MEDiA: Miranda

I love Miranda!

We didn’t watch Miranda at the time it came out. I did occasionally see bits of it. And I loved it. So, she’s been around ages, and I’ve been ignoring her. Actually, she’s been around as long as I have, more or less, born in ‘72, as she and I are.

Anyway, a few weeks back we started watching from series one, on the BBC iPlayer, and we’re now into the ‘Specials’, with The Final Curtain about to play.

What I love best about Miranda, in addition to her clumsiness and wind, is her disarming candour, around generally not being a typical person, never mind typical woman, or ‘lady’. But then of course, in most important respects she is quite typical. Or rather she both is and isn’t… er…

What a woman!

So, I guess what I mean is that she’s very ordinarily human, at the same time as not conforming to social stereotypes. And she’s brave about showing herself in that light, of imperfection, or rather difference. Something many of us are simply to vain and/or insecure to do.

I’ve had horrible soul-crushing moments of my life that could probably make pretty good comedy. Like when a ‘local hero’ guitarist at a jam session I’d finally worked up the courage to go to knocked my glasses of as I attempted to chat a girl up at the bar.

Rather than kung-fu-kickin’ his ass, Clint Eastwood style, I was down on my knees, like Mr Magoo, scrabbling on the floor amongst the forest of legs to retrieve my specs, before someone stepped on them. Hey ho!

Anyway, Miranda makes such things the meat and potatoes of her comedy. That’s not massively unusual in itself. From Woody Allen to Some Mothers Do ‘Ave ‘Em, klutzy dorks have been standard fare in male comedy forever. But there’s something refreshingly guileless in how Miranda serves up her female version of this timeworn comedy trope.

Anyway, one can pontificate all one likes. At the end of the day pratfalls are extremely funny, as is farting. And Miranda serves up plenty of both, bless ‘er!

FiLM REViEW : The Skull, 1965

Teresa wanted to watch a Hammer horror film. But we could’nae find one we hadn’t seen before. So we went with this Amicus Productions number, as it stars the deadly duo, Peter Cushing and Christopher Lee.

The Skull has a pretty silly plot, concerning the evil possessive influence of the titular skull, formerly the cranial property (accommodation?) of the infamous Marquis de Sade.

But despite the superstitious hokum it’s a rollicking good Hammer style fright-fest, in which Cushing, Lee, and a panoply of great actors – inc Peter ‘Gollum’ Woodthorpe, Nigel ‘Zulu’ Green and others (inc the lovely April Orlich!) – serve up lashings of prime ’60s/’70s style spookiness.

The visual design aspect is great, in ghoulish technicolour, and the music, by Elizabeth Lutyens (daughter of the famed architect), is powerful and effective. By the standards of modern horror this sort of thing is now quaint, or even inadvertently hilarious, occasionally. But if your inner child lives on, as ours most definitely do, it’s vintage horror fun of a very particular kind.

Silly in extremis, but we loved it.

FiLM REViEW: Hotel Reserve, 1944

Teresa wanted to watch a vintage movie, so we plumped for this. Starring a youthful James Mason, with some oddly comic support, and a very young Herbert Lom as the villain. Made in ‘44, but set in 38, it’s an oddball thing. It seems to want to be both a thriller and a comedy. And in the end it’s not that great at being either.

A young and handsome James Mason.

Mason is Peter Vadassy, half French and half Austrian, looking to move to France and become a doctor, and escape Hitler’s regime. A mix up of cameras with another guest at the titular Hotel Reserve lands Vadassy in the embrace of the French police, who ask him to do a bit of sleuthing or espionage type work on their behalf.

A young and suave Herbert Lom.

Essentially the movie is about how Mason’s Vadassy character struggles, in a rather paranoid yet also playful environment – folk holidaying in southern France, on the edge of war – teetering between appearing too nefarious himself, whilst trying to smoke out the real villain.

Southern France on a studio lot.

Mostly filmed on a pretty unconvincing set, and with a rather oddball cast, some darkly serious, others bizarrely comical, it’s not a classic. But it is a silly slice of period fun. And by the end it felt kind of lame but enjoyable. Weird!