The Ballad of Suzanne Césaire review – the legacy of a dissident and inspirational surrealist author
Césaire's brief, intense flowering of work occurred in second world war Martinique, then a colony of France, controlled by the collaborationist Vichy government. Paradoxically liberated by this oppressive situation, Césaire co-founded a journal called Tropiques and published an influential series of essays on politics, literature and art, which showed how passionately inspired she was by her encounter with the great surrealist André Breton.
For Césaire, surrealism was a revolutionary mode of thinking and feeling: a battle cry and a challenge to the accepted order, and as she puts it here, the 'tightrope of our hope'. This is an image that conveys vertiginous excitement and danger, although Césaire was a surrealist in the sense of being an evangelist for and a theoretician of surrealism, rather than a practitioner. Her essays do however have a prose-poetic quality.
If this chamber-piece film is a little opaque, perhaps that is because Césaire herself is opaque. After 1945, she stopped publishing her own work, transferring her energies to teaching in Martinique and elsewhere, and in looking after her large family. Perhaps the liberation of France, an event that certainly did not presage its colonies' liberation, was not an inspiring moment.
And perhaps also her story is all too familiar; she found herself crowded out of the spotlight by a prominent husband, in this case Aimé Césaire, whose literary and political career made him a substantial public figure in France into the 21st century. Suzanne died in 1966, by which stage the record shows that she and Aimé were in fact divorced. A calm and interesting introduction to an important dissident author.
The Ballad of Suzanne Césaire is in UK cinemas from 18 July.
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The Sun
an hour ago
- The Sun
I starred in Only Fools & Horses and Lock, Stock… now I run Kray twins crime tour & sell cannabis from the Caribbean
'SO HAS the interview started yet?' Vas Blackwood asks, as wind chimes rattle softly in the background. He's speaking over the phone from the Caribbean where he's polishing a film script which he plans to star in. 32 32 32 'I'm pleased with it, the funds have gone into bond, so we'll see what happens,' he explains. The 62-year-old is not necessarily an actor that everyone knows by name - but many of his characters have achieved cult status. His one-off turn as Lennox 'The Shadow' Gilbey in a 1986 episode of beloved BBC sitcom Only Fools and Horses, for one. Another is gangster Rory Breaker in Guy Ritchie's 1998 film debut Lock, Stock and Two Smoking Barrels. The director told him during casting that he'd been a fan ever since he saw him as Winston in The Lenny Henry Show in the late 80s. 'Lennox!' When he's back in the UK, where he has a North London base, he says he gets stopped all the time by people shouting 'Lennox!'. I tell him he's a British TV and film icon and he laughs, saying: 'I feel blessed every day.' A jobbing actor all his life, dad-of-three Vas never stops working. Whenever he's not shooting, he can be found running a Kray twins tour in East London's underbelly. 'I start at the Blind Beggar and roll from there,' he explains. 'I bring in the whole gangster thing, but it's centred on Ronnie and Reggie. 'There's a couple of locations from Lock, Stock and I talk about modern gangsters - by the time we're done, you are a gangster,' he adds, laughing. Gary Lineker tops BBC best-paid list with Naga Munchetty among biggest earners amid 'bullying' row as salaries revealed "It's all fun with Uncle Vas." But there's another reason for him being in the Caribbean: he's putting the finishing touches to his latest venture - a medicinal cannabis brand named after his Lock, Stock character. 'The Caribbean's going to be like Rory's sauce - Rory's sauce is coming from the Caribbean,' he says. 'I'm ironing out things whilst I'm here. It comes straight from the film - they take my cannabis and try to sell it back to me. It's a declaration of war! 'I'm working on slogans for it, I've got one: 'I'll chill ya',' he says. Rory's sauce It's currently illegal to sell products in the UK containing THC, the primary psychoactive compound in cannabis, but Vas is planning ahead. In several Caribbean nations, for example, the drug has been legalised for medical purposes. 'We'll start with CBD oils, things like that, without THC,' he says, referring to his plans for the UK market. 32 32 32 'In the Caribbean it's legal, in the sense you can apply and get a licence to use medicinal marijuana and then go to your chemist. 'This is what's going to be happening in the UK in the not too distant future. This is for life.' He goes on to say: 'It's so structured with the THC, it's very controlled. You don't have to hang around with someone on a street corner to score a bit of weed, you can go to the chemist.' Vas adds: 'Rory Breaker is going with the guidelines - but don't worry about that, as soon as we're allowed, the Rory Breaker strain of cannabis will be the most popular.' I looked at them and all the lines in my head went - I was a fanboy about to watch an episode. Vas Blackwoodon guest starring in Only Fools and Horses He explains how he was a 'ganja baby' in his teens, growing up around Highgate, but he took his acting career 'very seriously'. 'I vision boarded it, and you become what you are. I became what I am.' His big break, so to speak, came about with his Only Fools guest part when he was just 24. He'd been to drama school and done fringe theatre, as well as a few TV spots - and he was a huge fan of the show. 'I looked at them and all the lines in my head went - I was a fanboy about to watch an episode,' he said, recalling first seeing stars David Jason and Nicholas Lyndhurst in costume on the set. Unusual for the BBC show, The Longest Night episode from season 5 saw a guest star take centre stage. 32 32 32 Filmed in front of a live audience, it was set almost entirely on one room, with Vas - whose character took the leads hostage in a supermarket back office - in almost every shot. They'd done rehearsals for five days in a hall in Chiswick before doing the technical rehearsal at Television Centre, and then the next day the proper shoot. Recalling his sudden hit of anxiety, Vas says: 'I had to kick myself from within my soul, my centre, my core, all the way up. 'You're Lennox, you're Lennox'. 'David, when he saw me, did the shoulder roll. He said 'alright there, Lennox', and I just went, I was laughing to myself. 'The concentration level had to be very high. You'd start laughing if you dropped out of character.' As an actor you have to hold your own. They might be difficult but that's nothing to do with you. You're not here to be their friend. Vas Blackwoodon acting As for his co-stars, Vas was full of praise, saying there was 'no ego', adding: 'They made me feel a million dollars. 'They could've treated me a lot different. The industry can be like that sometimes. 'As an actor you have to hold your own. They might be difficult but that's nothing to do with you. You're not here to be their friend.' During earlier rehearsals he remembers during a break Jason turning to Lyndhurst and asking 'how's the flying going?'. Vas says: 'I was thinking flying, okay, what's that about? Well, Nicholas Lyndhurst actually flies an aeroplane, and he was learning to fly at that point. 32 32 32 'It hit me, they're so not like Del and Rodney, these two.' Vas still has copies of rehearsal scripts they used. 'It was a big moment for me as a young actor, I was very fortunate, but you've got to give yourself a pat on the back,' he says. 'It was like a theatre performance and we had an audience. Theatre is my thing, most actors worth their salt love a bit of theatre. You hold the moment, it was great.' Being called to Television Centre Despite being a huge fan of Only Fools, he admits it was touch and go whether he would even take the part after it was offered. He was on the verge of being cast as a regular in a new Channel 4 show when he was called into White City by show producer Ray Butt. Many stars of the day had been impressed by Vas' performances in fringe theatre productions, and he'd already appeared with Dawn French and Jennifer Saunders in ITV sitcom Girls on Top the year before. He believes he had also already been around the BBC at the time, though can't remember exactly how he came to the attention of Butt. 'It was all very peculiar how I got offered the job,' he recalls. The producer - looking every bit like Del Boy himself, wearing a flat cap and smoking a cigar - welcomed him into Television Centre and took him to a little office on the fifth floor. Handing him the script, he said he'd be back in 45 minutes. 32 32 32 Vas says: 'From the first page I was laughing, especially when he pulls the gun and says 'open the safe!'' When Butt returned, he excitedly asked what he thought, to which Vas replied: 'It's brilliant, Ray.' When he revealed he had another offer, Butt confidently told him: 'Don't worry about that, you'll do this - it's much better.' Vas says his thinking was: 'Getting a TV series would be worth more to me than working one-off for the BBC.' Butt wasn't deterred and as he led him out, Vas said he was thinking 'who is this man?' He dashed to a phone box and called his agent, who told him the Channel 4 producers were 'still making their mind up' - they wanted him but they were still deciding on the rest of the cast. 'A week or two later Ray was pressuring my agent,' Vas continues. 'In the end, I just decided to do Only Fools and Horses. It's little things like that - and I tell you what, I dunno whatever happened to that Channel 4 show, but this was the best thing that ever happened to me and I thank my lucky stars every day. Vas Blackwoodon accepting Only Fools and Horses role 'It's little things like that - and I tell you what, I dunno whatever happened to that Channel 4 show, but this was the best thing that ever happened to me and I thank my lucky stars every day.' The show, despite coming to a finish after more than two decades in 2003, continues to top all-time favourite British TV charts, and is repeated almost daily on the likes of UK Gold. 'I go places everyday and people say 'ah Lennon, Lennox! Say the line!' Do you know how many times I've said it?' Without any prompt, Vas says: 'They seek him here, they seek him there, those policemen seek him everywhere. Is he in heaven or is he in hell, that damn elusive sha-a-dow.' 32 32 32 He adds: 'I get people in stitches every time - I look at it as a bit of a blessing, the stars looking down on me and saying you're still in this to win it, or whatever the case maybe.' The Only Fools performance was followed by the regular role of Winston in The Lenny Henry Show, as well as an episode of French & Saunders, and then three seasons of teen comedy Spatz. Through the 90s Vas also appeared in the likes of The Bill and Casualty before landing possibly his biggest role as gangster Rory Breaker. The black comedy crime caper, made for less than a £1million, was met with critical acclaim and major commercial success. 'To have worked with Guy on his first film, it set me in stone there and then. It's an iconic role, it's all there,' says Vas. To have worked with Guy on his first film, it set me in stone there and then. It's an iconic role, it's all there. Vas Blackwoodon working with Guy Ritchie 'Watching that film just reminds me of London,' he continues, laughing. 'If you know the streets how I know them, there's all these characters, they might be shady but they have a sense of humour. 'It's all a mix-up and that's London to me.' Vas based Breaker on two people he knew growing up, one was Gilbert Wynter, a jeweller and enforcer for the Adams crime family who disappeared without a trace the same year Lock, Stock was released. 'I went to school with Gilbert, he was a soft touch, really, but a character,' says Vas. The other inspiration was Trevor Smith, a bank robber who rubbed shoulders with 'loveable rogues' in high end Chelsea. 32 32 32 The casting had been a bit of a mishmash. The film had been due to be shot the year before but then the investment fell through. Vas says: 'I wasn't attached at first. When the money came through again a lot of the actors cast had moved on to different jobs so there was availability. 'I can't say they got second best because it's such a successful film,' he says, laughing. 'It's all about timing. It wasn't the right thing with the first cast.' Lock, Stock casting process He remembers Ritchie telling him how much he loved his performance as Winston in the Lenny Henry Show, and how he'd watch it when he got home from college. 'He had me in mind from that role,' explains Vas. At one stage during the audition, Ritchie asked him to run his lines and began filming him from different angles. 'He knew he wanted me to do it, but he was more interested in the camera than what I was saying,' says Vas. 'He was fitting faces in his mind.' He recalled as they headed into another office, Ritchie began asking him about taxes. 'It was due to him being a young director and not understanding everything, so I gave him advice and he was happy and we were on,' Vas says. 32 32 32 'I just knew he was special, there was something about him.' He says the energy on set was electric, but everyone 'would come in ready to give 110%' each day. 'We all got our heads down and delivered for Guy.' Vas goes on to say: 'The shooting schedule was broken up unusually - it was how Guy wanted to work.' He remembers Ritchie sitting by a monitor rather than behind the camera on set for his scenes. 'He never once came and talked to me about my performance. I'd say 'Guy, how was that?' and he'd reply 'that's great, no problem'. 'It was all in the edit for him and I was doing exactly what was on the paper.' However, there was always room for ideas. Having grown up around Cypriots in Kentish Town, Vas had suggested he speak some Greek in the film - which Ritchie allowed, and even came up with the idea for Breaker's iconic wig. 'I met my character's minders and they had bald heads and I was bald, so I said 'maybe it would have more impact if I was wearing a wig',' says Vas. 'Guy said 'leave it with me'. I turned up on set to get my make up and costume sorted and they had a wig,' he says. Vas was due to appear in Ritchie's follow-up movie Snatch two years later but other commitments meant he was forced to drop out. 32 32 While further Ritchie projects, which he didn't reveal, 'didn't fit quite right'. But the pair remain close. 'Guy's like a brother to me, we talk as often as possible,' says Vas. 'I'm sure we'll do something else - it's all about the style of the role. 'If it fits, it fits. They don't need to audition me, if they know there's something I could master. We don't beg for anything, it's how our relationship is. We're always batting and balling with things like that.' Working with Jason Statham In 2001, Vas would go on to appear in Mean Machine, reuniting with Lock, Stock castmates Vinnie Jones and Jason Statham, the latter of which was already making waves in the US. 'Jason was working his way up,' he says. 'He came over from America to do the role - he was very close with Vinnie. He was on that trajectory. 'Jason Statham has an appetite for learning. That's why he is where he is now, he takes everything on as mute, he doesn't take things for granted.' Vas says it was actually Jones who ensured Lock, Stock even got made. 'Not a lot of people know this but Vinnie was the seed investor for Lock, Stock,' he explains. 'He put 100 grand up. When he left football he was very serious about the acting and he was looking for stuff.' 32 32 32 Ritchie and producer Matthew Vaughn were 'running around' with the script trying to find funding and it came by Jones, and he loved it, says Vas. 'He put the first 100k down, then more investors followed. The rest is history.' Vas had first met Jones through footballer pal Jon Fashnu, with Fashnu and Jones being part of Crystal Palace's infamous 'Crazy Gang'. 'With Vinnie Jones, you can be walking in a forest with him, or down a street - he'll say 'what tree's that?'' says Vas. 'If it's got apples you'll say 'an apple tree'. But he'll know exactly what tree it is and what birds live in it. 'He likes the outdoors and bit of the hunting. And with trees, if it's an apple tree he'll tell you what type of apple it is. 'A lot of people are talking about saving the planet, but they can't do that.' Vas would go on to star in the likes of horror film Creep (2004) and provide voice work for video game Fable II (2008) and TV series Thunderbirds Are Go, among other live action roles, including two White Collar Hooligan films and Inbetweener James Buckley-starring The Comedian's Guide to Survival (2016). He got involved in Brit Movie Tours in around 2018. His Lock, Stock co-star Stephen Marcus, who played Nick the Greek, had initially run it before relocating to LA. After a little hesitancy, Vas agreed to take it on for select dates when he's back in London. 32 32 'I get 50 plus people,' he says. 'I get loads of people, they love it. I do it like a theatre performance, you get value for your money.' Many customers want him to recite lines from his famous performances and he's happy to oblige. 'They say, 'can you say that line?' I say 'why not?' and pretend like they're the first-ever person to ask. If the lines were terrible they wouldn't say anything, so I don't mind.' He adds: 'You get dads and mums coming with their kids who are die hard Only Fools and Horses fans, and I'm thinking 'that's another market there'.' He's always fascinated by how much interest there is in infamous bad guys like the Krays. His daughter went on a Pablo Escobar tour in Columbia which is run by the drug king pin's son and which ends at his grave. 'You can have a line of coke on his grave,' he says. 'Not that she did.' Describing his own interest in the Krays, he explains: 'Whatever they got involved in, there's a lot of folklore, with a lot of bad there comes a lot of good. 'We shouldn't judge too hard. If you commit a crime and go to prison, who am I to judge you? 'You've been locked up for a period of your life and that's your punishment.' Referring to the Krays, he says: 'I've fallen in love with the in-between bits. 'We're all just getting on with our lives in our own way.' Do you have a story? Email
Times
6 hours ago
- Times
The Louvre makeover that will push up price of seeing Mona Lisa
A baking summer's afternoon at the Louvre. Milling around the Mona Lisa are maybe 150 people, all with their phones held high above their heads so they can snap that enigmatic smile. Meanwhile, in the vast galleries surrounding Leonardo's masterpiece, an eternal throng of visitors from every corner of the globe trudges wearily on — most, this far into the gallery, seemingly oblivious to the glorious art around them. Paris's great museum has about nine miles of galleries, spread over 403 rooms. You enter it from beneath IM Pei's celebrated glass pyramid, which on a day like this behaves like a giant magnifying glass for the blazing sun. Many visitors probably won't venture more than half a mile into the heart of the museum. But in this huge, former royal palace there is one tranquil room. Far from the madding crowd, Laurence des Cars, 59, the first female director of the Louvre in 228 years, sits in her book-lined office, the picture of the formidable, Sorbonne-educated Parisian intellectual she is. If she is physically distanced from the heaving mass of humanity trudging round her domain, however, her brain is constantly occupied with it. 'One of my first decisions when I became the director in 2021 was to limit our daily admissions to 30,000,' she says. 'You know that, just before Covid, the Louvre was getting ten million visitors a year? When I got here the staff said, 'Please let's not go back to that because some days we were up to 45,000 visitors.' And that figure is too much. Even now we are saturated. The building is suffocating. It's not good for staff, visitors or the art.' Last month the Louvre's staff emphasised their grievances by going on a spontaneous strike (a 'mass expression of exasperation', their union official said), leaving thousands of tourists outside with no idea why they weren't being let in. 'It wasn't a strike,' des Cars says firmly. 'It was a meeting with the unions because of the conditions and especially the heat. I put in place immediate measures to make things better and we reopened that afternoon.' All the world's top museums — from the Vatican in Rome to the British Museum in London — are facing this same problem: huge congestion, especially around the handful of masterpieces that every tourist has heard of. But the overcrowding is felt most acutely by the Louvre, which still receives more visitors (8.7 million last year) than any other museum, yet has some of the worst facilities. We know this because six months ago a memo outlining its problems was leaked to a Paris newspaper. It caused a stir not just because it was addressed to Rachida Dati, France's culture minister, but because it was written by des Cars. She was jaw-droppingly frank. 'Visiting the Louvre is a physical ordeal,' she wrote. 'Visitors have no space to take a break. The food options and restroom facilities are insufficient in volume, falling below international standards. The signage needs to be completely redesigned.' Pei's pyramid, she went on, creates a 'very inhospitable' atmosphere on hot days. Other parts of the old building are 'no longer watertight'. Nobody has revealed who leaked the memo, but it's hard to imagine des Cars being upset by the revelation because within days came a dramatic intervention from on high. President Macron announced a redevelopment project that he called the 'nouvelle renaissance' of the Louvre. It's masterminded by des Cars and every bit as radical a reshaping as François Mitterrand's 'grand projét' of the 1980s, which led to Pei's pyramid. By chance it will run simultaneously with something similar in London: the £1 billion masterplan to renovate the British Museum, a coincidence that hasn't escaped des Cars' notice. 'I talk a lot with Nick Cullinan [the BM's director],' she says. 'He's wonderful, a great professional and he's dealing with exactly the same issues.' The most controversial feature of des Cars' plan is her proposed solution to the problem of that huge rugby scrum around the Mona Lisa. She wants to remove the painting to one of several new underground galleries to be excavated under the Cour Carrée courtyard, where it will get its own entrance requiring punters to buy an additional ticket (the price is yet to be decided). • The secret life of the Louvre: inside the world's biggest museum She also envisages a second entrance to the Louvre on the far side from where the pyramid is. 'The idea of having just one entrance to this enormous museum was a nice idea in the 1980s when the Louvre had just four million visitors a year,' she says. 'But that was before the Berlin Wall fell, before the Chinese started travelling, before international tourism reached the levels we have today. We are going back to what was always the case — several entrances for the Louvre.' At the same time the museum will be given a technical makeover. That will take ten years, des Cars estimates, whereas she suggests that the Mona Lisa gallery and the new entrance will be ready by 2031 or 2032. 'We are running a competition to find an architect and will appoint one early next year,' she says. 'And the Louvre won't close at all. That's the strength of having a very large building. You can rebuild half of it and still function in the other half.' One benefit of all this, des Cars says, is that it will help people to get to different galleries more quickly, introducing more lifts and better signage. 'On the second floor we have the most extraordinary collection of French paintings anywhere in the world and virtually nobody looks at them,' she says. 'You start to think, what's wrong with Poussin? The answer is nothing. The real problem is that to get from the pyramid to Poussin takes 20 to 25 minutes, and that's if you walk quickly and don't get lost. If we can sort out these problems people will discover many new joys.' It comes at a price, though. The ten-year project is expected to cost about £700 million. Unlike the British Museum's masterplan, however, at least half the required funding is already guaranteed. 'The technical renovation will be funded by the Ministry of Culture,' des Cars says. 'As for the new galleries and entrance, our trademark licence deal with the Louvre Abu Dhabi [which des Cars spent six years helping to set up] will give us at least £175 million. The rest we will raise from corporate and private supporters.' Even here, des Cars has an advantage over her British counterparts. 'When you say the word Louvre people all over the world pay attention,' she says. The gallery has one other huge income stream not available to UK museums. It charges for admission and the ticket prices are about to go up — £19 for EU citizens and a hefty £26 for non-EU visitors, including the poor old Brits. Sounds as if we need to rejoin the EU, I say. 'Please do!' des Cars says, beaming. But what does she think of the UK's generous policy of keeping its national museums free to all, even foreigners? 'I am absolutely not allowed to make any judgment on that,' she says with a laugh, and then makes one anyway. 'I mean, it's very admirable but is it sustainable in today's world? That's a political decision. I leave you to have your debate.' • Best time to visit the Louvre: top tips for your trip The daughter and granddaughter of distinguished French writers, des Cars was a respected art historian, writing a classic study of the pre-Raphaelites before she started running big Parisian museums (she was head of the Musée d'Orsay and the Musée de l'Orangerie before the Louvre). Surely it must break her heart to see thousands of people using great art merely as background for their selfies, disrupting other visitors' enjoyment in the process? Has she considered banning the use of phones, as other art galleries have done? 'I know they are trying but I simply don't know how you do it,' she says. 'We considered it when I was at the Orangerie and the security team said, 'We can't force people not to use phones.' Also I think it's dangerous to go against the times we live in, but you can remind people that they are in a cultural space and need to respect each other, the staff and the artworks.' • Mona Lisa to get her own room in the Louvre And perhaps be a bit more curious about venturing into galleries that don't contain the most famous paintings on the planet? 'We are already making changes to attract people to less-visited parts of the museum,' des Cars says. 'For instance, we could have put our new Louvre Couture [the museum's first venture into fashion] in our exhibitions space, but instead we placed it within the department of decorative arts and now those galleries get a hugely increased number of visitors, especially young people.' As the Louvre's first female director, can she do anything to mitigate the fact that the vast majority of artworks here were created by men? 'You cannot change history but there are other ways of addressing that question. In the spring of 2027 I'm programming an exhibition on the theme of amazons, ancient and modern — from Greek women warriors to powerful women today. It will be a fascinating journey.' And how is this very powerful woman enjoying her own fascinating journey? 'When I was appointed I felt ready to run the Louvre, which sounds immodest,' des Cars replies. 'Maybe I will be a disaster and someone will have to shout, 'Stop!' I don't know.' I would be amazed if anyone did that — or at least not until the mid-2030s, when she has finished remaking the Louvre for the 21st century. Additional research by Ziba Manteghi
The Independent
12 hours ago
- The Independent
Paris unveils mural of Josephine Baker to honor her legacy
Paris is reviving the spirit of U.S.- French entertainer and civil rights activist Josephine Baker with a new mural. Fifty years after her death, Baker now gazes out over a diverse neighborhood of northeast Paris, thanks to urban artist FKDL and a street art festival aimed at promoting community spirit. Born in St. Louis, Missouri, Baker became a megastar in the 1930s, especially in France, where she moved in 1925 as she sought to flee racism and segregation in the United States. In addition to her stage fame, Baker also spied on the Nazis for the French Resistance and marched alongside Martin Luther King Jr. in Washington. She died in Paris in 1975. ''I feel moved and I feel happy, because this is part of a memory of my mother,' her son Brian Baker told the Associated Press at the unveiling of the mural Saturday. He was one of 12 children Josephine Baker adopted from around the world that she called her ″rainbow tribe″ and what her son called ''a little United Nations.″ The mural of Baker, meant to symbolize freedom and resistance, is among several painted in recent days in the neighborhood and organized by the association Paris Colors Ourq. The artist FKDL said he focuses on ''bringing women back into the urban landscape.' 'Josephine Baker has always been, for me, a somewhat iconic figure of that era. Both wild and free-spirited, but also deeply connected to music, musicals, and dance,″ he said. ''She was an extraordinary character, an incredible woman.' Baker was the first Black woman inducted into France's Pantheon, joining such luminaries as philosopher Voltaire, scientist Marie Curie and writer Victor Hugo. ''My mother wouldn't have liked words like iconic, star, or celebrity. She would have said, no, no let's keep it simple,″ her son said.
