At the Movies

Michael Wood: ‘A Dangerous Method’, 8 March 2012

A Dangerous Method 
directed by David Cronenberg.
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“... in brief bouts of beating Sabina, which don’t seem like much of a departure from his ordinary self – unless we think the difference between the quiet autocrat and the violent one is the difference that counts. Sabina meanwhile matures, becomes an analyst, marries and is pregnant when we last see her. If her madwoman is a bit stereotypical at the ...”

In Athens

Richard Clogg, 5 July 2012

“... right to point to massive tax evasion on the part of Greek shipowners, wealthy businessmen and the self-employed, particularly lawyers and doctors (as few as a third of the latter declare incomes of more than 12,000 euros) as one of the principal reasons for the current debt mountain. Greece really is a country in which only the little people pay taxes. It ...”

In Letchworth

Gillian Darley: Pevsner's Hertfordshire, 2 January 2020

“... come with three acres and a pile of manure, but the first garden city had its own version of civic self-sufficiency. Construction began in 1903 after a competition to design a town that demonstrated the ideas of Ebenezer Howard. Howard’s book Tomorrow: A Peaceful Path to Real Reform was loosely based on the work of Henry George and, following George’s ...”

At the Movies

Michael Wood: ‘The Bad and the Beautiful’, 5 April 2012

The Bad and the Beautiful 
directed by Vincente Minnelli.
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“... but it has nothing to do with the rest of the movie. A rat will do, we don’t need a Dostoevskyan self-hating rat. So what has Douglas done? He has manipulated Turner not for her sake but for the sake of his film; stolen a script and idea from Sullivan the director (‘Without me it would have stayed an idea’); and arranged for Powell’s dippy wife (very ...”

At the Movies

Michael Wood: ‘Dunkirk’, 17 August 2017

“... him burning to death.’ The trouble is that this tough talk about survival and the supremacy of self-interest is at odds with the selflessness of the pilots and all the sailors of the Little Ships, and specifically of the boy who makes it into the local newspaper. He wasn’t supposed to be on the boat sailing from Weymouth, but he wanted to be part of the ...”

At the Movies

Michael Wood: ‘Mission: Impossible – Fallout’, 30 August 2018

“... that it will ‘decompose’ in a minute. For many years it was spoken on a tape that would ‘self-destruct’; now it is on some unspecified ‘device’. In all cases, though, it erases its information in a puff of smoke, the perfect instance of a deniable project, existing, at least until the story gets going, only in a small selection of minds. Or ...”

At the Movies

Michael Wood: ‘A Star is Born’, 25 October 2018

“... where the publicity machine wants to turn her into a disco-dancing avatar of her old out-of-film self, but she gets over that. And the songs she sings in her own voice – that is, the voice the plain girl might have been discovered to have – are old-fashioned ballads (‘When the sun goes down/And the band won’t play’;‘Don’t wanna give my heart ...”

At Auckland Castle

Nicola Jennings: Francisco de Zurbarán, 4 June 2020

“... he produced 21 paintings in eight months for the monastery of San Pablo el Real. He was largely self-taught but quickly absorbed the naturalism and light effects of Velázquez, who had established his reputation in Seville a few years earlier, as well as the drama of Juan Martínez Montañés’s candlelit polychrome sculptures. Zurbarán added a ...”

At Tate Britain

Peter Campbell: Lucian Freud, 25 July 2002

“... down; when I stood up I never sat down again.’ Which makes you think about sitting and standing self-portraits: Hogarth sitting – keen, you feel, to get closer to the canvas. Velázquez in Las Meninas standing – clearly needing to move back to see how his latest mark is working. In Freud’s later, freer pictures the puckering of cheek or belly is ...”

At the British Museum

Peter Campbell: Samuel Palmer’s dream landscapes, 17 November 2005

“... he showed when young into something remarkable was contact with other artists. In the compelling self-portrait drawing of around 1824-25, as memorable as any by an English artist, he seems both vulnerable and determined. He was then just out of his teens; a couple of years earlier he had been sought out by an older artist, John Linnell, who had seen and ...”

Raymond and Saxon and Maynard and …

Penelope Lively, 19 February 1981

Memories 
by Frances Partridge.
Gollancz, 238 pp., £9.95, January 1981, 0 575 02912 9
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Notes from Sick Rooms 
by Leslie Stephen.
Puckerbrush, 52 pp., £1.50, March 1981, 0 913006 16 5
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“... It makes one yearn to collapse at once between linen sheets smoothed by Mrs Stephen and give one-self up in gratitude to the calm, unhurried, reassuring presence, the therapeutic rubbings and the beef tea. The section on the removal of crumbs from the bed is a masterpiece. This is the voice of a woman for whom the unsentimental alleviation of distress in ...”

On Forrest Gander

Stephanie Burt, 22 May 2025

“... it/swimming just under the surface?’ On the other hand: why does it matter? The poem becomes a self-portrait – this writer, in this place, holding these memories, at this time, alongside this lover. The animals he encounters, like the rocks, serve the interpersonal, and the scraps of story serve the way that Gander depicts his states of mind, now ...”

At the Whitney

Eleanor Nairne: Amy Sherald’s Subjects, 24 July 2025

“... Miss Everything casts an appraising look at the viewer. The overall effect is one of graphic self-possession.Sherald almost always paints Black subjects, most of whom are strangers she approaches in the street. Together, they select an outfit from the sitter’s clothes (this is another key aspect of her work: her lively interest in the ways we fashion ...”

At Tate Modern

Brian Dillon: ‘Leigh Bowery!’, 14 August 2025

“... latter song? I ain’t got no money and I ain’t got no hair? Or something to do with salacious self-mythology? Sordid details following …He was born in 1961 and grew up in Sunshine, a suburb of Melbourne, before moving to London in 1980. An exhibition label briefly notes a parallel with Barry Humphries, who made the same journey following a prankish ...”

Falling Stars

Alan Coren, 5 November 1981

Richard Burton 
by Paul Ferris.
Weidenfeld, 212 pp., £7.95, September 1981, 0 297 77966 4
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Peter Sellers 
by Alexander Walker.
Weidenfeld, 240 pp., £7.95, September 1981, 0 297 77965 6
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“... bulbs from one VIP airport lounge to another. Especially as it is not always easy to share their self-pity: that, in their depths, both Sellers and Burton were racked with nostalgia for the great days of Major Bloodnok and Henry V, and also with regret at having come so far to have arrived nowhere as good, is something with which we can only briefly ...”