The Lost Symbol by Dan Brown

The BBC members in attendance found The Lost Symbol both drearily meandering and too inoffensive to the freemasons by half. Mary emerged as the more forthright critic, asserting that she found it to flipping (oh go on Mary, say it “fucking”!) predictable and found herself grinding her teeth to finish it.

The ever kindly Leanne found the good trivial (geez, not even good enough to be “general”) knowledge interesting. Leanne found that the background research of the rituals involved resonated with the common ground of her own experience of growing up in a religious household.

The negativity towards the book became more intense as the reviews ground on, the tone however was substantially raised by Nat’s superb hospitality with a Belgian twist.

Scores were:

Natalie 6.5
Kevin 6
Leanne 7
Mary 4
Dennis 4

Only a couple managed to finish it … I was never going to read this book (Mark!)

The next book will be “The Flounder” by Gunter Grass

Ehrengard by Isak Dinesen (Karen von Blixen-Finecke)

Ehrengard, chosen by Raj threw up (well not quite literally) a few thought provoking ideas for BBC members. Are we just incapable of plumbing the shallows of this decorative fantasy, or as Andrew points out, lacking in the European sensibilities and sensitivities for which the north of England is so widely admired. Comparisons to Oscar Wilde were also drawing a long (although kindly) bow me suspects.

Dennis wisely described Ehrengard as an exquisite confection, although possibly not quite up to the insanely delicious desert concocted and by Raj and given a rustic twist (ok, ok trashed) by Mary.

A doily of a story, which in its best moments did transport me to a fairy tale world where all is perfumed and beautiful and nobody has bodily functions.

Ehrengard was made into a movie (why not an opera pray tell!) in 1982, see:

http://www.imdb.com/title/tt0083873/

Unfortunately this is not available on you tube, but here is a synopsis:

“Could the Danish fabulist Isak Dinesen be one of our Great Unfilmable Authors? This visually ravishing but dramatically turgid film of her posthumous novella suggests that she may well be. The mystery and eroticism of Dinesen's stories stem almost entirely from the subtle textures of her language. Cut one of her stories adrift from its text and you wind up with...well, Ehrengard. A film where almost nothing happens, and characters talk about the non-events at exhaustive length.

Granted, it all fails to happen in grand style. Its period setting - a tiny Mittel European court in the late 18th century - is realised to perfection, and Giuseppe Lanci's camerawork recreates the look and mood of paintings from that era. Jean-Pierre Cassel is both charming and sinister as an aging court painter who's obsessed with an androgynous young maiden. Audrey Matson - who spends one half of the film standing about demurely in period frocks, the other half charging about on horseback dressed as a man - is undeniably lovely, and her 'male' look may well have been copied for Tilda Swinton in Orlando. Yet her acting is not compelling enough to let us believe fully in either persona.

What we need in Ehrengard - and don't get - is a use of the camera thrilling enough to make up for the loss of Dinesen's words. It would take a greater film-maker than Emidio Greco to do that, and perhaps it's churlish to complain about a film that's so much closer to Dinesen than Sydney Pollack's overblown Out of Africa or Gabriel Axel's dreary Babette's Feast. Of that handful of directors who've been bold enough to tackle a Dinesen story, only Orson Welles (in his hour-long French TV film The Immortal Story) has come anywhere near the original magic. But then, Welles was something of a magician himself.” David Melville

Scores were:

Raj 7.5
Mary 5
Kevin 4
Lanne 7.5
Mark 6.5
Dennis 6
Andrew 4
Kate 6

Average 6

Then next book (must we!) is Dan Browns “The Lost Symbol”

Mark