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Powerhouse: The Untold Story of Hollywood's Creative Artists Agency
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An astonishing—and astonishingly entertaining—history of Hollywood’s transformation over the...
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Ballerina Salon - Ballet Makeup and Dress Up Games
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These elegant and beautiful ballerinas need to get ready for their ballet show so they can dance the...
The Ghastly One: The Sex-Gore Netherworld of Filmmaker Andy Milligan
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Nicolas Winding Refn presents one of the most acclaimed film director biographies ever published....
The Gift: The Story of an Ordinary Women's Extraordinary Power
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The extraordinary life story of psychic and clairvoyant, Mia Dolan, the new Betty Shine. Contents *...
Mia Dolan Fortean Ghosts psychic medium clairvoyant
Operation Chastise: The RAF's Most Brilliant Attack of World War II
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The attack on Nazi Germany’s dams on May 17, 1943, was one of the most remarkable feats in...
Sass Perilla (36 KP) rated The Master and Margarita in Books
Aug 9, 2019
Worth a read? Yes. Worth a reread? Maybe not.
Contains spoilers, click to show
The Master and Magarita: Mikhail Bulgakov
Firstly, I didn’t intend to write an essay on this novel. However, once started I found I had a lot to say, and the more I thought about the plot and characters, the more ideas and parallels were sparked, so I am hopeful that the verbosity of this review can be forgiven.
At the risk of sounding both ignorant and uncultured, I found this novel (at least at first) bloody hard slog; not least because the Russian characters have three names, plus a nickname, plus a pun on their name (none of which work particularly well in translation and all of which sound rather similar to the English untrained ear). As an example- Ivan Nikolaevich Ponyrev (who seems to be referred to by any and all of these names) is also known as “Homeless” and “the poet” is a key character in the opening section of the novel. To further demonstrate: there are 17 different names that start with A that are used to refer to 15 different characters with Andreyevich used as the middle name of a bereaved uncle, who makes a journey from Kiev after his nephew is beheaded in a freak tram accident- and Andrey the buffet manager at a Moscow theatre. Clear as mud right? And that is before starting on similarly named characters with the initials M, P, L and S! At my last count there were 45 distinct characters, and I am fairly sure there will be some that I have missed. Hence, I did a lot of re-reading to work out exactly who was doing what to whom.
Additionally, I would suggest you need to be wary of the different translations. The distinct changes in meaning are subtle but important. To triangulate I had three versions at my disposal: Hugh Aplin’s translation (available for free on Kindle), the audiobook version translated by Richard Pevear and Larissa Volokhonsky (which I listened to simultaneously when reading the book to come to my own interpretation, and the subtitles for the Russian TV miniseries from 2005 when I gave up trying to work out who was who from name alone!
So those were my “technical” issues (if you like) with engaging with this novel, and this lack of clarity and understanding (and my own lack of contextual knowledge of Stalinist Russia) meant I missed many of the (what I am sure are hysterically funny to those in the know) satirical jokes in the opening section. That said, the random action and quick changes of focus, undercurrent of chaos in Moscow despite entrenched hierarchal structures and clear threat that (any) one could go missing at any time, for an unclear reason gave a clear insight into the mind and fears of a 1930s Russian citizen. No wonder it was available only in censored form for so long.
Despite these hardships, there were some genuinely laugh out loud moments in the first Moscow based part of the novel. The citizens have not lost their individuality, as they scrabble and fight for bank notes in the theatre, which are later revealed to be worthless. Nor have they lost their sense of pride and vanity, which we see in the female theatre goers, so desperate to attain the fashionable French couture (which later literally disappears from their bodies leaving semi-naked citizenesses desperately trying to cover themselves in a scene reminiscent of “Allo Allo” meets “Benny Hill”). When Professor Woland says his show will “expose” what the locals have failed to realise is that it is their (moral) shortcomings that are about to be revealed. The message is clearly, that no government can successfully legislate against human nature.
Oooh- and another fun fact, apparently Woland (later revealed- or perhaps is implied- to be Satan) was the inspiration to the Rolling Stones 1968 hit “Sympathy for the Devil”, well at least that is what my Google-Fu tells me.
Obviously, there were substantial hurdles to leap, however, I found by the second half of the novel, when we finally meet the eponymous characters, I had got in to the swing of things and begun to embrace the farcical surrealism of the novel.
The second “book” marks a change in tone, although it continues to cut away to scenes of Jesus’ sentencing by Pilate and execution (here known in the Aramaic form Yeshua). Ironically it is these scenes that are the most “real” and substantially human, as Pilate’s decision weighs head achingly heavily on him throughout. The Master and Margarita seem to be the only two characters fully invested in the authenticity of literature, and serve as a counterpoint to the heavily censored “monstrous” writing of Ivan and the rest of the writers’ union Massolit, more interested in fine dining and what their positions can do for them then the production of quality writing.
And it is Margarita’s journey of discovery and liberation from the stodgy, miserable societal expectations of that leads her back to her Master. Bulgakov mixes classical myth, Russian folklore and Bible stories to give us an impression of the timelessness of the central romance. As the worlds of communist Moscow and the inner worlds of the Master and Margarita collide, we are informed of the former’s desire to excuse all magic (and mischief) as the product of mass hypnosis, when the latter (and the reader) are fully aware of the spiritual significance and dimension of the events.
Clever, astute and in places laugh out loud funny, this novel none-the-less requires a level of dedication from the non-Russian speaking reader. Worth a read? Yes. Worth a re-read? Maybe not.
Firstly, I didn’t intend to write an essay on this novel. However, once started I found I had a lot to say, and the more I thought about the plot and characters, the more ideas and parallels were sparked, so I am hopeful that the verbosity of this review can be forgiven.
At the risk of sounding both ignorant and uncultured, I found this novel (at least at first) bloody hard slog; not least because the Russian characters have three names, plus a nickname, plus a pun on their name (none of which work particularly well in translation and all of which sound rather similar to the English untrained ear). As an example- Ivan Nikolaevich Ponyrev (who seems to be referred to by any and all of these names) is also known as “Homeless” and “the poet” is a key character in the opening section of the novel. To further demonstrate: there are 17 different names that start with A that are used to refer to 15 different characters with Andreyevich used as the middle name of a bereaved uncle, who makes a journey from Kiev after his nephew is beheaded in a freak tram accident- and Andrey the buffet manager at a Moscow theatre. Clear as mud right? And that is before starting on similarly named characters with the initials M, P, L and S! At my last count there were 45 distinct characters, and I am fairly sure there will be some that I have missed. Hence, I did a lot of re-reading to work out exactly who was doing what to whom.
Additionally, I would suggest you need to be wary of the different translations. The distinct changes in meaning are subtle but important. To triangulate I had three versions at my disposal: Hugh Aplin’s translation (available for free on Kindle), the audiobook version translated by Richard Pevear and Larissa Volokhonsky (which I listened to simultaneously when reading the book to come to my own interpretation, and the subtitles for the Russian TV miniseries from 2005 when I gave up trying to work out who was who from name alone!
So those were my “technical” issues (if you like) with engaging with this novel, and this lack of clarity and understanding (and my own lack of contextual knowledge of Stalinist Russia) meant I missed many of the (what I am sure are hysterically funny to those in the know) satirical jokes in the opening section. That said, the random action and quick changes of focus, undercurrent of chaos in Moscow despite entrenched hierarchal structures and clear threat that (any) one could go missing at any time, for an unclear reason gave a clear insight into the mind and fears of a 1930s Russian citizen. No wonder it was available only in censored form for so long.
Despite these hardships, there were some genuinely laugh out loud moments in the first Moscow based part of the novel. The citizens have not lost their individuality, as they scrabble and fight for bank notes in the theatre, which are later revealed to be worthless. Nor have they lost their sense of pride and vanity, which we see in the female theatre goers, so desperate to attain the fashionable French couture (which later literally disappears from their bodies leaving semi-naked citizenesses desperately trying to cover themselves in a scene reminiscent of “Allo Allo” meets “Benny Hill”). When Professor Woland says his show will “expose” what the locals have failed to realise is that it is their (moral) shortcomings that are about to be revealed. The message is clearly, that no government can successfully legislate against human nature.
Oooh- and another fun fact, apparently Woland (later revealed- or perhaps is implied- to be Satan) was the inspiration to the Rolling Stones 1968 hit “Sympathy for the Devil”, well at least that is what my Google-Fu tells me.
Obviously, there were substantial hurdles to leap, however, I found by the second half of the novel, when we finally meet the eponymous characters, I had got in to the swing of things and begun to embrace the farcical surrealism of the novel.
The second “book” marks a change in tone, although it continues to cut away to scenes of Jesus’ sentencing by Pilate and execution (here known in the Aramaic form Yeshua). Ironically it is these scenes that are the most “real” and substantially human, as Pilate’s decision weighs head achingly heavily on him throughout. The Master and Margarita seem to be the only two characters fully invested in the authenticity of literature, and serve as a counterpoint to the heavily censored “monstrous” writing of Ivan and the rest of the writers’ union Massolit, more interested in fine dining and what their positions can do for them then the production of quality writing.
And it is Margarita’s journey of discovery and liberation from the stodgy, miserable societal expectations of that leads her back to her Master. Bulgakov mixes classical myth, Russian folklore and Bible stories to give us an impression of the timelessness of the central romance. As the worlds of communist Moscow and the inner worlds of the Master and Margarita collide, we are informed of the former’s desire to excuse all magic (and mischief) as the product of mass hypnosis, when the latter (and the reader) are fully aware of the spiritual significance and dimension of the events.
Clever, astute and in places laugh out loud funny, this novel none-the-less requires a level of dedication from the non-Russian speaking reader. Worth a read? Yes. Worth a re-read? Maybe not.
ClareR (6106 KP) rated The House on Half Moon Street in Books
May 3, 2018 (Updated May 3, 2018)
A good period murder mystery.
Leo works as a coroners assistant in a busy Victorian London hospital. Leo lived the first 15 years of his life as Charlotte, and ran away so that he could live as Leo: this is in time where if he were to be discovered, he would be sent to an insane asylum.
Leo falls in love with the prostitute (Maria) that he has been seeing once a week for two years, and arranges to meet her at the theatre for what he hopes will be the first of many dates. He wants to build a life with her. However, she doesn't show up, and he, bitterly disappointed, goes home. When he arrives at work the following day, he discovers the first body on the slab is that of Maria. Of course, he is the primary suspect. So Leo starts his own investigation to try and discover who the murderer is.
Leo is a likeable, yet vulnerable character. He clearly feels very deeply about Maria. The friends and acquaintances he makes in the course of his investigations are personable and try to help him as well as themselves (to be honest, it's hard to see whether they are really his friends at all - they all live hard lives, and just want to get along without causing any trouble to themselves or their families). By the same token, the villains are unlikeable, villainous and uncaring about anything other than what they can get out of people - in this case, they make their money out of women, specifically prostitution.
I really enjoyed this. I didn't think I would. As soon as I read that Leo was transgender, I thought that it would be an attempt at Tipping the Velvet. It's clearly not. I believe this is the first in a new series, and I will be looking out for the next one!
Many thanks to The Pigeonhole and the publisher for a copy of the book!
Leo falls in love with the prostitute (Maria) that he has been seeing once a week for two years, and arranges to meet her at the theatre for what he hopes will be the first of many dates. He wants to build a life with her. However, she doesn't show up, and he, bitterly disappointed, goes home. When he arrives at work the following day, he discovers the first body on the slab is that of Maria. Of course, he is the primary suspect. So Leo starts his own investigation to try and discover who the murderer is.
Leo is a likeable, yet vulnerable character. He clearly feels very deeply about Maria. The friends and acquaintances he makes in the course of his investigations are personable and try to help him as well as themselves (to be honest, it's hard to see whether they are really his friends at all - they all live hard lives, and just want to get along without causing any trouble to themselves or their families). By the same token, the villains are unlikeable, villainous and uncaring about anything other than what they can get out of people - in this case, they make their money out of women, specifically prostitution.
I really enjoyed this. I didn't think I would. As soon as I read that Leo was transgender, I thought that it would be an attempt at Tipping the Velvet. It's clearly not. I believe this is the first in a new series, and I will be looking out for the next one!
Many thanks to The Pigeonhole and the publisher for a copy of the book!
Alanna (227 KP) rated Kingdom Hearts III in Video Games
Feb 19, 2019 (Updated Feb 19, 2019)
Story (1 more)
Worlds feel bigger
Kingdom Hearts 2 was better imo (3 more)
The theme park mechanic is not very interesting
Too many/Too long cutscenes
No Final Fantasy characters
As someone who has played 3 of the previous games I was isanely excited to play this game. Unfortunately, I was quite disappointed. The game does not hold a candle to the second game.
One aspect that made the previous game great is that each enemy had timed reaction attacks that made each and every battle special. For example waiting for one if the organisation's weapon to drop so that you could use it. In this version it felt like a lot more button mashing or using the triangle reactions (which were given out too often) made this an easy game to finish. I only ever found one boss that needed more strategy.
I get that it's a game for all ages, new fans and old but I became annoyed at the cutscenes repeating the information from the last games when there is a theatre in the main menu telling you about the previous games. I found myself becoming impatient during the cutscenes wishing that they would hurry up with the new plot.
I feel like the voicing acting or the pacing of the scenes was slow and unnatural. I really disliked it this time around.
This is more of a personal issue but I was quite upset that they got rid of the final fantasy characters as well. I wouldn't have minded that they were not in any of the cutscenes but at least let them walk around their respective worlds
Otherwise, it is a visually stunning game and I have to applaud Square Enix for their Pirates of the Caribbean world which is my favourite.
If it's your first KH game then I would definitely recommend playing but I believe that KH 2 is better.
One aspect that made the previous game great is that each enemy had timed reaction attacks that made each and every battle special. For example waiting for one if the organisation's weapon to drop so that you could use it. In this version it felt like a lot more button mashing or using the triangle reactions (which were given out too often) made this an easy game to finish. I only ever found one boss that needed more strategy.
I get that it's a game for all ages, new fans and old but I became annoyed at the cutscenes repeating the information from the last games when there is a theatre in the main menu telling you about the previous games. I found myself becoming impatient during the cutscenes wishing that they would hurry up with the new plot.
I feel like the voicing acting or the pacing of the scenes was slow and unnatural. I really disliked it this time around.
This is more of a personal issue but I was quite upset that they got rid of the final fantasy characters as well. I wouldn't have minded that they were not in any of the cutscenes but at least let them walk around their respective worlds
Otherwise, it is a visually stunning game and I have to applaud Square Enix for their Pirates of the Caribbean world which is my favourite.
If it's your first KH game then I would definitely recommend playing but I believe that KH 2 is better.
Damian Sutton (4 KP) rated Ready Player One (2018) in Movies
May 3, 2019
A decent adaptation of a great book
Contains spoilers, click to show
From the get go, I think I'd best say I came to this with a pre-concieved notion that I was going to enjoy it, having read the book several times and having a long term love affair with Steven Spielberg (child of the 80s, so most of my formative years were spent sitting worshipping at the alter of Spielberg and Lucas) so I was aware that I was going to enjoy this film regardless, that said, there are moments in the film that fell flat for me, but on the whole....its a very enjoyable little action/adventure romp....with plenty in it for film lovers (the whole shining sequence had me grinning from ear to ear) and gamers too ( the whole film is deeply rooted in gamer culture and there are more gaming Easter eggs than you can shake a stick at) there's plenty of heart to this film too, and by the time the credits rolled I left the theatre thoroughly entertained, had this film come out a few years back, it would have been lauded as a sci-fi/adventure classic, however we now live in a post marvel world where every film they release seem to raise the bar very high, and films like this get lost in the shuffle a little, does this make it a worse movie....not at all, but it probably didn't get the acclaim it deserved because of being released in a sea of blockbusters.
So in closing, if you're looking for that perfect Sunday afternoon adventure film....you could do a lot worse than giving this a watch....see how many movie/gaming references you can spot
So in closing, if you're looking for that perfect Sunday afternoon adventure film....you could do a lot worse than giving this a watch....see how many movie/gaming references you can spot
Gareth von Kallenbach (980 KP) rated Suffragette (2015) in Movies
Jun 19, 2019
I have read reviews before, that use the words “riveting” and “captivating” and “compelling”…. And usually I sort of just roll my eyes and hope that the movie is as good as the review says, because “usually” I find that the movie doesn’t actually match those words.
Suffragette, on the other hand, is all that, and more.
The movie has Meryl Streep in it, but she doesn’t have very much screen time. As much as I like Meryl Streep, this movie does just fine, all on its own, even with Streep only having a presence on its fringes.
I have not seen any other movies with the actress starring in the film, Carey Mulligan, but based on her performance in this movie, I would definitely be willing to see another.
Suffragette centers around the fight of women in London to be allowed the right to vote. Even trying to write this review, remembering the movie and trying to pull the words out, I get chills and tear up.
It was emotional, and angry, and incredibly sad. Brave and wild, sneaky and smart. Cruel and dangerous.
All of that, in one movie. I spent the last half, crying my eyes out. Quite literally, sobbing in the theatre, trying to not be obvious. The struggles those women faced, were REAL. They sacrificed their ability to work, their families, and their very LIVES to the cause of being treated equally to men, and having equal rights to vote, and equal pay as well.
Suffragette is a movie that everyone should see.
Men, women, children old enough to understand the implications of a struggle that spanned many years, and even today isn’t fully finished. The list at the end, of the countries in the world and when women got the right to vote, and the countries where women are STILL NOT ALLOWED to vote, was breathtaking…. And utterly heartbreaking.
Suffragette shows us how far we have come, and how very far we have yet to go, worldwide.
http://sknr.net/2015/11/06/suffragette/
Suffragette, on the other hand, is all that, and more.
The movie has Meryl Streep in it, but she doesn’t have very much screen time. As much as I like Meryl Streep, this movie does just fine, all on its own, even with Streep only having a presence on its fringes.
I have not seen any other movies with the actress starring in the film, Carey Mulligan, but based on her performance in this movie, I would definitely be willing to see another.
Suffragette centers around the fight of women in London to be allowed the right to vote. Even trying to write this review, remembering the movie and trying to pull the words out, I get chills and tear up.
It was emotional, and angry, and incredibly sad. Brave and wild, sneaky and smart. Cruel and dangerous.
All of that, in one movie. I spent the last half, crying my eyes out. Quite literally, sobbing in the theatre, trying to not be obvious. The struggles those women faced, were REAL. They sacrificed their ability to work, their families, and their very LIVES to the cause of being treated equally to men, and having equal rights to vote, and equal pay as well.
Suffragette is a movie that everyone should see.
Men, women, children old enough to understand the implications of a struggle that spanned many years, and even today isn’t fully finished. The list at the end, of the countries in the world and when women got the right to vote, and the countries where women are STILL NOT ALLOWED to vote, was breathtaking…. And utterly heartbreaking.
Suffragette shows us how far we have come, and how very far we have yet to go, worldwide.
http://sknr.net/2015/11/06/suffragette/