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claudia1829things · 17 days

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"BLEAK HOUSE" (1985) Review

"BLEAK HOUSE" (1985) Review

In less than I year, I have developed this fascination with the works of Charles Dickens. How did this come about? I do not know. I have seen previous Dickens movie and television adaptations in the past. But ever since last year, I have been viewing these adaptations with a vengeance. And one of them turned out to be "BLEAK HOUSE", the 1985 adaptation of Dickens' 1852-53 novel.

Adapted by Arthur Hopcraft, this eight-episode miniseries conveyed the affects of Jarndyce v Jardyce, a long-running legal probate case involving the existence of more than one will. The heirs and their descendants have been waiting decades for the court to determine the legal will, for the sake of a large inheritance. Among those affected by the Jarndyce v Jardyce case are:

*John Jarndyce - a wealthy English landowner, who happens to be the proprietor of the estate, Bleak House. Jarndyce had inherited it from his uncle Tom Jarndyce, who had went mad waiting for a verdict on the case before committing suicide. *Richard Carstones - Tom Jarndyce's grandson and John Jarndyce's cousin, who also became one of the latter's legal wards, and a potential beneficiary of the Jarndyce v Jardyce case. *Ada Clare - Tom Jarndyce's granddaughter and Mr. Jarndyce's cousin, who also became one of his legal wards, and a potential beneficiary of the Jarndyce v Jardyce case. She and Richard, also cousins, became romantically involved. *Esther Summerson - one of the novel's main characters and orphan, who became Mr. Jarndyce's ward following the death of her previous guardian, Miss Barbury, who had also been her biological aunt. She joined the Bleak House household as Ada's companion and Mr. Jarndyce's housekeeper after he became the guardian of Richard and Ada. *Honoria, Lady Dedlock - the wife of baronet Sir Leicester Dedlock and a beneficiary of the Jarndyce v Jardyce case. She is also the younger sister of Miss Barbury and Esther's illegitimate mother. *Captain John Hawdon aka Nemo - a former British Army officer, who became an impoverished law writer and drug addict. He is also Lady Dedlock's former lover and Esther's illegitimate father. His penmanship on one of the Jarndyce v Jardyce affidavit attracts Lady Dedlock's attention. *Mr. Bill Tulkinghorn - Sir Leicester's ruthless lawyer, who noticed Lady Dedlock's reaction to the affidavit. This leads him to investigate her past and possible connection to Hawdon aka "Nemo". *Miss Flite - An elderly woman living in London, whose family had been destroyed by a long-running Chancery case similar to Jarndyce v Jarndyce. This has led her to develop an obsessive fascination with Chancery cases, especially the main one featured in this story. She quickly befriended Esther, Richard, Ada and Mr. Jarndyce.

As one can see, these characters represented plot arcs that connect to the Jarndyce v Jarndyce case. As one of the beneficiaries of the Jarndyce case, Richard becomes obsessed with the verdict. He seemed more interested in depending upon the Jarndyce verdict to provide him with an income rather than pursue a profession. This obsession eventually led to a clash between and Mr. Jarndyce, who has tried to warn him not to get involved with the case. Another clash formed between Lady Dedlock and Mr. Tulkinghorn, due to his determination to find proof of her past with Nemo and the conception of their child. A clash that proved to create even more damaging for a good number of people, than the one between Mr. Jarndyce and Richard. In the midst of all this stood Esther, who served as an emotional blanket for several characters - especially the inhabitants at Bleak House, a potential romantic figure for three men (ironic for a woman who was not supposed to be a great beauty), and the center of the Lady Dedlock-Nemo scandal.

For years, 1985's "BLEAK HOUSE" had been viewed as the superior adaptation of Dickens' novel. The first novel aired back in 1959. But a third television adaptation that aired in 2005 had managed to overshadow this second adaptation's reputation. But this is not about comparing the three adaptations. I am focusing only the 1985 miniseries. If I might be blunt, I believe screenwriter Arthur Hopcraft and director Ross Devenish created one of the better Charles Dickens I have personally seen. Granted, one might use the source material - the 1952-53 novel - as the reason behind the miniseries' top quality. But I have seen my share of poor adaptations of excellent source material . . . and excellent adaptations of poor or mediocre novels and plays. And I would find this excuse too simply to swallow. Hopcraft and Devenish could have easily created a poor or mediocre adaptation of the novel. Fortunately, I believe they had managed to avoid the latter.

With eight episodes, Hopcraft and Devenish did an excellent job in conveying Dickens' exploration into the chaos of the legal landscape in 19th century Britain, especially cases involving the Chancery courts. One might consider the longevity of Jarndyce v Jarndyce rather exaggerated. However, I speak from personal experience that an extended length of time in such a case is more than possible. But what I thought the effect of Jarndyce v Jarndyce and similar cases in Dickens' story seemed very interesting. In Richard Carstone's case, I suspect his own hubris and upbringing had allowed the case to have such a toxic effect upon him. He had been raised as a gentleman. Which meant he was not expected to work for a living. But since he did not possess a fortune or an estate - like Mr. Jarndyce - Richard never lost hope that the court would rule the Jarndyce v Jarndyce case in his favor, allowing him to inherit a great deal of money. Although it took another case to send Miss Flyte mentally around the bend, I found it interesting that her obsession with Chancery cases led her to attach her interest to the Jarndyce case beneficiaries.

The Jarndyce case also produce a group of leeches in the forms of attorneys like Mr. Tulkinghorn and his obsession with assuming control over the Dedlocks and Mr. Vholes, who had sucked a great deal of money from Richard in exchange for his legal services. The series also featured the vicious moneylender Mr. Smallweed, who helped Mr. Tulkinghorn in the latter's campaign against Lady Dedlock; and Mr. Jarndyce's "friend", Harold Skimpole, who had not only encouraged Richard to pursue a greater interest in the Jarndyce case, but also had accepted a "commission" from Vholes to recruit the young man as a client. Would I regard William Guppy as a leech? Sometimes. I had noticed that one particular story arc was missing - namely the story arc regarding the philanthropist Mrs. Jellyby, her daughter and Esther's friend, Caddy and the Turveydrop family. This did not bother me, for I have never been a fan of that particular arc.

However, I also noticed that "BLEAK HOUSE" featured a few moments in which important plot points had been revealed through dialogue or shown after the fact. Audiences never saw Skimpole convince Richard to hire Mr. Vholes. Instead, Mr. Jarndyce had revealed this incident after it happened. The whole scenario regarding Dr. Allan Woodcock being a survivor of a shipwreck was handled as a past event revealed by the good doctor himself. Hopcraft's script never stretched it out in the same manner as Dickens' novel or the 2005 miniseries. Audiences never saw George Rouncewell's release from jail, for which he had been incarcerated for murder. Instead, Episode Seven began with George in jail and later, near the end, found him serving as Sir Leicester's valet without any information on how that came about.

"BLEAK HOUSE" featured a few other writing and direction decisions by Hopcraft and Devenish that I found . . . well, questionable. Why did the pair solely focused on Lady Dedlock in the series' penultimate episode and Richard and the Jarndyce v Jarndyce case in the final one? Would it have been so difficult for them to switch back and forth between the two arcs in those final episodes? I found Inspector Bucket's resolution to the story's murder mystery rather rushed. I would have liked to see Bucket eliminate suspects before solving the case. In Bucket's final scene with the killer, Hopcraft left out that moment from the novel when the latter had the last scathing word on British society, leaving the police detective speechless. This erasure dimmed the impact of Dickens' message and made the killer even more of a caricature. I had some issues with how Devenish directed certain performances. How can I put this? I found them a bit theatrical.

I have one last issue - namely Kenneth MacMillan's cinematography. I realize that in "BLEAK HOUSE", fog represented institutional oppression and human confusion and misery in society. Unfortunately, I feel that MacMillan may have been heavy-handed in utilizing this symbol in the series. It is bad enough that photography featured a fuzzy element that seemed popular in many period productions in the 1970s. But thanks to MacMillan's use of fog in the story, there were many moment in which I could barely see a damn thing. And I found that irritating.

Aside from a few quibbles, I had no real issues with the performances featured in "BLEAK HOUSE". One of those quibbles proved to be the performances for some of the secondary cast members. How can I say this? The exaggerated and wooden performances for some of the cast members brought back memories of some of the minor actors' bad performances in 1982 miniseries, "THE BLUE AND THE GRAY". I must admit that I did not care for Pamela Merrick's portrayal of Lady Dedlock's French maid, Madame Hortense. Her performance bordered and then surpassed the lines of caricature - as some British actors/actresses tend to do. Charlie Drake's portrayal of the moneylender Smallweed tend to waver between a pretty solid performance and pure caricature. Although there were moments when I found her portrayal of the eccentric Miss Flyte a bit hammy, I must admit that Sylvia Coleridge gave a well-done performance. Chris Pitt's performance as Jo, the crossing sweeper boy struck me as very poignant. Yet, at the same time, he seemed so passive that at times, I found it difficult to believe he had survived on the streets on his own, for so long. Jonathan Moore, whom I had remembered from the 1988 television movie, "JACK THE RIPPER"; did an excellent job of conveying the ambitious and self-interested nature of law clerk William Guppy. However, his portrayal of Guppy seemed to lack the character's comedic nature. Denholm Elliot gave a very interesting performance as Esther, Richard and Ada's guardian, John Jarndyce. On one level, I found his portrayal of the kind-hearted Mr. Jarndyce as first-rate. Excellent. But there were moments, including the character's famous quote following Jo's death, when Elliott's Mr. Jarndyce seemed to resemble one of those "angry young men" characters from a John Osbourne play. I found those moments very odd.

However, there were performances that did not leave me scratching my head. Colin Jeavons and Anne Reid gave very competent performances as the grasping solicitor Mr. Vholes and George Rouncewell's close friend Mrs. Bagnet, respectively. Ironically, Jeavons had portrayed Richard Carstone in the 1959 adaptation of "Bleak House" and Reid had portrayed Mrs. Rouncewell in the 2005 television adaptation. Both Suzanne Burden and Lucy Hornak gave solid performances as Esther Summerson and Ada Clare. And yet, both actresses managed to rise to the occasion with some brilliant moments. Burden's moment came, following Esther's realization that she had survived the smallpox. As for Hornak, she gave an excellent performance during Ada's soliloquy about her love's growing obsession with the Jarndyce case. Brian Deacon gave a passionate performance as Dr. Allan Woodcourt, the penniless doctor in love with Esther. Ian Hogg gave a very solid, yet commanding performance as Inspector Bucket. I really enjoyed Sam Kelly's warm portrayal of the law-stationer, Mr. Snagsby. Bernard Hepton gave one of the most colorful performances of his career as the alcoholic rag and bone shopkeeper, Krook. Dave King gave a very solid performance as the loyal, yet intimidating and conservative former Army sergeant George Rouncewell. I found George Sewell's performance as Sergeant Rouncewell's older brother, the wealthy Mr. Rouncewell not only entertaining, but very memorable. I thought Robin Bailey did an excellent job portrayed the haughty and proud Sir Leicester Dedlock.

But there were four performances that really impressed me. One came from Philip Franks, who did an excellent job of conveying Richard Carstone's emotional journey from John Jarndyce's warm and friendly young man, to the more embittered one, obsessed with the Jarndyce case. T.P. McKenna gave a delicious performance as Mr. Jarndyce's self-involved friend, Harold Skimpole, who proved to be quite the emotional (and financial) vampire. I thought Peter Vaughan was superb as the Dedlocks' sinister lawyer, Mr. Tulkinghorn. I was amazed by how Vaughn managed to combine the character's dedication to protecting his client Sir Leicester and his penchant for assuming control over others. If I had voted for the best performance featured in "BLEAK HOUSE", I would choose Diana Rigg's portrayal of the tragic Honoria, Lady Dedlock. I believe the actress gave a brilliant performance as the mysterious, yet complicated baronet's wife, whose cool demeanor hid a great deal of emotions and a personal secret. I am shocked and amazed that neither she, Vaughn, McKenna or Franks had ever received any accolades for their performances.

In fact, I am surprised that "BLEAK HOUSE" had only received BAFTA nominations (and won three) . . . and they were in the technical/arts category, aside for the Best Drama Series/Serial. No Primetime Emmy nominations, whatsoever. Was this eight-part miniseries the best adaptation of Charles Dickens' 1852-53 novel? I cannot answer that question. Granted, it had its flaws. But what television or movie production did not? But I cannot deny that "BLEAK HOUSE" was a first-rate miniseries that deserved more accolades than it had received, thanks to Arthur Hopcraft's screenplay, Ross Devenish's direction and an excellent cast led by Suzanne Burden, Denholm Elliott and Diana Rigg.

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bluesrocknrollingstones · 1 year

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From Spanish Tony's book De Rolling Stones @spanishtonymedia

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ilovedig · 2 years

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MLH: The idea was they’d all be journalists working in a newspaper office but secretly one of them, Paul, was trying to write a paperback novel, and then it would be how they would help him or how they would not help him. But it would give us a setting of a newspaper office which I thought would be an interesting. So I suggested this to them which of course in those days would have been a very low tech newspaper office compared to what we have today. There still would have been typewriters and secretaries taking dictation or whatever. So I gave them the idea and they said, “Yeah, maybe, let’s think about it.” Then a couple of days later, which was probably about a week before the shoot, I got as phone call from NEMS, which was Brian Epstein’s company, saying quote unquote, “Mr. Epstein didn’t want anything unusual, just a video of the boys performing.” I suppose from his point of view, I guess they hadn’t been seen for a while. They hadn’t had any videos made since the ones that came along since “Help!” So I think he just thought it would be simpler and I’m not sure he wanted anything fancy or complicated; he just wanted to show them performing to the world., Brian was a nice man; he was interesting. He was quite a reserved, sort of reclusive person but he said no to that so that’s why we shot “Rain” and “Paperback Writer” the way we did.

It was Brian's fault. Everything bad about Paperback Writer was Brian's fault, not Michaels.

The things you learn when you read interviews

Also recommend the whole interview, explains how he met the boys and everything.

#mlh #michael lindsay hogg #paperback writer #brian epstein

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idiots-assembled · 1 month

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Kiell's donated a signed script from series one of Ghosts (and the dress he made on The Great British Sewing Bee) to the Cinema For Gaza auction!

This is an auction to support Medical Aid for Palestinians (MAP) organised by Cinema For Gaza. We are the film journalists and filmmakers Hanna Flint, Julia Jackman, Leila Latif, Sophie Monks Kaufman and Helen Simmons. Donations have flown in from a wide range of film talents from the UK and beyond. These include Tilda Swinton, Ramy Youssef, Peter Capaldi, Imelda Staunton, Brian Cox, Joseph Quinn, Mike Leigh, Misan Harriman, Joanna Hogg, Aimee Lou Wood and Josh O’Connor. The auction opens on Tuesday 2nd April at 9:00 BST and closes on Friday 12th April at 00:00 BST.

#bbc ghosts #kiell smith bynoe

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m1ssunderstanding · 4 months

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Get Back Rewatch 55 Years On: Day Four

"Lennon's late again" says Paul, as he walks in late. And sweet Ringo just gently, "between ten and eleven is the time" Which means: "Chill babe. He'll be here."

One thing that always gob smacks me is how bored George and Ringo are watching Paul pull Get Back out of the ether. They literally see him do this shit all the time which is insane to me.

His voice is so so so pretty!!! And he's just so completely in his own world. The hunched shoulders. The twitching. The gibberish. The tapping. The twisting.

Obviously this is a song with the original central feeling being let's go back to before everything went wrong but he wants to make it into a meaningless song with both story bits and almost walrus-esque bits. But why is the first lyric he comes up with about gender? Thinking of @scurators posts on Paul and gender.

Ringo's customary quiet really does add significance to his voice, so him singing along with this so quickly says something I think about his support for the song and for Paul in general.

When John walks in he's greeted with a little cocky nod and smile like "look what I've just done while you were late." And then Paul sings "get back to where you once belonged" directly at him before breaking the eye contact. It's one of those heartbreaking Lennon/McCartney miscommunications because Paul is doing this to get John back, but actually it's scaring him away, you know? Paul thinks he has to prove to John how good he is, but John's exhausted with how good Paul is.

STFU Michael Lindsay Hogg

Paul really does love the idea of being forced out of parliament by cops and honestly so do I. Would've been iconic and might've kept them together.

John's so quiet today and also Yoko is not here. Correlation or causation I wonder.

"They say don't they say charity begins at home?" I love you forever, George. His humor is always so well-placed and so dry (even though he's clearly cracking himself up here). And it steers the conversation away from a direction he was not happy with without poking any bears. In fact, everyone's laughing. Clever boy.

"I've decided that the whole point of it is communication. And to be on TV is communication and we've got a chance to smile at people like all you need is love or something so that's me incentive for doing it." Wise, egalitarian John making a lovely appearance.

And then there's Paul. "I'm here cause I wanna do a show." Lol I love them.

Why do they say "Mr Epstein?" Is it because they're on camera and they want people to know who they're talking about? Does it have something to do with the maharishi telling them certain ways to talk about Brian? Does anyone have any thoughts about that?

Okay so you know how I just said last time how emotionally mature George was? I still think it's generally more true of him than the others, but this right here? This is not it. "I don't want to do any of my songs in the show because they'll all just turn out shitty." Man has issues.

I think it's important to recognize that George and Paul have both said the literal word "divorce" and it's NBD. But when John does it, Paul takes it as "the groups really over and I have to go into hiding and not get out of bed and maybe od who knows." Why? There's another puzzle piece here that we're missing.

"Should we leave you for a while?" "YES!"

On the one hand I'm like "working on Maxwell is the last thing you guys should be doing with this time alone." But on the other thing maybe it's the only thing they can do at this point.

"Mal? You should get a hammer. And an anvil." As he's walking away. Main character in a contrived mad genius biopic. Except it's real.

"Joan" sounding suspiciously like "John" ... And then he goes "fool, Maxwell fool." Aka one of their ~special words~ New theory. John hates Maxwell because he dies in it. And Paul's the killer.

"Take it away Johnny." Even though it was George and John whistling before wasn't it? Did George get cut from the whistle chorus? Another straw on the camel's back.

I LOVE that John just does not know any of his own songs. Across the Universe my beloved!

On the glyn/Paul moment featured below, I have three thoughts. 1. Whore. 2. John Lennon villain origin story. 3. The fact that glyn didn't just tell John is striking.

"I wish it fucking would". "Cause I'm down." This lyric going from a self-soothing reassurance that his people aren't going to leave him that he'll always have this beautiful dream he's created with them. To this? I hate it here.

So there is a big emotional and energy difference between their Beatlemania selves singing "Rock and Roll Music" and their current selves. And part of it is due to the fact that they're just not as happy as they were then. But I think most of it is really just that they thrive when they're performing for an audience.

#Sorry for the scarcity of shitty pics to break up the block of text in this one.#Hopefully the next one will be better #paul mccartney #the beatles #john lennon #mclennon #ringo starr #george harrison #Get back

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laurolive · 7 months

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Paul and Linda, a collection of PDAs: Part 2 - Hugs

For the romantics out there, we have some more of Paul and Linda, a love affair that fascinates because it seems to be everybody’s dream.

In the October 1992 issue of Vanity Fair, in an article titled “Moll of Kintyre,” Zoe Heller observes Paul’s visit during an interview with Linda.

Then he wanders over to the sofa and begins touching her - stroking her arm, massaging her neck, and, at one point, sitting down and putting his arm around her shoulder. It's as if, quite literally, he can't keep his hands off her.

Watching the two of them banter, one is struck by how genuinely interested in each other's responses they seem to be - how entertained by each other's company. On each of Paul's subsequent exits and entrances, Linda stops what she is saying in order to swap ootsie-tootsie endearments with him.

… [N]umerous friends and colleagues attest that is standard behavior. "Yeah - holding hands, lots of private jokes, giggly little conferences - that's them," Paul De Noyer, editor of the British rock journal Q Magazine, confirms. "You have to concede that it's touching."

"If the phrase means anything anymore," Brian Clarke says, "I think they are in love."

Oct. 1992 Vanity Fair article “Moll of Kintyre”

Jan. 1969 From the documentary Get Back (Part 1)

Jan. 1969 From Get Back (Part 1)

March 12, 1969 Just married

March 1969 The newlyweds at the home of Paul’s father Jim and Jim’s wife Angie in Gayton, Wirral, Cheshire.

July 20, 1969 Linda and Paul share a hug at the dinner table (albeit an one-armed hug on Paul’s part) at the occasion of the screening of the first cut of the movie that would later be titled Let It Be. Director Michael Lindsay-Hogg is seated on the other side of Linda.

August 17, 1969 Paul is spending his Sunday recording ‘Que Sera, Sera’ with Mary Hopkin at Abbey Road. He and Linda, pregnant with their daughter Mary, find time for a lovely hug and smile - 11 days later, Mary McCartney arrives into the world. (From Twitter: Beatles Books Podcast.)

1970 London

1970 photo by Henry Grossman

1970 Scotland

1970 or 1971

Late 1970 or early 1971 Working on the album Ram.

March 1971 Malibu, California. Photo shoot for cover story in April 16, 1971, issue of Life Magazine. Photo by Henry Diltz.

June 1971 Scotland a still from the video for the song “Heart of The Country”

April 1974 at Beverly Hills Hotel, where Paul and Linda stayed with their children while in L.A. to attend the Academy Awards, which took place on April 2.

How beautiful is this embrace? Nice to see a married couple being openly affectionate like it’s the most natural thing in the world (although I have wondered what role pot played in removing any inhibitions 😆 — but you can see the romance was still the foundation).

Not a fan of the mustache and soul patch on Paul. It just doesn’t suit a cute “baby face,” and it makes him look like a shady character imo. I guess I’ll just have to pretend the facial hair isn’t there whenever I look at this photo. 😎

1974

1975 Beverly Hills Hotel in Los Angeles, where Paul and Linda were awarded a platinum record for the album Band on The Run. Photos by James Fortune.

Lovely, despite the 1970s hair choices 😁 (but Linda’s mullet is less pronounced in the first 3 photos, which is a plus).

That ‘s not all the hugs. They continue in Paul and Linda, a collection of PDAs: Part 2 - More Hugs.

#paul mccartney #linda mccartney #linda and paul #paul and linda romantic #paul and linda mccartney #paul and linda forever #linda louise mccartney #linda mccartney and wings #linda eastman mccartney #paul and linda #lovely linda

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beatleskinkmeme · 11 months

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Beatles Kink Meme Tags Navigation

Ships

lennison ; lennstarr ; mcharrison ; mclennon ; mcstarr ; paul/george ; pringo ; starrison

John/Paul/George/Ringo ; John/Paul/George ; John/Paul/Ringo ; implied mclennon ; Paul/any beatle

John/Other

John/Allen Klein ; John/Brian Epstein ; John/Faul ; John/Fred Seaman ; John/Jimmy McCulloch ; John/Linda ; John/Lord Snowden ; John/Mick Jagger ; John/Norm ; John/Robert Fraser ; John/Stuart ; John/Yoko ; John/anyone ; John/other

Paul/Other

Paul/Brian Epstein ; Paul/Cynthia ; Paul/Ed Sullivan ; Paul/George Martin ; Paul/Ian James ; Paul/Jimmie Nicol ; Paul/Linda ; Paul/Mal Evans ; Paul/Mick Jagger ; Paul/Mike ; Paul/Paul ; Paul/Pete Best ; Paul/Pete Townshend ; Paul/Peter Asher ; Paul/Queen Elizabeth ; Paul/Robert Fraser ; Paul/Stuart ; Paul/Tara Browne ; Paul/Yoko ; Paul/anyone ; Paul/other

George/Other

George/Bob Dylan ; George/Brian Epstein ; George/George Martin ; George/Other

Ringo/Other

Ringo/anyone

Other

George/Patti/John Hurt ; John/Paul/Brian Epstein ; John/Paul/George Martin ; John/Paul/Reader ; John/Paul/Robert Fraser ; John/Paul/Stuart ; John/Paul/Yoko ; John/Paul/other ; Linda/Yoko ; Paul/Linda/Denny Laine ; Paul/Linda/George ; Paul/Linda/Robert Fraser ; Paul/Robert Fraser/Lord Snowden ; beatles with other people ships ; any pairing

Characters

John ; Paul ; George ; Ringo ; All Beatles ; Any beatle

john and paul ; john and george ; john and ringo ; paul and george ; paul and ringo ; george and ringo

Allen Klein ; Andy Warhol ; Beatle girls ; Bob Dylan ; Brian Epstein ; Cilla Black ; Cynthia ; David Bailey ; Denny Laine ; Ed Sullivan ; Elvis Costello ; Faul ; Fred Seaman ; George Martin ; Ian James ; Ivan Vaughan ; Jane ; Jimi Hendrix ; Jim McCartney ; Jimmy McCulloch ; Jimmie Nicol ; John Dunbar ; John look alike ; Julian ; Linda ; Little Richard; Lord Snowden ; Maggie McGivern ; Mal Evans ; Martha ; Maureen Starkey ; May Pang ; Michael Lindsay Hogg ; Mick Jagger ; Mike McCartney ; Mimi Smith ; Pattie Boyd ; Pete Best ; Peter Asher ; Pete Townshend ; Robert Fraser ; Royston Ellis ; Sean ; Stuart ; Tara Browne ; Yoko ; Reader Insert

Kink/Fetish/Sex Position

69 ; a/b/o verse ; accidental voyeurism ; anal ; analingus ; bdsm ; belly rubs ; blow jobs ; brontophilia ; butt plug ; chastity belt ; clown fetish ; cockwarming ; costumes ; daddy kink ; dirty pictures ; dirty talk ; dub con ; dumbification ; exhibitionism ; feeding kink ; feet kink ; feminization ; fisting ; foot job ; foursome ; fuck or die ; gangbang ; glory holes ; group masturbation ; humiliation kink ; incest ; masturbation ; milking kink ; mom kink ; non con ; objectification ; object insertion ; omarashi ; pegging ; pet play ; phone sex ; pillow humping ; piss kink ; polycule ; pony play ; power bottom ; praise kink ; pregnancy kink ; rimming ; role play ; run train ; sadism ; sex toys ; sexual favors ; sexual use of unusual items ; sickfic ; size kink ; slut shaming ; smoking kink ; sneeze fetish ; somnophilia ; student/teacher ; sub/dom ; tentacles ; threesome ; tied up ; unintentional erotic touching ; voice kink ; voyeurism ; watersports

Time Periods

1963 Beatles Christmas skit ; 1966 ; 1967 ; 1971 ; 1970s ; 1980s ; abbey road ; a hard days night ; Christmas ; get back ; hamburg ; help! movie ; how i won the war ; India ; mad day out ; magical mystery tour ; post breakup ; post india ; post Johns death ; sgt pepper ; the lost weekend ; white album ; yellow submarine

AUs

AU ; anastasia au ; brokeback mountain ; canon divergence au ; eternal sunshine of the spotless mind au ; fleabag au ; indecent proposal ; John lives AU ; moulin rouge au ; modern au ; Paul dies AU ; paul is dead ; seven days au ; time travel au ; yesterday movie universe

Other

accidental name drop ; aliens made them do it ; animals ; bad sex ; body positivity ; body worship ; bottle feeding ; canon compliant ; cosplay ; couple’s therapy ; crossover ; crying ; cute aggression ; Elvis ; enemies to lovers ; fake marriage ; gay chicken ; gen ; genderswap ; happy birthday paul ; high femme ; hurt/comfort ; love triangle ; multiple partners ; mutual pining ; nonkinky ; outsider pov ; panic attacks ; parallel universe ; paris ; photo prompt ; pining ; PWP ; quote prompt ; rent boys ; sexual frustration ; stuffed in a suitcase ; t4t ; therapy ; wlw

2020s Ringo; 61 john ; 66 John ; 80s Paul ; 90s Paul ; alpha!john ; bottom!George ; bottom!john ; bottom!paul ; feeder!john ; fem!paul ; girl Paul ; jealous!john ; mcbeardy ; milf!paul ; omega!paul ; top!paul ; trans boy paul ; trans John ; trans paul ; twink!paul ; vampire!john ; virgin Paul ; young john

Non Prompts

fan art ; fanvideos

anon ask ; mod post ; non prompt ; polls ; replies

ao3 wrapped ; fic-a-thon ; secret santa ; master post

#submission

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mclennonlgbt · 2 years

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Films that don't hide John's queerness

The problem with MOST biopic and Beatles/John Lennon documentaries is that they ignore John's bisexuality. As a rule, it's only talked about his interest in women.

Fortunately, there are exceptions to this rule <3

The Beatles Secrets: It's a docu about Beatles "dirty secrets" (ugh, what a cringe name): sex, drugs ect. 38:32 - Royston Ellis (a bisexual poet), talking about Hamburg years: "I took John back to the flat where I was living with a girl and she, myself and John, we spent the night together. And the reason for this was not just the sex side but I'd written a poem which John liked and in there was a line: "I long to have on black leather sheets and ride motorcycles between your thighs". Well, we didn't have any black leather sheets, we had to make with black polythene and black oil skins".

The Hours and Times: A 1991 drama film about John and Brian's journey to Barcelona in 1963. Christopher Münch (director and screenwriter) points out that this is his imaginary scenario. The main characters are presented in a very interesting and nuanced way. For example, Lennon is most likely queer and would like to try "something more" with Epstein, but ends up "only" kissing him, possibly due to internalized homophobia. He makes derogatory comments about gays also openly, which fits in with real John's 1971 statement : "The fag in me made me feel insecure". Here you'll find other interesting thougths about The Hours and Times.

3. Two of us

The film, whose director Michael Lindsay-Hogg, who knew the Beatles live, tried to present the Lennon-McCartney relationship in a nuanced way.

The elevator scene is very popular in the McLennon fandom: John and Paul tease by simulating a fight, and suddenly John grabs Paul and kisses him on the lips. Paul pushes John away and asks, "Is my name Brian?"

Earlier, I thought unequivocally that this scene depicts sexual harassment: a kiss without the consent. I still think so often. However, this can also be seen in a different way - the movie John and Paul flirt, touching, as the real Lennon and McCartney used to do. The kiss was part of this flirt. When Paul definitely showed he didn't want it, John didn't push. I don't know how to settle this.

That's why I prefer a different, more unambiguous McLennon scene. John and Paul consider accepting the SNL invitation. Paul isn't sure: "We haven't played together for ages!". John strikes him lightly with his fist: "Come on, it's like screwing! Once you've done it, you never forget it!".

This moment reminds me of this quote where Paul compares songwriting to sex.

ALSO:

@elementarypenguin9 wrote me about Birth of the Beatles, a 1979 biopic. This is what they claim: "I was watching Birth of the Beatles recently (the film where Pete Best was technical advisor), and couldn't help but notice that they did show a gay vibe between John and Paul, such as here: https://www.tumblr.com/blog/view/thecoleopterawithana/687283702231941120?source=share There's also a scene where Paul says to John "give us a kiss" and briefly leans in and holds his hand at the back of Johns head before then turning away. And another scene where they are sitting on a sofa together glued together like a couple, and there seems to be a moment where they look at each other in a flirty way and john has his hand on pauls thigh. Just makes me wonder if maybe Pete Best gave them a little hint about how close John and Paul really were??"

I haven't watched that film but I'm encouraged :D

@elementarypenguin9 also wrote: "I think Backbeat depicts John as possibly having romantic feelings for Stu. In the film it causes a lot of tension between John, Stu, Astrid and Paul. John's complex feelings towards Stu and himself is both shown in the visual storytelling and through Ian Hart's performance and many of the characters even talk about it in a few scenes (that John might have feelings for Stu), and John becomes defensive and insecure when that happens". I think they mean that scene:

youtube

John is played by Ian Hart who also played John in The Hours and Times.

AND:

Some believe that John is queer-coded in A Hard Day's night.

LAST BUT NOT LEAST:

@theoldmixer pointed out that Lennon was queer-coded also in Help! Here's John's conversation with Ringo.

Here are my suggestions! Do you know any other films where John's bisexuality isn't ignored?

#queer beatles #queering the bugs #mclennon #Youtube

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zilabee · 1 year

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Lennon's late again. [...] I'm thinking of getting rid of him.

I don't even have that much sadness attached to day four; it's drowned out by pure unadulterated irritation. I almost don't even want to write about it because it's just makes me furious.

The best bits of the day:

- Yoko dancing a little bit to Maxwell

- Adding the old footage and the screaming to them playing around with rock and roll music oh my god beautiful yes perfect well done yes okay good

- Nothings' gonna change my world ("I wish it fucking would")

- George's smile at Mal when he gets his hammer bit right oh god

- When Paul genuinely doesn't know who played that lovely badumbadum in Maxwell and is all flustered by how much he likes it

- When John has his paper over the mic, and someone tells Paul instead of telling John. HEAVEN.

- Paul writing Get Back obviously all of that, but also the others slowly drifting into it, how good it sounds when Ringo falls in.

- When Michael Lindsay Hogg suddenly realises he might actually be breaking the beatles up and quickly suggests leaving them alone to play for a bit and then sending them for something to eat.

The worst bits of the day:

MLH: I think if we've embarked on the enterprise, which is your decision... after all you're all here... I think we ought to get as much as we can out of it because... Paul: But any other director in the world would say 'Fuck off!' you know. 'Fucking get off my set, you cunt!' You know, wouldn't they? If suddenly in the middle of a thing I was doing, trying to pull together, four people just sort of shout, 'I don't think we want to do it' you'd go 'oh fuck off.' Anybody... I couldn't operate with that. MLH: It's true.

HE IS LITERALLY TELLING YOU WHAT THEY NEED, AND YOU ARE JUST MAKING NOTHING NOISES IN RETURN, YOU ARE A FUCKING NIGHTMARE.

MLfH: I think one of the things about doing the show here is that it's too easy.

OH YES NO OBVIOUSLY. IT WOULD BE AWFUL IF ANY OF THIS WAS TOO EASY.

MLH: I will, every day, say Tripoli...

I HATE YOU

MLH: We all need you. And you know, if you all can't get it together, that's really very sad.

TAKE A SAD SONG AND MAKE IT BETTER MICHAEL, NOT WORSE

- oh god how stupid and tedious and awful everyone has chosen to be. I hate them.

- (except paul) (but even paul) (but not paul) I know there are other things he could have done here, but he's channelling my irritation so perfectly that I don't find him irritating today. I found him irritating yesterday, but today everyone's being ridiculous and needs to fuck off and he explains that just fine. My teeth ache for him.

- They're all so tangled up and tired and scared, and I feel like I should feel caring and loving about that, but I don't, I'm just frustrated, and want them to pull themselves together.

- I love Paul just telling them straight that he doesn't care enough for how painful they're making it because fucking hell he's not at school any more.

- I love John's incentive for the thing being to beam love at people, it's very beatle. And incentive is something they need and it's a good one, and it would make Brian happy. But !!!! If you're on the side of doing a show and making the thing work, then you have to argue on the side of doing a show and making it work. You have to be part of forcing that to happen. Get involved. Back Paul up. Just be in the roomas ldfkjowiejfo sjdfoijwoe ijfsdf.

- George deciding he doesn't even want to do his songs is the breaking point for me. When suddenly he doesn't even want to do them live because they'll be shit, when just yesterday he was saying how good this whole idea was because it's more real, and when, like Paul says, they're more than CAPABLE of singing a fucking song for fuck's sake flsskjodijflhklsdsslsssssssssssssssssssssssssssssssss. I don't know. I know he's frightened. And I know he has a little ptsd about audiences. And I know he has a lot going on. But at the same time… and I'm a youngest child so I'm allowed to say this: he's the most youngest child of all youngest children I've ever seen and I don't know how anybody coped with him for a whole minute.

#get back #get back january #a lot of words #too many words #but all the days are something #and you have more time to drown in them #when you watch little by little #(I wrote this last night #but then tumblr was being weird about letting me edit drafts #and not saving any changes #so I lost most of it twice #and I've had to recreate it #so I don't even know if it means what I meant)#get back words

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goffic · 1 year

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Siouxsie Sioux, Brian Molko, and Pam Hogg during London Fashion week. 2000.

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jonesbrianshining · 3 months

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Brian Jones - TV film Rock ´n´ Roll Circus

“Then there was the sad case of Brian who had for a variety of reasons kinda let himself go. He’d been this most wonderful looking young guy, handsome, wore good clothes. But as the dynamic in The Rolling Stones changed and Mick and Keith started to take it over more from Brian he became somewhat marginalised. Brian started to drink more, drug more. Tragically, the Circus was the last time he ever played with The Rolling Stones and he looks like a man of forty pretending to be a boy of 26.

“The night before, after we did a rehearsal, I got home about ten. The phone rings and it’s him, he says ‘I’m not gonna go there tomorrow because they’re so mean to me… no-one listens to me or cares about me anymore’. He was feeling very sorry for himself, as we might if we feel like we’re being attacked or not paid attention to. I said ‘you have to come tomorrow, what would The Rolling Stones be without you?’ So he did show up but he was feeling persecuted by the others and because he didn’t have a strong character he then went into self-pity and drinking more on the day itself. So he seemed out of it. It was late at night and whatever we’d been doing he wasn’t connecting the way the others were.” -Michael Lindsey-Hogg – director Rock&Roll Circus

Source: New Musical Express.com

#Brian #decline of brian #the rolling stones #rock and roll circus #brian´s limits

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bluesrocknrollingstones · 5 months

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I remember sharing these photos from the Rock N Roll Circus on my old blog but they weren't in good quality, so here's these two photos in better quality ❤️

#the rolling stones #mick jagger #keith richards #bill wyman #nicky hopkins #michael lindsay hogg #bluesrock #rockband #60s #60srock #brian jones

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thecrimecrypt · 1 year

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Crimes That Shook Britain (North East)

John Darwin In March 2002, John Darwin, 51, paddled out to sea in his canoe near his Hartlepool home. He never returned Coastguard rescue teams and police searched for him, but all they found was Darwin's paddle.

Several weeks later, the wreckage of his canoe washed up on a beach. With no body found by April 2003, John Darwin was declared dead. His widow Anne and their two sons grieved. Until December 2007 - when Darwin walked into a police station, claiming to have amnesia.

John Darwin was reunited with his sons and Anne, who'd moved to Panama, was delighted. Only, a pjoto emerged of Anne and John in Panama, together in 2006. The couple had actually faked John's death to claim his £250,000 life insurance.

Both Darwins were jailed for over six years - him for obtaining cash by deception, her for deception and money laundering.

Michael Atherton New Year's Day 2012 - taxi driver Michael Atherton, 42, shot dead his partner Susan McGoldrick, 47, her sister Alison Turnbull, 44, and niece Tanya Turnbull, 24, at his home in Peterlee. He then turned the gun on himself.

His stepdaughter survived after fleeing via a window. It emerged Atherton had a history of domestic violence. He blamed Alison for his arrest in 2008, after a row. When he discovered Susan had gone out with her sister that night, he said there'd be trouble if he saw Alison at his home. He said he'd stay in a hotel.

Yet the women arrived home before he'd left. A row erupted and Atherton got his gun from the car.

Mary Bell On 25 May 1968, the day before her 11th birthday, Mary Bell strangled Martin Brown, 4. His body was found in a derelict house in Newcastle.

Two months later, Mary enlisted a 13-year-old friend to help strangle Brian Howe, 3. His mutilated body was found on waste ground. When detectives questioned local children, Mary and her friend acted strangely, their stories changing. Officers soon realised Mary was a killer.

The friend was acquitted and gave evidence against Mary. The court heard Mary committed the crimes 'for the pleasure and excitement of killing'. Mary Bell was convicted of manslaughter on the grounds of diminished responsibility. She was sentenced to life in detention, released aged 23, and given a new identity.

Raoul Moat Two days after being released from prison on 3 July 2010, Raoul Moat, 37, from Newcastle, went on the rampage with a sawn-off shotgun.

First he shot his ex Samantha Stobbart and her new partner Chris Brown. While on the run in Rothbury, Moat shot police officer David Rathboand in the face. Brown was killed, Stobbart injured and PC Rathboand blinded.

Police deployed armed officers in one of Britain's biggest manhunts. In a letter left with a friend, Moat declared war on officers, saying that he wouldn't stop 'until I am dead'. On 9 July, police tracked Moat to the river Coquet, leading to a stand-off. Police negotiated, but Moat shot himself the next morning.

Sadly, David Rathboand later took his own life.

Billy Dunlop - Double Jeopardy Pizza delivery girl Julie Hogg, 22, disappeared in November 1989. Eighty days later, her mother Ann found her decomposing, partially mutilated body behind a bath panel in Ann's Billingham home.

Julie's ex Billy Dunlop was charged with murder, yet juries at two trials failed to reach a verdict. He was cleared. The double jeopardy law (which meant Dunlop could not be tried again) meant he thought he'd got away with murder for 17 years.

Ann fought for double jeopardy laws to be scrapped and, in 2003. MPs backed changes allowing serious cases with compelling new evidence to be reopened. Dunlop pleaded guilty to murder in 2006, was jailed for life.

Gary Vinter = Freed to Kill Again Gary Vinter killed colleague Carl Edon, 22, in a railway workers' cabin in 1995. Vinter stabbed him 37 times, puncturing every organ. He was jailed for life, but released in 2006, after serving 10 years.

In July 2006, he married Anne White. But Vinter was recalled to prison after a New Year pub brawl. Released again in early 2008, he separated from Anne after attacking her at their home in Eston, Middlesbrough. That February, Vinter bundled his estranged wife into a car.

After holding her hostage at his mother's house, he stabbed Anne to death. He was jailed for life. In 2011, Vinter attacked Roy Whiting - killer of schoolgirl Sarah Payne - in jail.

In 2016, he received a third life sentence for trying to murder fellow 'life' Lee Newell behind bars.

#murder #truecrime #tc community #tcc family #serialkillers #killing #true crime community #blog #serialkiller #crimes that shook britain #england #billy dunlop #mary bell #gary vinter #john darwin #faked death #michael atherton #north east england

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