Skip to main content

'Mary Shelley' - finding her voice

I watched the film Mary Shelley more feeling I should than with any high expectations. In fact, it was a delight, not least for its portrayal of a strong woman who - almost exactly 200 years ago - created one of the most brilliant tales of science, medicine and abandonment.


Mary Shelley is less about Shelley the poet and more about Wollstonecraft the feminist writer and thinking - for the writer of Frankenstein clearly owes more to the influence of her mother and her writings than they do to those of her then lover.






In fact, it would appear that her writing of Frankenstein was influenced more by Dr Polidori, who she met in Geneva while visiting Lord Byron with her lover and sister. Discussions with the doctor seem to have fuelled Shelley's dreams, which are portrayed in the film as both intense and realistic. She sees not only a scientist bringing the dead to life, but also her own dead baby being once more alive.


Many critics of Mary Shelley have felt a distance between the novelist and her writing and yet that's precisely what I saw. It's incredible that she was just 19 when she began writing Frankenstein or The Modern Prometheus. Casting an actress of a similar age - Elle Fanning - results in a stunning portrayal, showing a young girl willingly led astray by a glamorous, philandering poet. Her father's piece of advice on first seeing the writings of the younger Shelley was to ignore everyone else's work and "find your voice". That progression from young scribbler to mature novelist is shown in agonising detail by Fanning.


It is the men of Shelley's life who are less kindly portrayed. William Godwin (Stephen Dillane) is a weak father who takes his wife's side over that of his children. Percy Bysshe Shelley (Douglas Booth) is the genius poet who believes strongly in free love until there's evidence that his lover might actually have feelings for someone else. Lord Byron (Tom Sturridge) is simply vile.


Director Haifaa Al-Mansour creates more than a biopic. The film demonstrates little of the context of Mary Shelley's life, but goes some way to explaining one of her guiding principles: "I do not wish women to have power over men; but over themselves."

Comments

Popular posts from this blog

Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...

36 years ago today, my alto sax was stolen

Actually, it wasn't so much stolen as taken in error.    But at the time, we thought it had been removed from backstage at Amsterdam's De Meervaart venue, where I was on stage with The Style Council.     Luckily, the gig was being broadcast on radio and the support act were listening as they drove away. They soon realised the mistake and returned my sax and all was well.     It was the last gig of a great tour - Paul Weller's first European shows since breaking up The Jam.     Another benefit of the radio broadcast is the recording that exists of that show. A good friend of mine - Iain Munn, author of the definitive history of The Style Council, Mr Cool's Dream - gave me a copy several years ago.     Still a good story, after all these years.

Playtime: 'Morse Code Through The Lights'

Every once in a while, an album drops into your inbox and isn't going anywhere. Morse Code Through The Lights is just such an album. Incontrovertibly controversial, this won't be everyone's cup of tea, but this one has absolutely, instantly, made it onto my list of top albums of 2024. Drummer Tom Bancroft and his band Playtime, which began in Edinburgh as Adventures in New Music ten years ago as a weekly session, have produced something delightfully experimental and brilliantly creative. Four of Scotland's most-established jazz musicians - Martin Kershaw (sax), Graeme Stephen (guitar), Mario Caribe (bass) and Tom Bancroft (drums) - tried out new music and new ideas together. Once lockdown struck in 2020, they decided to explore the possibilities of improvising music together online, partly for something to do, and partly because it was something they could do for their audience. Most of us discovered - or thought we had - that improvising online was difficult or impossi...