'The Tape' was written, directed, produced and stars Martha Tilston. It also revolves around the music of Martha Tilston. I don't know anything about Martha Tilston other than what I have learnt from this film but I think it's fair to say that she doesn't lack self-confidence, self-promotion skills, drive to succeed, or access to money (movies are notoriously expensive things to make).
None of this is problematic.
If I was being less charitable I might suggest it hints at a certain level of narcissism, but I highly rate similar projects, that revolve around actual singer-songwriters playing characters singing their own songs, such as 'Once'.
One potential problem lies in the characterisation of Tally Green, played by Tilston, who is meant to embody the virtual opposite of the above.
Tally is meant to be a happy-go-lucky 'free spirit' who doesn't seek financial success, in fact actively opposes it, and just makes music for the love of it. She hates 'the system' and her/Tilston's songs revolve around the notion of 'authenticity' vs. Being a 'robot'. It would be fair to say that 'honesty' is a major theme - which is why I am discussing this aspect.
She doesn't play her music to an audience anymore and is meant to be scarred by previous involvement with the music industry.
Again, I don't have a problem with those aims and qualities - it is just that the two don't sit together and the viewer is being asked to forget about Martha Tilston and 'believe' the world of, and empathise with Tally Green.
As the movie is really a way of marketing the music of Tilston there seems to be a central dishonesty in portraying herself as an anti-capitalist 'pure' artist, whatever that is.
Martha Tilston wants to be successful, Tally apparently doesn't - or maybe she is conflicted (none of this is properly investigated). You could argue that Tilston/Tally are both aiming for 'success' on their own terms - not tarred by compromise - perhaps, but this is not the only problem with the characterisation here.
Tally doesn't look or seem scarred - and this is another problem. She just seems to breeze through life entirely absent of that little thing called responsibility. She'd rather not be cleaning houses and would rather sit in a wood reading poetry, paddle in the sea, or sing her songs at a (perfectly tuned) piano (that she didn't have to buy herself).
All understandable, but not exactly 'hero of the story' material.
Tally reeks of entitlement - she feels entitled to just wander into another person's house and rifle through their possessions, she feels entitled to play their piano and invite her musician friends to kip on the couch, she feels entitled to record some music at the house - and this will somehow be welcomed as a gift by the owner - who actually just asked for the house to be cleaned.
Where are the obstacles to her 'arc'? Everything seems effortless to her. 'Inspiration' turns up and the songs pour out. She isn't technically minded but can somehow perfectly set-up a vintage four-track tape recorder, resulting in a perfect recording first time.
Such characters don't make for the best stories.
We are told she is 'scarred', but not shown it.
There are other problems here. Tally has some 'humorous' interactions with a vacuum cleaner and is portrayed as 'Cornwall's worst cleaner'. She's just no good at this 'work' thing, you see. She's really just a 'free-spirit' (presumably living entirely off of other people's good-will).
She is meant to be living 'rough' in a van on the beach, but turns up to her cleaning job dressed in an array of carefully curated floral dresses and high heels. At best, she looks like she's spent a week glamping at a posh festival, not someone struggling to survive.
This could be promising material if we were meant to view Tally as somewhat ridiculous, childish and self-centred - yet, I suspect we are not meant to feel this - and the absence of any character arc further reinforce this impression - Tally is just perfect as she is and the world has to adapt around her to make the story progress.
Okay - so it's a light fantasy romance, not a gritty rags to riches story.
What about the romance element? It's lightly sketched and highly cliched (including a half-hearted race to a train station to catch the departing love interest), but not without some promise. There is some mild conflict between her and her romantic interest, but it's too lightly sketched to be very effective.
Tally somehow lands a dream job 'housesitting' a gorgeous property in which she discovers poetry written by the owner, Ardo. Tally falls for Ardo through his writing. This scenario is complicated by the arrival of a London based lawyer, Leo, who is recovering from career burn-out and stumbles upon Tally and falls for her through her music.
Will Tally pick Ardo or Leo? She debates this conundrum with her close friend, and fellow free spirit, Goo, pointing out it's a bit weird to be obsessed with someone she hasn't met (Ardo).
She never seems to stop to think Ardo might not be interested in her. It is presumably a given that she's just so adorable he will inevitably fall for her. There's that narcissism again.
The other crucial problem I had with 'The Tape' is the music itself. I simply didn't like it. It's not the genre - folk oriented and traditional instruments - that's fine.
Tilston is technically skilled at piano and singing, but, for me, her songs lack something, the lyrics are rather aimless and prone to cliche and the melodies a bit bland. The lyrical themes on display here ironically feel artificial: contrived attempts at conveying honesty rather than actual honesty.
Potential viewers might be best served by listening to one of the songs first - if they like it - then they might enjoy the film more than I did.
For any fans of Tilston, I don't apologise for this review - I'm just giving my honest reaction - I wanted to like the film and music, but didn't.
It has some nice scenes of Cornwall.
None of this is problematic.
If I was being less charitable I might suggest it hints at a certain level of narcissism, but I highly rate similar projects, that revolve around actual singer-songwriters playing characters singing their own songs, such as 'Once'.
One potential problem lies in the characterisation of Tally Green, played by Tilston, who is meant to embody the virtual opposite of the above.
Tally is meant to be a happy-go-lucky 'free spirit' who doesn't seek financial success, in fact actively opposes it, and just makes music for the love of it. She hates 'the system' and her/Tilston's songs revolve around the notion of 'authenticity' vs. Being a 'robot'. It would be fair to say that 'honesty' is a major theme - which is why I am discussing this aspect.
She doesn't play her music to an audience anymore and is meant to be scarred by previous involvement with the music industry.
Again, I don't have a problem with those aims and qualities - it is just that the two don't sit together and the viewer is being asked to forget about Martha Tilston and 'believe' the world of, and empathise with Tally Green.
As the movie is really a way of marketing the music of Tilston there seems to be a central dishonesty in portraying herself as an anti-capitalist 'pure' artist, whatever that is.
Martha Tilston wants to be successful, Tally apparently doesn't - or maybe she is conflicted (none of this is properly investigated). You could argue that Tilston/Tally are both aiming for 'success' on their own terms - not tarred by compromise - perhaps, but this is not the only problem with the characterisation here.
Tally doesn't look or seem scarred - and this is another problem. She just seems to breeze through life entirely absent of that little thing called responsibility. She'd rather not be cleaning houses and would rather sit in a wood reading poetry, paddle in the sea, or sing her songs at a (perfectly tuned) piano (that she didn't have to buy herself).
All understandable, but not exactly 'hero of the story' material.
Tally reeks of entitlement - she feels entitled to just wander into another person's house and rifle through their possessions, she feels entitled to play their piano and invite her musician friends to kip on the couch, she feels entitled to record some music at the house - and this will somehow be welcomed as a gift by the owner - who actually just asked for the house to be cleaned.
Where are the obstacles to her 'arc'? Everything seems effortless to her. 'Inspiration' turns up and the songs pour out. She isn't technically minded but can somehow perfectly set-up a vintage four-track tape recorder, resulting in a perfect recording first time.
Such characters don't make for the best stories.
We are told she is 'scarred', but not shown it.
There are other problems here. Tally has some 'humorous' interactions with a vacuum cleaner and is portrayed as 'Cornwall's worst cleaner'. She's just no good at this 'work' thing, you see. She's really just a 'free-spirit' (presumably living entirely off of other people's good-will).
She is meant to be living 'rough' in a van on the beach, but turns up to her cleaning job dressed in an array of carefully curated floral dresses and high heels. At best, she looks like she's spent a week glamping at a posh festival, not someone struggling to survive.
This could be promising material if we were meant to view Tally as somewhat ridiculous, childish and self-centred - yet, I suspect we are not meant to feel this - and the absence of any character arc further reinforce this impression - Tally is just perfect as she is and the world has to adapt around her to make the story progress.
Okay - so it's a light fantasy romance, not a gritty rags to riches story.
What about the romance element? It's lightly sketched and highly cliched (including a half-hearted race to a train station to catch the departing love interest), but not without some promise. There is some mild conflict between her and her romantic interest, but it's too lightly sketched to be very effective.
Tally somehow lands a dream job 'housesitting' a gorgeous property in which she discovers poetry written by the owner, Ardo. Tally falls for Ardo through his writing. This scenario is complicated by the arrival of a London based lawyer, Leo, who is recovering from career burn-out and stumbles upon Tally and falls for her through her music.
Will Tally pick Ardo or Leo? She debates this conundrum with her close friend, and fellow free spirit, Goo, pointing out it's a bit weird to be obsessed with someone she hasn't met (Ardo).
She never seems to stop to think Ardo might not be interested in her. It is presumably a given that she's just so adorable he will inevitably fall for her. There's that narcissism again.
The other crucial problem I had with 'The Tape' is the music itself. I simply didn't like it. It's not the genre - folk oriented and traditional instruments - that's fine.
Tilston is technically skilled at piano and singing, but, for me, her songs lack something, the lyrics are rather aimless and prone to cliche and the melodies a bit bland. The lyrical themes on display here ironically feel artificial: contrived attempts at conveying honesty rather than actual honesty.
Potential viewers might be best served by listening to one of the songs first - if they like it - then they might enjoy the film more than I did.
For any fans of Tilston, I don't apologise for this review - I'm just giving my honest reaction - I wanted to like the film and music, but didn't.
It has some nice scenes of Cornwall.
