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Feb. 25th, 2015
Old British B-Movie Round-Up
Feb. 25th, 2015 10:48 pmBecause my grandmother has a taste for them.
Death Goes To School
Which is a 1953 krimi with a young Gordon Jackson. Not bad, a bit creaky in parts, but it tells it's story well and there's some nice touches with the two detectives.
Night Of The Prowler
Which is from 1962. And it's not as good as Death Goes To School (particularly the plot, oh the plot, it makes very little sense) but the interesting this is how much more "naturalistic" the acting is, especially as there's only 9 years between the two films.
Death Goes To School
Which is a 1953 krimi with a young Gordon Jackson. Not bad, a bit creaky in parts, but it tells it's story well and there's some nice touches with the two detectives.
Night Of The Prowler
Which is from 1962. And it's not as good as Death Goes To School (particularly the plot, oh the plot, it makes very little sense) but the interesting this is how much more "naturalistic" the acting is, especially as there's only 9 years between the two films.
(Written before the Merseyside, there is further fencing talk to come)
I am disturbed by my ranking, not because it's bad, but because it's worryingly good. Given that I've only done one competition this season, and that one was a low points scoring one, I should be a lot lower down the rankings than I am. Which makes me worry that the "big" opens aren't any more and then I worry about the general decline in participation in women's foil, something I've noticed happening. Either that or it's becoming v. Southern based again, which could be bad for spreading foil across the land.
I am disturbed by my ranking, not because it's bad, but because it's worryingly good. Given that I've only done one competition this season, and that one was a low points scoring one, I should be a lot lower down the rankings than I am. Which makes me worry that the "big" opens aren't any more and then I worry about the general decline in participation in women's foil, something I've noticed happening. Either that or it's becoming v. Southern based again, which could be bad for spreading foil across the land.
I managed to catch an old Dalziel and Pascoe while I was at home, and I remembered how annoyed I was at how they'd done the later ones, in between writing out Wieldy*, Ivor (who is a woman, despite the nickname) and Hat, screwing up Peter Pascoe in trying to turn him into a cynical lone wolf which he isn't**, and making Dalziel all-knowing and infallible, which he really isn't, and that's sort of the point of the books.
It's most vexing when they take a series of books that most deliberately and determinedly plays with the conventions of the detective story, and then they make adaptations of them that then break that and try to force the characters into conventional roles (Wieldy, Ivor and Hat were replaced by identikit characters straight from dour cop show 101, it was annoying).
*Wieldy, incorruptible, kind, efficient Wieldy is everyone in the family's favourite.
** although I do adore how the writer of the original novels tried to stop them from doing that, by making Ellie Pascoe (the wife of Peter Pascoe) intrinsic to the plot of the rest of the novels so they couldn't write her out.
It's most vexing when they take a series of books that most deliberately and determinedly plays with the conventions of the detective story, and then they make adaptations of them that then break that and try to force the characters into conventional roles (Wieldy, Ivor and Hat were replaced by identikit characters straight from dour cop show 101, it was annoying).
*Wieldy, incorruptible, kind, efficient Wieldy is everyone in the family's favourite.
** although I do adore how the writer of the original novels tried to stop them from doing that, by making Ellie Pascoe (the wife of Peter Pascoe) intrinsic to the plot of the rest of the novels so they couldn't write her out.