The violence — even the coarse language — is restrained. The mystery unfolds gradually and logically, raising the suspense. The titular female lead is both troubled but capable and wonderfully self-sufficient. Lisbeth is played brilliantly by Rooney Mara, and Daniel Craig — showing far more nuances than he’s allowed in the Bond films — is likewise spot on with his portrayal of an investigative journalist whose assignment on an isolated Swedish island forms the spine of the tale.
The film is shot economically and beautifully, in keeping with the narrative of bad things being uncovered without veering overly into Gothic melodrama, and the performances across the board are understated and a joy to watch.
And to cap it all off, the soundtrack, by Trent Reznor and Atticus Ross, fits wonderfully, equally as good as their Oscar-winning showing for The Social Network. It makes a creative ambience on the home stereo, too!
The film has certainly washed away the disappointment of the dull and uninspired Tintin movie, which we saw earlier this week — Dragon Tattoo is a grand way to spend 160 minutes.
My novella Salvage, a seaside Gothic, is available for pre-order in paperback from Twelfth Planet Press for $15 plus postage.
“Seeking to salvage their foundering marriage, Melanie and Richard retreat to an isolated beach house on a remote Queensland island.
“Intrigued by a chance encounter with a stranger, Melanie begins to drift away from her husband and towards Helena, only to discover that Helena has her own demons, ageless and steeped in blood.
“As Richard’s world and Helena’s collide, Melanie must choose which future she wants, before the dark tide pulls her under … forever.”
The Forum is probably still shaking. The Dresden Dolls put out one hell of a lot of bass for a two-piece. With Amanda Palmer on keyboards and vocals and Brian Viglione on drums and guitar, the venerable Melbourne venue was both shaken and stirred.
It was a sell-out crowd, last night’s gig, and it was given its money’s worth. Melbourne bands the Jane Austen Argument and The Bedroom Philosopher provided support, and the Dolls played for the best part of two hours, right up to the witching hour, with two encores. Palmer crowd surfed her way to the stage at one point; Viglione was on stage chatting as we left after the house lights came on: nothing like a little hands on.
Viglione impressed behind the drums, using the instrument as a prop for his animated performance. He and Palmer worked off each other brilliantly, she in black bra on one side of the stage, he shirtless with bowler hat on the other. Indefatigable and unpretentious in his actual playing, Viglione’s talent and appeal is obvious, even if the recently quiet Dolls have been a tad overshadowed by Palmer’s solo cult.
There were canonical Dolls tunes including ‘Coin-Operated Boy’, ‘Missed Me’ and ‘Girl Anachronism’, brilliantly rendered live, and covers including ‘Mercy Seat’, ‘Two-Headed Boy’ and ‘War Pigs’ and an all-in cacophonous ‘You Got to Fight for Your Right to Party’.
A highlight — one that gave me a genuine frisson — was ‘Delilah’, with JAA’s Jen Kingwell singing counterpoint to Palmer. For so many verses, Jen stood quiet in the spotlight, and then, pow, she nailed that first high note, and never looked back. Judging by the screams from the crowd, I wasn’t the only one affected. Back in October, in San Diego, Palmer had JAA’s Tom Dickins sing the part, and it was likewise sensational. The duo just keep getting more polished, more confident, and last night I heard more in Dickins’s lower register, some real growl — what a voice! Last night, on ‘Delilah’, Kingwell showed her mettle, too. Stand back for their first single — a bold choice, this one — when it’s released later this month.
The calendar is flipped, the clock is ticking. Welcome to 2012.
Back in the year just gone, Lisa Hannett was canvassing for inspirational sayings of a writerly bent for her Tuesday Therapy. I came up with a mere word, which Lisa has just published at her blog.
Here, gathered sweaty and very non-new yearly limp around the water cooler — not much vim and vigour in the high 30s, I’m afraid, new year or no — the word, perseverance, sparked a discussion about the subtle difference between it and persistence; a degree of resistance to be overcome in one, an inner spring of tenacity in the other. It probably comes down to how you approach your writing challenges. The main point being, that you keep going.
Of course, what I *could* and possibly *should* have sent Lisa was my favourite quote — I don’t know why it didn’t jump immediately to mind, it wasn’t even outrageously hot at the time; and yes, I am also shite at witty rejoinders. So here’s a bonus Tuesday Therapy and a rather timely one for this time of year, all those blank squares on the calendar, scribbled resolutions and what not:
It is Neil Gaiman’s Death and a wonderful saying that I’ve taken to heart, ever since I first saw the motif on a t-shirt. It speaks for itself.
I’m starting to quite like George Clooney. I like his attitude. He isn’t afraid to play the non-hero, either. He does subtle and quiet well. We saw one of his latest movies, Ides of March yesterday: it stands out from the pack of twee Christmas fare; our choices were quite limited. The movie tracks the campaign of one of those things they do in America, where candidates to run for president must face off against each other to represent their party … Clooney is the green of the piece, espousing policy that will never be accepted in the American dream however much we might wish, things such as alternative energy and a fair health system for all. And he’s doing well, if only he can win this one state over, it’s all the way to the White House. The focus is on the campaign managers, how they fight for the public’s vote. It’s image and it’s spin and it’s dirty tricks. Ryan Gosling is trying to fight clean. Unspectacular and unsurprising though the movie may be, watching Gosling’s tyro fall is a bittersweet delight. Well played, all.
To the small screen, and there are two shows we’ve gulped down recently: American Horror Story and Black Mirror.
American Horror Story puts such a delightful spin on the trope of the haunted house, it is must-see. It doesn’t throw the viewer any bones, either; flashbacks can occasionally be jolting and confusing, but it all comes out in the wash. The ghosts are amazingly well drawn, to the point where it took quite a while to work out just who was haunting who. And Jessica Lange’s performance is to die for. Heh.
Black Mirror, alas, a mere three episodes of which have been made, is British. Three standalone episodes survey issues of society and technology. The first, a terrorist demands the UK prime minister fuck a pig on national TV, or the kidnapped princess gets it — media and internet communications are in the spotlight. The second, a future world, and celebrity can be the way out of drudgery, but there’s a price… And in the third, what if we all did have implants that allowed us to never miss a thing — memory on instant playback?
Black Mirror comes from Charlie Brooker, the writer who gave us Dead Set, simply one of the best zombie dramas of recent years, and Black Mirror is likewise sharp and unstinting. Brilliant dialogue, perfectly timed, superb world building without and not needing explanatory notes, effects that enhance without jarring or looking trite.
And one of the things that makes all three shows stand out is the quality of the acting. From the minor to the majors, the casting on all three is superb. Black Mirror in particular makes impressive use of non-verbal cues — the silence can be so telling. Black Mirror has to be one of the best shows of 2011. Let’s hope there’s more to come…
Speaking of more, the trailer for David Fincher’s Girl with the Dragon Tattoo has me all excited (the eight-minute version moreso; the Trent Reznor-Atticus Ross soundtrack is a delight). Not so much, the last of Christopher Nolan’s Batman movies, but I’ll go anyway. And Ridley, oh Ridley, you had me all in a fluster about Alien “prequel” Prometheus, and then I was told it’s being shot in 3D, and now you’ve got me all afeared. Thank goodness there’s Tinker, Tailor, Soldier, Spy on the way: we saw a trailer while waiting for Ides of March, and the cast, the mood … it all looks just bloody brilliant.
Brimstone Press is showing a pleasing glow of resurgent life after a meltdown earlier this year which saw press releases announcing much pulping of stock. The website carries three available titles, announces an Australian distributor and promises further titles to come.
Another Aussie publisher specialising in the dark side is Dark Prints Press, who has announced a new anthology of supernatural crime stories and has also opened its doors to novellas.
Which is a timely reminder that Twelfth Planet Press is looking for novels — send submissions throughout January.
WA writer Martin Livings has flagged the cover of his forthcoming anthology Living with the Dead and it’s a beauty — just what you want for a 20-year retrospective.
And you can get some insight into the issues surrounding the e-publishing revolution with a collection of essays commissioned by if:book Australia — High Tech Hand Made is free!
And non-writerly but wonderful is the new single from Brissie band Felinedown, playing a New Year’s Eve gig with Tycho Brahe — damn shame to be missing that gig.
[Update, 18 December: Steve Rossiter reports (in the comments section here) a third version of the D Pub contract is promised [Dec 24: Rossiter still finds holes in the new Dymocks’ contract, calling it a wasted opportunity]. Meanwhile, Writers Beware has posted this succinct summary of some of the concerns sparked by the original contract, which presumably will be addressed in the amended agreement for those wanting to use Dymocks’ distribution.]
[Dec 24: Crikey has interviewed Rossiter, and also provided a handy synopsis of the D Pub issue including links to the various criticisms levelled at the original contract.]
Dymocks’ D Publishing has been doing the PR rounds trying to hose down the criticism of their contracts — the ones you have to dig through their help menu to find — for those who want to use the service to not only print their work, but have it distributed. Those two arms of service do seem to have blurred in commentary, perhaps because D Publishing isn’t staking out that division strongly enough. It’s something they’re trying to address with PR, rather than website design or clarity. Still, early days…
Steve Rossiter, who issued a warning about the terms and conditions when first announced, and wasn’t wholly convinced by the second pass, has since had a chat with D Pub and seems somewhat mollified.
And over at Bookseller + Publisher, Dymocks has played serve and volley with contracts expert Alex Adsett, and has done a fairly good job of avoiding the actual issues she raises about Dymocks’ rights policy while playing the line that Dymocks is there to serve the author. In which case, they’d put their terms and conditions up front and centre for those considering publishing with them (as opposed to merely printing), and remove the ambiguity that Adsett has identified. But, you know, as I said, early days…
As always, it’s a case of ‘let the buyer beware’: shop around for the service that offers the quality, product and cost-effectiveness that best suits your needs, and mind the small print. One thing you can’t argue about: being publisher, distributor and sales outlet is a great example of vertical integration.
Meanwhile, Zena Shapter has been searching for what makes a good anthology or collection. I’m judging the Aurealis Awards in that very category this year, my second year in a row (which means I really should be doing some reading right now!), so I was included in her survey of editors and judges to see what they looked for from within three criteria — quality writing was pretty much the unanimous pic. The message here: love that talented editor and don’t let them go!
Kevin Powe — I’m catching up a bit here — recently blogged about sexism in the tech industry (he was also catching up, on Ada Lovelace Day) and, in the wake of the announcement of the Australian Women Writers 2012 Challenge, it’s worth a read. Also, neat to see him namecheck one of the editors who’s published my non-newspaper work.
The stereo is cranked up for summer, and here’s three bands firmly ensconced on the stacker (in alphabetical order!):
The Jezabels
One of the things I like about the Jezabels is that I can tell it’s them when I hear them. Their identity is in the drumming — man, Nick Kaloper works hard! — and the unmistakable vocals of Hayley Mary, the ebb and flow structure of their tunes that makes the most of her range. The Aussie band landed their debut album, Prisoner, this year, after wowing with three EPs and a considerable reputation for live performance. It’ll be interesting to see where they go with their next album, but for now, I’m enjoying the here and now, in particular the album’s strong openers ‘Prisoner’ and ‘Endless Summer’, those bars of sultry summer guitar that pop up all over this smooth road trip of an album with its sign posts harking back to the ’80s.
Kidneythieves
The video for ‘Taxicab Messiah’ inspired a bit of a binge on this US duo’s music, and the albums sampled so far — 2004’s Trickstereprocess, Trypt0fanatic from 2010 and the most recent, this year’s EP The Invisible Plan (free track available for download) — are remarkably consistent.
Probably the hot fave at the moment is Trickstereprocess, a revamped issue of the band’s 1998 album, Trickster, with a few bonus tracks. It opens with the aforementioned attention grabber and unfolds like the best of sonic rollercoasters, melding trip hop, rock and synths on a solid foundation of compelling bass grooves. At the fore is the rather fetching vocal style of Free Dominguez, hitting buttons ranging from Portishead’s Beth Gibbons to Collide’s kaRIN to Berlin’s Terri Nunn. (Speaking of Berlin: a new album is in the works — wunderbar!) The album exhibits plenty of light and shade: thumping drums on ‘Pretty’, for instance, standing out from the favoured fuzz guitar attack — there’s a rock ‘n’ roll heartbeat under the synths, for sure.
Slinkier, but no less intense, is Trypt0fanatic, with an array of strong tunes: the grab bag of ‘Beg’, the full speed ‘Size of Always’, the sexiness of ‘Lick You Clean’ and catchy ‘Dead Girl Walking’ are highlights.
The Invisible Plan ups the electro quotient yet further, heading into sultry terrain.
Any of these Kidneythieves outings would provide an ideal soundtrack for building up a party sweat under Chrissy lights.
Ladytron
UK-based Ladytron released their fifth studio album, Gravity the Seducer, this year, following up from a greatest hits collection. It’s so very smooth, gliding along with synthesisers and twin vocal melodies from lead voice box Helen Marnie and Mira Aroyo (whose accented delivery adds flavour when she steps up front). The album doesn’t have such immediately fetching tunes as previous singles ‘Destroy Everything You Touch’ (Witching Hour) or ‘Runaway’ (Velocifero), but there are some beautiful arrangements: on ‘White Gold’ and ‘Altitude Blues’, for instance, and the comparatively up-tempo instrumental ‘Ritual’ (one of three on the album); ‘Ambulances’ has a cinematic quality, a tinge of dread absent elsewhere. A suitable album with its steady, almost carousel, rhythms for setting the mood to ‘chill out’.
Twelfth Planet Press has announced the forthcoming publication of my novella, Salvage — big smiles all round. The novella was written primarily over three consecutive years, at my writers’ group retreat on Bribie Island, and then finished off in a fourth retreat on the shore of Lake Weyba at Noosa. The cover art is by Dion Hamill, who also provided covers for TPP’s Horn, amongst others (and not, as previously written here, TPP’s edition of Marianne de Pierres’ Glitter Rose). Now, the edits…
A little while ago, writer and reviewer Thoraiya Dyer said that one day I might provide her with a glimmer of hope in a short story, and I said, much chuffed with her review, that I was working on it and the jury was still out. Well, the jury has returned its verdict, and I’m pleased to say, it’s guilty. ‘Mornington Ride’ has found a home in the FableCroft anthology Epilogue, the theme of which is hope after the apocalypse (it’s original working title was, in fact, Apocalypse Hope). I think ‘a glimmer of hope’ sums up my yarn well. The icing on the cake is that Thoraiya has a story in the anthology as well!
Here is the table of contents:
‘Time and Tide’, Lyn Battersby
‘Fireflies’, Steve Cameron
‘Sleeping Beauty’, Thoraiya Dyer
‘The Fletcher Test’, Dirk Flinthart
‘Ghosts’, Stephanie Gunn
‘Sleepers’, Kaia Landelius
‘Solitary’, Dave Luckett
‘Losses Beyond the Kill Point’, Kathleen Martin
‘Cold Comfort’, David McDonald
‘Mornington Ride’, Jason Nahrung
‘The Last Good Town’, Elizabeth Tan
[Edit: due to my botching the WordPress publishing feature, this post originally appeared with a too-early date stamp.]
