Derek Jarman

[David Ehrenstein]

Tilda just won the Oscar!

Somewhere Derek is cheering.

[bollibasher]

Yes congrats to her!

Did anyone see The London Paper's ridiculous two-page spread on her love life yesterday? Something like "Tilda's Toyboy", so silly, the press are such jokers. Though they did manage to almost to almost compliment her outift (only criticising her scraped back hair, lolz)

xx

[Paul Sutton]

Anyone who lives in London (or UK i suppose) may be interested to know that there's a big Jarman retrospective coming up in a couple of weeks based around a new biopic film, Derek, and an exhibition of his paintings sculptures, and an installation of Blue at the Serpentine Gallery.

Has anyone been to see it? I'm trying to persuade one of Derek's old colleagues, Paul Dufficey to travel into the capital to go to it, but like most artists he lives in the present and not in the past.

[bollibasher]

Has anyone been to see it? I'm trying to persuade one of Derek's old colleagues, Paul Dufficey to travel into the capital to go to it, but like most artists he lives in the present and not in the past.

I went to see the exhibition the other day. Quite a strange one in terms of layout and content...

The entrance section contains a small selection of late paintings and sculptures (mostly very dark visually and thematically, the tar works). Behind that there were three adjoining screening rooms, with the far-left exhibiting Derek, Isaac Julien's new documentary, the far-right showing Blue, and the middle showing lots of his Super 8 films on a large number of LCD screens of varying sizes.

The room with the Super 8s was fine, you can lay on beanbag scattered floor and watch the (silent) films with sound from Derek and Blue, but my only problem with the exhibition as a whole was the experience of seeing Blue with the documentary playing two rooms away. Basically you could hear the documentary while watching it, and considering it is mostly a sonically based experience this seemed pretty shoddy to me... (so much so that I left the room 30 mins into the film, the intermittent racket from the doc was too distracting). Julien designed the exhibition as an immersive experience but I'm not sure I appreciate the concept! It does work quite well for the Super 8 room though.

All in all a very interesting exhibition, but certainly not to be considered as an introduction to Jarman or representative of his artwork (i.e. painting/sculpture) as a whole. On the other hand I'm sure the documentary is probably going to be a major reference point and easily reason enough to see the show, but I didn't have time to sit and watch it during my visit (it's over 2 hours long).

The accompanying programme of films at the Picturehouse Cinemas is a truly welcome feature though as well. Definitely time some of Jarman's films were screened again. I went to see War Requiem on Sunday, which was great (despite the projectionist c*cking up loads of the transitions between reels leaving us with half a picture for minutes at a time!)

Chris xx

[Paul Sutton]

Has anyone been to see it? I'm trying to persuade one of Derek's old colleagues, Paul Dufficey to travel into the capital to go to it, but like most artists he lives in the present and not in the past.

I went to see the exhibition the other day. Quite a strange one in terms of layout and content...

Thanks for this. Noise from other exhibits has become a major problem in galleries and exhibitions. The media-tech at Bradford's otherwise excellent film museum has been rendered a pain because one is now obliged to listen to the soundtracks of films playing in neighbouring booths. They're obviously designed by people who couldn't give a toss about the films. The BFI at the Southbank thankfully do have headphones in their screening rooms. The extraneous noise problem is widespread in UK museums. I had to cut short a visit to the main museum in Leicester for the same reason you highlighted in the Jarman.

[foggy eyes]

Yes, the overlapping sound at the Jarman exhibition is a pain when trying to immerse oneself in Julien's documentary or Blue, but I do have to say that the jumbled non-diegetic sound unexpectedly began to work as an accompaniment to the Super-8 films in the central room. As there are nine screens vying for attention anyway, the images, movement and sound began to resonate across each other to create a moving impression of Jarman's art and character (I don't believe that this was intentional, but it was effective nevertheless). Totally agree about the recurring problem of extraneous noise though - a good case in point is the current Rodchenko exhibition at the Hayward, which is very well organised and involving but marred by the looping audio of a BBC documentary played at full blast.

[bollibasher]

The extraneous noise problem is widespread in UK museums. I had to cut short a visit to the main museum in Leicester for the same reason you highlighted in the Jarman.

Which one, the New Walk museum? I used to live there... and one of my friends does a museum studies MA there so I'm sure he'd be interested to know! xx

[Paul Sutton]

The extraneous noise problem is widespread in UK museums. I had to cut short a visit to the main museum in Leicester for the same reason you highlighted in the Jarman.

Which one, the New Walk museum? I used to live there... and one of my friends does a museum studies MA there so I'm sure he'd be interested to know! xx

It's the one about Leicestershire life, which has the clothes of Daniel Lambert, and which tells the history of Leicester - all poster boards and plasterboard. Whilst trying to learn about Leicester during the hosiery years and the war years you are obliged to listen to Asian pop music playing loudly throughout the whole building.

[sevenarts]

Just watched Wittgenstein. Kinda like a particularly philosophical and surreal episode of Sesame Street at times. Jarman could barely see at this point and was working on a tight budget anyway, so everything is very stripped down. Super-minimal sets, costumes designed around bright primary colors and visually clashing with each other every time two characters are onscreen together, no attempt at context or historical realism whatsoever. Oddly enough, the strangeness and minimalism of the film puts the focus more intensely on Wittgenstein himself, and the way Jarman brings out his essentially abstract internal conflicts is fascinating.

[Tommaso]

Great assessment, sevenarts. I'm not sure whether the special character of the film is solely explainable by Jarman's increasing blindness, but if so, he surely used the handicap to the advantage of the film. The minimalism helps to take "Wittgenstein" as far away as possible from your usual bio-pic (traces of which are still visible in "Caravaggio" despite its experimentalism), and it indeed helps to put the discussion of Wittgenstein's conflicts into the centre (not just his personal problems, but most of all his philosophical ones). In this respect, the film is more a meditation than a conventional feature film, and as I believe Jarman was always better when working with non-narrative forms, I find it much more successful and engaging than the immediately preceding "Edward II".

[Gregory]

I saw Blue last night as part of a Jarman program at the Northwest Film Center in Portland, Oregon. I was expecting it to be film, but they projected a DVD -- the first time in countless screenings that I've ever seen them do this. This would have bothered me a lot with any other film, but with Blue I couldn't really see any reason it would really matter -- at least not until looking over this thread and seeing Tommaso's observation that something about the blue is more "oceanic" on the celluloid compared with the disc. Thankfully, it's a lot better than the Italian DVD from Dolmen Home Video, which is navy blue!

As for the film, it was actually a bit different from what I expected, largely because I had read little about it beforehand, which is my custom. Visually, it was exactly what I expected, to state the obvious! I had prepared myself for an extremely spare, minimal work, but what I found instead was a surprisingly voluble, busy film. It's filled to the brim with a plethora of voices, moods, writing styles, musical forms, often changing in a pretty jarring way. I expected it to have an open feel with a more deliberate pace; instead I was surprised that virtually the only moments of silence in the whole film are when there had to be a reel change. I don't mean this to criticize the film per se, just to note that it did not have the meditative feel I had anticipated. I think it's a "meditation" on its themes in a mainly figurative sense, as my mind was whirring along the entire time trying to follow everything I was hearing. The audio seemed slightly unclear, so part of the time I was also struggling to make out the words at the same time I was processing everthing.
So I found it something of a difficult film, mainly because it was so different from what I had anticipated, and perhaps partly because of my lack of knowledge about Jarman. (For prior encounters with his work I must confess I've watched only Jubilee back when the Criterion disc came out!) I don't really regret following my practice of seeing films pretty much "cold" rather than having read up on them a lot in advance, though. I'm left with the urge to see Blue at least two or three more times, and this initial viewing will eventually form only part of my experience of it.

[Jean-Luc Garbo]

As far as being and voluble, I find that is what lends to a more meditative appreciation. When I first saw it, I found the more dissonant elements rather troubling, but then Jarman or Terry would speak and it'd calm me much. It is harder to take off the heels of Jubilee - I'd say Edward II would be a better prelude to Blue - but it is Jarman's (and one of cinema's) most radical works so anyone would be lost. Do watch it again because that sound design really works when one is in the right mood.

[Gregory]

It's been five years since I saw Jubilee and it didn't leave me with a big impression, but that was another one that defied my expectations quite a bit. Criterion's description, like others I've read, suggests to the uninitiated that the Queen Elizabeth-in-the-future element of the film is actually the main plot, when it's really no such thing. This in itself would not have been a huge problem for me, except that I found it difficult to discern what the film was trying to do. A fairly routine first viewing of a difficult film. Perhaps I would get more out of it on a second or third viewing, but my impression of the film was not good, and unless I become a Jarman devotee I may never get around to this.
Blue, on the other hand, made me very much want to see it again. If anyone has recommendations for the best books or articles related to Blue, I will definitely seek out some of them before watching it again. Looks like Roger Hallas, who posted a survey on the previous page of this thread, got his book published last year. William Pencak's book on Jarman has a chapter on Blue, so I may look that up.

As for which Jarman film to watch next, I'm most drawn to War Requiem or Wittgenstein (I used to read Wittgenstein, liked the Ray Monk biography, and would interested to see Jarman's approach to the man and his ideas).

[Tommaso]

This in itself would not have been a huge problem for me, except that I found it difficult to discern what the film was trying to do.

I haven't solved this problem for myself, too. For me, "Jubilee" almost plays like a musical, a celebration (wrong term despite the film's title) of a special era or a specific lifestyle. It doesn't have a lot of 'message', it just conveys a certain abrasive view of England in the late 70s, something that Jarman later continued in "The Last of England" in a much more successful way. But I really like the music, the acting of Jack Birkett as the media mogul, and though it's a very violent film, I find it surprisingly funny. But surely not the best way to start with Jarman.

If anyone has recommendations for the best books or articles related to Blue, I will definitely seek out some of them before watching it again.

Not ABOUT "Blue", but containing it as one of its many parts: Derek Jarman's book "Chroma". A meditation on all the different colours, similarly jumbled as the soundtrack of the film, it feels like a natural continuation of the film and its themes. It also allows you to sort out the various layers of spoken word in the film itself.

Incidentally, I finally managed to get Vol.2 of the RaroVideo edition of his Super8 films and watched it last night. Completely blown away by "In The Shadow of the Sun". The film in fact is basically a compilation of various of his Super8 shorts, but he superimposed them (up to 7 layers) and the result is entrancing. Another film which, despite the many alchemical allusions, doesn't have any real 'meaning', but the images themselves are enough to create pure hallucinatory magic. Of the other films on the disc I especially liked "Ashden's walk on Mon", which superimposes imagery filmed on that island with a simple shot of a spiral galaxy, creating an incredible effect of transcendence (sounds silly in the description, I know). Fantastic stuff all around, and the extra interview with James Mackay tells you everything you ever wanted to know about the possibilities and difficulties when working with Super8. Great edition!

[MichaelB]

Plus Dame fucking Thatcher.

While Jarman certainly loathed Thatcher, and for good reason, I doubt he was that bothered about her in 1978 - before she was even elected Prime Minister, let alone most of the things she became notorious for.

(I'm guessing Jarman wasn't especially affected by the early 1970s milk-snatching row)

[Tommaso]

I've just watched the new Second Sight disc of "War Requiem". To get basics out of the way first: this is a fantastic disc all around. The new HD transfer looks astonishingly detailed, colours are spot on, and apart from one or two brief instances there is practically no damage. The slight softness in some scenes (especially in the long 'hell' sequence near the end) is entirely due to the lighting difficulties and long exposure time, as producer Dan Boyd explains in the audio commentary (same goes of course for the 'found' footage and Super 8 recordings spliced in at various times). Extras include a fantastic 36-minute piece of interviews with Boyd, Swinton and other people involved, which is very informative and sheds a lot of light on the production and the background of the film, and a nice 15-minute piece made on the occasion of a performance of Britten's piece in Liverpool, with the conductor explaining the structure and meaning of the composition, which is very helpful to understanding the film itself. Add to this the audiocommentary (often scene-specific, but never annoyingly so) and you have a truly comprehensive package. The only thing missing are optional subs for the sung texts, which in my view would have greatly helped understanding the links between music and images. Nevertheless: this is one of the best Jarman discs ever, and actually I found myself wondering why the BFI logo wasn't on it.... Bravo, Second Sight!

As to the film itself: here is where my difficulties start. I've been longing to see this for almost 20 years, and now that I finally managed, I'm very slightly disappointed. I guess this feeling comes less from Jarman's images but from the Britten piece. I've always had mixed feelings about the composer's works, and the "War Requiem" in particular. It's an honest, very humanistic work of course, but it also has a certain over-pious character in my view, not abrasive enough to really reflect the horrors of war, and it's dragging enormously especially in the first half. And I can't help finding that this is somewhat reflected in Jarman's film. The idea of more or less following the 'narrative' of Owen's poems leads to a surprisingly 'straight' (not in the sexual sense, of course) film by Jarman's standards. There is far less of the usual provocation and over-the-top character here than in, say, "The Last of England" or "The Garden". Especially the sequences in the trenches in the first half appeared somewhat overlong to me, though the film - like the music - picks up momentum later on. The Abraham & Isaac sequence is genuinely disturbing, as is the breathtaking "Sanctus" scene with Swinton, who gives one of her most impressive performances ever here (and not just in this incredibly beautiful moment). Also it's of course wonderful to see Laurence Olivier in his very last screen appearance as an aged soldier.
So, all in all, this is clearly a film very worth seeing, not just for Jarman fans, but I simply don't think - as Boyd does - that this is Jarman's greatest achievement. I wonder how the same images would have worked with a Simon Fisher Turner or Coil soundtrack.

[Jean-Luc Garbo]

I've just watched the new Second Sight disc of "War Requiem". To get basics out of the way first: this is a fantastic disc all around. The new HD transfer looks astonishingly detailed, colours are spot on, and apart from one or two brief instances there is practically no damage. The slight softness in some scenes (especially in the long 'hell' sequence near the end) is entirely due to the lighting difficulties and long exposure time, as producer Dan Boyd explains in the audio commentary (same goes of course for the 'found' footage and Super 8 recordings spliced in at various times). Extras include a fantastic 36-minute piece of interviews with Boyd, Swinton and other people involved, which is very informative and sheds a lot of light on the production and the background of the film, and a nice 15-minute piece made on the occasion of a performance of Britten's piece in Liverpool, with the conductor explaining the structure and meaning of the composition, which is very helpful to understanding the film itself. Add to this the audiocommentary (often scene-specific, but never annoyingly so) and you have a truly comprehensive package. The only thing missing are optional subs for the sung texts, which in my view would have greatly helped understanding the links between music and images. Nevertheless: this is one of the best Jarman discs ever, and actually I found myself wondering why the BFI logo wasn't on it.... Bravo, Second Sight!

I feel like an idiot for getting the Image DVD back in September. This is why I was hoping DVD Beaver would post a review.

[Tommaso]

Well, I'm pretty sure that the US disc (Kino, not Image) comes from the same HD source as the Second Sight. Review at digitally obsessed. But its lack of extras is a shame.

[Antoine Doinel]

If you're near UCLA in April, Throbbing Gristle will be doing a live soundtrack performance to In The Shadow Of The Sun.

[j99]

The only thing missing are optional subs for the sung texts, which in my view would have greatly helped understanding the links between music and images.
I wonder how the same images would have worked with a Simon Fisher Turner or Coil soundtrack.

It's a great pity subs weren't included, and my only complaint on what is otherwise a really fine disc.

It would be interesting to hear an alternate soundtrack, but the images are so closely linked to the Britten text, I just can't imagine anyone attempting it.

Anyone seen the recent Derek documentary? It's one I'd like to see, but is just too expensive at the moment.

[Jean-Luc Garbo]

Anyone seen the recent Derek documentary? It's one I'd like to see, but is just too expensive at the moment.

It's good but basic. The film clips are a plus, though. Try the Tony Peake biography for more information, however.

[didi-5]

I think Jubilee is still a strong film - not much message, but it is effectively bleak with those plastic petunias, and the Dee and Ariel characters along with Brian Eno's music add a strange beauty to the piece.

Caravaggio and Sebastiane are excellent too, and The Tempest has a weird kind of poetry about it, even with Elisabeth Welch singing Stormy Weather to a load of sailors.

But Blue is special as it was Jarman's last personal statement. Beautiful and moving.

[j99]

Anyone seen the recent Derek documentary? It's one I'd like to see, but is just too expensive at the moment.

It's good but basic. The film clips are a plus, though. Try the Tony Peake biography for more information, however.

I saw it yesterday. A bit thin really, although the Jarman interview was really good. I didn't like the Tilda Swinton pieces nor her voiceover. I preferred the Arena documentary from the late 80s to this.

I will try that biography. The Jarman books I have are his self penned ones, be interesting to read about him from another perspective.

[Tommaso]

The Peake biography is by far the most exhaustive book about Jarman. It's also somewhat exhausting, though. Peake apparently sees himself in the good old British tradition of biographers who try to put every tiny detail they come across into the book they're writing, but sadly he's no Richard Ellmann or R.F. Foster, who were able to make their respective bios on Joyce and Yeats extremely exciting reading despite the length of their tomes. I find the Peake somewhat dragging. It's just a matter of writing style, I suppose. Nevertheless, Peake is pretty indispensable.

[j99]

I used to enjoy the books which accompanied the films, well Caravaggio and The Last Of England (not sure if there was one for The Garden), and Dancing Ledge was pretty much indispensable. I think I read it before I had actually seen one of his films; where I lived it was virtually impossible to see anything which was left of Chariots Of Fire. He hated that film didn't he? He even has a go at it again in the documentary. Rightly so.