HAPPY HALLOWEEN! Look what a spooky welcome to the flat would've greeted our guests, if we'd had our party. *sniff* Wooooooooooo!
America goes nuts for Halloween. As long ago as our trip to New Hampshire - which was a good three weeks ago - the country has been buying into Halloween-mania like it was Christmas.
Most front yards have for weeks greeted visitors with ghouls hanging from trees, cobwebs strewn everywhere, pumpkins lining the path and tombstones all over the place.
Of course in Georgetown, you get a slightly higher class of scary decor and I've seem some front gardens there looking like they've been dressed by professional art directors. I was particularly sad to see the front of one house being decorated by a Hispanic maid, because surely most of the fun of decorating is for kids to do it with their parents.
Anyway, as we all by now know, our big Halloween party didn't happen tonight. In fact, I was a bit embarrassed, because it seems like such a big event over here, that to've bagsied the date in so many people's diaries, only to cancel with a week's notice, I worry we've wrecked people's night. However, it seems most of our guests had second parties to go to anyway, so that's a relief.
I had a really nice long chat on the phone with my friend Kate today and also finally got round to watching 'This Is England', which has been winking at me from the top of the DVD player for weeks, having been sent by NetFlix, taunting me to watch something a bit more challenging than 'Studio 60'.
We got sent it a bit by mistake, because I hadn't arranged our NetFlix queue quick enough, and have never quite been in the mood to watch a gritty film about life on a council estate in Britain in the 80s.
However, I'm so pleased I watched - it's really terrific. The little boy who loses his father in the Falklands and falls in with a gang of skinheads, in search of belonging and identity, is as brilliant as I remember all the reviews said when it was first released. And I always like stories that show touching loyalty and a softness in groups of people you'd expect to be mean and hard. I definitely enjoyed it more than the last Shane Meadows film I saw - 'Once Upon A Time In The Midlands' - and probably more than 'TwentyFourSeven', but it's been ages since I saw that.
This evening we saw another film that I very much enjoyed, called 'Lost Sparrow'. It's a documentary made by a chap called Chris, who's friends with Brewster, about his family. Turns out Max didn't have to work late tonight at all (but he does have to work tomorrow, so I guess it's good we cancelled the party), so we went round to Alison and Emily's for a private screening of the film, with Chris, Brewster and Alison and Emily's friend Katie.
The film is quite extraordinary. It's made up of seemingly endless super8 video footage and photographs from Chris's childhood as one of four blonde-haired, blue-eyed upper middle class children whose parents adopted four Native Americans, three of whom were related - two brothers and their sister. From the outside, they look like a very happy, affluent family.
The spine of the documentary is Chris overseeing the exhumation of the bodies of his two adopted brothers, who died on a train track when they were little, having run away from home for no apparent reason. Chris drives their bodies from upstate New York back to Montana, so that they may receive a Crow Indian burial and return to the land of their ancestors.
The film tries to establish what happened to the two little boys and, through interviews with his family and relatives of the boys, it transpires that Chris's father was sexually abusing one of the two adopted little girls, that her brothers found out and then ran away from the apparently happy family home, to get help back in Montana. They were thought to've been sleeping on the railroad tracks when they were killed, only a day after disappearing.
The interviews with Chris's father - who's initially utterly defiant that he did anything wrong, then breaks down during the making of the film and faces up for the first time to what he did and the implications of it - and his mother, who seems lovely and is a compelling interviewee, but claims to know nothing, are so well done and woven into the film. His mother at one point describes being married to Chris's father as 'living at the end of a loaded shotgun', which I thought was an amazing phrase for an unscripted interview.
Chris also speaks to the daughter who was abused and it's so sad - she's an alcoholic who's only ever been in abusive relationships since leaving home and currently has a broken leg because her boyfriend beat her so she wouldn't leave him. She's written off by Chris's father as a mad person who drinks too much, but is heartbreakingly lucid about her experience and the effect it's had on her life.
I found the film very interesting, both in terms of the subject matter - they were one of the last white families allowed to adopt Native American children and there's interesting material in there about the Crow Indian community and the issues of adoption - and the way the whole thing was put together. I think Chris builds tension terrifically well - you don't know what the film is really about from the beginning, then slowly, through throwaway comments and half-references in soundbites from interviewees, this air of menace starts developing, until the full horror of what's gone on in this family unfolds and you watch the fallout as it happened.
Perhaps the strangest thing is how Chris was able to put the film together and how he's happy for people to watch it now. He seems really detatched from it all, despite having lived through it, and Brewster says that he's never once let on that he had a troubled or even unconventional family, which is odd, as they're very close friends.
No charges were ever brought against Chris's dad, and he apparently now lives in Florida in a kind of self-imposed exile from society, just sitting in his condo watching the History Channel with the curtains shut. As satisfying as it is to know that he's not doing cartwheels and living the life of Riley, it did cross my mind that perhaps something should be done to establish whether his abuse of his daughter was a one-off, now it's come to light.
It was great to get Chris to ourselves after watching the film, and ask him questions both about the process of making it and his personal experience and opinions of the subject matter. It really made me want to be involved in documentaries again, even though I've never made anything like that, but having come over here hoping to think of an alternative career to TV, it gives me comfort to know that I still have some mileage left in telly yet.
You can see the 'Lost Sparrow' trailer here:









































