The world according to Louis Wain and his cats

In 1881, after the death of his father, Louis Wain becomes the primary breadwinner of his household, where he lives with his mother and five sisters, while working as a part-time illustrator for the Illustrated London News.

Editor Sir William Ingram wants him to go full-time, but despite the family finances being in tough shape, he initially says no, preferring to have some time for interests other than his art – not least attempting to get patents for his varied inventions and trying to compose an opera.

But his eldest sister Caroline, who has taken over running the house from their scatty mother, has hired a governess for the three younger girls, so Louis has to change his mind on the job offer.

Emily Richardson, the governess, is a hit in the household – and the eccentric Louis, who has never experienced romantic or sexual feelings before, finds that changing.

But after Emily causes an accidental scandal, Caroline decides to fire her – forcing Louis’s hand to start a courtship.

And once married, it is his wife who rescues a tiny kitten, who will then inspire Louis to start painting the cat pictures that were to make him famous – and had a major impact on the acceptability of keeping cats as pets in Victorian England.

This 2021 film, directed by Will Sharpe, who also co-wrote the screenplay with Simon Stephenson, is a whimsical biopic of a man who was, in many ways, very childlike and vulnerable.

Benedict Cumberbatch as Wain, and Claire Foy as Emily, are excellent leads, with Olivia Colman narrating and Toby Jones turning in a lovely supporting performance as Sir William.

There are also cameos to watch out from Taika Waititi, Richard Ayoade and Nick Cave – the latter, as HG Wells.

Erik Wilson’s cinematography feels both quirky in places and highly conventional in others, and it’s not certain that such a mix works perfectly. But in general, it’s a charming, sometimes funny and often moving, watch.

A cracking mini hit of Wes Anderson

Wes Anderson’s latest film is a short – just 39 minutes – version of Roald Dahl’s short story, and it is a joy.

The titular character is the pseudonym of a wealthy bachelor gambler, who comes across a book of a doctor's report of a man who claimed he could see and interact without using his eyes.

By practising the meditations involved, Henry Strange manages to see through the backs of playing cards. He uses this ability to make millions, establishing a network of successful hospitals and orphanages.

All the usual identifiers of Anderson’s work are present, from the highly stylised look of the piece to the mannered performances.

And there is a typically wonderful ensemble cast – not least Ralph Fiennes, Benedict Cumberbatch, Ben Kingsley, Dev Patel and Richard Ayoade.

 

It is now streaming on Netflix.

Anyone dissing The Grinch can do one

Apparently, Rolling Stone doesn’t rate Illumination’s new animation of The Grinch. Wow. The Grinch isn’t rock ’n’ roll enough for Rolling Stone.

That should be a recommendation.

It’s a children’s story. It’s a film for small people. The OH and I went because we – okay, I in particular – love Illumination. I spent some periods of the film simply revelling in that studio’s style of animation. envious of the digital vision.

It’s Scrooge for children, so no spoilers are needed. And its anti-consumerist message – true to Dr Seuss’s 1950s original book – should be welcomed by anyone with a brain.

It dodges sentimentality, but Scott Mosier and Yarrow Cheney’s film has plenty of heart and more than a few laughs.

Beautifully animated, it also makes great use of music (including original work by Danny Elfman) and has an excellent voice cast, topped by Benedict Cumberbatch as the Grinch himself, with Pharrell Williams as the narrator and Her Magnificence Angela Lansbury as the mayor.

Oh. And it is preceded by a new Minions short.

I’m happy. If you’re not happy with that, then tough.

The Grinch is now on general release.

Further adventures in comic land

Atmospheric artwork from Andrew MacLean

The last part of 2016 saw plenty of action on the comic front – it’s become a serious pleasure to get regular deliveries of Forbidden Planet subscription packets through the post – and there’s been plenty to enjoy from what’s been inside.

Here’s a few notes on what I read and saw in that period.

Descender 3: Singularities by Jeff Lemire continues to be a cracking read, with this third collection playing with time to allow us to see events from different characters’ perspectives, and there’s enough meat here to keep the reader wondering what they’re not yet seeing, as the companion boy robot Tim finds himself being hunted by myriad forces – and the motives are not obvious yet.

And one of the things that Lemire achieves is to make the less sophisticated robots’ characters too, creating real pathos – light years away from the comedic approach of, say, C-3PO and R2-D2.

Panel from Descender 3

Dustin Nguyen’s art remains a real pleasure, his watercolours in a limited palette offering an unusual approach to sci-fi illustration, but one that works beautifully here, offering a soft-focus contrast to the story that nonetheless never jars.

Trees 2: Two Forests arrived a while back and takes us further into Warren Ellis’s apocalyptic tale, narrowing the field of vision to just the ‘trees’ – alien craft of some unexplained variety – in New York and the Orkney Isles, and with these, the central protagonists linked to them.

There’s a brooding darkness building here, with a sense of impending doom and even an incident in London that could be read as a pessimistic comment on the growing anti-immigrant sentiment that both contributed to Brexit and was boosted by it.

All this is helped by Jason Howard’s art, with strong images and a muted palette providing an excellent compliment to the words.

On a lighter note, I have also enjoyed a spot of Doctor Strange from Marvel – though not half as much as I enjoyed the film. Indeed, with TV watching and 2016’s cinema visits for the doctor and Deadpool, I’ve got really quite absorbed into the Marvel universe – albeit it cinematically rather than the version on paper.

"We are Groot" And the racoon's pretty cool too

Big screen trailers for spring’s Guardians of the Galaxy II looks so much fun that I caught up with the first one over Christmas – and loved it! It’s smashing entertainment.

Late as ever to such a party, I am however, now able to cry ‘We are Groot!’ with the best of them.

Then there’s the mere thought of autumn’s Thor: Ragnarok, which in promising to see Benedict Cumberbatch reprise Strange and Antony Hopkins Odin, looks set to ensure that this interest continues.

Christmas also saw me catching some Captain America for the first time – a bit straight-laced as a character, but when your support cast includes Samuel L Jackson as Nick Fury and, in Winter Soldier, Robert Redford as a senior SHIELD leader, plus the currently ubiquitous Toby Jones as a creepy, dead Nazi scientist (though not as creepy as his Jimmy Savile-alike villain Culverton Smith in last weekend’s Sherlock), then a bit of straight laciness can be coped with.

If Marvel have mastered the way to create universes from myriad characters, DC is floundering in its efforts to catch up, with last year’s Batman v Superman having been panned.

The only highlight was reputedly the brief first sight of Gal Gadot as Wonder Woman, set for her own individual movie release this summer.

Now I’ve loved Wonder Woman since the 1970s and the days of Lynda Carter, and it was one of the first things that I started reading as I dipped my toes back into the world of comics over the last few years, but DC’s 75^th anniversary comic was a disappointing, disjointed mess.

Much – MUCH – better was volume 1 of Grant Morrison’s Wonder Woman: Earth One from earlier in 2016, which provided a new but coherent take on the Amazon’s origin story.

Yanick Paquette’s art worked for me – but then again, I didn’t get in a tizzy about pictures of WW in chains. Well, not that sort of a tizzy.

I really don’t know whether I’ll watch this summer’s film: setting it in WWI as opposed to Wonder Woman’s conventional entry into human affairs in WWII suggests that the filmmakers have decided that, instead of understanding that conflict as six of one and half a dozen of the others, writ large across all the main actors involved, it’s going to leap in with a howlingly simplistic Goodies v Baddies approach.

We shall see.

Normal and the head of Agatha Blue Witch

Very differently, one of my personal discoveries of the year was Andrew MacLean’s Head Lopper.

Written and drawn by MacLean – and originally self-published before being picked up by Image – this is the tale of Viking warrior Norgal, who hunts down monsters with the help (though he doesn’t actually like it) of the severed head of Agatha Blue Witch, which he carries around in a bag.

Image threw the comic convention of monthly, 22-page issues out of the window for this, instead allowing MacLean to produce bigger issues on a quarterly basis.

And while the first trade is a lot heftier a volume than you’d usually expect, it doesn’t fail on the fun quota.

Completely different to Hellboy, it would nonetheless be impossible not to see a relationship between Mike Mignola’s seminal work and this.

There’s humour, violence, great atmosphere and a wonderful sense of the folkloric – yes, all things that you’ll find in Hellboy – along with a superbly stylised visual look, all of which effectively gets the Mignola nod of approval in a contribution from the man himself in the gallery at the back of this volume.

MacLean makes storytelling look simple and his art ticks incalculable numbers of boxes. The picture I’ve used here also illustrates MacLean’s fascinating use of foreshortening and perspective, which is a contributory aspect of the work.

There is not a single thing I don’t love about this.

Black Road comes with added ravens

Not very far behind in my personal appreciation stakes comes the first trade of Black Road, which also plunges readers into Viking terrain – but the mood and look could hardly be more different.

Magnus the Black is a man placed awkwardly somewhere between paganism and Christianity, as the church militant strives to conquer the Viking lands for Christ.

Hoping to perhaps ease the trauma of this momentous change for his fellow Norse men, Black finds himself caught up in the bloody politics of religious conquest – and has to turn detective when an official in his care is brutally murdered.

Brian Wood’s story has a satisfying complexity about it, but it’s the art by Dave McCaig and Garry Brown that really lifts this, with its evocation of the bleak, vast landscape of the north.

Having enjoyed the autumn release of the first trade, I’ve hit the subscribe button for the coming issues in this Image series, rather than wait for trade two.

Actually, that’s also an indicator that I’m getting sussed enough about the comics world that I spotted it before the new arc begins.

In the meantime, Skottie Young’s I Hate Fairyland is another comic that defies easy categorisation.

A bright, bubbly tot called Gertrude wishes to live in Fairyland – and then her wish comes true.

Gertrude is not as happy as Larry. Neither is Larry, to be fair

Unfortunately, 20 years later, she’s grown mentally but is physically still a child, trapped in a bubblegum world of sugary niceness.

A crazy new take on a sort of Dorothy longing for Kansas, Gertrude has become a sweary, psychopathic monster who wants to destroy everything and everyone as she tries to find an escape back to reality, accompanied by Larry, a cynical version of Jiminy Cricket.

Life is further complicated when the queen of Fairyland decides that the only way in which to deal with the chaos and violence is to have Gertrude herself killed.

Written and illustrated by Young, volume one was fun and the second trade is out now (if you look online at Forbidden Planet, it can currently be obtained with a very nice autographed postcard too).

It’s hard to know where Young can take this story – but fluff you (as our less-than-angelic Gertude so often puts it): it’s going to be fun finding out.

And finally, the autumn also saw my own first comic strip – okay, only three pages, but my words and my illustrations. It was published in a membership magazine that went to over a million people, but I've now put up a digital version, so you can catch it here. Enjoy!

#EpicToryFail – when social media goes bad

If you needed more evidence that satire is is on its last pegs, it came late yesterday in the form of yet another bungled attempt at doing social media by the Conservative Party.

After the Budget earlier in the day, party chairman Grant Shapps used Twitter to spread the good news.

In a graphic, under the hashtag #Budget2014, was a series of colourful balls bearing the legend: ‘Bingo!’ followed by the news: “cutting the bingo tax & beer duty to help hardworking people do more of the things they enjoy. Conservatives”.

Oh. Dear. Me.

Or in social media parlance: find me that Jean Luc Picard facepalm picture.

Where does one start?

“The things they enjoy”? [My italics]

And who might “they” be, Grant?

We’re rather left to assume that that is his idea of what “hardworking people” like doing. It does rather reek of ‘them and us’.

Today, George Osborne has spent time fending off questions about this single tweet and attempting to get the discussion back on topic – in other words, onto his Budget.

That would have been interesting, since such an august body as the Institute for Fiscal Studies is currently somewhat confused about the Chancellor’s sums.

But no, we’re still caught up in the giggles over BingoGate. Simon Blackwell, one of the scriptwriters of The Thick of It, noted via Twitter, had such a plot line been suggested at a script meeting, it would have been dismissed as being “too far-fetched”.

And well into the afternoon, it was still trending on Twitter, while all that Mr Shapps had managed during the intervening hours was one really rather lame effort at condemning Labour for a weak response to the Budget itself.

Not that the Tories are strangers to epic social media fails.

Last summer, Mr Osborne tweeted a picture of himself eating a burger while finishing off a spending review that slashed services – the burger just happened to be a ‘posh’ one from Byron, which would have cost around £7, and had had to be delivered.

Then, after the under-attack Chancellor labeled him the “model of lean government” in the Commons, the rotund secretary of state for communities and local government Eric Pickles tweeted a picture of himself preparing a speech and eating a salad – which must have made a change from the (alleged) £10,000 increase in his department’s biscuit budget for 2012. 

Funnily enough, that particular tweet actually worked – excluding the question of whether you think that government ministers should be playing such games.

But then again, here’s a little point that might be worth remembering: Pickles was not born with a silver spoon in his mouth.

Meanwhile, over at @toryeducation, one or other of secretary of state Michael Gove’s resident gophers has, on more than one occasion, used the account to tweet exasperated and even abusive responses whenever someone seems to be getting the better of their lord and master.

Just one example is detailed here by Tim Fenton – he’s covered many more in the same place.

'I'm being serious – really'

And let us really not forget the Prime Minister’s own glorious moment a week or so ago, when he tweeted a picture of himself, on the phone, wearing his best Serious Face, to show just how Seriously he was taking his trans-Atlantic discussion about the Ukraine with Barack Obama.

Parodied mercilessly by the Twitteratti – including, amongst others, Sir Patrick Stewart – he responded in a huff with a picture of himself sitting listening to Bill Clinton, directing the message at Sir Pat and saying: “Talking to another US President, this time face to face, not on the phone.”

Now remember, this is the Prime Minister of the UK and not a petulant child, right?

Mind, after photobombing ‘that’ selfie at the Mandela memorial gig, you might wonder.

As only a sight aside, if you’re a well-known figure who’s going to do a photobomb, then do something like Benedict Cumberbatch pricking the pomposity of Bono at the Oscars.

Oh, Benedict – I love you!

But back to our central subject.

You can argue all you want about the appropriateness of senior, national politicians and parties using social media, but it’s here to stay.

In which case, you’d think the Conservative Party would have the sense to get someone in who actually knew what they were doing.

And for goodness sake, if I can do social media without any training, and the likes of the wonderful Sir Jean Luc Picard can make it look effortless and joyful, then you would not think it beyond the wit of the Tories to work out how to do it effectively.

But herein lies the problem.

They really think that they understand social media and that they can do it – but what they appear not to understand is that every time they do something like this, they increase the sense that they’re a bunch of toffs who are, at best, completely ignorant of how the majority live and love and die, and at worst, they really do consider all the rest of us to be mere plebs and themselves to be our born masters.

It is, as The Other Half suggested with a graphic tweet himself last night (see left), akin to Marie Antoinette’s approach to the hoi polloi.

But until they finally get this – if ever they are able – we can carry on laughing at something akin to an episode of The Thick of It, and wonder just when the next gaffe will emerge and from whom.