the underbelly emerges in The Dinner

This book takes the reader along to a popular restaurant in Amsterdam with two brothers and their wives for a summer evening 5 course meal. Paul, the narrator seems like a calm and observant family man, who is somewhat in awe of the publicity his brother is receiving as a future prime ministerial candidate. While there are the usual brotherly spats, what we don't fully realise is the reason for the dinner; a discussion about their 15 year old sons should but does not really happen, and probably would never have been a discussion. We quickly realise there are no polite happy families and the horrific behaviour of both boys may not have just been a coincidence. They were caught on a grainy CCTV camera and are recognisable to both parents - but there are differences of opinion about what to do next. There is also the threat by the older adopted brother to release a youtube video. Throughout the first few courses, we begin to appreciate Paul's sinister and violent underbelly. While the promise of a diagnosis is confusing, it probably does not matter whether he has a personality disorder, Aspergers or is a sociopath. What is important is that there is a genetic link and that medication could be helpful, if taken as prescribed. It is also quite shocking to realise that Paul's wife is fully aware and not only accepts but covers for her husband and son. It seems inevitable that this boy has amazing capacity for violence, which his father is slow to recognise. By the end of the meal, it is clear that decisive action is needed, and violence seems inevitable...

An enjoyable experience, reading The Art Lover

This was a book and an author I have never heard of - but as friends' recommendations goes, it was a good one! The author, Andromeda Romano-Lax has a Greek first name, Italian and German heritage, and she married into a Jewish family. She grew up in Chicago, worked as a travel writer and freelance journalist before becoming a writer and living in Anchorage, Alaska. It seems this book unpacks something about individuals' search for meaning in Europe between the wars. The novel opens in Munich in 1938, where an introspective young German, Ernst Vogler is learning to make sense of the present by understanding Greek and Roman art. He works on the Sonderprojekte, which is a quest by Hitler, to amass European masterpieces, to promote human strength and beauty in natural settings.The book opens with the disappearance to Dachau of his artistic mentor, but he is given a book and a personal story, which match and underpin his work project. He is sent to deliver the classical sculpture "the discuss thrower" from Rome to Germany. This simple plan slowly turns into a dangerous detour of deception, corruption, lies and murder, across the beautiful Italian countryside. Ernst is both naive and unprepared for the situation that evolves, largely involving twin brother drivers being chased by a greedy German diplomat. There is sufficient depth of character of the three young men who share the front seat of the truck while the sculpture is hidden in the back. Gradually, the Italian family life emerges and it is not surprising that Ernst realises a few days in Italy can change his life; the advice given to him by his mentor! The elder sister's story matches his own in strange ways and he learns more about himself as a result. Then it is quite a treat to read forward 10 years to when he is tasked to return the sculpture to Rome and he revisits the Piedmontese hillside where the family lived...

The Fencer emancipates Estonian children

The Fencer is a Finnish-Estonian-German coproduction based on the true story of Endel Nelis, a championship fencer who worked as a sports teacher in Haapsalu, a small coastal Estonian town. It is important to know that the Soviets occupied Estonia in 1940 and drove out the Nazis; but also persecuted the Estonian men who had been forced to join the German army. Many were executed or sent to Siberia, so the small towns were populated by children without fathers. Estonia only regained its independence in 1991. Back to the film, and just after the war, Nelis (Mart Avandi) arrives as the new sports teacher. The suspicious principal (Hendrik Toompere) remarks that fencing is not a proletarian sport, and therefore not suitable for the children. After his attempt to set up a skiing club is scuppered by the army taking all his equipment, and he is observed by young Marta practicing, he sets up a Saturday fencing club. It is great to see the children and later the parents supporting their development and expressing themselves; they start using branches as foils and only gradually acquire donated equipment. There is a back story that Endel fled Leningrad and he must make a difficult choice as to whether to support his team in the national fencing tournament in Leningrad. There is a real sense of despair and depravation, that is somehow mediated by individual focus and achievement in the structured sport of fencing. We see a few children liberated by their ability to compete, despite a lack of practice and equipment. There is also a desperation mirrored in Endels who is clearly running away but has also learned to love and inspire the children to do their best.

Allied: thrills and dangers of life and love

This is a wonderful escapist World War II romantic thriller, produced by Robert Zemeckis. The film opens in Casablanca, with 2 spies played by Brad Pitt and Marion Cotillard. Max, a Canadian wing fighter is introduced to Marianne Beausejour, a French resistance fighter. They are given orders to pretend they are married and there is a dramatic irony in how they behave as if they are in love. Cinematography is excellent, with gorgeous sand dunes contrasted against high class parties. The costumes take us back but in a smart and sassy way. The war is an enduring background, and the common German enemy is ever present. The romantic drama is mirrored against some tricky espionage work, a baby being born in the middle of the London Blitz and then the real twist, where it is difficult to decide who or what to believe. Perhaps it also mirrors some the real life challenges for Brad. Nevertheless, I was mesmerised and ever so thankful to be able to walk out to a normal peacetime life!

the film Sherpa packs a punch

I made it to the final screening at the Gold Coast Arts Centre, of this Australian docudrama. The film documents the lead up to and events following a massive avalanche in the Khumbu icefall in April 2014. Australian climber and film-maker Jen Peedom was filming in the region, when thirteen of the dead were Sherpas. This natural disaster released an explosion of unresolved tension built up by years of inequality by western commercial climbing companies. From the outset, sherpas were crucial in the success of western summiteers. Edmund Hillary could not have summited without Tenzin Norgay. Yet Tenzin was never given the same respect as Edmund and this pattern has been repeated over the years. The absolute difference in journeys through the extremely dangerous Khumbu icefall says it all; western clients do it twice while the sherpas may cross between 20-30 times a season. It seems that foreigners can pay out the risk so they have the luxuries they need for their climb. Further, the Nepalese government is taking up to 30% of the profits without delivering pensions or support for the sherpa families. The sherpas realised their power and closed the everest climbing season.

Sydney's 20th art biennale intrigues...

The overall theme says it all... The future is already here - its just not evenly distributed. Then, each site is designated as an embassy with a particular thematic focus. So a section of the Museum of Contemporary Art becomes the Embassy of Translation - and it is here that there are some of the few references to indigenous Australia. I most enjoyed Cockatoo Island, a former convict settlement and shipyard that is being reused for performance and dramatic art. It was designated as Embassy of the Real and there were many unique pieces of 2 and 3 dimensional art displayed within an evocative setting and with amazing views across the harbour to the CBD at key points. For me, the reality was more about using space, history and location to share a message. I was also impressed by the cavernous Carriageworks complex in suburban Redfern; an old train maintenance workshop revived also for drama and art. I was not very convinced by it as an Embassy of Disappearance, because many of the piece were either disjointed or intensely personal and detailed. The Art Gallery of NSW established a dedicated Embassy of Spirits, which while engaging did not inspire or connect with me. The final venue I visited was Artspace in Woolloomooloo, an large open warehouse, transformed as the Embassy of Non-participation. Maybe I tried to see too many places in one long weekend, but there was a recurring theme; many pieces were intricately planned, often influenced by asian cultures and required a lot of time and assistance for engagement. Maybe that is more of a reflection of where Australian art is heading...

Grayson Perry's pretty little art career in Sydney

I have struggled to recognise Grayson Perry as an important British artist and art commentator. I have perceived his attempts to shock as somewhat ironic given his traditional use of the more conservative forms of pottery. More recently, I have been slowly and steadily rethinking my perceptions of this artist. The recent comprehensive exhibition of his work from the early 80's to the present at the Museum of Contemporary Art in Sydney certainly helped. I like the way exhibitions of contemporary artists often include informative and explanatory videos of and by the artists.

On this occasion, I enjoyed seeing the repetitive and highly skilled craftsmanship of creating and illustrating the giant pots that Grayson has made a hallmark of his career. I realise that he has actually worked to individually create each pot as his 3d canvas for his creative messages, which are themselves composed of multiple scenes and images. Often the connection is evident, but there are times when it eluded me - and then I could admire the detailed drawing or collage. I also enjoyed his 2d drawings, especially his copies of mandalas, mind maps and large story boards. Hidden throughout the exhibition were a rage of small and large sculptures which were also intriguing. I really was totally impressed by his full wall tapestries - even though he has them mechanically made, which is yet another ironic twist! But overall, I can see a man who intellectually knows and respects traditions, to a point, and then he bombards us with words, images and connections which challenge the way we view his images. So his rebel message is often more intellectually crafted than is first apparent. However, it is very English and in that way, is somewhat globally naive. I think the more I see his work and understand his preoccupations with sexual and class identity the better I can read each piece.

entranced with a Midsummer Night's Dream

Sometimes Shakespeare is best without words. The basics of his stories are universal. I experienced the twisted and oft times humorous course of love through all my senses at the recent co-production between Queensland and Royal New Zealand Ballets and the Queensland Symphony Orchestra. Mendelssohn's stirring music, together with gothic stage set the scene for a true midnight adventure. The magical woods created safe havens for the fairies, avid adventurers, Puck and Bottom, amidst magic potions, mistaken identities, and lovers trysts. These otherworldly creatures used only their faces and bodies, amplified by the music, and enlivened by wonderful costumes, to express this classic story of love and jealousy.

thankfully, I am (NOT) Pilgrim

There was a strong desire in our new bookclub for a thriller, and somehow we ended up reading the 700 page epic by Terry Hayes. It is an impressive debut novel by a former journalist and screenwriter of Mad Max and other movies. So I learnt from the inside cover that Pilgrim is the codename for a man who does not exist and then I spent the first 200 pages uncertain whether the writer or his key protagonist was Pilgrim. Then I realised that after Pilgrim retired in his 30's from high level US intelligence work, he wrote the definitive book about forensic pathology. And the journey of the book was to uncover the person and the motive for the perfect untraceable murder! Pilgrim must come back to solve the crime he unknowingly guided. I was confronted by an underworld of murder and deception that spanned the globe. The level of detail about changing identities was rather shocking. As were the links between a public be-heading in Mecca, a heroic act during the Twin Towers strike and a billionaire's accidental fall from a Turkish coastal mansion. It was difficult to put the book down, despite it requiring high levels of concentration, perhaps I will still retrieve hidden links as I reflect on it further. It will definitely make an interesting set of movies.

Confronted by the Lady in the Van

This film shares a kind of true story between the English playwright Alan Bennett and the single Miss Shepherd, a woman of uncertain origins who 'temporarily' parked her van in Bennett's Camden driveway for 15 years. It is both touching and confronting. Alan Bennet, played by Alex Jennings, is an introverted writer who seems to be waiting for his life to start. He feels responsible for his aging mother, and while he cannot live with and care for her, he seems to assuage his guilt by looking out for Miss Shepherd, played brilliantly by Maggie Smith. Alan is played by dual personas, the writer who sits and watches life and the one who lives the life to be written about. Ironically, this does not seem to work, because both seem afraid of really living. They are at odds with their colourful neighbourhood of superficial left-wing do-gooders, who prefer to give Miss Shepherd things they don't want, to keep her away. They really do care for her, but are still not at liberty to really live the life they want to.... On the other hand, we do learn a little about the rather twisted life of the eccentric Miss Shepherd, who in contrast, it transpires, is running away from her life. She had been a gifted pianist, was a nun and had been incarcerated in a mental institution. There was always some doubt as to what was causal, and as expected, the catholic church did not come out blameless...

Hail Caesar in 1950's Hollywood

This Coen Brothers film is both confusing and entertaining. The confusion is around whether we are watching the films being produced or the drama behind the scenes; are we watching or living the dreams that are being created across several movies? The entertaiment is led by George Clooney in leather sandals and a toga, Scarlett Johansson as an emerald mermaid diving into a pool of red and yellow synchronised swimmers, a brilliant sequence of sailors tap dancing on table tops in a small bar and a submarine emerging and disappearing into the ocean! There are many random scenes linked together in 1950's memorabilia and style. And the storyline takes us into the life choices of Eddie Mannix who is too busy trying to solve all the problems of the actors and filmmakers at Capitol Pictures to be either a family man or be seduced into a corporate position in the nuclear enabled defence force. We enjoy Ralph Fiennes playing a patient director, coaching a singing cowboy to speak with style. It is fun watching Tilda Swinton playing twin sisters competing as journalists in brilliant suits and stylish hats. The fact that George is kidnapped by a group of disgruntled screenwriters, pretending to be communist sympathisers in a Malibu waterfront mansion is another opportunity for ridicule of the morality and purpose of Hollywood....

still learning...how to be single

I was hoping to see the film, How to be Single, on Valentine's Day. I have had to wait a few weeks, but it was worthwhile. It is an interesting contrast between Manhattan loft apartments and Rebel Wilson's somewhat bawdy humour and feels a little bit like a stylish and grown up American Bridget Jones Diary. The film opens when Alice (Dakota Johnson) decides she needs a break from her college boyfriend Josh. She moves to New York for a job as a paralegal, where she meets Robin (Rebel Wilson), a wild party-loving co-worker. As Alice learns how to get free drinks, meet men and enjoy the single lifestyle, we meet a variety of other single men and women who variously have some important lessons to learn. While Lucy flirts with Tom in the bar as she checks out online dating sites, David finds his date with Alice interrupted by his hidden demons. Alice is shocked when she tries to reconnect with Josh and realises he has moved on. So this thinking woman's romcom weaves lots of certainties and uncertainties in a patchwork of friendships and relationships. Unlike most American movies, the characters are not all paired off at the end, and we are reminded of some important lessons about friendship and self-awareness. The best thing about being single is that it is a transitory state to be appreciated for its own experience.

enjoyed escaping to The Choice

What better choice on Valentine's Day to see a rom-com with my girlfriends! This is my first Nicholas Sparks novel-informed movie. It was a wonderful escape to a gorgeous North Carolina waterfront. We zoom into the lives of beautiful people, who have perfect houses, boats, dogs and children. While the plot is predictable, and the romance is on, off, twisted and back on; the emotional roller coaster is real. The classically handsome Travis Parker (played by Benjamin Walker), is a country vet who works with his father (Tom Wilkinson). Travis lives on his own with his boat and rescue dog, until his parties disrupt his new neighbor Gabby, (Teresa Palmer) a med student, who is currently dating a fellow doctor. She plays the precocious and independent woman, who needs a little help with her pregnant retriever... At the end of the day, it is a wonderful escape to the place you want to live, the friends and lifestyle you want to have...and you want everything to work out in the end as well!

still shocked by the reality of what was behind The Big Short

Having lived through some very personal experiences of what is now called the Global Financial Crisis, I was keen to see this film. I could not face reading Michael Lewis' book. So it was with some trepidation that I sat down on my own in a very busy cinema to relive some of this pain. I was reminded of the enormity of human greed and how it can become institutionalised and rewarded in companies that spin. So the film highlights the difference between smart (and often socially inept) men who analyse and interpret financial trends and those who are socially slick but uninterested in what is really happening. The first group questions whether the latter is stupid or fraudulent. If they knew would they continue, or do they just prefer not to know? And where is the responsibility for recognising and analysing the facts - when interrogated one of the ratings agencies admits it prefers to spin to keep their clients rather than acknowledging the truth and risking losing clients to their competitors. But then the plot becomes even more twisted, because the 'smart' mavericks who accurately predict that the housing bubble will burst because of the high level of constructed financial products that are essentially approved gambling, are prepared to make personal money by betting on the collapse of the economy. Yes the individual can beat the machine - but at what cost. And we all know that those who caused the crisis are largely still functioning while the rest of the international community wears much of the long term negative impact...I left feeling so sad and cynical.

A challenge rewarded - The Narrow Road to the Deep North

I was given this book by an English colleague, after I had returned to live in Australia, as an interesting read by an Australian author. It also happens to have won the Man Booker Prize in 2014. But it was such a challenging read - reliving in gruesome detail, lives of prisoners of war, who were forced to build a Burmese railway in an unrealistic time frame, managed by the Japanese, who were doing this for their Emperor and country. The story was told through the eyes of a young medic Dorrigo Evans. He had been caught in a lustful affair while engaged to a most suitable future wife. This set the scene for the investigation of love, values and purpose in life against the cruel backdrop of the end of the Second World War. During the war we lived the individual struggles of both prisoners and guards and we also followed the unexpected twists of their lives after the war. Richard Flanagan is a very descriptive writer, both in terms of the physical environment, but also the inner questions and concerns of men, who may or may not be able to actually vocalise them. It is very interesting that his father was a survivor of The Line, as this Burmese railway was called. He must have shared his memories in a very therapeutic manner with his son, and it does not seem a coincidence that he died on the day it was published - it certainly would have been way too painful for him to read. Somehow, there is a deep authenticity that this book brings to the reader - and the reality of the story leaves little room for hope. The nasty twists and turns of life are truly lived out in ways that are quite horrific. So it was on holiday in Tasmania that I was able to complete reading this book, spurred on by Richard's Tasmanian heritage and high status in his home state. So my summary is that this book is so genuine, that it engenders gratitude and deep appreciation for everything I have in my life - and it helps me to keep aiming for the opportunity to live out the values that are important to me - and be even more thankful that I have a real chance to do this in my lifetime. I feel very lucky.

Shocked and inspired by MONA

I have not heard anyone criticise the 5 year old Museum of Old and New Art in Hobart, since I have been back here in Australia. THere has been a lot of talk about how it would likely shock and surprise me. So I set off to find out what is behind the vision of David Walsh; the eccentric mathematician who had made his fortune through gambling and now collects art and artefacts. So it seems that in building the gallery below ground and in using low levels of light, he wants to truly embody the darker side of life. To me, it is also quirky and innovative. It starts with the boat trip; a camouflage catamaran with sheep seats at the back for the children. From the purpose built landing up over a hundred steps, the main entrance is through a mirrored side wall. We then walk back down about 100 steps to enter the gallery from the lowest floor; there are no labels on the art so we all are given an iPod with headphones to identify and learn about the art and for many pieces, there are several interviews and music to listen to. So it is hard to remember all the impressive pieces; organ music piped into the bottom floor foyer area, a waterfall made up of random words, an eating and pooing machine (Cloaca professional), a synchronous choir of Madonna fans singing as individuals, and a draped red fibroglass covered Porsche. In amidst all this are quite a few Egyptian relics, including several mummies. There are also some great Australian and international artists including Sidney Nolan, Brett Whitely and Damian Hirst. My only concern is that I did miss some pieces because I did not look carefully into every corner. And yes the toilets are educational, in lots of different ways!

Gilbert & George at home in MONA

I had thought I knew something about Gilbert & George from having often seen their work in English galleries. I knew they had met as young artists in Central St Martins in the late 60's and had set up their home and studio in East London. I had also recognised that they lived a creative dichotomy between looking like very proper English gentlemen (even though Gilbert is Italian!) and making art that can be both bold and confronting. So it was fun to learn a lot more about them in their first Australian exhibition, from their gigantic photographic installations and some very honest movies in place throughout the exhibition. I also recognise, that from my knowledge of Australian art galleries, that MONA is best suited to their own philosophy of life and art. I was fascinated by the way art always was and is their life; they claim to reflect the basic ideas, struggles and desires of life in universal ways - where they extend attitudes and thoughts of their viewers. I found their videos helped me to recognise this. However I found much of the iconography of London both familiar and confronting. They seem to have been ahead of their time in producing work 20 years ago that is still extremely relevant today. I bought the catalogue, which has been autographed by both Gibert and George - and reflects their desire to be involved in the design of the exhibition and catalogue.

Tasting southern wines at Moorilla

It was great to walk through a suburban vineyard north of Hobart. I learned that Claudio Alcorso purchased this land in 1947 and started growing riesling grapes there in 1962, at the same time they were growing in South Australia. He later introduced opera to Australia and set up the Sheridan company - but in 1995 he sold this and another vineyard to David Walsh, the current owner. David has kept the vines growing with his head winemaker, Conor van der Reest. So it was fun today to inspect the vines and then follow their journey through large stainless steel vats, French oak barrels and to the bottling machines. We tasted quite a few and I particularly enjoyed the Praxis Sauvignon Blanc, Pinot Noir and Merlot.