Such Stuff as Dreams: The Tempest vs. Ida

Shakespeare, The Tempest

Sherman Howard (Prospero) and Erin Partin (Ariel) in The Tempest, Shakespeare Theatre of New Jersey (photo: imgick.nj.com)

Quite a contrast recently between the nonstop cannonade of literary touchstones in The Tempest—in an exuberant and colorful production at the Shakespeare Theatre of New Jersey, alas, only through June 22—and the oppressive restraint of the near-silent black-and-white movie from Poland, Ida, viewed the same day (trailer).

In the live—and lively—play, the portrayals by Sherman Howard (Prospero), Lindsey Kyler (Miranda), John Barker (Caliban), and especially Erin Partin (Ariel) were remarkable.

Shakespeare touches button after button with his iconic quotes: “Hell is empty and all the devils are here” (wait, that sounds like John Boehner’s voice!), “Now I will believe that there are unicorns,” “We are such stuff as dreams are made on,” “What’s past is prologue,” , “O, brave new world, that has such people in’t,” “my library was dukedom large enough,” or “he receives comfort like cold porridge,” Ida has hardly any dialog.

David Denby in The New Yorker puts a positive spin on this, saying, “I can’t recall a movie that makes such expressive use of silence and portraiture.” In Ida, instead of being carried along by a current of words, we float in a bleak, misty, ambiguous atmosphere, albeit rendered with beautiful cinematography, “every shot as definitive as an icon,” Denby says, quite truly.

But after all Shakespeare’s verbal passion, Ida felt like cold porridge indeed. Perhaps the filmmakers had some great story in mind and just forgot to tell it, because they give the barest of bones and leave viewers (me, anyway) with more questions than answers—not so much about the past, which the movie explores in sufficient glimpses—but about what is going on right now in the minds of the characters on the screen.

Agata Kulesza, does a fine job playing the aunt of the main character, a sheltered, opaque novitiate raised in a convent (Ida), played less well by Agata Trzebuchowska. The pair uncover a terrible but not uncommon World War II tragedy, and the question of whether exposure to her aunt’s earthiness will persuade somnambulant Ida to abandon the convent seems none too debatable. Bear in mind the Rotten Tomatoes critics gave it 93%, so don’t take my word for it.

The Rum Diary

The Rum Diary, Johnny Depp, Hunter S. Thompson

(photo: pixabay.com)

Is it that drinking-to-oblivion has exhausted its limited appeal? Is it that we feel we’ve been there before? Is it that I’m just old and crotchety? If you have The Rum Diary (2011) (trailer) on your Netflix list, you’re in for a few good laughs, but a predictable romantic element and a decided downturn in enjoyment when the main character suddenly dons a cloak of sanctimony near the end.

The movie, set in Puerto Rico in the late 1950’s (great cars!) is based on Hunter S. Thompson’s book, and while Johnny Depp, Richard Jenkins, Aaron Eckhart, Michael Rispoli and Giovanni Ribisi (who makes the least likable character in the movie fun to watch) are more than fine in their roles, the material isn’t up to their performances. It might have been better as a straight comedy without hitting viewers with occasional deeply menacing information, then staggering on as if nothing just happened. Rotten Tomatoes critics rating: 50%.

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Blackfish

killer whale, Blackfish

Being in the pool with killer whales during performances, as in this photograph, is now banned (photo: farm1.staticflickr.com)

The Northwest Natives call them Blackfish. Tilikum is a Chinook word meaning “friends, tribe, nation”—exactly what Tilikum, the killer whale, has been denied. Finally, last night I watched the Magnolia Pictures documentary Blackfish, aired by CNN last October and November, which tells the story of Tilikum and the three humans he has killed.

Blackfish has sparked renewed questions about the capture, confinement, and training of cetaceans—especially killer whales—for human entertainment. From 1976 to 1997, 77 whales were taken from the wild in Iceland, Japan, and Argentina for aquariums and aquatic theme parks. Some additional number died during attempts at capture. Now about 50 of these animals are on display throughout the world, and a large number of them were born in captivity.

Not surprisingly, SeaWorld Orlando, where Tilikum lives, has many objections to the documentary (and provides only half-answers to the questions it raises), but their ultimate concern boils down to money. This was apparent in comments at an April 8 hearing on California Assemblyman Richard Bloom’s proposal to make it illegal to hold killer whales in captivity and to use them for performance or entertainment. According to NPR coverage, the President of SeaWorld San Diego “reminded committee members that the park is an important part of the regional economy,” with 4.6 million visitors last year and making $14 million in lease payments to the city.

SeaWorld’s lobbyist was even more blunt, saying that “if the bill passes, SeaWorld would just move the 10 killer whales it has in San Diego to other parks.” Such a restriction would cost the park hundreds of millions of collars, and SeaWorld “would expect the state to make restitution.” In short, he said, “if you ban them, you buy them.” The Assembly committee called for further study.

SeaWorld officials label Blackfish as propaganda and unbalanced. If by that, they mean the film is powerfully made, emotionally gripping, and makes a strong point, they certainly are correct. Filmmaker Gabriela Cowperthwaite, however, says she is not an animal rights activist and developed an interest in the story of Dawn Brancheau’s 2010 death by wondering, “How could our entire collective childhood memories of this delightful water park be so morbidly wrong?” Rotten Tomatoes critics rating: 98%.

Cowperthwaite provides background about killer whales in the wild that enables viewers to appreciate why the idea of penning them in pools is inherently flawed. Subspecies of orcas establish matrilineal, multigenerational family groups that are the most stable of any animal species. Throughout their lifetimes, individuals are never away from their family group for more than a few hours. Several related family groups form pods of perhaps 20 animals. They range great distances and are found in every ocean. Each group’s preferred foods, vocalizations (dialect), hunting methods, and behavior is specific to that group and is passed from generation to generation. In other words, the groups have an identifiable culture.

Adults are big (up to 26 feet long and weighing six tons or more), mobile (often traveling 100 miles a day), and fast (swimming nearly 35 miles per hour at top speed). They have big brains, especially well developed and for analyzing their complex environment and identifying prey. In the wild, females can live to age 90, and males to age 60, but their average lifespan is 50 for females and 29 for males. In captivity, they generally live into their 20s, despite the supposed advantages in feeding and veterinary care the parks provide.

Contrast this picture with their life in captivity. Generations are separated. Whales from different groups (culture and language again) are penned together. The environment is not particularly stimulating. And, if they don’t do what their human trainers expect, food is withheld. Killer whales, an apex predator, may find this baffling and unacceptable.

Intelligent, curious, playful, problem-solving–all these positive traits have helped create the friendly, seemingly affectionate Shamu image. In truth, although there are few documented attacks on humans–and no fatalities–by the tens of thousands of killer whales in the wild, the small number of captive killer whales reportedly has made nearly two dozen attacks on humans since the 1970s, four of which have been fatal, and three of which fatalities have involve Tilikum.

Born in 1981, Tilikum is the largest orca in captivity, 22.5 feet long and weighing 12,000 pounds. He was responsible for the drowning and battery deaths of a trainer in British Columbia in 1991, a SeaWorld Orlando intruder in 1999, and SeaWorld Orlando trainer Dawn Brancheau in 2010, when he grabbed her arm and pulled her under the water. The latter death led to new safety procedures at SeaWorld, although the parks have unsuccessfully appealed OSHA safety penalties and are looking to install new technologies that would let trainers return to the orca pools.

Ironically, the sea parks that have fostered public affection for these giant creatures and cultivated interest in their welfare may also have created the environment in which concern over their captivity has again erupted, 20 years after Free Willy.

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Kristen Scott Thomas Week

Kristin Scott Thomas, movies, Bel Ami, Salmon Fishing in the Yemen

Kristin Scott Thomas at Cannes (photo: en. wikipedia)

Two KST movies this week—one really awful and one quite fun, and aided considerably by the comparison. Bel Ami (trailer) came to attention via a Netflix preview, with many attributes to recommend it: cast (KST, Uma Thurman, Christina Ricci, and Robert Pattinson), 1880’s Parisian costume drama, based on Guy de Maupassant’s second novel. What could go wrong? So much, really. Not a whit of humor in the whole movie, though there certainly were laughable moments. Not all 130-year-old plots are suitable to modern audiences, and this one is not. Worst was putting Pattinson up as the lover of the three women. His character had nothing to recommend him—he was a journalist who couldn’t write, he was acknowledged by one and all as not very bright, and Pattinson, striking his match against these three strong performers, created no fire. Rotten Tomatoes critics’ rating: 28%.

The second movie, missed in the theaters, was Salmon Fishing in the Yemen (trailer), directed by Lasse Hallstrom, and based on a well-received satiric novel by Paul Torday. This has true comedic moments, with every character admitting the unlikelihood of the premise, judging it only “theoretically possible.” Here is a romance of equals, with Ewan McGregor and Emily Blunt in the leads, ably supported by Amr Waked. KST plays the press secretary to the British prime minister with gleeful imperiousness. Filmed in Morocco (possibly near their film capital, Ouzazarte, near the southern Atlas Mountains, where I have visited) and glossing over the hydrology challenges of a country with no year-round fresh water, our heroes pluckily plunge ahead to a satisfying, if foreseeable, conclusion. Not enlightening, but entertaining, and never takes itself too seriously. Rotten Tomatoes critics’ rating: 67%.

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Hollywood Directors’ WWII Mission

Leni Riefenstahl, Nazi Party

1934 Nazi Party Congress, Nuremberg (photo: wikimedia.org)

The wartime experiences of five major film directors are recounted in the Mark Harris book, Five Came Back: A Story of Hollywood and the Second World War, which has garnered impressive reviews. The book describes the military contributions of five directors near the top of their careers: Frank Capra, John Ford, William Wyler, George Stevens, and John Huston. David Denby gives a nice summary of Harris’s book in the March 17 New Yorker.

(The pre-war activities of Tinseltown’s studios were pretty bad, according to two widely discussed books last year. The studios held back on films attacking fascism or condemning persecution of the Jews, in order to continue doing business in Germany, according to Ben Urwand in The Collaboration. As a result, “Nazis were all but invisible in American movies at the time when depicting their savagery might have done the most good,” said Dave Kehr in a NYT review of  Thomas Doherty’s Hollywood and Hitler, 1933-1939.)

Capra was put in charge of Why We Fight, a series of training films for U.S. recruits, at the request of Gen. George C. Marshall. Capra saw this assignment as a democratic response to Leni Riefenstahl’s inspiring propaganda film, Triumph of the Will, depicting the 1934 Nazi party congress and the aims and ideals of the Third Reich.

The five directors approached their assignments differently, but in every case with impressive results. George Stevens’s documentary approach to recording the post-war liberation of Dachau became two films used at the first Nuremberg Trial.

What the directors produced upon their return home was irrevocably colored and deepened by these experiences, including Ford’s They Were Expendable, as Denby says, “a film suffused with an elegiac melancholy that is unique in American movies”; William Wyler’s The Best Years of our Lives; and Frank Capra’s It’s a Wonderful Life, in its way, the answer to Marshall’s challenge: a vision of a way of life “for which Americans would have gone to war,” says Denby.

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Finding Vivian Maier

Vivian Maier, street photography, Rolleiflex, camera

(photo: wikimedia.org)

Another Netflix possibility, if it’s not playing in your local theater, Finding Vivian Maier, (trailer) is the story of the prolific photo-documentarian whose work came within a hair’s breadth of being lost forever.

According to a Wired story by Doug Bierend, the dedication of the filmmaker, John Maloof, in bringing her story to the public is a tale of equal parts dogged detection and appreciation of the joys of street photography.

A five-star rating from Rotten Tomatoes: 97% of critics liked it! If it’s as good as the documentary of legendary street fashion photographer Bill Cunningham, it will be a gem!

Many of Maier’s works can be seen on the Artsy website’s Vivian Maier page.

UPDATE 10-22-14: Good rundown of the increasingly complex copyright claims and counterclaims swirling around Maier’s work in this Jillian Steinhauer article. I wonder how many of the men now vying for rights to her work would have given a nanny with the photography bug the time of day when she was alive?

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Suzanne

Sara Forestier, Adele Haenel, Suzanne, film

Sara Forestier and Adele Haenel in Suzanne (France, 2013) (photo:i2.wp.com)

For your Netflix list – Suzanne (trailer), a 2013 French film directed by Katell Quillévéré (review here). Shown at the Trenton International Film Festival last weekend, Suzanne is an unsentimental character study of a young woman who makes all the wrong choices. The performances by all four main characters, and the young actors who play Suzanne’s son at different ages are all remarkable. The award-winning actors Sara Forestier and Adèle Haenel play the title character and her sister Maria. “And you know that she’s half crazy, but that’s why you want to be there.”  Rotten Tomatoes rating: 90%.

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The Lunch Box

Irrfan Khan in The Lunch Box (photo: artsatl.com)

Irrfan Khan in The Lunch Box (photo: artsatl.com)

Like an April Fool’s joke, only one in a million Mumbai lunch boxes goes astray, and yet, the unexpected happens . . . Much to like in the new Indian movie, The Lunch Box, (trailer) and I guarantee that if you like Indian food at all, you’ll be ready to go out to dinner afterwards! There’s a clever premise, depending on the accuracy of the Mumbai dabba wallahs to deliver thousands of home-cooked lunches to office workers, on time and still hot.

When a lonely widower receives an unusually delicious meal, a correspondence ensues, that thaws his heart and steels the young woman for what she must do. Truthfully, it dragged somewhat about two-thirds through, but picked up again. Fascinating glimpses into culture and daily life, too. Nice performances by the three leads: familiar actor Irrfan Khan, Nimrat Kaur, and Nawazuddin Siddiqui. Rotten Tomatoes ratings: 95% (critics) and 87% (audiences).

 

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Oscar Winner: The Great Beauty

The Great Beauty, Toni Servillo, Paolo SorrentinoWanted to see The Great Beauty (trailer), the Paolo Sorrentino’s movie that won this year’s Academy Award for Best Foreign Language Film. And could have won for cinematography—in it, Rome is The Great Beauty. Nice score, too. Toni Servillo makes the essentially selfish main character actually charming.

It’s the story of Jep Gambardella, who won fame with one novelette many years before and survives as merely a social creature, someone who knows everyone and whom everyone knows. The send-ups of performance art—and artists—are genuinely funny. But most of the film is linked together only by being in some way over-the-top, with the only authentic exchanges ones Jep has with his maid. You keep waiting for Jep to wake up, because scenes’ link to reality seems so tenuous. The botox clinic, the man with the keys, the giraffe.

The disconnected scenes—from the profane to the sublime—just didn’t add up to much for me. Roger Ebert liked it better than I did. Rotten Tomatoes rating: critics (91%); audience (79%).

 

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The Grand Budapest Hotel

Edward Norton, Ralph Fiennes, Tony Revolori, The Grand Budapest Hotel

The Grand Budapest Hotel (trailer and other stuff here)—sold out in the local movie house playing it on two screeens—is an enjoyable romp through the Central European country of Zubrowka, obscure even by fictional standards in the early 1930’s, as an unnamed brutal regime is taking increasing power. It’s best not to fixate on Wes Anderson’s tissue-paper plot and instead enjoy the numerous cameo roles. I have to believe that working on Anderson’s movies is fun; otherwise so many notable actors wouldn’t agree to do it!

Anderson didn’t break the budget on a lot of CGI to achieve verisimilitude—the imaginary vistas fit right into this fable about a generous spirit with impeccable standards. It’s great to see Ralph Fiennes, one of my faves, in an upbeat role for a change as the hotel’s concierge, Gustave H.  The fascist peril is real, nonetheless, and marks the certain end of the world the concierge is trying to desperately to protect.

If you need a break from late winter’s interminable gloom, this movie is a lively breath of spring. Rotten Tomatoes rating: critics and audiences agree (for once): 91%. Says critic Rene Rodriguez, “the pleasure curls your toes.”

The movie is based on the several writings by Austrian novelist, biographer, and playwright Stefan Zweig, a Jew who in real life fled his country upon the rise of Hitler—first to London, then New York, and Brazil.Enhanced by Zemanta