Metro Australia — January 2018

(WallPaper) #1

104 •Metro Magazine 195 | © ATOM


OK@BD @MC HS RNQS NE DUNJDR &Q@MS ,B+DMM@MVGNCHDC@RGDFQDV
TONM@0TDDMRK@MCB@SSKDRS@SHNM


,QGHHG WKH LQWHUYLHZHHVp FDQGRXU LV FUXFLDO WR WKH ĺOPpV VXF
FHVV 6KRW LQ FORVHXS )RUVWHU VLWWLQJ DORQH RQ WKH PDQVLRQpV
YHUDQGDK GHVFULEHV KLV ĺUVW LPSUHVVLRQV RI /LQG\ 0RUULVRQ ZKR
EHFDPH 7KH *R%HWZHHQVp GUXPPHU DQG ZLWK ZKRP KH KDG D
URPDQWLF UHODWLRQVKLS o,pG VHHQ /LQG\ 6KH ZDVDURXQG6KHZDV
SOD\LQJLQDEDQGFDOOHG;HURpKHVD\V

2GD V@R @M @BSQDRR SNN m XNT JMNV RNBH@K VNQJDQ CQTLLDQ @B-
SQDRR
6G@S @ QDRTLD :w< ( V@R V@SBGHMF :w< KSGNTFG RGD V@R
RHW XD@QR NKCDQ SG@M LD SGDQD V@R RNLDSGHMFKHJD@QDRONMRDHM
LD
(V@MSDCSNFDSSNJMNVGDQ

His reminiscences interweave with those of Morrison, also on her
own, who recalls seeing Forster emerge from a car – barefoot
DQG ZHDULQJ EOXH MHDQV t DQG WKLQNLQJ o,W ZDV MXVW VR VH[\ >f@
I’ve always loved intense, nerdy men. They’re my favourite sort of
PHQ ,W MXVW ZDVQpW GLIĺFXOW WR IDOO LQ ORYH ZLWK KLPp 2Q RQH KDQG
WKH FORVHXSV JHQHUDWH LQWLPDF\ IRU WKH YLHZHU RQ WKH RWKHU
&LQHPD6FRSH VKRWV RI WKH VXUURXQGLQJ IDUPODQG ĺOOHG ZLWK OLJKW
rolling pastures and empty sky, give a sense of possibility: this is
a space where the mind is bound to wander and where speaking
IUHHO\ LV GHHPHG VDIH EHFDXVH QRRQH HOVH LV DURXQG
%HWZHHQ )RUVWHUpV DQG 0RUULVRQpV FRQIHVVLRQV 6WHQGHUV XVHV
archival photographs to plunge the viewer into the pair’s past, in
FOXGLQJ LPDJHV RI 0RUULVRQ SHUIRUPLQJ ZLWK ;HUR DQG WKRVH RI KHU
DQG )RUVWHU VKDULQJ D FODZIRRW EDWK 5DWKHU WKDQ WHOOLQJ WKH YLHZHU
what to think or conveying just one side of the story, the director
thus paints a complex, multifaceted picture. As he has explained:

( QD@KKX V@MSDC SN CN RNLDSGHMF VGDQD XNTQD SQ@MRONQSDC AX
SGDRD ODNOKDR RSNQHDR @MC AX SGD VGNKD GHRSNQX
3GDQDR MN M@Q-
Q@SNQ NQ @MXSGHMF KHJD SG@S
(SR UDQX L@SSDQ NE E@BS @MC XNT ITRS FN
ANTMBHMFSGQNTFG@KKSGDRDBG@Q@BSDQR@RSGDXDMSDQSGDHQGHRSNQX
^4

/DWHU WKH GRFXPHQWDU\ FKURQLFOHV )RUVWHU DQG 0F/HQQDQpV GH
cision to terminate the band in 1989, without consulting Morrison
RU $PDQGD %URZQ DW WKH WLPH 7KH *R%HWZHHQVp YLROLQLVW DQG
0F/HQQDQpV SDUWQHU $ SRLQWRIYLHZ VKRW FDSWXUHV )RUVWHU VWDU
LQJ LQWR D ERQĺUH t FLQHPDWLF FRGH IRU UHĻHFWLRQ DQG FRQWHPSOD
tion – before the camera cuts to Morrison and Brown sitting at
D WDEOH LQ D GDUNHQHG URRP %URZQ UHPHPEHUV SDFNLQJ KHU EDJV
DQG OHDYLQJ 0F/HQQDQ LPPHGLDWHO\ ZKLOH 0RUULVRQ VD\V o%RWK
RI XV UHIXVHG WR EH GHĺQHG DV WKH JLUOIULHQGV DQG WKDWpV ZKDW WKH\
GLG ZKHQ WKH\ GXPSHG XV 7KH\WUHDWHGXVOLNHH[ZLYHVDQG
that was the greatest insult.’
$GGLWLRQDOO\ WKH ĺOP VKHGV OLJKW RQ DQRWKHU RI WKH EDQGpV FRUH
UHODWLRQVKLSV WKH WKLUW\\HDUORQJ IULHQGVKLS EHWZHHQ )RUVWHU DQG
0F/HQQDQ )URP WKH RSHQLQJ VFHQHV WKH YLHZHU OHDUQV QRW RQO\
of their mutual commitment to artistic integrity over commercial
ism, but also of their differences. While establishing shots show
Forster walking towards the farmhouse, carrying his guitar, an
DUFKLYDO LQWHUYLHZ SOD\V LQ YRLFHRYHU )RUVWHU GHVFULEHV 7KH *R
Betweens’ music in elaborate metaphors – ‘It’s like running water
RII WKLQ ZKLWH VWULSV RI DOXPLQLXP >f@ ,WpV RSHQ ĺHOGV ,WpV VXQOLJKW
,WpV DOVR %RE '\ODQ LQ VXQJODVVHV WDONLQJ WR )UDQÄRLVH +DUG\p t
ZKLOH 0F/HQQDQ PDNHV D SODLQ VWDWHPHQW o:HpUHQRWDWUHQG\
band. We’re a groovy band and I like that.’
(OVHZKHUH )RUVWHU FRPSDUHV PHHWLQJ 0F/HQQDQ LQ DQ (QJOLVK
FODVVDW7KH8QLYHUVLW\RI4XHHQVODQGLQWRDPDWFKEHLQJ}OLW

Above, from top:-ORRISON &ORSTER -C,ENNAN 6ICKERS AND "ROWN -ORRISON
AND"ROWNTODAY-C,ENNAN -ORRISONAND&ORSTERAPROMOSHOTOFTHEBAND

Free download pdf