strange and random happenstance

The first time I ever heard of The 39 Steps was when my mom got her complete set of The Franklin Library of Mystery Masterpieces. I spent hours pouring over the covers of the books. The one that fascinated and intrigued me the most was The 39 Steps. It was a pen and ink drawing of what appeared to be a giant black cloud or rock hovering over a staircase going down the side of a cliff. It was unnerving and strange so it should come as no surprise that it was done by Edward Gorey. At the time I was not yet an avid reader so books were all about their outward aesthetic and this one has always stayed with me. Which is why when I started to get into film, and in particular Alfred Hitchcock, I was really excited to watch his adaptation of The 39 Steps. Hitchcock, especially in his early films, is very hit or miss. I feel like 1940 and Rebecca was his turning point. Therefore The 39 Steps, made five years earlier, suffers. It doesn't help that a lot of outdoor scenes were filmed on sound stages. This is something that is a personal pet peeve of mine, primarily because of Hitchock's Suspicion. Therefore when it was announced that there was a new version of The 39 Steps coming out staring Rupert Penry-Jones I was more than a little excited. He is Captain Wentworth in my favorite version of Persuasion, so I was all in, even if he wouldn't reach the pinnacle of his career until a year after The 39 Steps with Whitechapel. When creating this adaption they wanted to go all in on the Bond meets Bourne vibes, but I think of it more as Lord Peter Wimsey meets Indiana Jones. There's an elegance to Penry-Jones as Hannay that is more upper class English gentleman than Bond ever was. He's also just reacting to situations he's thrust into, much like Bourne, but oh so British. Bond was almost always in control and too cool a customer. This was just a thrilling adventure with some of the best of British television stars where sadly David Haig was playing against type as the baddie. Which is why I feel it's more in the territory of Indiana Jones. This could be an exciting serial at the cinema back in the day. And much like Professor Jones, I objected to some of Hannay's more sexist attitudes towards women. But by the end his partner in crime, Victoria Sinclair, had more than corrected all of his attitudes with her competence and cunning. The fact that a woman with eidetic memory saves the day really warmed my cold embittered heart. Yet the highlight for me, and for Rupert Penry-Jones according to interviews, is that they totally did the crop duster scene from North by Northwest. Now you might think they just added this as a little nod to Hitchcock's film but that isn't the only reason why. In the book when he arrives in Scotland Hannay's pursuers use a plane to find him. So maybe Hitchcock liked the scene from the book so much that instead of using it in his adaptation he kept it to use on a later film? I'm just saying it's a possibility. But the biggest possibility I wished for this movie hasn't come to pass, and that's a sequel. As I mentioned before it has that vibe of adventure serials which inspired Indiana Jones, and it's not like John Buchan wrote only one Richard Hannay adventure. He appears in eight books! Why can't we just have more fun shows like this? Well, probably because of all the people bitching about the wrong make and model of cars in this and not just taking it as it is.... But I can't blame them too much, I'm a pedant too depending on the topic.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: David Haig, Edward Gorey, Fifty-Five Years a Masterpiece, Hitchcock, Indiana Jones, James Bond, Lord Peter Wimsey, North by Northwest, Persuasion, Rebecca, Richard Hannay, Rupert Penry-Jones, Suspicion, The 39 Steps, Whitechapel

Lies Sleeping by Ben Aaronovitch
Published by: Gollancz
Publication Date: November 20th, 2018
Format: Paperback, 406 Pages
Rating: ★★★
To Buy (different edition than one reviewed)

Martin Chorley and his co-conspirator Lesley May will be run to ground and made to pay for all their crimes. Which are numerous. Operations Tinker, Wentworth, Carthorse, Cartwheel, and Marigold were all separate investigations into their crimes, now combined under the aegis of the Folly and Operation Jennifer. The Folly is groaning under the influx of police officers, but Molly seems happy to feed them all, even opening up the dining room. Their only hope of finding Martin Chorley is through his connections to other Little Crocodiles, that Oxford dining club that was more about magic and less about running riot. Which is why Richard Williams is under surveillance. He ticks all the boxes. And soon his heart will tick no more because Chorley is tying up loose ends and as soon as the police approach Richard Williams all hell breaks loose. He doesn't die immediately. But he does die. But they find a clue in his papers. A screenplay for movie set in Roman London called Against the Dark written by Richard Williams and Gabriel Tate from a story by John Chapman. This is right up Chorley's alley. His romantic view of the Dark Ages might just have something to do with his plans, why else would he silence Williams? And Chapman and Tate as it turns out once they hear back from Australia and America. All three people associated with the screenplay being deceased is a dead giveaway that it's integral to Chorley's plans. But the first real lead they get is Richard Williams's interest in bells. He made several visits to the Whitechapel Bell Foundry where they forged a bell for him. He provided them with the materials, some of it nicked from archaeological sites throughout London. The bell draws Peter in and he knows it's magic. This bell is important and could very well be the lure they need. They use the large police presence for Michelle Obama's visit to Whitechapel to make the foundry look unguarded. But Lesley fails to make off with the bell and they all think that despite it's beauty, destroying the bell is a plus because it hobbles Chorley's plans. It won't stop them, he'll just make another bell, but bells take time. And in that time they start to put the pieces together; Roman London, the Temple of Mithras, St. Paul's, The Silmarillion, and last but not least, Mr. Punch. Will this knowledge be enough or will Martin Chorley make myth reality?

Lies Sleeping is the big culmination of, well, basically everything that has come before. The book hits the ground running with all the various MET operations that are folded into one unwieldy operation, Jennifer, that is to deal with all of Martin Chorley's crimes under the remit of the Folly. That means Nightingale is in charge. From the first few pages it feels as if this book is struggling to do too much. I've been reading this series over the last three months so there hasn't been the passage of time that usually occurs between volumes, so, logically, I should know every single little detail, and yet I found myself spending an inordinate about of time on Follypedia. Every police officer that has ever appeared is pulled into this operation. And yeah, apparently I should have remembered who David Carey was but by the time I got to Follypedia I'd forgotten his name. This happened repeatedly. He's very forgettable. So while Aaronovitch does successfully tie together all the loose ends, from Martin Chorley to Lesley May to Mr. Punch to all that stuff I'd rather forget from the comics, I really don't like the comics, it doesn't create a satisfying story. It's just one thing happening after another with what feels like a cast of thousands. The Rivers of London series has always perfectly balanced the character of Peter Grant with the character of London itself. With little moments and asides that feel like lovely character studies. Quiet moments. Here there's no time for those quiet moments. There's no working along with Peter to solve a crime it's just them, and a lot of them, trying to run Chorley to ground. All the characters have become stock figures and the one who suffers the most is Lesley May. I no longer get where she's coming from. Yes, revenge and a return to her life before Mr. Punch has always seemed her motivator, but here, here she has a chance at that and she blows it all up. Yes, Aaronovitch is probably setting her up to be the next Big Bad, but her change seems too out of character. She monologues about her hatred of magical creatures at one point and I couldn't help thinking she's turning into a bit of a bigot but without any reason why. I need the why. But I'll give Aaronovitch the benefit of the doubt, because the ending with Mr. Punch in the very first book felt convoluted and dreamlike, and here Aaronovitch is, seven books later, and he knows he messed up and is trying to set it to right. And as someone who has recently watched all of I, Claudius, I gotta admit he got Roman Britain and the Roman mindset down perfectly, when in doubt kill someone and make them a god.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Ben Aaronovitch, Faceless Man, Follypedia, Gods, I Claudius, J.R.R. Tolkien, Lesley May, Lies Sleeping, London Calling, Martin Chorley, Mr. Punch, Nightingale, Peter Grant, Rivers of London, Romans, Whitechapel

Persuasion
Based on the book by Jane Austen
Release Date: April 1st, 2007
Starring: Sally Hawkins, Alice Krige, Anthony Head, Julia Davis, Michael Fenton Stevens, Mary Stockley, Peter Wight, Marion Bailey, Amanda Hale, Sam Hazeldine, Jennifer Higham, Rosamund Stephen, Stella Gonet, Nicholas Farrell, Louis Shergold, Rupert Penry-Jones, Joseph Mawle, Finlay Robertson, Tobias Menzies, Maisie Dimbleby, Sarah Buckland, and Tilly Tremayne
Rating: ★★★★★
To Buy

All is chaos at Kellynch Hall. Anne Elliot, the daughter of Sir Walter Elliot and the younger sister of Elizabeth Elliot has tried all she could to get her family to retrench but the time has come to face reality. As her father and sister stuff their faces with delicacies the decision has been made to lease the house and move the family to Bath. The father of Elizabeth's dear friend Mrs. Clay has found a naval man without children to take the house. A perfect fit, as his wife has nothing to do but make sure the house is preserved. Though upon hearing that their name is Croft Anne is beset by emotions she thought long gone. Eight years previously she was engaged to Mrs. Croft's brother, Fredrick Wentworth. The engagement was broken as it was viewed he didn't have any prospects. He is now a wealthy captain and is coming back into Anne's life looking for a wife. Anne has no hope that she might regain his heart, instead tucked away with her younger sister Mary at Uppercross she sees Fredrick set his cap at Mary's sisters-in-law, Louise and Henrietta Musgrove. Anne is aflutter and constantly aware of his presence. He is kind, but he is no longer hers and it aches so painfully. When the party from Uppercross takes a trip to Lyme Regis the expected course of all their lives is upended. Louisa has a fall and Captain Wentworth's friends must nurse her back to health while Anne is sent off to Bath to rejoin her family. Soon Captain Wentworth comes to Bath and Anne can't help hoping that perhaps things have changed. Perhaps she can hope again. She has somehow attracted the attention of her cousin and her father's heir, Mr. Elliot, and could this jealousy spark Captain Wentworth into making his feelings known? Or will Fredrick lose the love of his life because he embraced the opposite of all that he initially regretted in Anne's behavior all those years earlier?

ITV's Jane Austen season of 2007 did a lot to rectify issues I had in previous Austen adaptations. Consisting of Mansfield Park, Northanger Abbey, and Persuasion, while Northanger Abbey easily won the day, Persuasion wasn't that far behind. What this adaptation did while not being 100% faithful to the book was to give us an intimate, introspective, and artistic adaptation that emotionally connects you to Anne Elliot. This adaptation favored music that pulled on your heartstrings instead of attempting to jam all the book's dialogue into a ninety minute movie. This allows the quiet to fill the space, to let you dwell as Anne has dwelled on the loss of Wentworth all those years ago. You can actually feel a void opening up inside you as Anne's pain becomes your own. In this adaptation Anne is always the touchstone for the audience. She is front and center, it is her POV that we take as our own. The camera work reinforces this with her always on screen while other characters are off screen, their dialogue sometimes buried in the background, not fully heard, because as Anne is our conduit we only observe what she does and a human can only see and hear so much, they're not omniscient. Yet it takes awhile for the viewer to get at what the director is trying to do. For the first few minutes all you can think of is how jittery the handheld camera work is and how close the closeups are. But then you start to realize that the agitation in the camera work reflects Anne's state of mind, and while yes, it's jittery, you realize that it also makes what would be a static image on a television screen alive. The camera and Anne have a symbiotic relationship, with the modern technology being there to reflect Anne's emotions. This can be seen when Anne looks directly into the camera. It's not gimmicky like in Mansfield Park with a wry and arched brow that makes you want to slap Frances O'Conner or just too much like in The House of Mirth where you're counting Eric Stoltz's pores, here it lays bare Anne's soul thanks to Sally Hawkins's portrayal. Sally Hawkins is such an amazing actress that the smallest facial gesture, the intimation of a tear conveys so much. So while this adaptation doesn't go for strict accuracy the feeling is correct and that can cover a plethora of sins.

Yet sometimes the lack of faithfulness results in absurdities. The main absurdity of this adaptation is Anne and the running of Bath. As in, she seriously runs all over Bath after Captain Wentworth. First she runs after him when he suddenly leaves a concert and accosts him in the entryway. Secondly she runs after him when he leaves the Elliot's residence after he was inquiring after Kellynch Hall for his sister. This then starts the main running sequence that rivals Frank Potente's race through Berlin in Run Lola Run. She runs outside and is directed to the Croft's residence where she runs into Captain Harville who gives her Wentworth's letter and sends her to the Pump Room, where the Croft's say she's just missed him, and at this point when she starts running again, you might be laughing a little, because seriously, all the running! Yes, a panting Anne finally runs into Wentworth and all is well. But seriously, ALL THAT RUNNING THOUGH! Even Anne's poor friend Mrs. Smith had to run to tell Anne the truth about Mr. Elliot and his schemes. Yes, Mrs. Smith, who in the book can't even walk due to her horrid health joins Anne on a leg of her epic race. From the Elliot residence to the Croft residence running along the Royal Crescent actually away from the main part of town and everyone's residences for those who know Bath and who know where everyone in the book lives, poor Mrs. Smith is panting out her story. She's trying to break through to a distracted Anne about Mr. Elliot and yet, all I could think of was, seriously, stop running for five seconds and hear her out! But what bothered me more than just the absurdity of this situation was that this shows a total lack of propriety. A woman in this time period would NEVER have done this. And yes, I know that by showing Anne breaking with convention it shows how her love for Captain Wentworth overrides all other concerns. But still! This is Anne Elliot! It's a total break in her character. If I wasn't so emotionally invested by this point I would have totally written off the adaptation for this need for speed. But as it is, I was there for every single second of her run panting with fervent hope that she wouldn't be too late.

Of course the observant reader will notice that this running was all necessitated by the moving of some important dialogue to an earlier part of the book. Anne's speech about women loving longest after all hope is gone is originally said to Captain Harville and overhead by Captain Wentworth, leading to him writing his soul piercing confession which reunites them near the end of the book. Instead Anne's speech is entrusted to Benwick when they are all seated at the Harville's home in Lyme Regis. In between talking about poetry and prose she decides to drop her big speech as a confidence to Benwick while Wentworth is way on the other side of the room being quite boisterous and therefore he doesn't hear it. This of course then forces the narrative to find some other contrivance for Wentworth to hope and write that letter to Anne. Here it's Wentworth coming to the Elliot's residence in Bath and asking if his sister and brother-in-law should give up the lease on Kellynch because news has reached them that Mr. Elliot and Anne are to live there once they are married. Anne of course refutes this instantly and then is interrupted by Lady Russell and the running begins. This asking after Kellynch is just too forced. Too direct. Anne and Wentworth are both stumbling in the dark unable to realize that the other is still in love with them and this just seems too active. The way Austen wrote it is sweet. It dawns on Wentworth how wrong he was and thus lays his heart bare in the only way he has at his disposal, a letter. How else is he to hope unless he overhears Anne's speech? Asking after a lease on a house, that's not romantic, it's pragmatic. Plus he goes home, then writes the letter, then has to be hunted down. It's just too much work. There's also the fact that we know how they both feel so this seems to be done just to draw out the suspense a little longer. You can't have perfect happiness without a little hurdle, and apparently the previous eight years wasn't enough for this adaptation.

But any faults can be forgiven, even the odd detail of Captain Wentworth apparently buying Kellynch Hall, by the superb cast. You couldn't hope for a better cast. Of course the casting that made me giddy was that of Anthony Stewart Head as Sir Walter Elliot. Buffy fan that I am seeing "Giles" relish playing this vain and pompous man was a dream come true. Seriously, just cast him in almost anything and I'll watch. I say almost because there's no way anyone's getting me to watch that Shondaland show Still Star-Crossed. As for the rest of the cast, yes, it's a little weird seeing The Borg as Lady Russell, but she's a far less domineering Lady Russell than other versions, and I appreciate that. But I'm not going to sit here and just list why I love every actor, and seriously, I love every single actor in this all the way down to Cully's husband from Midsomer Murders, when there are two that need to be talked of, Sally Hawkins and Rupert Penry-Jones. Sally Hawkins has been the darling of independent British cinema for years, especially working with Mike Leigh, even winning a plethora of awards for their collaboration Happy-Go-Lucky. But it's her more miniseries roots that brought her to my attention first in Twenty Thousand Streets Under the Sky, and later in The Young Visiters, Byron, and the Sarah Waters adaptations of Tipping the Velvet and Fingersmith. Yet it's in Persuasion that you can see how she can inhabit a role so completely that dialogue isn't even needed to convey what she is feeling. As for Rupert Penry-Jones, well I might have written him off as a pretty boy with The Prince of Hearts, Cambridge Spies, Casanova, and his basically replacing Matthew Macfadyen on Spooks, but then I watched Whitechapel. Holy hell, that show is amazing and his portrayal of a driven yet completely OCD DI makes it one of my favorite shows ever. Persuasion mined the best of British drama and has a stellar cast that makes you shake your head in amazement that all these people are in one place at one time.

Though I feel that this review would be incomplete without me taking a shot at PBS. Oh PBS, I have so many issues with you. Seriously, SO MANY. Substandard releases could be brought up here, but instead I'm going to take you to task for your editing. Seriously!?! Stop it! Thankfully you've basically stopped editing the DVD releases because of the fan outcry for which I really have to thank Downton Abbey. But I'm still waiting for my Sally Lockhart mysteries with the sex scene back in... Instead I'm going to bitch about your broadcast editing. I watched this adaptation of Persuasion when it first aired in England, then when it finally aired the following January on PBS I was excited to watch it again but found it lacking. As in lacking all scenes with Captain Wentworth and Captain Harville talking to each other in and around Lyme Regis. I actually had to turn it off I was so enraged. Here's the thing about movies, television shows, any kind of visual broadcast: it's the vision of a person or group of persons that go to the trouble to make this beautiful show. That vision should NEVER been lessened, censored, or randomly changed not for "objectionable" reasons but to make more time for your sponsors! PBS made a pledge to bring quality television to America and more and more it's about the appearance of doing so without actually doing it. Even since Exxon left Masterpiece no longer theater has been in a steep decline and it's come to the point where I no longer even watch the channel. I can't abide editing, and as for speeding up the frame rate, which you totally did during season one of Poldark, it actually makes me physically sick. Also, why can't you air shows at the same time as England? I mean, you've fixed it with Sherlock so what gives!?! Yes, I know, I shouldn't end a review that is glowingly in favor of a production with a negative, but do you ever get the feeling that PBS isn't really involved in these shows at all and is just taking credit for what the BBC and ITV are doing?

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Adaptation, Anthony Stewart Head, Bicentenary Ball, Buffy the Vampire Slayer, ITV, Jane Austen, Mansfield Park, Midsomer Murders, PBS, Persuasion, Run Lola Run, Rupert Penry-Jones, Sally Hawkins, Whitechapel

The Affinity Bridge by George Mann
Published by: Tor
Publication Date: July 1st, 2008
Format: Hardcover, 336 Pages
Rating: ★★★★
To Buy

Queen Victoria should have died at the turn of 1901, but in November of that year Victoria lives still via machines, past her time on this earth, preserved as ruler. Sir Maurice Newbury works as an "investigator for the crown" for this indomitable woman who plans to outwit death, by any means necessary, technological or otherwise. While he works at the British Museum, his job there is little more then a cover. Or as Newbury and his clever assistant Victoria Hobbes would say, the museum is there to mark the time between their interesting adventures. Luckily this is a time when they aren't needed at the museum as Queen Victoria has several mysterious situations at present that need Newbury's expertise. There is a plague of revenants, zombie like corpses attacking people in the fog, a string of deaths in Whitechapel that are linked to a mysterious glowing policeman, but most importantly, a crashed airship that had a minor royal on board and among the lists of the dead, a list that is suspiciously missing a pilot. While Newbury longs to find a satisfying conclusion to the murders in Whitechapel and help Scotland Yard and his copper friend Sir Charles Bainbridge, Victoria has insisted that the crash of The Lady Armitage comes before everything else.

Going to the company that made The Lady Armitage, Chapman and Villiers, the duo discover that the company has been expanding beyond their regular line of airships to encompass Automatons. Villiers is a scientist who left France under a cloud because of his unorthodox experimentations, but Newbury can not help marvelling at the work shown to them. They have created simulated life. A simulated life that coincidentally may be responsible for the disastrous air crash, no matter Chapman and Villiers's denials. The closer Victoria and Newbury get to the answers, the more danger they are in. Sir Maurice needs help from "The Fixer" on more then one occasion to keep himself alive at all. Add the ubiquitous presence of the unnerving Automatons everywhere and then throw in a dash of an insane asylum and a laudanum addiction and you can see it's going to be a miracle if they can solve the cases and keep themselves alive.

It is rare that I ever bother to write a second review of a book, one and done is usually my motto. But then there's the other side of me, the control freak which knows that my reviewing style has changed over time. To have a George Mann theme month and just hit you with an old review, a review that feels like it was written out of time (and yes, I did "adapt" the recap), well, that's just not the done thing. Yet it's not just to appease my controlling nature that I re-review it. The Affinity Bridge is one of those elusive books that are worthy of further discussion. Upon re-reading there are so many more layers and plot points that mean something new and different. You see things you missed the first time around, and overall, while the book was just as good, if not better then the first time, it's for a whole new slew of reasons. Things that I loved previously annoyed me, while things I overlooked came forward to take the hole in my heart. George Mann to me is the apotheosis of Steampunk. He has defined this genre for me with a perfect balancing of Britishness, technology, romance, storytelling, and mystery.

To get at the heart of why this book is so seminal to me I really had to think about what continually draws me back to the Victorian era. The truth is it isn't the stuff of period dramas. It isn't the clothes, it isn't the bygone days of culture and manners. I know that might come as a shock, being the lover of miniseries and historical literature that I am. But what truly fascinates me about this time period is the danger, the menace lurking in the fog, and Jack the Ripper. Even as a teenager I had a love of the lurid, the Penny Dreadful, the danger coupled with the romance of another time. A world of manners coupled with skulduggery. The two sides of the coin, if you will, the refinement living alongside the heinous. If I had the ability to time travel I would totally use it just to solve the unsolvable and find out who really was Jack the Ripper. I'd probably use my power on other unsolved cases, but Jack the Ripper, the impact on society to this day is amazing. I can not count the number of interpretations that I have read, watched, and played over the years. Yes, I did play a Sherlock Holmes Jack the Ripper video game. I never won it, but I remember scraping Macassar oil off a door and analyzing it in the lab at 221B Baker Street.

Reading The Affinity Bridge while watching Whitechapel on the side made me have this eureka moment revealing myself to myself in all it's depravity. I finally got it. The murderers, the pickpockets, the thieves, all being routed out by the erstwhile detectives, I thrive on this. I search out that darker aspect in Victorian crime. I want stories worthy of the legend of Jack the Ripper, and that is what George delivers. The glowing policeman coming out of the darkness to revenge his death, seriously, chills. The revenants being a plague on the slums wherein any patch of fog could mean, not just your death, but a horrid and painful demise of being turned into an abomination, a great twist on zombies. This book is a Penny Dreadful for a modern sensibility. Not just relying on a Jack the Ripper type character, but expanding the horror to include the supernatural, the occult, and most terrifying of all, the rapid advancement of technology. These Automatons are literally the stuff of my nightmares, part Sonny from I Robot, part Cylon, and all the horror I never really felt for the Cybermen rolled into one.

But The Affinity Bridge couples this Victorian doom and gloom with a lighter almost campy air. During my re-reading of the book I almost felt as if Newbury was too British. Too much a parody of a man who will do anything for king and country. How does this lead to a positive you might be asking yourself right about now, well, I'm getting to it. The partnership of Newbury and Hobbes is very much reminiscent of that of John Steed and Emma Peel. This book is all the campy fun of a Victorian series of The Avengers, and no, not The Avengers with Loki. If you look at the complete run of The Avengers the four years between 1965-1968 were the shows glory years. Steed needed Emma. The show actually was on the air for many years before and after Mrs. Peel, but it is Mrs. Peel that balances Steed. This is how I view the relationship of Newbury and Hobbes. Newbury IS too campy, too British, because he isn't complete without Veronica. They balance each other to create a perfect partnership. I can only hope that they will keep walking arm and arm into the fog to fend off the next fiend and finish the day with a pot of Earl Grey.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Cybermen, Cylons, Emma Peel, George Mann, Jack the Ripper, John Steed, Mann Month, Newbury and Hobbes, Queen Victoria, Sherlock Holmes, The Affinity Bridge, The Avengers, Veronica Hobbes, Whitechapel, Zombies