{television} – Page 15 – { feuilleton }

Tangerine Dream in concert

I was going to call this post “Remote Viewing”, after the last track on Tangerine Dream’s Exit album, but the reference is too obscure. Having spent the past week listening to the Pilots Of Purple Twilight box I thought I’d see what concert video might be available from the period covered by the recordings, 1980–83. Thank to some recent YouTube uploads there’s more than I expected. A couple of things are notable about these TV performances: the first is that two of them feature the same annoyingly mismatched audio and video that spoiled Tony Palmer’s record of the group playing in Coventry Cathedral in 1975; the second is that all the footage is from Continental Europe. Tangerine Dream were very popular in the UK throughout the 1970s and 80s—they were on a British record label, after all, and toured here extensively every couple of years—but Palmer’s film is the only record of a British TD concert. These videos aren’t always the highest quality but they make up for the negligence of the BBC and ITV.

Palasport, Bologna, 20th October, 1980.

Mismatched audio and video in the opening scenes, followed by an interview with the group in Italian and German. The audio and video is in synch after this, and includes rare footage from this period of Edgar Froese playing guitar on Diamond Duster, an uptempo piece that evolved into Diamond Diary for the Thief soundtrack. I’m not always keen on Edgar’s meandering live solos but this is still good to see. Also of note for synth-heads is how much of the group’s equipment was still the analogue modular gear they were using in the 1970s.

Platz der Republik, West Berlin, 29th August, 1981.

A big concert in the group’s home city. The opening shows them playing Kiew Mission, the first time they did so in concert with a live singer providing the vocals. The audio for this piece, however, is an overdub from the Exit album.

Lycabettus Theatre, Athens, 30th August, 1983.

A shame this isn’t better quality because it’s the best of the lot: 85 minutes of the group performing (with no overdubs) preceded by 10 minutes of an interview in English for Greek TV. The concert itself features a more elaborate light show than usual, while the first half of the show includes new compositions that later turned up on the live Poland album.

Warsaw Ice Stadium, 10th December, 1983.

And speaking of which (and linked here before), half an hour of the two-hour Warsaw concert. The earlier YouTube copy featured additional footage of a dancer in a studio but this version is sans dancer.

Previously on { feuilleton }
• Pilots Of Purple Twilight
• Synapse: The Electronic Music Magazine, 1976–1979
• German gear
• Edgar Froese, 1944–2015
• Synthesizing
• Tangerine Dream in Poland
• Electronic Music Review
• Tonto’s expanding frog men
• A Clockwork Orange: The Complete Original Score
• White Noise: Electric Storms, Radiophonics and the Delian Mode

Weekend links 531

Cover art by Ian Miller, 1979.

• Ray Bradbury was born 100 years ago today. Emily Temple expresses surprise that Truman Capote encouraged the publication of a Bradbury short story at Mademoiselle in 1946. I’m more surprised that Bradbury was paid $400 for his work; no wonder he was so eager to write for the non-genre magazines. Elsewhere: Ray Bradbury—The Illustrated Man: the BBC’s Omnibus arts strand profiled Bradbury in 1980 with enthusiastic assistance (narrating/reading/performing) from the man himself; Ray Bradbury book and magazine covers at Flickr.

• Anna Smith asks whether Linda Fiorentino was the greatest femme fatale ever in The Last Seduction (1994). A substantial claim, especially for a neo-noir playing so self-consciously with the theme, but it’s a very good film, and one I’d like to see again.

• “Bad as a work of art, and morally bad…” Vladimir Nabokov’s Lolita being reviewed by Kingsley Amis, a writer who preferred the peerless prose and stainless morals of Ian Fleming. Dan Sheehan looks at other contemporary reactions to Nabokov’s novel.

• At Dennis Cooper’s: Mary Ellen Bute Day, and (how could I avoid it?) ClicketyClack presents…Brothers Quay Day.

• More from The Art of the Occult: S. Elizabeth offers a glimpse of the contents of her forthcoming book.

• Make the letter bigger: John Boardley on the development of the illuminated capital.

• In 1987 Anne Billson talked to Nicolas Roeg about his latest film, Castaway.

• Five controversial arthouse features from Japanese filmmaker Sion Sono.

• It’s that group again: Joe Banks on the strange world of Hawkwind.

• C82: Works of Nicholas Rougeux.

• Fahrenheit 451 (1982) by Hawkwind | Something Wicked This Way Comes (1996) by Barry Adamson | The Martian Chronicles (2007) by Dimension X

Weekend links 528

The Rhinoceros (after 1620) by Albrecht Dürer.

• “Today—Tolkien, Lovecraft, Miéville and M John Harrison!” Paul StJohn Mackintosh at Greydogtales explores HP Lovecraft’s lack of interest in fictional worldbuilding. The piece includes one of my book covers (ta!) plus a link to an earlier post I wrote about the cover designs of M. John Harrison’s Viriconium books. Since I’m connected to the thesis I’ll suggest that Lovecraft was resistant to the worldbuilding impulse in part because he was almost always writing horror stories. Having studied the genre at length he was well aware of the need to leave suggestive voids for the reader’s imagination.

• RIP Denise Johnson. All the obituaries mention the big names she worked with, notably New Order and Primal Scream, but being in the pool of Manchester session artists she also appeared on a couple of records by my colleagues at Savoy. Her voice is one of those you first hear on the PJ Proby cover of I’m On Fire, while with friend Rowetta she improvised her way through a Hi-NRG original (and a favourite of Anohni’s), the scurrilous Shoot Yer Load.

• At the BFI: Axel Madsen interviews Fritz Lang in 1967; Serena Scateni on where to begin with Nobuhiko Obayashi; and Roger Luckhurst reviews the spomenik-infested Last and First Men by Jóhann Jóhannsson.

• “Be more aware of the rest of the world!” says Jon Hassell, talking to Alexis Petridis about a life spent making music.

• John Boardley on the Renaissance origins of the printed poster. Worth it for the selection of engraved details alone.

• “What Ever Happened To Chicken Fat?” Jackson Arn on a tendency to over-abundance in Jewish humour.

• Erik Davis has a new writing home at Substack that he calls The Burning Shore. Bookmarked.

• Mix of the week: The Ivy-Strangled Path Vol. XXII by David Colohan.

• Garry Hensey on The Strange World of John Foxx.

• At Dennis Cooper’s: Sergei Parajanov Day.

• Romantic Rhino (1981) by Ananda Shankar | The Lone Rhinoceros (1982) by Adrian Belew | Blastic Rhino (2000) by King Crimson

Le Golem, 1967

There are always more Golems…

Le Golem is a 110-minute film based on Gustav Meyrink’s novel which hasn’t received as much attention as you’d expect considering the dearth of Meyrink adaptations. The production was for French TV so its obscurity may be a result of unavailability as much as anything else, television being a medium notorious for burying its own history. The DVD I was watching is an official release from INA with no subtitles (merci!), but English subs may be found online.

Meyrink’s novel isn’t an obvious choice for film or television adaptation despite the popularity of the Golem theme. His story is an uneven blend of mysticism and melodrama related via many digressions and rambling conversations. The title and the Prague setting suggest Paul Wegener’s Der Golem (1920), with the ghetto monster dominating the proceedings, but Meyrink’s Golem remains in the shadows (if it exists at all), being more of a symbol for the mystical and psychological challenges that beset Athanasius Pernath, the novel’s protagonist. Given all this I’m curious to know who decided to adapt the story when there’s so much about the film that would confuse an audience who hadn’t read the novel. The opening scenes move rapidly from a stylised city of the 1960s to the Prague ghetto of the past while omitting the attempts of Meyrink’s narrator to make sense of his situation. A note on the DVD states that the film was broadcast at 8:30pm on the national channel, ORTF, which makes its peculiarities even more surprising.

The director, Jean Kerchbron, spent much of his career filming adaptations of classic plays and stories for French television, ranging from adventure serials to Molière and Shakespeare. Writer Louis Pauwels was co-editor with Jacques Bergier of the popular Planète magazine, a journal of fantasy, science fiction and scientific speculation, but had little experience in the film world; Le Golem was his first feature for which he supplied the dialogue and adapted the story with Kerchbron. Pauwels and Bergier are names familiar to Anglophone readers of Fortean literature for The Morning of the Magicians (1960), their discursive treatise on “Fantastic Realism” whose success launched Planète and later gave David Bowie some ideas for lyrics. The pair refer to Meyrink in their book as a “neglected genius” prior to running an extract from one of the author’s later novels, The Green Face. Pauwels and Kerchbron manage to condense the work of the neglected genius without doing too much harm to his story, compressing some sections (a request for an explanation in a later scene is wisely rejected as “too complicated”) while omitting the overly mystical episodes that might have posed problems for a limited budget. Pauwels moves what’s left of the mysticism to Pernath’s philosophical voiceovers. Kerchbron’s direction is lively and much more elliptical than is usual for the plodding television medium. Novel and film only depart near the end when various plot threads are hastily tied together.

Continue reading “Le Golem, 1967”

Ennio Morricone, 1995

David Thompson made this 40-minute Ennio Morricone documentary for the BBC in 1995. I taped it at the time but haven’t watched it since so it was good to find again. The highlight is the lengthy interview with the man himself but there are also contributions from Christopher Frayling, Brian de Palma, Bernardo Bertolucci, Gillo Pontecorvo and others.