POETRY

MERELY PLAYERS

David Selzer By David Selzer2 Comments1 min read1.6K views

John Clare – the celebrity bard, the ‘peasant

poet’;’drunkard’; ‘madman’; as famous

in his time as Keats – acquired many loyal

and enthusiastic patrons, among them

Bishop Marsh of Peterborough and his wife.

He sometimes stayed in the medieval palace.

On one occasion, Mrs Marsh took Clare

to see a performance by a touring

theatre company, whose repertoire

comprised French melodramas and Shakespeare’s plays.

The production that night was THE MERCHANT

OF VENICE. Clare sat through the first three acts –

in the box reserved for the Lord Bishop’s wife –

totally engrossed in the words and the actions,

oblivious of Mrs Marsh’s asking him

if he were enjoying the play. At the start

of the fourth act – set in a Venetian court –

he became agitated, and, at the point

where Shylock does not give the ‘gentle answer’

hoped for, Clare stood, shouting, “You villain,

you murderous villain!” – and leaped from the box

onto the stage. A couple of the more burly

actors prevented his reaching Shylock,

and strong armed him, with difficulty,

back into the box. As Mrs Marsh

tried to soothe the distracted poet,

the play was abandoned.

 

 

NOTORIETY

David Selzer By David Selzer2 Comments1 min read1.5K views

In 1963 the final footage

of CLEOPATRA – then the most expensive

movie ever made with its casts, locations,

and special effects – was completed

at the Cinecittà studios, Rome.

 

The two stars of what would become the then

most profitable blockbuster ever screened,

Elizabeth Taylor and Richard Burton –

daughter of an American art dealer

and son of a Welsh miner, creations,

creatures of Hollywood – flew to Sicily,

to continue their affaire. They stayed

at the San Domenico Palace,

a luxury hotel in Taormina.

 

Two of the highest paid movie actors,

and both married with children, they were grist

to gossip columnists and public

moralists alike. Much was made of their roles

as Cleopatra and Mark Antony.

 

The San Domenico Palace Hotel

was originally a monastery.

Built on the top of a cliff high above

the Roman Sea it has had many

notorious celebrity guests,

among them emperors from the New World –

George W. Bush and Donald J. Trump.

 

In 1967 the movies stars

returned to the hotel. Showbiz legend

has Elizabeth Taylor, on the terrace

of the bridal suite, break either an

acoustic guitar or a mandolin

over Richard Burton’s head or back.

As Martha said in Edward Albee’s

WHO’S AFRAID OF VIRGINIA WOOLF?

‘Truth or illusion, George, you don’t know

the difference.’ To which George replied,

‘No, but we must carry on as though we did’.

 

 

 

THE MOVIES

David Selzer By David Selzer1 Comment1 min read1.5K views

I am sitting with my laptop at one end

of a long table, beyond which I can see,

through the window on the far side of the room,

a narrow road sloping upward to a rise –

like the road in WITNESS that Harrison Ford

as John Book, almost fatally wounded,

drives his sister’s VW down to save

the Amish boy and his widowed mother.

 

Stretched across the top of the rise is a wire,

like the one on the poster for Hitchcock’s

THE BIRDS. Starlings perch there as evening comes –

ready to swoop, if the plot requires,

on the hair-do of an unsuspecting blonde,

or a whole class of theatre-school children.

 

Stories in the dark: transparent fictions

that frighten and move, tickle and shock,

all following Aristotle’s tale-telling

rules. In the dénouement of CINEMA

PARADISO – masterwork of the flashback –

the famous filmmaker, the ironically,

poignantly named Salvatore Di Vita,

always fearful of loving too much,

weeps as he watches, for the first time,

his dead mentor’s splicing of all the scenes

of longing and lust that were cut from his youth.

 

The road, at the top of the rise, has become

an untended pathway, flanked by dry-stone walls,

bordered by nettles, brambles, and thistles.

Suddenly…

 

 

 

WORD & IMAGE

David Selzer By David Selzer0 Comments2 min read1.2K views

Language is much closer to film than painting is.’

Sergei Eisenstein, A DIALECTICAL APPROACH TO FILM FORM

 

We are watching a subtitled crime series

taking place in Central European Time,

and set in the three Slavic, post-Soviet

cities of Odessa, Prague and Warsaw –

though when the three protagonist detectives

meet they must speak in English, entertainment’s

international lingua franca.

 

It is the usual tale of murders

and mobiles, of kidnapping and corruption,

where we may find, in the last reel, that we had

already spotted the villain in episode three

– that sinister photographer with sunken eyes,

and a Germanic surname, perhaps?

 

It is a series using stock shots like Warsaw’s

Palace of Culture & Science and Prague’s

Charles Bridge, and action taking place in cut-price

locations – except for this current scene

taking place on the Potemkin Stairs:

two hundred steps cut from grey-green sandstone

bordered with granite, forty feet at the top,

seventy at the foot, built in the reign of Tzar

Nicholas I, giving the Odessa

elite gracious access to the harbour,

and its cosmopolitan cargoes;

famous for the collage in BATTLESHIP

POTEMKIN of the baby carriage bouncing

down the steps through the carnage wrought by the Tzar’s

soldiers in their white caps and tunics;

a paragraph of silent terrors and distress,

each sentence an icon of horror.

 

In the scene we are now watching a witness

is being interviewed half way down the steps

by a Ukrainian detective.

Behind and above is a group of what

appear to be co-educational

sea cadets posing for selfies. Judging

from the manner of their movements they have been

recruited from a school of physical theatre.

The director presumably thought this

scene shot from at least two camera angles

a suitable homage to his predecessor,

the master, the maestro of montage,

one of its Soviet begetters.

 

The crime series was made, of course, before Russia

invaded Ukraine. However, and

nevertheless, by chance or design, the stairs –

with their iconic place in Russia’s public

memory – have remained untouched by war.

 

 

WESTERN APPROACHES

David Selzer By David Selzer3 Comments2 min read1.6K views

Almost in the middle of the North Atlantic

the two-dozen crew of a torpedoed

merchant ship are wet and cold in its lifeboat.

They are mainly Liverpool men, seafarers

from custom and necessity. The captain

is at the tiller. He has his charts

and a compass, has ordered the sail set,

water and hard tack rationed, and is steering

towards the rocky, treacherous west coast

of Ireland more than a thousand miles away –

a dangerous landfall at this time of year,

with its long seas, and a weakened crew.

 

***

 

Western Approaches Command during

the Second World War’s six yearlong Battle

of the Atlantic encompassed all

of the Irish Sea, St George’s Channel,

the north of the Celtic Sea, and longitudes

of the ocean to the west of Ireland.

 

At Liverpool’s Pier Head there is a

slightly pugnacious-looking bronze statue

of Commander Johnnie Walker RN,

famed for destroying twenty U-Boats.

 

The Liverpool docks were the destination

and fuelling station for the unceasing

convoys of merchant ships and their escorts

bringing food, fuel, munitions, tanks, aircraft,

and personnel from North America.

One hundred thousand died, Allies and Axis.

 

***

 

Key scenes in the movie WESTERN APPROACHES

were filmed on location at Holyhead,

Anglesey, in its deep breakwater harbour.

Wartime technicolor propaganda,

all parts played by non-professional actors,

some from the Royal most from the Merchant Navy,

the film is a thriller, and a work of

technical genius, and humanity,

where even the bad guys seem human.

 

The crowds that had gathered to watch the antics

on the water – the repeated set-ups

and retakes on the lifeboat, and the cutters

with all of the movie gear and personnel –

after the first week or so dispersed

not seeing then, beyond the palaver,

Pat Jackson’s script and direction, Jack Cardiff’s

photographing of the sea’s infinite

shifts and depths, its blues shading into greens,

its empty horizons, the pathos

of the seamen’s careful acting, their

unspoken remembrance of the drowned:

art as memento mori, as orison…

‘Out of the deep have I called unto thee’…

 

 

 

 

SLAVERY’S DIVIDENDS

The Duke of Wellington vowed he would never

travel by train again – and, while still alive,

kept his vow. (His corpse was conveyed in state

by rail from his house in Kent to London).

The official opening of the Liverpool-

Manchester railway ought to have been one

of unqualified celebration: the first

passenger train journey in the world hauled

by a steam locomotive; with VIPs

and a military band – albeit

seated on benches in open wagons,

except for the Duke, then Prime Minister,

and his party in a bespoke, covered carriage.

 

The dual track line had been built to convey –

more quickly than the horse drawn narrow boats

on the canals, or carts on the unmade roads –

the raw cotton unloaded at Liverpool

to Cottonopolis (i.e. Manchester)

and its satellite cotton mill towns

in south east Lancashire – and transport

the finished products back for export

to the growing British Empire’s colonies.

 

George Stephenson, who designed and built the line,

in order to show off the commercial

versatility of the dual track approach

on the day employed two engines – both of which

he had designed and built: the Northumbrian –

the Duke’s train, as it were – pulled rolling stock

from west to east; the Rocket east to west.

They met half way – at Parkside Station –

to take on water. There, the MP

for Liverpool, William Huskisson,

became the first railway fatality.

He fell on the north track, and the Rocket

crushed one of his legs. The Northumbrian,

pulling the first of its wagons – the one

the military band had been travelling in –

took the injured man to Eccles, where he died

in the vicarage. Meanwhile the bandsmen

began to march in step – or attempted to

given the sleepers and rubble

laid between them – back to Liverpool.

 

The much delayed train arrived in Manchester

in rain. A large crowd of mill workers,

remembering the Peterloo Massacre,

jeered loudly, and threw things. Wellington,

always a defensive general,

refused to alight. The train returned

to Liverpool – passing the still stumbling

and wet bandsmen – to a civic reception.

 

I first learned about Huskisson’s demise

in a history lesson in school – just the sort

of Goon Show/Pythonesque fact to appeal

to teenage boys. We did not learn about

how Stephenson was able to build the track

across Chat Moss, a peat bog, thousands

of years old and many metres deep,

a permanent way that operates now,

an engineering feat of genius,

a joyous testament to our large brains.

Nor did we learn that the whole business venture –

each spike, each bolt and nut, each foot of wrought iron

rail, and each of the many, expensive

courses at the celebratory banquet

in Liverpool’s town hall – had been funded

by the enslavement of Africans.