Q Magazine KaTe Film

[smith drt <p0070421@cs3.oxford-brookes.ac.uk>]

Below is a brief write up of KaTe's The Line, The Cross and The Curve that
I discovered in the stoires pages of Q Magazine.

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There was a high-profile London Film Festival premiere for the film Kate Bush 
made during the autumn as more or less an afterthought to the three-year 
process of her Red Shoes album. Shy Kate went so far as to get up on stage
before the screening to thank "everyone who'd been a part of making the    
film" and to speak of her trepidation because her opus was following a brilliantanimation by Aardman, the makers of the Creature Comforts ads. She was 
proably right to be worried as The Line, The Cross and The Curve turned out to
be not so much a movie as the sort of linked sequence of promo vids that pop
stars are wont to hang themselves iwth, given a feature-length rope.
The plot involves devils, angels, hellfire and those bewitched red shoes. 
While the metaphor may well refer to the fiendishly obsessive nature of artistic
creativity (if you're as driven as Kate Bush, that is), the effect suggests
a peculiarly daft corner of the '70s - Black Sabbath's preposterous devilry
meeting Jon Anderson in whimsically mystic Olias of Sunhillow mode.
Still, if it's not exactly Saturday night at the movies, if the viewer 
approaches it as opera or ballet - sod the plot and soak in the sound and vision
- it's more lively. The six songs come across at stunning big-concert power and
Kate dances with a wild passion which will make devotees ache for her to take
to the boards again. On the other hand, the buffeting she took from a 
combination of hyperfans and paparazzi while leaving the Odeon West End could
put her off a further re-emergence from the Bush compound for some time to
come.

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The story.review also appears with a picture of Kate alongside someone called
Rosa Bosch (forgive my ignorance but I don't know who Rosa Bosch is).

David 

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