Middle-aged, middle-sized and reluctantly middle-class eLearning designer, based in London. Wife to Mr Perfect, Mother of Little Miss Perfect.
I write a lot of technical bollocks for a living, and as a consequence am very lazy about writing for myself. I occasionally write my own blog about living in London and sometimes I’ll find something interesting to say about my professional life. I sew a bit, I sing very averagely with an excellent jazz choir, and play a terrible game of badminton.
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Sarah Slade looks at a beautiful retread of an old theme.
There isn’t much that is new about Departure. An English family rattle around their French holiday home, replete with colour-washed walls, Le Creuset everything and a lovely collection of china. An enigmatic stranger appears and there is a sexual awakening. Everybody goes home, wiser, sadder and ready to face the future. It’s a theme that has been explored in many ways, by many film makers over many years. You could even say that middle-class angst in Aude is quite a safe topic for first-time director Andrew Steggall, but that would detract from what is a rather beautiful, sensitively acted film. Continue reading Departure→
As Don Cheadle’s Miles Davis movie ‘Miles Ahead’ arrives in cinemas, Sarah Slade revisits a classic film biography of another jazz great that you may have heard of.
I hate the word “iconic” – or at least the modern usage where anything prominent or praiseworthy is called “an icon”, like we should paint it gold and stick it on an altar in the living room. However, I can’t think of a better word to describe Charlie Parker’s standing in the history of jazz.
Asif Kapadia’s documentary about the life and death of Amy Winehouse has been a fixture in the London top ten since its release. It has been praised for its sensitivity and dedication to a ‘true’ picture of Winehouse. But does it just follow a standard narrative for jazz musicians in the movies? Sarah and Martin Slade compare and contrast with the biopic of another jazz legend, Billie Holiday.