Still flying after 52 years

By Tony Buchsbaum

When I was a kid, my mother bought me a large-trim hardcover called “The Red Balloon.” It was a storybook of photographs, with some text, about a young Parisian boy whose best friend is a red balloon. Odds are you know the story -- it follows him around, gets him into some trouble at school, then is burst by evil boys in the neighborhood -- so I won’t belabor it, but to me it was pretty miraculous, especially at the end when all those scores of colorful balloons come to rescue the boy, carrying him high above Paris to…well, to someplace where nasty bullies don’t throw rocks at balloons, I suppose.

Anyway, who knew it was a movie? I was a kid. But wouldn’t you know, it was a movie—and the book was comprised of stills from it.

The Red Balloon film, recently released on DVD from Janus Films, is as wondrous as the book was. A scant 34 minutes, it was directed by Albert Lamorisse and stars his son Pascal as the boy—and it is an absolutely and undeniably charming tale of friendship, disappointment, and redemption. The direction is, well, direct, without any sense of artifice. Lamorisse tells his story almost matter-of-factly, shot after simple shot. The film’s power rests almost entirely in just two things: the innocent charm of the his son Pascal’s natural way with the camera (that is, he virtually ignores it), and the knowing, almost winking charm of the balloon itself. It follows the boy, dips, drops, and flies—almost like a dog who’s eager to please.

I found it fascinating, as I was watching, that there seemed to be no special effects trickery in bringing the balloon to life—in the end, it is filled with more personality than helium. It’s very large, shiny, and red, stark in contrast to the gray and brown Paris buildings and rain-dampened streets. I have yet to figure out how Lamorisse made the thing work; it just seems to be, a character fully unto itself. Viewed against the movies made today, when even crossing the street can require a team of people creating some form of computer animation, The Red Balloon is grossly understated. I can’t say enough how simple this film is, and so refreshing in its simplicity. It seems to want for nothing more than to briefly entertain. When it’s over, you’re left story…but also with the nagging notion than while balloons don’t act this way in real life, this particular balloon certainly knows how to act in reel life.

The Red Balloon is a film for the ages…and a film for all ages. I haven’t yet found a way to pry my boys away from their special effects-laden adventures, but as soon as I do, this is what’s going into the DVD player.

Review: Dylanesque Live: The London Sessions by Bryan Ferry

Bryan Ferry
Dylanesque Live: The London Sessions (Eagle Rock Entertainment)

Reviewed by Pedro Blas Gonzalez


Dylanesque Live is a video performance of Bryan Ferry’s recording sessions of his latest album Dylanesque (Virgin Records). The DVD includes four bonus tracks, including a 1973 video of Ferry’s take on Bob Dylan’s “A Hard Rain’s A-Gonna Fall.” Also of interest are several interviews where Ferry gets an opportunity to explain the rationale -- and justification, for some -- for his choice in recording Dylan songs. Perhaps this DVD and album of the same name will be received differently by the two rather dissimilar camps: Bob Dylan and Bryan Ferry/Roxy Music fans.


However, Dylan fans should take comfort in the fact that other able musicians would want to cover his music. This has been the case with even greater songwriters and lyricists of Tin Pan Alley’s Golden Age like Jerome Kern, Cole Porter, Richard Rogers and Irving Berlin. Their compositions have passed on to become the standards, as these pieces have now been immortalized as being an essential part of the American soundtrack.

Somehow, I get the impression Dylanesque Live will sound more soothing to those familiar with the Bryan Ferry/Roxy Music sound. There are several reasons for this. Dylan fans have had ample time to get used to his twangy voice and inflection. I suppose that, for Dylan purists, that along with his acoustic guitar, harmonica and abrasive lyrics serves as the foundation to embrace his music. For these fans, Bryan Ferry’s arrangements will sound strange, at best.

The Bryan Ferry fan, on the other hand, knows him to be an urbane sophisticate. His music is vitally sensual. As he says in several of the interviews in the DVD, “you try to bring a little character to the songs.” Yet let us not lose sight of the fact that Ferry’s Dylanesque Live is a tribute to Dylan’s music. Thus, part of Ferry’s justification in recording this album is that there is no sound logic and purpose in repeating the Dylan sound.

There’s no doubt that this recording is an interesting mix of folk music and the svelte, midnight sound for which Ferry is best known. “Just Like Tom Thumb’s Blues” is a fine upbeat example of this musical synchronism. This is perhaps the best song in the album. With harmonica in hand, a truly competent band backing him and four background singers in tow, Ferry truly shines in this piece. “The Times They Are A-Changin” also enjoys a re-vitalization that ought to incite excitement in the Dylan crowd. The beauty of Ferry’s music is the patience that his songs exhibit. When listening to this track one does not get the impression that there is an end in sight, for his songs do not have formulaic beginning, middle and end parts.

Another example of this is the piano-driven “Positively 4th Street.” Chris Spedding, formerly of Roxy Music, delivers a beautiful acoustic guitar solo that, along with the piano makes this song a much more polished and sophisticated sound than the original composition. Of course, Ferry also gets it right on songs like “All Along the Watchtower” with his use of a rather tastefully restrained and not over the top guitar solo. Also surprisingly enjoyable in this latest embodiment is “Knockin’ On Heaven’s Door.” Dare I say that this Bryan Ferry recording and DVD actually adds some much needed cosmopolitan lure and spontaneity to these Dylan songs?


Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami, Florida. Amongst his intellectual pursuits is his interest in the relationship that exists between subjectivity, self-autonomy and philosophy.

The Pillowman Comes to Vancouver

This has nothing to do with music. Don’t bother me with details!

Finally! We’re there. I’ve said “break a leg” so often today, it’s sticking to the roof of my mouth. (But it’s a nice sticking. An okay sticking.)

I won’t see tonight’s performance, but I’ll be there tomorrow for the official opening night. And deeper in the run, as well. If you’re in the Vancouver area, make a point of taking in the show. It’s really not much more expensive than a movie, but so much more reality than reality television ever offered. (With the added attraction of being completely made up!)

I was delighted to see that The Vancouver Sun made it one of their Critic’s Picks and The Georgia Straight did something likewise, but I can’t yet find the link online. And Wikipedia included it in the international Pillowman performances listed, confirming our guess that this was, in fact, the first Vancouver performance of this important play. The Next Stage Video Listings does a fun interview with Michael Karl Richards and Matthew Harrison here.

All the salient info bits are in this teeny version of the poster, included at left, though you can order tickets directly from the Firehall Theatre here.

Maybe we’ll see you there!