John Joseph Lennon 4th November 1932 – 16th March 2022

Champion golfer, jazz nut, chess player, photographer, opera fan, movie buff, keen
cruciverbalist, quizzer and fervent if frequently disappointed
follower of the nags, John had many interests and pursuits and was
above all an enthusiast, the original fanboy, decades before the term was coined. He appreciated everything from the everyday to the esoteric. His proudest boast of his time at University
College Galway was that he saw 300 films at the cinema in his first
year of alleged studying! He loved a good book and was widely read,
relishing everyone from Lawrence Durrell to Mikhail Sholokhov but
disliked most modern novels because he insisted they were too long and
life was too short. He was eternally devoted to PG Wodehouse and his
tales of Blandings Castle, the Drones Club and Bertie Wooster’s aunts.
He named his son for Gavin Lyall the thriller novelist whose work he
read avidly.
He wore his scholarship lightly. On one occasion when Elaine had
inadvertently given the impression in her workplace that she was
multilingual she called him during his lunch hour for a few phrases in Greek
and he immediately rattled off a list that she could say
phonetically for a TV producer. She thereby gained an entirely
unearned reputation as a Classics expert thanks to his effortless
recall of a traditional education. He never stopped learning and
passed on that love to his children.
Johnny was born in New York City and spent the first few years of his
life there with his parents James and Helen. He finally returned to
the land of his birth in the 1990s with Elaine when they attended the
New Orleans Mardi Gras. Despite being charmed by everyone he met he
persisted in expounding on his low opinion of ‘Yanks,’ as he insisted
on calling them – when he suddenly found himself talking to the caddy
of his hero, the great American golfer Sam Snead, who couldn’t have
been more delightful company. As a lifelong player himself and
boasting many shelves of trophies from around the clubs and courses of
Ireland, that encounter momentarily stunned him and put an end to his
complaints about his native countrymen!
He loved jazz music and opera and many nights were spent listening to
everyone from Benny Goodman and Count Basie to Jussi Bjorling and Tito
Gobbi. You could set the clock to Humphrey Lyttleton’s show on the
BBC which he recorded every week on cassette.
He was a very witty man with scabrous if occasionally unrepeatable
views on every conceivable subject which were expressed in the most
succinct terms and delivered with his inevitably wry smile which
camouflaged his capacity to shock. His favourite saying in later years
was “You should try everything once, except incest and folk dancing.”
We can confirm he never tried folk dancing. He was more your waltz kind
of guy.
He met Anne sixty-one years ago this week upon his return from Africa
where he spent a very enjoyable three years working for the Crown
Service building roads and bridges and shooting snakes on his days off. He drove a
red VW Beetle and a day after she saw him park it on the streets of
Longford Town he saw her talk to his colleague Maura McGowan in
Longford County Council and asked for an introduction. A lifetime of
golf widowhood and pithy conversation ensued.
Despite his commitment to a career in the civil service he was often
surprising and unconventional. After a brief flirtation with
Thatcherism in the Eighties he became disenchanted with those politics
when they were applied in his workplace where he was required to hire
road crew from the ranks of Fas recruits. His only question to the men
concerned their marital status. Why? Because, he said, any man doing
that kind of job would need a good breakfast and he wouldn’t take food
from the mouths of babies. He was besotted with babies and probably
wished he’d had more of them – he only had issues with children who
talked back to him when they developed minds of their own and
challenged his views – which were however remarkably tolerant and
tempered by his common sense, his travels and his reading.
He loved animals and his man of the twentieth century was David
Attenborough because he educated and informed
people about the real world inhabited by wonderful creatures whose
lives were shaped by the increasingly challenging environment made
by mankind – including young engineers let loose in Nigeria with a
shotgun. He wanted a universe for everyone. Twenty years ago when he
was watching the World Cup he said he wished it were on every summer
because he didn’t think he’d see too many more of them. His
anticipation of an easeful retirement to the golf course was
thwarted by the tricky turns in his health. He took the long view
of issues and understood that things changed slowly and then quickly
and often unexpectedly. A creature of habit, he swore he only bought The Irish Times for
Myles na gCopaleen but after the writer’s death in 1966 he saw no
reason to change his daily paper which sadly carries his
death notice this week. Johnny died the way Hemingway said men go bankrupt – gradually, then suddenly, with good grace and swift
acceptance. He was some kind of man.

Gilbert Lennon 17th April 2003 – 2nd August 2019

Gilbert10 May 05007.jpgGilbert in the Study 16 May 2005001.jpgGilbert 16 May 2005003.jpg

The world’s most charming and cine-literate cat died in my arms at 1120 today following a very short illness. Gilbert was the light of my life and accompanied me everywhere, including my travels on the internet to which he was a keen contributor and editor via this diary. I thought of a lot of things but not this. Now he is on the wild road with his brothers and sister. Vaya con Dios, amigo. You are the best of everything and Mondo Movies and I will not be right without you.

Happy 46th Birthday Malin Akerman 12th May 2024!

You could have knocked us over with our marabou feathers when we saw who was co-hosting Eurovision live over three nights culminating on Saturday with the incredible final! Stunning Swedish-American actress and singer Malin Akerman played a blinder alongside comedian Petre Mede and they delivered a witty script for this glorious campfest with style and guile. What a leadup to a birthday. There must be one hell of an afterparty going on today! Congratulations and Happy Birthday Malin Akerman!

The Fall Guy (2024)

You fall down, you get right back up. How far would you go for the one that you love? Hollywood stuntman Colt Seavers (Ryan Gosling) works as the double for famous action star Tom Ryder (Aaron Taylor Johnson) who always says he does his own stunts. However, he is severely injured during a stunt gone wrong and he abandons his career and his girlfriend camerawoman Jody Moreno (Emily Blunt). 18 months later, Colt, now a valet for a small Mexican restaurant, is contacted by Tom’s film producer Gail Meyer (Hannah Waddingham). She informs him that Jody is directing her first film, sci-fi epic Metalstorm, and wants him to work on the production in Sydney Australia. After arriving on set, Colt learns that Jody never requested him and is still angry about their breakup. Gail reveals that Tom has disappeared after getting involved with drugs: she wants Colt to find him before his absence causes the film’s cancellation. Not wanting Jody’s directorial debut ruined, Colt visits Tom’s hotel room and a nightclub, where he gets into fights. In the hotel room, he finds a dead body in a bathtub full of ice. When Colt returns with the police, he finds the body has disappeared. Meanwhile, as production of Metalstorm continues, Colt and Jody begin to rekindle their relationship until Gail abruptly informs him that he has to go back to the US. Instead, he continues looking for Tom by tracking down his PA Alma Milan (Stephanie Hsu) and they are both attacked by people looking for a phone belonging to Tom in Alma’s possession. Colt defeats them after an extended chase through Sydney involving a rubbish truck. He and his friend Dan Tucker (Winston Duke), the stunt coordinator on Metalstorm, unlock the phone at Tom’s apartment. They discover a video of an intoxicated Tom accidentally killing his previous stuntman Henry. The henchmen attack Colt and Dan, destroying the phone with shotgun pellets. Dan escapes, but Colt is captured and brought face-to-face with Tom, who has been hiding out on a yacht on Gail’s instructions. He reveals that Gail is framing Colt for the murder using deepfake technology to replace Tom’s face with Colt’s on the incriminating video. Tom also reveals that Colt and Henry’s ‘accidents’ were orchestrated by himself. Henry’s body is discovered and the doctored video is released on news media, while Gail tries to convince Jody that he is guilty. Colt escapes and is presumed dead after a boat chase, though he swims to safety … I’m the director. You’re a stunt guy. We need to keep it super profesh. If last year was the Summer of Barbenheimer, that compound of mutually assured box office billionairedom, the films’ respective supporting stars are the whole show of this decade’s Romancing the Stone, at least its descendant by way of Howard Hawks and screwball. Much has been written concerncing memed-about Gosling’s super-ironic commentary on modern masculinity, a career pivot which makes him – in the words of a Guardian writer’s recent article – the most important Hollywood star, so we’ll go with it. Dry supercilious wit being a thing Blunt does well, they’re a great pairing in a story that both sends up Hollywood and mines its great romantic inclinations. Adapted very loosely by Drew Pearce from the beloved Eighties TV show created by Glen A. Larson which starred Lee Majors, Heather Thomas and Jo Ann Pflug/Markie Post not to mention a Rounded-Line Wideside truck (and an outdoor bathtub). Stuntman turned director David Leitch cut his teeth on great action movies and is responsible for helming John Wick among others and this is not just the most recent ode to the craft (Once Upon a Time in Hollywood, Gosling’s own turn in Drive, Burt Reynolds was Hooper, then there’s The Stunt Man, to name the most outstanding in this sub-genre) which is due to be honoured at the Academy Awards one of these years, it’s a clever metatextual behind-the-scenes examination of the business, the deceptive nature of stars’ PR, and the pitiless nature of the production machine when you’re not flavour of the month (or fit to work). It’s all of that but mostly it’s a crash-bang-wallop action movie with ever more spectacular sequences. This is a precision-tooled mainstream hit with something for everyone, a genuinely warm and funny knowing adventure-satire with finely tuned star performances. Unlike the show, when Majors got to croon The Unknown Stuntman (covered here by Blake Shelton in a great soundtrack featuring AC/DC and Kiss), Gosling hasn’t got a theme song – this year’s showbiz highlight has got to be his Oscars rendition of I’m Just Ken, but he doesn’t need another tune, that’s already part of his star text so everyone just incorporates it and tucks it away into what they know about supposedly the most important Hollywood star, the self-deprecating caring sharing modern action man. And, since this is about stuntmen, big up to Logan Holladay for all those rolls. Huzzah! It ain’t about how hard you can hit. It’s about how hard you can get hit, and keep moving forward

Force of Nature: The Dry 2 (2024)

One decision – one small mistake – can change everything. Federal police detective Aaron Falk (Eric Bana) attempts to coerce further information about an international money laundering scheme from a company employee, Alice Russell (Anna Torv) but she refuses to give him any further information when he approaches her on the school run. The next day, she embarks on a corporate team-building hiking retreat to the rainforest in the (fictitious) Giralang Ranges of Victoria with four other company employees, her boss Jill Bailey (Deborra-Lee Furness), childhood friend Lauren (Robin McLeavy) and sisters Brianna aka Bree (Lucy Ansell) and Bethany aka Beth (Sisi Stringer). Three days later, Falk receives an incomprehensible phonecall from Alice which quickly drops out, only to later be informed by fellow agent Carmen Cooper (Jacqueline McKenzie) that Alice’s hiking partners had returned from their trip injured and Alice is missing. Suspecting something has happened to her due to her being a whistle blower, Falk and Cooper quickly join the search to find her. In flashbacks, it is revealed that Falk’s mother Jenny (Ash Ricardo) also disappeared from the same area during a hiking trip with him (Archie Thomson) and his father Erik (Jeremy Lindsay Taylor). After tirelessly searching for her for days, the pair finally found her injured and malnourished but she ultimately died shortly afterwards in hospital. Alice’s co-workers reveal that during the first night of the trip, Jill’s husband Daniel (Richard Roxburgh) who was responsible for the laundering scheme, met up with the group and led Alice away from them. Afterwards, Alice became frantic and desperate to leave the trip early even after Daniel has left. Brianna, who’s been hospitalised due to a bite from a funnel web spider, reveals that she’d misread the map in her hungover state and caused the group to become lost. While attempting to follow the river back home, the map falls into the water and Lauren is injured while attempting to retrieve it. Bethany later admits to Falk that she previously had a drug problem, which had resulted her in serving jail time due to her neighbours reporting her for selling her sister’s belongings for drug money, which resulted in Alice not trusting her. The group continues on and Jill finds out that Alice has seemingly been intentionally leading the group in the wrong direction and becomes furious. The next day, the group discovers an abandoned cabin and decide to stay there for the night despite Alice’s protests. Later on, they discover the gravesite of a dog, causing Alice to insist they may be on the hunting grounds of an infamous serial killer who lured his female victims using his dog, but the group brushes her fear off as her trying to persuade them to leave the cabin … Your mind starts to play tricks on you out there. You get really paranoid. That talented Australian novelist Jane Harper wrote one of the best novels of the past decade The Dry and following its successful adaptation starring the great Eric Bana a followup was destined to be on the cards – the 2017 novel Force of Nature came first and this adaptation was made in 2022 in a very different and non-dry environment. Perhaps it should be called The Damp. Everyone is soaking. Moving deep into the undergrowth of the rainforest acts as a kind of metaphor for a story that has many tangled strands – Aaron’s own psyche and past, his association with whistleblower Alice, her school-age daughter Margot’s (Ingrid Torelli) alleged bullying of her colleague Lauren’s daughter Rebecca (Matilda May Pawsey), the financial misdeeds at Alice’s company boss and the crimes of a four decades-old serial killer in the very area Alice is missing. Knitting these together into a coherent screen story seems almost impossible very quickly particularly when the four remaining women’s recollections resemble those of Rashomon – overlapping, contradictory and untruthful. Linking the search for Alice with Aaron’s retracing his steps into his own history with a trip taken alongside his parents seems a trope too far – and one presumes it forms a link to the notorious serial killer – yet clever construction, transitions and characterisation through the twists and turns of a mystery plot ultimately keep everything from tipping too far into the realm of coincidence or predictability. The local police sergeant Vince King (Kenneth Radley) wonders why Aaron is really out here, a long way from finance fraudsters. Paired with the brusque Carmen, Aaron’s forced introspection means that the flashbacks conjoining his mother’s predicament with Alice’s situation force them – or squeeze them – into the same narrative loop. The undercurrent of female relationships – at work, mothering, friendship and colleagues – with their basis in bullying is never far from the surface. And could they be any worse prepared for this trek? Can we just keep this between the five of us please? And, the quid pro quo into which Alice has been forced by the feds for what she was prepared to do for her daughter is the moral quandary that literally turns this in to a guilt trip writ large, adding melodrama to an already busy screenplay. Everyone has reason to dislike and even motive to kill Alice but we find ourselves asking why sisters are working at the same company and why Alice and Lauren are friends. It seems unlikely. Perhaps this structure dilutes the impact of the first film with the multiple storylines and one unresolved plot issue but Bana is somehow the still centre of the complications, a restless soul with a desk job whose past knowledge of the territory makes it more navigable. Even with a background in tragedy however this doesn’t have the emotional resonance it strives for and the mood is broken by issues of plotting placing it at some distance from a famous Aussie film about a disappearance, Picnic at Hanging Rock. It helps that this is lined out with some of the country’s best (and best known) actors with Torv now an international name thanks to TV’s The Newsreader, while Furness, a scene-stealing Roxburgh and an underused McKenzie are a pleasingly familiar ensemble, driven by a powerful score from Peter Raeburn. Beautifully shot in a number of Victoria parklands by Andrew Commis, this is written and directed by Robert Connolly, reprising his role from the first film. At least out there Nature holds us all to account

Vertigo Was Released 9th May 1958

Alfred Hitchcock’s masterpiece of voyeurism, imagination and obsession, desire and control, was released on this day 66 years ago. Only recently deposed from its position as the greatest film of all time in the ten-year Sight & Sound poll, it was a flop on its release. As David Thomson says, We have learned how to watch it, and we have discovered the mortified figure Hitchcock often masked with his comedian persona. Charles Barr describes its impact: This story of a man who develops a romantic obsession with the image of an enigmatic woman has commonly been seen, by his colleagues as well as by critics and biographers, as one that engaged Hitchcock in an especially profound way; and it has exerted a comparable fascination on many of its viewers.

Adapted by Alec Coppel & Samuel Taylor (with an initial uncredited draft from playwright Maxwell Anderson) from Boileau- Narcejac’s novel D’entre les morts (trans: The Living and the Dead) it can be summarised as a haunting.

Retired San Francisco police detective John ‘Scotty’ Ferguson (James Stewart) is hired by wealthy old friend Gavin Elster (Tom Helmore) to investigate his wife Madeleine (Kim Novak) who is exhibiting strange behaviour.

He rescues her from the water at the Golden Gate Bridge near Fort Point.

He fails to save her when she plunges to her death from the bell tower at Mission San Juan Bautista.

He meets Judy (Kim Novak), a dead ringer for Madeleine.

He makes her over so she looks identical to Madeleine …

There were mixed reviews although critics in the US liked it rather more than their British counterparts. Eric Rohmer’s review for Cahiers du Cinema commented, Ideas and forms follow the same road, and it is because the form is pure, beautiful, rigorous, astonishingly rich, and free that we can say that Hitchcock’s films, with Vertigo at their head, are about ideas, in the noble, platonic sense of the word.

Samira’s Dream (2022)

Aka Ndoto Ya Samira. I’d want to leave my dad’s house one day. The fishing village of Nungwi, north Zanzibar. Producer and director Nino Tropiano’s voiceover explains that he has received funding from an Irish organisation to explore female education in Africa. He finds a group of high school girls under the shade of a tree and over a period of time (and the with assistance of a translator) he decides to follow one of the, Samira. He traces Samira’s progress once he secures the agreement of her family and teachers. So what is the origin of Swahili? Over a period of seven years Tropiano catches up with Samira, sometimes after one year, sometimes after 15 months, even three years. He observes the changes in her circumstances, her home, class attendance and interruption, house moves, her development, her maturity. I don’t have any freedom to do what I want. The film’s midpoint, more or less, sees Samira explain everything that is wrong in her life to her teacher. The pivotal issue is the terrible loss of her mother after which her father separated her from her mother’s family in Pemba and moved them to Nungwi where he remarried again twice and has more children whom she has been obliged to care for. Everything in her life including her education has hinged on this event and its impact makes her cry – a terrifically moving moment. Her friend Shamsa claims to be ‘under a magic spell’ but she is controlled by her boyfriend who bans the cameraman from the vicinity. She does what he tells her. She’s not even married! At the exams they’re not speaking; at the graduation there’s a chasm between them. Tension builds at home with her stepmother who insists that she go with her on a trip to the mainland where they stay in a mud hut in the countryside. Then the high school exam results await. She has barely scraped a pass. She’ll be doing this the hard way. Then, a surprising event: a marriage proposal. Despite not being presented as an overt study of girls in Islamic communities or a critique of the religion, this is an immersive account of a society governed by and for men, something the girls question more than once. That extends to the content of the curriculum – we were particularly amused by a kind of parable about theft concerning a duck and a man with feathers in his hair. The sometimes jarring gaps in the storytelling (presumably due to production and funding circumstances) are camouflaged by Samira’s own charm and the occasional intervening voiceover by the filmmaker. It is rare that we feel a subject deserves more time onscreen. However over the years a complete portrait is achieved as this charismatic young woman comes into her own. At least one of my two dreams came true

The Idea of You (2024)

What if I could be the sort of person who goes camping by myself? Silver Lake, Los Angeles. Forty-year old Solène Marchand (Anne Hathaway) is a gallery owner and divorcee who plans a solo camping trip while her ex-husband Daniel (Reid Scott) takes their daughter Izzy (Ella Rubin) and her friends to Coachella. When he is called away on work assignment to Huston, she is left to accompany them. Daniel has arranged for a meet and greet with famous boy band August Moon, despite Izzy now dismissing them as so seventh grade. While waiting in the VIP area, Solène enters what she believes is a bathroom, only to discover that it is August Moon member Hayes Campbell’s (Nicholas Galitzine) trailer. The two are attracted to each other, although Solène, who is sixteen years older than Hayes, is uncomfortable. During August Moon’s performance, Hayes appears to change the show’s setlist, dedicating a song to her. Solène attends her birthday party where is fed up with prospective men her own age. Shortly after the festival, Hayes shows up unannounced at Solène’s gallery, interested in purchasing art. After he buys every piece at the gallery, Solène takes him to a friend’s warehouse studio, where they discuss life and art. After thinking that a restaurant would invite too much attention, the two go to Solène’s house to eat. They share a kiss, but Solène rebuffs him. Hayes leaves his watch behind, then, finding Solène’s phone number on the gallery invoice, texts her to join him in New York at the Essex Hotel. With Izzy away at summer camp, Solène meets him at his hotel where they have sex. Hayes persuades her to travel with him on August Moon’s European tour. Solène wishes to keep their relationship private and does not tell Izzy or anyone else. As the band takes a break at a villa in the south of France, Solène becomes uncomfortable about her age in relation to the other women travelling with them. Bandmate Olly (Raymond Cham Jr) tells her that Hayes’s dedicating a song to her is a tactic they use to impress women and that Hayes has previously pursued relationships with older women including a 35-year old Swedish film star he embarrassed. Solène feels misled and disillusioned and abruptly returns to Los Angeles … Is this your first time getting Mooned? Adapted by director Michael Showalter and co-writer Jennifer Westfeldt from actress Robinne Lee’s bestseller, this sees Hathaway getting into her groove in a seriously romantic drama. The ironic trigger for everything that now happens in her life is her ex’s need to prioritise himself and his business – just as his affair ended their marriage. When she meets a guy 16 years her junior and he reveals his own fear they find a kind of balance. He says: I think that’s my greatest fear in life – that I’m a joke. She counters with: What will people say? Galitzine at first seems like an overwhelmingly gallant white knight and Hathaway positively glows: being adored suits her. Watching her shrug off the mid-life nonsense purveyed by divorced men who insist on talking about themselves all the time is infectious – she is not in crisis. Naturally, once she goes on the road with the band Hayes’ alley cat past comes back to haunt him in a way that hers haunts her decision-making and the wheels come off when she can’t take the heat. The publicity leads her husband to gloat, I’m sure we can all agree that a relationship with a 24-year old pop star would be crazy on so many levels. Yet her daughter argues, Why would you break up with a talented kind feminist? And, for a while, it works, until the Moonfans get their way on social media. Tracy (Annie Mumolo) makes for a great BFF when she comforts Solène, People hate happy women. And that of course is the point. Women are supposed to suffer! Their cheating exes hate them except when they do what they’re told! Their kids don’t let them have a life if they’re not at the centre of everything! Other women hate them! Watching this lovely woman change her opinion of herself and her possibilities in the reflection of how a new guy sees her is wonderful. How the story beats are worked out might not be surprising but to say this is pleasurable and crowd-pleasing is an understatement: it’s a deeply sexy film. The leads are more than persuasive as the well met age-difference match, the scenario a delirium of groupiedom wish fulfilment (She’s with the boy band!!) and it’s all beautifully made with due diligence concerning the social media pile-on which is all too realistic as is the message that love at any age is a trial. A splendid soundtrack peppered with everyone from Fiona Apple to St Vincent as well as the songs from August Moon and Hayes as a singer-songwriter in his own right (with a score by Siddartha Khosla) makes this a total delight. Directed by Michael Showalter. We’re two people with trust issues who need to open up a little. What’s the worst that can happen?

That Funny Feeling (1965)

The only important thing now is to save a buck. New York City. Joan Howell (Sandra Dee) intends to be an actress but for now she’s working as a maid. On three different occasions, she and Tom Milford (Bobby Darin) – a successful publishing executive and womaniser – accidentally bump into each other. The third time, Tom asks her for a date. Embarrassed by her own modest rented apartment, which she shares with fellow aspiring-actress friend Audrey (Nita Talbot), Joan invites him to the lavish apartment of one of her clients whom she believes to be out of town for a couple of weeks pretending it’s hers. What she doesn’t know, because she and her employer have never met, is that the apartment is Tom’s. He shocked to find himself being welcomed to his own place but he plays along to see how far Joan’s prepared to go. He then moves in with his friend Harvey Granson (Donald O’Connor) who has his own concerns about Joan to do with his acrimonious divorce and property he’s ‘hiding’ from his wife at Tom’s place. As soon as Joan becomes aware of the truth, however, she figures out how she might get even, starting with getting rid of Tom’s beautiful English-tailored suits … You know I’ve got the funniest feeling somebody’s trying to tell us something. Bobby Darin and Sandra Dee were a seemingly golden couple and this was the third time they were paired together in starring roles. It’s a mild comedy and a silly premise but it’s played for all it’s worth by a nice cast. The screenplay by David R. Schwartz from a story by Norman Barasch and Carroll Moore quickly pits our lovely couple together in a meet-cute scenario that’s the conclusion of a voiced montage about how all kinds of creatures collide: the key takeaway being, Bobby and Sandra can’t miss! How they keep coming back together is the whole show. The zipper’s stuck. Leo G. Carroll plays the heavily Oirish-accented pawnbroker Mr O’Shee, which provides the start of a running gag; Reta Shaw is one of the women who find Tom half-naked in a phone booth and Don Haggerty does a Zasu Pitts as the policeman who cannot believe his eyes on more than one occasion especially when a line of extravagantly garbed prostitutes shows up on his beat. There’s more eyerolling from the reliable Robert (Stalag 17) Strauss and Ben Lessy as bartenders who observe the ups and downs of the romance with pleasantly predictable cynicism. Could be he IS an interior decorator. O’Connor is given little to do which is surprising but Larry Storch does a good job as thespian Luther, ready to give the girls advice on the acting biz. How the knotty but lovely and loved-up pair of midcentury blond gods figure out their essential problem – mutual deception – as they constantly mistake the other’s line of work is fairly fun but it’s the ensemble that really make this PG sex comedy a decent watch. Naturally the title song over the weird (astronomy) titles and credits is written and performed by the redoubtable Darin. Directed by Richard Thorpe. Have you never seen a naked man in a phone booth?

Happy 80th Birthday John Rhys-Davies 5th May 2024!

Many happy returns to John Rhys-Davies who turns 80 today. That fine RADA-trained Welsh actor of the booming voice, formidable presence and prolific career on screens big and small is still in demand and working constantly. Some years ago we found ourselves waiting a very long time for a very long flight out of LAX. A baby began to cry and nerves were jangling among the hundred or so people hanging around for hours. Thankfully that creature was so exhausted by the time the flight was called it fell asleep. Yours truly on the other hand was completely enervated and enchanted by the fact that one of the other passengers in the lounge was our beloved Sallah, the man we first encountered in Raiders of the Lost Ark (the greatest film ever made – fact). Rhys-Davies – for it was he – was a picture of patience. We didn’t bother him, despite a desperate longing to get his signature on something vaguely cinematic – like the latest edition of Premiere. We exercised manful restraint, to be honest. Regrets? We have a few, perhaps, now and then, but the flight took off, nobody cried and actually we found ourselves chatting to someone who knew Natalie Wood’s babysitter, so you know, swings, etc. And Mr JR-D was unbothered and unruffled. Happy Birthday John Rhys-Davies! Long live Sallah! (And Gimli!)