Anouk and 1960s glamour ...

I have not featured French actress Anouk Aimee here for a while, she is certainly another favourite whom I like in so many films, particularly UN HOMME ET UNE FEMME in 1966 ... and JUSTINE and of course Fellini's LA DOLCE VITA and more, as per Anouk label. French glamour does not get more mysterious. Good to see she is still going too in her 80s now and still looks marvellous. She was LOLA for Jacques Demy and also in his MODEL SHOP in 1969, and she was married to Albert Finney too ... (below, right). 

LA DOLCE VITA, above.

We aso like her Sapphic queen in SODOM AND GOMORRAH, a treat from 1962, left.
She was also a longtime friend of Dirk Bogarde's and appeared in the TV film of his novel "Voices In The Garden".

The Dresser, 1983

Finally, THE DRESSER from 1983, a successful play and film, which somehow I never saw until now - this is a feast of acting and another great British film of its era.

In a touring Shakespearean theater group, a backstage hand - the dresser, is devoted to the brilliant but tyrannical head of the company. He struggles to support the deteriorating star as the company struggles to carry on during the London blitz. The pathos of his backstage efforts rival the pathos in the story of Lear and the Fool that is being presented on-stage, as the situation comes to a crisis

The 1940s wartime era is perfectly evoked, and a great cast headed by two star turns from Albert Finney as Sir, and Tom Courtenay as Norman, the gay dresser, with Eileen Atkins as Madge, the long-suffering stage manager, and with Edward Fox, Zena Walker, Michael Gough, the great Betty Marsden and Sheila Reid rounding out the cast. Sir is surely based on Sir Donald Wolfit who not only was a tour de force, but was forced to tour endlessly with his gallant troupe, especially during those war years boosting morale. The author Ronald Harwood was in fact a dresser to Wolfit ... so all this feels even more authentic and one feels the love for the theatrical life.

Finney (an actor, like David Hemmings, with no vanity whatsoever) commands the screen as usual -not least when he stops that train!, matched every step of the way by Courtenay as the camp dresser, endlessly fussing and looking after Sir, helping him to keep going, but Sir's tyrannical rule over the company is beginning to crack under the strain of age and illnesss as he prepares to tackle KING LEAR. The fastidious and fiercely dedicated dresser, copes with Sir's unreasonable demands, tends to his health and reminds him of what role he is currently playing. Its a mutual double act. It is a story rich in detail, comedy, compassion and love for the theatre. 
Courtenay also essayed another gay theatrical gentleman in a Noel Coward play ME AND THE GIRLS, in 1985 which is part of that BBC NOEL COWARD COLLECTION, and of course Albert went gay as that Dublin bus conductor in A MAN OF NO IMPORTANCE in 1994 (gay interest label). Albert and Tom also co-starred in another fascinating television production A RATHER ENGLISH MARRIAGE in 1998. 

Peter Yates (BULLITT) directs with a sure hand and THE DRESSER was nominated for 5 Oscars. Harwood's script (as with his THE PIANIST) is rich in detail, and great acting does not come much better than this. Glad I finally saw it.  The BBC are showing a new version later this year, where Sir and Norman are - who else? - Anthony Hopkins and Sir Ian McKellen. 

Its back: Two For The Road

Bliss to have TWO FOR THE ROAD out on dual-format Blu-Ray - it looks even more marvellous. This is what I wrote on it back in 2012:

A return visit to one of 1967's enchantments: Stanley Donen's TWO FOR THE ROAD, with Audrey Hepburn and Albert Finney making a great romantic team (off camera too it seems...), as they play out Frederick Raphael's witty script. This would be a marvellous Valentine Day treat.

After Hepburn's '50s romances with those older men like Bogart, Fonda, Astaire, Cooper she stepped into the new world of the swinging '60s for this trenchant comedy of marital manners. Ahead of its time in telling the story of her troubled marriage to architect Albert Finney in a non-linear fashion, the film embraces scenes from 12 years of road trips to the South of France. For once, Audrey got to play the bitter aftermath of youthful romance, as a woman who swears when angry and even cheats on her husband. In a big departure for the star, director Stanley Donen (working with Audrey again after FUNNY FACE and CHARADE) made her forego her usual couture wardobes by Givenchy in favor of the latest from such mod designers as Mary Quant and Paco Rabanne. The new look brought Hepburn into a more modern era and contributed to one of her best, and edgiest, performances, as we go back and forth through the years and in those different cars and time periods, right up to the mod swinging 1967 era, as captured by Schlesinger's DARLING and Antonioni's BLOW-UP.

Eleanor Bron and William Daniels are sterling support as the American friends they travel with one year, with their insufferable child, and young Jacqueline Bisset is there as well. It is still a witty charming treat as Raphael, who also scripted DARLING, reworks the fractured romance. Audrey had just done that other '60s treat, the delightful - if rarther overlong HOW TO STEAL A MILLION with that other English heart-throb of the era Peter O'Toole, set in Paris once again - at least half of Hepburn's movies have a French or Parisian setting, so this was of the same but more bittersweet. After this and WAIT UNTIL DARK Hepburn would be away from the screen until that lovely return in Lester's ROBIN AND MARIAN in 1976, when she enchanted us all over again ...

I could rhapsodise about Eleanor Bron at length here and in Donen's BEDAZZLED the next year in 1968 with Peter Cook and Dudley Moore - I love her deadpan Wimpy waitress with the eye-shadow, and of course she was also ideal with The Beatles in HELP and in Ken Russell's WOMEN IN LOVE. I used to see her cycling around town frequently here in London, and she was once shopping next to me at Sainsbury's supermarket in Marylebone.

Costume drama heaven with Tom and Lady Caroline

What bliss over this bad weather to watch that 1963 hit TOM JONES again, and also to see a rare screening of the 1972 LADY CAROLINE LAMB on television. I have dvds of both, but nice to see them getting an airing. 

TOM JONES of course is utter bliss, a perfect costume version of the huge Fielding novel, but also capturing that early 1960s spirit too, as Tony Richardson's inventive direction deconstructs and re-creates the novel, using all those split cuts, razor sharp editing, characters talking to the camera and so on. Albert Finney is perfect here, and has great scenes with Susannah York delightful as Sophie Western, Diane Cilento, Joyce Redman (that food scene at the inn!) , and Joan Greenwood as the very demanding Lady Bellaston: "Sir, I know not of country matters, but in town it is considered impolite to keep a lady waiting". Indeed! Tom and Lady Bellaston meet at the Vauxhall Pleasure Gardens (below), where as Micheal McLiammoir's fruity narration puts it people go "to do and to be undone".

Then there is the divine casting of Dame Edith Evans and Hugh Griffith at that country estate, where Dame Edith is appalled at the rude country manners, and has short patience with the highwayman holding up her coach with his "Stand and deliver", to which she retorts: "What, sir, I am no travelling midwife"!, Rosalind Knight as Mrs Fitzpatrick, another randy lady, and Peter Bull and young David Warner as Tom's rivals. Young Lynn Redgrave pops up too. Its a constant delight and deserved all the Oscars and applause, and it of course set up Richardson and Woodfall Films to make their less successful films, like those two with Jeanne Moreau: THE SAILOR FROM GIBRALTAR and MADEMOISELLE. 

I have written about LADY CAROLINE LAMB here before - see Sarah Miles label. But I wrote this yesterday on a friend's review of it on Facebook:

Glad you liked it - I looked at it again last night - its marvellously done and maybe the last of the great British costume dramas (well, there's Lester's ROYAL FLASH in 1975). I have always liked Miss Miles (she seems retired now - her last credit, guesting in a Miss Marple was over a decade ago, but I saw her last year with her THE SERVANT co-stars at a special screening for the blu-ray launch of the Losey classic, and she looked fine then, of course as Bolt's widow - they married twice - she probably doesnt need to work now). But I digress (and namedrop), as usual - she also did 2 other iconic 60s movies : Antonioni's BLOW-UP and I WAS HAPPY HERE. Bolt indeed assembles a great cast - 

Leighton has another superb role (after Losey's THE GO-BETWEEN the previous year), Olivier (back with Miles after TERM OF TRIAL), Richardson, Mills etc all shone, and Jon Finch was the man of the moment (starring for Polanski and Hitchcock too then)., handsome sets and score by Richard Rodney Bennett - and Chamberlain an effective Byron. Leighton gets the last word and its perfect! The scene with Caroline as the blackamoor servant to Byron is fun, as Lady Caroline goes over the top and becomes "notorious"; she was surely an early drama queen as her histrionics and capacity for making scenes becomes rather tedious. 

Huston & Finney's Volcano ...

UNDER THE VOLCANO, 1984, follows the final day in the life of a self-destructive British Consul Geoffrey Firmin (Albert Finney, in an Oscar-nominated tour de force) on the eve of World War II. Firmin stumbles through a small Mexican village during the 'day of the dead' fiesta, as he drinks all he can, and tries to re-connect with his estranged wife (Jacqueline Bisset). John Huston's ambitious tackling of Malcolm Lowry's towering novel was compared with his greatest works and the film also gives Finney one of his best roles.  As the blurb says.

Another interesting late John Huston film then - we like a lot of his 50s/60s output, as per label - and despite some of the rubbish items he directed and acted in, he did turn out the occasional gem like FAT CITY or WISE BLOOD and of course THE DEAD in his later years, then of course there's ANNIE, that football comicstrip, and its fun seeing Huston having fun in DE SADE or MYRA BRECKINGRIDGE. But for me his best glory years were the MOULIN ROUGE, MOBY DICK, HEAVEN KNOWS MR ALLISON, THE UNFORGIVEN, THE MISFITS, NIGHT OF THE IGUANA years. 
It was great seeing him in person at the BFI when FAT CITY came out in '72, this was the man who had made some of my essential films like THE MISFITS! His best acting role is surely in CHINATOWN (where his monstrous Noah Cross is the corrupt heart of the film). Huston had that literaty bent too, often tacking "difficult" novels (like McCullers' REFLECTIONS IN A GOLDEN EYE) and so it is with Malcolm Lowry's UNDER THE VOLANCO, a novel I don't know but is highly regarded, about that alcoholic British Consul in Mexico and that last fateful day on the Day of the Dead festival. Huston has form with Mexico too with TREASURE OF THE SIERRA MADRE and of course NIGHT OF THE IGUANA. The local colour is plentiful here and we get to see veteran Kathy Jurado, and also English character actor James Villiers. 

Albert Finney IS the film and his performance towers over all, making his co-stars seem lightweight by comparison. Jacqueline Bisset looks never better than here and is sheer tailored elegance as his wife who returns; Anthony Andrews is a curious choice as the half-brother but this was a few years after his enormous success in BRIDESHEAD REVISITED. It seems an under-written part though, as indeed is Jacqueline's. The hell of alcoholism is vividly depicted but the ending when it comes is sudden and brutal and not just for Albert! and not what one was expecting. Not an unqualified success then, but certainly a curiosity worth seeing now. 

Actors: Hoffman x 2, Finney, De Niro

A double bill featuring that fascinating actor Philip Seymour Hoffman - I have not liked all of his films, but sometimes he blew one away, ever since his early roles in BOOGIE NIGHTS, MAGNOLIA and THE TALENTED MR RIPLEY.  Here teamed with Albert Finney and Robert De Niro as equally magnetic co-stars, he delivers the goods ...

BEFORE THE DEVIL KNOWS YOU’RE DEAD. Sidney Lumet’s last film in 2007 (see below & Lumet label for other reviews) is also – yes, fascinating – to catch now, since its star Philip Seymour Hoffman’s death recently. This is a family drama that veers into Greek tragedy territory. Lumet at 83 lays on a powerhouse cast as we watch brothers Andy (Hoffman) – desperately needing money to finance his drug habit and cover money he has embezzled, and weak younger brother Hank (Ethan Hawke), who needs money for his family and who gets lured into big brother’s plan to rob a jewelry shore – not just any old jewel shop, but the one belonging to their parents, Albert Finney and Rosemary Harris. 

This is meant to be a victimless crime with the insurance paying out. But younger brother gets someone else involved in the robbery and the mother, who was not meant to be at the shop, fights back, resulting in two deaths: hers, and the robber. Both brothers go into meltdown, and the father – Finney at his most intense, in a good late role for him, decides to investigate further. This leads to a stunning climax between Hoffman and Finney ... Marisa Tomei has a good role too. Now for another I had been putting off: Hoffman with De Niro in FEARLESS, which I did not want to see at all at the time.

 

FLAWLESS from 1999 is a real oddity, sometimes one wants to turn it off or speed it up, as we watch homophobic ex-cop Robert De Niro, who suffers a stroke during a run in with some drug dealers, and tries to recover. His doctor tells him the best way to improve his speech is to start singing lessons. He plucks up courage to ask his neigbour to teach him to sing - this is Hoffman as the flamboyant transvestite and drag queen, who has problems of his own, as he finally admits he is lonely and ugly and unloved. This film is about how the relationship grows between these two very different people and how they both work together to overcome their very different problems, while some vicious hoods are also looking for that money. 
It is good to see De Niro back to his best after some very average movies, a lot of which one didn't want to or need to see (he is almost an older Travis Bickle here, down on his luck in a very seedy sleazy gritty New York) and Phillip Seymour Hoffman is just outstanding and mesmerising again, he was certainly an actor who took risks - and will be as sorely missed as Heath Ledger. Its a Joel Schumacher film, a lot of it though looks too dark, one can barely see what is going on. 

Soon: Finney in Huston's 1984 UNDER THE VOLCANO, and with Tom Courtenay in THE DRESSER, plus Tom in Noel Coward's ME AND THE GIRLS.

Irish quartet

I have done threads on London and Paris (see labels) but how about Dublin in the 1960s? Look, there's Agnes Browne selling her fruit at her market stall, over there gay bus conductor Albert Byrne is entertaining his passengers -  while Edna O'Brien's country girls Kate and Baba (GIRL WITH GREEN EYES) are having a great time and looking for romance. A 1930s Ireland is also conjured up in the film THE FIELD - and of course the film of that great play DANCING AT LUGHNASA where Meryl Streep leads a great ensemble. Let's look at a few of these.  At least THE GIRL WITH GREEN EYES (Ireland label) was made in the '60s and has that real Dublin vibe - there is something skewered in those colorful '90s recreations .... (also in the '60s films like YOUNG CASSIDY, ULYSSES, LOCK UP YOUR DAUGHTERS, SINFUL DAVEY were filmed there, as well as 1959's SHAKE HANDS WITH THE DEVIL ... also in the '60s RYAN'S DAUGHTER in Kerry and my favourite I WAS HAPPY HERE in Clare.)

Anjelica Huston's AGNES BROWNE (1999) is an earlier incarnation of Brendan O'Carroll's series MRS BROWNE'S BOYS and his book "The Mammy". It is not really a realistic picture of a Dublin widow bringing up 7 children in the 1960s. The comic tone is set from the start as Mrs Browne and her friend arrive at the benefits office to claim her widow's pension. The harrassed assistant asks her when her husband died, to which Agnes replies "ten past four" - that day, she has not even got the death certificate yet! She therefore has to go to the local loan shark - a younger Ray Winstone with a dreadful accent - for ready cash. Then there is the funeral mix up with several coffins arriving at the same time and they are at the wrong graveside!

Agnes though copes well, she does not seem bothered by the loss of her husband, she and her best friend Marion (Marion O'Dwyer) cope with life's ups and downs, out drinking on a Friday night, and they have a day at the seaside but then Marion too is taken from her by cancer .... but there is that French baker who has eyes for Agnes and you just know it will all end ok for her, as her kids run riot at the swanky Gresham Hotel and one of them falls foul of the loan shark, but they club together to buy her that blue dress for her first date with the French guy - and then Tom Jones pops up as himself (this in 1999) and saves the day too as we end with Agnes and her brood watching him as his 1967 self  in concert [its Cliff Richard in the book!]. 

Angelica (marvellous is so many things from THE GRIFTERS to her father's THE DEAD - another great Irisih film) directs all this with a sure touch - she of course spent a lot of time in Ireland growing up partly at her father's pile in Galway - but she is perhaps a tad too glamorous for a harrassed mother of seven? Author Brendan O'Carroll (who plays Mrs Browne in his successful tv series) pops up too in various moments as the local drunk. So really I suppose it is great fun really but don't expect realism.

It's back to 1963 Dublin for Albert Finney's turn - as the blurb says:

"A touching and gentle tale of self-discovery and expression, A MAN OF NO IMPORTANCE (1994) features a stellar cast of British acting talent.

Dublin 1963. Middle-aged bus conductor Alfred Byrne passes the day cheerily entertaining his passengers with passionate recitals of Oscar Wilde's poetry. However, Alfred is secretely living a desperately unhappy life - he's gay, deeply closeted and in love with his colleague, bus driver Robbie (Rufus Sewell) whom he adores from a distance.

When he meets an enchanting young passenger Adele (Tara Fitzgerald) Alfie is inspired to mount a production of Wilde's SALOME with Adele as the lead. With the rest of the cast filled out by his regulars, including a gruff butcher (Michael Gambon), he sets out to produce Wilde's controversial play - but not everyone is pleased with the choice. With production woes piling on, Alfie is forced to overcome his fears and be happy with who he is".

Albert (TOM JONES in 1963) goes at it full tilt - like David Hemmings he is an actor with surely no vanity at all - he is good at playing this man who is desperate to create beautiful things in a grey, humdrum world which just doesn't understand him. But there is something inherently comic in this drama as Michael Gambon and Brenda Fricker comically play those bigots who conspire against him - the scene when they try to break into his locked room is a scream. She as his sister does not like the spaghetti he cooks for her and she is worred where his hands have been - Albie's problem is that they have not been anywhere! In desperation, after he visits Adele's room and finds her in the throes of passion, he gets dressed up as Oscar Wilde with a green carnation to visit a gay bar where the guy he picks up leads him into an ambush, as the police are called. David Kelly (RIP label) is good too as his only friend; the great Anna Manahan (ME MAMMY and Mrs Ceadogan in THE IRISH R.M. and THE BEAUTY QUEEN OF LEENANE) is one of the bus passengers. It all ends on a rather fairytale note as the bigots are defeated, his bus passengers stand by him, as does Rufus Sewell as the driver who likes him. It should be an engrossing drama but again, as in AGNES BROWNE, the comedy elements make it all rather risible. Directed by one Suri Krishnamma and written by Barry Devlin. Certainly an oddity then ... [famously hetero Finney (romanced Audrey, married Anouk Aimee, etc) does not disgrace himself here - unllike Burton and Harrison in the awful STAIRCASE, 1969].

Back presumably to the 1930s for THE FIELD - Jim Sheridan's 1990 film of John B. Keane's play. I have to declare an interest here, as John B Keane is from my home town in Kerry, and his family still run his famous pub. I was drinking there last year. I and my family knew him, as we did that other well known Irish writer Bryan McMahon. THE FIELD is a gripping drama but again for me something odd happens - it just seems to go way over the top so eventually the grim storyline becomes almost funny, like something out of Monty Python - as the misery piles on. By the climax when the cattle go over the cliff and the Lear-like Bull McCabe (Richard Harris) seems to have gone mad, one is almost laughing.

The cast again go at it full tilt: Brenda Fricker (again) as the almost silent wife, John Hurt as the village idiot type (think John Mills in RYAN'S DAUGHTER), Sean Bean, Frances Tomelty as the widow who wants to sell the field, which McCabe has nourished for years - and Tom Berenger as the visiting Yank who wants to buy it - leading to if not Greek Tragedy then Irish Tragedy all round ....again the blurb says: "Bull" McCabe's family has farmed a field for generations, sacrificing endlessly for the sake of the land. And when the widow who owns the field decides to sell the field in a public auction, McCabe knows that he must own it. But while no one in the village would dare bid against him, an American with deep pockets decides that he needs the field to build a highway. The Bull and his son decide to convince the American to give up bidding on the field, but things go horribly wrong".  This is a look at a more vicious reality of the rural Ireland behind the whimsy of THE QUIET MAN.

Here's an odd one, THE LAST SEPTEMBER, a 1999 film which I had never heard of, it can't have played in London and one can see why - directed by stage director Deborah Warner, hence a fatal lack of pace: talk of languid, langorous tedium set in a long summer in 1920 in County Cork on one of those Anglo-Irish estates which seems to have seen better days. Presided over by Michael Gambon and Maggie Smith with their niece Lois (Keeley Hawes) and visiting guests including Fiona Shaw and Jane Birkin - an odd choice here.  
During those long scenes when nothing seems to be happening one remembers how more animated Smith and Gambon were in GOSFORD PARK and that Smith and Birkin were both much more fun in EVIL UNDER THE SUN ... Pre-DR WHO David Tennant is the army officer in love with Lois who is drawn to and sheltering a rebel hiding in the old mill who has killed a black-and-tan made to kneel naked before him - and now Tennant too is exploring the old mill as another shot rings out ... Its all from an Elizabeth Bowen novel, rather like a William Trevor story, and the politics of the time will be difficult to comprehend for those unfamiliar with history - no laughs here though.

Joyce Redman, R.I.P.

Joyce Redman (1915-2012) who has died aged 96, was best known for the dinner scene in TOM JONES (1963), Tony Richardson’s hugely successful film version of Henry Fielding’s novel, in which she and Tom (Albert Finney) smoulder at one another while gulping back wine, slurping oysters, tearing at chicken legs and biting lasciviously into pears. If she had done nothing else in films it would guarantee her a place in the annals of cinema. Her saucy woman of the world, Mrs Waters, whom Tom finds in a state of disarray, is essential to the film and she gets the tone just right along with Dame Edith, Joan Greenwood, Susannah York, Diane Cilento and that great cast. An Oscar nomination followed for her supporting performance in a film which has gone down in the annals of cinema as the first to arouse audiences and directors to the erotic possibilities of food.

She also won Academy Award and Golden Globe nominations for her role as Desdemona’s faithful servant Emilia alongside Maggie Smith and Sir Laurence Olivier in OTHELLO (1965, a film version of a National Theatre production). Having made her name in the 1940s as a stage actress with Olivier, Ralph Richardson and Alec Guinness, she continued to enjoy almost constant success in the theatre on both sides of the Atlantic during a career that lasted more than 60 years, appearing in productions like UNCLE VANYA, RICHARD III, THE CRITIC, KING LEAR, HENRY IV and Anne Boleyn to Rex Harrison's Henry in ANNE OF THE THOUSAND DAYS. A long successful career in the theatre then, with lots of television roles as well, and a fascinating life too; born in 1915 and growing up in Co Mayo, Ireland before training at RADA. Actress Amanda Redman is her niece.

Joyce apparantly also appeared in PRUDENCE AND THE PILL, though I can't remember her in it, one of those dreadful films which stars like Deborah Kerr and David Niven were encouraged to appear in, in the late '60s. We will always have TOM JONES though.

Two For The Road, 1967

A return visit to one of 1967's enchantments: Stanley Donen's TWO FOR THE ROAD, with Audrey Hepburn and Albert Finney making a great romantic team (off camera too it seems...), as they play out Frederick Raphael's witty script.

After Hepburn's '50s romances with those older men like Bogart, Fonda, Astaire she stepped into the new world of the swinging '60s for this trenchant comedy of marital manners. Ahead of its time in telling the story of her troubled marriage to architect Albert Finney in a non-linear fashion, the film embraces scenes from 12 years of road trips to the South of France. For once, Audrey got to play the bitter aftermath of youthful romance, as a woman who swears when angry and even cheats on her husband. In a big departure for the star, director Stanley Donen (working with Audrey again after FUNNY FACE and CHARADE) made her forego her usual couture wardobes by Givenchy in favor of the latest from such mod designers as Mary Quant and Paco Rabanne. The new look brought Hepburn into a more modern era and contributed to one of her best, and edgiest, performances, as we go back and forth through the years and in those different cars and time periods, right up to the mod swinging 1967 era, as captured by Schlesinger's DARLING and Antonioni's BLOW-UP.

Eleanor Bron and William Daniels are sterling support as the American friends they travel with one year, with their insufferable child, and young Jacqueline Bisset is there as well. It is still a witty charming treat as Raphael, who also scripted DARLING, reworks the fractured romance. Audrey had just done that other '60s treat, the delightful - if rarther overlong HOW TO STEAL A MILLION with that other English heart-throb of the era Peter O'Toole, set in Paris once again - at least half of Hepburn's movies have a French or Parisian setting, so this was of the same but more bittersweet. After this and WAIT UNTIL DARK Hepburn would be away from the screen until that lovely return in Lester's ROBIN AND MARIAN in 1976, when she enchanted us all over again ...

I could rhapsodise about Eleanor Bron at length here and in Donen's BEDAZZLED the next year in 1968 with Peter Cook and Dudley Moore - I love her deadpan Wimpy waitress with the eyeshadow, and of couse she was also ideal with The Beatles in HELP and in Ken Russell's WOMEN IN LOVE. I used to see her cycling around town frequently here in London, and she was once shopping next to me at Sainsbury's supermarket in Marylebone....more on BEDAZZLED in due course...