The Curzon redesign is either a comment on fragile society, or a gimmick. Photo: Flickr/Camilo Rueda López
Show Hide image

Pink concrete, optical tricks and ferried olives: inside the redesigned Curzon Bloomsbury

Cinematic changes.

To Russell Square in London last Thursday evening for the launch of a new six-screen cinema, the Curzon Bloomsbury, on the site of the old Renoir. When a rebranding was first mooted cautiously back in 2008, I wasn’t a fan of the idea. I’m still not. But having explored the spectacular £4m redesign job, I’m an admirer of the building itself. It is now one of the few cinemas in London where the experience of watching a film will actually be enhanced by the surroundings. Let’s refer to it as Renoir: Fully Loaded.

The designer and architect Takero Shimazaki hosted a short presentation in which he shared the inspirations behind the radical new look. The first image he unveiled was a still from Stalker - a dank, peeling, dripping room in which several disconsolate figures are clustered. This, he said, was what he showed the Curzon management when he took on the job. Nervous titters all round. What Shimazaki was doing here was highlighting the mix of sobriety and playfulness that is discernible in his designs, as well as making us the first-ever witnesses to Tarkovsky-based humour. It’s a niche area but it works. Not unlike the cinema itself.

He showed several photographs of the building in various states of disrepair and construction. Why, he wondered, pondering over an image of scaffolding and ladders and plastic sheeting, could an audience not watch a movie in a setting like that, with a screen hung at one end? Ah, a man after my own heart. Anything to stem the flow of servers ferrying bowls of olives and flutes of champagne to cinemagoers who have mistaken their local cinema for dinner theatre or something on the chicken-in-a-basket circuit.

Shimazaki didn’t go as far as to put the auditoria in the midst of a building site but there is a hint of the austere to the Curzon Bloomsbury, plush as it is. Grey mottled high-ceilinged corridors lead you in a curve around the side of the largest screen. The one named “Renoir”, that is; the one with the word Renoir hung on the back wall in white letters. None of that “Screen 1” and “Screen 2” business. Each one here is named after a London cinema - Minema, Lumiere, and so on. One exception is the Bertha Dochouse screen, which will be devoted permanently to a programme of documentaries.

There is also pink concrete in evidence on the stairs. You don’t see much of that around, do you? And an optical trick in one of the corridors as you pass a series of glass panels, staring into them in a search for your reflection - vainly in both senses of the word, it transpires, since these are windows that look onto the parallel corridor. You may see someone you know in there but you can’t reach them because the glass is in the way. You have to go to the end of the corridor and double-back instead. This is either a comment on the fragile divides which separate one human being from another, or a gimmick that is going to get very old very quickly. I’m going with the former, even if it does suggest the makings of a Paul Haggis film about how we should all just get along and, you know, connect.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

Show Hide image

On the trail of Keith Jarrett's melodies

Lose focus for a second and you can quickly drop the thread of Jarrett's complex improvisational techniques.

“So, this is a piano,” said Keith Jarrett, sitting down at the one that had been placed centre stage for him in the Royal Festival Hall on 20 November. Blowing on his hands to warm them, he acted as if he had never encountered such an instrument before, raising a chuckle from the hundreds of fans who had turned out to see the man in the flesh. For 40 years, Jarrett has been giving concerts like this – alone with the piano, playing his improvised music to a room full of rapt devotees. Notoriously grumpy – and now as well known for his tirades against cameras and coughing audience members as for his early days playing with Miles Davis – he has an almost eerie focus onstage, relieving the tension only very occasionally with his barbed observations about the excellence of the instrument, or the shuffling in the auditorium.

Jarrett gave us a series of short pieces, each rendering separate and distinctive musical ideas. He began with an intricately woven flash of notes in both hands, criss-crossing the melodies that were by turns dark and haunting, or light and dancing. At particularly complex moments, when his arms were crossed over and the notes were flowing from his fingers faster than anyone could imagine them into existence, he leaned his ear down towards the keys, as if physical closeness could help his ideas more swiftly become sound.

A couple of folk-inflected ballads followed; heart-achingly sweet melodies picked out above rumbling, sour arpeggios. Like Glenn Gould, the Canadian pianist best known for his recordings of Bach’s Goldberg Variations, Jarrett can’t help adding vocalisations as he plays, which are all the more evident in his quieter compositions. He rose and fell from his stool; we heard his guiding hum along with the melody, as well as the odd strangled shout, yelp and grunt. He might insist on absolute silence from the audience but his own noises seem completely uninhibited as the music spins around him.

Although notorious for his curmudgeonly attitude to his fans, Jarrett was mostly restrained in this outing, allowing himself just one short, sweary outburst about killing a “f***ing camera”. At the age of 70 and with the power to sell out his concerts in just a few hours, you do wonder how much of the persona is genuine and how much of it is just giving the audience what it expects. A case in point came near the end, when he yielded to clamouring and gave a surprisingly simple and straightforward rendition of “Danny Boy”, an encore that long-time fans know well.

Given that this recital was under the auspices of the London Jazz Festival, there was surprisingly little in Jarrett’s programme that could easily be identified as jazz. One piece, full of brisk rhythms and chunky chords, gradually revealed itself to be based on a modified 12-bar blues structure and another had haunting overtones surely pulled from the classic American songs of the first half of the 20th century. Indeed, this musical ghosting becomes a major preoccupation when you see Jarrett live. It is too easy to distract yourself in trying to follow the auditory trail he has laid for you – was that a bit of Debussy, or Bach, or Glass just then? – and lose the thread of what he plays next. The improvisational technique might have more in common with jazz but now, 40 years on from his bestselling live recording The Köln Concert, it’s difficult to characterise Jarrett’s output as anything other than contemporary classical music.

If it needs a classification, that is. At one point, I became convinced that a particular piece was a Jarrett riff on Beethoven’s Bagatelle No 25 in A Minor – or Für Elise, as it is more commonly known. I was sure it was all there: the extended opening trill, the rising arpeggios in the left hand, the melody cascading from treble to bass and back again. Except, by the time I surfaced from my musing, there was no trace of Beethoven to be heard. A clashing, almost violent melody was dangling over a long drone in the bass. If you try too hard to pin down Jarrett’s music, it moves on without you.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 26 November 2015 issue of the New Statesman, Terror vs the State