January

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January, Skating on the Frozen River (First half of the seventeenth century) by Jan Wildens.

The first month of the year doesn’t seem to provide much inspiration going by the few examples at Wikipaintings and the Google Art Project/Cultural Institute. We haven’t had any snow so far this winter, the days more closely resemble Isidre Nonell’s gloomy park scene.

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The Park in January (1894) by Isidre Nonell.

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La Belle Jardiniere—January (1896) by Eugène Grasset.

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January (1940) by Grant Wood.

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January Full Moon (1941) by George Copeland.

Wound Man

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Wound Man from Feldbuch der Wundarzney (Field Book of Surgery, 1517).

For years I wondered about the precise appearance of Wound Man after reading the following in Red Dragon (1981) by Thomas Harris:

“It was a coincidence,” Graham said. “The sixth victim was killed in his workshop. He had woodworking equipment and he kept his hunting stuff out there. He was laced to a pegboard where the tools hung and he was really torn up, cut and stabbed and he had arrows in him. The wounds reminded me of something. I couldn’t think what it was.”

“And you had to go on to the next ones.”

“Yes. Lecter was very hot – he did the next three in nine days. But this sixth one, he had two old scars on his thigh. The pathologist checked with the local hospital and found he had fallen out of a tree-blind five years before while he was bow hunting and stuck an arrow through his leg.

“The doctor of record was a resident surgeon, but Lecter had treated him first – he was on duty in the emergency room. His name was on the admissions log. It had been a long time since the accident, but I thought Lecter might remember if anything had seemed fishy about the arrow wound, so I went to his office to see him. We were grabbing at anything then.

“He was practicing psychiatry by that time. He had a nice office. Antiques. He said he didn’t remember much about the arrow wound, that one of the victim’s hunting buddies had brought him in, and that was it.

“Something bothered me though. I thought it was something Lecter had said or something in the office. Crawford and I hashed it over. We checked the files and Lecter had no record. I wanted some time in his office by myself but we couldn’t get a warrant. We had nothing to show. So I went back to see him.

“It was Sunday, he saw patients on Sunday. The building was empty except for a couple of people in his waiting-room. He saw me right away. We were talking and he was making this polite effort to help me and I looked up at some very old medical books on the shelf above his head. And I knew it was him.

“When I looked at him again maybe my face changed, I don’t know. I knew it and he knew I knew it. I still couldn’t think of the reason though. I didn’t trust it. I had to figure it out. So I mumbled something and got out of there, into the hall. There was a pay phone in the hall. I didn’t want to stir him up until I had some help. I was talking to the police switchboard when he came out of a service door behind me in his socks. I never heard him coming. I felt his breath was all and then – there was the rest of it.”

“How did you know, though?”

“I think it was maybe a week later in the hospital I finally figured it out. It was Wound Man – an illustration they used in a lot of the early medical books like the ones Lecter had. It shows different kinds of battle injuries, all in one figure. I had seen it in a survey course a pathologist was teaching at G.W.U. The sixth victim’s position and his injuries were a close match to Wound Man.”

Wound Man, you say? That’s all you had?”

“Well, yeah. It was a coincidence that I had seen it. A piece of luck.”

With the proliferation of online archives mysteries no longer stay unresolved for very long. There’s more than one Wound Man to be discovered, but the one that’s reproduced most often is probably the same one to which Harris refers. Feldbuch der Wundarzney by Hans von Gersdorff features a number of illustrations which turn up in later textbooks, if only as examples of the hazards of medieval medicine. Wound Man is one of the more popular examples, as is this illustration showing the treatment of a head wound which I think I used somewhere inside The Thackery T Lambshead Pocket Guide to Eccentric and Discredited Diseases (2003). Wound Man has also seen service in one of my book designs, appearing on the contents pages of Lucy Swan’s The Adventures of Little Lou in 2007.

Valhalla Rising

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Screengrabs from some of the more lurid moments in Nicolas Winding Refn’s Valhalla Rising (2009). Having watched Drive (2011) and Refn’s recent Only God Forgives I’ve been backtracking to his earlier films. Valhalla Rising is 90 minutes of apocalyptic doom set among sparring tribes in the northern wilds. There’s little in the way of dialogue or even anything resembling a narrative, the whole thing is a study of mood and character with one-eyed Mads Mikkelesen stomping and slaughtering his way through a series of very violent skirmishes and close encounters. Offhand I can’t think of another film where the central character (and ostensible “star”) doesn’t say a single word. Mikkelesen achieves that here and still manages to be a magnetic presence, more so than in the recent Hannibal TV series which hasn’t impressed me at all.

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One of the pleasures of Only God Forgives is its garish visual style. That’s an easy thing to apply to an already garish city like Bangkok but you need some audacity to conjure similar visuals from the natural world as Refn does in Valhalla Rising. There’s less of this than I expected from reviews of the film—I’d have been happy with a lot more—but it’s a promising development. That this is easy to create in post-production yet is still a rare thing in feature films says much about the lack of visual imagination in the current crop of directors. If you’re sympathetic to Refn’s brooding manner then Valhalla Rising is worth a look.

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Continue reading “Valhalla Rising”

What the Butler Saw by Joe Orton

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Dr Rance: You can’t be a rationalist in an irrational world. It isn’t rational.

“Lunatic” is a description suited to the frenetic pace and escalating calamities of the stage farce. Here the word gains greater resonance when the farce takes place in a psychiatric hospital. The customary sexual shenanigans are all in place—the play opens with Dr Prentice telling a prospective secretary to remove her clothes so he can see whether she’s suitable for the job—but in place of Carry On-style belly laughs we have another attack against authority and social ideas of normal behaviour, sexual or otherwise. This is a blacker shade of comedy than you usually find in farce. Joe Orton uses the mechanics of the form whilst undermining the cosy formulas; the ending is a happy one but only after the characters have gleefully overlooked double-incest and an act of rape. Bad taste was Orton’s forte, and that quality is very much in evidence here.

What the Butler Saw was one of several plays shown in the BBC’s Theatre Night strand in 1987. In this production Dinsdale Landen plays Dr Prentice with Prunella Scales playing Mrs Prentice. Timothy West (Prunella’s husband off-screen) perfectly incarnates the monstrous Dr Rance, a character so intoxicated with his own righteousness that he’s prepared to sign a committal order against anyone who crosses his path. (He boasts at one point of having committed his entire family.) It’s a great performance but West is ably matched by Dinsdale Landen and Prunella Scales. Barry Davis is the director. Plays such as this suffer without the involvement of an audience but this production gives an idea of how manic a decent stage production must be. The version on YouTube is in six parts.

What the Butler Saw: part 1 | part 2 | part 3 | part 4 | part 5 | part 6

Previously on { feuilleton }
A Genius Like Us: A Portrait of Joe Orton
Malicious Damage
Joe Orton Online
Joe Orton

A Genius Like Us: A Portrait of Joe Orton

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Last week’s reading was the script of Joe Orton’s Loot after finding one of the first published editions of the play. Reading a play is never the same as seeing it performed, of course, but it’s still very funny, and many of its digs at police corruption haven’t dated at all. There is a film of Loot but it’s poor stuff, with Richard Attenborough miscast as the belligerent Inspector Truscott. Much better is Douglas Hickox’s film of Entertaining Mr Sloane (1970) which appeared shortly before Loot, and which is worth seeing for Beryl Reid reprising her stage role as the unfortunate Kath.

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Orton’s brief career—a mere four years from complete obscurity in 1963 to his death at the hands of partner Kenneth Halliwell in 1967—is explored in A Genius Like Us: A Portrait of Joe Orton, a 70-minute BBC Arena documentary from 1982. Anyone who’s seen Prick Up Your Ears (1987)—Stephen Frears’ Orton biopic with a script by Alan Bennett—will be familiar with the train of events. Pamela Brighton and Nigel Williams’ film interviews some of the real people who appear in Prick Up Your Ears, notably surviving members of Orton’s family and Orton biographer John Lahr. In addition there’s a substantial contribution from Kenneth Williams, a close friend of Orton and Halliwell’s who was also badly miscast as Inspector Truscott in the first disastrous performances of Loot. Between the interviews there are some scenes from a lacklustre TV performance of Loot, a stage performance of What the Butler Saw, and bits of Entertaining Mr Sloane.

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Previously on { feuilleton }
Malicious Damage
Joe Orton Online
Joe Orton