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DVDevotee Old Crow Medicine Show Live at The Orange Peel and Tennessee Theatre

Column: The Word on DVDs  |  Date Published: Tuesday, 10 November 09   |  Author: Peter Krbavac   |     |  2 years, 3 months ago
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With their return to Australia imminent, it seems a good opportunity to give Old Crow Medicine Show's recent live DVD a spin. Young men playing old time music - a combination of bluegrass, roots, folk and blues; for convenience's sake, call it Americana - the Medicine Show have managed to garner surprisingly wide appeal, perhaps in part due to endorsements from Gillian Welch and Dave Rawlings as well as elder statesmen like Merle Haggard. Eschewing any extra features, this bare bones release presents the group in their element - onstage and in full flight. Featured are 20 songs cribbed from two performances in December last year in the intimate confines of The Orange Peel, North Carolina and at the larger Tennessee Theatre. The shows are documented simply and effectively; lingering frames of the group onstage, capturing the interplay between members, occasionally interspersed with atmospheric shots of America's south. The Medicine Show maintain a blistering pace and, as evidenced by the torrent of sweat dripping down fiddle player Ketch Secor's instrument, clearly push themselves to their physical limits. A great deal of the set comprises the trad-arrs the band are famous for and you can't help but be swept along by the sheer propulsion of their frenetic readings. The audience reciprocates, as raucous and energetic as any rock crowd - particularly one punter that the camera often returns to, who looks like he's been caught mid-self-exorcism. The group, however, are at their best when they delve into their own, generally more restrained, catalogue. I Hear Them All, a co-write with David Rawlings that clearly bears his influence, is a particular highlight, as is the wistful Caroline and the ragged, slow-burning Tennessee Pusher. A rollicking testament to Old Crow Medicine Show's powerful live performances.



DVDevotee Is Anybody There?:

Set in a seaside English town in the late '80s, Is Anybody There? follows Edward, a ten year old boy whose parents have turned their house into a family-run retirement home. Edward is infatuated with death and the supernatural, obsessing over the final hours of each guest at the home, recording and repeatedly listening to their dying sounds which he records via a tape recorder under their bed. When Clarence (Michael Caine), a surly, reclusive former magician reluctantly enters the home, what can only be described as a clichéd "unlikely friendship" slowly develops between the two. Edward's obsession with the afterlife, along with his uncanny ability - quite common among ten year olds - to break things via a wayward soccer ball, initially clashes with Clarence's constant internal grief for his estranged, now dead wife. Gradually, the two come to use each other as a form of counselling, and Edward's sprouting interest in magic cements the bond between he and Clarence, who, by the second half of the film, is spiralling rapidly into the advanced stages of senility. The somewhat overdone 'companions with large differences who come to learn from each other and thus become stronger' relationship between the two is admittedly touching, but the most moving scenes are those involving Edward's parents - his mother, exhausted yet endlessly devoted to her young and struggling retirement home; and his father, obviously in love with his wife and son, but whose fear of being suffocated by living in and running a retirement home manifests itself in sarcasm, coldness, and the pursuit of the home's 18 year old part-time helper. Caine's acting is as superb as ever, however the dialogue he's given to work with is sporadic in quality and you feel that the writers have used his senility as an excuse for him to conveniently jump from subject to subject; from joy to grief, as the situation calls for. Is Anybody There? does provide a few laughs and a few tears, but falls short of its potential.

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DVDevotee Gossip Girl Season 2:

In April last year New York Magazine - journal of choice for indolent and sarcastic hipsters - proclaimed Gossip Girl to be Best. Show. Ever. Sure, there were a few caveats and NY Mag has a tendency to ride cultural waves for all their worth and, okay, the show is a scarcely veiled doco of WASPY, rich Manhattanites. But what the hey, Upper East Side teen angst was cool again! It was a cultural juggernaut for the inattentive txt generation. The overall ridiculousness of a bunch of image-obsessed New Yorkers grappling with who to sleep with next and how to deal with their meddling family was captivating. Whilst hardly an Austen-esque study of class and privilege there were some pretty universal themes on offer and as long as it's hilariously over the top and looks good then I'm in. Season two opens with Nate (Chace Crawford) and Serena (Blake Lively) retreating in the Hamptons. Of course. Nate's squiring an older woman. Of course. Everything is as it should be in Gossip World. It's senior year and everyone is preoccupied with college - Yale in particular, not that Gossip Girl has ever been a beacon of scholarship but Yale is old money and Ivy League so it'd hardly impact their social lives. Still, it's a risk no one's willing to take - so Columbia and NYU it is. Phew. Not sure any of these characters would survive outside a 5 km radius of a Marc Jacobs store. Its zeitgeist moment may have passed - although S3 features serial teen drama guesters Sonic Youth looking for TV face time after Gilmour Girls finished up - and you could argue we all care a little less about well-sculpted moneyed up teens and more about keeping our jobs but Gossip Girl is unabashed, self aware, extreme-dialogued fun. The reason recessions don't matter in this world is not that they're immune - more that it'd totally bring us down. We don't want that.

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