Carla Scarano D’Antonio reviews Michael Bartholomew-Biggs’s poetic sketch of a family history which is based as much on imagination as on evidence.
London Grip readers may remember Bernard Green’s previous reminiscences about his early life on the Surrey-Hampshire border. Here he returns with a new recollection – this time couched in verse…
Sands Film Club recently screened Alessandro Blasetti’s 1860 as part of its 1934 cinema season. Blasetti’s pioneering film has been credited with introducing a number of cinematic techniques which would become calling cards of Italy’s Neo-Realist directors, such as De Sica, Visconti and Rossellini, during the 1940’s and 1950’s.
When Neville Chamberlain declared war on Germany on 3rd September 1939, the country he led was by no means united in its opposition to Hitler. The English aristocracy numbered many Nazi sympathisers in its ranks, who would have welcomed the introduction of a regime modelled on the Third Reich into their country during the 1930’s.
D A Prince reviews a poetry anthology which commemorates the 800th anniversary of the Charter of the Forest – a companion to Magna Carta that should probably be better known
Dunkirk has emerged as 2017’s summer blockbuster movie. The director Christopher Nolan has been widely praised for his ability to immerse film-goers in the terrifying experience of soldiers, sailors and airmen involved in the evacuation of the British Expeditionary Force (BEF) by land, sea and air between 26th May and 4th June, 1940.
Overlooked for centuries, her paintings were often wrongly attributed to her father, Orazio Gentileschi. In the same period her work sank to a level of obscurity equal to that one of her greatest influences, Caravaggio. His reputation was restored in the 1920’s. Artemisia Gentileschi had to wait a little longer.
John Lucas finds multiple reasons to recommend this memoir by Gail Holst-Warhaft which is studded through with her own accomplished poetry and also gives a shrewdly observant account of post-war Greek history
James Roderick Burns notes that Michael Crowley has taken some risks in order to negotiate a way through conflicting themes and historical viewpoints in his new collection