I still remember reading my first Alan Moore issue of Swamp Thing, later Watchmen and later still Miracleman (or Marvel Man in the UK), The Ballad of Halo Jones and more. I learned that he had worked with some of the guys from Love and Rockets to cut an album and that he performed live spoken word with bassist David J.
Moore has often been recognized for his cinematic eye in his comic book work, something that, let’s be honest, actual filmmakers have failed to replicate in their adaptations of his work. That’s probably because books like Watchmen, From Hell and V for Vendetta are comics that ‘feel like’ movies rather than actual screenplays. So it should come as no surprise that More has such a deft with film and that his collaboration with photographer Mitch Jenkins is something very new… a film that feels like an Alan Moore comic. I was reminded by ‘The Birth Caul’ with Eddie Campbell which had a similar existential kicking in it.
Still… you gotta larf (and no, this is not safe for work).
We’ve all been there: in the lapses after midnight, stumbling down unfamiliar gutters after one too many for the road and looking for inviting lights before they call last orders. James is trying to lose himself, but in a fractured men’s room mirror finds the eyes that have been waiting for him.
Following from the unnerving prelude Act of Faith, Alan Moore and Mitch Jenkins unveil a phantasmagoric English dreamtime made of goosefleshed pin-up girls, burned out comedians and faulty lights, with judgement just behind the tinsel
Jimmy’s End pulls back the purple drapes upon an intricate new planet of desire and mystery. We’ve all been there.
Or it’s where we’re going.
Via Den of Geek:
Alan Moore, of course, is the writer behind such acclaimed graphic novels as Watchmen, V For Vendetta and From Hell. Having kept himself well removed from the adaptations of those comics, Moore’s recent collaborations with photographer Mitch Jenkins mark his first foray into filmmaking.
Act Of Faith, released online earlier this year, was the first in a planned series of short films about Northampton, Moore’s home town. Actually, Act Of Faith served as a primer for Jimmy’s End, a darkly symbolic film that takes place in a gloomy Northampton club.
Jenkins’ experience as a photographer is evident throughout both films, with their precise framing and expert use of colour, light and shade. That light and shade dovetails perfectly with Moore’s story, which has a decidedly Lynchian atmosphere to it.
Darrell D’Silva, Siobhan Hewlett and Robert Goodman play their roles with charisma, and the films’ performances and imagery really stick in the mind long after the credits have rolled. You can find both films posted below these very words – note that they do contain some disturbing scenes, several of which are decidedly NSFW.
That said, they’re hypnotic, uncompromising and beautifully made films, and they deserve to find a wide audience. We’re intrigued to see what Moore and Jenkins have in store for us next.