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- #MURDER IN THE ALPS CHAPTER 3 CELLAR PUZZLE MOVIE#
- #MURDER IN THE ALPS CHAPTER 3 CELLAR PUZZLE PLUS#
The programme follows Sid's life chronologically from living in South Africa, serving in the Army, coming over here on Christmas Day 1946 with his wife of the time (Meg) and his daughter (Reiner). Using some great never before seen photographs, and rare cine footage from his Army days, as well as clips of films that show his acting skill in a different light, as a real revelation.
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Voiced by Arthur Smith, the programme talks to friends, family, colleagues and even Sid's bookies to show the man behind the Yak Yak Yak. This rather better that normal documentary strips the veil away from the public and private Sid James.
#MURDER IN THE ALPS CHAPTER 3 CELLAR PUZZLE MOVIE#
It would have been obscurely baffling and disappointing if a movie like this had not used aggressively random splicing. This was 1984, the high-water mark of MTV other directions were not considered.
#MURDER IN THE ALPS CHAPTER 3 CELLAR PUZZLE PLUS#
It elevates quick-cutting montage using heterogenous sources to the non plus ultra of confrontational video art. Television) is very much a document of its moment, as filtered through the cheerfully experimental sensibility of David Byrne (although Geoff Dunlop was the director). I refer to Once in a Lifetime, a 69-minute piece of experimental television that surely startled the great piebald tapestry of viewers tuning in to Britain’s Channel 4 that night.įrom the perspective of today, Once in a Lifetime (some sources call it Talking Heads vs. In 1984, the same year that Stop Making Sense was released, another meticulously crafted Talking Heads concert movie made its debut as well. Talking Head music set to contemporary video. The film also serves as a useful introduction to the shortlived 'punk poetry' scene that rose up around Clarke at the turn of the 80s, with cameos from Attila the Stockbroker and Seething Wells (aka the late music journalist Steven Wells), plus dub poet master Linton Kwesi Johnson. But we do learn about the competing influences of his leftwing parents and Catholic education, and that his machine-gun live delivery was (apparently) inspired equally by Futurist poetry and horseracing commentator Peter O'Sullevan. This is no conventional biography the title comes from Clarke's surreal chronicle of his alter-ego Lenny Siberia, which he performs near the end (with a neat dramatisation of Lenny's school-aged encounters with The Knights of the Sacred Orchid). The film climaxes with a grim tour through Manchester slums to accompany Clarke's magnum opus, Beasley Street, a despairing hymn to the urban devastation and human casualties of the Thatcher era. Nick May's film wisely sets aside narration to give space to Clarke's sharp, take-no-prisoners words: in live performance, interviews and simple but striking impromptu 'videos' for tracks from his LPs with producer Martin Hannett. The near-legendary bard of Salford, aka John Cooper Clarke, aka the 'name behind the hairstyle', is the focus of this essential documentary.