“It’s May!” (Camelot)
Posted on May 1, 2012 at 8:00 am
Vanessa Redgrave sings “It’s May” from the Lerner and Lowe musical Camelot
Remake of “Steel Magnolias” with Queen Latifah and Phylicia Rashad
Posted on March 23, 2012 at 3:45 pm
I was thrilled to hear that Lifetime is working on a remake of “Steel Magnolias” with Queen Latifah as M’Lynn (the part played in the movie by Sally Field), Phylicia Rashad as Clairee (played in the movie by Olympia Dukakis), Jill Scott as beauty salon owner Truvy (played in the movie by Dolly Parton) and Alfre Woodard as the irascible Ouiser (played in the movie by Shirley MacLaine). Rashad’s daughter Condola will play Shelby, a character inspired by the playwright’s sister, who died of complications from diabetes but who would “rather have 30 minutes of wonderful than a lifetime full of of nothing.” This is a dream team of performers and I can’t wait to see what they do with this juicy story.
Happy Leap Day!
Posted on February 29, 2012 at 7:00 am
Celebrate the day we observe just once every four years with The Pirates of Penzance
Carnage
Posted on January 12, 2012 at 6:23 pm
Some boys are arguing in a park but we are too far away to hear what it is about. One of them whacks another in the face with a stick.
And then we are in a spacious apartment as the parents of the two boys are at the computer, finishing up a joint statement about what happened. The parents of the boy with the stick are Nancy and Alan Cowan (Kate Winslet and Christoph Waltz), who have come to the home of the boy who was hit, Penelope and Michael Longstreet (Jodie Foster and John C. Reilly) for a civilized conversation about what happened. Everyone is polite, even gracious. The Longstreets have decorated for guests with a vase of tulips and offer homemade cobbler. The Cowans compliment their hosts. There ar social smiles and reassuring comments all around. The Cowans walk toward the elevator to go home.
And then — they don’t whack each other in the face with sticks. It’s much worse than that.
Based on the Tony award-winning play by French playwright Yasmina Reza and scripted by Reza and director Roman Polanski, this is a sly and ultimately devastating story about the thin veneer of civilization and its uneasy co-existence with the savage spirit within us all. If things had gone well, the Cowans might have made it to the elevator and as soon as its doors closed both couples would have immediately started talking about how impossible the other couple was and how superior their own child was. But the Cowans just can not let that last statement go, so they march back into the Longstreets’ apartment to begin to attack, first with thinly veiled digs, then with stark, direct statements, then with insults, then with chaos.
This is not just about the social hypocrisy of privileged New Yorkers. The play was originally French and the director is originally Polish and famously living outside the United States to avoid imprisonment for statutory rape. Its treatment of its characters is as brutal as their treatment of each other. Every shred of pretense is stripped away — the pretense of a loving relationship, of being good parents, of concern for the injured child, of concern for each other and for the world at large. Everything politely overlooked in the first half hour (Alan’s constant interruptions to answer his cell phone to defend a drug in litigation over the adverse side effects, a cherished item, the tulips, the merits of the cobbler) comes back up (literally and graphically, in the case of the cobbler). The Longstreets bring out the hard liquor and cigars and alliances shift from couples-based to gender-based to everyone for his and her self. Reza makes it about more than the fatuous insularity of upper-class New Yorkers but does not go overboard. When Michael trashes Penelope’s concern for the deprivations and injustice in Africa, both are portrayed as insular and unhelpful. And a hopeful note in a coda shows her to be gentler with her characters than they are with each other.
The War Horse
Posted on December 23, 2011 at 12:30 pm
The second Steven Spielberg movie of the week opens on Christmas Day, a grand epic, is big, long, ambitious, and showy. It is a work by a master, but it is not a masterpiece. Every detail is carefully considered. Every leaf on every tree is perfectly aligned so that every sunbeam and shadow fall perfectly across them. Every equine muscle, every country cottage, every blade of grass, every puff of smoke from a discharged weapon is exquisitely framed and lit, but the visuals outweigh the story. The result is serviceable but stodgy, stuffy, and static. The poetry and symbolism of the stage play (with a multi-operator puppet as Joey) is replaced by postcard-picturesque images that are visually rapturous but feel thin in comparison to the movie’s aspirations.
It’s “Black Beauty Goes to War,” the story of a magnificent horse named Joey and Albert (a dull Jeremy Irvine), the boy who loves him. When World War I begins, Albert’s father sells Joey to a gallant young officer (Tom Hiddleston), who promises Albert he will do everything he can to keep Joey safe and get him back home after the war. But war has a way of changing everyone’s plans and soon Joey is on his own journey that will take him back and forth between the British and the German forces and, for a short idyllic time, a respite with a frail but brave little French girl and her affectionate Grandfather. The horse can switch sides in a way that a human cannot, and the movie makes clear the difference between the soldiers who are taken prisoner and shot and the animals who are inherently neutral and thus commoditized. The brutality of war affects the human characters differently as we see in their responses to the animal.
The sweep and grandeur and tragedy of the film pay homage to majestic WWII-era filmmakers like John Ford, with gorgeous cinematography by Janusz Kaminski. One quiet scene of breathtaking power recalling the real-life Christmas truce reminds us of our better angels. But it also reminds us of Spielberg’s better films.