The Peanuts Movie (2015)

     The Peanuts Movie (2015) See the IMDb information here.
     One of the charms of Schulz’s Peanuts was his line. He could put more expression into a squiggle-mouth than many artists could put into a whole canvas. He was also a great writer: it’s not easy to make a three- or four-panel strip tell a story, or imply a larger one. Unlike many strips, Peanuts had a backstory that Schulz continually developed. So although the kids lived in a timeless universe, things did happen, our knowledge of the characters deepened, and their relationships became more complex. Just how Schulz managed this with a cast of almost pure stereotypes repays careful study, but this review is not a thesis.

     When any well-loved cartoon is converted to a movie, many in the audience, including me, will watch with a critical eye. How well does the movie capture the look’n’feel, the ambience, the quirkiness of the source? The answer here is, very well. The producers decided to model the characters in 3D, but to keep their faces 2D. Their mouths and eyes and eyebrows are the expressive squiggles of Schulz’s strip. That makes the movie visually very appealing, and dialogue almost unnecessary.
     The story is simple enough, Charlie Brown falls in love with the Little Red Haired Girl that has just moved into town. But he’s too bashful to talk to her, too afraid that she will look down on his dorkiness, too much conditioned into accepting the role given him by his classmates, especially Lucy.
     There are sub-plots. We see Snoopy as the WW1 Flying Ace fighting the Red Baron, every character gets at least one scene centre-stage, kites are Charlie Brown’s nemesis, and so on. For us who grew up with Peanuts, or whose children did, the movie is a nostalgia trip. Everything ends well, there’s a preachy moment when the Little Red Haired Girl explains why she likes Charlie Brown, but otherwise the movie is a well-done riff on the perennial Peanuts themes. Recommended. ***½

Take Five by Dave Brubeck at Montreal in 2009

One of the great jazz standards is Take Five. Dave Brubeck made it his own. There are many versions available on line, but this 2009 Montreal Jazz Festival video is one of the bests. Brubeck was near the end of his life, and he just lets his crew take the tune to wherever they want to take it. Lovely sax, cello, bass, and drum solos. ****

[Pendon Museum]. Bringing the Past to Life (2015)

     [Pendon Museum]. Bringing the Past to Life (2015) The latest guide to the Pendon model railway, the brainchild and legacy of Roye England. Roye came from Australia to the UK in 1925. That was a time when even native-born Australians thought of the UK as Home, and Roye was shocked at the difference between his image of the country as a green and pleasant land and the reality of industrialisation and rapid modernisation. He resolved to preserve the England that was rapidly disappearing, and the medium he chose was a model railway.
     One may argue about whether the situation was as bad as Roye believed, but one can’t argue with the result: an amazing and beautiful recreation of the ambience of the Vale of the White Horse. Pendon not only fulfilled Roye’s vision, it inspired a higher standard of railway modelling. The people that gathered round him and helped him build the layout pioneered not only realistic modelling of  the railway and its setting but also realistic modelling of railway operations.
     The book includes a brief biography of Roye England, a history of the layout, and descriptions of its present state and operations. It’s worth reading merely as an account of one of the great model railways, but its emphasis on its function as a museum reminds us that we need to know the past in order to count the cost of the present and be wary of heedless innovation.  England was not as nice a place to live in as Roye believed. Working the farms was backbreaking, dangerous, and unhealthy: farmers had and have among the shortest life expectancies. The caste system that’s still a drag on Britain was even worse back then: the happy servant stereotype we like to watch in Downton Abbey was and is a fantasy. Even with railways as densely built as they then were, travel was expensive and time-consuming. There have been many changes since the 1920s. This museum model railway reminds us that not all change is progress.
     The text is brief but sufficient. A bonus is the Madder Valley Railway, built by John Ahearn, one of the pioneers of railway modelling. The pictures are well reproduced. A good souvenir and introduction to the Pendon. ***

Caroline Graham. A Ghost in the Machine (2004

     Caroline Graham. A Ghost in the Machine (2004) I picked up this book because I like the Midsomer Murders series featuring DCI John Barnaby. As with all book-to-TV series, the first question I ask, does it work? Yes, with the usual shifts in tone, character, and ambience. The TV Barnaby is a more complex and nicer character than Graham’s, TV’s Sergeant Troy is single, not married and a randy alley cat. Graham’s characters are more black and white, so the inevitable comeuppances and changes are more extreme, too. As for ambience, TV with its visuals has the edge. Graham uses setting primarily to sharpen her character portraits through their reactions to their surroundings.
     So what about the book itself? It’s pretty good. Graham takes a long time to set up the murders. She describes Barnaby and Troy’s investigation well enough, but the solution should not surprise an alert reader (which I prefer not to be, I like the surprise). The extreme contrasts between the good and evil characters create a strong moralistic subtext. We know that the baddies will be punished, that their immoral behaviour arises from a lack of self-awareness, and that this obliviousness will lead them into the kind of stupid actions that can be lethal.
     Several plot lines intersect. Graham handles them well, we never lose track, and the alternation of the narrative snippets creates a pleasant tension. I won’t summarise, except to say that Graham likes to tidy up the loose ends, and does so satisfactorily, albeit by using a separate chapter in which the good get some consolation or reward for their sufferings, and the bad ones are or will be punished. This wrap-up is characteristic of romances, and that’s what this book is, a romance with touches of melodrama, satire, and comic-book style narrative compression. **½

Agatha Christie. Death on the Nile

 Agatha Christie. Death on the Nile (1938) By the time she wrote this, Christie's interest had evidently shifted from mere puzzle construction towards character, and her always strong interest in romance began to trump her ruthless views on justice. Linnet Ridgeway, a very beautiful and very rich heiress, is the victim. Poirot happens to be present on the tour up the Nile because he has  has supposedly retired and is taking a holiday. (This is an early attempt by Christie to rid herself of the amusing Belgian. If he's retired, this could be his last bow.) The murder was carefully planned: Simon Doyle, the husband, and Jacqueline de Bellefort, his erstwhile fiancee, have arranged for Linnet to "take away" the man and marry him, then murder her, so that they could enjoy her lovely money. The murder depends on a double alibi, and a barely sufficient window of opportunity. Colonel Race (on the tour boat in his Secret Service capacity) and Poirot investigate, as the tour operators wish to have the affair settled before handing over the case to the Egyptian police.
    At first, Poirot is misled by the carefully staged alibi, but a couple of facts that don't fit arouse his suspicions, and he uses his usual method of looking at the facts from the opposite angle. Since he uses this method so often, and because Miss Marple does so too, I suspect this is Christie's comment on the best method for solving puzzles. Poirot also arranges for two couples to live happily ever after. The story ends with a murder suicide: Jacqueline has brought two pistols with her. Suicide as a way out becomes more common in Christie's later novels. Perhaps an unadmitted snobbishness (upper class people shouldn't be hanged), or a weakening of her pro-hanging views, or her sentimental attitude to true love (perhaps a wishful reaction to her own unsuccessful first marriage) produced this shift.
    The novel is one of Christie's masterpieces, no doubt the reason it was made into a film starring Peter Ustinov (1978). It  had a good success, but Ustinov is a bad Poirot. Despite his considerable acting skill he can't overcome the impression of general tattiness and rumpled disorder, greatly at odds with Poirot's neatness and precision. His clothes are always wrinkled – something Poirot would never permit himself, even in the humid heat of the Nile valley. The movie's simplified plot required significant changes, which IMO reduce the psychological complexity of the story. I suppose the producers couldn't afford the lengthy cast of the original story. Pity. ***

Agatha Christie. Evil Under The Sun

     Agatha Christie. Evil Under The Sun (1941) Poirot is resting his little grey cells at an expensive holiday resort. A woman who attracts men as honey attracts flies dies of unnatural causes, and none of the obvious suspects fit the crime. So Poirot wakes up his little grey cells, and shows that the crime must have been committed at a different time than initially believed, as deduced from the evidence of one of the two people who planned and carried out the murder. The widower and one of the suspects, who have know each other since childhood, will marry, which makes the man's child (who felt guilty because she hated her stepmother) very happy.
     This novel is one of the group dramatised for TV by A&E. Well done videos, albeit lacking much of the subtlety of the text. 1-1/2 hours is insufficient room for developing those nuances of character that Christies hinted at in her dialogue. The BBC dramatised the Poirot short stories (one of which uses a nearly identical plot as this novel), a wise decision, I think. The few that were based on novels were done as two- or even three- parters. But the BBC was not bound by rigid schedules of time and money. A good read. ***

How new theories grow from the old

The beautiful thing about philosophy is that philosophies die. New philosophy can then grow from the soil enriched by the dead. (Bas van Fraassen, 2004)

I think that much of what looks like radical rethinking of a theory arises from mistaken apprehension of the theory displaced by the new insights. For example, it seems that Einstein did not see gravity and acceleration as different, even though Newton’s physics tacitly assumed they were.