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into the world like many of my generation born in the usa was my introduction to the boss though i was still under ten when it came out my first copy was a cassette taped from a borrowed cd home taping is killing music before i later bought it properly the first springsteen album i bought on release was the ghost of tom joad in 1995 his eleventh studio record and his second return to a stripped back acoustic sound following nebraska 1982 i didn t know about nebraska at the time it wasn t something you d hear on the radio and pre internet information was harder to come by fortunately a review of tom joad mentioned it and when i tracked down nebraska it quickly became my favourite springsteen record and one of my favourite albums of all time having read about its creation and watched documentaries on it i was intrigued from the moment i heard this film was being made just under a year ago a complete unknown explored the moment bob dylan went electric you could argue deliver me from nowhere tells the opposite story the moment springsteen went acoustic but that s not really what it s about at its core this is a portrait of a man at the peak of fame yet lost in the depths of depression trying to reconcile his place in the world unlike many biopics that lose steam halfway through this one starts slowly almost hesitantly perhaps intentionally mirroring its subject s own struggle to find direction after a career high it opens with a black and white flashback to bruce s childhood and his difficult relationship with his father dutch stephen graham it s a moment he s revisited many times in his autobiography born to run and in his broadway show the film returns to these memories throughout connecting them to his adult battles with anxiety and self doubt we soon jump to 1981 as springsteen jeremy allen white and the e street band perform born to run during the final show of the river tour 140 dates across a year that came soon after 115 dates for darkness on the edge of town no wonder exhaustion and emotional burnout were setting in the direction the film will go is set in an early scene also used in the trailer a car salesman says i do know who you are springsteen s dry reply well that makes one of us the film captures that sense of disconnection how do you follow the highs of five hit albums and two epic tours even buying his first new car a milestone moment for most people feels hollow and joyless rock biopics often stumble into what critic mark kermode calls chubby hmm moments clunky exposition or overblown sentiment see bohemian rhapsody this film avoids that one notable scene shows bruce changing nebraska s lyrics from third to first person putting himself in the shoes of murderer charles starkweather here is a man consumed by guilt desperate for redemption but unsure what he s done wrong he isolates himself in a rented house with no neighbours begins a relationship with faye romano odessa young an amalgam of women from that period but pushes her away he drifts from his bandmates finding solace only when sitting in with the house band at the stone pony he knows he s suffering but his way through the darkness is a relentless focus on making this album kris kristofferson once told joni mitchell after hearing blue that she should save something for yourself i ve often thought the same about springsteen and nebraska that is something captured here with jon landau perpetually on the verge of saying something similar an interesting side note there s a scene where landau gives bruce a script by paul schrader saying schrader wants him for the lead bruce never reads it but he likes the title born in the usa and borrows it schrader eventually made the film retitled light of day with michael j fox in the role and joan jett making her film debut springsteen contributed the title song which he still occasionally performs live the song born in the usa itself wasn t from schrader s script but was inspired by vietnam veteran ron kovic s memoir born on the fourth of july the two men had a chance meeting somewhere between springsteen reading the book and penning the song kovic s story went on to become oliver stone s 1989 film starring tom cruise written and directed by scott cooper much of the credit must also go to warren zanes who wrote the book on which it s based the casting is excellent from the first moment you see him you immediately know jeremy allen white is going to nail the performance as springsteen he has the movements and mannerisms down to a tee but is it a good performance absolutely despite the similarities with characters he s played before i never once thought i was watching carmy berzatto from the bear in interviews promoting the film springsteen has been particularly complimentary about stephen graham s portrayal of his father and rightly so however the best casting could well be jeremy strong as jon landau springsteen s manager record producer and most importantly his friend as an actor he brings a certain amount of baggage from previous roles which lends an extra dimension to the character springsteen deliver me from nowhere may not convert the uninitiated but for those already touched by nebraska s haunting honesty it s a powerful deeply human portrait of an artist wrestling with his own darkness and finding truth in the quiet my father s house shines hard and bright it stands like a beacon calling me in the night calling and calling so cold and alone shining cross this dark highway where our sins lie unatoned posted in film reviews tagged 1980s music a complete unknown acoustic album al teller album production american rock artistic expression authenticity autobiography based on a true story blue bob dylan bohemian rhapsody born in the usa born on the fourth of july born to run bruce springsteen carmy berzatto childhood memories cinema creative process darkness on the edge of town david krumholtz depression dutch springsteen e street band fame father son relationship faye romano film adaptation film review glastonbury inspiration isolation jeremy allen white jeremy strong joan jett jon landau joni mitchell kris kristofferson light of day live music mark kermode mental health michael j fox movies music music film musician portrait nebraska new jersey odessa young oliver stone paul schrader performance recording process rock rock biopic rock documentary rock music ron kovic scott cooper singer songwriter songwriting stephen graham stripped back sound the bear the ghost of tom joad the karen carpenter story the river the stone pony tom cruise warren zanes leave a comment black sabbath the ballet september 18 2025 by fandangogroovers having missed its debut two years ago i have just been to see black sabbath the ballet this is something that could only have been dreamt of in birmingham fifty five years ago black sabbath invented a new sound that became the origin of heavy metal birmingham is also home to a world renowned ballet company with a young ambitious director carlos acosta split into three acts each with its own choreographer act i heavy metal ballet choreographer raúl reinoso act ii the band choreographer cassi abranches act iii everybody is a fan choreographer pontus lidberg the music is a mixture of original recordings and live orchestra and also features an electric guitarist marc hayward playing live on stage forgoing birmingham royal ballet s normally lavish sets the fantastic lighting design does a lot of heavy lifting the music mainly sticks to the well known numbers war pigs iron man solitude paranoid black sabbath orchid planet caravan sabbath bloody sabbath laguna sunrise so even a casual fan will recognise the tunes the highlight of act i features an orchestral version of iron man slowed down into a classical ballad and accompanied by dancers yaoqian shang and javier rojas locked in an impossibly long kiss this act also finds the best balance between the formal rigidity of ballet steps and the perceived freedom of rocking out and freestyling i say perceived as i am sure every step is choreographed act ii opens with the song black sabbath which is probably the one that benefits most from the addition of an orchestra this act is punctuated with voiceovers from the band guitarist tony iommi drummer bill ward bassist geezer butler and vocalist ozzy osbourne as well as sharon osbourne talking about their origins and the creation of the heavy metal sound i have heard tony iommi tell the story of how he lost the ends of his fingers countless times and it still makes me wince on a lighter note he tells the anecdote of how while recording an album the band s cocaine bill was more than the recording bill and the recording bill was 80 000 the third act brings it all together with the full cast appearing on stage and the guitarist returning however this was all overshadowed by the finale when guitarist marc hayward was joined on stage by tony iommi himself this wasn t advertised and i understand he only appeared on opening and closing night of the first run it was clear even before this moment that there were more sabbath fans than ballet regulars when the entire crowd stood up and clapped along it became undeniable probably more successful as an introduction to ballet for heavy metal fans than as an introduction to metal for ballet fans but certainly an entertaining evening posted in other ramblings tagged ballet bill ward birmingham birmingham royal ballet black sabbath black sabbath song black sabbath the ballet carlos acosta cassi abranches electric guitar geezer butler heavy metal heavy metal ballet iron man javier rojas laguna sunrise lighting design live orchestra marc hayward metal music orchid ozzy osbourne paranoid planet caravan pontus lidberg raúl reinoso sabbath bloody sabbath sharon osbourne solitude tony iommi war pigs yaoqian shang leave a comment lokah chapter 1 chandra september 7 2025 by fandangogroovers every so often when listening to kermode mayo s take or its bbc predecessor wittertainment a film will appear in the top ten where mark will say it wasn t press screened this often happens with indian language films the consensus has usually been that these movies have their own audiences who don t much care what western critics think occasionally however one crosses over and captures mainstream attention for example rrr 2022 telugu language and pathaan 2023 hindi language having been put off indian cinema by bollywood i haven t seen many myself i think the last one i watched in the cinema was mary kom 2014 the bio pic of the female boxer but browsing this week s new releases i spotted lokah chapter 1 chandra the synopsis read extraordinary events unfold when an aimless trio of friends encounter their new neighbour a mysterious young woman with a haunting past a darkly comic fantasy thriller set in a modern day metropolitan city this is the first instalment of a franchise that introduces a shadow world that exists alongside our own it reminded me of the fantastic but largely forgotten russian urban fantasy night watch 2004 directed by timur bekmambetov armed with nothing more than this description i went along to watch what i believe is the first malayalam film i ve seen directed by dominic arun from a screenplay he co wrote with santhy balachandran her first screenwriting credit the film follows chandra kalyani priyadarshan a young woman who relocates from sweden to bengaluru bangalore on the orders of a mysterious organisation initially living in isolation a few chance encounters with neighbour sunny naslen k gafoor spark a new friendship she also comes to the attention of corrupt cop inspector nachiyappa gowda sharaf u dheen chandra s true identity is gradually revealed through flashbacks as the story evolves from a modern urban drama into a full blown supernatural superhero tale a good fantasy film relies on its world building and this is where chandra excels over its two and a half hour runtime we meet various supernatural and superpowered characters living secretly alongside the real world the film leans heavily into mythology opening with the statement that all legends have a basis in reality chandra herself has been described as malayalam cinema s first home grown superhero and india s first female superhero her powers are rooted in the yakshi legend i looked it up which gives the mythology real depth referencing aithihyamala the film also introduces other figures from folklore who are clearly being set up for the already planned sequels at first glance chandra seems underdeveloped as a character however as the story unfolds it becomes clear this is deliberate the filmmakers only reveal what they want us to know when they want us to know it primarily her origin and a pivotal moment in her life everything else remains a mystery mirroring how the other characters perceive her there are visual hints about her past but these serve as texture rather than deep exploration with characters who have lived for centuries there s always a question of how much backstory is necessary here the balance is handled well more than we get with marie anne parillaud in innocent blood but without the exposition overload of andy charlize theron in the old guard 2020 2025 the film clearly doesn t have a marvel or dc level budget but it never looks cheap the visual effects and action are strong and the production design and overall visual style are excellent at 149 minutes split by an intermission the pacing shifts noticeably the first half is a fun if slightly slow introduction to the characters the second half ramps up into all out action but occasionally feels rushed editing is the one area where the film could have been tighter some of the characters work better than others and even feel like they belong in a different movie suggesting the tone of the sequels may differ from film to film i haven t seen a trailer but do wonder from the variety of posters how concise the marketing is or indeed if it is very different depending on territory that said the tone blends light hearted fun visceral violence and darker themes effectively like a marvel film it delivers genuine laughs without being a comedy with only a passing understanding of indian culture i m aware i may have missed some of the subtext however the film s feminist undercurrent is universal on the surface inspector nachiyappa gowda is a stereotypical hissable villain but he serves the story well not only as a clear adversary to define the heroine against but also as a symbol of outdated views and societal injustice lending the film extra depth lokah chapter 1 chandra isn t the crossover masterpiece that will propel malayalam cinema to the global stage in the way oldboy 2003 did for south korea but it s certainly worth watching with likeable characters solid storytelling and strong visuals it makes for an enjoyable few hours at the cinema i for one am looking forward to the sequel lokah chapter 2 goblin and yes stay through the credits there are...