I\u2019m sorting through some format tweaks, but certainly with the composer podcasts, you\u2019ll be able to hear the audio-only versions via Libsyn \/ iTunes; video versions with supporting background visuals will continue to reside on KQEK.com\u2019s YouTube channel; and visual extracts from the latter podcasts will be showcased on Vimeo, with making-of details on the graphics at Big Head Amusements.<\/p>\n
Now then.<\/p>\n
![\"RitaSueAndBobToo_LP\"](\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2015\/01\/RitaSueAndBobToo_LP.jpg\")
<\/a>This artwork might be slightly redolent of the mid-eighties. Slightly.<\/p><\/div>\n
Just posted are reviews of two Twilight Time releases from early 2014 \u2013 the 1997 British version of Nck Hornby\u2019s novel Fever Pitch<\/a><\/strong> with Colin Firth sporting the waviest hair of his career, and Alan Clarke\u2019s film version of Andrea Dunbar\u2019s Rita, Sue and Bob Too<\/a><\/strong> (1987).<\/p>\n I have to say, Julie Kirgo\u2019s intro to the work of Clarke was identical to mine. Decades ago, I\u2019d seen a trailer on TVO for Made in Britain<\/strong> (1982), in which Tim Roth plays a ferocious, grinning punk, and it scared the crap out of me, leaving an impression that Clarke was all about gritty, grubby kitchen sink dramas.<\/p>\n Like Kirgo, Rita<\/strong> is my first taste of Clarke\u2019s work, and although shot in very working class environments, I was surprised by the slickness of his camerawork, the artfulness of the cinematography and overall look of the film, and strong performances that really, really<\/em> benefit from long yet fluid takes.<\/p>\n I love the film, but there\u2019s a sequence in the movie which I watched in a state of mid-level shock, realizing the song everyone in a dance hall was merrily singing and swaying to was real<\/em>, and not the result of watching the film in some \u00a0post-sugar binge haze. When the Brits want to sneak a little barb at audiences, it can be very, very <\/em>sharp.<\/p>\n