Women in French Studies
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Despite the revolution sweeping the globe, certain customs and traditions Going Fishing: And Other Stories. Going Fishing is an eclectic group of stories that focuses upon life from various perspectives. It is well worth the time invested. Is the United States losing its creative edge and unrivaled position in producing and commercializing Is the United States losing its creative edge and unrivaled position in producing and commercializing big ideas for over a century?
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Streets ahead of their peers and in a universe, never mind world, of their own — Muse Jeff Forney. Download the new Indpendent Premium app Sharing the full story, not just the headlines Download now. Support free-thinking journalism and subscribe to Independent Minds. Shape Created with Sketch. Top Ten Musician Biopics Show all Todd Haynes followed his glam rock pseudo-biopic Velvet Goldmine with this inventive exploration of the many sides of Bob Dylan.
To convince director Oliver Stone to give him the part of Jim Morrison, Val Kilmer undertook hours of extensive research into his hero, learning 50 songs to mimic his singing voice. When the surviving members of the Doors assembled to hear a recording of Kilmer, none could tell which was the impersonation and which the real Morrison.
Bandmate Johnny Rotten was predictably dismissive of the project but understandably annoyed that Joe Strummer of The Clash had been consulted but not him. He acquitted himself well, however, in a film that largely conformed to genre formula but offered strength in depth with Dan Aykroyd, Viola Davis, Lennie James and Octavia Spencer among the supporting cast. While F Gary Gray's film lost its way in its second half, becoming bogged down in contract disputes, overall it did a superb job of capturing the vitality and righteous anger of the album of the same name.
Admittedly conventional - containing at least three eureka moments in which the leads are inspired to write their best known songs - this is solid and fair-minded stuff. The directorial debut of Anton Corbijn, who had photographed Joy Division in their prime, Control married the British kitchen sink realism of the s with the doom-laden atmosphere of Ingmar Bergman to appropriately eerie effect. Sam Riley was mesmeric as Ian Curtis, a jittery, haunted presence in a film that could not have been more different from Michael Winterbottom's 24 Hour Party People , covering some of the same territory.
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