Originally published on Best For Film Summer in February had all the potential to be lovely — admittedly a rainy day, winter warmer, hot chocolate of a film , but lovely. It also had all the correct ingredients: a dash of good looks from Browning, (and, if you are into the military-cum-fisherman aesthetic, from Downton ‘s Stevens) a pinch of convivial fireside singing from everyone, and a glug of functional alcoholism from Cooper. What’s not to love? Well, pretty much everything. The film – set in Lamorna, Cornwall, the home of the Newlyn School – is based on a book by Jonathan Smith, itself based on the diaries of land manager and soldier Gilbert Evans. It plays out in the midst of the bohemian interwar era – Stravinsky had just composed the avant-garde masterpiece The Rite of Spring , the ballet adaptation of which so enraged its audiences that they rioted. Duchamp took a surrealist adventure around Jura with the Picabias and Apollinaire, drank a lot, smoked a lot, took a lot, shagged a lot, came back, mounted a bicycle wheel onto a stool and created the first kinetic sculpture. Meanwhile, the Newlyn School were painting horse races and...

Originally Published in The Flaneur Photographer Tom Craig and his partner in crime, A. A. Gill, have joined forces once again, this time to bring us a tandem exhibition. Held in The Gallery on London’s Cork Street, the bone marrow of London’s art world, the display of their work is succinct, amusing, and moreover, it is rare; the notorious animosity between Photographers and Journalists is forgotten and the result is nothing short of beautiful. Tom Craig may be better known for his Vogue editorials, or, indeed, confused for the Coronation Street actor, than he is for his hard hitting photo-journalism, and there’s a reason for that: he doesn’t do hard hitting photo-journalism. His work is subtle, it is quiet, and it isn’t any less awe striking because of it. Forgetting A. A. Gill’s past offences – and there are a few – to appreciate the art is easy; Gill’s previous remarks don’t mar the photography, in fact, they don’t come into play. It is an exhibition where he has reached beyond his usual role of the pithy-politically-incorrect-journo and risen to the challenge of location. There is inevitably a problem with the pairing, on the one hand Gill’s intelligence and...