Friday, 25 November 2011
I remember the first time I truly realised the importance of Take It Easy (Love Nothing) by Bright Eyes in my life. It wasn't the first time I listened to it, or even the fiftieth time. It was the first time I read it.
The song is taken from Digital Ash in a Digital Urn, an album I had been listening to long before I came to appreciate the song itself. Conor Oberst had written and sang me through my first relationships, breakups, and the general raging angst that comes with teenage years and adult youth, largely because he was a teenager himself writing incredible stories from a perspective that felt intimately close to my own.
As Oberst matured himself, so did I, and so did his music. Digital Ash was his 5th album and he was now a young adult at 22 years of age at the time of writing. Upon my first tentative listen to his new material I found myself outraged at what I perceived to be a lack of the relentless emotion that was the trademark of his work, but as I would soon discover it was still there, and there was more; I just had to look (and listen) deeper.
While originally I found nothing remarkable about Take It Easy compared to several other outstanding tracks on the album, late one sleepless night I stumbled across lyrics to the song as I flicked through the album cover art out of sheer boredom. Without listening, I read the words and felt an immediate impact which has stayed with me ever since.
First with your hands, then with your mouth
A downpour of sweat, damp cotton clouds
I was a fool, you were my friend
We made it happen
The song itself concerns a relationship between two close friends and the consequences that come following its abrupt conclusion. Beginning with a description of the two friends awkward first sexual encounter, Oberst describes himself as a fool for becoming involved in the situation, yet it is seemingly unstoppable as the two feel as though it must happen sometime or another.
You took off your clothes, left on the light
Stood there so brave, you used to be shy
Each feature improved, each movement refined
And eyes like a showroom
As soon as I read those words I was brought back to an early teenage relationship of mine involving a close friend who I had never intended to become anything more. Oberst's wording made it possible to psychically and mentally feel the same feelings as I had back then, knowing a mistake was being made but at the same time unable to stop.
Now they're spreading out the blankets on the beach
Oh the weatherman’s a liar, he said it'd be raining
But it's clear and blue as far as I can see
As the Oberst's relationship and my own began, a invincible feeling took over which convinced me that despite friends warnings ('the weatherman'), everything was going to be perfect. However this was to change drastically and very soon.
Left by the lamp, right next to the bed
On a cartoon cat pad she scratched with a pen
‘’Everything is as it's always been
This never happened’’
The sudden and sharp rejection that Oberst and myself felt was only worsened by a bitterly dismissive and cold hearted attitude from our respective partners.
‘’Don't take it too bad, its nothing you did
Just once something dies, you can't make it live
You're a beautiful boy, you're a sweet little kid
But I am a woman’’
While it's easy now to look back and laugh at the sheer devastation I felt due to my first tiny heartbreak, at the time nothing had ever seemed so important or real. In my mind I was crushed and beyond repair.
So I lay back down, wrapped myself up in the sheet
And I must have looked like a ghost cos something frightened me
And since then I've been so good at vanishing
This sudden heartbreak combined with an adolescent craving for drama and tragedy led to me swearing to myself I could never make the same mistake again, and would never allow myself to feel the same way, just as Oberst writes himself.
Now I do as I please, I lie through my teeth
Someone might get hurt, but it won't be me
She'll probably feel cheap, but I’ll just feel free
And a little bit empty
No it isn't so hard to get close to me
There'll be no arguments, we will always agree
And I’ll try and be kind when I ask you to leave
We'll both take it easy
If you stay too long inside my memory
I will trap you in a song tied to a melody
And I’ll keep you there so that you can't bother me
I held this stance for some time, feeling that Oberst had defined my exact situation and justified my bitter attitude. Admittedly, this juvenile relationship makes for cringe worthy writing, and while I have grown up since and look back mockingly at my former teenage self, I won't forget what these words meant to me then, and still do due to their lyrical storytelling brilliance regardless of my situation.
Ultimately, 'Take It Easy' represented a particular time in my life, and upon hearing it anytime presently it fills me with a bittersweet nostalgia of a certain time when everything felt so complicated but was actually far simpler than I thought. It reminds me of a particular summer, a particular person and a particular side to myself. It is a song which will remain important to me throughout my life and has proven to remain significant to me following my growing maturity and differing attitudes towards life and love.
Drive combines several unique stylistic elements and excellent character performances in a rare arthouse thriller which stands among the very best films of 2011.
Directed by Nicolas Winding Refn (Bronson, Pusher Trilogy) and based the book of the same name by James Sallis, the story follows an anonymous central character played by Ryan Gosling, known only as ‘The Driver’. Working as a Hollywood stuntman by day and getaway driver by night, Gosling begins a close friendship with his sweet neighbour Irene (Carey Mulligan) and her young son Benicio, while her husband is away in prison. However their blossoming relationship is brought under threat by a job gone wrong involving small time mobsters Bernie Rose (Albert Brooks) and Nino (Ron Pearlman).
Gosling plays the unnamed protagonist to perfection in a reserved performance which slowly reveals the true nature and identity of his character over the duration of the film, exposing a composed, sensitive yet highly explosive figure capable of extreme action when forced by circumstance.
Mulligan is also exceptional as the gentle Irene, conflicted by her devotion to her marriage and her growing feelings toward her protective new love interest, while Bryan Cranston puts in a strong performance as the Drivers manager, mentor and friend.
However the real highlight of Drive is the wonderfully stylish direction by Refn, creating a 1980’s like vintage setting which is perfectly complimented by the atmospheric, synth driven soundtrack, composed by Cliff Martinez.
The late night L.A street shots combined with spontaneous, extreme scenes of violence throughout the film suggest a likeness to a hyper-stylised version of Taxi Driver, a bold comparison perhaps yet a justified one; Gosling seems obsessively consumed within his character, much like Robert De Niro’s disturbingly portrayal of Travis Bickle in the 1976 classic.
Ultimately, the blend of fine character acting, Refn’s slick direction and Martinez’ outstanding soundtrack makes Drive a unique work of art and an instant cult classic. A must see film for this year.
Following the outrageous reaction to 2010’s controversial Dutch horror film ‘’The Human Centipede (First Sequence)’’, it has been announced that a sequel planned for release later this year will not be shown in UK cinemas, due to a ban placed on the film by the British Board of Film Classification.
The BBFC have refused classification for ‘’The Human Centipede II (Full Sequence)’’ after determining it to be ‘’sexually violent and potentially obscene’’. This now means that the film will not be available for distribution and supplying the DVD will be illegal In the United Kingdom. The remarkable decision is bound to have terrible consequences regarding the films finance and profit at the box office.
Director Tom Six reacted furiously to the news, releasing a statement in which he fumed: ‘’My dear people it is a f***ing MOVIE. It is all fictional. Not real. It is all make-belief. It is art. Give people their own choice to watch it or not. ‘’
The original film of the series was heavily criticised for its extreme nature, with noted film critic Roger Ebert going as far as to declare it ‘’a film deliberately intended to inspire incredulity, nausea and hopefully outrage.’’
The story follows two female American tourists as they stumble upon the home of maniac scientist Dr. Laiter who then subjects the girls and another Japanese tourist to a horrifying and bizarre surgical experiment in order to create ''the human centipede''.
When we asked regular film goers what they made of the BBFC's decision, Journalism student and avid Horror film fan Padraig Mongey had this to say: ''While I believe the reaction to the film is justified as it is quite disgusting, I believe you cannot shield people from the film as it is impeding on human rights. People should be allowed to choose to view the film or not.''
Whatever the outcome for ''The Human Centipede II'', it seems probable that this rare decision may result in further censoring by the BBFC and could have a significant effect upon the film world in future.
''The Human Centipede II (Full Sequence)'' is due for release in the US on 7 October, 2011.