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Morvern Callar - SPOILERS

 
 
Regrettable Juvenilia
18:45 / 13.11.02
Dear Morvern,

So I've gone and topped myself. Sorry love. Did it in a particularly bloody way, too: cut my throat and at least one wrist for good measure. Blood all over the kitchen and my corpse lying face down in the doorway to the living room, and this right around Christmas as well. Still, on the bright side, my presents to you this year include a nice jacket, a cigarette lighter and a tape full of doomy, druggy space-rock, glitchy but pumping beats and 'Some Velvet Morning' (the original version, not the Primal Scream version, although I bet Primal Scream would like this film). Oh, and that 'I'm Sticking With You' song that will never seem the same again after people have watched you dismember my body in the bathtub whilst wearing little other than some sunglasses that make you look a bit like Peaches.

As a bonus, my bank account is full of money for the funeral, but since you know the pin number, why not use the money to take you and your best mate Lanna (who by the way, I slept with) on holiday to Ibiza? It won't be much of an improvement though - just the same bleak, banal, stupidly British debauchery in a slightly sunnier setting - so I'd also suggest touring the Spanish countryside (Lanna won't like that though so you might have to abandon her on a deserted lane). While you're at it, why not put take the novel I wrote and wanted to be known for posthumously, and submit it to the publishers under your own name? I do seem to have been a bit of a git, really, unfaithful in life and self-important in death, and I did say "I wrote it for you". I'm sure several viewers will have difficulty in thinking there was much wrong with what you did - after all, tghis story is really all about grief, and is it any stranger to cut up your dead lover and bury him secretly than it is to dress him in a suit and put him in a box before you put him in the ground? Plus, you're strange in an oddly likable way, and played by Samantha 'Spooky' Morton - I'm sure people will forgive you...

All my love, anyway.

James Gillespie*

*Do you see, I even share a surname with Bobby Gillespie! This is the the most Scottish movie ever!
 
 
Regrettable Juvenilia
09:44 / 15.11.02
So... I take it no-one else has seen this?
 
 
Sax
14:24 / 15.11.02
Don't need to now, do we?

Only kidding. No, not yet. Read the book when it first came out 10 years ago or whatever and thoroughly enjoyed it, as I did his follow-up which I can't remember the name of. But will probably check it out. Interesting to see how it stands up post-rave generation, though; the book was very "of its time".
 
 
The Natural Way
14:41 / 15.11.02
Pranny's seen it, but he hardly posts at the mo'. Oh, and my pal Gentle Len ("I, ant") just got me real excited 'bout it over the ringer.

But...how ever did you deal with all that beardy Aphex music, Fly?
 
 
Regrettable Juvenilia
08:08 / 16.11.02
It actually made me like Aphex - 'Nannou' is great, really reminiscent of the stuff Bjork & Mathmos did on 'Vespertine'. The soundtrack is really well realised, actually - all that Can, Broadcast, Boards of Canada stuff. I've never really objected to Aphex et al in terms of music anyway - it's just the attitudes of some of the fans (and occasionally artists).

You should go see the film, anyway.
 
 
The Natural Way
07:12 / 22.11.02
Yeah, I definitely will. And then I might have something more interesting to say.
 
 
Lilith Myth
14:53 / 25.11.02
Saw this last night. I think it's really about the nature of contemporary relationships: Morven's approach is a carpe diem, live for yourself type thing.

I think it's a therapy-generation gotta-do-what's-right-for-me message. Very modern, as they say. I suspect the reason I felt uncomfortable during the film is that I don't really buy the premise. I think there are moral absolutes when it comes to relationships and how to treat people. Morven's approach is entirely hedonistic, and ultimately - to me, anyhow - lonely and unsatisfying.

I'm not sure if the movie gives any answers, but if it does, they're not ones I like.
 
 
_pin
09:32 / 05.03.03
So the sound. It's integral to the film, and for God's sake, it's site is warprecords.com/morverncallar. The beauty of it is the way that it's handled, sometimes bassless and hissy like the Walkman it's supposed to be playing on, sometimes in place of any other sound, sometimes completely inappropriate, almost always with the spectre of BEARD looming miserable in the background. And, as this isn't an objective website and this isn't an objective review, I feel perfectly justified in saying that one of the film's greatest strengths is one that can never be replicated again, because it was simply that I'd heard almost every piece used, or other things by the same people, but couldn't place them (except I'm Sticking With You... ), giving the whole film a disjointed, half-recalled whimsicalness* about it.

And the yummy camerawork... Full of cheat cuts and those out of sequence montages that don't even pretend to be anything other then STYLE (you know, those random cuts so beloved of arty films and, er... BBC1) that break down the images and destroying the silence (and there's this thing with the silence in this film that it's never really silence, but a highly conspicuous drawing of the attention to incidental detail) and beauty of the movement, making it more about the form...

I'd also like to call in what Todd said on his blog, that every shot looked perfectly composed, and that the colour was simply amazing. It was, essentially, a ninety mintue painting, presented in such a way that you end up attempting to take in as much of the detail as possible, incase you miss something in the corner of the screen (without wishing to put words in his mouth, the bit about detail, which I feel accounts for how the film feels liek it takes longer then it does (as with Heaven), all that was my own thoughts).

Esswentially, I just feel a discussion of the mental state of the character and the mesasges of the film is redundant in the face of the fact that this is such a beautifully, finely crafted film.

_____
*A really mean whimsicalness that'll bite my face off if I call it that, but whimsicalness all the same...
 
 
Brigade du jour
22:40 / 10.03.03
Yay! Slightly obscure movie and I've actually seen it! Woo-hoo!

I sat right in the front row and ate mixed popcorn quietly, and it was funny when the endless adverts and trailers finished and the BBFC card came up - I heard some posh guy sat behind us saying "about bloody time!"

Uh-oh, I thought, maybe he's a movie snob who'll complain if I laugh out loud or cry or anything. In the end I did neither of these things, just sat and enjoyed this episodic little number. Loved the contrast between dreary drizzly Scotland and super sunny Spain, bearing in mind that they both seemed a bit vacuous and dull per se, It was the characters that kept the attention after all, even if the locations grabbed it.

Brilliant use of music but I won't go on about that because I can't remember examples. Um ...

I'll leave it there for now, because I'm Barbelithing in bits tonight, on and off, off and on. Cheerio dudes, it's a really good movie.
 
 
Suedey! SHOT FOR MEAT!
20:19 / 07.03.04
This is on telly right now, chums.
 
 
The Natural Way
13:26 / 23.11.04
Oh, BTW, forgot to add last month: seen it. Fanfuckingtastic. Between Winterbottom (yes, I know the Coldplay moment at the end of Code 46 was terrible - not only because it was Coldplay, but because of the sheer, godawful, sledgehammeriness of it - and, yeah, that the film dragged in places, but all in all: preeeeeeetty) Powalaski and Ramsey, british cinema is fixing up to be a real cool place at the mo'.
 
 
Benny the Ball
13:40 / 23.11.04
Thought it was terrible.
 
 
Regrettable Juvenilia
19:53 / 23.11.04
Care to do us the courtesy of saying why?
 
  
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