The Manchester Salon
Articles and reviews from the Manchester Salon, which holds monthly talks and discussions on a range of topics in Manchester, England.
Where Warhol leaves little to the imagination, some of the best pieces here are intricate and detailed montages of startling images and often highly-sexualised motifs. Hirst’s minute reproductions of bottles of pills, which look from afar like a computer circuit board, is actually laced with Biblical sayings. Religion as a drug, anyone?
The cast were impressive in their roles, as Wilde’s script is dense, fast-paced and laced with jokes, innuendo and sarcasm, and they didn’t falter. Algernon (played by newcomer Alex Felton) in particular, seemed well at ease in the role of a ‘relatively impoverished gentleman’ living the good life at the expense of relatives and others, moving from country house to city residence in search of dinner and fun.
For sure, the frame is pitted and buckled – as the genre demands – but overall, its integrity remains. We do not go beyond good and evil, as Nietzsche once urged, but instead luxuriate within its normative parameters. The three bogey-men thrown-up in the course of the story all get their just desserts.
In his attempt to emphasise Salander’s vulnerability in the first book much was made of her underdeveloped, girlish body and the apparently endless series of dirty old men driven to distraction by it. Here she keeps the schoolgirl body and vulnerability, but this time PHWOAR! LOOK AT HER KNOCKERS!
What motivates this abuse of authority, according to the author, is (male) sado-masochism on the level of the individual, whereas the political reasons are directly intertwined with the pragmatic and soul-less capitalism most Western societies subscribe to at the end of the 20th century and the beginning of the new millennium.