31 August 2009

Come Fly with Me

It's not often that I have a particularly interesting or unusual answer to the question, "what did you do over the bank holiday weekend?" but I think that today qualifies. As soon as I saw the recommendation in the Daily Candy London newsletter for trapeze classes taking place near the running track in Regent's Park, I knew I should sign up right away because it was likely to be booked up quickly. I'd seen the trapeze structure in the running track as I jogged past over the past few weeks but assumed they were setting up some kind of human equivalent to the aviary in the zoo just down the road. I booked a class for yesterday afternoon and all seemed well but then--oh noes--on Friday, I got an email from the trapeze guru saying that because of the Daily Candy mention and a mention on BBC Breakfast, they had had so many people trying to book that their system crashed and that people who thought they had booked actually hadn't. However, he did say that they had added an extra class on Monday and if people wanted to sign up, they should get their skates on. I immediately replied saying, "sign me up now!" before checking I was actually free on Monday but luckily I got the place (in fact, when I saw the list of participants, my name was at the top so presumably, I was the first to reply).

Still, I was somewhat nervous as I walked through the park to the running track. The class was only ninety minutes long--could I really be swinging through the air after only a rudimentary amount of training? Apparently, the answer was yes.

There were about ten of us there and the trapeze team consisted of four people (one holding the safety rope attached to the person swinging, two at the top of the scaffold--ah hem, I mean, platform--and one supervising). It was a lovely sunny day--much nicer than yesterday--so I was initially glad I had worn shorts. First, we each did a test run of the skill we were going to do on the big trapeze on a low bar. This consisted of jumping up to hold on with your arms, pull your knees up to your chin and hook them over the bar, let go with your arms and arch your body backwards so that your head was facing upwards again (while pointing your toes), before bringing your arms back to the bar and letting your legs down.

This is pretty simple when on a bar about two metres from the ground and not careering through the sky, albeit with a safety net and a rope to prevent you from too much doom. On the real trapeze, we were supposed to do the same thing: hold onto the trapeze from the platform, bend your legs and then jump down, bringing your knees up as you swing forwards (so that you utilise the momentum correctly), hook your knees over as you swing backwards and then let go with your arms, arching your back around and stretching your arms upwards so that your head is upright again before putting your arms back on and then dismounting (the dismount itself was somewhat counter-intuitive: you had to swing your legs back and forth three times to build up momentum and then tuck your knees up to your chest and let go of the bar--the momentum would propel you into a back somersault before landing on your arse on the net (it was counter-intuitive because I felt like I should be actively doing something to make the somersault work rather than just letting go)).

There are various ways you could mess this up and the first four people in our group all failed to complete the move. Some people's hands slipped from the bar on the first swing so they didn't even get the chance to try to get their knees up. Some people held on OK but couldn't get their knees over the bar. Some couldn't get the three-swings-and-off dismount right. When it was my turn, I was therefore a little worried that I too would mess up. Climbing up the ladder to the platform, I felt fine but at the top when I was holding the bar my legs started shaking, even though I didn't feel mentally nervous; I think it was because I have quite short arms and the trapeze didn't reach to comfortably within my grip and so holding onto it required leaning out over the platform while trying to keep my arms straight and to think about all the things I had to remember. Eventually it was time to go and I jumped and I got my knees over the bar first time and then did the hands-off-arching-back-upwards thing I was supposed to do before it was time to dismount. This I messed up a little as I didn't let go early enough (according to the coach, "you didn't let go when I said let go; you wanted to wait a couple of seconds until you were safe"...er, yeah...).

Apparently, my performance was inspirational because of the other people who had still to take their turn, another three managed to complete the move (and one sort of did it but took several swings to get their knees in place). The second swing we each had was a repetition of the same thing. As I felt even less nervous this time, I thought my knees wouldn't shake but annoyingly I couldn't stop them. I'll definitely have to bring arm extensions this time. Again I got my legs over fine the second time and did a better job of the dismount (though I was criticised for bringing up my legs one at a time--that said it is bloody difficult when you're on the trapeze to remember anything let alone everything you've been told; it's hard enough to obey the simple commands from the rope lady).

Then it was time for the third and final swing. Those of us who had managed to get our legs on the trapeze were told we could attempt to try the same move but with one of the coaches catching us from the other trapeze that was set up. It was exactly the same, we were told, but we had to stretch our arms really far and the coach would grab us by the wrists and say, "gotcha," at which point, we had to grab his wrists and "let go with your knees" (by straightening them). We made the two guys go first but they didn't manage it. Then the girl who was probably the best in the group went and she managed to complete the catch. I asked her for tips but she said her mind was all blank and couldn't remember the finer points of any of it--this was the same feeling I felt for much of the swinging.

Eventually it was my turn and I swung and I hooked my knees on and arched my back upwards and I felt the coach grab my wrists but then we slipped apart and it was all too late (though I finally did the somersault dismount). Apparently, I tried to hold onto the coach's arms which caused him to not get a good grip on me. Given that I have a severe inability to trust other people, it makes perfect sense that my conviction that I will be let down by others caused me to come so near but yet so far from completing the catch. Grrr. Well, at least I was the second best in the group.

The school is only in the park for another week before they close up for the season and of course all the classes are sold out. Loads of Marylebone children walking through the park would obviously be very taken with the idea of going on a trapeze and so their expectant parents would try to wangle their way into a class but instead had to explain to the kids that it wasn't possible and then, presumably, think of some amazing way of making it up to them.

All in all, it was an incredibly fun activity and I am very keen to try it again when they come back from their circus tours next summer. Unfortunately, wearing shorts proved not to my wholly wise: I have a huge graze on one knee from landing on and crawling across the net and also big bruises and red marks under both knees from gripping onto that bar with all my might. At least the marks on the back of my legs should let people know that my injuries certainly aren't carpet burns...

27 August 2009

125

As I can't simply enjoy something I like in an unstructured fashion, for some time, it has been a cinematic goal of mine to watch at least half of the movies in the IMDb Top 250 films. There have always been several caveats:

1. I would have made the goal to watch all 250 but there are some weird Asian films in there that I know I will never see. Ditto Citizen Kane, Lawrence of Arabia and (probably) Ben-Hur.
2. The Top 250 is constantly changing and so while I might have watched half of the films in it one day, the next I might lose this accomplishment.
3. Obviously, the Top 250 is not a very good measure of the best films ever made; however, it is a good indicator of films that are currently popular and in any case, I use IMDb more than any other movie resource and so it is most appropriate that my challenge should be use their Top 250 list.

I had been hovering at around 120 films for the first half of this year but more recently, my drive to acquire films on my laptop that are in the Top 250 (particularly those that are higher up and so less likely to drop out) has meant I've been at the 123 mark for the past couple of months. It was, then, to my surprise this evening when I went to the IMDb page for Inglourious Basterds and discovered that it had shot up to #35 in the Top 250 (having not made it into the chart at all on the day I saw the film). Given this film's reviews, which have hardly been dripping with praise, and given that I enjoyed it a lot less than Reservoir Dogs, Pulp Fiction and even the Kill Bill films, for IB to have reached #35 sounds like a clerical error to me. It will, of course, drop down the chart in time (and probably drop out sooner or later) but it doesn't seem right that Tarantino's latest film should reside 36 places higher up the chart than my favourite, Reservoir Dogs.

Regardless, mission is finally accomplished. So, does this mean I can sit back and simply watch whichever films sound interesting or in some way worth watching even if they aren't in the IMDb chart? Of course not. The next challenge will be to have watched 200 films in the chart. As I have Unforgiven on my computer, The Great Escape on my DVD shelf and the intention of seeing (500) Days of Summer as soon as it comes out, that is at least three more to cross off the list. I'm sure it will take at least another year to get to 200, though, even with some concerted viewing efforts. For now, though, here is the full list of films I have seen in the IMDb Top 250--in order, of course:

1. The Shawshank Redemption
2. The Godfather
3. Pulp Fiction
4. Schindler's List
5. 12 Angry Men
6. The Dark Knight
7. One Flew Over the Cuckoo's Nest
8. Casablanca
9. LOTR: ROTK
10. Goodfellas
11. Rear Window
12. Cidade de Deus
13. Raiders of the Lost Ark
14. Fight Club
15. C'era una Volta il West
16. LOTR: FOTR
17. The Usual Suspects
18. Psycho
19. Silence of the Lambs
20. Sunset Blvd.
21. The Matrix
22. Dr Strangelove
23. Memento
24. North by Northwest
25. It's a Wonderful Life
26. Se7en
27. LOTR: The Two Towers
28. Inglourious Basterds
29. Léon
30. American Beauty
31. Taxi Driver
32. American History X
33. Vertigo
34. Wall-E
35. Double Indemnity
36. Amélie
37. To Kill a Mockingbird
38. Clockwork Orange
39. Terminator 2
40. The Shining
41. The Departed
42. The Pianist
43. Chinatown
44. Eternal Sunshine of the Spotless Mind
45. LA Confidential
46. Monty Python and the Holy Grail
47. Reservoir Dogs
48. Slumdog Millionaire
49. All about Eve
50. The Maltese Falcon
51. Some Like It Hot
52. Gran Torino
53. Rebecca
54. The Prestige
55. The Apartment
56. Nuovo Cinema Paradiso
57. Amadeus
58. Ladri di Biciclette
59. Back to the Future
60. The Sting
61. Sin City
62. Braveheart
63. Star Trek
64. Batman Begins
65. Hotel Rwanda
66. Jaws
67. Strangers on a Train
68. No Country for Old Men
69. Blade Runner
70. The Wrestler
71. Gladiator
72. Notorious
73. The Manchurian Candidate
74. The Big Sleep
75. Fargo
76. The Wizard of Oz
77. There Will Be Blood
78. Donnie Darko
79. Heat
80. Annie Hall
81. The Sixth Sense
82. Kill Bill Vol. 1
83. Million-Dollar Baby
84. Life of Brian
85. The Big Lebowski
86. Stand by Me
87. Finding Nemo
88. Brief Encounter
89. Dog Day Afternoon
90. The Lion King
91. Gone with the Wind
92. Trainspotting
93. Groundhog Day
94. The Terminator
95. Sleuth
96. The Wild Bunch
97. Toy Story
98. V for Vendetta
99. The Princess Bride
100. The Incredibles
101. 12 Monkeys
102. Children of Men
103. Casino
104. Dial M for Murder
105. The Curious Case of Benjamin Button
106. In Bruges
107. A Streetcar Named Desire
108. Who's Afraid of Virginia Woolf?
109. His Girl Friday
110. The Exorcist
111. The Conversation
112. Bonnie and Clyde
113. Le Scaphandre et le Papillon
114. Changeling
115. All Quiet on the Western Front
116. Manhattan
117. Network
118. Crash
119. Moon
120. Kill Bill Vol. 2
121. Big Fish
122. Good Will Hunting
123. Mystic River
124. Magnolia
125. Little Miss Sunshine

07 August 2009

Revolt on the Finchley Road

Hell hath no fury like Bexquisite with her cinematic preferences scorned. Of this week's new releases, I knew I wanted to see L'Instinct de Mort (part one of the chronicles of the 1960s', John Dillinger of France, Jacques Mesrine) and Adam, even if the latter turned out to be a little soppy and cheesy. I didn't really mind which of the two I saw tonight but then I decided I would see Adam tonight and then catch the Mesrine film after work in Nowheresville next week. Also, Adam was 20 minutes shorter and seemed to start at more convenient times, so Adam it was. I couldn't really face the West End on a muggy Friday night and so Tubed up to Swiss Cottage, which is only a couple of stops from home anyway (I was also impressed to find that there is actually a Swiss cottage there--or, at least, a pub in the style of one).

The Finchley Road cinema was a lot quieter than any of the more central cinemas would have been and as the lights finally went down on the screen, about ten minutes late, there were only about 10 of us in there. As the ads rolled, I soon realised that the curtains were still drawn although at that point, I wasn't bothered and as a couple of people had walked purposefully towards the door, I assumed the problem had already been reported. Part way through the trailers, the screen was turned off and the lights came on. Then it was back to normal as the trailers continued but with the weird concertina effect of the curtains over the top. Two cinema guys were obviously trying to fix them manually but as we reached the end of the trailers and then the "Summer 2009 at the cinema" advert and then the latest offering from Orange, I realised they probably weren't going to be able to fix it.

Indeed, after the trailers ended, a timid guy came to the back of the room and said that unfortunately, due to a technical problem, they couldn't show the film. I had been brooding about the possibility of this for the past ten minutes and was not happy. "Can't you just pull down the curtains given that it's not as though they serve any purpose beyond the pseudo-dramatic way of announcing the film's about to begin?" I demanded. The cinema guy laughed but I wasn't joking and a couple of the other audience members voiced their agreement. I would have minded less if it was the screen or the sound that was broken but those curtains are so pointless.

"Don't worry, you'll get your money back," said the nervous cinema guy.

"I should hope so," I retorted testily, "given that it would be somewhat unfair to charge £9.60 to watch the trailers and the adverts." Eventually, after we made enough fuss, they agreed to give us all a free ticket as well as the refund so I grabbed the programme and found out that the Mesrine film was due to start in five minutes (40 minutes after Adam was supposed to have started) so I asked if I could go to see that and the manager who was, in the end, quite sweet when dealing with some extremely irate customers who'd trekked all the way to Swiss Cottage, said that wouldn't be a problem and I did, in the end, enjoy the film. However:

1) After a somewhat tiring week, I wanted to watch something a bit frothier and an offbeat rom-com set in NYC seemed more like my mental capacity tonight than the gritty tale of a charismatic French gangster.
2) After a somewhat migrainey morning, I was worried about my ability to read French subtitles--although I don't always use the subtitles in French films, I knew part of the movie was set in Canada and I really can't understand Canadian French.
3) If I'd wanted to go to see L'Instinct de Mort, I would have gone to the Screen on Baker Street, which is about 90 seconds' walk from my flat rather than heading for the 'burbs.
4) I did not appreciate the wasted time just sitting around waiting or having to sit through the adverts and the trailers twice.
5) I had already made up my mind to see Adam and I suffer deeply from loss aversion.

As for Mesrine, well, he was a perfectly charming baddie--of course he was because who's going to make a film about a charmless man (other than, perhaps, Damon Albarn)? L'Instict de Mort is the first of a two-part series chronicling the life of Monsieur Mesrine, this part focusing on his formative years. After some bad experiences with France's dodgy dealings in Algeria in the early '60s, Mesrine returns to live with his pleasant, middle-class parents, who try to help him get a job. Working for gangster supremo Guido (Depardieu) is better paid and more fun. Mesrine buggers off to Spain, deflowers some gorgeous local girl (later marrying her), gets into trouble, has several children, goes to jail, comes out, tries to reform but gets fired from his job and so reverts to his former life of crime, leaving his wife to watch as he goes back to his old ways. Later on, he finds his Bonnie and the two go gallivanting around Canada, wreaking all sorts of havoc, robbing banks and casinos, kidnapping rich men and eventually getting caught and sent to prison (in Mesrine's case to a particularly nasty prison that used some pretty horrific torture methods to convert its inmates--in theory--to docile lambs), from which he, of course, escapes.

And it is quite a romp through the '60s, crossing countries and continents. It's a very stylish film, with a cool opening sequence involving several frames which appear to follow the character or characters on screen from several different cameras or in the rear-view and wing mirrors on a car and with a great soundtrack. For all his misdeeds, Mesrines comes across as quite likable, often defending women in an almost chivalrous way (until his wife tries to make him choose between her and his gangster friends) and, later, launching an attack on the prison from which he escapes as a form of protest against the terrible conditions. Of course, the films are based on Mesrine's autobiography so it makes sense that he comes off quite well. Vincent Cassell does a good job with great delivery of the few, well-timed comic lines he gets, though Warren Beatty he ain't. Nor is Cecile de France exactly Faye Dunaway but her small part playing Mesrine's lover and partner-in-crime is well done.

I should really wait for the second part before making a judgement but so far, I'm enjoying the tale of Monsieur Mesrine, l'ennemi public no. 1.

05 August 2009

Dreams of Beans and Steam

"The psychological gap between working in a cafe because it's fun and romantic and doing the exact same thing because you have to is enormous."

These are wise words from Michael Idov, whose new book, Ground Up, has just been published. Several years ago, Idov and his wife decided to open a cool little independent coffee shop on New York's Lower East Side. They wanted to serve great coffee but--more importantly--they wanted to make a living. Unfortunately, when you're dealing with NYC rent prices and competing with Starrghbucks and co., it's actually pretty difficult to bring in enough money even to break even. Even if you and your wife work there full time to save on paying wages to others and even if you switch from yummy, expensive croissants to bigger, cheaper doughier versions on which the margins are a lot greater. In fact, even if you put your heart and soul and an awful lot of money into your coffee shop, making it work as a business certainly isn't as easy as movies and TV shows make it out to be.

For a long time, I had romanticised the idea of opening an independent bookshop-cum-coffee shop of my own and as I have managed a sandwich/coffee shop, known as the Sandwich Shop of Dreams, it's not as though I didn't know that it involves long, tiring days, irritating customers, hours spent wilting over the grills when it's 40 degrees C outside, hours spent cleaning the grills and, also, long periods of boredom (particularly if you are working in a city where the population fluctuates by about 20,000 depending on whether it's term time). It would be different, I thought, if I actually owned the place because I wouldn't constantly have to worry about the owner's random spot checks on cappuccino weights (there is a reason why I am so anal about coffee) and because I would be able to work on The Novel on my laptop in the downtime rather than having to pretend to clean or to create lists of the following day's stock orders I needed to place.

Naturally, although I can bluff my way in business acumen thanks to a range of pop-business and pop-economics books and The Apprentice, I don't know a lot about creating business plans and proposals and, you know, actually working out how to make some money--or even how much money I need to make. I am very organised and I love to work on complex plans but I suspect this would not be enough. The SSoD left me with a whole load of sandwich and coffee contacts, some of whom would probably give me a good rate on their cakes and coffee beans but how would I know what a good rate was?

You can see why the coffee shop has remained firmly in the realms of "pipe dream" and this fact was rammed home to me when a good friend of mine opened his own tea shop. He had been selling posh tea wholesale over the intertubes and while revising for finals at Nero a few years ago, he realised that Nowheresville lacked a nice cafe that made good tea. The shop was great--it was exquisitely furnished and although I'm not a tea-drinker by nature, there really was a huge selection of teas from which to choose, many of which the Tea Baron had personally sourced from various exotic locations. I didn't go as often as I should have--to support the Tea Baron, for one reason, but also because there would always be a huge crowd of current and former students from my college hanging out downstairs and so it was a great place for socialising. But I didn't and it's probably people like me who caused the Tea Baron to shut down the shop. Luckily, the business is still thriving over the internet, so it's not an entirely sad story.

Michael Idov's coffee shop closed down too. Customers would sit nursing a single coffee and surfing the net for too long and not enough people were opting for a quick takeaway coffee. Luckily for him, it wasn't a complete failure because he's now published a book about the experience. It sounds like my ideal scenario--run your own independent coffee shop in NYC for a year and then make enough money to cover your losses by publishing a book about it. I'll definitely have to read the "fictionalised" account; ironically, of course, even though it isn't exactly what you'd call a ringing success story for starting your own coffee shop, I can imagine that the novel will romanticise the experience, simply because the author went through it, landed on his feet and is now enjoying success because of it. Still, as a former coffee-and-sandwich-maker myself, I'm sure there will be plenty of in-jokes and other familiarities for me to enjoy.

04 August 2009

La Vie en Noir et Blanc

I like to shop. Some might even call me a shopaholic (or, at least, a would-be shopaholic) but I'm not the most fashion-conscious girl in the world. Sure, I can give the name and shade of most Mulberry bags and I have some idea about Longchamp and a number of other brands, but I'm no expert. I'm no fan of Audrey Tautou either. It's not really fair to judge her just on the basis of The Da Vinci Code (which I saw on a plane while very jet-lagged) but Amélie grated deeply on my soul and I couldn't bring myself to see Dirty Pretty Things because of it.

It is therefore perhaps rather surprising that I went to see Coco avant Chanel but a girlie-girl friend of mine was keen to see it and as Kermode and Mayo weren't around to diss Amelie Tautou in last week's film podcast, I didn't have a good reason at hand to say no. Going in, I asked the ticket booth girl whether it was a good film. "Yeah, it's good. A bit of a chick flick..." You don't say... The well-heeled cinema-goers of W1 certainly agreed--unsurprisingly, I didn't see more than a handful of men in the audience. The trailers also agreed: The Real the Devil Wears Prada, Julie and Julia and the new, slightly edgier, modern and opposite scenario to Revolutionary Road.

So, Gabrielle Chanel and her sister Adrienne are presqu'orphelines (their mother died and their father buggered off) so off they go to the orphanage, aged nine-ish, hoping their father will come to rescue them. It is not to be. Fifteen years later and here we are in a French town near Paris in the heady, hedonistic '20s. Gabrielle and her sister are performing bawdy music-hall songs and dances in some dingy saloon. Their favourite song is called "Coco," hence her impending sobriquet. The sisters are going to head off to Paris to try to become famous but then Adrienne meets a baron (as one does) who secrets her away to his country abode with promises of marriage. Coco, meanwhile, meets a rich old man with a castle.

He also has lots of contacts so after he leaves the sticks and returns to the chateau, Coco decides to pay a visit. He isn't impressed because he has all his posh mates and actress friends visiting and doesn't want them to see this simply, countryside lover of his. At first they don't get on very well. She doesn't like being ignored by him or being used by him as a way of entertaining his friends (which is a bit rich given that she is using him for his money); he doesn't like her moods. She also has a habit of cutting up his clothes, particularly the crisp white shirts, and using the pieces to customise her clothes. Oh, and she nicks his trousers and refuses to ride side-saddle as well. Quelle brute!

Things start to look up, though, once Coco starts imparting style advice upon Lord Snooty's actress friends and, later, making them hats. They are doubtful at first ("Wot, no feathers? No corset? Are you mad?") but she's pretty good at it and starts to build up a relationship. Enter "Boy," an English wannabe business man who is trying to do some business with Lord Snooty involving coal. He also quite likes Coco but she's pretty hostile--to all men and most women, really--and it takes him whisking her away for a weekend at Deauville, by the sea, before she really falls for him. Lord Snooty is now a little jealous but luckily for him and unluckily for Coco, he knows a secret: Coco's Boy is a something of a player and is also soon going to marry the heiress of an English coal magnate...

That's OK, though, because he'll still finance her chapellerie and pop by for a quickie every time he's in town. This is seemingly quite often but he does complain she keeps abandoning him in favour of her hats, only for her to explain that if he stayed longer, he wouldn't have to keep leaving her. Coco doesn't need men, you see (apart from financially and even then only initially) because she has talent and determination and she will make it.

Yes, it was a chick flick, although at least I get some kudos for practising my French (that said, both Tautou's and Benoît Poelvoorde (Lord Snooty)'s accents were pretty hard to follow). The film itself was beautifully shot and surprisingly colourful apart from the protagonist with her black hair, alabaster skin and muted, neutral-coloured clothes (usually black and/or white). Contrasts were constantly being made with clever little shots--here's a beautiful autumn forest with the ground strewn with orange and yellow leaves and here's Coco in her light brown jacket, white shirt and black trousers; here's a ball where everyone is wearing awful, bright, gaudy dresses and OTT hats with ridiculous feathers and here's Coco in a gorgeous LBD of her own design. Ms Chanel is certainly an interesting character and I didn't find Amelie Tautou particularly annoying. The plot developed quickly enough and while both of the male leads were pretty irritating in their own ways, this was part of the point. It was, after all, 1912-ish and so women really should know their limits--even if they are wearing trousers. It wasn't the greatest film I've seen all year but it was an enjoyable enough way to spend a muggy Tuesday evening.

02 August 2009

Macaroons and Mint Tea; I Must Be in...Marylebone

I've walked past the relatively new Comptoir Libanais, on Wigmore Street on the southern extreme of the quartier, a number of times but have never had the time to stop in. I remember being impressed by a very positive Time Out review of the smart, bright, fun and pretty cheap café. The reviewer's first thought was that it was a great place for breakfast, a quick lunch or afternoon tea/coffee and his second was that there are a whole load of other Lebanese cafés just ten minutes walk away on the Edgware Road and that they're probably a whole lot more authentic (and possibly cheaper). However, the reviewer pointed out that there is a somewhat different target audience at the Comptoir Libanais--the well-heeled residents of Marylebone and shoppers ambling between the back of Selfridges and John Lewis. I can't imagine going to sit by myself with a book and a mint tea in most of the slightly dingy looking cafés on the Edgware Road.

I was just as impressed with the Comptoir as the reviewer. As I'd already eaten lunch, I just wanted a drink and a little something to satiate my sweet tooth--fresh mint tea and a chocolate macaroon seemed like the perfect way to go and £3 bought me a huge pot of a tea and a macaroon big enough to keep my stomach quiet. And--miraculous in London in 2009--there was no "suggested" 12.5% service charge (this was lucky really because although my tea came quickly, I watched my macaroon sit on top of the counter for about ten minutes before I decided to go over and get it myself). They have several colourful, high canteen-style tables at which you can perch, as well as bigger, standard tables at the back of the café and a few tables outside for those rare moments when it's warm enough (although I often see people sitting outdoors at the cafés on the Edgware Road smoking shisha in the depths of winter, I can't really imagine the same happening here).


The food and drinks menus both looked interesting. They have a tasty sounding range of juices (including apple, cucumber and mint) and fresh lemonades (such as apple, mint and ginger) and then cakes (of the French patisserie variety), Lebanese breads (mostly for takeaway), salads, meze and moussaka. None of the options is very expensive (for Marylebone) and my macaroon was yummy (the fresh mint tea was good too, although even I find it hard to mess up putting some mint leaves in a pot of boiling water). I would definitely go back, either for a light lunch or for an lazy afternoon tea with a book, a Moleskine or a friend.

On the way home, I walked past the Villandry, another café in the quartier that I've been meaning to sample (this one also being a bar, restaurant and gourmet food shop) and the thought of a good bacon sarnie might even make me want to head over there for a spot of petit déj before work one day (when I'm not working in Nowheresville, at least).

Comptoir Libanais. 65 Wigmore Street, London, W1U 1PZ (Tube: Bond Street). Website. Twitt.