Everything is so up at the NYFF 55, it makes my heart sing! Not the least of which is their big tribute to the tiniest of French Grande Dames du Cinema, Agnes Varda. My latest review at Awardsdaily.com on the great French icon. I called it “Hot at 89” And it was published within minutes! Beautiful lay-out by Sasha Stone and her gifted editor Ryan Adams! Merci a tous, as Agnes would say.
Archive for the ‘Travel’ Category
I wonder what’s going to happen to Louise Penny’s latest novel, hot off the presses, “Glass Houses”? It’s her 13th in a row Inspector Gamache novel. And USUALLY she hits it out of the ball park every time, but this time…Well, she’s a crime/mystery writer the world has fallen in love with, even though she’s an Anglo-Canadian writing about our beloved Montreal and the province of Quebec, where she lives.
“Glass Houses” was written very fast. It seems like the last one “A Great Reckoning” only came out last week, but actually it was last year. But still, a new book, EVERY year! I mean, that’s an incredible achievement by any definition and she’s been called “the new Agatha Christie”, which is also an incredible accolade. (She’s won Agatha Award six times!) And she sells! She tends to debut at #1 on the New York Times Bestseller list.
And it’s really difficult to write about her Chief Inspector Gamache books, because you don’t want to spoil anything. But I will say this. This is my least favorite novel of hers, so far. And I’ve read them all!
Don’t worry die-hard Gamache fans he’s very much front and center here, and Penny has created a great character in him, her lead detective. He’s retired now and living in Three Pines, the wonderful, mythical Quebec township town she’s created. It’s not real, but it’s setting is continuously beguiling and I really want to eat at the Bistro of Gabri and Olivier, right now!
Food is mentioned often, but not as much in “Glass Houses” but the Bistro Gamache fans NEED to know is where most of the action, and the eating, mais oui, happens. And Kudos to Penny for putting two very original gay Bistro/B&B owners front and center in her books. Gamache has a gaggle of sorts. What’s the French word for “Posse”? Maybe it’s posse, too, and they are all on hand, and there’s so many of them now that the ensemble tends to push the new characters almost out of the book completely.
It must sound divine to Penny fans, but — this time…
“Glass Houses” I found confusing. There. I said it. You need to know that it switches back and forth in time and seasons and locales. It’s hard to follow, until you realize that the trial that takes up half the book, is set in Montreal in the summer. Just WHAT and WHO is on trial for WHAT is also confusing. It’s made clear at the end but by then my patience with Gamache & co. was more than a little frazzled.
Then her masterpiece Ruth Zardo the crazy, foul-mouthed Octogenarian poet whose pet duck Rosa comes on. And then Gamache’s PERFECT wife Reine-Marie starts exerting her charm, and they all dine at the beautiful, homey bistro and you realize that Louise Penny is really above criticism at this point.
Especially, considering she wrote this big 400 page tome as her beloved husband, Michael, in real life, was dying.
Which kind of exemplifies the dark, threatening figure that keeps appearing on the Village Green one cold, rainy November day…Wait! How did we get to be in November? I thought it was July! Well, “Glass Houses” keeps switching back and forth, yes, confusingly.
Penny really returns to form(she really is an exquisite writer) in of all places the Author’s Note, which is at the end of the entire book. She writes feelingly about her husband’s death and ends with the lovely thought “The final thanks is to you, my friend. For your company.The world is brighter for your presence.
All shall be well.”
What a delicious, French, binge-watching treat is ahead for all those Francophiles out there, cineastes all, who may not yet be familiar with one of the seminal works of French cinema! It’s the maestro of maestros Marcel Pagnol’s magnificent “Marseilles Trilogy”. Critierion is now issuing a delicieux boxed set of all three films, “Marius”, “Fanny” and “Cesar,” plus a hefty “Supplementaire” disc and book, so by the end of enjoying this summertime delight, you, too, can feel you really ARE on the French Riviera, albeit in the 1930s and in black and white.
Over the course of the three, two hour-plus films, we become enthralled with the star-crossed love story of Marius and Fanny, as their thwarted tempestuous amour fou echoes down the generations of this vivid-cross-section of French MIDI life. The MIDI of France is the southern part. And the accents and the behavior of Les Marseilliase are VERY different from the Parisiens up north. Even a character, Monsieur Brun, who is from Lyon, gets the raspberries for being stuck up and too bourgoise for the VERY working class souls who frequent Cesar’s Cafe de la Marin, where much of the action takes place and his dreamer of a son, Marius works for him as a bartender/waiter.
The larger than life Cesar is played to perfection by the legendary Raimu, who Orson Welles described as “the greatest actor of our time.” Coming from the music halls and burlesque world of the MIDI, Pagnol really “discovered” him by making him the central character of the Trilogy, and also giving him one of the greatest roles of his, or anyone’s lifetime. Sort of a French Jackie Gleason, he mesmerizes whether he is shouting at his wayward son Marius (Pierre Fresnay) or trying to placate the confused young Fanny (Orane Demazis). He dominates all he surveys.
The dashing Fresnay ( he pronounced it “Fray-nay”) became quite the huge French movie star after the incredible success of “Marius.” The great Raimu was worried about him, as Marius, though, because he was the only lead actor from “the North.” He was Alsatian. But Fresnay was a total perfectionist and studied the quirky Marseilles accent for months.
When the cast was rehearsing, he was missing for three weeks, says Pagnol, in an interview, chuckling at the memory. Fresnay was working as a waiter at a sea-side bar in Marseilles, just like his romantic character, who is torn between his love for the sea and for his Fanny. His Marius is totally believable and moving in every aspect. “I knew he would be great in the role, and he was!” says Pagnol smiling.
And Fresnay’s accent is perfection. I couldn’t tell. Sir Alec Guiness called him his “Favorite Actor.”
Pagnol was the great pioneer of location shooting, so we become VERY familiar with the grande charme of Marseilles, here depicted as a fishing town that is growing and growing into the thriving seaport it would become. That Pagnol loved his home town and the brilliant actors and technicians all from the South of France is evident in every frame. He is the one who revealed them all to the world for the first time. People were stunned that there were such good actors from “the South” and that not all the talent in France was concentrated in Paris!
I was lucky enough to be in La Belle Marseilles once myself. When in the early ’80s I was actually at the Cannes Film Festival with a movie I was actually IN with Divine.(I was Miss Bronx) It was Andrew Logan’s “Alternative Miss World” and still ranks as my only feature film.
ANYwho- I lost my passport and had to go to the American Embassy in Marseilles which was a delightful train ride along the Riveria. I still remember the beautiful sunshine and the smell of the sea. Marseilles is really the seaport town to end all seaport towns. I remember the subway stop having a fish-tank/aquarium set beautifully right into the blue mosaic-tiled wall of the subway station. I had bouillabaisse for lunch. And I still remember it as being the best bouillabaisse I ever ate! Bien sur! It was in Marseilles!
Though this 4-disc + booklet box of joy is complete in every aspect of Pagnol’s incredible work, and Fresay and Raimu both get more than their due, I thought it odd that the petite jeune fille, Orane Demazis who played the heroine , Fanny, in this tres masculine world, was all but completely ignored. Turns out she was Pagnol’s mistress who actually bore him a child during the making of “Marius” and “Fanny”! How totally French!
Having spent a large part of the past 17 years traveling to Canada and reporting very positively on Canadian culture, once again, I was not surprised by the fact that one of the hottest tickets on Bway right now is, of all things, a feel-good musical about 9/11! No, I’m not kidding. Only Canadians could have written this foot-stomping and even funny look at a tragedy, that I who was also stuck in Canada while it was happening can verify. I was trapped at the Toronto Film Festival with my camera crew of three. We were lucky. We had TRAIN tickets so we could get out of there as scheduled. But no planes were flying. FOR DAYS!
Which is what “Come From Away” is dealing with. It’s the rather arcane story(on paper) of some 7000 passengers getting diverted to Newfoundland, a small island in the far eastern part of this very large and large-hearted nation. “Come From Away” is the most positive take on Newfoundland I’ve ever seen and so enjoyable it makes the case very well for Americans, who are restive and restless in this particularly troubling time in our history to just get on a plane, boat or train as soon as possible and move there, lock, stock and barrel. Which is what “Come From Away” tries to depict. And the openness, do-good-ed-ness, politeness and warmth many American will find a tad unbelievable. But it’s true. Yes, they ARE like that. Meryl Streep recently called them “the nicest people in the world,” and I think she’s right.
Newfoundland, particularly, as strange as it may seem, is the butt of endless Canadian jokes, akin to our own misguided Polish jokes. As in “How many Newfis does it take to screw in a light-bulb?” etc.
But not the Newfoundland in “Come From Away”. The husband-and-wife writing team of Irene Sankien and David Hein, Torontonians both, have done their homeland proud here. The strangest thing that their Newfis offer to the “plane people” is their tradition of kissing a fish(pictured above and also below),And yes, that’s Drama Desk nominee and Broadway stalwart Chad Kimball as the put-upon gay fish kisser, Kevin I. Yes, there’s a gay couple on the stranded plane, too, who are both named Kevin. “It was cute at first, but then it got old” says one Kevin.
Kimball is also called upon to play President George W. Bush, and he does it with raising nary a snicker. The Other Kevin, the amazingly versatile Cesar Samayoa also plays a Muslim, and many other dizzying roles. The whole singing cast of twelve is made to seem like a cast of thousands in that respect as they flash instantly from one role, and one accent and nationality, at the speed of light.
In such a strong ensemble, it seems unfair to single out individual actors, but I have to mention another Broadway bright light Jenn Collela, as the pilot of one of the grounded planes. She gets almost the only complete solo in “Come From Away” as she sings about her girlhood dream of becoming a pilot in the on-point “Me and the Sky.”
I wish some of the other characters were more developed. Kimball ALMOST gets a solo in “Prayer” but then others join in. It’s hard to sit for an intermission-less 90 minutes, and try in identify with an amassed crowd, as opposed to single characters. But I’m old-fashioned that way. I like characters. In plays. In musicals. On film. And this is the flaw in “Come From Away” and leads to many of its’ distressing lulls.
It’s got a rousing opening number “Welcome to the Rock” that the entire cast sings and I wish there were more songs like this. The great Christopher Ashley as director whips them into a frenzy, as much as he can. It’s hard to whip a singing throng.
This is currently being talked up as a possible Best Musical of the Year. But against “Natasha, Pierre and the Great Comet of 1812” which is just across the street, I wonder….I play the music for “Natasha, Pierre…” morning, noon, and night, and I’m talking about the ORIGINAL circus tent Off Broadway cast album which stars Phillipa Soo. And now, FINALLY, they’ve recorded Josh Groban and the Original BROADWAY cast singing it, which is due in stores any minute now….
“Come From Away” is a musical that is incredibly timely in that it’s not too early and not too late in the cultural conversation to be embraced and enjoyed for its’ light-hearted look at a national tragedy.
It’s recency cuts both ways.
I must say, I resisted “La La Land” for the longest time imaginable. I, a musical comedy queen par excellence, just did not believe the hype, that this small scale musical(seems like there’s only two people in it) couldn’t with one fell swoop bring Musicals back to the movies? And go on to win Every Single Critics Best Picture Award in the book? And have a real shot at winning the Best Picture Oscar, too? And a singing and dancing Emma Stone was going to waltz her way to the Dobly Pavillion and dance off with her own Best Actress Oscar, too? Well, that’s exactly what happened. To this film with the ridiculous title. It’s winning everything.
And I finally saw it and I fell in love with it.
Starring two of the most beautiful people in the world, the aforementioned Emma Stone and the dazzlingly handsome Ryan Gosling, they not only sing their way into your heart, they dance there, too! And Ryan Gosling turns out to be an ace jazz piano player, and plays all the film’s musical numbers himself. Yes! With his own real hands! Brilliant 32- year- old director, a Hollywood wunderkind, if ever there was one. Damien Chazelle might be dancing with more than one Oscar in his hands come Awards Night.
He’s done the impossible. He’s single=handedly brought musicals back to the movies, and he did it last year, too, with the astounding debut film “Whiplash.”
Which, for all its’ dramatics, was really a musical too. About Jazz, again. And both films are going to go down in Hollywood history as will Stone, Gosling, and Mandy Moore the brilliant choreographer. And yes, there is a third part in this film, too, J.T. Simmons, the sadist drum-teacher of “Whiplash,” which won him an Oscar last year. Here he’s a uber-nasty manager of the nightclub of sorts that our Hero Sebastian, (Gosling) has been reduced to playing Christmas ditties in.
“La La Land” is the perfect film. For this year. It’s total escapism, and that’s what we all need right now. It just seems impossibly wonderful and harks back to all the great Movie Musicals of the 1930 through ’50s.
Being a song and dance man myself (I’ve also written MANY musicals myself, way back when, and an opera, too), I know what Seb (as she calls Gosling) and Mia(Stone) are going through. And it’s total rejection almost all the time. That’s Show Biz. And that’s particularly LA, where I lived for one year, and wondered how the dreams were manufactured that got me there.
“La La Land” is a love poem to LA. And I have never seen it look so gorgeous. The cinematography is candy coated and Ms. Stone wears bold, single colored costumes. After a particularly brutal audition experience, she walks sadly down pinkish Hollywood streets in a royal blue dress. She later wears a solid yellow. Redheads are NEVER supposed to wear yellow, but Stone does, and she’s forever going to be associated with the “little yellow dress” that she’s seen dancing with Gosling as he falls in love with her.
Oh yes, Stone is playing the ultimate Aspiring LA Actress. She’s so frustrated, she starts writing her own play, a one woman show for herself. I can related. I’ve done that, too. And she doubles her despair by becoming a playwright/actress.
And she doesn’t understand or “get” jazz. So. of course, she’s at cross-purposes with Seb, because he’s the ultimate jazz aficionado, who wants to own his own jazz club some day. She wants to be a star. And somehow, through the magic of movies, they find each other and fall predictably in love, but not toooo predictably.
“La La Land” starts with a massive traffic jam on a highway(some things never change. I hate cars. I hate smog. And I hated LA until I saw this lovely picture.) The entire stalled group of honking horns and frustrated drivers then inexplicably burst into song and dance. “Another Day of Sun,” which I found a bit much. Seb and Mia don’t sing and dance here. He honks his horn at her. She gives him the finger, and drives off. This I could relate to.
But “La La Land” is a slow burn. It’s takes it’s time getting to where it wants to go, but boy, oh boy, when it gets there, it just KILLS you. I just couldn’t stop the tears. And in this last part of the movie, Emma Stone goes from being just Emma Stone, who we’ve now seen for years, the almost garden variety movie ingenue doing almost the same raspy-voiced, big-eyed schtick, suddenly transforms into the great Screen Goddess we all hoped she would be, and she turns into an actress of such unexpected depth and poignancy, as well as beauty, that glows like uranium, or more accurately Oscar gold.
E.T.A. “La La Land” just led the pack with SEVEN Golden Globe nominations! More on this later.
A great actress is bestriding Broadway at the moment. Janet McTeer walks among us, and we all must pay homage to this great, great stage actress in her latest triumph “Les Liasions Dangereuses” And bestride the stage she does, for she is exceedingly tall and inevitably dominates every other actor and every minute she appears before us ands burns up the stage she is standing on..She’s a one-woman conflagration.
Seen just this summer as of all characters Shakespeare’s Petruchio, in the all-female “Taming of the Shrew” in the Park this July, she was totally convincing as a lascivious man. Playing him as a drugged-out Stephen Tyler-type rock star manqué, in blue jeans and leather, I totally forgot she was a woman. A better female-to-male drag performance I have never seen.
And now, in “Les Laision Dangereues” she is all woman and totally dangereuses. And we must herald her being here on Broadway so soon and in such a different swoon-worthy role. While her Petruchio was a total roue, her Marquise de Merteuil is the embodiment of pure. perfect feminine evil. She smiles as she kills.
She is the bored aristocrat at the center of Choderlos de Laclos’ constantly revived French classic play from the early 1780s, depicting in extremis the debaucherie of the ancien regime. And explaining fully just what was leading up to the French revolution in which it is quite probable that the duplicitous Marquise would have been the first to lose her lovely head.
But then again, perhaps not. She’s far to smart for that. A fashionable widow who may have killed her first and only husband, she wants nothing to do with re-marriage, because marriage she proclaims “is being told what to do.” And instead of sex, she revels in playing games with the men(and it is implied) the women around her. The Marquise will do anything for what she terms “the game.”She entices her former lover the Vicomte de Valmont into a bet, which is really a dance of death, of who can seduce who, and faster, of the hapless country dupes that surround them. And she wants written proof, too, in the form of a tear-stained letter!
Janet McTeer’s main problem apart from being so overwhelming tall is that she is such a powerful actress she tends to blow everyone else right off the stage. And in “Les Liasions…” she does so again.
Unfortunately I have to report that one of America’s foremost young actors Liev Schreiber is a mere nothing here. Uncomfortable in heels and 18th century wigs, frills, and hose, he is a virtual blank against the astounding, fiery Ms. McTeer’s blazing Marquise.
The two destructive seducers at the center of this viler than vile behavior need to be evenly matched, and they surprisingly are not. The six foot four Schrieber matches McTeer in height, but little else.
Though I have admired him since his days at the Yale School of Drama, he is totally at a loss here, and not convincing at all as the dissolute lothario he is meant to be. His usual charisma is dulled and he seems ill at ease and actually miscast as the supposed equally maleficent Valmont. He’s not sexy in the least. Worse, he seems to be phoning the Vicomte in. He is plodding as McTeer is magisterial. And on fire.
McTeer swoops and dives across her victims on the stage as Schreiber bores them all to death.
Only the Danish actress, Brigitte Hjort Sorensen holds her own against them in the supporting role of the doomed, puritanical Madame de Tourvel.
But any chance to catch the bewitching McTeer onstage live is well worth the price of admission and she is giving one of her greatest performances ever as the epitome of French perversion, all the while smiling, and simpering and dithering and consoling those she is destroying in the most aristocratic of British accents. Her Marquise de Merteuil is the greatest interpretation of this often revived role that you’ll ever see. McTeer is absolutely top drawer as she opens the drawer, withdraws the stiletto within and stabs you through the heart. She’s chilling and beguiling and not to be missed.
Edgar Remirez and And de Armas two of the hottest, rising stars of the Hispanic world, or any world, chat about how proud they are of their new movie “Hands of Stone”. Just out from the Weinstein co, the film is a biopic of the life of legendary Panamanian boxer Roberto Aranas. Filmed completely in Panama and co-starring Robert De Niro as his trainer and rock star Usher doing his first serious boxing, and acting role as Sugar Ray Leonard.
Editing by Kevin Teller
#Edgar Ramirez #Hands of Stone # Ana de Armas # Roberto Aranas
#Panama #Boxing # Boxing Movie # Robert de Niro # Usher