Sunday, December 9, 2007
I'm Not There, Todd Haynes
Bob Dylan times six.
I resisted seeing this movie because I'm more than indifferent to Bob Dylan--I find him terribly irritating and difficult to stand in large doses. Nevertheless, I saw the film because (1) I generally like the work of Todd Haynes, and (2) M. said that he'd fill in the interpretive gaps, if necessary.
By and large, I found the film self-sufficient. Despite its intense intertextuality, it doesn't require much knowledge--not even any admiration of Dylan in order to enjoy and appreciate the film. As most know, Hanyes created 6 characters (played by Cate Blanchett, Ben Whishaw, Heath Ledger, Christian Bale, Richard Gere, and Marcus Carl Franklin) to represent the multiple roles Dylan has projected to the world since he abandoned Bob Zimmerman. From the pre-adolescent black actor playing the Woodie Guthrie wanna be, to the uberhip Jude, we see the performance of the persona called Bob Dylan.
Recommend.
I resisted seeing this movie because I'm more than indifferent to Bob Dylan--I find him terribly irritating and difficult to stand in large doses. Nevertheless, I saw the film because (1) I generally like the work of Todd Haynes, and (2) M. said that he'd fill in the interpretive gaps, if necessary.
By and large, I found the film self-sufficient. Despite its intense intertextuality, it doesn't require much knowledge--not even any admiration of Dylan in order to enjoy and appreciate the film. As most know, Hanyes created 6 characters (played by Cate Blanchett, Ben Whishaw, Heath Ledger, Christian Bale, Richard Gere, and Marcus Carl Franklin) to represent the multiple roles Dylan has projected to the world since he abandoned Bob Zimmerman. From the pre-adolescent black actor playing the Woodie Guthrie wanna be, to the uberhip Jude, we see the performance of the persona called Bob Dylan.
Recommend.
Saturday, December 8, 2007
Sunday, December 2, 2007
The Prairie Home Companion
Saturday, 1 December 2007, 5:45 pm
New York City, Town Hall
For years, we've been promising ourselves to grab an live taping of PHC when it makes its annual stay in NYC. This year, a friend and fellow PHC enthusiast, snatched tickets as soon as they went on sale and invited us to go with her.
In addition to the regular cast, Inge Sweeringen, Joe Ely (from Lubbock, Texas!), and Joel Guzman performed. Ely, backed by Guzman's accordian, performed several ballads--much better suited for this than providing two-step tunes at Cold Water Country thirty years ago. Sweeringen's jazz renditions and scat-singing were in the Ella Fitzgerald tradition.
My favorite comedy sketch was the parody, "Sounds of Sickness," probably because I've been suffering from a head cold for over a week. Interesting to watch him extemporous the "Lake Woobegone" tales.
New York City, Town Hall
For years, we've been promising ourselves to grab an live taping of PHC when it makes its annual stay in NYC. This year, a friend and fellow PHC enthusiast, snatched tickets as soon as they went on sale and invited us to go with her.
In addition to the regular cast, Inge Sweeringen, Joe Ely (from Lubbock, Texas!), and Joel Guzman performed. Ely, backed by Guzman's accordian, performed several ballads--much better suited for this than providing two-step tunes at Cold Water Country thirty years ago. Sweeringen's jazz renditions and scat-singing were in the Ella Fitzgerald tradition.
My favorite comedy sketch was the parody, "Sounds of Sickness," probably because I've been suffering from a head cold for over a week. Interesting to watch him extemporous the "Lake Woobegone" tales.
Saturday, December 1, 2007
Iphigenie en Tauride, Christoph Willibald Gluck
1 December 2007, 1:30 matinee
Metropolitan Opera, New York City
Featuring Susan Graham as Iphigenie and Placido Domingo as Orestes, this was only the second Metropolitan Opera production of Gluck's senuous 1779 opera. (The first was in 1917!)
The opera is full of beautiful arias and choruses. I thought the highpoint was the final chorus followed by the reconciliation scene.
Beside the lovely music, the staging was particularly effective. I especially liked the split-screen effect that helped keep the two narrative strands parallel, even as the characters were ignorant of each other's movements. The most striking image occured in the final scene, when the priestesses lined the sacrificial alter with flower petals as they sang praises to "Diana, Chaste Daughter of Leto." A (daring?) moment occurs after Iphigenie has learned Orestes' identify; quietly mourning for the death of her mother (at Orestes' hands), it is momentarily unclear whether she will actually reconcile with Orestes. The reconciliation becomes evident only only once she drops her mother's green scarf then embraces Orestes.
This particular production make wonderful use of a smart, 10-person ballet troupe.
All the all, the production fit the opera: simple but opulent.
Metropolitan Opera, New York City
Featuring Susan Graham as Iphigenie and Placido Domingo as Orestes, this was only the second Metropolitan Opera production of Gluck's senuous 1779 opera. (The first was in 1917!)
The opera is full of beautiful arias and choruses. I thought the highpoint was the final chorus followed by the reconciliation scene.
Beside the lovely music, the staging was particularly effective. I especially liked the split-screen effect that helped keep the two narrative strands parallel, even as the characters were ignorant of each other's movements. The most striking image occured in the final scene, when the priestesses lined the sacrificial alter with flower petals as they sang praises to "Diana, Chaste Daughter of Leto." A (daring?) moment occurs after Iphigenie has learned Orestes' identify; quietly mourning for the death of her mother (at Orestes' hands), it is momentarily unclear whether she will actually reconcile with Orestes. The reconciliation becomes evident only only once she drops her mother's green scarf then embraces Orestes.
This particular production make wonderful use of a smart, 10-person ballet troupe.
All the all, the production fit the opera: simple but opulent.
Prairie Home Companion
After listening to PHC for years on the radio, it was great fun to see the show live at Town Hall in NYC.
Recommend, with enthusiasm.
Recommend, with enthusiasm.
Friday, November 30, 2007
The Darjeeling Limited. Wes Anderson, director
Not overly complex tale of three brothers who feel underloved by their mother and who cling to their grief after the death of their father. Through the extravagent orchestrations and manipulations of the oldest brother (Francis, played by Luke Wilson)--whom we come to discover is not unlike his mother (played by Angelica Huston)--the brothers travel by train through India in search of the mother whose become a nun at the base of the Himalayas. In the process, they "work through" their own hang ups and bond.
Visually, this movie was like watching an old Bob Hope and Bing Crosby travel farce--except I never laughed. At first I thought the timing was off; however, I now think that it had to do with the underlying meanspiritedness of each of the main characters. Hijinks that would have happened to more naive characters might have seemed less forced and therefore a funnier. Here, they are not. Same for what are supposed to be touching moments.
Very interesting soundtrack. Visual interest.
Visually, this movie was like watching an old Bob Hope and Bing Crosby travel farce--except I never laughed. At first I thought the timing was off; however, I now think that it had to do with the underlying meanspiritedness of each of the main characters. Hijinks that would have happened to more naive characters might have seemed less forced and therefore a funnier. Here, they are not. Same for what are supposed to be touching moments.
Very interesting soundtrack. Visual interest.
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