THE YOUNG BOY CALLED ME OLD MAN

The boy called me old man but I pitied him and his youthful arrogance, for I knew the pain that waited ahead for him. Life humbles us all. Even the ones who think they are Superman in those summer days of our lives. There will be plenty of time for him to look back at how much he squandered his power on those who let him down. Like an incessant drum beat that slowly fades and diminishes altogether till there is only the relief of silence that comes to those old enough to appreciate it. Some will rage against the unfairness of the inevitable but will fall where they stand as young men step over their bodies in their excitement to enter the ring.

When we are young we dream of running away with the circus. When we are old the circus runs away from us. But by then we can see through the grandeur to the sweat, fear and blood of the performance. And the toll it takes from us all.

It is unjust that we amass some experience and wisdom that gets us nowhere but a park bench in the sun. For no one is interested in listening to what we know because they’re too busy rushing around making all the same mistakes we did. And good advice is only met with resentment from the young, like telling someone how a book ends and spoiling it for them.

Some young men have so many women they don’t know what to do with them. Eventually the women realise this and leave for greener pastures and something more substantial than big talk. Or a big car. For they were never really interested in the car.

Time is a serial killer that picks its targets indescriminantly but will eventually come knocking for us all in the dead of night.

Even for those who were once arrogant young things who thought they knew it all

(C) Frank Howson 2019

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MY LONELY ROOM

In my lonely room
I conquer the world
In my dreams that failed
And paled to the loss of a girl
Here I shed my tears
Over bitter wasted years
That led me to this crowded place
Filled with memories and fears
I never dreamed my life would lead
To this lonely room
Since you cut me I bleed
In this lonely room

(C) Frank Howson. 2019

THE FINAL STAGE – Adrian Rawlins review of what he called “My lost masterpiece”.

It started out like a normal day for the man of the house. He had breakfast with his wife. She was no warmer or cooler towards him than she had been for a long time. He read the morning paper, donned coat, picked up his briefcase and left for the office.

She reminded him that there was no office anymore. He had to acknowledge that all that is now part of “the past”. Putting aside momentary chagrin at the loss of anticipated freedom he feels safe. There will be no more journeys into the outside world.

He and his wife relapse into a conversational sortie we know they have ventured into often before, their discourse, though completely Australian, throws up the cliches and truisms of everybody wisdom and in almost Pinteresque way introduces echoes of Oscar Wilde’s sublime parable “The Happy Prince”.

A telephone rings but nobody answers. It has no dial – like the clock face in Bergman’s “Wild Strawberries.”

There is an unexpected knock at the door and a man with failure written all over him seeks admission. He has about him the air of a failed vaudevillian/cabaret performer. Like T. S. Eliot’s narrator he has seen the moment of his greatness flicker…but…”I am not Prince Hamlet…”

The dialogue is cryptic, enigmatic, redolent with oblique references to poems, books and cultural assumptions, skirting banality while continuing the Pinteresque reference to the daily metaphors which have been the cliches while still retaining their nugget of “the truth” and providing many moments of genuine “comedie noir”.

Another visitor bursts in, this time no stranger. Stinky Radford is an actor, lover, a forceful extrovert character, beloved by both Man and Wife. Asked about his life, he bravely lies while we see that he too is not Prince Hamlet, nor was he meant to be.

While the husband muses upon the remembrance of the past, Stinky makes love to his wife, who was once his wife too. Then, girding up his loins, he leaves to…try again?…to solve the riddle?…face the music?

By the time the audience have accepted the essentially metaphoric nature of this work of cinema: the room is none other than the stage on which Sophocles presented his vast and mighty tragedies, or Aristophanes his satires: the same stage which Shakespeare saw as emblematic of the world, “on which stars in secret influence comment”.

Another visitor – a youth, streetfighter, violent, working-class poet and thug – shades of Jean Cocteau here – bursts in and now we are given our first inkling of the exact nature of the metaphor we have been watching. Despite his bravado and overt displays of machismo, he is terrified by the wife’s advances. We are justified at this point feeling that perhaps all of the male characters are aspects of the husband’s psyche and that we are witnessing a revelation of Everyman/Everywoman in a decidedly contemporary encapsulation.

The wife reminisces volubly about a lover, a lawyer with an earring in one ear.

Stinky Radford returns, having failed to discover anything. The streetkid wants to go back but Stinky assured him “there’s nothing out there”.

The husband has already asserted “we are kindred spirits,” and “this is the room of the lost”.

Finally, Music and Light and mysterious opening of a door heralds the moment when Man and Wife must Face the Music in an upper room (the Upper Room?). He is the Happy Prince, denuded now of all his finery, and she, the Swallow who will not leave him. They are translated into Light.

Immediately they are gone, another figure bursts through the front door, demanding explication. He is obviously the Lawyer who has been the wife’s lover, and in the manner of lawyers he threatens to sue everyone until “you’ll wish you were dead!”.

As his three auditors laugh and laugh we now know exactly where we are and the form of the film, which has been hovering at the corner of our consciousness now snaps into place – and everything makes sense.

“The Final Stage” is, at its deepest level a work of art covering in an original and ground-breaking way the same philosophic and metaphorical terrain covered by Jean Paul Sartre in “No Exit”. It is also a funny, sad, poignant, piquant, witty and disturbing story which amuses us while it reminds us of the – dare we say? – eternal verities of Life and Death.

Because of the way “the story” unfolds – similarly to the creative method employed by Peter Carey in his best short stories – the film is decidedly out of the ordinary – its unusualness and the charm and variety of the performances, induce us willingly to suspend our disbelief. Those viewers familiar with poetry, the theatre, and great literature will find echoes of those other forms and discovery of such connections gives the film’s delightful tension. Theatre-goers, one hopes, will appreciate more fully the slightly theatrical edge to the dialogue. But everyone should be able to see that “The Final Stage” makes a significant, even historical contribution to our understanding of film form in the deepest sense.

– Adrian Rawlins
Critic &. Poet
1994

Review written for Farrago.

Produced, Written & Directed by Frank Howson starring Adrian Wright, Abigail, Tommy Dysart, Michael Lake, Zachary McKay & Tiriel Mora.

photograph by Luzio Grossi.

I FOUGHT A WAR FOR YOU

The trumpets that break the dawn
A fanfare to the dying and unborn
Passion replaced by duty
Love replaced by fear
And the ticking of the clock
Says “Young man please take stock
Before you finally disappear
I fought a war for you
I fought a war for you”

The battle across the hall
Still rages as our fathers stumble and fall
Isn’t anyone happy?
Anybody care?
It’s not the cutting of the vein that causes the pain
We’re killed long before that final dare
I fought a war for you
I fought a war for you

All the wasted years
Lost in action
All the hollow dreams
All the bitter tears
To make you happy
To have a faithful love
Forever young
Always in the sun
All the things I wanted
All the things never done
Like our dreams we too are fading
Before we have barely begun
I fought a war for you
I fought a war for you

I fought a war for you
Isn’t anyone happy?
Anybody care?
I fought a war for you
Put your hand on my heart
Can you feel it?
Can you heal it?
Am I still with you?
Are you still with me?
Let’s open the paper and see

(C) Frank Howson 2019

THAT’S HOW IT ENDS

She died in my arms
Not a word was said
In silence we rose
And got out of our bed
Her eyes would flash
I knew them too well
Every man in this town
Had a story to tell
But they weren’t her lovers
They were just friends
That’s what she told me, and
That’s how it ends

She cried for the boy
Who had dared to dream
His suitcase was packed
For the journey downstream
She’d lost her chance
To salvage herself
From the toys in the dark
That were left on the shelf
There were too many cracks there
For me to mend
That’s what I told her, and
That’s how it ends

We feared the many dangers
That stood in our way
Too many strangers
With something to say
We stood there grieving
At the death of our youth
The first thing to die
After the truth

She calls out my name
But the hunger’s gone
For some times we die
But still we go on
The game of love
Has been played and lost
Now old men sit alone
And fathom the cost
But there’s always tomorrow
And what fate intends
So the story goes on
But that’s how it ends…

(C) Frank Howson 2019

Photograph by Vanessa Allan

THIS PRISON HAS NO BARS

From the mansions of sadness
To the bums on the street
From the highways of loneliness
To the halls of defeat
I’ve watched your ascendance
The road I never took
Girl, you’ve come a long way
On a smile and a look

From the poolside of stardom
To the kids on the run
From the mountains of compassion
To the things never done
I’ve watched your progression
With an assassin’s eye
I could have been there too
But my heart doesn’t lie

There are stars in cars on every corner of this town
You’re gonna need a lot of help
When you finally come down
You’re slept with the Caesars
And you’ve dined with the Czars
But none of them told you why
This prison has no bars

From the towers of power
To a broken man’s plea
From the face on the magazine
To the girl you used to be
I’m waiting for some answers
Beneath the falling stars
Wish I could’ve warned you
This prison has no bars

(C) Frank Howson 2019

WHEN THE NIGHT COMES

When the night comes down
And the world’s at an end
I hope the dying of the light
Catches you with a friend
If it were up to me
You’d live a thousand years
In a world that was fair
In a world without tears
You stood up for me
When I was condemned
But there are some things
This life can’t mend
So I’ll see you in the next
And save a place for you
For your heart was always kind
And your word was true

(C) Frank Howson 2019