From Peter Cook & Dudley Moore’s Behind the Fridge a sketch review from the 1970s . The title came from someone misunderstanding Beyond the Fringe, the revue that originally propelled these two, Jonathan Miller and Alan Bennett to stardom in the 1960s. I’ve always thought this little sketch encompassed all the menace of noir while remaining darkly hilarious.
Can’t let go of Babylon Berlin: the two-disc soundtrack is the bomb. The score is very drum and percussion heavy which you know suits me down to the ground. The songs by Bryan Ferry and the fabulous Severija, including this Russian version of Rezső Seress’ Szomorú vasárnap (Gloomy Sunday) with its alleged history (internet loves its myths) make for great decadent musings in this afternoons of this too-hot summer.
Yes, I’m aware of the irony of making ‘Gloomy Sunday’ a Song for a Saturday.
I’ve got the novel now, too. On the summer pile. Maybe I’ll take it to Edge-Lit. Always good to have something to read on the train.
Percy Faith with an old family favourite. We watched a lot of westerns and war pictures back in the day. On the TV too.
I had heard of Tutti Frutti for years but figured it was lost to the VHS oblivion, but I happened upon a DVD set in an Oxfam shop that was in pristine condition — down to including John Byrne‘s postcards for the characters. Byrne — playwright, artist, father of Tilda Swinton’s twins — brings a freshness to the well-worn idea, a band on the road by giving it a few twists. Robbie Coltrane plays the original lead singer of a band with some 60s fame and his brother who takes over the role after his death. Emma Thompson plays the love interest with a credible Scottish accent. Richard Wilson plays the dodgy manager (a hoot of course).
It starts out going for the wacky humour but after a while the story gets rather dark between the sadness of the clubs they play on their ‘Jubilee Tour’, vicious and violent exes and the squeamishly awful attempts by their ‘sexy’ guitarist Vincent Diver (Maurice Roëves) to hang on to his youth. There’s an absurdist sensibility that never gets lost though between Coltrane’s running commentary on the increasing disasters (the recording session is hilariously painful) and the final concert triumph that flames out spectacularly.
And Thompson looks unbelievably fabulous as a Teddy Boy.
See the roundup of overlooked A/V over at Todd’s, who will be stunned I actually did one of these.