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Kurosawa In 4K at The Film Forum This Summer

Details: Category: Uncategorised; Published on Monday, 07 July 2025 15:34; Written by Brad Balfour

Seven Samurai

This July one of the most legendary film directors of all time will be screened at the Film Forum in brand new 4K restorations. Kurosawa In 4K runs July 18 to the 31st at New York’s Film Forum (209 West Houston Street) and features works of cinema from director Akira Kurosawa that have thrilled and touched the spirit for decades. Seven Samurai, Ikiru, Stray Dog, Rashomon, Throne of Blood, The Hidden Fortress, High And Low, Yojimbo, andSanjuro will all be screened with new 4K restorations.

From thrilling sword swinging epics to meditations on the human spirit, these films represent the post-war period in which Kurosawa re-shaped the world of cinema and started getting Americans to read subtitles.

To learn more, go to: https://filmforum.org/

Kurosawa In 4K
July 18 - 31, 2025

Film Forum
209 W Houston Street
New York, NY 10014

New York Philharmonic Perform Händel’s "Messiah"

Details: Category: Uncategorised; Published on Friday, 27 December 2024 16:50; Written by Jack Angstreich

Photo by Chris Lee

At Lincoln Center’s excellent David Geffen Hall, on the evening of Thursday, December 12th, I had the exceptional pleasure to attend a superior presentation—continuing a strong season—of Georg Friedrich Händel’s enormously popular oratorio, Messiah, performed by the New York Philharmonic—impressively led by conductor and harpsichordist Ton Koopman—along with the outstanding Musica Sacra chorus under the direction of the eminent Kent Tritle, who was also the organist. A remarkable slate of soloists—all debuting with this ensemble—included above all the marvelous soprano Maya Kherani, who wore a fabulous green and silver gown. Also wonderful was tenor Kieran White, while countertenor Maarten Engeltjes was admirable. As is often the case with a bass-baritone, Klaus Mertens was especially strong in his higher register. (Cellist Matthew Christakos was a featured player.)

In his useful notes for the program, James M. Keller provided some background on the work:

Early in the summer of 1741, Charles Jennens had assembled a libretto that drew creatively on Biblical passages from the Books of Isaiah, Haggai, Malachi, Matthew, Luke, Zechariah, John, Job, Psalms, Lamentations, Hebrews, Romans, I Corinthians, and Revelation to create a loose story comprising narrative and reflections about the life of Jesus. This he organized in three discrete sections: the first relating to the prophecy of Christ's coming and the circumstances of his birth; the second to the vicissitudes of his life on Earth; and the third to events surrounding the Resurrection and the promise of redemption. Handel leapt into action on August 22. He finished the draft of Part One on August 28, of Part Two on September 6, and of Part Three on September 12 — and then he took another two days to polish details on the whole score. That so great — and large — a masterpiece as Messiah should have been created in so brief a span as three weeks seems all but incredible to most of us. In fact, this prodigious pace was not exceptional for Handel, and it is no more than romantic fantasy to view it (as it once was routinely) as a fever of divine inspiration peculiar to the composition of Messiah. In fact, he allowed himself about a week's rest after finishing Messiah before embarking on his next oratorio, Samson, which he wrote in the relatively leisurely span of five weeks.

In Part I of the oratorio, the extraordinary Sinfonia (Overture) has a stately introduction and then becomes livelier. The tenor was showcased to memorable effect in the ensuing Accompagnato, “Comfort ye my people” and the immediately following Air, “Ev’ry valley shall be exalted,” but the excitement increased with the first Chorus, “And the glory of the Lord” and another shortly afterward, “And He shall purify.” One of the finest of these is the famous “For unto us a child is born” which immediately precedes a very compelling—despite its apparent modesty—instrumental interlude, Pifa (“Pastoral Symphony).

In the second Part, the initial Chorus, “Behold the Lamb of God,” is one of the most remarkable if one of the least ostentatious, and further on, another two, “He trusted in God” and “Let all the angels” are notable for their fugue-like complexity. The subsequent Air for soprano, “How beautiful are the feet of them,” is one of the loveliest in the work. This section concludes with the magnificent Hallelujah Chorus.

The final Part begins with another exquisite Air for soprano, “I know that my Redeemer liveth; a later one for the bass-baritone, “The trumpet shall sound, prominently features that instrument, here expertly played by Raymond Riccomini. The last Air, “If God be for us” for the soprano, is also terrific, ushering in the two ultimate Choruses, “Worthy is the Lamb” and “Amen,” which provide a stunning close.

With perfect justice, the artists were enthusiastically applauded.

Orchestra of the Teatro Real at Lincoln Center

Details: Category: Uncategorised; Published on Friday, 20 October 2023 14:55; Written by Jack Angstreich

Photo by Chris Lee

At Lincoln Center’s David Geffen Hall, on the night of Monday, October 16th, I had the exceptional pleasure to attend a magnificent concert presented by the outstanding musicians of Madrid’s Orchestra of the Teatro Real under the brilliant direction of Juanjo Mena.

The evening began dazzlingly with a stunning account of Alberto Ginastera’s fabulous Panambi Suite. The opening movement—titled “Moonlight on the Paranã”—is shimmering and evocative while the ensuing “Invocation of the Powerful Spirits” is propulsive and dramatic. The third movement, “Lament of the Maidens,” is lyrical and reminiscent of Igor Stravinsky’s The Firebird while the rhythms of the finalerecall those of his The Rite of Spring.

The admirable soloist, Pablo Ferrández, prizewinner at the International Tchaikovsky Competition, then joined the artists for an extraordinary performance of Antonín Dvořák’s exquisite Cello Concerto. The initial Allegro is melodious, Romantic and song-like but with turbulent passages; the slow movement that follows, marked Adagio ma non troppo, is comparably expressive but meditative and more somber in mood while the Allegro moderato finale is more celebratory—but not without emotional intensity—and ends triumphantly. Abundant applause drew forth a wonderful encore from the cellist: "El cant dels ocells" a traditional Catalan song famously played by Pablo Casals.

The second half of the event was also astonishing, starting with a marvelous realization of the 1915 version of Manuel de Falla’s glorious ballet score, El amor brujo, featuring the flamenco dancer and singer, Esperanza Fernández from Seville. The program proper concluded fantastically with a superb rendition of Maurice Ravel’s incredible Daphnis et Chloé, Suites No. 1 and 2 which, although an epitome of so-called musical “Impressionism,” is arguably also neo-Romantic in inspiration. The first Suite begins with the mysterious “Nocturne” and after the “Interlude” closes with the thrilling “Danse guerrière”; the second Suite opens with the enchanting and ethereal “Lever de jour” and following the “Pantomime” finishes with the exciting and amazingly dynamic “Danse générale.” A standing ovation was rewarded with two delightful encores: first, the gorgeous “Intermezzo” from the opera Goyescas by Enrique Granados and, second, the charming Prelude to the zarzuela, El bateo, by Federico Chueca.

October '20 Digital Week II

Details: Category: Uncategorised; Published on Thursday, 15 October 2020 02:04; Written by Kevin Filipski

VOD/Virtual Cinema Releases of the Week

Honest Thief

(Open Road)

Another Liam Neeson vehicle that’s as blunt and simplistic as the rest: he plays a successful bank robber who attempts to go straight when he meets the woman of his dreams, but unfortunately corrupt FBI agents get in his way.

Neeson is as gruffly no-nonsense as ever and Kate Walsh has a welcome engaging presence as his girlfriend, but director Matt Williams has taken his own flimsy script—every obvious bad guy move and Neeson response are telegraphed far in advance—and adds nothing but 90 minutes of action to make up for any originality or involvement.

Martin Eden

(Kino Lorber)

Pietro Marcello’s intelligent adaptation recasts Jack London’s San Francisco story to Italy, as an uneducated lower-class lout decides to smarten himself up after meeting the lovely daughter of a rich family: but will his new-found writing talent and leftist beliefs destroy his chances with her?

Smartly, Marcello keeps the focus on his protagonist’s maturation as a writer and more importantly a human, and Luca Marinelli’s complex, nuanced portrayal is on-target. Equally compelling are Jessica Cressy as Martin’s unreachable love Elena and Elisabetta Valgoi as her mother. Bracingly directed, acted, and written, Martin Eden is one of the richest Italian films I’ve seen in awhile.

The Secrets We Keep

(Bleecker Street)

A small-town American wife and mother is certain that a neighbor was a member of the SS who tortured her and killed her sister back in Europe; she hatches a plan to take justice—or, more honestly, revenge—into her own hands in this initially interesting but eventually risible drama by director Yuval Adler (who wrote the ill-conceived script with Ryan Covington).

Noomi Rapace works hard and efficiently as the woman, but how unbelievably easily she carries out her plan is only the beginning of a hopelessly contrived melodrama. Ill at ease are Chris Messina as Rapace’s husband, initially incredulous but quickly all in; and Joel Kinnaman, who could have been a credible villain/victim but who does little with the project’s plodding obviousness.

Blu-ray Releases of the Week

Before the Fire

(Dark Sky Films)

In the midst of a raging pandemic in Los Angeles, up-and-coming TV star Ava is tricked by her boyfriend into returning to her small hometown, where long-simmering recriminations fester among the townsfolk, and she realizes that life can be an even bigger living hell than the one she just escaped.

Despite its timely premise, this drama falls prey to star Jenna Lyng Adams’ scattershot script and Charles Buhler’s meandering direction, and we never care about what happens to Ava. Adams’ ferocious lead performance can’t carry this over the finish line. There’s a fine hi-def transfer; lone extra is a delete scene.

Drop Dead Gorgeous

(Warner Archive)

This labored 1999 satire of beauty pageants huffs and puffs and occasionally hits a bulls-eye, but the scattershot approach of director Michael Patrick Jann and writer Lona Williams effectively transforms the characters into utterly unlikeable caricatures who pall soon after they’re introduced.

The partial exceptions are Allison Janney and Ellen Barkin, who sometimes transcend the flimsy material by simultaneously laughing at and with their characters and become nearly human in the process. There’s a superior hi-def transfer.

The Hit

(Criterion Collection)

Stephen Frears’ 1984 blackly comic drama subtly gives meat to characters that start as mere types—informer, efficient hit man, jittery newcomer, naïve innocent—but soon become full-blooded and even sympathetic.

Frears directs with skillful understatement, Peter Prince’s script is a marvel of economy, Paco de Lucia and Eric Clapton’s music is perfecte for the lonely Spanish countryside settings, and the performances are, literally, killer: Terence Stamp’s informer, John Hurt and Tim Roth’s veteran and rookie hit men, and Laura del Sol’s innocent who’s the most resourceful. Criterion’s Blu-ray upgrade looks smashing; extras include a commentary by Frears, Hurt, Roth, Prince and editor Mick Audsley as well as a 1988 Stamp TV interview.

Peer Gynt

(Unitel/C Major)

The great Danish composer Edvard Grieg composed his classic music for August Strindberg’s classic play Peer Gynt in 1875, and Danish choreographer Edward Clug has fashioned a potent and ultimately poignant ballet based on the play, with portions of Grieg’s wonderful Gynt music interspersed with other works like his Lyric Suite and Piano Concerto.

It works beautifully thanks to Clug’s substantive movements and a superlative cast: as Peer, Jakob Feyferlik is unforgettable, and he dances brilliantly throughout with Alice Firenze as Solveig, his lost love. Both hi-def video and audio of this 2018 performance from Vienna are first-rate.

Reversal of Fortune

(Warner Archive)

French director Barbet Schroeder’s 1990 docudrama tackles the case of Klaus von Bulow, the unlikeable aristocrat found guilty of drugging his wife, socialite Sunny von Bulow, in 1979 and who hired Harvard professor Alan Dershowitz to handle his appeal.

It’s a fascinatingly disturbing true story, told with impressive control by Schroeder from a well-structured script by Nicholas Kazan, and anchored by two fine-tuned performances: Jeremy Irons’ arrogantly steely von Bulow, and Ron Silver’s arrogantly energetic Dershowitz. Strangely, Irons won the Best Actor Oscar while Silver wasn’t even nominated. The film looks sharp in hi-def; lone extra is a Schroeder/Kazan commentary.

Star Trek: Picard—Complete 1st Season

(CBS/Paramount)

Patrick Stewart returns to his iconic role as Captain Jean-Luc Picard, who manned the Star Trek—The Next Generation ship for seven seasons (1987-94) in an unnecessary reboot that brings Picard out of a self-imposed 14-year retirement at his beloved vineyard.

Stewart is as gruff and ironical as ever, but the new storylines don’t have the same urgency or interest, except perhaps for die-hard Trekkies. The season’s 10 episodes look eye-popping in hi-def; extras include behind-the-scenes featurettes, deleted scenes, gag reel, commentary on episode one, short film Children of Mars and commentary on the short.

To Your Last Death

(Quiver Distribution)

This gleefully violent animated feature follows the heroine, Miriam—the lone survivor of her father’s vengeful “game”—who gets the chance to relive the past by trying to save her siblings this time around. Of course, this occasions dealing with the piling up of body parts and geysers of blood shooting up throughout.

There’s more crimson red than imagination on display by director Jason Axinn, but there are amusingly disgusting moments courtesy of the excellent animated crew, and the voice cast—led by Morena Baccarin as the malevolent Gamemaster—is topnotch. It all looks especially vivid on Blu-ray.

DVD Release of the Week

Bellingcat—Truth in a Post-Truth World

(First Run Features)

A collective that has taken on great importance since it was founded in 2014 by crusading British journalist Eliot Higgins, Bellingcat comprises committed citizen journalists from around the world whose research into headline news stories finds unexpected—and, often, unwanted—answers.

Director Hans Pool’s absorbing documentary allows us to follow these intrepid investigators as they take deep dives into such events as the shooting down of a Malaysian airliner over Ukraine or the poisoning of a Russian dissident in England and provide the receipts necessary to bring some accountability to a post-truth, “fake news” world.

CD Release of the Week

Bernard Herrmann—Whitman

(Naxos)

Bernard Herrmann (1911-1975) was one of the greatest film composers in history, and Psycho: A Narrative for String Orchestra—from his indelibly shrieking score for the Hitchcock classic—tautly shows why. Also worthwhile is Souvenir de Voyage, a lovely chamber piece that should be far better known (it’s the first time I’ve heard it).

But the 1944 radio drama from which this disc takes its title—and based on poet Walt Whitman’s Leaves of Grass—is an embarrassingly treacly work, in which Herrmann’s snippets of pretty but insubstantial music don’t do justice to Whitman’s words. The musicians acquit themselves terrifically—especially clarinetist David Jones on Souvenirs, and the PostClassical Ensemble on Psycho—but despite being a welcome world premiere recording, Whitman itself is forgettable.

Uncategorised

Kurosawa In 4K at The Film Forum This Summer

New York Philharmonic Perform Händel’s "Messiah"

Orchestra of the Teatro Real at Lincoln Center

October '20 Digital Week II

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