Being the impressionable young boy that I was, there were many things I found extraordinary in the world of Eurovision in the 80's. But one thing that I really loved were Yugoslav entries and, above all, Yugoslav preview clips.
Like in 1989 - I thought it was so funny, so vibrant, so full of life. It seemed they were all so very happy and had such a good time in Yugoslavia.
Little did I know, the whole federation was slowly collapsing and would, two years later, plunge into civil war.
I just loved Riva, I loved the clip, I loved the cheesy little chorus and I was so very happy that Yugoslavia finally got to win.
Riva - Rock Me (Yugoslavia 1989 preview)
Thursday, May 3, 2012
Wednesday, May 2, 2012
Preview clip: Slovenia 1997
At a certain time - peaking in 1997, to be honest - the music video had grown really strong as an art form in itself at the same time as Eurovision had grown important enough for certain countries to want to spend money on marketing themselves in this area.
Many countries made really lavish preview clips in 1997, not only highlighting their own songs but also giving the local tourist boards reason to rejoice, and the best one of all came from Slovenia.
Very stylish, atmospheric and beautifully filmed, but also very well acted by Tanja Ribič who is equally famous for her acting skills. The colour explosion of flowers by the end as the song has grown into completely new dimensions is also a very clever touch.
Tanja Ribič - Zbudi se (Slovenia 1997 preview)
Maybe Tanja would have needed a flowery explosion also on stage in Dublin - the song is lovely and the singing exquisite, but in a year with many heartfelt ballads it was hard to stand out.
Many people expected more than a tenth place for this song, but it still remains the third best showing of an entry from independent Slovenia.
Tanja Ribič - Zbudi se (Slovenia 1997)
Many countries made really lavish preview clips in 1997, not only highlighting their own songs but also giving the local tourist boards reason to rejoice, and the best one of all came from Slovenia.
Very stylish, atmospheric and beautifully filmed, but also very well acted by Tanja Ribič who is equally famous for her acting skills. The colour explosion of flowers by the end as the song has grown into completely new dimensions is also a very clever touch.
Tanja Ribič - Zbudi se (Slovenia 1997 preview)
Maybe Tanja would have needed a flowery explosion also on stage in Dublin - the song is lovely and the singing exquisite, but in a year with many heartfelt ballads it was hard to stand out.
Many people expected more than a tenth place for this song, but it still remains the third best showing of an entry from independent Slovenia.
Tanja Ribič - Zbudi se (Slovenia 1997)
Tuesday, May 1, 2012
Eurovision for Chinese
There are, as far as I can think up, not many Eurovision entries through the years that bear any links to China. Lukas Plöchl, half of Austria's Trackshittaz, is half Chinese. And that is about it. If you can think of other acts with a Chinese link, please enlighten me with a comment.
But there is a community of Eurovision fans in China, which ESC Nation pointed out on Twitter.
I had to check their blog out, and they are busy voting for their favourite entries this year. And their standings at the moment differ quite a bit from the European fan votes.
I'm also happy to see Finland being one of three Nordic countries to score as yet, as well as a lovely Chinese translation of "När jag blundar".
I, who always wondered how non-europeans percieve this old contest of ours, find this blog very pleasant. If you want a slightly different perspective, I suggest you check it out as well.
But there is a community of Eurovision fans in China, which ESC Nation pointed out on Twitter.
I had to check their blog out, and they are busy voting for their favourite entries this year. And their standings at the moment differ quite a bit from the European fan votes.
I'm also happy to see Finland being one of three Nordic countries to score as yet, as well as a lovely Chinese translation of "När jag blundar".
I, who always wondered how non-europeans percieve this old contest of ours, find this blog very pleasant. If you want a slightly different perspective, I suggest you check it out as well.
France goes World
Up until the early 80's, France owned the Eurovision in many ways. They had a very distinct formula that most of their entries kept close to, and they almost exclusively landed among the five best placed songs every year.
In the 80's, however, the formula grew tired and the votes stopped coming in. France Télévisions (or Antenne 2 as the channel was still called) first scrapped the national final, then decided to depart from anything France had ever sounded like before.
In 1990, the head of entertainment Marie-France Brière called up the mythical Serge Gainsbourg and asked him to create another eurosong - twenty-five years after winning with "Poupée de cire, poupée de son" - and he brought in a very exotic element indeed.
Joëlle Ursull was part of the zouk movement - exotically flavoured music from the Caribbean - and she was taken in to perform "White And Black Blues", a song rending hommage to the diversity and colourfulness of the French population.
France, who in all fairness never cared much for minorities and such through history, found themselves pushing the limits for how you could look and sound at Eurovision. The likes of Turkey, Greece and Yugoslavia had tried being exotic, but when an established country like France did the same thing - then the votes started flowing in. See the live performance here.
Joëlle Ursull - White And Black Blues (France 1990)
This was the start of something new and given the commercial success of "White And Black Blues", the French decided to push the limit even further. Given the tension surrounding the current Gulf War, it was a strike of genius to select Tunisian-born Amina to perform a distinctly Arab-flavoured song that contemplated the world order in a quiet, understated way.
The new formula worked again, and Amina was only a tiny rule paragraph away from winning the whole thing in Rome. See the live performance here.
Amina - C'est le dernier qui à parlé qui à raison (France 1991)
By 1992, more countries had picked up on the exotic vibe, making rastaman Kali stand out less with his creole entry in Malmö. Some negative publicity, emerging from some not too cleverly formulated statements given by the performer, may also have been the reason for a slight decline compared to the previous years. And honestly, maybe this song was slightly less striking as well.
Kali - Monté la riviè (France 1992)
It might look like France tried to go back to their old formula a bit in 1993, but selecting a song partially in a national minority language was, in fact, a statement in its own right. The song fared well at Eurovision, less so in the charts, but the performer was to carve a solid place in French showbiz in the coming years.
Patrick Fiori - Mama Corsica (France 1993)
The two following years, France2 (the new name given to Antenne2 in 1993) explored other musical landscapes, but were back on the etno track in 1996 - now putting a more serious emphasis on minority matters as the French entry - for the first time - was performed completely in a minority language - Breton.
It was a clever idea, given the Irish domination as well as the Celtic flavour of the 1995 Norweigan winner, but the selected song was ultimately too thin to break through to the juries. This was the first real French flop at Eurovision for ten years.
Dan Ar Braz & L'Héritage des Celtes - Diwanit bugale (France 1996)
The last entry to date selected by France2 (but we didn't know it yet at that time) was another truly exotic offering. Legend has it, it was favoured by the channel after one of the old masters of television entertainment (Pacal Sevran) openly called the song unsuitable for Eurovision.
Maybe the old monsieur was not all wrong, after all. 1998 was the first year when televote was in (almost) full use, and what had impressed the juries did not necessarily work with the viewing audience. Despite enthusaistic reviews from the press, the French entry crashed and burned, ending second last.
Marie Line - Où aller (France 1998)
Since then, France has gone in different directions, again trying to broaden the idea of what a eurovision entry could look and sound like. But one thing is for sure - culturally, the importance of these French entries in the 90's could not be over-estimated. They helped breathing new life into the Eurovision formula, as well as promoting less square and uniformly "european" expressions on stage.
Hats off to France - it didn't get them a victory, but in the long run it did change the public perception of what was possible to get away with and not. Well done.
In the 80's, however, the formula grew tired and the votes stopped coming in. France Télévisions (or Antenne 2 as the channel was still called) first scrapped the national final, then decided to depart from anything France had ever sounded like before.
In 1990, the head of entertainment Marie-France Brière called up the mythical Serge Gainsbourg and asked him to create another eurosong - twenty-five years after winning with "Poupée de cire, poupée de son" - and he brought in a very exotic element indeed.
Joëlle Ursull was part of the zouk movement - exotically flavoured music from the Caribbean - and she was taken in to perform "White And Black Blues", a song rending hommage to the diversity and colourfulness of the French population.
France, who in all fairness never cared much for minorities and such through history, found themselves pushing the limits for how you could look and sound at Eurovision. The likes of Turkey, Greece and Yugoslavia had tried being exotic, but when an established country like France did the same thing - then the votes started flowing in. See the live performance here.
Joëlle Ursull - White And Black Blues (France 1990)
This was the start of something new and given the commercial success of "White And Black Blues", the French decided to push the limit even further. Given the tension surrounding the current Gulf War, it was a strike of genius to select Tunisian-born Amina to perform a distinctly Arab-flavoured song that contemplated the world order in a quiet, understated way.
The new formula worked again, and Amina was only a tiny rule paragraph away from winning the whole thing in Rome. See the live performance here.
Amina - C'est le dernier qui à parlé qui à raison (France 1991)
By 1992, more countries had picked up on the exotic vibe, making rastaman Kali stand out less with his creole entry in Malmö. Some negative publicity, emerging from some not too cleverly formulated statements given by the performer, may also have been the reason for a slight decline compared to the previous years. And honestly, maybe this song was slightly less striking as well.
Kali - Monté la riviè (France 1992)
It might look like France tried to go back to their old formula a bit in 1993, but selecting a song partially in a national minority language was, in fact, a statement in its own right. The song fared well at Eurovision, less so in the charts, but the performer was to carve a solid place in French showbiz in the coming years.
Patrick Fiori - Mama Corsica (France 1993)
The two following years, France2 (the new name given to Antenne2 in 1993) explored other musical landscapes, but were back on the etno track in 1996 - now putting a more serious emphasis on minority matters as the French entry - for the first time - was performed completely in a minority language - Breton.
It was a clever idea, given the Irish domination as well as the Celtic flavour of the 1995 Norweigan winner, but the selected song was ultimately too thin to break through to the juries. This was the first real French flop at Eurovision for ten years.
Dan Ar Braz & L'Héritage des Celtes - Diwanit bugale (France 1996)
The last entry to date selected by France2 (but we didn't know it yet at that time) was another truly exotic offering. Legend has it, it was favoured by the channel after one of the old masters of television entertainment (Pacal Sevran) openly called the song unsuitable for Eurovision.
Maybe the old monsieur was not all wrong, after all. 1998 was the first year when televote was in (almost) full use, and what had impressed the juries did not necessarily work with the viewing audience. Despite enthusaistic reviews from the press, the French entry crashed and burned, ending second last.
Marie Line - Où aller (France 1998)
Since then, France has gone in different directions, again trying to broaden the idea of what a eurovision entry could look and sound like. But one thing is for sure - culturally, the importance of these French entries in the 90's could not be over-estimated. They helped breathing new life into the Eurovision formula, as well as promoting less square and uniformly "european" expressions on stage.
Hats off to France - it didn't get them a victory, but in the long run it did change the public perception of what was possible to get away with and not. Well done.
Monday, April 30, 2012
Eurovision needed Celine (and vice versa)
I have a very exact recollection of my first impression of Céline Dion - she came onto our tv-set as the second song in the second part of the 1988 Eurovision previews and had some raw, inexplicable energy that made her stand out from the rest.
She was wearing a horrific outfit, somehow reminiscent of what the sea looks like after an oil tanker disaster, but the way she nailed the camera was very special.
I distinctly remember thinking, a couple of days after my 12th birthday, that this girl is very special.
A few years later, as Célines international career took off, it was a good thing for Eurovision to boost having launched someone like Mademoiselle Dion into the international spotlight. It wasn't entirely true, perhaps, since Céline had been recording in France since the age of 13 and was by no means any inexperienced little performer.
However, at this point in her career, Céline seems to have needed Eurovision just as much as the ESC would later need her. No longer a child, her new mature material failed to enthuse the record buying audience and the French labels seemed to be giving up on her.
Rumours - impossible to verify, but still - have it that Sony music in America were ready to give her a record deal if she made an impression at Eurovision, showing she had public appeal.
The rest is history - a few successful singles later, Céline turned into one of the most successful singers on the planet and could afford to forget about flop singles like the one below.
I still find this one an interesting choice of song, musically way more challenging than most songs she has been recording for her English-languaged repertoire. It seems to me that Céline was always better in French, where her producers were more interested in her interpretation and nuances rather than showing off her vocal capabilities.
Céline Dion - La réligieuse
She was wearing a horrific outfit, somehow reminiscent of what the sea looks like after an oil tanker disaster, but the way she nailed the camera was very special.
I distinctly remember thinking, a couple of days after my 12th birthday, that this girl is very special.
A few years later, as Célines international career took off, it was a good thing for Eurovision to boost having launched someone like Mademoiselle Dion into the international spotlight. It wasn't entirely true, perhaps, since Céline had been recording in France since the age of 13 and was by no means any inexperienced little performer.
However, at this point in her career, Céline seems to have needed Eurovision just as much as the ESC would later need her. No longer a child, her new mature material failed to enthuse the record buying audience and the French labels seemed to be giving up on her.
Rumours - impossible to verify, but still - have it that Sony music in America were ready to give her a record deal if she made an impression at Eurovision, showing she had public appeal.
The rest is history - a few successful singles later, Céline turned into one of the most successful singers on the planet and could afford to forget about flop singles like the one below.
I still find this one an interesting choice of song, musically way more challenging than most songs she has been recording for her English-languaged repertoire. It seems to me that Céline was always better in French, where her producers were more interested in her interpretation and nuances rather than showing off her vocal capabilities.
Céline Dion - La réligieuse
24 years ago: a very tight finish
At this very night, twenty-four years ago, 12-year old Tobson decided to give Walpurgis a miss for the first time ever and instead stay home and watch the Eurovision final from Dublin (in the company of classmate who had come down with a fever and who fell asleep after five or so songs).
There was a tremenduous feeling of suspense as the Swedish entry (my entry, being Swedish and all) was marred with Tommy Körberg's throat problems leading to heavy speculation in the press as to whether he would be able to sing or not.
Swedish tabloid Aftonbladet had tipped a tight race between Sweden, Switzerland and Israel. I didn't disagree, but hoped that my personal favourites from Spain, Denmark and Iceland could stand a chance too.
All that feeling of suspense in advance was nothing compared with what we had in store before the show was over. What seemed like a runaway victory for Switzerland soon turned into a battle between Celine Dion and Scott Fitzgerald before the latter pulled away, leading with a comfortable margin as Portugal cast their votes as #20 out of 21 participants.
And then the whole thing changed again. Switzerland was suddenly just five points behind the UK as Pat Kenny and Michelle Rocca call up the Yugoslav jury in Ljubljana. The rules stated that the juries were not supposed to know the standings when called up, but it sounds like Miša Molk knows a fair share, seemingly adding to the drama.
This, the closest voting sequence I had ever seen left me speechless and every time I watch it again I feel the thriller element again. Since then, only four votings have been as tight as this one, donning the same kind of suspense up until the bitter end.
Watch the final votes coming in here and enjoy - it is impossible not to be happy for Céline Dion and the Swiss delegation afterwards. Unless, of course, you are BBC commentator Terry Wogan.
Céline Dion - Ne partez pas sans moi (Switzerland 1988)
There was a tremenduous feeling of suspense as the Swedish entry (my entry, being Swedish and all) was marred with Tommy Körberg's throat problems leading to heavy speculation in the press as to whether he would be able to sing or not.
Swedish tabloid Aftonbladet had tipped a tight race between Sweden, Switzerland and Israel. I didn't disagree, but hoped that my personal favourites from Spain, Denmark and Iceland could stand a chance too.
All that feeling of suspense in advance was nothing compared with what we had in store before the show was over. What seemed like a runaway victory for Switzerland soon turned into a battle between Celine Dion and Scott Fitzgerald before the latter pulled away, leading with a comfortable margin as Portugal cast their votes as #20 out of 21 participants.
And then the whole thing changed again. Switzerland was suddenly just five points behind the UK as Pat Kenny and Michelle Rocca call up the Yugoslav jury in Ljubljana. The rules stated that the juries were not supposed to know the standings when called up, but it sounds like Miša Molk knows a fair share, seemingly adding to the drama.
This, the closest voting sequence I had ever seen left me speechless and every time I watch it again I feel the thriller element again. Since then, only four votings have been as tight as this one, donning the same kind of suspense up until the bitter end.
Watch the final votes coming in here and enjoy - it is impossible not to be happy for Céline Dion and the Swiss delegation afterwards. Unless, of course, you are BBC commentator Terry Wogan.
Céline Dion - Ne partez pas sans moi (Switzerland 1988)
Sunday, April 29, 2012
The 2012 review: part nine
Well, this is it. Time to wrap the big review up for this time with a post containing the six songs already qualified for the big final. And it is very pleasant indeed to note that the "big" countries have all taken their positions seriously, making more of an effort than they have in the past.
1. UNITED KINGDOM
Engelbert Humperdinck - Love Will Set You Free
If the BBC aimed at getting extra coverage for bringing on the oldest solo singer ever in Eurovision, they must have been sorely disappointed when the Russian babushki came on and stole their show. But there is far more to this entry than mere gimmicks.
Engelbert Humperdinck is, indeed, a star performer whose experience will come in handy on a big event like this. I surely thought Blue would handle the pressure better last year, this year's entrant will probably fare better. There is also a very well crafted song to be found here, sincerely and gently performed. Unlike most it isn't targeted at the younger viewers but at the older - they watch too, and they vote.
Potential winner:
No. It would be a huge surprise if this song came anywhere close to victory, but it is a very dignified and worthy entry that will recieve extensive airplay all summer at radio stations aimed at a more mature audience.
My grade: 3/5
9. FRANCE
Anggun - Echo (You And I)
France is keeping the high profile they have maintained since sending Sébastien Tellier to Belgrade in 2008 - maybe they are not sending in the easiest or most graspable entries, but they are certainly making an effort to keep this contest interesting. Anggun has been a star in France since 1997, and French television has seen her as a promising ESC entrant for years already.
Her song is a joyful, proud and original little pop pearl - again not taking the easiest path into the hearts of the televoters but providing something a bit more challenging for the listeners to chew on.
Potential winner:
No, unless the French manage to stage a visually supportive show around this entry to make it stand out better for the audience. Definitely a hit single, but possibly too demanding for the average viewer.
My grade: 5/5
10. ITALY
Nina Zilli - L'amore è femmina
Last year, Italy made an effective comeback after a lenghty absence and was rewarded with one of their best placings ever. Given how much Europe had longed for the Italian temper and sense of know-how in the field of pop music, my antennae are beginning to whisk frenetically at this point.
The song Nina intended to sing at first might have been better and the current song might have sounded better in Italian only, but when this bombshell makes her grand entrance, filling her little song up with sex appeal and joie-de-vivre, it could very well be that Europe cannot resist.
Potential winner:
Yes. Europe has always had a fondness for Italian songs and performers, not always shared by the Eurovision juries. With a performer like Nina Zilli, a recognisable sound and a juicy chours like this it could very well spell victory in the end.
My grade: 5/5
13. AZERBAIJAN
Sabina Babayeva - When The Music Dies
The host country sticks to their winning formula and has bough another song by the same Swedish team who wrote Safura's "Drip Drop" as well as last year's winning entry. In this year when a large number of countries have borrowed songwriting talent from elsewhere, who is to blame Azerbaijan for sticking to a winning formula?
Too bad that the formula didn't come up with anything stronger than this, then. The song is rather a tired re-write of things heard before (most notably "Stop" by Sam Browne) and performed by a good but not particularly personable singer.
Potential winner:
No, I would not think so. If it is performed really well with an effective stage show, it could be a contender for a top ten placing, but not much more than that.
My grade: 1/5
19. SPAIN
Pastora Soler - Quédate conmigo
This could very well rate as the most positive surprise of the year. For quite some time now, Spain has sent in real non-contender entries, lacking force in all departments. Either the songs have not been good enough or the performances have not been good enough or both of these in combination.
This year, it all seems to come together when a warm, strong, big voice meets a warm, strong, big ballad that might be a bit old-fashioned but very well crafted and instantly understandable for the bigger part of the audience.
Potential winner:
Yes, I am beginning to think so. Spain will need a bit of luck - a lot depends on who gets drawn right before them in the final - but this could be the song that gets embraced by both televoters and juries alike.
My grade: 4/5
20. GERMANY
Roman Lob - Standing Still
Germany is also sticking to form, going back to the same talent show format that gave them a second victory in the form of Lena two years ago. It seems to have worked again as the winner, adorable starry-eyed pop boy Roman, has hit home with the masses and is currently enjoying solid success in the domestic charts.
I'm happy for him and I am happy for German television, but I have a feeling that the German flag will end up a little bit further down the scoreboard this time. This song is perfect radio pop that you will recognise and appreciate on the airwaves, but that possibly be a bit too streamlined and laidback to stand out in a competition like this.
Potential winner:
No. Worst case scenario is that this will be the song that falls between the seats and ends up close to the bottom. Not because it is bad, but because it will ultimately not be anyone's favourite. The thing that can save it from failure is Roman - if he really delivers on the night, I might be completely wrong here. And I wouldn't mind.
My grade: 3/5
1. UNITED KINGDOM
Engelbert Humperdinck - Love Will Set You Free
If the BBC aimed at getting extra coverage for bringing on the oldest solo singer ever in Eurovision, they must have been sorely disappointed when the Russian babushki came on and stole their show. But there is far more to this entry than mere gimmicks.
Engelbert Humperdinck is, indeed, a star performer whose experience will come in handy on a big event like this. I surely thought Blue would handle the pressure better last year, this year's entrant will probably fare better. There is also a very well crafted song to be found here, sincerely and gently performed. Unlike most it isn't targeted at the younger viewers but at the older - they watch too, and they vote.
Potential winner:
No. It would be a huge surprise if this song came anywhere close to victory, but it is a very dignified and worthy entry that will recieve extensive airplay all summer at radio stations aimed at a more mature audience.
My grade: 3/5
9. FRANCE
Anggun - Echo (You And I)
France is keeping the high profile they have maintained since sending Sébastien Tellier to Belgrade in 2008 - maybe they are not sending in the easiest or most graspable entries, but they are certainly making an effort to keep this contest interesting. Anggun has been a star in France since 1997, and French television has seen her as a promising ESC entrant for years already.
Her song is a joyful, proud and original little pop pearl - again not taking the easiest path into the hearts of the televoters but providing something a bit more challenging for the listeners to chew on.
Potential winner:
No, unless the French manage to stage a visually supportive show around this entry to make it stand out better for the audience. Definitely a hit single, but possibly too demanding for the average viewer.
My grade: 5/5
10. ITALY
Nina Zilli - L'amore è femmina
Last year, Italy made an effective comeback after a lenghty absence and was rewarded with one of their best placings ever. Given how much Europe had longed for the Italian temper and sense of know-how in the field of pop music, my antennae are beginning to whisk frenetically at this point.
The song Nina intended to sing at first might have been better and the current song might have sounded better in Italian only, but when this bombshell makes her grand entrance, filling her little song up with sex appeal and joie-de-vivre, it could very well be that Europe cannot resist.
Potential winner:
Yes. Europe has always had a fondness for Italian songs and performers, not always shared by the Eurovision juries. With a performer like Nina Zilli, a recognisable sound and a juicy chours like this it could very well spell victory in the end.
My grade: 5/5
13. AZERBAIJAN
Sabina Babayeva - When The Music Dies
The host country sticks to their winning formula and has bough another song by the same Swedish team who wrote Safura's "Drip Drop" as well as last year's winning entry. In this year when a large number of countries have borrowed songwriting talent from elsewhere, who is to blame Azerbaijan for sticking to a winning formula?
Too bad that the formula didn't come up with anything stronger than this, then. The song is rather a tired re-write of things heard before (most notably "Stop" by Sam Browne) and performed by a good but not particularly personable singer.
Potential winner:
No, I would not think so. If it is performed really well with an effective stage show, it could be a contender for a top ten placing, but not much more than that.
My grade: 1/5
19. SPAIN
Pastora Soler - Quédate conmigo
This could very well rate as the most positive surprise of the year. For quite some time now, Spain has sent in real non-contender entries, lacking force in all departments. Either the songs have not been good enough or the performances have not been good enough or both of these in combination.
This year, it all seems to come together when a warm, strong, big voice meets a warm, strong, big ballad that might be a bit old-fashioned but very well crafted and instantly understandable for the bigger part of the audience.
Potential winner:
Yes, I am beginning to think so. Spain will need a bit of luck - a lot depends on who gets drawn right before them in the final - but this could be the song that gets embraced by both televoters and juries alike.
My grade: 4/5
20. GERMANY
Roman Lob - Standing Still
Germany is also sticking to form, going back to the same talent show format that gave them a second victory in the form of Lena two years ago. It seems to have worked again as the winner, adorable starry-eyed pop boy Roman, has hit home with the masses and is currently enjoying solid success in the domestic charts.
I'm happy for him and I am happy for German television, but I have a feeling that the German flag will end up a little bit further down the scoreboard this time. This song is perfect radio pop that you will recognise and appreciate on the airwaves, but that possibly be a bit too streamlined and laidback to stand out in a competition like this.
Potential winner:
No. Worst case scenario is that this will be the song that falls between the seats and ends up close to the bottom. Not because it is bad, but because it will ultimately not be anyone's favourite. The thing that can save it from failure is Roman - if he really delivers on the night, I might be completely wrong here. And I wouldn't mind.
My grade: 3/5
Subscribe to:
Posts (Atom)