2 items from 2016
I knew Caroline Crawley and Jemaur Tayle who were Shelleyan Orphan through my brother Jeremy. They were making a video for their single "Cavalry of Clouds." I painted for pop videos and fashion shoots. They'd found this little unsigned drawing by the lesser known Pre-Raphaelites Simeon Solomon in a flea market and wanted me to paint something like that on an easel in the video.
They liked Nick Drake, that kind of thing, the early '70s folk and strings but their sound was steeped in a greater sweetness, a far off wistfulness. Like some new elderflower liquor based on an old recipe. Music and politics had taken a dark turn in the late '80s and the journalists were curious but suspicious. But for artists, musicians and fashion designers who knew them they represented a golden numinous away from all that.
Caroline's voice lifted them into a high cloud. »
From its opening of characters listening in stunned awe to the music of a legendary fictional folk singer, Sean Mewshaw’s admirable but disappointing Tumbledown traps itself with unfair expectations. As a study of grief, it’s moving, featuring authentic performances and a keen understanding of the receding hibernation that comes with losing a cornerstone person in one’s life. As a romance, it’s slow-going but believable. And as a look at the unfair mythos attributed to the dead, it’s nuanced and incisive. But in attempting to balance these complementary parts, Tumbledown is buried by its own ambitions.
As it begins, Hannah (Rebecca Hall) is in pieces, clinging to loss out in a pastoral wilderness lodge in a small Maine town where she used to live with Hunter, her husband and the folk singer whose legacy precedes him. Hunter passed away when he slipped down a ravine while walking along a mountaintop, »
- Michael Snydel
2 items from 2016
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