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The bleak Arthur Miller-written 1961 American pastoral is rereleased to mark the 100th anniversary of the birth of Monroe, who plays a naive divorcee who meets three new suitors in her most serious and poignant role The 100th anniversary of Marilyn Monroe’s birth, and a two-month retrospective at BFI Southbank, is the occasion for the rerelease of her most serious and poignant film, John Huston’s western drama and American pastoral from 1961. The film’s end of an era desolation feels more sombre than ever; the last film for both Clark Gable and Monroe and a melancholy late role for Montgomery Clift. The Misfits was written for the screen by Monroe’s then husband, Arthur Miller, adapted from his own short story from a few years before. Miller’s opaque motivations are a subtext running under this movie; with a strangely uxorious dedication or vengefulness, Miller conceived the whole thing for Marilyn. It is the story of a passionate, vulnerable, childlike free spirit who finds a complex kind of excitement and freedom – flavoured with disillusion – with a real man after divorcing an emotionally blank city dweller. (Monroe and Miller divorced immediately after production.) The key irony of the title is that of course no one on screen is a misfit: they fit in all too well with the stark landscape and each other in their loneliness, their discontent and their yearning for something else or something more to live for. Continue reading...

Daily Mail (News)

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Scandalous underbelly of America's new high-stakes obsession: Secret backroom games, brazen cheating allegations... and savage public humiliations

Venture past the glowing silk lanterns in a backroom bar at the Lucky Danger restaurant in DC's Chinatown and a green curtain reveals a secret room full of intrigue and excitement.

The Guardian Culture

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Crossing the Wine Dark Sea by Emily Wilson review – a masterclass in translation

The polarising translator of the Odyssey and the Iliad sets out her philosophy in this fascinating collection Emily Wilson’s translations of the Odyssey in 2017 and the Iliad in 2023 are now the standard English-language versions, acclaimed for their conciseness and fluency. Her infatuation with Homer began at the age of eight, when her primary school put on a production of the Odyssey, with her in the role of Athena, and the excitement hasn’t worn off. You can question some of the choices she makes in her translations (she questions them herself), but you can’t doubt the months and years she has spent finding the “least bad” compromises. Her new book is a series of essays on the challenges of translation and the pleasures and insights to be gained from reading the classics. She is fascinated by how far the ancient world intersects with the modern. Aeschylus, Demosthenes, Catullus and Aristophanes are here but so are Spike Lee, Erica Jong, PG Wodehouse’s Jeeves (a last link to the clever servants in Roman comedy) and Boris Johnson (“an incompetent drunkard” who somehow passed as an intellectual “on the basis of his ability to parrot a few garbled lines of Homeric Greek”). Wealthy white men in Silicon Valley get a look-in, too, for embracing Stoicism (not to be confused with stoicism) in “a watered-down form”. Continuities between then and now pile up: war, cruelty and political turmoil. But there are also important contrasts and she scolds those who look back on antiquity as “a mirror in which we always find ourselves”, even when we’re not there. Continue reading...

The Guardian Culture

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‘I’m an absolute gurner. I’m worried’: The Archers stars on their flower power stage show

The hallowed radio show is celebrating 75 glorious years – by stepping out of the studio and on to the stage. We sent the Guardian’s food writer (and Ambridge obsessive) along to meet her heroes and find out more I’m very careful not to betray my true levels of excitement when I speak to The Archers actor Susie Riddell, before a nationwide theatre tour to mark the rural radio drama’s 75th anniversary. I may be an Ambridge superfan but I still don’t want to scare the horses (nor indeed the cows, pigs or sheep). Riddell’s character Tracy Horrobin (who will be appearing with husband, Jazzer, local lush Lilian and cravat-wearing criminal Brian) is not one to hold back however: “It’s like a dream come true for me too!” she confides, slipping easily into broad Borsetshire. “I never thought I’d see the day that I was interviewed by the Guardian. I’ve seen it in the Bull!” The Bull, for the uninitiated, is a half-timbered pub on the village green offering ale, artisanal food and, it seems, copies of the Guardian. It’s a thrilling thought: I briefly entertain the idea of rock star turned vegan baker turned wedding caterer turned pub chef Fallon sitting in the snug, poring over my pie recipes in the Guardian. But it’s stretching credibility to believe an old-fashioned village boozer would find room for any reading material more substantial than Farmers Weekly. Riddell concedes the point. “Maybe Helen left it behind?” Continue reading...

The Guardian World

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Half of UK adults say they spend less than three hours a week outside in nature

Most people have joyful memories of playing outside as children – and now wildlife charities are urging people to ‘rewild their inner child’ Climbing trees, squelching in mud, paddling in ponds or making dens in the woods – people’s memories of playing outside as children are often vivid and, a new poll has found, overwhelmingly positive, even those who remember falling in cowpats. Almost 90% of UK adults had rosy memories of the excitement and the feeling of freedom that outdoor play had brought them, the survey found. However, almost half of adults now spend less than three hours a week in natural settings such as gardens, parks, fields or woods, according to the survey. For one in 10 it is less than one hour. Continue reading...

The Guardian Culture

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Forza Horizon 6 review – classic open world racing sim roars beautifully into Japan

Microsoft; PC, Xbox Series X/S (PS5 due later) Dreamy vistas of the country’s natural beauties are stunningly delivered – but won’t distract from thrilling high-end driving adventures The Forza Horizon games have always been about drama. Not just the tension and excitement of racing, but also the sensory impact of the natural environment – the sun rising over a dense city, rain clouds hovering above a valley floor. There are moments in this game – perhaps after emerging from a dense forest, or coming up from an underpass – where Mount Fuji briefly appears in the distance, hazy yet majestic, the Platonic ideal of a volcano – and it almost takes your breath away. Fans of this series have been waiting years for Japan and now here it is, the whole country, reduced, remixed and repackaged as a driving paradise. In many ways, Forza Horizon 6 is a continuation of what this series has always been about. You enter a festival-style driving competition then drive around a vast map splattered with various races and challenges, earning reputation by competing well and buying new vehicles for your extensive garage. There are slight changes this time – you start as a rookie not an established legend, so you have to qualify to enter the festival, and Playground has re-introduced the need to unlock successive levels of competition bringing back the sense of progression from the earliest titles in the series. You start out clattering about in slower C-class vehicles on easier circuits and have to work hard to start lining up against super cars such as the Ferrari J50 or Lamborghini Huracán. Continue reading...

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