And that last scene of all, as the children set free from Mr Abney's evil dance off into some parallel world, some time alongside our own where they will never grow old as the rest of us grow old ... that must have influenced Cresswell and/or Cant because it's too proto-Moondial for words (and that has never seemed more resonant and voluminous, never more capable of making you believe that there is that other time, somewhere: I hope, like nothing else, that I am still here to rewatch it when it's as old as Quatermass is now and even beyond, because the first things that really change your life are the ones you have with you in your last hours).
Thursday, 5 November 2009
Samhain reviewing thoughts
I didn't say enough about Lost Hearts last Christmas - the song itself predated the TV adaptation, but I wonder whether "The Musical Box" by Genesis was influenced by a misremembering / creative misinterpretation of the original story? It's still the apotheosis of a certain sort of prog Englishness, next to which everything that came after (and it has never really ceased to exist, ever more irrelevant and pointless with time) seems shrivelled and that many more generations removed from the source. It's vicious, not a hint of stultifying whimsy. It's that much closer to the source. Gabriel knew both the idylls and the evils, or at least their last knockings. He also knew Lost Hearts, I'm sure.