Brown Stew & Tosh

I never thought I’d see Maltbeam again. Assumed he was dead. We’d been pals round the pubs very early in the war then he said he was being posted overseas and I’d more or less forgotten about him, as one forgot many people encountered and mislaid in those days. “We’ll meet up after this lot’s over” was a common motto. Often enough it came off.

It was easiest to track down people like me who stuck to a beat of watering holes around the Tottenham Court Road end of Oxford Street. North Soho, all that. So it was that Maltbeam found me again, in the public bar of the Lion and in a good mood.  I’d had a double come up at Taunton the day before: Notoriety and Boveridge.

Maltbeam said he’d had a devil of a time of it fighting for king and country. That caused me to reflect that my great struggles in history’s largest conflict, apart from dodging bombs and doodlebugs, was finding coins for the gas fire and trying to get poems published in Penguin New Writing.

Maltbeam seemed to have put quite a bit of chub on. I mentioned this as food was hardly plentiful that first winter after the war. “Oh, I had a good landlady in Dover,” he said. He didn’t say what he was doing in Dover. I didn’t pry into his war service but after a few drinks he came out with a catalogue of close-run-things with death: North Africa, Italy, Germany, the whole show as he put it. “I’ll tell you,” he said. “It was hell.” He certainly seemed lucky to make it back.

“When I killed a Jerry,” he said, “believe me I thought, one up for us. I know a bloke who got a little crooked cross tattooed on his back for every Nazzy he did in. I can’t believe I came back. Never thought I’d see London again I can tell you. Anyway, I’ve found a bed-sitting room now and I need a job – I’ve got enough for beer and fags till Sunday. Hero’s welcome, what.”

Behind the bar the landlord, Teddy, was shuffling about in carpet slippers and an ancient cardigan, feeding his caged parrot, Tosh. Teddy’s green cardigan was complementary to his crimson grogblossom, making both a bit richer. He congratulated me on the double. I wished he had not. In fact knowing old Teddy he may have done it on purpose. I knew what was coming.

“Lend us two quid will you, chum?” Maltbeam said. “I’ll pay you back next week.”

Of course, this was a bit much. Teddy winked at me.

As Maltbeam made his request Tosh sidled rapidly along his perch, inclined his head and stared at Maltbeam. “You fat ___­,” said the parrot tartly. Maltbeam laughed – we all did. “He’s on the scrounge,” shrieked Tosh.

“You want to watch that bird, Teddy,” said Maltbeam. “He could get you into trouble. What if he says a word like that to some old girl who’s well-to-do?”

“Don’t get that sort of customer in here,” said Teddy. “He only talks to people he takes a dislike to.”

I lent Maltbeam the two quid, and he bored on again about his war. Now and again he’d look across at Tosh, who stared right back at him.

*

Of course Maltbeam didn’t pay me back the following week. About a month later on a Sunday evening at the Lion I was still nursing a rotten hangover from the morning. The place was deserted except for two young BBC types along the bar from me. One was tall in an old brown suit and had a toothbrush moustache, and the other a dumpy type in tweeds with rosy cheeks from beer. I knew them both as regulars at the Lion, which in those days attracted a thirsty clientele from the national broadcaster. I was content to stay out of their talk, which was usually on an arcane political or cultural theme.

“Well, we’re a socialist country now,” Clive, the dumpy one, said. “You’ve got to admit that.” He was misty-eyed at this. “They didn’t achieve that in Spain.”

Rollo, the tall one, sipped his beer. “Quite,” he said. “But Lewis is of the opinion that it could all go horribly wrong.”

“Who’s Lewis?”

“My pal, the professor.”

“Yes but he’s a professor of corners or something, isn’t he?”

“Rectangles, I think. Something like that. I wanted him to give a talk on the Third Programme about it but when I saw his script it was quite impossible. Completely impenetrable. If I couldn’t understand a word of it what chance did listeners have? It went on about things such as continuous function and topological space. I thought, I’ll get TS Eliot instead because it made his stuff look like the Beano.”

“The intolerable shirt of flame, eh,” I quoted, butting into their conversation. Well, you would butt rudely into the conversation of someone called Rollo, wouldn’t you.

“Yes, that’s right,” said Rollo.

“I’ve always hoped to find an intolerable shirt of flame in a 15½ inch neck in the summer sales,” I said. Clive snorted but stopped when he saw Rollo was not amused.

“Lewis takes a strong line,” said Rollo to Clive. “A very strong line. He thinks the people should rise now. Storm the citadels of power. We’re still up to our necks in filthy capitalism.” Rollo gave a disagreeable glance at me as he said that. “Up to our necks in it. I’d arm the people.”

I had a vile headache born of mixed drinks consumed injudiciously at lunchtime. I took a long draught of bitter and hoped it would help. That’s when the Lion’s old mock-medieval door creaked open and Maltbeam appeared in his British Warm, for it was a cold night. His big red face cracked a grin as he moved down the bar.

It was deliciously warm for once as Teddy had grudgingly banked the fire up. Maltbeam caught the end of another speech by Rollo about violent revolution and looked askance. “We’ve just had a dose of violence, chum,” he said loudly. “Six years of it. Of course – you may not have seen much of it.” This was ignored.

“Thank God for heat,” said Maltbeam. “My gas fire’s broken.”

Rollo and Clive were onto whether they could execute someone. “If the cause is right and just then you must,” said Rollo. He drank some more beer. “It’s your duty.”

“But supposing it’s the King, or some other royal person,” said Clive.

“Shoot the King?” said Rollo wonderingly.

“Oi,” said Teddy as he placed a pint in front of Maltbeam. “That’s enough of that. Just you behave yourselves. We won’t have talk like that in here.”

As Teddy went to the till Tosh, who had noted the arrival of Maltbeam, scraped along his perch. He looked rather seedy.  He turned his head and peered at Maltbeam out of a sinister eye. “You’re a ____,” said the parrot. His high-pitched rasping voice was horrible and comic, like a ventriloquist’s dummy. The worst of all words hung in the air. It was ironic given Teddy’s warning to the BBC pair. They laughed, no doubt seeing Tosh’s remark as a sort of vengeance for what Maltbeam had said.

Maltbeam raised his eyebrows, then his pint and said cheerio.

We started talking about money, women and prospects. I noticed that Tosh was moving his head from side to side but his attention remained fixed on Maltbeam.

“D’you know,” said Maltbeam. “I wonder what it was all for, the war I mean. I risked life and limb time and time again and when I got home I found my wife was shacked up with an Italian PoW, my old job had vanished and now I’m in a pub listening to bolshies talking about killing the King.”

Before I could offer any remarks Tosh said: “I’ve told you once, you’re a fat ____. Kindly leave my pub.”

Teddy, perched on a high stool, chuckled round his pipe. Maltbeam was discomfited. “You think that’s funny, do you?” he asked Teddy.

“I didn’t say it, did I?” said Teddy, his low voice muffled by his moustache and lack of teeth.

“He’s merely laughing at the surrealism of the moment,” ventured Rollo.

Maltbeam did not even turn round to remonstrate. He just said: “You keep out of this, Mary.”

Then to me: “Do you know what, chum, I’m going to have a scotch. It seems like the whole bloody world is against me.”

So Maltbeam did; and another, and another. As we talked and drank he looked at the birdcage warily. Tosh stared back at him. Clearly Maltbeam had money but I did not think it politic to raise the two quid owed.

With all five of us smoking, the bar was wreathed in a fine grey mist. My headache had eased right off. Rollo and Clive were now tipsy and talking about some variety programme on the wireless. Thanks to the ale and scotch Maltbeam, who never had much of a head for drink, was boozed up. Inevitably we’d got on to his war days. Restless energy flowed through him. Now he was on his feet acting out the storming of a machine gun nest. “…I came over the top and went in for the kill with the bayonet,” he said. He mimed holding a Lee-Enfield at just that angle. “I pulled back the gun for the final irremediable plunge…”At this point Tosh’s querulous voice cut across Maltbeam: “Oh for Christ’s sake shut up, you boring ____” the parrot said.

Maltbeam looked round. His wet blue eyes glittered madly. “One more word, one more word and I’ll do that bloody bird,” Maltbeam snarled. “So help me, I’ll do that bloody bird.”

“I told you to shut up,” said Tosh. “You’ve had too much for one night. So shut up.”

“You shut up,” said Maltbeam.

“You’re a big fat ____, why don’t you just ____ off out of it,” said Tosh. This last bit of cheek seemed to almost stupefy Maltbeam with shock. He was of choleric colouring by nature but now he reddened deeply as his surprise added to his rage. “Take that bird out of this bar, landlord, or else I’ll do it,” he yelled at Teddy.

“Can’t do that,” said Teddy in an amused voice; “can’t take Tosh out of the bar. He likes it in here. If I put him out the back he starts singing Nearer My God to Thee. It gives me the willies. It’s only a bird, mate.”

“Look,” said Maltbeam to me in a rather rattled voice, “why don’t we go round the Tartan? You fancy the landlady and – ”

“Ain’t you got a home to go to?” said Tosh. “Where’s yer missus?”

At this, Rollo and Clive squealed with amusement. By God Maltbeam looked mad. He reached into his greatcoat and produced a revolver.

“Win that throwing coconuts?” Teddy said.

“It fires a stick of Brighton rock,” said Rollo with mock authority.

Maltbeam swore horribly. “One more word out of anyone, especially that parrot, and things’ll get very lively.”

“Shut up, you _____,” said Tosh. “I won’t tell you again.”

Rollo and Clive laughed. Before anyone could say a word Maltbeam raised his arm, took aim at the cage and fired.

There was a split second of great confusion: a big crack, a spark and a puff of smoke in the tobacco fug, then another. For a moment I could see nothing. All I could hear was the shrieks of Rollo and Clive. Maltbeam pointed the gun at them and said: “Want some?”

Rollo had the sort of unfortunate accident more associated with children than adults. Clive had his hands up as if in a Western.

“You ____”, said Tosh. “Call the police, Ted!” I suppose it was a phrase he’d heard Teddy’s missus use.

Maltbeam aimed the revolver at the parrot. I knocked it out of his hand then grabbed it from the floor. Maltbeam went to take it off me but I pushed him away. As I did I expected to hear Teddy deliver a volley of remonstrance but all I could hear was his wife shouting down the stairs asking what was going on. “Look at Teddy,” shouted Clive. Teddy lay on the floor behind the bar. My headache was back with a vengeance.

*

Teddy was quite dead. One of the bullets had bounced off something and hit him. The other one went through a mirror behind the bar. Seven years’

bad luck, I’d said. Maltbeam looked a bit green. Much of the above had to be given out by me from the witness box at the Old Bailey.

Maltbeam had dashed out of the pub and spent a day or two on the run before being found staring into the middle distance on a bench in Regent’s Park.

He was not an especially contrite defendant. It came out that he’d tried to strangle his landlady in Dover but she had not reported it until after Teddy’s shooting made headlines.

Along with his threat to shoot the two BBC men, who also gave evidence, there were a good deal of other unsavoury incidents to be taken into consideration. Maltbeam was a rogue, a thief, a strangler manqué as well as a lethal looser-off of revolvers in public houses, the court was told. The prosecution introduced the idea that he might have drunkenly been out to settle Teddy’s hash rather than Tosh’s. They’d dredged up some row he’d had with the landlord long ago. There was, they said, no getting away from the fact that Teddy’s death had been caused by reckless shooting with a Webley bought on the black market.

Somehow they stood up a murder charge. Another aggravating element for Maltbeam was that the incident at the Lion occurred not long after an armed robbery that resulted in the killing of an innocent bystander had made headlines. A hard mood had emerged in the judiciary. The upshot was that once the guilty verdict was in, the judge put the black cap on, and an expected reprieve did not come.

*

I visited Maltbeam while he was in the condemned cell. It was a day of dreary fog when I took the tube to Caledonian Road and thence to Pentonville. Two warders brought him to the visiting room. He looked a bit slimmer and less choleric.

I did not have the first idea what to say. It seemed a most awful moment. Maltbeam had been looking down at a packet of fags I’d brought him. Now he looked up. His mad blue eyes had turned a little bit grey. I had feared he would burst into tears but not a bit of it. Maltbeam launched into a diatribe.

“I dare say you have seen in the papers that the home secretary has dismissed my appeal. You’d think he’d have a sense of humour. As the Daily Sketch had it, I set out to murder a parrot and ended up killing a man. Mind you, the home secretary’s a Unitarian, isn’t he?” He was lisping, and explained he’d broken his false teeth. “Obviously, given my predicament I’ve been boning up on religion: you want half an idea of what you might be getting into on the other side. These nonconformist types see God and heaven like one of their endless bloody squabbles about county councils. I mean, doesn’t my war record count, I ask myself? I blame Attlee and co. It’s like having the country run by a pipsqueak from Mac Fisheries. I might write him a letter now I think about it. Give him a piece of my mind.” He lit a fag and went on in the sort of aggrieved tone that housewives use when complaining about the price of everything in the shops. “I was clearly aiming for the bird. Can I help it if the bullet bounces off and into Teddy? I feel bad about Teddy, but for heaven’s sake it was an accident.” He went on in this way for quite a while. When the time was up and he stood to be led away by the warders he said: “Well, see you on the other side, old boy – with any luck.” Then as he walked away he turned and said: “Sorry I didn’t pay you back that two quid.”

One morning a few days later a dinner-suited voice on the wireless announced Maltbeam had been hanged.

*

One evening not long afterwards I turned in at the Lion late on. The barmaid was a girl I’d once had a fling with. Like everything after the war she looked a bit older and in need of a clean. Tosh was in his cage – he’d become something of a celebrity: a few local bohemians had formed a sort of fan club. The broken mirror was still in situ and was also a cult object. Rollo and Clive were dining out on the story.

I bought a half and took my usual place. The barmaid chucked an evening paper on the bar. “They’ve given your pal a write-up in there,” she said.

So had they. The headline was “Rage of landlord killer” or something like it. The piece concentrated on trying to spice up his wife’s affair with the PoW but it also mentioned his war career. Ronald Maltbeam, it said, was a fantasist as well as a killer.

He had spent the entirety of his war service as a cook in the Army Catering Corps at a camp in North Wales. They’d even found a few colleagues for quotes. “Old Ronnie was a dab-hand at Brown Stew No1,” said one of them. “He was so good at it we nicknamed him Brown Stew. No word of a lie, I never thought old Brown Stew would turn out to do something like that.”

I folded the paper over and dropped it back on the bar. It had not occurred to me to wonder why the defence had not made anything of his heroic war service. It had not occurred to me to ask about decorations.

I heard a little scraping noise: it was Tosh sidling to the end of his perch. His newfound celebrity had not made him any less scruffy. He turned his head and fixed me with a rather diabolical eye. He stared at me for a while. I declined to meet his gaze.

Tosh began to sing in an awful falsetto.

“Or if, on joyful wing cleaving the sky,
Sun, moon, and stars forgot, upward I fly,
Still all my song shall be,
Nearer, my God, to thee.”

I was very thirsty but left my half untouched and started walking towards the door.

“Lend us two quid will you, chum,” I heard Tosh say as I walked out. “We’re closing. Get out. Time gentlemen, please. Drink up.” The parrot’s voice got louder. “You’ve had your time. Ain’t you got homes to go to?”

As I came out of the Lion Rollo was hurrying in. I had not seen him since the trial. As he passed me he said: “Your pal got an intolerable shirt of flame, eh.”

“Right neck size an’ all,” I shot back, but Rollo was through the Lion’s mouth.

A Backwards Alphabet of Film: W

Woman of the Snow (second segment of Kwaidan)

Directed by Masaki Kobayashi, 1964

The Snow Woman

Directed by Tokuzō Tanaka, 1968

It’s easy to have an escalated memory of certain films, books, music or paintings. In film, this can be particularly evanescent: an image or tone, a line of speech, the fleeting expression of one of the players – or in the case of the 2010 documentary, The Woodmans, (director: Scott Willis) – the expression or gestures of a non-fictional person, maybe self-conscious or recreating a memory, but not fully acting. The Woodmans was the intriguing film I first intended to write about . . . but its incidental display of privilege, wealth and relative success, eventually ground me down. Francesca – the photographer daughter – is the most notable member of the Woodmans family and although her work can be a shade formulaic, it is frequently mysterious and powerful, as seen here.

 House #3, Providence, Rhode Island, 1976, by Francesca Woodman 

After Francesca Woodman leaves the story by suicide in 1981, aged only 22, the other Woodmans are inevitably left with a haunting burden of grief . . . yet remain fortunate as artists – artists with a modicum of talent who could always have lived the art life whether or not they succeeded in sales terms. It is to their credit that they carried on trying hard. They believe in their work and its value, despite that it is often little more than decorative. In other words, second time around, the film did not live up to my empathetic and escalated memory of it. Or perhaps the chords which concealed its faults were no longer binding?

With Whirlpool[i] (1950, director: Otto Preminger) I got further, appropriately spiralling down into its enjoyable hogwash, notwithstanding the difficulty of accepting natural crime kingpin, Richard Conti, as a bowtie-wearing psychoanalyst! Cynical witticisms regularly illuminate the shadowy ruined coastline of Noir, and their serrated architecture can memorably survive long after many of the films’ enveloping, invasive tides have receded. Lines such as “a successful marriage is usually based on what a husband and a wife don’t know about each other” (00:11:32[ii]) are naturally amusing.

Regardless of how plausible or implausible the whole premise of Whirlpool is, especially self-hypnosis (once self-hypnotized against pain, surely, you’d also be hypnotised against a sense of caution and danger?) for me Whirlpool remained enmeshingly tense. It was entertaining as well, to spot the numerous parallels with the much more successful Laura (1944)[iii] – also directed by Preminger and starring Gene Tierney. But all this was not sufficiently enlightening[iv], and while I was very glad to see it again, it’s hard to violently disagree with some of its negative reviewers[v]. I needed to recall a film that could be inhabited. A film as commandingly hypnotic as Vertigo (1958) whose deepest scenes can distort and expand so much from memory or mistaken impression, that the actual film itself can become a distraction[vi]. Plot and sequence, characters and meaning . . . can all seem relatively irrelevant. In such a state, I no longer want the Hitchcock-directed, finished film, only the intensity or visual poetry beyond certain scenes. What stays cloaked just out of reach or can be sensed at the back of the head, is closer to the true source. Perhaps the best films, even much of the best art, draws on sublimated or unconscious archetypes or anomalies, and once these are activated or vaguely felt, the surfaces of the art itself can become an interference, a fading static? With Vertigo, I sometimes want a sense of time and anti-time, the texture of dark forests and the escape from them, the sweep of the high red bridge and a flight without it, the swell of waves (or studio tanks), the feel of old Spanish settlements, the tilt of the streets, distinctive coastal trees such as those at Cypress Point . .

Consequently, I remain very drawn to the idea, in Vertigo’s case, of the San Francisco area[vii], despite that in reality, the locations used are widely dispersed and their relationships with each other, as well as their physical appearance 68 years later, would likely be a disappointment[viii].

Recalling a film I could inhabit, a confusion occurred. Apparently, the Japanese title of The Snow Woman 怪談雪女郎 (Kaidan Yukijorō) can be translated as Tales of the Snow Witch or Ghost Story of the Snow Woman, and I believe I originally watched the 1968 film under the title Woman of the Snow. Since the justifiably famous Kwaidan[ix], directed by Masaki Kobayashi and consisting of four ghost stories[x]  was released four years earlier, and one of its stories was entitled Woman of the Snow, perhaps the later feature film, was at some point, retitled to avoid confusion? Both films, (the 1964 Kwaidan story, at 42 minutes, is about half the length of Tokuzō Tanaka’s 1968 feature), are adaptations of the same Japanese folktale made internationally popular in 1904 by Lafcadio Hearn’s collection, Kwaidan: Stories and Studies of Strange Things. Both films have an atmosphere, at sudden or creeping moments, of breaking through the rushing static of what we like to think of as “reality”. Both films relish the fierce calligraphy of their titles, although with Kwaidan – the complete film – calligraphy becomes almost a character in itself – particularly in The Story of Mimi-nashi-Hōïchi or Hoichi the Earless[xi]. Calligraphy as a weapon. Calligraphy as a stockade.

Poetically concise, the production style and painterly studio backgrounds of Kwaidan’s Woman of the Snow episode (1964), are exquisitely abstracted yet also metaphysically challenging – conjuring a hyper-reality way beyond surrealism. On the other hand, The Snow Woman, of 1968, with the extra space of its longer story – increasing the tension between mortal and immortal, the vulnerability of the elemental in a corporeal world – probably attains a more haunting poignancy, a deeper sense of the tragic? Its Snow Woman feels more torn. Rewatching both films, I find the merits of each too considerable to want to elevate one above the other. They are both unmissable. Their more extreme moments possess a valiant character – the challenge of the wish, the contempt of the supernatural toward the human drone.

The Woman of the Snow episode, directed by Masaki Kobayashi in 1964, begins within Kwaidan at 00:39:55. Kwaidan’s style as a whole, its drama, lighting and score[xii] are theatrical as well as startlingly innovative. In contrast to The Snow Woman’s frequent use of real landscapes (notably in its opening mountain forest scenes) Kobayashi filmed inside an aircraft hangar, in which, art director Shigemasa Toda, and set decorator Dai Arakawa, created vivid symbolic skies, map-like symmetrical forests and a brimming river – its magical overflow sparkling like silver foil. At first these scenes are buried in drifts and flurries of snow, with only the red flag of the absent ferryman to alarm a wintry palette. This red of danger, signalling the margins of some fever zone, stays imprinted in the mind. Under whited-out or painted skies, impressionistic, clear or churning, from hopeful and spacious to claustrophobic and doomed, the lives of the characters become archetypal.

While in the more conventional 1968 film, the old man and his younger apprentice are master and student sculptors, in The Snow Woman they are merely woodcutters. Their highest ambition is to have a useful, contented life. Art doesn’t come into it – unless you count the later crafting of sturdy and attractive sandals. The Snow Woman has few quotidian scenes and little conversation to start with. Its scarce inhabitants live almost entirely in isolation. When the snowstorm overwhelms the two woodcutters as they return from the wilderness, they struggle into the ferryman’s deserted shanty. Its gapped planking reduces the blizzard’s fury. But there is no safety here at the centre or eye or crossroads of the storm. The Woman of the Snow enters . . . and when the old man perishes from the extra cold deployed by her ghostly form, Tatsuya Nakadai, as the younger man, speaks the horror with his eyes. He doesn’t protest against fate as the spirit turns her lethal gaze upon him to slowly approach his recumbent, terror-stricken form. All he can do is tilt his head away – as if this distances her from his wide unblinking gaze. Is it for the sake of his youth that the snow witch spares this “handsome boy”[xiii] – or does she know the future; is she attracted to him? Shuffling towards the door she fades through it . . . but not before extracting a promise which the longer film later echoes:, but here, it is that he mustn’t tell his mother what happened, rather than his parents, children or wife – as if the woman or spirit has some degree of omniscience.

Next morning the storm has abated. At 00:51:49 the ferryman arrives (above) and failing to get in the front door of his shack, enters another way. As mentioned before, the concise adaptation within Kwaidan eschews the sculpting vocation of the main character in the longer story and there any no evil billionaires or despicable Lords either, only a mother, curing her traumatized and half-frozen son with porridge. That all the blood was drained from the old woodcutter implies that the Woman of the Snow is some form of vampire – a hint later strengthened. But the old woman does not pursue with questions. Knowing she must work while her son, hollow and withdrawn in bed, recovers, she staggers away with a basket of sticks[xiv].

A year later and thankfully recovered, after a long day’s wood harvesting, on his stroll home against the westering skies the son meets a woman going to Yedo. The sky, red and orange, awaits the appearance of those earlier symbols, globes or the beginnings of eyes which could suggest the materialisation of spirits as if from whirlpools in the atmosphere. Despite the eerie music, the setting is serene. Nothing in this gentle yet accelerated alternative to modern dating, insinuates that Yuki[xv] might be the Woman of the Snow in disguise. They continue to walk through sunset-crimsoned woods and pools, as the painted skies turn from white and blue to yellow and black. Swirls like giant marbles, now begin to generate above the horizon. The young man invites Yuki to the lonely house where he lives with his mother. Another cinematic house to envy! Yuki shows no caution, presumably because she knows she cannot be endangered? Is this a planned seduction on her part? Could he resist if he wished? In the house, at 01:01:22, he is clearly stirred by the sight of the traveller washing her feet.

Soon, laughing chases through the rushes and reeds under roseate skies, unwind the formality of the potential lovers. In contradiction to the angry whirlpools of stormier skies, a jewel-like shape forms above nearby, like a sentient sun, to indicate the approach of a happy perfection. Under this glowing symbol, loving embraces follow naturally, with gently bared breasts among the grasses[xvi]. . . before cross dissolving to a baby being bathed. Two other children are soon present[xvii] – the Woman of the Snow has become a perfect wife and mother. Walking with her children, I wonder if the strange song the children voice at 01:03:46, in which “the priest was amazed and fell upside down”, is partially parallelled in the longer, 1968 film, by a scene in which evil Lord Jito, endorsing the established rival sculptor, Gyôkei, (who Jito has employed to usurp the younger sculptor’s commission), says of apprentice sculptor Yosaku at 00:40:23: “there is no way he will win, even if he stands on his head.” This bizarre comment may arise from mistranslation or subtitling, but as with the Snake and Tortoise/Turtle song used in the 1968 film (and brought up below), it creates a reflective pause in the narrative – at least during interrogatory viewings[xviii].

That the children grow older but their mother never ages, is emphasised by a humorous exchange with three village women – they and the ferryman are the only sign of any local community in the entire film. Yuki has taken her children to pay their respects at their grandmother’s grave. They pass the women, busy washing clothes, on their way home. “Most peasant women age early,” but despite giving birth three times, Yuki still looks like a girl. “That woman is a wonder!” the village washerwomen all agree[xix], taking it for granted that the dead grandmother is still able to see and appreciate her grandchildren, as well as their wonderful mother and happy lives.

Evening, and the children are all asleep in a side room. The young woodcutter is no artist but has crafted four pairs of sandals for his wife and children. Yuki admires her pair and returns to sewing. From his lower angle and with the light on her face, the woodman suddenly remembers across the years . . . the light becomes blue and icy and with the change comes, recognition? Then the light turns warm again and he seems about to laugh off his memory. Unfortunately, he rambles on . . . No don’t say it! But he doesn’t stop . . .

For the sake of her sleeping children, the Woman of the Snow forbears from carrying out her strict promise of murder, returning toward the giant eye, leaving a widower grieving over his four pairs of beautiful sandals. Sadly, he puts hers out in the snow. Since they disappear, perhaps there is hope that she might return? Yet the mood is tragic.

The quality of human ambition in The Snow Woman (1968), is something the shorter, more lyrically concise version of 1964, bypassed. In the longer version of the tale, the old wood carver Shigetomo, seems almost punished for his ambition: “My name will be known throughout the mountains of Mino,” he anticipates triumphantly. Conversely, his apprentice Yosaku is frequently undermined by a lack of self-belief. Beginning in real snowy landscapes, prospecting for the ideal tree for a temple commission, master and apprentice fall to their knees to give thanks when they discover a magnificent example – a tree so fine they believe it may even have a soul. As if the thought of felling such a tree to become mere material for religious carving is a crime, the weather abruptly changes. Winds howl and swirling snow snaps branches around them. They struggle on through the tempest. Fortunately, a rough shelter appears, but later, as the young man wakes from under his heaped straw, a ghost slides into their refuge (00:07:30) to kill the fire and summon ice in its place, snow from the stare of its eyes and spirit, frost from the percussive sounds[xx]. Without Kwaidan’s implication of vampirism, the old Shigetomo is simply chilled to death. The Snow Woman turns her attention towards the young apprentice Yosaku, creeping backwards on his elbows, only sparing him because “you are young and beautiful” (00:11:20). In exchange, he must promise never to tell even his dearest, what happened that night. The door of the shack opens of its own volition (00:12:37) before the Snow Woman glides back into the blizzard.

Moving on: in cheerful daylight the felled tree arrives in the village (00:14:54), with or without its soul, no longer exceptional. Propelled on rollers by a crowd of peasants and greeted rapturously by a crowd of villagers, the High Priest’s officials are delivering the section of trunk and request that Yosaku carry out the original commission, since his old master spoke highly of him and the High Priest believed in Shigetomo’s judgement. Feeling unworthy, Yosaku, persuaded by Shigetomo’s widow, reluctantly accepts.

That night, during a rainstorm a beautiful traveller – “young girl” in the widow of the old master sculptor’s eyes – shelters under the eaves of the Yosaku’s workshop (00:17:06). Invited indoors, in a mildly sensual way Yosaku’s surrogate mother supplies dry clothing while remarking on the traveller’s beauty. As the Snow Woman, Shiho Fujimura may be too terrifying for the word beautiful to arise, unless one admires haughty superiority and malevolent elemental force . . . but as Yuki, she is almost unrecognisable. In the Kwaidan story, you can see the similarity between spirit and woman. Here, on a first viewing, perhaps audiences where not expected to notice any connection? After several meaningful admiring glances between Yosaku and Yuki (only slightly distracted by her appreciation and confidence in his sculpting skills, and his dissatisfaction with them) at 00:22:30 they go together to gather herbs which Yuki knows would be good for the old wife’s recurring health problems. At 00:24:09 love reveals itself. Meanwhile, galloping thugs are approaching the village as children circle and lark on a log stack. The children’s reckless behaviour naturally predates the modern health and safety attitude towards timber stacks!

Haverthwaite, 20th June 2026

Thrown from his horse by the fright factor of rolling logs, Lord Jito is furious: “Fools! Children or not, I’ll have your heads”. Hurrying out to protect the children (00:24:38) the wood-carver’s old wife founds herself beaten by Lord Jito for her “impudence”. Returning to the village, Yosaku and Yuki rush to intervene, but it is too late. Nasty Lord Jito, clearly fancying Yuki at first sight, gallops off with the threat that they haven’t “heard the last of this”. Despite encouragements to “hang in there” (!! anachronistic subtitles at 00:22:27: what subtleties might we be missing?) before long the old wife succumbs to her beating[xxi] – using her dying moments to virtually oblige a marriage between Yosaku and Yuki. Although they don’t wish to impose upon each other, they are happy to follow this course.

It seems clear in both versions of the film, that the spirit of the snow has sought out the two young men spared, perhaps because like the Greek gods, the snow women are drawn to mortals by desire? Or for wanting to know what it feels like to be human, to bear children and be a mother? Is it also a vain attempt to escape their chilled immortality, at least for a lifetime? On their first night together, at 00:29:12, Yosaku asks “Yuki, why is your body so cold?”

Another powerful character with sundry titles now emerges to complete the cultural hierarchy. Witch doctor or priestess, she is later referred to, gender-specifically, in the subtitles as a “shamaness”. Cast listing meanwhile, describes her as a “Shrine Maiden”. Divining for the presence of evil at a sacred festival this shamaness immediately perceives Yuki’s supernatural origins – the zealous old hag’s flame darts at 00:30:47, act like ghost-seeking missiles. Maybe this is the point at which, on a first viewing, you are supposed to know with certainty that for all her love and sympathy, Yuki is the Snow Woman?

Five years later and snidey Lord Jito is back from the capital, Kyoto[xxii], interfering in local politics and trying to engineer for an experienced sculptor, Gyôkei, to replace Yosaku for the task of carving an inspiring Buddha for the temple. Having known the old master carver Shigetomo and heard him praise Yosaku, the patient High Priest still wants the unproven apprentice to do the work. Angrily, Jito forces a competition upon the religious authorities – the winner will be granted the commission. By this time Yosaku and Yuki have a young son, Tarô, yet Yuki has not aged in five years. When the family group chance upon Lord Jito (feudal or samurai equivalent of a contemptible billionaire or unscrupulous politician of now) and his corrupt entourage in the woods, Jito confides to a sidekick, (00:37:08) that he “scoured the capital for five years and found none to equal her.”

For a brief relaxed interval, after his classmates taunt Tarô for not knowing a strange song – apparently a traditional children’s rhyme about a turtle that takes over a snake’s yard to cause the disappearance of nine local people – Yosaku watches Yuki teaching it to him. Whether or not this song is thematically connected[xxiii] to the film, it creates an enigmatic frisson of the type which often encourages a fork or splitting point in the pathway of a narrative . . . a pause or glance toward something cloaked or just out of reach, something only sensed at the back of the mind.

At Gyôkei’s workshop, in the contemptuous dialogue between master sculptor and Jito, Jito declares that country people are “like frogs stuck in a well” (00:40:35) and goes on: “Trying to compete with you, he does not know his place.” But it’s not just that Jito considers Yosaku to have ideas above his station: “His wife is far too good for him too” (00:40:50). The plot thickens and when Jito’s henchman come to arrest Yosaku for the theft of the tree, their leader shortly offers the planned way out: Yuki should offer herself to Jito. Yuki is so disgusted that a fine of three ryō or gold coins is imposed – an impossible sum . . . yet Yuki says she will pay. Grudgingly, the gang leaves.

              Yuki: “How can someone be so unscrupulous?”

              Yosaku: “It’s Lord Jito we are talking about.”

To cure a local landowner’s child of a dangerous fever (00:45:33: “Ridiculous! How can a mere woman possibly cure him,” say the doctors who’ve given him up for dead), Yuki repeatedly and exhaustingly becomes the Snow Woman. She snows near the child and cures him with snow parcels, freezing the fever away.

Not only does she have compassion, the Snow Woman believes in art! Yosaku’s “wooden doll” sculpture looks perfect within limits (“I just can’t seem to finish her face”), but like so much “great” art, is somehow dead. Gyôkei’s golden version however, is truly and thoroughly dead. TheHigh Priest is not impressed – “It shines with gold. It is almost too bright for my eyes to bear!” (00:58:01). “Indeed, her beauty is overwhelming . . .” but “Look closely at her face. In her eyes, do you see the light of compassion?”

Despite the High Priest’s support, Yosaku remains unhappy with his work, he cannot get the eyes right and persuades a very unwilling Yuki to come and pray with him at another religious festival. Forced to run from the festival through the dark forest when she realises again that the Shrine Maiden can sense her presence, Yuki is abducted for Lord Jiro. In a nearby shed, Jiro is determined to have her. He lusts after her pale skin . . . pure like snow. “How I’ve longed to strip you bare” (01:03:47). But the rape goes no further than a bared shoulder.

When he tries to tear her kimono off, Yuki begins to change from frightened woman to invincible Snow Woman, (01:05:45): “All those who have seen my true form must die”. Jito grovels, pleads and freezes. She freezes all his assets and empties his accounts[xxiv], and when his minions discover his frozen corpse, they too are dealt with. Hurrah!

Back at home, Yosaku and Tarô find an exhausted Yuki, yet Yosaku is still concerned with finishing his statue – a picture of the true artist, sacrificing everyone and everything for Art! An ominous shadow clings to him though, preventing that final miraculous transformation of dead wood. But now the news of Lord Jito’s death is abroad and the Shrine Maiden turns up to accuse Yuki – as if the hag was in league with Jito: corrupt politics hand in glove with corrupt religion . . . surely not! The Shrine Maiden is obviously jealous of “a power beyond this realm” (01:10:09). Calling Yuki a “Monstrous demon!” she is determined to look for the scars of her flame darts. Yosaku finally helps repel the old woman and comforts Yuki: “No one could destroy our happiness.” Now he feels he’s been washed clean and remembers his Art. “I think I can finish the statue” . . . yet the dark shadow remains”. Suddenly, stirred by the accusations of the Shamaness, he remembers the night of the Snow Woman and overrides his promise never to tell anyone, not even his wife. NO DON’T SAY IT!

“I saw the terrifying Snow Woman. She killed my master.” (01:13:42) . . . “Yuki . . .”

“That . . . was me.”

“You?”

“After all this time you have spoken of it. It was all I asked of you. I told you never to speak of it. All these years I prayed you wouldn’t. Because I became your wife, I discovered human happiness . . . (01:14:33) . . . I hoped this happiness would never end . . .”

She becomes the Snow Woman and is about to kill Yosaku when Tarô cries in his sleep. Becoming a mother again for a while, she realises she must leave instead: “Please look after Tarô in my place. And please finish that wonderful statue of yours . . .”

In all this tragic farewell, Yosako is still distracted by his ART . . . and seeing the light of compassion in her face (01:18:22) – compassion for the child and for him – he knows now, how to finish the statue.

© Lawrence Freiesleben, 2026

NOTES


 

[i] Currently available here: youtube.com/watch?v=SQIZsBED4-0

[ii] Approximate timing for the YouTube version.     

[iii] For a truly weird and distant echo of Laura, seek out Singapore Sling (O Anthropos Pou Agapise Ena Ptoma) 1990  1h 51m  imdb.com/title/tt0100623/?ref_=fn_t_1 which despite a striking and luminous Noir atmosphere is laughably absurd – with Meredyth Herold coming across like Josie Lawrence in an X-rated Mastersons (radio) improvisation!   bbc.co.uk/programmes/b007jsmr

[iv] From A Backwards Alphabet of Films – X: “Although it may be unfashionable to say that art, music, writing, film and so on, should be about enlightenment, I will say it anyway.”

[v]  Such as David Vining, who in 2025 was unengaged by it: “I don’t think it’s a good thriller or mystery or drama. But, it has some charms along the way to make the film not a complete waste”: davidmvining.wordpress.com/2025/11/27/whirlpool/

[vi] As noted in A Backwards Alphabet of Films – X . . .

[vii] See particularly: internationaltimes.it/the-italian-digression-part-8/

[viii] Just as the “unsightly fence” at Cypress Point – a notable Vertigo location – would force one to reverse into imagination: reelsf.com/reelsf/vertigo-at-the-coast

[ix] imdb.com/title/tt0058279/?ref_=nv_sr_srsg_0_tt_3_nm_5_in_0_q_Kwaidan

[x] en.wikipedia.org/wiki/Kwaidan_(film)

[xi] In this story, the blind musician Hōïchi is obliged to perform every night for the ghost court of the Heike clan. To prevent his being torn apart or carried off by spirits, the priest of the temple and his devoted assistant paint the Hannya-Shingyō (Heart Sutra), a holy text, over every part of Hōïchi’s body.

[xii] Toru Takemitsu’s uniquely and sometimes piercingly disquieting score combines traditional          instruments such as the shakuhachi and the biwa with electronic manipulation and tape loops as well as a modified piano: screws, bolts, and soft materials placed on the strings to summon strange percussive effects and assorted unpredictable clangs.

[xiii] In the 1968 film the apprentice is also spared for his youth and beauty.

[xiv] Recently watching the film again, I thought of the cover of the album now known as Led Zeppelin IV, but as this is not helpful, I only include the passing thought to reference this intriguing blog post: wknc.org/2021/04/11/behind-the-cover-led-zeppelin-iv/

[xv] Both the Woman of the Snow and the Snow Woman are named Yuki – but who would expect Robin Hood to switch names with every new adaptation of his folk story?

[xvi] The Kwaidan segment (1964) appears more audacious in this way than The Snow Woman four years later. Surprisingly, both films were originally released under Japan’s ‘G’ rating (General Audiences), equivalent to a U certificate in the UK.

[xvii] The Snow Woman bears only one child as opposed to The Woman of the Snow’s three. In both cases it is the presence of a child or children which prevents the snow women from carrying out their promise to kill their husbands for “betraying” her secret. As they only reveal it to her, the severing of their happy lives together as well as the potential deaths involved, seems a shade severe as punishment – but I suppose marriages between mortal and supernatural beings have to end somewhere . . .

[xviii] To consider the implications of inversion in religious terms is probably fanciful as well as complex. On the one hand there is Peter requesting to be hung (crucified) upside down because he felt unworthy to die in the same way as Jesus. On the other, the inverted cross is linked to being in league with Satan. But Christianity’s influence in feudal Japan has been described as profound: japan-kyushu-tourist.com/history-of-japanese-christianity-2/

[xix] The odd thing about the tone of this encounter is that one can’t be sure it is entirely friendly. As the washerwomen all laugh at the end, are they being sarcastic to a degree? Or do they have some sense of division arising from a buried instinct that Yuki is not quite of the world. Yuki’s return comments could also be seen as partially ironic.

[xx] Akira Ifukube wrote the score for The Snow Woman. He and Toru Takemitsu – composer for Kwaidan – “stand as the two pillars of 20th-century Japanese classical and film music”. Both largely self-taught, the two were rivals and at times were very critical of each other: “Ifukube once famously proclaimed that “Music is not philosophy,” a direct jab at the highly conceptual, philosophical nature of Takemitsu’s avant-garde output”. “Takemitsu looked heavily toward Western modernism (Debussy, Messiaen, and John Cage) to create a style that balanced avant-garde abstraction with traditional Japanese instruments.” Quotes from  Classical Music Forum.

[xxi] Informed of this far away, Lord Jito cares not a jot that the “old bag” has died, he is only feverish to find out about and entrap Yuki.

[xxii] Kyoto, centre of the Imperial Court, served as the capital of Japan from 794 until 1868.

[xxiii] japanonfilm.wordpress.com/2020/02/29/snow-woman-kaidan-yukijuro-1968/#

[xxiv] Just as civilization should treat all parasitic billionaires!

Verse modesty

Liberality and Modesty, by Guido Reni

Talking to Skeletons

David Dumouriez, Liverpool: erbacce-press, 90pps., £10

The third poem in David Dumouriez’s collection is titled ‘POETRY IS WANK.’ It’s printed in capitals, runs two pages, and closes on the line “POETRY WILL NEVER NOT BE WANK.” Provocation or confession, it sets the terms for the book: eighty-odd pages from a poet who refuses, on the surface, to take poetry seriously, and who is, all the same, very good at it.

Talking to Skeletons ranges from English childhood to Istanbul, and the mixture is as eclectic as that suggests. There are elegies and satires, love poems, a walking tour of a childhood town, political rants, an ode to Cary Grant’s suit in North by Northwest, and a two-line poem about a curry. The voice is colloquial (sometimes too much so), sardonic, and almost religiously allergic to pretension. Rather than the elevated register, Dumouriez reaches for the pub, the bus stop, the snooker club. He is suspicious of anyone who takes themselves too seriously — himself included.

For me the collection’s finest moment is ‘51° 30′ N, 0° 25′ E,’ a long walking tour of a small English town that slowly turns into an elegy for a vanished self. Dumouriez takes us past polling stations, dog walks, rusted goalposts, a toyshop run by a Polish man, a church where he and a friend once tried to summon a thunderbolt by swearing at the threshold. The imagery is specific and unhurried: “Another postbox. Focal point back then. / Not sure now.” The accumulation of observed detail makes the place feel at once ordinary and irreplaceable. Memory, class and mortality converge without any of them being announced. And somehow the combination works.

‘Reading Kipling by Candlelight’ is one of the more personal poems in the book, and the one I found easiest to climb inside. Set during the 1999 Istanbul earthquake, it follows the speaker through a night of confusion. He mistakes the tremor for a burglar, goes back to sleep while the parks fill with frightened residents, and only in the morning grasps the scale of what he slept through. It’s funny and quietly unsettling at once. Dumouriez has an instinct for the exact detail that lifts an anecdote into something more: “Myself and one old woman, two floors up, / remained at home. My flaws you’ll find described. / As for her, perhaps she’d given up on life.” That last line does something the earlier stanzas don’t prepare you for. Death has entered what had been, up to that point, largely a comic story. And then life shrugs and moves on.

Talking to Skeletons is at its strongest when the humor and the grief run in parallel. ‘An Anglican Event’ opens with “My mother lies before us in a box, / to put it blunt,” and proceeds to take a funeral apart with deadpan precision: the vicar who “styles himself as ‘Father Tim,’” the embarrassed congregants working through hymns they haven’t sung since school, the curtain that makes it real. ‘Ex of England’ pulls off something similar with a grandfather’s hoarded possessions and an unidentified Victorian portrait heading for a bonfire. The joke in these poems does not push the grief aside; it comes out of the same material.

Dumouriez is most interesting when he runs into something that resists him: a death, a memory, a place, the stubborn survival of affection. When the sardonic voice has something to push against, the friction produces complexity. He is less interesting when he already knows what he thinks before the poem starts.

The smaller provocations don’t all land. The opening of ‘Sonnets from the Portuguese, 43 (revised)’ – “How can I fuck thee? Let me count the ways” – is genuinely funny and technically competent parody. But some of the shorter satirical pieces (‘Addendum,’ ‘Laid Back, Laid Under,’ ‘The Poetry is in the Potty’) read more like social-media wit than poems. Set beside ‘51° 30′ N, 0° 25′ E’ and ‘Reading Kipling,’ they sound a dissonant note. Dumouriez knows the difference between a poem and a punchline. He just prints the punchline anyway from time to time.

The unevenness points to a larger issue. Across the eighty-odd pages, subjects and attitudes recur – death, aging, literary pretension, cultural irritation – and a handful of the lighter pieces work against the stronger ones nearby rather than for them. A shorter book might have been a stronger one. That said, the excess is clearly a part of how Dumouriez writes, forever spotting something else that seems to want a joke or an elegy.

I come to the book as a poet who works mainly in formal verse and in two languages – about as far from Dumouriez’s aesthetic as one can reasonably get. What I hadn’t expected was how little the distance ended up mattering. Talking to Skeletons isn’t really asking to be identified with; it’s asking for a reader willing to be amused, provoked, and every so often caught off guard – the anecdote that opens onto mortality, the joke that turns without warning into grief.

Which is also, I think, why the opening declaration eventually defeats itself. For all the mockery of poetry and poets and gatekeepers (and his own reasons for writing), Dumouriez’s best poems rely on the one thing “POETRY IS WANK” pretends to distrust: the idea that arranging words carefully might preserve something that would otherwise vanish. That a poet who opens with “POETRY IS WANK” also writes “51° 30′ N, 0° 25′ E” is, in the end, the strongest argument against his own thesis.

Tuscan journal

(Monday). It is like coming home but not. New Fences, benches and fittings but same pink and orange dusk as the warm light disappears.

It is early in the season. So early that the pool is not ready for use and the grass is still rich green.

The effort to travel increases. What to select, what to leave behind, how to reassure myself that it will all be OK.

Family dynamics are weird, the ebb and flow of love and cynicism, rudeness and shared memories. We dip bread into oil for supper, with a glass of homemade wine. We should have asked for cheese.

(Tuesday)

At five o’clock it is cool but already bright. The windows are wide open and the air rushes in. Breakfast is late and makeshift: bread and oil again, melon slices, cups of tea.

We are going shopping at Hypercoop. It is not as fascinating or different as it once was but there is cheap wine and good olives, cheeses and bread. A big gluten-free section too.

•

Everything is now still. The sun overhead is not moving, shadows are crisp and defined. I try painting through the shutters but the stripes of colour do not work. In a moment I will hook the shutters back whilst everybody else is asleep.

•

Watching the sun go down. Blue, purple, grey. Flecks of orange, white. Trails of car lights across the valley. A dog barks, a bat flies by.

•

That feeling of being abroad but not doing anything. Apart from the hear and the view you might as well be at home. I am waiting to go out, waiting to see art, to eat different food.

The heat increases, the doors and windows are shut. The house goes dark. We are heading out.

(Wednesday)

In the Arezzo museum, weatherworn statues and paintings no longer required for worship are arranged in empty rooms, numbers that refer you to a notice board.

Awkward English versions, rough cut stone and carved folds. Decontextualized crucifixes and empty reliquaries.

Cold tiles, polished wooden doors, grids of light from ancient windows.

•

Rows of pillars, grey against cream. Badly lit paintings containing dwarves, rabbits, angels; the drowned and saved; Mary in her glory, Jesus as a child.

Pale memories of stories handed down as pictures, threatening lessons to be learned. Abuse of power. Hell awaits.

I cannot see. The varnish is gloss and cracked, the colours dark and chipped. Frescoes have been torn from walls and hung again in empty rooms.

Traffic and pedestrians pass by, we have the place to ourselves apart from the guard on her laptop and the old lady who knits. Both say hello, watch carefully as we look around the museum.

•

     worn paving stones

     courtyard striations

     layers of time

 (Thursday)

Montevarchi, the local town, feels worn out. The weekly market has moved out of the centre to the park we used to frequent when the children were younger, and there are empty shops for sale. The newsagent’s kiosk has gone, the main square where we saw a Gypsy band perform and Patti Smith once played is desolate.

The fascist tower at the end of the main street glowers with power over nothing. The café we have been to before is closed but we did discover a chaotic secondhand shop full of dusty books, unwanted china and old postcards, some of which we bought.

•

We are hanging around in San Giovanni Valdarno because Italians do not take time seriously. We are sitting in the square waiting for the museum to open. A backpacker is asleep in the ‘cave’ where miracles happened under the church, two men are mending phone lines, everyone else is at home.

The outdoor colours are sun-faded, it is cooler today. Earlier, the manageress of the restaurant we had lunch in, poured us glasses of limoncello by way of an apology for delays and a malfunctioning toilet door. She offered us more but we moved on.

Slowly, people appear. Shop shutters slide up, the museum guard pedals into view. Inside, the angel will still be telling Mary she is pregnant or about to be. Gold and white light. Intervention. Angelic appearance. Annunciation.

•

The fact that one of Fra Angelico’s three Annunciation altarpieces is in this small town still seems like a secret, although each time we visit there are more people. Even so, I get a quarter of an hour to sit alone with the painting.

The angel is brighter
     than we remember.
     The Virgin is veiled,
     the dove projected
     down from Heaven.

     Blue and reds:
     human and holy.
     The angel holds
     Mary in his gaze
     to tell her his news.

     Adam and Eve flee
     Paradise, are sent
     into exile. Gabriel
     hovers uneasily
     over weightless colour.

     Does everything
     mean something?
     Mean anything?
     Time is interrupted,
     past and future changed.

     Stories persist.

Everything is symbolic, has a specific meaning but if you put all that aside you are left with an angel facing a woman. There is lots of gold, red and blue; the angel is clothed in pink.

The frame is newer than the painting, so there are strips of flat colour each side to make up for what might be missing. And much of the floor, along with the view from the window, is insubstantial, an abstract palette to help the perspective work.

Saturated colour, spirituality, theology, metaphor and symbolism. The remnants of a story that used to power the world.

 (Friday)

This morning the sun is back. No mist, no rain, a breeze and a view all the way to the horizon becomes a day of waiting. For the others and for the forecast thunder and rain, which duly arrives late afternoon, causing tourists in Florence to shelter in cafés whilst locals stride on or unfurl small umbrellas. It is big, splodgy summer rain, the sort we do not often get in England.

The science/zoological/anatomical museum is as haphazard as it sounds. A floor of gorgeous minerals, a locked hall of skeletons, and a vast collection of preserved animals and drawings with views into other rooms full of waxwork body parts and medical dissections.

Schoolboys run through the displays as the guards get visibly irritated. The entrance courtyard is shaded and worn, paving stones cracked and polished in equal parts.

We drove, due to a train strike, and caught one of the new trams from a park-and-ride. The city is as busy as ever but we skirted the centre and crossed the river.

For lunch, salads and meat, special pesto with pistachios added, circles of grilled aubergine. The air conditioning provided a backbeat to the busker who could not sing, a pulse of cool air and engine noise, a relentless human hum.

•

In Santo Spirito there is a Giotto or School of Giotto crucifix (depending which information board you read) above the altar, and a Donatello annunciation I have only every known in reproduction.

It is one of those vast empty churches built like a barn, which would be quiet but for the recorded command for Silence!, which is by far the loudest thing.

In the sacristy, a room at the side, hangs an early work by Michelangelo, only displayed because of its maker’s name. If you pay to visit you can also enter the cloisters.

 (Saturday)

Fireflies or glowbugs in the bushes after dark. Like fairy lights or fairies themselves, like fading traces on the screens of old televisions shutting down. Pale fluorescent, green white light. There but not there, somewhere else.

‘You can see,’ says my daughter, ‘why people believe in magic creatures. I would if I had seen these when I was younger. Well, I believed in them anyway.’

An unexpected surprise, one of the week’s highlights. Soft interruptions blinking on and off in the warm night.

(Sunday)

In Arezzo’s main square, ‘Hotel California’ is being played on a squeaky violin; the drums and guitar never arrive. The restaurants which overcharge are overcrowded with no locals to be seen. It is hot again and now the music is popular classical although you can hear the diners’ chatter from where we stand.

Mid-afternoon, swifts diving and soaring. Dry heat, lazy lunch, warm wine and blurry vision. Crap versions of well-known songs. Tuscan towers and churches. Deep shadows and burnt stone. Sunshine and architecture as time travel.

•

The church is now a museum and you cannot go in at all unless you pay. There is a glass panel behind the doorway which tends to reflect the light back, and most of the piazza has been cordoned off, although I found a shady corner where I could sit.

The posh café we visited only once remains closed. If you peer through the shutters the art deco chairs are still in place but there is more dust. The town has not changed for the better, is dirtier and emptier. Only the heat remains the same, even though it should be cooler now. Spring has become summer, summer may disappear or simply become a month or two of absolute heat.

The woman who stuck her fingers in her ears on the tram in Florence is now visiting Arezzo. There is also a squeaky dog in attendance, which sounds like a soft toy, not an actual animal. Earlier, I met Fred (short for Alfredo) outside the cathedral. He was somewhat hairy and did not squeak but barked.

•

On the way back to the car there were sirens behind us, which turned out to be police motorbikes preceding and escorting a procession of classic cars up to the cathedral square, where speeches were made and prizes awarded. I sent photos to my cousin and told him how we all cheered when the oldest car just made it up the hill on its second attempt.

•

Half a book I am struggling with left to read, only what is left in the cupboard to eat. A glass of wine left in the bottle.

Tonight, aerobatics by a pair of bats, a silent owl’s descent, and the gradual flickering arrival of fireflies again as dusk becomes night.

More bites and itching, a knocked-off blister top and a mosquito bite up my nose – these insects are keen!

 (Monday)

The prickly pear plants in Gropina have been cut back but what seems to be the same dog guards the track they grow on.

The church lit by light bleeding through thin alabaster windows is cool and empty. It is devoid of any ornamentation apart from an ornate pulpit which seems to show Celtic figures, animals and patterns.

There is no concession to tourism beyond the same few postcards there have always been. The church simply waits, squat cracked grey, damp patches throughout.

   © Rupert M Loydell

A Z-A of film: Yellow Sky

Both the triumphant and then jolly music of Yellow Sky[i], with its flippant echo of Oh! Susanna[ii] are a complete contradiction to the overall mood of the film. Whatever your definition of noir, Yellow Sky comes stylistically and psychologically close until the end. Purely noir[iii] Westerns that also have negative endings are very rare. Wellman’s later, colour Western, Track of the Cat (1954) starring that fatalistic ‘Tsar of Noir’, Robert Mitchum[iv], though regularly considered one of the bleakest of Westerns, scrapes some hope at the end – albeit not for Mitchum.

Despite being known as “Wild Bill” for his confrontational personality, womanising and World War 1 exploits as a fighter pilot, Yellow Sky’s director, William A. Wellman[v], is not a household name. A hard-working, cross-genre versatility, valuing story over distinctive personal signature, has limited easy categorisation. Obviously, I didn’t know the man . . . and whenever fashions change, biographical accounts (and lots more besides) habitually shift emphasis to be in tune with them . . . who can you trust?

The frivolous banjo of Oh! Susanna is almost withering on Yellow Sky’s soundtrack as a headline spells out: The West – 1867. When the film was released on Christmas Eve, December 1948, I expect US cinemagoers would have realised the date’s significance. Not having studied American history at school, I needed to hear the characters’ backstories to discover that the American Civil War[vi] is not long over. This setting in time (echoed roughly by the gap between the end of World War 2 and the film’s release) must be intended to partly justify, or at least explain, the wild, egotistical and reckless behaviour likely to occur on the margins of traumatised civilizations.

After the titles conclude, the stock opening music of blaring victory and light-heartedness hits a streak of menace which declines into a thunder-clap over a sunny marshland area. If opening night audiences were looking forward to Christmas, they should postpone such thoughts!

A group of seven weary-looking men, their horses splashing onward in single file, ride slowly across the screen. We are only a minute and 40 seconds into the film – including logos, titles and a fine series[vii] of sketches of ghost towns and mine ruins – and the mood, having swung all over the compass, settles here with the kind of grim certainty one associates with either stoicism or desperation. Yet the landscape looks lushly verdant, flowery and appealing before the youngest of the group spots a skull with an arrow right through it.

“Prospector.” States a man who transmits an air of authority. Since he is portrayed by Gregory Peck, we imagine that if at times he must be brutal, he will usually be fair.

“Skinny little fella. Them bones ain’t hardly as big as my little finger,” opines the portly Walrus (Charles Kemper, who had been a foil to Danny Kaye early in his career and was often to provide an element of comic relief; in Yellow Sky it is faint). Picking the powerful arrow from the two huge holes it has punched in the skull, the youthful Bull Run (Robert Arthur) takes it to the probable leader, who regards its still pristine shaft. With the possibility of vengeful or “crazy Indians” adding to the landscape’s threat, the group survey their immediate surroundings. Dude – played by Richard Widmark, seems to know the area well and starts to lay it out (00:02:48): “up north there are lots of canyons and draws . . . if you know which ones are open.” Intrigued by what a “draw” might be – does it draw you in and then prove to be a fatal dead end? – I discovered a whole chain of words[viii] which construct a hierarchy of depressions and ravines, descending into canyons. Draws are the least significant. Draws drain into arroyos, which drain into coulees, which drain into canyons. As with so many words and word origins this is both fascinating and yet disappointing – disappointing that one imagines additional mysterious meanings. But aren’t such extra implications, to some extent, what poetry and music and the visual arts rely on? How is it that great black and white photography can often suggest more depth, even more colour than colour – can look more real than the reality of colour?

Dude continues to summarise the area’s variety. I’m not sure if such environmental diversity actually exists in such close proximity to Death Valley[ix] – with fertile looking marshes, killing salt flats, canyons, hills, mountains, and a dusty desert town all within a few miles’ radius . . . but if it does, take me there and there I’ll happily live!

Of the salt flats “down south” at 00:03:00, (Death Valley, the hottest place on Earth[x]) Dude chuckles “even a rattlesnake couldn’t get across em”. Is Dude referring to the reptile or to the memorable psychopath, Tommy Udo[xi], who he portrayed so effectively the year before Yellow Sky was releasedin Kiss of Death, (1947), almost stealing the film with his insane intensified chuckle – a chuckle he only slightly revives once (at 00:37:47) in Yellow Sky.

Eventually, in a town saloon, reviving themselves with a drink, the band encounter an extraordinary painting[xii]. A partly naïve, partly delirious, painting. Albert Pinkham Rider[xiii] crossed with Chagall[xiv]. Pale Death on a dark horse![xv]. This large image behind the bar fixates them all.

Lengthy (John Russell) whose awestruck lascivious comment at 00:03:57, harvests lust from the silence and then amusement: “I wonder if she’s got any plans after she gets through ridin’ that horse?” is reprised with more words but less universal staring at 00:05:29 – the camera closer to an image now about 50% larger. The statuesque woman appears to be tied to the rearing horse yet has the posture of someone reclining calmly on a sun lounger. The image is surreal and haunting – and perhaps intended to be subjective? Are the men all seeing it differently? She is not depicted as a victim. Does the horse represent the spirit of the woman? A woman as beyond the pale as Ellen Berent Harland (Gene Tierney) in Leave Her to Heaven (1945). Lengthy wouldn’t stand a chance!

“Yes sir, I sure would like to know what she plans to do after she gets
through ridin’ that horse?” 00:05:29

The hold up (00:05:52) shoot up and escape is all over in less than a minute and by 00:07:52, chased by the cavalry out into a rocky wilderness among amazing tooth-shaped rocks towards the salt flats, they have lost their rear lookout rider. The cavalry captain calls a halt to the chase knowing the gang aren’t likely to survive crossing the sink of Death Valley: “Let ‘em go! Save us the trouble of hanging ‘em!”  (00:08:30)

As Stretch divides the loot, the gang appear on the verge of fragmenting, though it’s hard to imagine they were ever a very cohesive unit. Dude, not caring personally about Jed being shot by the cavalry, is superstitiously fearful that the number of gang members no longer adds up to seven (00:09:21): “This desert’s a mighty unlucky place. A man needs all the odds he can get.” Several of them know it’s crazy not to turn back, “It’s a good 70 miles across this sink, maybe more!”, protests Lengthy, yet Stretch (at 00:09:38) asserts “it’s just a place, a place can be crossed.” At a horse walking speed of four miles an hour it would take 17 and a half hours to cover 70 miles. Wouldn’t travelling by night have been a good idea? Do most cinematic cowboys lack common sense? But since there is no shade to be had, maybe it’s better just to get going? In the end, even Dude, who was thinking of pulling back with the dark, follows Stretch and the gang out into the whiteout heat of the sink.

At minus 86 metres below sea level (or minus 282 feet) the Badwater Basin is one of the lowest places on earth as well as one of the hottest. As the band become dots in the whiteness, the scene conveys the idea that Stretch, like Captain Ahab (whose obssession with Moby Dick – the White Whale – Gregory Peck was to portray with festering intensity in 1956) is resolute and tenacious, yet also perhaps, recklessly self-destructive. At 00:12:16 the crazed crust of salt becomes soft and the horses begin to sink and stumble, obliging the men to walk. The film expertly gives an epic sense of this ordeal, of the heat and dessication, of wrong decisions – the folly of Walrus having filled his canteen with whiskey, the mistake of sleeping at night. To cut short a midnight fight between Walrus and Bull Run, when the former tries to drink from the latter’s water canteen, Stretch hurls a large chunk of salt at Walrus’s head (00:13:57). Stretch’s authority is no longer in doubt – as neither is his compassion the following day when he wets his horse’s mouth with valuable water from his canteen (00:15:15). This could be viewed as enlightened self-interest, except that he follows up by doing the same for Walrus’s horse. “Kinda noble, aren’t ya?” sneers Dude (00:15:45) to which Stretch replies “A horse’s a useful animal, no use letting him suffer just because he belongs to a jackass”. The hostility between the two men increases from here on, with Dude less ironically detached from the possibility of taking charge – although at this juncture, he appears to believe they are all doomed. When Lengthy shoots a lizard (00:16:31), basically for looking chipper and able to survive when he probably won’t. Half Pint (Henry Morgan) protests: “he wasn’t doing you no hurt”. The sink however, has no truck with compassion: it is Half Pint’s horse that soon collapses in sand dunes and has to be shot (00:18:19).

After almost ten minutes (a long time, especially in 1940s cinematic terms) at 00:18:47, Stretch, suspecting mirage, spots what appears to be salvation in the form of a distant town. Hope to cracked lips and dried out voices. They struggle on…to find the town of the title: Yellow Sky. A dehydrated ghost town. Dead. Crumpling up all over the steps of a collapsing saloon, the gang don’t have the energy or sense to even get out of the sun, resigned to becoming skeletons. Then there is the faint click of a rifle hammer being cocked. At 21 minutes, Mike (Anne Baxter, hilariously described in IMDb as a “gun toting tomboy”) at last appears:

Yellow Sky at 00:21.08 and the first appearance of ‘Mike’

If I could have it to myself – or better still, share it with Anne Baxter – Yellow Sky is another place I wouldn’t mind living. The rock formations around are superb and the dilapidation aesthetically surpasses Heysham and Morecambe, without people to complicate it![xvi]

In his wonderfully terse, two-minute recommendation of Yellow Sky[xvii], John Sayles may not overstate Anne Baxter’s impact but does exaggerate what she’s wearing: “tight jeans and a 50s bra that could put your eye out”. The high-contrast noir-etched photography of Baxter is stunning. Without doubt, apart from settings and landscapes, Baxter is the best thing about Yellow Sky, but although frowningly beautiful, its her spirit and character that most impress.

I’ve long had a thing about Anne Baxter, especially in earlier films such as Swamp Water[xviii] (1941) before fashion styled her hair in that increasingly fixed, bouffant power-perm manner which I can no longer bear to see because it unfailingly reminds me of the night and daymare that was Margaret Thatcher![xix] You can see this style creeping in by the time of another of my old screen favourites: 1958’s Chase a Crooked Shadow – although realistically, even in much earlier films, the secure Forties hairstyles aren’t so very different. Perhaps it is her wilder character in both Swamp Water and Yellow Sky that is so appealing?

Where matte[xx] shots are interposed into genuine landscape is often hard to tell when watching films in a relaxed way, but the solid ghost town of Yellow Sky, “fastest growing town in the territory” – its appearance and atmosphere – are entirely convincing. Apparently, the filmmakers reused and partly rebuilt or wrecked an old set known as “Last Outpost” in the Alabama Hills[xxi] just to the west of Lone Pine[xxii]. A hundred miles east, the salt flats and desert scenes were shot mostly in the Death Valley National Park[xxiii] with actors and crew staying at the evocatively named Furnace Creek.

Before the Thatcher-esque look of later years – a colorized, glammed-up publicity shot for Yellow Sky

At 00:21:54 Mike tells the exhausted gang where to find the spring “up behind those big rocks, at the head of the street”, suspiciously tracking them, rifle in hand. Later, at 00:23:47 she appears dominantly on a boulder above them, regretting their arrival, poised as they gulp and wallow in the pool.

It has often been repeated that Yellow Sky is loosely based on Shakespeare’s The Tempest,[xxiv] and you can see certain obvious parallels: desert = sea, Stretch/Peck = Ferdinand, Grandpa = Prospero and Mike/Anne Baxter = Miranda . . . but if so, it’s a still looser adaptation than Forbidden Planet (1956), and Mike clearly has no wonderstruck admiration for Stretch:  Miranda in Act 1, Scene 2 of The Tempest: “I might call him / A thing divine, for nothing natural / I ever saw so noble”.

If I had money for every film ‘loosely based’ on Shakespeare (the seventh art tirelessly in quest of respectability?) I would not be poor! In any case, the true value of Shakespeare, is the poetry, not the plots – most of which The Bard lifted from earlier sources. Once the description ‘loosely based’ is applied, most films would begin to resemble one (or several) of the seven – 36 basic plots[xxv] available. One might just as well say that Yellow Sky is ‘loosely based’ on the shipwreck of the Sea Venture off Bermuda in 1609[xxvi]!

No, Mike is not enraptured by this new humanity and if she were less defensive when the now hydrated Stretch first visits her house (00:24:25), could she have falsely conveyed that she was hiding nothing other than herself? With water, food and rest, the gang are bound to remember that weird painting in the saloon and revive their other animal instincts.

At 00:25:05, Mike tells Stretch that “it ‘aint far to Alkali, you could make it easy, if you try”. Alkali is a real place[xxvii] albeit a ghost town now[xxviii] in the inappropriately named Esmerelda County. Or perhaps the name only seems inappropriate because owing to one of those carelessly poetic lateral slips, it makes me think of emerald green grass . . . rather than sand, salt and emeralds[xxix]?

Nevada ghost town – Alkali Springs

I don’t want to venture into the political incorrectness of Stretch and his gang’s attitude towards the Apache[xxx] (though not only was Mike raised “with Apaches”, Grandpa praises them (00:26:11) as “fine people, if you can understand them”) or their lust or chivalry (the latter particularly in Bull Run’s case) regarding Mike/Constance Mae, or the necessity for a 1948 production to reinforce gender stereotypes for its mainstream coda (more on that later). Some of these attitudes are obviously toxic, some just amusingly or irritatingly of their time. Yes, it was inevitable that Mike and Stretch would ‘fall in love’ and probably both of them subconsciously feel this from the first moment they see each other – or so runs the timeless loathing-to-loving story convention, as well as the popular romantic notion. Mike tries to resist, whereas Stretch violently relaxes (!) into it, ceasing to sufficiently lead or control his gang and breaking his own rule to “stay away from those people!” (00:29:03). Eventually, stung by Mike telling him he smells bad (00:33:19), he even washes and shaves.

Mike with a smoothed-out Stretch!

Stretch looks much less appealing once shaved . . . but I’m getting ahead of myself and far ahead of the plot since it is Dude who dolls himself up first, just before Mike first comes to the spring for water (00:27:47). I hope she is going to boil that water before use after the mob has all slurped and wallowed in it! Or maybe, it’s just that I feel like washing after the battery of sexist comments and leering – all of which Mike takes in her stride. Of this and more violent scenes, no less than the BFI seems to have become over-compliantly politically correct[xxxi] proposing to demote a film made in 1948 for not having the worthwhile but somewhat idealised values of 2026. However enlightened we think we are 78 years later, such situations have not gone away. In watered-down fashion they happen in Heysham and Morecambe every day and my 16-year-old daughter prefers not to walk on the prom alone.

With dozens of wrecked buildings to choose from, why do the gang all “bunk down” in the saloon (00:29:50) – I’d chose a building as far away from the others as possible. The characters that “amount to nuthin’ nohow” (to quote Lengthy) seem able to sleep through Walrus snoring like a “wounded buffalo”, but Lengthy is driven outside – to find Stretch contemplating on the veranda of the ruined saloon. After needling Stretch about the whereabouts of Dude he goes back inside.

Is Stretch really looking for Dude, as he claims, when having moved towards the tenebrous homestead Mike emerges from the shadows to challenge him at 00:31:58? Tackling her by surprise, they fight, she head butts him, he does it back harder and forces a kiss on her, before desisting. This is where she tells him twice that he smells, and then taking careful aim, shoots him across the scalp (00:33:39). In another excellent post from 2008[xxxii], the writer highlights the scene which follows with Mike trying to explain to Grandpa why she shot Stretch:

“He made me feel . . . I don’t know.” But she does know. Stretch has made her feel like a woman for the first time in her life. Wellman then cuts to Mike’s room, in which      a picture of an elegantly dressed lady is pinned onto her wall. Seeing it fills her with disgust and causes Mike to angrily tear it into pieces. It’s a great moment of self-loathing – she hates herself for feeling something that she’s been trying so hard to suppress. Although having such a picture on her wall in the first-place clues us into the fact that Mike longs to be as pretty as any other woman out there. In that one short scene, we sense Mike’s vulnerability for the first time.”

More specific than the tragic/Romantic pop songs that are a chart constant, the romances of old films still need last only half an hour or so of screen time – this is why they can be so haunting. Novels and tedious soaps and serials often do them to death. The best romance stories are about potential and hope, not dull, chronological reality. Being fundamentally frustrating, the human condition (in its customary form) cannot fulfil our yearnings for long – yet almost everyone who refuses to let the human state get them down, clings to hopes we project from imagination. Hence good love stories (and happy endings) have a general appeal even if many who have experienced the long-term reality of romantic love, try to reject such unreliable optimism. Romantic love may linger as familiarity and companionship, even flourish and create a sense of safety for decades, but are its deepest feelings of connection and joint projection, always liable to return to being about the other or the elsewhere? To a degree, this could be why I have abstracted my own deepest feelings into landscapes, atmospheres and the most searching art – which doesn’t mean that I can resist a wistful attraction to actresses[xxxiii] usually long dead. In great films none of the characters or landscapes are ever dead!

Bathing his scalp at the spring, Stretch encounters Dude. Could they have once been friends? Could they become friends? Not in Yellow Sky – this, distinctively, is one of its noir aspects. Stretch’s romantic inclinations have prevented him from deducing what Dude has had a hunch about all along – the presence of gold! Dude is greedy for gold and has no interest in romance. He tells Stretch his history and it’s the thought of his betraying ex-woman being made to suffer, that briefly revives Widmark’s insane chuckle from 1947’s Kiss of Death (00:37:47)[xxxiv]: “she lit out with a fella who ended up beating her”.

Above the ghost town the spring looks idyllic – as if the gang are enjoying a picnic. 00:26:57

Shattered the showershields, roofs ruined,

age under-ate them.

                                            And the wielders & wrights?

Earthgrip holds them – gone, long gone,

fast in gravesgrasp while fifty fathers

and sons have passed.[xxxv]

From first encountering the Anglo-Saxon poem The Ruin, as a teenager,the idea of the ghost town, or of ghost areas – such as the ex-lead-mining moors of Northumberland upon which we lived for seven years – may be even more fascinating than the allure of actresses who, while society survives, will never die. Ghost towns represent the flip side to potential, and up to a point, their history becomes fixed in time. Tyneham[xxxvi] in Dorset was one such place explored when we lived in the southwest of England. Appropriated as a training ground for D-Day in 1943, it was never returned to its inhabitants. Mardale in Cumbria[xxxvii] was another valley we knew well, though we never knew its villages, Mardale Green and Measand, only the reservoir which gradually drowned them from the late 1930s. By contrast, the ghost towns of the desert states of Nevada and California largely record a failure to survive at the periphery. Spelling out tales of greed, aspiration or over-ambition, they are gradually destroyed by extreme temperatures and the wind.

Shattered stable in a court of rocks. 00:41:09

Stretch makes no attempt to understand or appease Dude (00:38:16). The increased antagonism between them begins the central section, though at first, Stretch is more interested in smartening himself up. The gang meet to decide on a course of action having voted Dude as new leader (00:41:53). Stretch has no regard for democracy, but before a direct showdown, Mike takes the initiative from the boulders above – with her rifle. The existence of gold can no longer be doubted.

White flag or not, Mike has Stretch in the barrel of her gun – 00:45.09

This was probably not the first time such an idea was used in a film. Since the helical grooving[xxxviii] is clearly shown, was it actually shot through a larger diameter gun barrel or was this a special effect added in post-production?

If you have read this far without knowing Yellow Sky at all, I will leave all the nuances and twists of fate of the film’s second half to your imagination and jump to the perhaps unjustly despised coda which opens at 01:34:37. For long sections of its often nocturnal second half, Yellow Sky looks like a noir, but both the romantic elements and the reformation of Stretch to “James Dawson”, run counter to this. Stretch starts his biography by telling Mike and Grandpa (01:04:42) that “I come from good people. When I give my word, I mean it”.

Long prefaced by Grandpa’s compassion (01:08:02): “Guess the wars upset a lot of those boys and set them off on the wrong foot,” the coda is not just happy but quite comic and begins with the chagrined, contrite surviving bandits returning the stolen money to the bank. As if all crime could be so simply undone!

At 01:37:00 as the three survivors gallop across a beautiful flower-filled water-meadow for a rendezvous with Grandpa and Mike, the film reverts to its framing triumphalism and lightness. However, rather than the exploratory, adventurousness of the opening, the ending quickly becomes jubilant.

Do I want to be a woman some of the time? Can I do this? . . . 01:37:53 

At 01:37:30 Stretch presents Mike with the hat bought from the head of an only temporarily affronted lady at the bank. This might all be “sappy” and “unbelievable”[xxxix], but personally, I enjoy it. Even if it was a studio imposition, it is a humorous, loving, throwaway thing, not worth getting wound up about[xl]. I don’t believe Mike will change because of it.

. . . Yes! At least for a while   01.38.00

Mike dares herself and accepts the hat. Love is in the air, let’s end quickly before the wedding!

© Lawrence Freiesleben, 2026

Notes


[i] Available on YouTube: youtube.com/watch?v=XoSVGw_Ex-Q

[ii]  See songofamerica.net/song/oh-susanna/

[iii] In this outstanding piece by Stark Holborn, starkholborn.com/2020/01/23/review-yellow-sky-           1948/ he claims Yellow Sky as a precursor to the “Acid Western” sub-genre: “Acids, if you haven’t come across them before, are known, and named, for their counterculture tendencies; the desire to kick the western away from the glowy sunset of manifest destiny and into the dark corners of the soul.” 

[iv]  This article by Imogen Sara Smith brightlightsfilm.com/past-sunset-noir-in-the-west/ is so good on Bob Mitchum and others and on Pursued (1947), that I might abandon all future hopes of writing about that particular film!

[v] en.wikipedia.org/wiki/William_A._Wellman

[vi] en.wikipedia.org/wiki/American_Civil_War

[vii] Actually, there are only four different sketches; the dissolves between title changes create      the impression of more.

[viii] youtube.com/watch?v=noxTiJNgmxk  landscape features explained by Randy Newberg

[ix] A location coincidentally carried over from Z’s film in this Z-A: Zabriskie Point (1970). See A Z-A of films: Zabriskie Point – The Brazen Head

[x] en.wikipedia.org/wiki/Highest_temperature_recorded_on_Earth

[xi] crimereads.com/tommy-udo-film-noirs-greatest-homme-fatal/

[xii] I cannot find out who painted this. Presumably an artist employed by the film studio? If Sherlock Holmes were alive now, we need a monograph on bizarre portraits and paintings of old Hollywood A and B pictures – though I’m not sure it would be much help in the field of crime solving. When I’d almost reached the end of this essay, I encountered yet another wonderful post about Yellow Sky jeffarnoldswest.com/2022/03/yellow-sky-fox-1948-2/ which highlighted the similarities between the scene with the strange painting behind the bar and the opening of Wellman’s earlier film, The Ox-bow Incident (1943). The painting in Ox-Bow is not nearly so strange, but Henry Fonda’s comment “that guy’s awful slow getting’ there” sets off an interesting dialogue exchange.

[xiii] en.wikipedia.org/wiki/Albert_Pinkham_Ryder

[xiv] en.wikipedia.org/wiki/Marc_Chagall

[xv]  clevelandart.org/art/1928.8  The Racetrack or Death on a Pale Horse  c. 1896–1908

[xvi] Or perhaps not! According to jeffarnoldswest.com/2022/03/yellow-sky-fox-1948-2/ “In         temperatures topping 120°, with Gila monsters and scorpions everywhere, it wasn’t a comfortable set for the actors.”

[xvii] See: youtube.com/watch?v=SrbtgJTe6ok  00:01:14

[xviii] The first of Jean Renoir’s five films made in Hollywood during the Second World War was produced by 20th Century Fox. Categorised by the Nazis as “Cinematic Public Enemy Number One” Renoir’s left-wing anti-fascist and anti-war stance gave him no choice but to flee.

[xix] en.wikipedia.org/wiki/Margaret_Thatcher  Whom I reference in the hope that time can be reversed and she and her dire legacy can be exorcised from history!

[xx]            thepropgallery.com/painting-in-pictures-the-lost-art-of-the-matte-shot

[xxi]  en.wikipedia.org/wiki/Alabama_Hills – an area famous for its rock shapes and widescreen vistas of the Sierra Nevada  en.wikipedia.org/wiki/Sierra_Nevada

[xxii]  en.wikipedia.org/wiki/Lone_Pine,_California See also:  lonepinechamber.org/sightseeing-in-the-lone-pine-area/movies-filming-in-the-lone-pine-area  In the centre of the movie map at the end of this page you can see ‘Yellow Sky’ (Gregory Peck)

[xxiii]  en.wikipedia.org/wiki/Death_Valley_National_Park

[xxiv] Alex Good goes into this more carefully in another outstanding post on Yellow Sky:    alexonfilm.com/2022/01/25/yellow-sky-1948/

[xxv] en.wikipedia.org/wiki/The_Seven_Basic_Plots ; en.wikipedia.org/wiki/The_Thirty-Six_Dramatic_Situations

[xxvi]  https://www.rsc.org.uk/news/archive/the-ship-that-inspired-shakespeare

[xxvii] https://en.wikipedia.org/wiki/Alkali,_Nevada

[xxviii] Or is it? nvtami.com/2021/05/17/alkali-spring-nevada/

[xxix] en.wikipedia.org/wiki/Esmeralda_County,_Nevada  “Esmeralda is the Spanish and Portuguese word for “emerald”. An early California miner from San Jose, James Manning Cory, named the Esmeralda Mining District after Esmeralda the Romani dancer from The Hunchback of Notre-Dame.”

[xxx]  Ibid, from Alex Good’s post: “At one point I was hoping for the return of the Apache at the end in the role of the cavalry, saving Stretch and Mike and Grandpa from Dude and the gang. That, however, would have been a turn of the screw too far in 1948.”

[xxxi]  bfi.org.uk/lists/william-wellman-10-essential-films see also, reference xxxv below. It is notable that after Yellow Sky, Anne Baxter’s very next film, You’re My Everything (1949), a slight, cringy and often irritating musical drama, insidiously reinforces sexist attitudes as well as racism – Dan Dailey even blacking up for one film-within-the-film. Rightly unacceptable now, this was standard at the time. Unlike the constant threat of the lustful men (a gang of criminal roaming men would be no different nowadays) towards Mike in Yellow Sky, this casual racism is not intrinsic to the contrast, tension or plot. An amusing aspect of You’re My Everything however, are the silent film take-offs – one entitled Flaming Flappers – acted out in believable, satirical fashion by Baxter, whose character is supposedly “patterned” on Clara Bow. She is certainly utterly different to Mike!

[xxxii] theroadshowversion.wordpress.com/2008/02/27/to-save-and-be-saved-yellow-sky-1948/ 

[xxxiii]  It would never have occurred to me to think of an actress as being in any way inferior to an actor. See: theguardian.com/theobserver/2011/sep/25/readers-editor-actor-or-actress

[xxxiv]         Ibid: crimereads.com/tommy-udo-film-noirs-greatest-homme-fatal/

[xxxv]  The Ruin, lines 8-13, translation by Michael Alexander, from The Earliest English Poems, Penguin Classics, first published in 1966, is thought likely to be about Aquae Sulis (Bath).

[xxxvi]         virtual-swanage.co.uk/things-to-do/towns-and-villages/tyneham

[xxxvii]         lakelandwalkingtales.co.uk/haweswater-and-the-lost-kingdom-of-mardale/

[xxxviii]  en.wikipedia.org/wiki/Rifling The wonderful post about Yellow Sky, encountered when I’d    almost reached the end of this essay, jeffarnoldswest.com/2022/03/yellow-sky-fox-1948-2/ said exactly what I was going to suggest: that it “must have inspired the people who did the credits for the James Bond movies.”

[xxxix]  In his splendidly terse, to-the-point, two-minute recommendation of Yellow Sky, John Sayles hates its possibly studio-required end: youtube.com/watch?v=SrbtgJTe6ok saying at 00:01:36 “If I ruled the world, I’d cut the sappy, unbelievable coda off the movie!” But I often like abrupt happy endings, unless they are so bad they make you nauseous. They can be less tiring. I always feel tempted to rewrite bad endings. Every time I watch Out of the Past (1947), for example, I always want Bob Mitchum to survive even though that would defy one    of the rules I consider essential to true noir – a tragic conclusion.

In William A. Wellman: 10 essential films www.bfi.org.uk/lists/william-wellman-10-essential-films the BFI also finds fault with the cheerful ending (and other things): “Were it not for some alarmingly dodgy sexual politics – from Gregory Peck’s assault on Anne Baxter to her final acquiescence (via a bonnet) to his idea of feminine norms – Yellow Sky might rank among Wellman’s best.” I fail to see why depicting things how they simply would have been, counts as “alarmingly dodgy sexual politics”. That is to apply modern attitudes to a film made 78 years ago. The hat incident may or may not have been a studio imposition, but it is a humorous, loving, throwaway thing, neurotic to be wound up about, and absurd that it should affect how we rank the film. We can deplore aspects of the past, but we can’t expect the past to fit in with our current fashions. Personally, I don’t believe Mike/Constance Mae will change all that much because of a silly hat and both Stretch and I would be disappointed if she did. But that’s why films end when they do. In ‘real life’ we are often likely to be disappointed. One of the major problems with long-form TV is that it never ends but merely staggers on into the desert.

Devonshire

LAWRENCE FREIESLEBEN, Film & Television Editor of The Brazen Head, has been an artist and writer as long as he can remember – cycling away at weekends from the council estate where he grew up, to paint the countryside as an escape from the restrictive tedium of the school week. Leaving home at 16, he has lived in 17 different areas of the UK – from Devonshire to Northumberland – painting and writing, always vigilantly questioning the interior light of landscape, cityscape and wider atmosphere. Living virtually off-grid with his large family, both remote locations and urban visits have formed the backscene to a passion for film which has intertwined with art and writing throughout his career. Films remain a key creative focus since childhood, resulting in encyclopaedic folders and clippings as well as a constant stream of film festivals. He currently lives in a dilapidated Lancashire seaside town

Devonshire

Staggering amidst a floodtide                                           Heavitree

of happiness embalmed in memory                              sudden frost children

Impression . . . kaleidoscope . . . slowed                        Chapleton, Umberleigh

of veiled suburb or deep country

part lament, part symphony                                          hands enfolded

To cope or not to cope                                                    bright face, rosy cheeks

Is not the question . . .

Summer bluebells, autumn leaf, the red streets missed    (brickwork and gardens)

the grass-glowing banks of peace turned white

back or forwards                                                       your singing eyes

it all returns                                                                                   Sidmouth, Ottery

to find areas unnoticed or skimmed

certain times become legend                                                           Honiton.

Hail the slowing train for the clatter up Taw’s wooded, meandering river (1981

or else this confession                                                                 under the sun

will get out of hand

match-light flaring in and out                               Hembury, Belstone, Great Mis Tor

of places and times centring by weight                                                       let go

upon Bideford or Exeter . . .

These blind summits can be cold

give me time to intensify or pass . . .

Floating through empty streets where all life has ceased                    

I wonder how to wake or whether

this is the truth                                                   returned to the ether

the shadows rich, the ruins better

than a world we have sold for a molehill of groats

squandered ourselves and scrapped the future

between lonely screens and the social surf                                

all thought swallowed in a fly-tip of chatter

the maya of progress                                                                                        

a ceaseless march . . . Return to the past:

its light and feel, a sandstone red                                    

background of caverns ringing the head

the matches flare, nocturnal semaphore,

signalling Exeter and Dawlish Warren.

A girl I knew when we were both ten,

moved here and was never seen again, a new start or an old ending?

like post-war Sidwell Street’s arcades of idealism               Exeter again

abandoned, due to be demolished

or awaiting restoration                                                        I hope

The train gallops on metals not traversed for 30 years

four old homes passed already . . .

I want to say I love you                                                    Bonehill Down

but just now, you are not here

(and as) the tunnel approaches, the blind end trough

in the mind’s ear, I can still hear beyond the years

past this washed-out, effortless tube,

the blast of Ajax and Achilles                                           Indomitable

even in the 80s there was still an air of splendour

diesels with concentrated power

worthy descendants of the dragons of steam                Seaton Junction

Surging brakes slow the water meadows passing west of Axminster

unchanged it seems since we last alighted:

1989, and a pushchair wheel detached itself to cross the platform and roll slowly off its edge

We watched this filmic omen of tragedy in horror

but as the wheel settled on the sleepers, began to laugh.

All those places where we came and went          Harpford, Ottery, Hembury Fort

recur again in the travelling carriage glass

with different children under different skies       or yet alone

swerving on, fast again, they will not rest,

a devastating parade                 immediacy struck by infinite distance

their atmosphere is porous                                  haze, beauty,

as if a spell could so easily                                  slim slate graves

contradict the years                                            reverse

All these thoughts I would have to avoid (at the lodge)

dismiss every fantasy and whatever remains

every background yearning excuse    (Devon is Hevon, says the mural/graffiti)

accept yet reject getting tired and the gathering gall of a disregarded life

in the sliding anaconda of this declining world

reject the dwindling thread between us    the habit of misunderstanding

Companionship (it seems) is not enough for self-surmounting tunnellers or their aerial quest

impatient with the human form

without extravagant love (and probably with it too) – unreasonable, crushing,

these mimes and twists of frustration

only bring closer the hour of the wolf,

glimmering in uncompromising starkness

in purity or despair

clutch hands, see far behind the yes, feel the warm rounded limbs regardless

such halfway states

between body and soul, not relegated to the past

the idea of completion, of that internal ghost . . .

comes and goes as the train sweeps through and on   Chard Junction

to the sirens of alarms

the striped angry barriers

the crushing ache of life

gone

lift off is here, at last . . .

Love Songs of the Sixth Dalai Lama (extracts)

LOUIS HUNT is a retired professor of political theory. He has published poems and translations from Sanskrit and Classical Tibetan in a variety of online and print journals including Metamorphoses, The Brazen Head, Interpret, The High Window, New Verse Review and Nimrod.

The poem numbers refer to Per K Sorensen’s critical edition: Divinity Secularized: An Inquiry into the Nature and Form of the Songs Ascribed to the Sixth Dalai Lama, Wien 1990. Translated from the Tibetan by Louis Hunt

The Love Songs of the Sixth Dalai Lama is a collection of 65 poems popularly ascribed to the Sixth Dalai Lama Tsangyang Gyatso (1683-1706). The Sixth Dalai Lama was notorious for his indifference to the religious and political obligations of his office. He publicly renounced his monastic vows, preferring to spend his time in the taverns and brothels of Lhasa. He died at the age of 26, taken hostage and presumably killed by the Mongol forces contending for power in central Tibet. Despite his notoriously unconventional behavior, the Sixth Dalai Lama is a revered figure in Tibetan culture. Some have tried to interpret his lack of the conventional monastic virtues of celibacy and abstinence as an example of Tantric Buddhism in which the deliberate flaunting of moral norms is seen as a dangerous but potentially more efficacious route to Enlightenment. But the poems themselves suggest a simpler explanation – Tsangyang Gyatso was an ardent young man chafing at the restraints of familial, religious, and political authority.

The poems themselves are quite short – four lines of six syllables a piece, almost haiku like in their brevity. But the condensed style of classical Tibetan literature, the tendency, especially in poetry, to omit grammatical particles whenever possible, means that one can pack a lot of meaning into a very small compass. Despite their apparent simplicity, these  poems can often be read as an indirect commentary on the difficulties of Tsangyang Gyatso’s precarious position in Lhasa. The “grey-yellow” wind that banishes “the blossom from the bee” is also an allusion to the color of the robes worn by Tibetan government officials. The poems touch as well on specific aspects of Tibetan Buddhism that may not be familiar to the uninitiated reader. For example, the image of the girl returning “again and again in my thoughts” uses the Tibetan expression  for the Buddhist conception of cyclic existence. But I believe these poems work, or should work, even for someone completely unfamiliar with Tibetan history or Tibetan Buddhist practice. I have endeavored to translate these poems in a way that conveys the only thing that can be adequately represented in English – their lucid surface.

The clear white light of the moon rises

above the peaks of the eastern mountains.

The face of a young girl not yet a mother

returns again and again in my thoughts.                                                                                

(1)


The green shoots of last year’s sowing

are now sheaves of dried-out straw –

the bodies of young men grown old

are worn stiff as a bow made of horn.                                                                                   

(2)


The season for flowers has faded

but the bee does not lament its passing.

Love’s deeds have been exhausted

and I will not lament their leaving.                                                                                       

(7)


A few scratches on the ground

can track the stars’ expansive course.

I know by touch her tender flesh

but cannot trace her happiness.                                                                                              

(49)


The grass is covered with frost –

herald of the grey-yellow wind

that will finally banish

the blossom from the bee.                                                                                                      

(8)


The goose longs for the marshes,

hoping to linger there a while,

but lighting on the icy lake

despairs and takes flight again.                                                                                             

(9)


This girl, loved since childhood,

is descended from the race of wolves.

She has learnt to tear my skin and flesh

before she flees to her mountain home.                                                                                 

(36)


These small letters written in black ink –

a drop of water can erase them.

But the mind’s unwritten figures

cannot be blotted or effaced.                                                                                     

(13)


I looked for my love at dusk,

the dawn brought falling snow.

What is there to keep secret?

My footprints mark the snow.                                                                                                

(53)

Five poems by Matthew Kirby

MATTHEW KIRBY’s poems have appeared in various periodicals, recently, Tar River Poetry, New Verse Review, Little Patuxent Review, Doubly Mad, and Literary Matters. He lives in Pennsylvania’s Lehigh Valley with his wife and kids.

The Property

Jay’d had a few when he’d decided, true.

A trip out to the property he owned

but never stood or laid eyes on. The title

noted a lien and other complications.

A former easement had been covered by

the snows of time. Now inaccessible

by road, the land lay feral, swallowed up

by taxes, eglantine, and pine. The real

draw was his dad was, maybe, buried there

beside a boat shed on the dried up pond.

He changed his filters, packed his saddle bags

with Enid’s sourdough bread and beer

and went, despite the ice that week, into

a kind of heaven, all brown and white and raw.

Cardinal Salute

Direct my spirit north, to mining towns,

cold air descending from the foot of heaven,

to hemlocks stunted by the breath of God,

mud springs, slate caves and state park dirt bike trails,

a peeling porch, a girl in a gray bandana,

descendent of all races, fathered by

a machinist, though he was ordained in Lviv,

keeps up a fleet of Belarusian bikes

and rents them to a few vacationers.


Of late, his daughter’s helping him expand

through marketing consisting of exquisite

daguerreotypes, hand-colored, of her boyfriend

riding a two-stroke Minsk enduro bike

through granite-flanked ravines, past bobbing ferns.

He Didn’t Understand the Reason Why

He didn’t understand the reason why

they fired his wife, but he was kind of glad

and welcomed her back home with soft-boiled eggs

and oat milk lattes on the patio.

He told her two could live as cheap as one

and sex was better in the afternoon.

              She mourned her sense of purpose for a time.

She ran and lost ten pounds and planted hostas

in each square foot of shade. She talked to birds,

really conversed with them about their edgy,

cantankerous chirps and status-conscious preening.

She went insane, frankly. But what that means,

today, is anybody’s guess, he thought.

They fired his wife, and he was kind of glad.

The Novel

He tried to write a novel. All that came

were smells released by melting snow on asphalt:

the funk of rotting leaves and cigarette ash,

comforting, sturdy scent of crank case oil

and antifreeze, high and hilarious bird scat.

It was all joy and had no conflict, just

the good, its irresistible appeal

to souls released from the retreating ice.


No agent wanted it. It sat on looseleaf

inside a cardboard box in his garage.

From there, it emanated waves of love

that cured all discord in the neighborhood.


The novelist grew doubtful, though, and crabby.

He shaved his beard and checked into an abbey.

Crow in a Snowy Field

What does it mean to see a crow in snow

pecking between dead rows of corn? Blue hills

adorn the distance: veins seen through a girl’s

pale wrist. The foggy winter air, the sound


of tires on wet macadam. My own weight

imprints the dripping field. Is it an omen

of demographic free fall? Why lapse back

into my mind, when I should rush the field


and grab the crow, restrain its hideous beak

between my thumbs and take it out behind

that shed I saw a mile ago, all ochre

except a turquoise door, and feed it tuna,


talk softly to it, walk it back to campus

tied to my ankle with a soft red thread?

Craven Plain

Billy the Tie told me to go and fetch Lavender Ray’s suitcase. ‘Do us a favour,’ he’d said. ‘There’s something in it which will get us all into trouble.’ I’d a hard-edged hangover of the type where you’re not sure of your stomach or your sanity.  It was not long after opening time at the Black Dog and I’d just accepted from Billy a verbal promissory note of a tin of fags to be collected that afternoon. He was apt to make gifts and all of us who lived on the straight side of the fence knew not to accept them as a rule. However, the Blitz was on and there were bombs night and day. For most people life was difficult, but Billy had come into easy street: thieving and fiddling in the blackout was, as he put it, ‘extra-easy’. Soho talk had it that Billy had even done people in but the prospect of having a lot of cigarettes to play with was too much in my weakened condition so I gave in. ‘You’ll have fags galore, boy,’ he’d said.

I had not expected a favour to be called in so quickly. My stomach knotted tighter into a ball of acid. The pain in my head flared. The stale beer-and-fags morning scent of the Black Dog, usually rather enjoyable, oppressed me. Gingerly I drank a farty half of Bass. I noticed my hand was shaking slightly. The fear, sadness and regret of the serious hangover bit deep. ‘You don’t mind, do you?’ said Billy.

I said I didn’t mind, of course I didn’t mind. On the contrary, it would be a pleasure, I said.

‘I shouldn’t think it’ll be a pleasure,’ said Vernie wryly. Vernie was Billy’s sidekick. Tall where Billy was slightly under. Both wore pinstripe suits (Billy’s smart dress sense was the reason for his nickname). It seemed their ambition was to look like the cream of society instead of rats: the tribute vice pays to virtue. However, the effect was more suggestive of a variety double-act. Vernie took an ostentatious sip at his double pimple and water, to show off he was drinking one. Pimple-and-blotch: scotch.

‘Come on now, Bill,’ said the landlady, Ada. ‘Neville’s a painter. He’s not part of all your lot.’

‘Ain’t you in the war effort, boy?’ asked Vernie in way that was avuncular yet sinister. I said I was waiting to be called up. That was a lie. I’d been deemed unfit for service.

‘Never mind all that plop,’ said Billy, his voice as coarse as a burglar’s file. ‘You go and fetch me Lavender Ray’s suitcase.’

 ‘What’s in the suitcase,’ asked a little fish-faced man they called Cod’s Eyes who pushed sack barrows about for his living. ‘It ain’t that tart’s head, is it?’

‘Cheese it,’ said Billy. He fixed me with his blue eyes, cold as winter dusk. ‘It’s easy as wink,’ he said.

‘Is Ray dead, then?’ asked Vernie disinterestedly.

‘Word come to me last night that he’s dying, at death’s door. His landlady had the doctor out to him – who paid I don’t know: Ray’d never cough up for a doctor anyway. ‘Ere Vernie, “cough up”.  Did you hear that? Well laugh, then. Tops up the quack says it ain’t no good. Ray’s finished. Lungs or summink.’

I felt finished too, and hurried to the gents where I was violently ill. Why had I agreed to the errand? When I came back I drank off my Bass, cross-eyed for a moment watching the brown river of beer flow into my mouth while Billy wrote Lavender Ray’s address on a strip of the Greyhound Express. ‘There’s a key on a bit of string in the letterbox of the street door. His room’s at the top of the house. There’s two doors on the landing. Ray’s is the first one. Don’t sod about. Bring the suitcase back here,’ he said softly. ‘If I’m not here and neither is Vernie, just wait till we are. On no account leave the suitcase here or anywhere else, got it. That tin of fags will be waiting.’

‘Tart’s head?’ asked Ada rhetorically.

‘Some dead tart was found,’ said Cod’s Eyes. ‘I see it in the paper.’

‘Why would her head be in Lavender Ray’s suitcase,’ said Vernie.

‘Cheese it, will you,’ said Billy. ‘You’ll go frightening the boy here. Now, you run along and them fags is all yours.’

I turned out of the door of the Dog. It closed slowly. I heard Vernie say, ‘You’ve sent a boy on a man’s job there. Look at the state of him. I bet the army told him to fog off.’ There was general laughter. ‘I bet,’ added Vernie, ‘they said come back next year when you’ve got some hair on your chest.’ There was more laughter.

*

Outside I took a deep breath, which didn’t help. Cod’s Eyes came out of the other door and walked over to me. He was grinning. ‘You’ve got that all round yer neck, intcha. Why d’yer do it?’

‘I wanted the fags. I didn’t think – ’

‘You didn’t think,’ interrupted Cod’s Eyes elongating the words with a contemptuous tone. ‘You know, you don’t half look queer.’

‘I feel queer.’

‘Want a fag?’

We lit up Cod’s Eyes’s Players. ‘There could be anything in that suitcase,’ he said. ‘Might be a shooter. There was a bloke shot in the West India Dock Road the other night, right through the heart. Foul murder. If the gun’s in that case you’ll be an accessory, kid. Enough to put a rope round your neck.’ He paused and looked at me searchingly through his murky protuberant eyes. Any friendliness vanished. ‘You mug,’ he said. He chipped his fag and stuck back in its box. ‘Stick to drawing pictures next time.’

He started off across the road but quickly turned back and said: ‘How you make a living doing that?’

‘Once in a while someone buys one,’ I said. My voice sounded forlorn. Cod’s Eyes walked on then turned round once more and yelled: ‘If that’s tart’s head’s in it, you’ll swing for that an’ all.’ Then he seemed to remember he was shouting Billy the Tie’s business in the street. He looked round fearfully and stalked away.

I walked out of Soho feeling weak at the knees. Then I got the Tube east.

*

I emerged not far from the river. The whole district had really copped it in the raids. I entertained a wild hope that Lavender Ray’s lodgings had been bombed flat.

The streets were full of dust. Kids searched for shrapnel and looked well pleased at the new anarchy of war. A broken-down bus was pulled up round one corner. Its driver was sitting on seats at the back. Somehow he had got a mug of tea. As I passed he raised the chipped vessel in an ironic toast and winked. In the distance I could hear falling bricks and the sound of a lot of broken glass being swept. I walked for a few minutes and asked the way more than once. At last I came to an old street with a factory wall on one side and tall knocked-about houses on the other. Outside one a woman with a beaky nose in a housecoat was smoking a cigarette and watching another woman in a hairnet scrub the front step. ‘Raymond?’ she said in answer to my query. ‘Next house, top floor. I hope you ain’t going that way, sonny.’

The woman wearing the hairnet craned her head round from the step. She looked chinny and pompous. ‘We don’t want all that round here,’ she said. I walked on. I heard the woman with the beaky nose say, ‘Ought to be in the bloody army.’

I climbed three steps to Ray’s lodgings and felt in the letterbox for the key on a bit of string. It was there. I turned the key and pushed at the door, which seemed stuck. ‘You have to give it a shove when it’s hot,’ said the woman in the hairnet. She’d come down the street to look at me. ‘Push it, boy. Ain’t you got no strength?’

I duly pushed harder. The door, which was rough and splintered at the bottom from untold coaxing kicks, swung open. A vague smell of cooking and fags came out like a silent belch. My crapulent stomach turned a little. Everything inside was brown: tea brown walls, gravy brown stairs, brown windsor lino. I started up the stairs. The ancient stair-carpet was a dirty old brown. An archaeologist might have found a pattern in it. Each landing was the same brown study but a little smaller each time. All was silent but for the sound of a wireless behind one of the doors playing cheery light music. I looked out of a window and saw a brick wall with a yard below. Some washing was pegged out by a privy. The top staircase wound up to a small landing.

I raised my hand to knock but hesitated. Leave now, I thought. Run. I would, I thought, have to avoid Soho thereafter but even going to ground would not protect me from Billy the Tie if I welshed our arrangement. It was folly to think otherwise. You’re in it now, I thought. I’d a lousy headache and felt sweat on my temples. My stomach seemed to have fallen away like so much bombed brickwork. I knocked. Nothing stirred behind the door. I knocked again. Then the other door opened and a tiny old man in a crumpled too-big suit and a soup-strainer moustache appeared. ‘He’s dead,’ he said. ‘If you’re here to thieve, I doubt there’s any money in there. I expect the quack had all that last night. Mug if he didn’t.’ The old man’s voice was like a hinge in need of oil. ‘Got a fag?’

I shook my head, knocked again and then went in.

It was a tiny servant’s room in which everything seemed grey. Behind a menthol atmosphere there was a vague unpleasant smell. The covers were pulled over a body on the bed. A suit hung on the front of a tallboy. The suitcase stood by the bed. In keeping with the hallways it was brown, with leather corners. I lifted it an inch, then put it down. It was heavyish. ‘Any booze?’ said the little man with the moustache. He was hovering on the threshold. I told him there wasn’t any. At this, the corpse’s hand appeared from under the bedclothes and snatched away the covers. A bony face was revealed. I jumped back. My heart was going like a jazz set. ‘I’m not blinking dead – yet,’ rasped Ray. ‘I was shamming ‘cos I thought you were – ’  He stopped. What little colour that had been in his face drained away. He closed his eyes. I looked out at the old man on the landing, who drew his finger across his throat and sadly shook his head. Ray opened his eyes again. ‘Who are you?’ he said. ‘What you want that suitcase for?’

‘Billy sent me for it,’ I said. ‘Billy the Tie.’ Ray looked furious.

‘You tell Billy to …’ He raised his head to spit out the last words but now it fell back. Ray closed his eyes and opened them. ‘ . . . to mind his own business.’ He seemed to have fallen asleep or have passed out, or died. I looked at my watch. Of course, it had stopped.

‘Don’t sod about,’ I remembered Billy saying. I picked up the suitcase. I noticed there was in fact some booze: half a bottle of scotch on the washstand. I decided not to inform the old man of its existence. On the landing he stood back for me to pass. His eyes were wild. ‘You thieving that suitcase, boy?’

‘No,’ I said. ‘I’m to take it to its owner.’ I started down the stairs. The old boy leant over the banisters and yelled, ‘You’re a tea-leaf!’

I’d done myself no good saying I was taking the suitcase to its owner when its owner was dying in bed upstairs. It was at this point I began to see a courtroom, a trial, a judge, indeed a judge with the black cap on . . . ‘But you took the suitcase,’ the judge said with an echo. ‘You are implicated in a capital offence, my boy.’ He was old; he looked rather like Lavender Ray.

‘You’re a bloody tea-leaf!’ yelled the old man again.

I careered down the stairs and out of the front door. The two women watched me go past. The beaky one said, ‘Where you get that suitcase?’

A window opened above. It was the old boy again bawling through his soup-strainer. ‘Stop thief!’ his whingeing voice cried. I sped up and looked behind me. The two women were chasing me. I wanted to stop and argue but my credentials were hardly convincing.

Now I was in a sort of comedic silent film chase. Up a street and down a street – up a ladder, down a snake, I’d thought – with the two women chasing me. I lost my bearings. Now, I thought, the police will be looking for a young man with a suitcase.

I turned a corner and the broken-down bus was going again. I caught the driver’s eye and, trying to sound calm, asked him where he was going. ‘Central. Jump on chum, if you’re going that way. I’m heading towards Tower Hill.’ I said I’d enjoy the view and so went upstairs. God knows what had happened to the conductor. I looked back at the street corner. At any moment the two harridans would come storming round it shouting the odds. The driver was revving the engine, as if to make sure the bus had the guts to last out the journey. Finally it lurched forward. I kept my eyes back on the corner, but no one came round it. My attention switched to the suitcase. It smelt vile.

*

The hangover had reached a weary late stage. It would quietly stop soon. My head felt old, sore, wooden. I had that woeful inner climate that interprets the sight of a scrap of newspaper blowing down the street as a powerful symbol of the futility and transience of life. On top of that, the suitcase was now a stinky reminder of my foolishness in accepting Billy the Tie’s promise of fags. Then I thought how much I’d like a fag now. I fought back against fear by reminding myself that I’d simply done someone a favour. ‘How was I to know there was the head of a corpse in it,’ I said to the Old Bailey of the mind. The judge spoke again: ‘Do you expect this court to believe you did not know who Billy the Tie was? You, a denizen of Soho pubs, a familiar face? Boozing your days away when better men are fighting for their country?’ Meanwhile, the bad smell came in waves from Lavender Ray’s suitcase. I counted barrage balloons to take my mind off it.

I got off just before the bus terminated at Tower Hill and thanked the driver, who said watch out for Jerry. ‘The Nazzies will have this city to rubble if we’re not careful.’

‘That’s conchie talk,’ I said jokingly. Conchie talk, yes, I thought, like me imagining that picking this old suitcase up could land me in the slammer. But then fearfully I slipped back to thinking of ways that it could.

I walked slowly through the city. By the time I was in Cheapside I was craving a fag. It was a fine day, and for some reason I fell to thinking how wonderful it would be if there wasn’t a war on and if I hadn’t got to lug this suitcase across town. I bought a single fag from a miserly tobacconist who wanted a penny for it and sat down by St Paul’s churchyard to smoke and think. The suitcase stood in front of me. I stared down at it. It didn’t smell so bad in the open air. Should I open it? Should I not? After a while I was lost in thought, staring at the shops in front of me. The courtroom, the judge, the old boy with a soup-strainer, Lavender Ray, Billy the Tie, Vernie, Ada, Cod’s Eyes, they all appeared in my mind. Fear rose in me. Great fear. Then two things happened in short order: I heard the air raid siren start up, that queer bellowing whine, the siren call of a sea monster I’d called it in a poem I hadn’t finished – and someone pinched the suitcase and ran off.

*

The thief was short and wore a cloth cap. I ran after him. I was shouting but pedestrians were coming out of shops and offices and hurrying to shelters. They took no notice of this youngster shouting over the siren. Soon enough I was gaining on him and at the bottom of Ludgate Hill I ran him into a wall via a sort of rugby tackle. ‘All right, all right!’ he shouted. He was in his forties by the look, and now had a rip in his trousers. ‘I thought you was finished with it,’ he said angrily. ‘I mean I didn’t think it was yours: I had one just like that pinched off me yesterday; I bin looking for it ever since.’ I was dusting myself down and listening for bombers.

‘Oh really,’ I said sarcastically.

‘Don’t call in the law,’ he said as he got up. His anger melted away to a pleading appearance. He looked tired, thin and crumpled. Small intelligent brown eyes, rather dog-like, watched me carefully.

‘Don’t worry, I won’t,’ I said.  He brightened up at this. Now we were just two people passing the time of day in an air raid.

‘What’s in it?’ he said.

I swore as I picked the suitcase up to walk on. ‘What’s it got to do with you,’ I said. ‘You’re a tea-leaf,’ I said, remembering the old boy’s jibe.

‘I just like to know what I’ve missed out on.’

‘Well,’ I said. ‘I don’t actually know.’

‘Wot!’ he said. He was walking beside me now. I was thinking how stupid I’d been to chase him. Providence had stepped in to my problems; a veritable deus ex machina had dropped from the sky instead of a bomb and  now I was saddled with the suitcase again. Mind you, would Billy have accepted that I’d had the case pinched off me? I gave the thief the gist, shouting above the sound of bomb crumps coming from near the river. ‘I’d open that up if I was you,’ he said. I kept on walking. ‘If you don’t want what’s inside, I’ll have it off you.’ I kept on walking.

‘You can tell your mate who sent you that you lost the case in the air raid.’

‘Yeah,’ I said without turning to look at him, ‘and then get razored in an alley.’ But I knew he was right. I felt sweat running down my temples. I knew I couldn’t take that suitcase back to Soho without looking in it and I knew I had to get away from the thief before he had another go at taking it. Now I started to run and he was chasing me.

We were near the river, in an alley at the bottom of some steps when I tripped and fell. The suitcase skidded ahead. The thief dashed past me and picked it up. I yelled at him to open it. ‘What – and finders keepers,’ he said. I grunted agreement. Breathing heavily he squatted and flicked up the suitcase clips. He lifted the lid. I walked over rubbing my throbbing knee. He stared at the open case and rolled his eyes. ‘Gor christ,’ he said. ‘The stink!’

In Lavender Ray’s suitcase was an assortment of meat and a chicken, all going rotten. The thief grinned. ‘They won’t ‘ang you for that,’ he said and walked off. The crumps in the distance had stopped.

I closed the case and carried on walking slowly back to Soho. The hangover, like the air raid, was fading out.

*

‘Well done,’ said Billy the Tie. We were in the yard behind the Black Dog, which had just opened for the evening. He placed the suitcase on a dustbin, opened it and grimaced at the smell. He tipped the rotten meat into another dustbin then he reached into the suitcase, released a catch and pulled out a section of lining. It was a false-bottomed suitcase. He took out an envelope and from this he drew a wad of money. More banknotes than I’d ever seen. There were big five-pound notes, pink and mauve one-pound notes and even ten-shilling notes. He tucked the money back in the envelope without counting it and stowed it in the inside breast pocket of his suit jacket.

The thief had let a great prize go. ‘You haven’t seen any of this have you, boy,’ said Billy without so much as looking at me. I agreed I had not. He threw the suitcase over the wall into an area where barrows were kept overnight. We walked back to the public bar. Business seemed concluded so far as he was concerned. Vernie, leaning on the bar, took a cigarette from a silver case and lit it, eyeing me. ‘That boy looks like he’s sickening for something,’ he said. Billy had a sly smile but then he saw Ada looking indignant on my behalf. ‘Oh yes,’ said Billy. From a voluminous pocket he produced a tin of fags. I took them, almost snatched them, with no thought of law, of coppers, of courts, nor of judges. I looked down at the lid: CRAVEN PLAIN. I felt sad and a little ashamed. Ada gestured to me and I followed her to the other end of the bar. ‘I hope you’ve learned to stay away from them lot,’ she said in a fierce whisper. ‘Join the bloody army too while you’re at it. It’s an honester life than this.’

‘All right, Ada. Give us a Bass please,’ I said. I hugged the cigarette tin. I opened it. It was full. I sniffed the toasty aroma of fresh cut fags. Good old Billy I even thought.

I was about two mouthfuls in to the Bass, which was less farty than the morning’s, when the door opened behind me. ‘Where’s my bloody suitcase,’ yelled a cracked voice. It was Lavender Ray. Lavender Ray bold as brass, as Cod’s Eyes would always say when telling the story.

Vernie laughed. Ray was in the suit that had been hanging on the tallboy and was in a rage. ‘I been burgled,’ he shouted. The smattering of early-doors drinkers turned to look. A naval officer who’d strayed into the public bar looked very disapproving, as if he’d trodden in a dog turd.

‘Calm down, Ray,’ said Billy. ‘You look rough. Cheese it.’

‘You’re supposed to be dead,’ said Vernie affably.

‘Dead drunk more like,’ said Billy. But he looked wary.

‘Dead? I bloody ought to be. I got up,’ said Ray, ‘I drank half a bottle of pimple and I come down here for my suitcase.’

‘Too bad about that suitcase, Ray,’ said Billy carefully. ‘We thought you wouldn’t be needing it like, and well, you’d rather your money went to a good cause and not the policeman’s ball, wouldn’t you.’

There was a tremendous scene at this. Ray said he hadn’t made a will and if he had Billy and Vernie would not be in it. Then he sprang at Billy yelling something about his tie which he savagely tightened to throttle Billy. It was a neat schoolboy trick here executed with demonic brio. Ray might have been at death’s door but he seemed as strong as a lion. Billy was choking when Ray delivered an uppercut that sent him sprawling into the fireplace, which was unlit. Vernie was next, taking a series of punches that left both his nostrils pouring blood over his greasy little pencil moustache. It all happened very quickly. Perhaps Ray had been a boxer. Ada was shouting; two drinkers, market sorts, grabbed at Ray. The naval officer kept saying someone should get a constable. No one took any notice of him. Billy got to his feet, loosened his tie, gasped a few times and gave Ray the envelope he’d taken from the suitcase. No fuss, no whining. The market sorts let go of Ray. Ray opened the envelope and gave its contents a brief look. Turning to leave he caught sight of me. His waxy nostrils flared. ‘The thief,’ he snarled and dragged me outside in an unbreakable grip. I was quite distressed to note that no one tried to stop him.

With whisky breath he harangued me. His face was alarmingly grey and he was slightly boss-eyed with drink. Passers-by looked at us as if we were both undesirables, which I suppose we were. I knew a punch was coming. Right in the kisser Vernie would have said. Maybe a lot of punches were coming. ‘So you think you can burgle my home, do yer! How dare you even think you can steal from a sick man!’ He interspersed each sentence with obscenities and swearwords. I realised that Billy had sent me into a lion’s den to steal, plain and simple thieving, and I’d done it in sweet ignorance: this man was so tough even Billy the Tie was scared of him.

Ray clenched his fist so I gabbled out an apology that did not make a great deal of sense and then I thrust the tin of fags at him by way of a gift (I’d held on to them like grim death). This stopped him. He took the tin of Craven Plain. He looked at it with surprise and something like appreciation. He looked at me.  Then he punched me just the same. It felt like a cricket bat had walloped my mouth. I saw stars and tottered into a lamppost on which I steadied myself. I could taste blood. Ray opened the tin and extracted a fag from the tightly packed multitude therein. I was prevailed upon to light it for him. He drew on the fag. This triggered a ghastly coughing fit: he coughed with his head on one side, then on the other. He doubled over to cough. He expectorated violently on to the pavement. He pushed one nostril in and blew battleship grey and sea green snot out of the other. He wheezed horribly: his lungs were an old cracked squeeze-box. He coughed again horribly; he coughed lustily; he giggle-coughed; he guffaw-coughed. He coughed like an angry retort and then like a belch. His eyes watered profusely. He spat again. He turned light green. Then he took another long draw on the fag and walked off. Word came the next day that he was dead. I wondered if the old boy with the soup-strainer moustache thieved my tin of fags when Billy expired. I don’t know who got the money from the suitcase.

*

Billy the Tie hanged himself in 1944. Some said over underworld debt.  Vernie also died in the war: choked to death on a black market pickled onion in an army camp somewhere. He was drunk at the time. Ada perished when the Black Dog copped it from a doodlebug. Cod’s Eyes fell in the Thames one night after closing time and drowned. Late in the war I remembered the inside of Lavender Ray’s suitcase when the thief opened it down by the river. I did a painting of an opened suitcase on a bomb-site with a living bird in it. It was exhibited in a West End gallery. A newspaper critic said it was the human spirit coming back after the cataclysm; something like that. I expect it’ll end up in the Tate.

The Man Who Painted the Wire Town

Horses, by Eric Tucker. © Estate of Eric Tucker

The best half-dozen artists of any nation, Wyndham Lewis remarked, are never dependent on the objective world for their success or stimulus; they can make a new thing of anything, however provincial the original. This proved particularly apt for Eric Tucker, who had not even Rembrandt’s country mills and Dutch canals to draw on, but instead the factories, pubs and angry red-brick streets of Warrington — officially Britain’s ‘worst town for culture’, according to the Royal Society of Arts.

Yet despite its lack of vibrant cycle paths, world-class heritage sites and inclusive street furniture, the old Wire Town still inspired Tucker to create a prodigious body of work. He left behind some five hundred paintings, concealed throughout his end-of-terrace home: stashed on top of and behind wardrobes, hidden in a stairwell cupboard and the garden shed, and even stuffed into empty compost bags in the remains of an old air-raid shelter. Shortly after he died in 2018, his family turned his home into a gallery for a weekend – dubbed a “terraced-house Tate” in his nephew Joe Tucker’s book, The Secret Painter – and more than two thousand locals attended. National press coverage, museum retrospectives and West End exhibitions followed, sealing Tucker’s reputation as Warrington’s ‘Secret Lowry’.

But does this comparison hold? Tucker was certainly a fan of Lowry, but among his art books, he apparently had only one on the Manchester painter. For the most part, his collection consisted of works on early Modern artists, predominantly Post-Impressionists: Cézanne, Toulouse-Lautrec, Gauguin, and Van Gogh. But the Art World has an unfortunate habit, when it belatedly discovers Northern artists, of yoking them all to Lowry. See here: another Gulley Jimson of the North, dimly emerging from Lancashire’s mephitic glooms, a reclusive eccentric whose voice has been heard only too late…

Lowry spent eighty-eight years in Manchester polishing this fantasy about himself: the myth, as Brian Sewell put it, that he sprang fully formed from the brow of Minerva and painted more or less the same picture of urban dereliction eight hundred times after a Pauline revelation in a Pendleton park. His converting angel said, “Look,” and, looking, Lowry saw that grime was good. Yet compared with Tucker, Lowry was relatively middle-class. He grew up in the leafy suburb of Victoria Park. In photographs, he appears a formal, distant, clerkly figure. Tucker, while also a lifelong bachelor who lived with his mother, had been a boxer, labourer and gravedigger — by all accounts a private yet popular character who modelled his shtick more on Ken Dodd than the Douanier Rousseau. Where Lowry painted as an outsider looking in, Tucker painted as an insider looking out. “Eric is one of the people in the pictures,” his brother explained to art historian Ruth Millington. “He knows them all.”

Ragtatters Pony, by Eric Tucker. © Estate of Eric Tucker

This distinction is writ large on the walls of a recent Mayfair retrospective, Characters and Places. Tucker gives us industrial life up close: there are no long-shot vistas of market squares and factory gates, no matchstick men pouring from blackened mills — Lowry’s “undignified, pea-brained homunculi”, as Edwin Mullins termed them. Tucker’s characters are rounded in every sense: ruddy-cheeked, individual, full of vim and vigour. You wish you were having as good a time as his pubgoers. Each subject is rendered not in Lowry’s muted palette but in ham pinks, russets, ochres and blacks. Flat-capped pipe smokers and their grizzled ale-mates jostle with young couples and cabaret singers amid crisply defined bottles and glasses. There are no gloomy kitchen-sink shenanigans here: Tucker’s oils and watercolours transform Warrington’s nightlife into something as joyfully carnivalesque — though less coldly abstract — as Wyndham Lewis’s drawings of Breton peasant fêtes.

Lowry may have convinced Tucker that life in the industrial north was worthy of painting, but Tucker shows what Lowry missed in it. This is as true of Tucker’s ‘places’ as of his characters. Beyond the smoky pubs and clubs, Tucker depicts vignettes from Warrington’s backstreets and alleyways, peopled with half-spectral figures playing games, lighting bonfires, dealing scrap, or simply smoking a cigarette and staring at an egg-carton-grey sky. Elsewhere, we see pigeon fanciers, rag-and-bone men, circus ringmasters, confabbing housewives and brangling corner-boys. What leaps out from these canvases is not the Lowry influence, but Tucker’s admiration for Edward Burra — the English painter of surreal, vividly satirical urban scenes, and another maverick who, like Pound’s Hugh Selwyn Mauberley, was “out of key with his time.” Indeed, Tucker’s scenes are strangely anachronistic. To a millennial eye, only the concrete bollards and streetlights distinguish them from the Edwardian era.

In truth, the same might be said of much of Warrington today. It certainly could of the street I grew up on, only a few streets away from Tucker, in the late 1990s. Yet the fact that Tucker rarely dated his pictures feels significant: it suggests they were never intended as nostalgia or mere social record, to be framed in glass-walled museums as exhibits of a world willingly forgotten. Like Burra, he paints with an unaffected affection for a world that is conventionally reckoned drab or ugly—a world which, in Tucker’s case, is now considered as lost to time as Woolworths or The Wheeltappers and Shunters Club. Yet so deeply immersed was Tucker in this forgotten North that one feels the artist is still there, in these pictures. So too, it seems, are his characters. I need only open the door and look.