Posts Tagged ‘Amarcord’

Blackpaint 257

March 6, 2011

Tristram Hunt

What is it about politicians with this surname?  first, the Tory Jeremy hands the media over to Murdoch and now, the Labour( !?) MP Tristram wants London museums and galleries to start charging for entrance, not just for “special” exhibitions.  The Murdoch victory was, of course, to be expected, but what is Tristram up to?  I remember when Blair got first got in and abolished museum charges, thinking to myself, well, whatever else they do, at least there’s this – as New Labour developed in government, this became more and more important to cling to.

Comes the coalition, free entry remains (so far); and now, Labour is signalling its end, through Hunt – surely, he ran it past Ed first.  Why? Presumably, because only well-heeled middle classes go to museums and art galleries, and enjoy that poncy rubbish.  And/or it’s the London thing; why should well-heeled Londoners enjoy this “privilege” when hard-up folk in Stoke et al have to fork out? And anyway, they charge in US and Italy, so it must be right to charge here.

Art, culture, history – necessities, not luxuries.  Free entry to museums and art galleries, the people’s palaces, paid for by the taxpayer –  a right NOT a privilege.  Abolish charges everywhere rather than hitting Londoners, some of whom are not bankers or millionaire pensioners.  So the Americans and Italians charge for entry? they also make you pay for medical treatment.

Fellini’s Amarcord

Another magical Fellini film – at first, I thought, surely the source of the dwarf killer in “Don’t Look Now”; there’s a scene in Amarcord where a boy wanders in fog, wearing a duffle coat and hood and looking just like Roeg’s dwarf from behind (although coat is grey, not red) – but they were both completed in 1973, so maybe a coincidence.  Also, the scene with the large-bosomed lady; possibly a source, subliminal maybe,  for Bigas Luna’s “Jamon, jamon”?  I loved the mad motorcyclist who tears through the town at intervals, to scatter everyone and get shouted at.


Interesting how its really his drawings that we love now; same with Michelangelo, I suppose (except for a few minor works, like Sistine ceiling and wall and a few sculptures).  I’ve been looking at the Windsor Castle drawings – in a book of course, haven’t yet received my invitation to the castle – especially, the pen and inks of the Neck and Shoulder of a Man, the Foetus in the Womb and the Studies for the Legs of a Man and of a Horse.  They’re so much more interesting than the paintings, aren’t they, really?

Same with Turner; the sketches of Venice and the Petworth interiors and sea and weather things, compared to those highly finished, ornately framed, formal history paintings.  Like Penguin paperbacks, compared to big old leather-bound volumes; give me the paperbacks any day.


Which Russian exhibited “Black on Black” as an answer to another Russian’s “White on White”?