Those residents, however, are willing to shell out the hefty sum of 30 to 50 toman for the hottest bootleg in Iran: LOST

So after six years, each series declining lowers in episodes, the show that had millions worldwide hooked, finally comes to an end. The question everyone is asking ,was it worth it? In my case, yes but not for the reasons many would think.

Firstly, let me begin by saying that the show's last two hour finale was disppointing, not as exciting as LOST was over the years and definately a very average episode as opposed to the other series finales.

LOST was entertaining, it had mystery, it had great characters, it had flashbacks, action, humour, multicultural people, subtitles. It was new, exciting, it was thinking outside of the box.

I'm not part of the group that declares LOST that greatest show ever made, I disagree with that entirely but it had elements that were striking, moving and very powerful at times. Most of this, stemmed from the fantastic charactisation of each character, we knew and found out nearly everything about everyone, from their past, through to their future. The attention to detail was impeccable, if only done in a mainstream way, which let's not forget, LOST was.

Whilst the show had any layers going on at the same time, the question was always the same, when will answers come. The genius of the show, as people know, lay in the answers never coming, right through to the penulitimate episode. Each series answered about one question in very fine detail and many viewers wanted the last episode rightly titled 'the end' to do this. Others just wanted a deserving end to a show they invested so much time into.

Me, I don't care about answers, I don't want answers and I never expected any. But this was not the problem with the finale.

The penulitimate episode ended as best as LOST had done over the years, I was excited, I was hooked, ready for the last chapter in the saga. What I was given was two hours of TV which meant nothing! It was like the creators had been away for so long, working on Fringe, Flash Forward, JJ on MI3, Star Trek and they both came back to pen the end, which fell flat on it's face. It wasn't moving, it wasn't very enjoyable and it just didn't work.

To say anymore would convince you all, that I wanted answers, that I'm in denial, that that's really my problem but infact I did get some answers...we all did.

So they have been living two parallel lives, so what? LOST had darkness in it, the idea that evil constantly lives amongst hope and faith.

Looking back on it, Desmond saved the show for me. His love for Penny was so strong that the creators would have been hunted down if either Desmond or Penny had been killed. In the fouth season episode, 'The Constant' the moment they speak to each other for the first time in over three years is one of the moving scenes from the entire show, the love these two characters had for each other was so real, strong and convincing, it bought hope to the old fashioned concept of 'love.'

So now what, some people will say it was the greatest show that ever lived. The great elements that the show had over the years, can never be taken away but every story must have a great end, one that makes sense to the entire story if not answering anything at all or not even being that coherent.

LOST sadly was not found, it sunk into an abyss, broke up in chunks and was never to be seen again. A sad end, for all the wrong reasons...but never forgotten...


Iran's secret obsession: Getting Lost in Tehran

http://www.time.com/time/world/article/0,8599,1958971,00.html

TV drama gains Islamic apporoval as 'Lost mania' grips Iran

http://www.guardian.co.uk/world/2009/sep/13/lost-tv-drama-iran

Free Jafar Panahi

One of the most important filmmakers of the new wave, Iran and the entire world, needs you, please end your hunger strike.

Please find all the support you deserve right here...

http://www.facebook.com/group.php?gid=341946171819&ref=ts

Sign the petition here...

http://www.petitiononline.com/FJP2310/petition-sign.html

Free Jafar Panahi, he has done nothing wrong

The First Movie

Part documentary, part essay, part contemporary memoir.

From watching short films within a film, from watching an young audience watch feature films for the first time on the big screen, Mark Cousins ‘the first movie’ is a multi-layered film, which creates a ‘real’ cinema experience for the viewer never seen before, in a very innovative way.

During the screening’s Q & A, a nine year old girl told Cousins, ‘I always thought of Iraq as a bad country but I will now be saying good things about it.’ Through his own presence on screen and in his own voiceover, Cousins begins his film with no titles to indicate location, to avoid stereotypical images which are most of the time created by the press, therefore allowing the audience to view the film freely without any preconceived images. Cousins talks of his original upbringing in Belfast but only for a ‘wee’ minute, rather than create a formulaic doc where the filmmakers life is similar to what he is witnessing, whilst cutting back and forth, Mark avoids this cliché approach and instead allows the images being seen around him and by the kids, in the small of Goptapa, to speak for themselves.

Whilst Cousins film may be about his own identity, to this small town and these kids, the film becomes an entirely selfless film, about so many other things. A child’s spirit in a country torn apart by war, as the children play with balloons, a scene more moving than watching a plastic bag dance in the wind. A child’s imagination as they talk the kind of stories and genres they would make films about, talking of comedy and love. A celebration of cinema as Cousins set up a cinema, showing them films that he considers to be the best children’s films ever made, amongst them Astrid Henning-Jensen's Danish film Palle Alone in the World (1949), about a little boy who wakes up in the world without grown-ups. The children stare in awe at the screen, laugh and attempt to touch images flying off the screen, as they are taken away into the world of storytelling.

Cousins gives three of the children he meets whilst filming, their own cameras to play with, one of which comes back with footage of a child playing with mud in water, for a duration of one minute and twenty two seconds, with a narration by the young boy filming him. The short instanteous piece of film is more incredible, moving, real and multi-layered than any filmmaker can ever truly imagine to achieve after years of preparation. Whilst Cousins film is uplifting, sad and moving, it never overplays any elements by being too over dramatic or oversentimental. The film movie is real, based on real lives, in a real town, within a real country all captured in a real, entertaining, simple, open-minded, open-hearted and thought provoking way.

'Is that my milk tray!!!!' shouted Mitchell

Is that my milk tray!!!!, a line I've always remembered from 'Claws', one of my favourite plays, along with 'Potentials', written my friend Dominic Mitchell (or Mitchell as I like to call him) The first conversation we ever had was on the second day of our university term, within the IT suite, meeting each other for the first time. Mitchell had a passion for film, like myself, and an eye to succeed with his creativity and intelligence, traits which to this day, still shine through.

His most recent play, 'Don't look back', performed at the Young Vic, surprised me with his ending. I liked the play, it was as mad as a Mitchell play normally gets, playing on a myth that's supposely true, I was only confused by the straight ending which he never does. For the first time, there was a much more sombre, peaceful, happy end, like everything is going to be alright. You see, Mitchell creates unusual worlds with his plays.

In 'Claws', the focus draws from creating the idea that everything inside is safe inside and bad outside, as one of the children from the large age group, ages ranging from 6 to 18, returns back home after escaping weeks earlier. The older kids, named after looney tunes characters such as tweeny and bugs, tie him up and hang an anvil above his head. These are children who believe in Santa Claus and sing jingle bells as their prayers so when a homeless man, breaks into their home, dressed in a red suit, they beleive him to yours truely. The play was performed as a rehearsal at Polka theatre, I'm lucky to say I caught it but I'm sad to say that's the last time it was performed, as it remains one of my favourite plays.

As more Mitchell plays circled London, ranging from more rehearsals, to a few days perfomances, to one week runs, Mitchell was about to have a play entitled 'Potentials', which was about to have a run of just under three weeks at the Tristan Bates theatre. I'll add a link here so you can read more about this extraordinary play...

http://www.whatsonstage.com/reviews/theatre/off-west+end/E8831241782752/Potentials.html

The play blew me away, at the age of 27, the issues within it, had been central to most of my life and I think will always be even after the age of 30.

Mitchell's stories are a mix of the surreal, the shadows and the rawness within each of us, played out with political, social and dark humour. His characters look out towards what lengths a human being will really do and feel, given any time, place or situation, to any depths. Diverse, exciting, intense, revelant, Mitchell.

So what's next...well, Mitchell currently has a blog through writers room http://www.bbc.co.uk/blogs/writersroom/dominic_mitchell/

and is developing other projects, which I'm not sure if I'm allowed to talk about or not...either way, you'll hear from him soon.

But for now...'Is that my milk tray!!!!'

Solocypher

http://www.vocalswords.blogspot.com/


http://www.myspace.com/solocypherthevocalsword

LD 1

'Look, I'm not a cool guy or anything, I haven't been on a date in twelve years, but I would love to waste your time for a couple of hours. What do you think about that, can I do that, is it possible?'

Larry David

An innocent girl, a harmless drive. What could possibly go wrong?

'Buckle up, son! This is the real world out here!'

'License to drive', the never talked about 1988 film starring both Corey Haim, Corey Feldman and a then unknown Heather Graham, remains one of the funniest films of all time, whilst also representing the issue that a driver's license respresents individualism, liberation and freedom. This all may seem like an over exaggeration but when a film has a clear set out idea, that begins with Les Anderson, (before there was Mr Anderson in Matrix, who stands for so much less in comparison to Les) chained to a school bus and his attempt to escape this kind of future for his life, and his dream of getting the girl and the car. Because in life, without a license, you have nothing...

'Les, that license in your wallet, that's not an ordinary piece of paper, that is a driver's license, and its not only a driver's license, it's an automobile license, and it's not only an automobile license, it's a license to live, a license to be free, a license to go wherever, whenever and with whomever you choose.'

There's too much for me to say really about 'License to drive', for me it is a brilliant film, clear in what it is about, what it is trying to achieve in it's genre and style, it uses childish techniques at times, empathising certian sounds and edited cleanly with some old fashioned flip cuts in places. Whilst I might make it sound, as if the film takes itself too seriosuly (and maybe the filmmakers did) far from it coming across like that in the film, as the script is direct, funny and of course the performances shine through, with Corey Haim brilliant as the young kid with the American dream...a joy to watch everytime and a film which deserved to be known.

Of course, one of the most famous films of Haim's career is 'the lost boys' (1987) which displays the idea of being, acting and feeling differently to our parents and siblings, it is at the end of the day, essentially a good old fashioned, fun -vampire-killer-slasher film, made to better standards to ones in the genre today.

In 1986, 'Lucas' showed adolescene in one of the best possible ways as Roger Ebert once described...

"Haim ... does not give one of those cute little boy performances that get on your nerves," wrote Ebert. "He creates one of the most three-dimensional, complicated, interesting characters of any age in any recent movie. If he can continue to act this well, he will never become a half-forgotten child star, but will continue to grow into an important actor. He is that good."

I remember seeing it at a young age, (it was an after midnight fill-up-the schedule screening on ITV) I haven't seen it since but have never forgotten it, how much I felt for Lucas and what he was trying to acheive and prove, to himself, to the girl he lusted after and the world around him. It was a powerful film for me and I look forward to seeing it again.

As with many shocking deaths in life, they always leave at a point when there is so much left behind, his mother battling cancer and talk of a career comeback, to name a couple in Mr Haim's life. Corey Haim once said...

"I want to be the guy they talk about when they talk about comebacks," he said three years ago. "I want people to learn from me, see I'm human, and understand that I make mistakes just like they do, but it doesn't have to consume you. You've got to walk through the raindrops, and that's totally what I am trying to do."

R.I.P.

http://www.guardian.co.uk/film/filmblog/2010/mar/10/corey-haim-lost-boys