Pelican Man is a simple, but delightful fantasy aimed at children, but entirely watchable by adults. One day a pelican decides to turn himself into a human by landing on a beach and putting on human clothes. The film explores human perception, what it's like to be an adult and what it's like to be a little boy whose parents have just divorced. There is lovely Finnish scenery and a beautiful feel to the whole film.

I want more FlyFly

Timo played a really cruel trick on me recently.

He bought FireFly and Serenity on DVD and made me (yes, forced me!) to start watching. He thought I might like them. Well, he was wrong.

I fell in love with them instead.

The fucker! After getting caught up in the characteristic Joss Whedon layers of emerging and intriguing stories, ready to bubble into the surface... I get told, sorry, you'll never find out how they'll develop. Will they, won't they? Does River lose it completely, or will she now become the best pilot in the known universe? What was all that about Book's past? How... when... who?

We watched couple of episodes a night, finally finishing with the film yesterday evening, and then, it was all over. I sat on the floor, forlorn, repeatedly mewling: I want more FlyFly.

This is indeed, a cruel and hard world. And there are too many moronic American TV executives who should have their innards fed to them in some peppery sauce.

Theme from Firefly

Take my love.
Take my land.
Take me where I cannot stand.
I don’t care, I’m still free.
You can’t take the sky from me.

Take me out
to the black.
Tell ‘em I ain’t comin’ back.
Burn the land and boil the sea.
You can’t take the sky from me.

Have no place
I can be
Since I found Serenity.
But you can’t take the sky from me.

Words & Music by Joss Whedon
Performed by Sonny Rhodes.

Edward Scissorhands adapted to a ballet

I am ashamed to admit that I've never been a huge fan of ballet. Sure, I was exposed to it from infanthood (as part of my mother's extensive campaign of her idea of culture versus American import soaps and Barbie dolls). I even had the opportunity to see The Bolshoi at the Bolshoi and yet, ballet was always just "okay" for me. Enjoyable, but forgettable. Opera, now that was something else, but all those tutu skirts and tight smiles of exertion - nah. They left me cold.

I enjoyed some modern dance. I fell hook, line and sinker for all the Flashdance, Breakdance, anything-dance films and clubs of the 80s.

But I haven't been to ballet for years.

This will have to change before February 2006. That's because a wonderful, wonderful man (I don't know him personally, of course, but he's wonderful) had the vision to get in touch with Danny Elfman and Tim Burton with a very special project in mind. The wonderful man in question is Matthew Bourne, famous for number of strong and unusual stage projects, his most controversial one probably being an overtly masculine production of Swan Lake - and the very special project is Edward Scissorhands, the ballet!

Matthew Bourne and New Adventures are back with their latest creation: a magical new adaptation of the classic Tim Burton motion picture Edward Scissorhands.

A Christmas treat for all the family, this touching and witty gothic fairytale tells the story of a boy created by an eccentric inventor who dies leaving him alone and unfinished. Left with only scissors for hands, Edward must find his place in a strange new suburban world where the well meaning community struggle to see past his strange appearance to the innocence and gentleness within.

Matthew will be teaming up with set designer Lez Brotherston and composer Terry Davies, who will take the original film score by Danny Elfman and adapt it especially for the stage. Source: ticketmaster

Danny Elfman is one of my favourite modern composers. I idolise Tim Burton. Edward Scissorhands really touched me when it was first released. This ballet production is running in London, at Sadler's Wells, Rosebury Avenue, Nov 22nd to Feb 5th.

If there ever was a reason for me to get re-aquainted with ballet, this is it.