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‘My God, what a story it would make’: film-maker Kevin Brownlow on It Happened Here and Winstanley

Brownlow is best known for restoring silent movies, but in conjunction with Andrew Mollo, he made two features, in 1964 and 1975, that look astonishingly prescient today

Anyone who has sat in the dark and watched the beautiful, glowing images of a silent film come to life on the screen has plenty to thank Kevin Brownlow for. Since the 1960s he has been on a quest to collect, preserve and restore these fragile artefacts of early cinema – thousands of which were lost, binned, or melted down for their silver content. He even won an honorary Oscar in 2010 for his efforts. But perhaps less well known is Brownlow’s career as a film director; not just with the various documentaries and TV shows related to his passion for silent movies, but in feature films that are as good as any of the more celebrated products of British cinema’s 1960s and 70s golden age.

Brownlow, in conjunction with co-director (and historian) Andrew Mollo, has two brilliant features on his CV: It Happened Here, released in 1964, and Winstanley, released more than a decade later in 1975. But that was it. Brownlow, now 87, seems pretty sanguine about it. “We did try,” he says. “If producers had been enthusiastic, I’m sure we’d have made at least one more feature.”

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© Photograph: United Archives GmbH/Alamy

© Photograph: United Archives GmbH/Alamy

© Photograph: United Archives GmbH/Alamy

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Add to playlist: DJ Moopie’s charmingly moody experimental compilations and the week’s best new tracks

Connoisseurs of all things delicate and deeply felt will love the music put out by A Colourful Storm, the Melbourne-based DJ’s indie label

From Melbourne
Recommended if you like the C86 compilation, AU/NZ jangle-pop, Mess Esque
Up next Going Back to Sleep out now

Melbourne-based DJ Moopie, AKA Matthew Xue, is renowned for engrossing, wide-ranging sets that can run the gamut from gelid ambient music to churning drum’n’bass and beyond. He also runs A Colourful Storm – a fantastic indie label that massively punches above its weight when it comes to putting out charmingly moody experimental pop music, from artists as disparate as London-based percussionist Valentina Magaletti, dubby Hobart duo Troth, and renowned underground polymath Simon Fisher Turner.

In 2017, the label released I Won’t Have to Think About You, a compilation of winsome, C86-ish indie pop. Earlier this year, it put out Going Back to Sleep, a quasi-sequel to that record which also functions as a neatly drawn guide to some of the best twee-pop groups currently working. Sydney band Daily Toll, whose 2025 debut A Profound Non-Event is one of the year’s underrated gems, contribute Time, a seven-minute melodica-and-guitar reverie. Chateau, the duo of Al Montfort (Terry, Total Control) and Alex Macfarlane (the Stevens, Twerps), push into percussive, psychedelic lounge pop on How Long on the Platform, while Who Cares?, one of Melbourne’s best new bands, channel equal parts Hope Sandoval and Eartheater on Wax and Wane.

Elsewhere, Going Back to Sleep features tracks from San Francisco indie stalwarts the Reds, Pinks and Purples; minimalist Sydney group the Lewers; and sun-dappled folk-pop from Dutch duo the Hobknobs. It’s an unassuming compilation that’s almost certain to become well-loved and frequently referenced among connoisseurs of all things delicate and deeply felt. Shaad D’Souza

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© Photograph: Edoardo Lovati

© Photograph: Edoardo Lovati

© Photograph: Edoardo Lovati

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Daggers, dervishes, Rego and the world’s most expensive egg – the week in art

The British Museum is infused with Sufi spirit, Henry VIII’s storied Ottoman dagger gets its own show, Rego’s art is renewed and a Fabergé sets a new record – all in your weekly dispatch

Henry VIII’s Lost Dagger
A curious quest for the Tudor tyrant’s lost, highly phallic dagger in the house where modern gothic began.
Strawberry Hill House, London, until 15 February

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© Photograph: Alamy

© Photograph: Alamy

© Photograph: Alamy

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Melody’s Echo Chamber: Unclouded review – an enchanted, balmy garden of dreampop

(Domino)
Blooming strings, mellifluous guitars and airy vocals make Melody Prochet’s fourth album a calming place to visit – even if there’s a lack of standout tracks

French musician Melody Prochet, AKA Melody’s Echo Chamber, never struggles to find a supporting cast. Her self-titled 2012 debut was produced by Tame Impala’s Kevin Parker. On second album Bon Voyage (2018) she teamed up with Swedish psychedelic rock band Dungen, whose guitarist Reine Fiske popped up again on 2022’s Emotional Eternal and now features on Unclouded. Prochet’s fourth album is produced and partly co-written by composer Sven Wunder, and its dizzying array of contributors also includes Josefin Runsteen (opulent strings) and DJ Shadow collaborator Malcolm Catto (percussive fizz).

Still, somehow Prochet retains her own singular vision. Borrowing a title from a quote by Japanese animator Hayao Miyazaki – “You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good” – Unclouded takes her airy vocals and baroque dreampop into brighter terrain. Some tracks have a 90s vibe, reminiscent of Saint Etienne or Lush. Others have a feel that can only be accurately described in horticultural terms: the blooming strings of the really lovely Broken Roses, or the sprinkles of xylophones that make Burning Man sound like, well, a Japanese garden.

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© Photograph: Diane Sagnier

© Photograph: Diane Sagnier

© Photograph: Diane Sagnier

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Barbican revamp to give ‘bewildering’ arts centre a new lease of life

Project will make the famously confusing London landmark easier to navigate and more accessible

“Everything leaks,” says Philippa Simpson, the director of buildings and renewal at the Barbican, who is standing outside the venue’s lakeside area and inspecting the tired-looking tiles beneath her feet.

Water seeps through the cracks into the building below and serves as a reminder of the job facing Simpson and the team who are overhauling the 43-year-old landmark.

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© Photograph: Alicia Canter/The Guardian

© Photograph: Alicia Canter/The Guardian

© Photograph: Alicia Canter/The Guardian

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