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A ROLLS-ROYCE REVERIE



Belgravia, where the streets are lined with townhouses that seem to whisper secrets of the upper crust and inherited grace, stood the ancestral home of the Davenport family. The structure was an edifice of silent grandeur, with its Palladian columns and Georgian façade. It was a place where time had etched itself into every crevice, and where the ghosts of the past seemed to linger in the wainscoting and polished marble floors.

 

Within its stately walls resided two of the present-day scions of this august lineage: Victoria and Sebastian Davenport, twins who had inherited not only the wealth and title of their forebears but also the affliction of their expectations. They were young, in their mid-twenties, with the world at their feet, yet both bore the burden of unseen chains.

 

Victoria, with her raven-black hair and eyes that held the deep blue of the Atlantic at dusk, was a woman of formidable intellect. She had been groomed from an early age to understand the delicate art of diplomacy, the nuances of power, and the subtlety of influence. She moved through the world with a grace that belied the steel of her will. Yet beneath the polished veneer, there was a restlessness, a yearning for something more than the gilded cage of her existence.

 

Sebastian, her mirror in every way but temperament, was a man of brooding intensity. His golden hair and emerald eyes spoke of the sun and the earth, a contrast to his sister’s dark beauty. He had inherited the family’s penchant for academia, excelling in philosophy and the arts. But where Victoria was outwardly poised, Sebastian was inwardly tortured, grappling with questions of purpose and the meaning of the legacy they had been handed. He saw their fortune as a gilt shroud, a barrier between him and the authenticity he craved.

 

On a particularly dreary London afternoon, as the rain tapped lightly against the tall windows, the siblings found themselves in the drawing-room, a place of mahogany and velvet, where every object seemed to have a story to tell.

“You know, Seb,” Victoria began, her voice soft yet commanding, “I’ve been pondering the idea of us—of our lives—as though we were a house, not unlike this one.”

Sebastian glanced at her, a flicker of curiosity in his eyes. “A house?”

“Yes,” she continued, her fingers following the contours of her coffee cup, “imagine it. We are a grand, old house, beautiful and well-maintained on the outside. But within, there are cracks, creaks in the floorboards, leaks in the roof. At first, the repairs are straightforward, necessary. Yet, as the work progresses, it becomes clear that something more radical is at hand. The walls are torn down, the foundations are shaken, and we are left wondering, what is the purpose of this destruction?”

Sebastian’s gaze drifted to the rain-soaked windows, where the world outside appeared blurred and distant. “It feels as though our lives are in a state of perpetual renovation. We are constantly being torn apart and rebuilt, but to what end?”

“To become something greater,” Victoria replied, her voice gaining a fervent intensity, “to become a palace fit for the Divine. We are being remade, not just repaired. Perhaps, in all this chaos, there is a grand design that we cannot yet comprehend.”

Sebastian sighed, a sound that was almost a whisper. “But what if I do not wish to be a palace? What if I prefer the simplicity of a cottage, where life is lived without pretence or grandeur?”

Victoria smiled, a touch of sadness in her eyes. “I understand, dear brother. But I fear we have no choice in the matter. We were born into this life, this heritage. We are being shaped by forces beyond our control, and all we can do is trust that there is a purpose to it all.”

The room fell silent, the only sound, the soft ticking of an antique clock, a reminder of the inexorable passage of time.

“Do you believe in this Divine Architect, Victoria?” Sebastian asked, his voice barely above a murmur.

Victoria’s eyes met his, and for a moment, they were two children again, lost in the vastness of their inherited world. “I do not know,” she admitted, “but I do believe in the possibility of transformation, that we can become something more than what we are. And perhaps, that is enough.”

Sebastian nodded slowly, his thoughts as heavy as the rain that continued to fall outside. “Then we must endure the renovations, as painful and bewildering as they may be.”

“Yes,” Victoria agreed, her voice firm despite the uncertainty that lingered in the air, “we must.”

 

They rang for the chauffeur, instructing him to bring around the Rolls-Royce, as they were due to meet their friends for tea at The Ritz. Surrendering to the opulence of the motorcar, the two sat in silence, looking out of the windows. The weight of history and expectancy pressed heavily upon their hearts as they journeyed onward, uncertain of their own metamorphosis yet clinging to the hope that, in the end, they might emerge not merely as a house restored, but as a palace reborn.

 



 

ROLLS ROYCE – Keeping a beautiful lady in shape.



Among the commemorative notices published in 1979, on the occasion of the seventy-fifth anniversary of Rolls-Royce, there appeared one particularly arresting advertisement from Appleyard—the well-regarded motorcar purveyor whose polished showrooms graced both Leeds and Glasgow. It bore that familiar emblem, the Spirit of Ecstasy, poised as ever in her silent flight, accompanied by a headline as whimsical as it was reverent: “Keeping a beautiful lady in shape.”

 

What followed was no mere commercial enticement, but an ode, almost chivalrous in tone: “If you love her, you’ll bring her to Appleyard. Their knowledge of her anatomy is total. Their appreciation of her virtue, endless.” In such words, one glimpses not only a devotion to mechanical craftsmanship, but a bygone gallantry—an era when even the language of commerce could be steeped in grace.

 

Once, even the humblest artifact was wrought with beauty—formed with a reverence for symmetry, proportion, and soul. But today, if a man dares to speak with dignity or to write with flourish, he is regarded either as an eccentric or an anachronism. 

 

We have not merely misplaced elegance; we have exiled it. One wonders—was it carelessness or cowardice that led us to discard the language of our forebears? And in so doing, have we not imperilled the very culture which once gave rise to such beauties?

 

The Woman In Black - 2012



I reckon it is now time to confess that the real reason our family moved out from our house in Richmond Town was because we knew that we were not the only ones inhabiting the place. As long as I remember, I had always been acquainted with them right from the beginning and it was always a comfort to have them around. Nevertheless, when I say that, it was not that everything was hunky dory – they did provide their fair bit of frightening us on more occasions than one. When my parents’ became aware of them and decided to move out, I was crestfallen and much to the dismay of everyone I received their pronouncement with great sadness. Perhaps this might startle some, but I feel that when the parallel universe, as we customarily call them, begin to grow fond of us, we form an inimical and yet an inseparable bond together.

For a long time after we left home we knew that we were never alone, and so in order not to offend them, I refrained myself from watching, reading or even discussing anything regarding the topic until I found myself nearly beckoned (twenty years hence) by something deeply instinctive to watch The Woman In Black.


It is not astonishing to become aware that it has been the highest grossing film of the year 2012 so far. On a wider platform, the art of playing on fear is what rings in the cash registers, but for those who have gone through anything, however remote it may be, will tell you that they never scare the wits out of you unless their intent is such. I say so with such confidence because they troubled us less; were on friendly terms, yet I cannot but help imagine the dread of those who happen to be in their path of wrath. Right from the start it was lovely to witness Daniel Radcliffe delivering a stoic, and yet stellar performance, as the young Arthur Kipp, an inexperienced London solicitor who is dispatched right at the start to a swampy coastal area of the Midlands to settle the affairs of a recently deceased widow. We learn that he loses his wife at childbirth and bears the misfortune via his watery light haunting eyes throughout the journey although one can assume that it is merely a figment of his imagination that she periodically hovers around him. Puzzlingly, the peasants treat Arthur with unexplained hostility, accusing him in instances for having brought about the bad luck upon them by venturing into the house that is a curse to their villages. Arthur finds in Mr Daily (who drives around a Silver Ghost Rolls Royce) somewhat of a protector than a mere friend and an intelligent and somewhat lost Mrs Daily is shown scrawling images, she claims, the deceased communicate through her. I know cynics might consider such a notion rather ridiculous, but the fact remains that indeed there are many things in this world that we think reason and science might explain, but like everything else they too fall short due to their limited capability and capacity to prove. What survives ultimately is the belief and the faith that life other than ours exists alongside us and the sooner we begin to accept it, the better it is for our wellbeing.

Without giving away more, I would like to throw light upon how Arthur spends the night at the gothic mansion with cobwebs on the chandeliers as the things go bump in the night in the company of a chair that rocks, the stairs that creak, the toys that begin movement and how once in a way, he sees a face in the windows. If you are looking for meaningless blood and gore, as one would expect from a movie made in America, refrain yourself from knocking on this door. This is a story, depending on the level of ones tolerance that could either creep you, or calm you.


The script by Jane Goldman is handsome in taking you along the successfully long and wordless interludes. Direction by James Watkins is effective as it veers you along the meandering hallways that seem alive with rasping and murmuring. The director of photography Tim Maurice-Jones does not paint the screen red but daubs it with a fine chromatic contrast with the assistance of a white, black, dun brown and grey palette. The editing by Jon Harris makes sure that something wicked arrives in every frame, but rather subtly and slowly, and at times not without an element of disturbing effectiveness. The music by Marco Beltrami is best suited to the setting – eerily soothing.

Many actors rely on dashing heroics to drive their point, while my belief is that it is only the confident that leave it to their eyes which Daniel delivers with utmost deftness. I have read critics making meaningless comparisons to his present character with that of Harry Potter. I don’t know really what to make of it other than saying it most blatantly that perhaps it is the inadequacy of their limitations that are prodding them to draw such childish conclusions rather than giving the kid, who is now all grown up, his deserved due.