a.k.a. "The Oscar Messenger"

Posts tagged ‘Paris’

“Bernhardt/Hamlet” She’s great. The play is not.


A theater goddess walks among us. Clearly, British actress Janet McTeer is one of the greats. Anyone who saw her “Doll’s House” back in the day can attest to this. Anyone who sees Theresa Rebeck’s half-baked “Bernhardt/Hamlet” will wonder why this acting colossus is attempting this pygmy play.

And of course, the answer is “There are no great parts for women.” Or few great parts as the play makes abundantly clear. Over and over and over again. Pedantic, didactic and I agree with playwright Rebeck’s conclusion. And frustration. But the means she uses to execute her thesis, and this is a thesis play. Collegiate. If she were in college, and she wrote this at the time she was in college, say roughly the 1970s, it may have seemed like something sparkling and new, but as “Bernhardt/Hamlet” as presented on Broadway by the redoubtable Roundabout, it is trite, trite, trite.

However the sublime Janet McTeer makes you almost forget all these things. Almost. If  Hamlet was a vivacious housewife who just solved her servant problem.And she is surrounded by some of the best young actors working today. Dylan Baker, Matt Saldivar, Nick Westrate and main among them, Jason Butler Harner. And they are all defeated by this mediocre material that the Roundabout is trying to foist on us as a silk purse, when it’s really the sow’s ear. Or in this case, the entire sow.

McTeer is a gargantuan presence. She is six-foot five at least, with the deepest and most resonant of voices. She has played many, many male roles herself, recently a remarkable Petruchio, in the Public Theater’s Shakespeare in the Park’s all female “Shrew” a few seasons back. And on-screen she was the transvestite lover of Glenn Close in “Albert Nobbs.” So she is no stranger to cross-dressing. Nor, evidently, was the diminutive  Bernhardt, who was barely five feet.

Considered to this day, the greatest actress of the 19th century, she was a dyed-in-the-wool eccentric. She slept in a coffin. She had a leopard for a pet, and wore a hat made out of bats’ wings. The only way we non-time-traveling mortals can experience her greatness today is by reading about her in the many, many books and biographies of “La Divina” as she was known. And the contemporary reviews of her critics. Don’t forget the critics! George Bernard Shaw and Oscar Wilde both adored her and wanted her in their plays.

None of this is in “Bernhardt/Hamlet.” Rebeck the writer makes her seem smaller than life and seems to have tailored this play as simply as a vehicle for the dynamic McTeer. Who deserves to have plays written for her. Just not this one.

She seems like a socialite, a gad-fly, someone who likes to have a beer and pal around with the guys, rather than sleep with them. She had many, many lovers and yes, McTeer kisses Butler Harner (As Edmund Rostand) again and again and again. As if to prove some kind of heterosexual point.

The great French playwright wrote “Cyrano de Bergerac” for her, but the part of Roxanne is hardly what you remember Cyrano for. And she chastises him, but he doesn’t make the part any better, and she still continues her affair with him. And yes, they kiss and they kiss and they kiss at every opportunity. Rebeck even presents us with Rostand’s wife,(Ito Aghayere) who in a very bizarre scene, seems to condone the affair, but that’s about as eccentric as this earth-bound Berhhardt is allowed to get.

Rebeck  has made the great Bernhardt seem very everyday as an actress. She seems remarkably superficial, constantly complaining the Shakespeare’s greatest play had too many words  in it. And constantly going “up” (forgetting her lines) in rehearsals, which this Bernhardt seems to treat as a schlog and a joke.

Ah! But then McTeer is allowed to do “Hamlet” straight on, it is just wonderful. And a great gift to those who witness it. There are only TWO niggardly moments that Rebeck allows her to play Hamlet at full throttle..

At the beginning of Act Two, she gets to do the entire “What a piece of work is man” scene with Rosencrantz and Guildenstern. And she and Dylan Baker play the Ghost scene as if it were a love scene and it works. (pictured above^)How it works! These two moments really are worth the price of admission. I just which we had a chance to see the great Janet McTeer do ALL of the real Hamlet and not just this shoddy imitation.

And would that the witty and wonderful late playwright Wendy Wasserstein was still with us. SHE would’ve made Bernhardt scintillating, rather the mundane feminist Rebeck leaves us with.

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Elizabeth Williamson, new Associate Artistic Director, Hartford Stage

It is my great pleasure, dear readers, dear cineastes, dear lovers of theatre to introduce you to the very exciting and dynamic Elizabeth Williamson, the newly appointed associate artistic director of the Hartford Stage. Elizabeth has studied in London under Mark Wing-Davey, who is now the Head of NYU’s great Grad Acting program, and also at L’Ecole Jacques le Coq theatre in Paris, as well as being the Dramaturg at the Hartford Stage under the direction of Darko Tresnjak.

Elizabeth was the dramaturg and very involved with the development of Matthew Lopez’ new play “Reverberation” which I liked so much when I saw it in Hartford earlier this year. Her parents were both poets and she has a very bright future in the American Theater in front of her.

Of Two “New” French Musicals on Bway, “Gigi” Bubbles to the Top

Gigi 1Of the two “brand new” French musicals on Broadway, “Gigi” is by far my favorite of the two. If I had to pick. And I do. This being theater awards season and all.

I just loved “Gigi” more than I did “An American in Paris”. Both opening inexplicably within days of each other on the Great White Way. And both based on the Oscar-winning movie musicals, both set in Paris, both directed by the great Vincente Minnelli, and both films starring the ever-soignee Leslie Caron.

I was utterly captivated by this “new” “Gigi” now starring the tiny little Disney starlet perky Vanessa Hudgens. I was really ready to not like what this revival of “Gigi”, one of my favorite films of all time, portended. A French “High School Musical” which is Ms. Hudgens’ prior claim to fame.

But it completely captivated me.  Why? Well, it was almost like discovering a new Lerner and Loewe musical from when they were in their prime.

“Gigi” was based originally on a novella by the great French writer Collette, which was then turned into a play(without music) starring the young and then-unknown Audrey Hepburn. It was a hit in 1951 and launched Hepburn’s career..

Then Vincente Minnelli and Lerner and Loewe decided to musicalize it  this time as a movie, and voila! It won NINE Academy Awards including Best Picture, and was an international hit movie(as was “An American in Paris” also a superb film, but more on that later.)

THEN, in a little-known side-bar to American Musical Comedy history, it was made into a Broadway musical adding in more music in the early ’70s with Alfred Drake and Agnes Moorehead and it flopped. Taking with it some wonderful songs “Paris is Paris Again”. “A Toujours”, “I Never Want to Go Home Again” and more.

Not to be heard again, until now. This current “Gigi” has got a lot of very good things just right. It’s got a je ne sais quoi adaptation  by Heidi Thomas, who has captured the great elan this souffle MUST have. She has retained all the famous numbers, but er, re-arranged them all over the place.

Giving songs that were sung by Maurice Chevalier, for instance, “Thank Heavens for Little Girls” to the non-pareil Tony Winner Victoria Clark. Clark is having ANOTHER great Broadway moment as Mamita, the role made famous in the movie by legendary British comedianne Hermione Gingold. Clark, also scores with a solo that was formerly Gigi’s, “Say a Prayer.” Her role as Gigi’s gran-mere is emphasized here and her golden soprano used to perfection. This version of “Gigi” seems to be being told from the grandmother’s very sympathetic point of view.

Of course, you really have to squint in the  delightfully dark Belle Époque settings of Derek McLane ( atmospherically lit to perfection by Natasha Katz, who also has lit “An American in Paris”!) to see that “Gigi” is the story of a young girl being raised by her grandmother and aunt to be a high-class prostitute. The Disney-i-facation is apparent here, because it’s so subtle, so INFERRED. A tween Hudgens fan, might rightly assume the Gigi’s gran-mere is overly concerned with getting Gigi a very nice apartment.

Victoria Clark is mightily aided in this dramatic re-interpretation by the delicious Dee Hoty as Gigi’s Aunt Alicia, and Clark’s sister-in-crime. In fact, they BOTH sing “Thank Heaven for Little Girls” the first time we hear it. And we hear it a lot. It is to their vast credit that “Gigi” is as witty and insouciant this time around. The duo never cease to delight and surprise.

Keeping up the male end of things is the incredibly agile, incredibly young and incredibly short Gaston of Corey Cott. Ms. Hudgens, as I said, is quite tiny, too, so they seem made for each other. Playing a world-weary bon-vivant is a bit of a stretch for youngster Cott ( a 40-something Louis Jourdan played him so memorably in the movie), but Cott is just right here in joining in the joie de vivre of Mamita and Gigi as they (and then all of Paris) celebrate “The Night They Invented Champagne.”

Cott also hits a dramatic high-point, this time on a moonlit park bench, with the title song “Gigi.”

Far less successful is the unfortunate Howard McGillin, who has to fill Chevalier’s huge Gallic shoes. His & Mamita’s “Yes I Remember It Well” is sung with an umbrella in a rain shower. It was all wet. He seems to be apologizing for his performance every time he steps onstage.

But McLane’s setting, Katz’ ever-versatile lighting and Catherine Zuber’s exuberant costumes carry along youngsters Cott and Hudgens til, yes, we watch them grow up right before our eyes, as they become the stage stars they have to be to make this “Gigi” work. That’s not the original Collette’s plot, but it is enjoyable nonetheless.

I love Old Fashioned Book Musicals, with characters rather than concepts,and heavenly music that bubbles you out the door, and if you do, too, “Gigi” is the new-old musical for you.

Mesmerzing”Maigret” French TV series now out on MHz DVDs!

Rarely, have I ever stumbled upon a new fictional detective that has totally mesmerized me. Full disclosure, I’m sort of obsessed by Agatha Christie and her great detectives Hercule Poirot and esp. Miss Marple. At last I’ve found some one new, who is quite  obsession-worthy  It is the late great French writer(Belgian born) Georges Simenon and his legendary police commissaire detective Jules Maigret. New to me, but well-known to millions of readers and viewers, esp. in Europe.’

Out now in a marvelously entertaining DVD set released by MHz videos, it features “Maigret” as played by the late great French actor Bruno Cremer, who is well into his 70s when he shot this wonderful series that ran for more than a decade on French TV. And how lucky the French are to have such a high quality TV series running regularly! Most American Network TV is a vulgar joke by comparison.(I’m not counting the excellent work now done on Cable. Like for instance, “Breaking Bad.” But it’s Cable and I don’t get AMC!! )

The Maigret novels have been filmed many, many times  in Europe on TV and in film, but I can’t imagine any of these incarnations beating Cremer’s Commissaire and this flawlessly executed, beautifully filmed TV series.

Subtitled, mais oui, it is always a brain teaser, and very atmospheric, as it takes you back in time to 1950s Paris, where Maigret, a very dogged police inspector, who does everything by the book ( if he can ) plies his trade, pursuing criminals of all social strata and bringing them to justice. As boring as this methodology seems, “Maigret” is never dull pour une instante!

Oui, he’s a for-real policeman, le vrai chose, and Simenon celebrates the French gendarmes at every turn. His Maigret is not a private detective like Poirot or Raymond Chandler’s Phillip Marlowe or Dashiell Hammett’s Sam Spade or an amateur sleuth like Miss Marple. Maigret is actually a commissaire or commissioner of the Paris “Brigade Criminelle.” There are no flatfoots or bumbling gum shoes here, as there always are in Agatha Christie. Policemen are shown to be intelligent, hard-working, admirable and relentless in the pursuit of crime. Simenon shows them as objects of great respect and not derision.

And Maigret, who simply smokes a pipe throughout almost every episode, is the most intelligent and sterling of them all. Like the also pipe-smoking Sherlock Holmes, like all classical detectives, he’s observant and diligent to a fault. Nothing and no one escapes his seemingly casual glances. So you have to be truly as on your toes when you watch it, as he is, watching and listening carefully to everything. And what a Gallic joy that is!

Seventy-five novels and twenty-eight short stories about Maigret were published between 1931 and 1972. Georges Simenon wrote over a hundred novels and is considered one of France’s greatest and certainly most prolific writers of the last century, but Inspector Maigret was by far his most famous and widely beloved creation. There is a statue to George Simenon, mais oui, bien sur, in France, and also a statue to Maigret in Belgium! Are there any statues to Hercule Poirot lurking about the English countryside? Not that I know of.

Like Christie, each mystery is its’ own perfect stand-alone box of tantalizing puzzles. And one of the delights of this TV incarnation is its’ setting in ’50’s Paris. In  Parisian environs we don’t usually see in French films, so it all feels wonderfully classic and also refreshingly new at the same time.

Each episode of “Maigret” is like its’ own little movie, and the mysteries are almost always impenetrable to all but Commissaire Maigret.

Bruno Cremer’s height and girth and his low, rumbling, grumbling voice are perfectly suited to Maigret. He lumbers when he walks, has a police office that is notoriously untidy and has a distinct dislike of stairs. All traits I found impossibly endearing. His Maigret like all iconic roles in a great, perfectly cast performer’s hands is mesmerizing and you keep wanting to go back to him and see MORE. And MORE!

And with this new series of DVDs from MHz Networks you can! There is also now an MHz TV station in many cities. Check your local listings.

I’ve watched many of the MHz” Maigret”episodes twice. Indeed, the stories are so complex and the characters so deftly drawn,marvelously performed  and thoroughly French that you can’t wait to go back to them as see them re-watch again.  And warning, they’re addictive. They’ll grow on you.

All the actors were new to me (and I watch a lot of French movies!) very talented, and perfectly cast. One in particular whose intriguing name was Remi Martin, was notably good in “Seven Little Crosses”, as a distraught father of a missing child.

As Maigret and the entire Parisian police force, track the little boy as he runs about Paris breaking the glass on police call boxes, another peculiarly French anachronism, the sound of a person running and breathing heavily, is then slowly followed upon by shots only of the school boy’s feet running, running…Classy, eerie, as is the marvelous sound track by  Laurent Petitgirard.

It is a sweltering August Bank Holiday in pre-air-conditioned Paris. And is Maigret on vacation? Non! And he makes sure his entire staff is out sweating and tracking the murderer of old ladies who live alone. Who seems to be a prototypical serial killer.

Another episode that I enjoyed was “Maigret at L’Etoile du Nord” a hotel near the Gare du Nord train station. This time it’s Christmas and it’s snowing. And Maigret isn’t taking off for une Joyeux Noel. As he says, “Murderers don’t take off for the holidays.”

Another favorite quote, Maigret grumbles “I hate solving murders in hotels. You never know where to start!”

And he’s invariably calling the always unseen Madame Maigret, his wife, and apologizing for missing his train.

But don’t miss this delightful series of classic French thrillers!

And newsflash! “Maigret” and many other international crime-soliving TV series can be found on http://www.mhznetworks.org! Stay tuned, dear readers, dear cineastes, for the latest updates on these marvelous European TV series that I like and you might, too!

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Brady Corbet & Director Antonio Campos talk sex scenes in “Simon Killer”, Pt.2

As Brady Corbet & his director Antonio Campos talk about the many and varied sex scenes in this chilling erotic thriller”Simon Killer”, guess what? The interview heats up, too!

Interview with “Intouchables” co-director/writer Olivier Nakache

The Intouchables” the first Weinstein Co. Oscar seeker is out in theaters this week and “The Intouchables” French film director/writer Olivier Nakache was in town to talk about its chances, his heavily buzzed Senagelese star Omar Sy and its’ incredible box-office triumphs all across Europe. It’s the highest grossing film in French cinema history. Will the same lightening strike in America? I sat down with him and a translator to talk about it in the Weinstein Co.’s offices in Tribecca in French and in English, bien sur.

Stephen Holt: In The New York Times, film critic Stephen Holden said that there was going to be an Oscar campaign for Omar Sy? (pronounced “See”) Is that true? Is this happening?
Olivier Nakache: Yeah. Maybe. (SH laughs) It depends.
Translator(translating from his French): It’s in the process of being decided.
ON: Yeah, yeah. But I think, yes. I think maybe the Weinstein Company wants to play the game of the Oscar with Omar. But last year you have already all these French guys. I think the French cinema is in great shape. Great shape.
SH: Pourquoi?
ON: Because now you have a new generation of French directors.
SH: Exactement.
ON: And we are very close. Because…Michel Hazanviscius, we are very close.
SH: I interviewed him, too, and I told him he was going to win the Oscar and he was like “Quoi??” He didn’t know what hit him. And I was right!
(Both laugh)
ON:Yeah, can you imagine? But if I told you one year ago the subject of our movie, if I told you – OK, I’m Michel and “I want to make a movie in black and white about American movies, with no dialogue.” I said, “Are you crazy? It never works!” And if I told you that I wanted to make a comedy about a quadreplegic man(Francois Cluzet and a man from the ghetto(Omar Sy), a comedy. (you would say) “Quit! Buy a bakery and stop! Quit the cinema!”(SH laughs) Je crois que l’audace payee.
Translator: The audacity pays off.
SH: Oui, d’accord.
ON: It’s original. It’s new. It’s not Number Two, Number Three or a sequel or a prequel, you know what I mean? It’s new. It’s Fresh air.
SH:Unique.
ON: Oui. It’s unique. It’s fresh. It’s fresh. And for “The Intouchables,” I think that people are touched by the fact that it’s a tough subject, a deep subject, but we put humor on it so il fait le subject a peu legee.
Translator: It makes those issues lighter.
ON: Lighter, but (pounding his fist) strong!
SH: D’accord, encore une fois. So, the sucess of this film in France and all across Europe, it’s incroyable!
ON: C’est incroyable. C’est vraiment le mot, incroyable. Terrific. Amazing. Unexpectable. Y’know, because we knew that we got something special for the movies. Because we made in France, and I think the same thing in the U.S., we made a big tour before the release to –
Translator: To start fires everywhere.
ON: En francais, aussi, la bouche a oreille. Do you know this expression?
SH: Non, non.
ON: La bouche a oreille.
Translator: Word of mouth. From mouth to ear.
ON: Mouth to ear. And you can imagine, for this movie, c’est tres important.
SH: And also, the challenge is unique, because he can’t move. Francois Cluzet’s character can’t move. He’s a quadreplegic millionaire in a wheelchair. So you have perhaps a very stationary, static situation, for a film. It’s more like for a play. But you never think of that in this movie.
ON: Of course. But we want to show this comedy like a drama, and we thought how can we be –
Translator: How can we pace the film?
ON: The rythmn is really important, (Snapping his fingers) because he won’t move. And around him, there is great, great movement
.
SH: Yes. It never stops.
ON: That’s why when Phillipe hire(s) Driss(pronounced “Dreees”) in the scene in the office at the beginning of the movie, Omar moves. He moves a lot. Move. Move. We don’t want just a scene with two people –
SH: Sitting down, yes.
ON: During all the movie, we knew that we (snapping his fingers) have a fast edit, movements, music, to create movement around somebody who can’t move.
SH: I just missed your directing partner, who just took off for the airport. We have to mention that you just didn’t do this film by yourself. And his name is -?
ON:My partner? Eric. Eric Toledano.
SH: Do you do certain parts of the film, and he does others? How does that work? Is it difficile? Simple?
ON: To make a movie, it’s difficile.
SH: Oui, oui. C’est vrai.
ON: We learn together. We began together. And we move forward together. We write the script together. It’s our fourth movie.
SH: Wow.
ON: So it works. It works. I think maybe one day, one will want to do something alone, but the other (one of us) will not be far.
SH: Formidable.So, you both discovered this very strange topic, and it’s based on a true story?
ON: Yeah, yeah.
SH: And you discovered it together on French television?
ON: Yeah, exactly ten years ago, I saw a documentary. Very tres tard de la soiree.
Translator: Very late at night.
ON: Very late at night. And I text to Eric, “Put your TV on, please.” And we saw this documentary “A La Vie, A La Mort “and I phoned to him “Do you think what I’m thinking?” And he said ” Yes, I am thinking what you’re thinking. It’s a great story for a movie.” But we were too young. We were not mature. We, at this time, we never make a feature film. We just make short movies.So we wait to learn the tools of the cinema. We wait –
SH: To grow up.
ON: To grow up And also, we met Omar
.
SH: He’s incredible.
ON: We wrote the script for him.
SH: Oh! Ah, vraiment.
Translator: And if he told them, “I am not interested, they would not have made the movie.”
SH: RIght. Wow! Wow. Is he an established actor? Is he known in France?
ON: Not as a actor. He’s known. He’s really, really famous as a comedian.
SH: Like Jean Dujardin is.
ON: Not really Not really not like Jean Dujardin, because Omar has got his own TV show.
SH: Oh!
ON: But a tiny TV show. Really tiny ten minutes each day. It’s a daily show. With a partner. It’s a duet.
SH: Doesn’t Jean Dujardin do that with his wife? Also? A ten minute comedy show each day?
ON: Ah! Kind of. But not really. Not really.
SH:Let me tell you an interesting story about the Rendez-vous (with French Cinema. In March) I was interviewing everybody and I was very involved with Jean Dujardin and I loved “The Artist” and this was right after it and Jean won the Oscars, and all the other actors there, the big French stars, they were so jealous. The men. They were tres jaloux. And they were like “But he is just a comedian! He is not an actor!” And again, this is the success of another French comedian in America. Omar, I mean. It’s looking like it.
ON: A lot of actors come from Saturday Night Live here.
SH: That’s true. OK.
ON: It’s exactly the same for Omar. Omar is a kind of Saturday Night Live. Because it’s not like Jean Dujardin, because his show, it’s like a fiction. With a woman.
SH: It’s a sketch comedy show, Jean Dujardin’s show. With his wife.
ON: Yes, a sketch. Omar talks directly to the camera, to the people, about politics, about the scene.
SH: What’s the name of Omar’s show by the way?
ON: It’s difficult to say in English.
Translator: Customer Service. Post-Sale Service.
SH: (laughs) That’s so funny.
ON: He critiques the other TV (shows), the politics, and what is happening in the world. So he can talk about Obama, and he creates characters. It’s very different.
SH: What is the racial situation like in France? Since America is so hung up on race. The racial situation I think historically in France for black actors, like for instance Josephine Baker in the ’20s. There was no prejudice, nothing. It’s different.
ON: But you have to know that in France, I hope I am clear. In France, you have the immigrants, les emigres et les francais. In America, you have black people and Americans. Mexicans and Americans. In France, that is the same group. You know what I mean? They don’t live in a special community. They don’t live in a special part of Paris. They live in the housing projects.
SH: There’s no ghettos, in other words.
ON: It’s ghettos, but not for one community.
SH: It’s for all foreigners?
Translator: All foreigners. It’s like a melting pot. Where they’re all together.
SH: In these ghettos.
Translator: Projects.
SH: Projects, yeah. There are black and Hispanic and Asians all mixed in here in the projects, too. Americans will sort of go to, relate to the black and white theme here, too.
ON: The black and white thing. We have not the same history that you have. In France, we have emigre people.
Translator: Immigrants.
ON: And the French. The second generation,like me, because my parents were born in Algeria and Eric’s parents were born in Morocco, but we are French.
SH: So you have a very,very deep connection with this topic.
ON:We have a special history in France. We have the colonization. My parents were French, because Algerians were French. But for us, we call us les jeunes de banlieue.
Translator: Young people from the projects. It’s a social group.
ON: A social group. Banlieue. The suburbs. The housing projects.
Translator: Banlieue translates as suburbs.
ON: You know in the real story (that this film is based on), it’s an Arabic person, Abdel, the real character.
SH: Yes, I noticed that at the end of the picture. You showed the real people this film was based on, Phillipe Pozzo di Borgo and his caretaker, Abdel.
ON:But for a French audience, it’s exactly the same. Driss is from Senegal, but it’s exactly the same. It’s les jeunes de banlieue. Omar’s got the same past as Abdel. Omar came from the same type of housing projects.

Heat Wave in New York continues. Dangerous to even go outside!

The stiflingly hot record heat wave continues to suffocate New York City, and most of the rest of the country, making it too hot to even go outside. Just stuck therefore INSIDE, where the air-conditioning is.

I can’t ever remember it being so hot that going outdoors was dangerous. It must’ve been over 110 degrees in the part of town I live it. The last time I was able to go out, and live to talk about it was several days ago when it was ONLY in the 90s.

The air was like breathing poison. The pollution of a thickness it was almost liquid. You could smell it and taste it. Awful.

Have had to cancel nearly all appointments.

I did however see TWO movies at Press Screenings on Thursday, the last time I ventured out. “The Whistleblower” and “Gun Hill Road” both of which I thankfully liked. So it was worth the trek through the crowded mid-town streets.

But yesterday, Friday, and now today, Saturday, it’s just frighteningly hot. Even crossing the street seems impossible.

The power grid, as they keep referring to it on the TV, is pushed to the max. The TV weather says it’s “ONLY” in the 90s today. Ugh! I’m a prisoner of Zenda, as the old saying goes.

I’m reading David McCollough’s entrancing “The Greater Journey” about the Americans who traveled to Paris in 1830-1900 and the immense impact Paris had on their lives. LOVE IT!

And am preparing via email and phone for my own great annual journey to the Montreal Film Festival in about a month or less. It’s earlier this year, which means I’ll be going to Montreal and then coming back to New York. Then having a break from I head to the Toronto Film Festival in September.

I keep projecting forward, thinking of those wonderful COOLER places in Canada, where I’ve gone now for 12 straight years. CAN NOT WAIT! Wish I was in Canada NOW! It’s got to be cooler up there, right?

This heat seems never-ending.

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