Ken Russell (1) (1927–2011)

Although not as flashily stylistic and overtly flamboyant as some of his other works, "Savage Messiah" is still prime Ken Russell. The story is a loose biopic of Henri Gaudier (Scott Antony), the influential early 20th century French sculptor. Gaudier was given to grand gestures and grandiose statements and became involved in a strange artistic relationship with an older woman Sophie Brzeksa (Dorothy Tutin) who was given to her own wild artistic flights. Gaudier was killed in action in the show more First World War at the age of 24; his fame as a sculptor only being recognised after his death. The script by Christopher Logue is magnificent and seeks to get to the heart of the relationship between Henri and Sophie while launching blistering satirical attacks on the debasement of art. Russell uses Henri as something of an alter-ego pouring his own frustrations into the characterisation and into the wider milieu. He directorial approach is more restrained than usual but his creative energy, his use of sly symbolism and his use of subversive imagery is never far from the surface. The film has a number of stand-out sequences including a moving climatic sequence where Henri's death at the front is simply reported before Russell beautifully choreographs his camera to glide around a number of Henri's best-known pieces. This is expertly handled and brings out the nuances of the work, while serving as a heart-breaking tribute. The other stand-out sequence is probably the greatest nude sequence in all cinema when Henri's second muse, the sexual suffragette Gosh Boyle (Helen Mirren), ascends a staircase in all her naked glory. The design and construction of this sequence is simply magnificent and ranks amongst Russell's greatest visual moments. "Savage Messiah" is a masterpieces and ranks amongst Ken Russell's best works - it is striking, satirical, creative, compelling and a superb exploration of art and artistic expression. show less

2022 movie #12. 1975. Franz Liszt spends his life (and afterlife) fighting is mortal enemy Richard Wagner. After Wagner is turned into a Frankenstein Hitler, Liszt kills him in an angel powered spaceship with multicolored lasers. Yes, totally bonkers movie. But entertaining.

Lots of silly stuff here--pretty poor special effects, including the giant snake. Strange cartoon and psychedelic interludes that don't make a lot of sense and are very outdated looking. But on the other hand, we have an appealing cast, led by the evil Amanda Donahoe, Hugh Grant (playing himself as always, but why is he wearing a military uniform?), that young guy from Local Hero (Peter Capaldi), Catherine Oxenberg, and my favorite--Sammi Davis, who is enormously appealing. The plot seems to show more be missing a few pieces near the end, as if about 10 minutes were cut out, basically dealing with Grant' actions near the climax. And there are any number of other unexplained things--how did Sammi end up tied up when it appeared she was escaping? Wasn't Donahoe lured to Grant's house by the music? How did she get away? And Grant's Butler acts really strangely, as if no one told him his lines ahead of time or perhaps he couldn't remember them. And so on. But unlike a lot of so-called horror movies, at least this one isn't boring. It all goes down pretty easily with your preferred alcoholic accompaniment. Russell's films tend to be entertaining at least, and they always have a few moments you wouldn't see anywhere else. And a reviewer on Amazon pointed out, Donahoe drives a really cool Jaguar. show less

This book is an enjoyable, playful romp through the partly imagined erotic lives of two of England's foremost composers. I can well imagine that some of Russell's imaginings are at odds with verifiable facts, but not being thoroughly versed in those facts I was untroubled by apparent inconsistencies. However, I am convinced that much published biographical data of revered people, particularly 'national treasures' is likely to be muted, if not neutered, when it comes to their erotic lives. If show more we are fortunate, those who partnered these mostly discreet lives left confidential memoirs to be discovered after all offendable personae have passed away. If this is not the case, or during the interval of waiting to see, I think it useful to have books such as this, providing credible reconstructions, to excite the imagination about these people in a way not possible with only the facts that are approved and available, and therefore somewhat lacking in humanity. Both of the composers treated in this volume wrote music that rejoices in the spirit, and even if Russell has been overly creative, I felt that he has created a wholly reasonable and credible picture of their lust for life. Great fun! show less