Shiver the Whole Night Through

Book Review

***

Shiver the Whole Night Through is the first Young Adult (YA) novel by Darragh McManus, best known as a crime writer. McManus’s book is ambitious in the themes, as it goes into consequences of bullying and even touches superficially on the topic of teenaged suicide. It does so through a noir-supernatural-horror-romance combination.

                               

Aidan Flood is a teenager on the verge of committing suicide. He has good reasons to be depressed, but a traumatic experience makes him delay his attempt and eventually changes his mind about ending his life. After a local beauty, Sláine, is found dead, Aidan tries to confirm the causes of her death. Something tells him she did not commit suicide as the Guards think; she doesn’t strike him as the type. In his search for the truth, he receives help from Sláine who comes from the other side, falls for her -as this new non-corporeal being- and discovers the secret history of his hometown and its spooky forest, Shook Woods.

McManus mentions in the foreword that there is a soundtrack to the book, with melancholic and even spooky songs to help to set the eerie tone for those reading. As in this foreword, there are several moments where I see the writer not letting the story explain itself. There are certain occasions, in Aidan's transformation as a character -suggested by his actions and thoughts- that McManus has a tendency to over explain. The way some scenes are picked apart is distracting, especially since such explanations may not be needed by a sharp reader.

Shiver the Whole Night Through, whose title is taken from a Nirvana song, does set a depressing and later a scary tone, which is diluted a few chapters in. At this point, romance and the inherent Irish humour lighten the events, soften the tone and even brighten up the story. Aidan finds in Sláine that someone he thinks he can trust and finds himself as the protagonist of quite a fantastical story (with supernatural, horror and noir elements) from which he doesn't want to escape.

The narration is done through Aidan, his thoughts and what he sees. It is a fact the reader is able to put two and two together, well before the character admits something to himself. But this doesn't steal any credibility to the character, who becomes more mature and confident gradually, and it’s consistently well written.

The action lacks pace. The story takes a few days to get going -the novel is set in a period of several months- and the plot seems to drag around a couple of times until we confront the final conflict and resolution. It explores the changes in Aidan's life, how he recovers his self-esteem and becomes a hero in the traditional sense (with a little help from his friends).

You can appreciate McManus decision of setting the story in Ireland and do it with all its consequences. He uses Irish names, expressions and even references to some stereotypes about Irish people, like not doing "emotional honesty” with members of your family. This is a brave choice, since a vague location may help a YA novel, at least from the distribution and selling point of view.

Shiver the Whole Night Through is an ambitious book. It succeeds to define its characters. Although the mixture of genres works out fine with the tone of the story, in some cases it operates as a distraction for the reader to solve this supernatural puzzle.

The Mariner

Theatre Review

****

There is no hiding place in the set decoration for The Mariner. The action occurs on a naked stage with a sole chair, an old portrait and a change of clothes suspended from the ceiling. The stage resembles the hold of a ship, conferring it with a cold look. The three actors remain on stage at all times, turning their backs to the audience when they are not involved in the action.

Peter Shanley (Sam O’Mahony), a Royal Navy sailor, is sent home after the World War 1 Battle of Jutland in the North Sea. He carries a letter in which very little is explained about the circumstances for being discharged.  He is unable to speak and his head is covered in bandages. The state he is in causes two very disparate reactions in his wife, Sally; and his mum, Mrs. Shanley. It’s as if he was two different men. Sally (Lisa Dwyer Hogg) is happy to see her husband again, who she barely got to know before his enlistment. Mrs. Shanley (Ingrid Craigie) is convinced the sailor is not her son and constantly looks for proof of the intruder's identity.

The tension builds throughout the play around the figure of the sailor, whose uncertain identity creates a conflict between two members of his family. And also, what we could consider the symbols of two generations: one who calls for freedom in the year of the Easter Rising; the other who is in favour of the Empire.

The mariner regains his ability to speak in the course of the play, a progress that reveals the splendid text by Hugo Hamilton. Words are the only protective shield left to the actors. The words that intensify the conflict and make the audience uneasy with a question: who is this man interrupting Sally and Mrs. Shanley’s life?

Sally is a loving wife who sweetly undresses her husband and helps him to become the man she once knew. She tries to make him remember and infuses the scene with passion, tender feelings and caring gestures. The couple’s swing on stage represents all of this, and a memory of their time together as husband and wife before his departure. She personifies the hope for the new, for change, for better things to come.

Mrs. Shanley is obsessed, needs reassurance about her son’s identity and seems almost inclined to believe anything but that Peter has returned home safe and sound. She holds ont0 the old ways and would prefer if no change would occur at the end of her life.

Dwyer Hogg holds a significant weight in the performance. She is convinced the sailor is Peter and happily welcomes the love of her life, gone for a long time. Craigie answers this situation with distrust and anger that she directs to that man whom she doesn’t believe to be her son.  As the story moves forward, the mariner becomes a civilian and finds again his own voice, which inevitably will result in one of the other characters to be expelled from the scene.

A hidden picture of the Royal Navy sailor found by Hugo Hamilton as a child, of who he thought it was his dad’s father (The Speckled People, 2003) inspires a compelling story about what war does to men, and what comes back from it.

The sounds of a town, of the harbour and a few minimalistic piano pieces complete this atmospheric play. A piece invaded by a claustrophobic feeling despite being performed on a stage populated just by words.

The Book of Life

Movie review (published by Geek Ireland, October 27th) 

****

Colourful sugar skulls, marigolds and the imaginative universe of Mexican El día de los muertos -the day of the dead- inspire Jorge R. Gutiérrez’s first film for the big screen.

The story of The Book of Life, shared by a mysterious museum guide, is the tale of three close friends: Manolo (Diego Luna), María (Zoe Valdés) and Joaquín (Channing Tatum). Manolo and Joaquín are both in love with María, who is sent to Europe to become ‘a lady’. María's return a few years later is the cause of the confrontation between her friends, who compete to gain her love. Nothing too revolutionary so far, but here is the twist and the disturbing secret behind the scenes. La Muerte, Queen of the Remembered, bets against Xibalba -who rules the World of the Forgotten-, as she is certain Manolo will triumph over Joaquín to conquer María's heart. But this is not just a love story or a tale about a silly gamble; this is an adventure that may bring an end to humankind, which is, unfortunately, in hands of these two volatile creatures from the other side.

The Book of Life is delightful: the character design and the worlds we see throughout the story are visually stunning. While the museum parts are not particularly interesting, the wooden figurines -used to represent those living in the town of San Angel- and the Remembered -inspired in the mentioned sugar skulls- are an absolute treat. The 3D version enhances its very detailed design and takes the audience's experience a step forward, as it did with Coraline (Henry Selick, 2009). The characters in the land of the Remembered have a slight resemblance to some of Tim Burton’s latest creations, but their aesthetic is so much more astonishing.

For those less familiar with the festive tone of El día de los muertos, it may come as a surprise a children's movie can come from the celebration of the dead. The explanation is simple, in Mexico, remembering who have departed is a way to keep them alive. Mexican folklore does not only make possible this wonderful movie, but enriches the stimulating colour palette and the visual aspects of it. This is a film not only for the small ones, but for anyone: though you may be in danger of coming out of it with a bit of a visual sugar-high.

A general audience may also enjoy pop references such as Creep sang by conflicted Manolo, forced to become a bullfighter to continue with the family tradition. Mumford & Sons’ I Will Wait is also featured, but with a mariachi taste. And let’s not forget to mention the traditional Cielito lindo, sang by Spanish tenor Plácido Domingo, no less. These songs, a wink to those forced to bring the little ones to a Halloween movie, are the source of comic gags, and fit naturally in Gustavo Santaolalla’s score.

The Book of Life has first class talismans: Ron Perlman, pop music, Oscar winner’s soundtrack, Diego Luna's charm and of course, Guillermo del Toro's blessing. Jorge R. Gutiérrez takes a brave approach to animation, incorporating Mexican folklore elements and spinning them off to create one of the most spectacular animated films of the last few years.

In this globalised world, in which we forget to pay attention to the cultural wealth that vibrates all over the globe, it’s refreshing to receive a title that not only familiarises us with other traditions, but that does so in an engaging way for all ages. This is a real Halloween treat; do not miss it for the world! n, it may come as a supfestive tone of this tradition, it may come as a sup

Love, Rosie

Movie Review (published by Geek Ireland, October 21st)

***

Love, Rosie is a British -slash German- movie, based on a novel by Irish writer Cecilia Ahern (it’s the adaptation of Where Rainbows End). Perhaps this is all a bit confusing.

Rosie and Alex are best friends since they can remember, but are afraid of getting romantically involved, as they are not sure if they are right for each other. Everything that happens next follows the classic pattern of a romantic comedy. Though the plot goes on and on in circles for twelve years until these childhood sweethearts get back together. There are pregnancies, wrong husbands and wives, stolen mail and an endless list of clichéd elements. However, they don’t make the watch less enjoyable (unless the viewer is expecting something more than an easy consumption movie).

Unwanted teenaged pregnancy and other serious matters are included in Alex and Rosie's story, but with a sugar coated tone. The heroine manages to take the right decision to keep her angelical aura throughout the film. Rosie, interpreted by Lily Collins, is allowed to be an innocent, sweet and apparently flawless heroine until the end. Flawless, if we manage to forget that she goes through life making the same mistakes than any mere mortal makes. Although many delicate matters are suggested throughout the story, the approach has a lot more reservations than in per say Obvious Child , but this riskier title did not manage to create much of a romantic vibe around its characters of for that matter that much sympathy. So, they are even.

Collins as Rosie and Sam Claflin –Finnick in The Hunger Games: Catching Fire- playing her best friend/school sweetheart Alex are believable as a couple. They are also the right cast choice to interpret teenage kids and more grown ups versions of themselves. Another successful and efficient cast choice is Rosie’s real best friend played by Jamie Winstone, who takes part in the pharmacy scene (one of the best ones without a doubt). There are other scenes that work well and keep that air of refreshing British comedy (a lá Bridget Jones) such as the ‘first time’ scene and the lift line.

The music in Love, Rosie is a playlist of those hits you are trying to forget existed; but made you dance like crazy because you were younger and less wise than you are now. There is an element of interference in the way the music is fit into the final cut. Those hits, adjust perfectly fine in the story line, but they replace the possibility of more dialog, which points out a lacking screenplay.  At some points the music reminded me of that episode in 30 Rock, in which Avery and Jack are trying to take a very important decision and the music is turned up by some randomer. Unfortunately, in Love, Rosie, the characters don’t have the power to ask for the music to be turned down.

Cecilia Ahern’s novel is a succession of letters, e-mails, IMs and other forms of modern communication used by human beings. So, there is no traditional narration, but the one done through the messages exchanged by the main characters. But Love, Rosie’s script does not take advantage of so many raw materials from the original novel. Or, is it the disinterest of the director, Christian Ditter, to exploit potential tense moments between the characters?  

Where Rainbows End was published in the US with the same title as its movie adaptation. The title choice for this movie, to clearly give better chances to its distribution in America, is the ending line for a letter, funny enough fact since Rosie does not write a single missive in the movie!

Love, Rosie is cheesy, has a predictable ending (let's not forget we are talking about Cecilia Ahern here). But all and all, it’s a very enjoyable romcom that blends into the American model, with refreshing moments as it corresponds to a British comedy. 

Gold

Movie Review (published by Geek Ireland, October 13th)

**
Gold is an Irish comedy, at least that’s what I was made to believe. There is just a small issue with that statement, I did not laugh once. Gold starts with a reasonably comical scene, a rebel teenaged Abbie (Maisie Williams) looking for ‘food supplements’ to improve her performance in cross country running. Abbie, accompanied by her terrified friend Devon (Patrick Gibson), meeting the drug dealer at a gym is a good opening.

Ray (David Wilmot) is in his forties, when he decides to go back to his hometown to reconnect with his ex-girlfriend Alice (Kerry Condon) and daughter Abbie. Alice asked him to leave, so she could raise their child with the PE teacher, Frank (James Nesbitt). Ray, who is been absent for ten years, causes a disruption, in their quiet and structured life.

The pace in Gold is lacking, the first few scenes and the introduction of Ray’s character into the family home does not get the story going anywhere. It’s not until a family day trip and the extraordinary event that takes place there that the story moves forward. The script fails to explore why the family is dysfunctional, or if it is at all. It does not go into a deep understanding about why Alice took the decision of raising Abbie away from Ray.  

Ray’s relationship with Abbie has a more natural progression. Abbie does not trust her biological dad; she thinks he’s homeless, but due to some special circumstances she feels pity for him. The compassion she shows for Ray a bit easier to understand, but still quite forced. Abbie manipulates him, but doesn’t feel any respect for him, which it’s a natural development for a relationship that has been shovelled into her life at an awkward time.

David Wilmot does have some decent lines like “You want a hug or something?” Though, It's hard to believe he is charming enough to shake the foundations of a relationship within a few days of showing up. Ray is insecure, seems to be on the verge of crying most of the time, and is homeless. This may be a very snobbish statement, but how is he able to shake anything with that description?

James Nesbitt in the role of Frank is the comic relief in the story. His high performance coach video is the cause of a couple of smiles, a sketch that unfortunately gets overused and old by half way through the film.  

Heery’s second film – after Small Engine Repair in 2006- has a predictable ending, and that’s no crime if your movie moves the audience. The problem with Gold is that fails to be a comedy and fails to be a drama too.