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Film and the Arts

Onstage at BAM: "Einstein on the Beach"

Einstein on the Beach
Music and lyrics by Philip Glass
Choreography and text by Lucinda Childs
Directed by Robert Wilson
Koh (left) as Einstein (photo: Stephanie Berger)


Einstein on the Beach, Philip Glass and Robert Wilson's famous collaboration, was considered back in 1976 as a landmark of some sort: after sitting through its latest incarnation at BAM, I still don't know what sort.
If composer Glass and director Wilson hadn't continued in the same minimalist vein for the ensuing 36 years of their careers, I would have thought that Einstein was an elaborate joke on the audience. But this endless procession of disjointed, pointless scenes under a nonsensical title is, in its way, a perfect snapshot of two artists who have never moved forward, leaning on the same familiar aural and visual tropes to reassure their audiences.
It's done with undeniable cleverness: music, words, movement and visuals are so simplistic—indeed, simple-minded—that audience members can read what they want to them. The opening “Knee Plays” has gems of verbiage as the numbers 1 through 10 (and others) repeated ad nauseum. Christopher Knowles' text reaches its unintended apogee with “So this could be reflections for/Christopher Knowles-John Lennon/Paul McCartney-George Harrison.” What I wouldn't have given to hear actual Beatles' songs, even “Revolution 9”!
Lucinda Childs' choreography would be more impressive if everything wasn't repeated to distraction: obviously some consider this hypnotic, but it was a narcotic to me. Glass's music is equally distinctive, if only because it drones on and on: who else would claim it as his own? I must mention the performance of violinist Jennifer Koh as Einstein, old-man wig and makeup intact (she alternated with Antoine Silverman), playing the same Glass notes again and again in a formidable display of technique. But there's no soul to this music.
Wilson's directing most recently reared its head with an abominable Threepenny Opera at BAM last fall: with his arbitrary movements and glacial pacing intact, there's no doubt he has a recognizable style. But there's no soul to it, and Einstein on the Beach remains a cipher that lasts an interminable 4-1/2 hours.
Einstein on the Beach
Brooklyn Academy of Music, Brooklyn, NY
September 14-23, 2012

September '12 Digital Week III

Blu-rays of the Week
The Big Bang Theory—The Complete Fifth Season
(Warners)
For the fifth season, the hopeless computer geeks and nerds find themselves dealing with one subject they can never get a handle on: women, mainly in the form of next door neighbor Penny (sexy Kelly Cuoco).
Despite a limit to the amount of “clueless genius” sex jokes one can hear in one's life, the show remains funny thanks to its terrifical batch of performers, led by Cuoco—one of our best and most underrated comediennes—Johnny Galecki and Jim Parsons. The hi-def image is crystal clear; extras include featurettes and a gag reel.
Fringe—The Complete Fourth Season
(Warners)
The creators of Fringe have, in their series' fourth season, gone for broke: characters move between two separate universes, plots are becoming ever more twisty, and the characters are threatening to become swallowed up the sci-fi miasma.
But whenever they reach the edge, they pull back and allow the relationships to overpower the gadgetry, always a good thing. The Blu-ray image is stellar, of course, while the extras include interviews, featurettes and a gag reel.
The Heineken Kidnapping
(MPI)
What I assumed would be a merely dry recreation of the powerful Heineken magnate's kidnapping in Amsterdam is, in director Maarten Treurneit's hands, a tautly-scripted, screws-tightened thriller with the twists and turns of a typical actioner—but far more exciting because it's true.
Rutger Hauer is astonishingly impressive as Heineken, a man whose harrowing experience might or might not change him permanently. The hi-def image is excellent; extras include a making-of featurette.
Holy Flying Circus
(Acorn)
Monty Python going up against the Church and its political allies over the 1979 biblical parody Life of Brian is dramatized in this fitfully funny but too-clever film by writer Tony Roche and director Owen Harris. The actors are game, but Python allusions (e.g., men playing women) are too in-jokey, obscuring the story of what happened and why.
Strongly satiric scenes between the boys and the clueless clowns who wanted Brian banned alternate with overdone, Rutles-type stuff that elucidates little. The Blu-ray image is strong; extras are deleted scenes and outtakes.
Lola Versus
(Fox)
The latest indie darling, Greta Gerwig, stars in this familiar tale of a young woman trying to make it—both personally and professionally—in the oh-so-difficult city of New York. Despite humorous visual and verbal touches, writer-director Daryl Wein and co-writer Zoe Lister-Jones too often fall into the “cutesy” trap in both dialogue and relationships, and the result is that their nominal star—Gerwig, who seems a less interesting Chloe Sevigny—is swallowed up by excessive cleverness.
It's too bad, for Gerwig is a decent actress, if not the goddess she's been painted as. The Blu-ray image is quite good; extras include commentary, deleted scenes, gag reel, and featurettes.
Mother's Day
(Anchor Bay/Troma)
This seminal low-budget 1980 horror film is some sort of litmus test for the genre's fans, who may or may not respond to its skin-crawling, slightly despicable lunacy. Still, there is something bizarrely watchable about the whole thing, like viewing a snuff film or an especially horrific car accident.
The restored image is grainy, often sharp but occasionally soft; extras are several featurettes and director Charles Kaufman's enjoyable commentary.

National Parks Exploration Series—
Yellowstone and the Great Smoky Mountains
(Mill Creek)
These discs give excellent overviews of two of our country's national parks: Yellowstone, which became the first national park in 1872, and Great Smoky Mountains, which joined the club in 1934.
Stunning vistas, vast amounts of wildlife, flora and fauna and natural wonders like Old Faithful are shown in all their spectacular beauty in high-definition; both programs also gives brief histories of each park. Best about these discs is their low price point: less than $10, pretty much a steal these days.
Snow White and the Huntsman
(Universal)
An ungodly hybrid of several strands of fairy tales (for gals, I guess) and action adventures (for their guys, I guess), Huntsman ends up in cinematic no-man's land. The antics of the paranoid queen (an icy Charlize Theron) bleed into the other subplots so dominantly that they make Snow White herself (a rather pale Kristen Stewart) a subordinate charcater in her own movie.
Director Rupert Sanders' balancing act, doesn't serve up much much narrative or dramatic interest. The Blu-ray image is very impressive but it's the extensive make-up and special effects that come off better than the performers; extras include several making-of featurettes and an audio commentary.
Touchback
(Anchor Bay)
In this unoriginal mish-mash of Rudy, Hoosiers, Heaven Can Wait and Back to the Future, a middle-aged loser living in the small town he grew up in has a second chance when he fails to commit suicide: he's returned to high school, where he gets to replay the big game as star QB: will he hurt himself again and ruin the rest of his life?
It's much inspirational ado about not much, with a script filled with cardboard characterizations. The acting is a mixed bag: Kurt Russell is fine as the coach, Melanie Lynskey is wonderful as the hero's wife, but Brian Presley is too stiff as the time traveler. The hi-def image is fine; extras include a commentary and making-of featurette.
The Vampire Diaries—The Complete Third Season
(Warners)
In the third season of this mash-up of True Blood, Twilight, Interview with a Vampire and probably some other movie/TV show/novel I'm missing, the area around Mystic Falls, Virginia runs red with blood and becomes ground zero for a vampire hunter extravaganza as the charismatic creatures go up against their mortal—or immortal—adversaries.
Although it's as risible as it sounds, but the performers are so darned cute—led by Paul Wesley, Joseph Morgan and Jennifer Love Hewitt lookalike Nina Dobrev—that its target audience of teens will keep watching to see these pretty people sucking blood, among other things. The Blu-ray image is excellent; extras include featurettes, deleted scenes and a gag reel.
Where Do We Go Now
(Sony)
Writer-director-star Nadine Labaki's disarming, sometime musical fantasy about women in a Lebanese town who try to end a disagreement between local Christian and Muslim men that threatens to explode into something deadly.
Daringly, triple threat Labaki takes a sensitive subject and distills it to its simple, even charming essence: if the movie doesn't break down religious barriers—what could?—it shows that common ground might eliminate antagonism in this volatile region. The Blu-ray image is very good; extras include commentary by and interview with Labaki and her composer, and featurettes.
DVDs of the Week 
Hospitalite
(Film Movement)
What begins as a low-key family drama morphs into an absurdist comedy as a friendly business owner allows a man associated with his mentor to live with his family: soon, the interloper brings his Brazilian wife and her “family” of dozens.
Director Koji Fukada actually makes everyone plausibly human, so when the odd behaviors start escalating, it's believable and slyly funny. The sequences of “relatives” helping out in the shop are priceless. The lone extra is Will McCord's short Miyuki.
John Leguizamo—Tales from a Ghetto Klown
(PBS)
Although John Leguizamo has starred in dozen of movies, he's most at home onstage performing hilarious one-man shows about his life and career, most recently Broadway's Ghetto Klown.
This hour-long documentary shows Leguizamo preparing that show, and includes interviews with its director, Fisher Stevens, friends like Rosie Perez, his wife and, of course, the man himself, who is as witty and cutting offstage as he is on. Extras include additional scenes.
Paul Simon—Live in New York City
(Hear Music)
Paul Simon's 90-minute concert at Manhattan's Webster Hall on June 6, 2011 (why does it take so long to release live recordings?) is preserved on this DVD/CD set that showcases the 70-year-old singer-songwriter's top-notch band playing 20 tunes from all phases of his career, from Simon and Garfunkel (“The Sound of Silence,” “The Only Living Boy in New York”) to solo hits like “Mother and Child Reunion” and “Late in the Evening.”
True fans will appreciate exemplary versions of deep cuts like “The Obvious Child” and “Hearts and Bones,” and, of course, Graceland is represented more than the other records, save the new one.
Queen—Greatest Video Hits
(Eagle Vision)
This is a re-release of the DVD sets that came out several years ago: 33 videos, from “Killer Queen” to “The Miracle,” spanning 15 years of the most original, creative and hilarious work done by any musicians before, during and after the MTV era.
Although restoring the videos to widescreen is problematic—surely most were not shot in 16:9—the superb 5.1 surround sound mix and guitarist Brian May and drummer Roger Taylor's informative commentaries compensate. The only quibble: where are the Innuendo and Made in Heaven videos? They should be on this reissue.
Two Broke Girls—The Complete First Season
(Warners)
A sitcom created by tart-tongued Whitney Cummings and Sex and the City alum Michael Patrick King would obviously be smart-ass and a little smutty: exactly what Two Broke Girls is. A bimbo blonde and witty brunette move in together in Brooklyn to make ends meet while waitressing at a local dive, and the double entrendres, innuendos and words not often heard at 8 PM on network TV (“vagina”) fly fast and furiously.
The silliness is worth watching for Cummings' sharp banter and how Beth Behrs and Kat Dannings make it sound utterly natural. Extras include interviews, deleted scenes and a gag reel.

Theater Roundup: "Chaplin" on Broadway; Shepard, Fugard at Signature

Chaplin: The Musical
Music and lyrics by Christopher Curtis; book by Curtis and Thomas Meehan 
Directed by Warren Carlyle
With Rob McClure, Jenn Colella, Erin Mackey, Michael McCormick, Christiane Noll, Zachary Unger
Performances began August 21, 2012; opened September 10
Barrymore Theatre, 243 West 47th Street
chaplinbroadway.com
Heartless
Written by Sam Shepard; directed by Daniel Aukin
With Jenny Bacon, Gary Cole, Betty Gilpin, Julianne Nicholson, Lois Smith
Performances began August 7, 2012; opened on August 28; closes September 30
Signature Theatre Company, 480 West 42nd Street
signaturetheatre.org
The Train Driver
Written and directed by Athol Fugard
With Leon Addison Brown, Ritchie Coster
Performances began August 14, 2012; opened on September 9; closes September 23
Signature Theatre Company, 480 West 42nd Street
signaturetheatre.org
McClure in Chaplin: The Musical (photo: Joan Marcus)
The makers of Chaplin: The Musical have some pretty big shoes to fill. No, I'm not talking about Richard Attenborough's 1992 biopic Chaplin, which garnered raves for its star Robert Downey Jr, even though the stage show shares similarities with that equally earnest and fitfully entertaining enterprise. No, I mean Charlie Chaplin himself: can one of the greatest and most beloved artists of the 20th century get his due in a 2-1/2 hour Broadway musical? The answer is obviously not, but there are compensations.
Christopher Curtis and Thomas Meehan's book tracks Charlie's entire career as one long mommy issue as he tries to atone for his mother's' fall from grace—after her drunk husband left her, she raised Charlie and brother Sydney alone while failing to make her London music hall career work, finally succumbing to mental illness. There are numerous, and predictable, flashbacks to Charlie's reminiscences of his mum that he interpolates into his films. Some of this is well handled, but after awhile, Mum and young Charlie's repeated returns end up far sappier than the unapologetically sentimental Chaplin ever was in his films.
The same goes for Curtis's lyrics and music, which combine for pleasant songs that are neither embarrassments nor an embarrassment of riches. Sorely missing, of course, is Chaplin's memorable music for his movies (he won an Oscar for his Limelight score): his immortal tear-jerking ballad “Smile,” for example, blows Curtis's score out of the water, but there are faint nods to its graceful melody buried in the orchestral arrangements, which will bring a smile to those who recognize it.
Chaplin's serviceable music and melodramatic plot are outdone by the show's stage trappings. Director-choreographer Warren Carlyle never ceases to be clever, especially in his use of Beowulf Boritt's black, white and grey sets that visualize Chaplin's movie artistry: the lone time there's bright color—a literal red carpet for Charlie's return to the States in 1972 for an honorary Oscar after two decades of exile following accusations of him being a Communist—works effectively if blatantly. Also coming up aces are Amy Clark and Martin Pakledinaz's period costumes and Ken Billington's pinpoint lighting, which provide more allusions to Chaplin classics The Circus, The Gold Rush, Modern Times and his still potent Hitler satire, The Great Dictator.
The actresses playing the women in Charlie's life—Christiane Noll as his mom, Jenn Colella as Hedda Hopper, who spearheaded the campaign against Communist Charlie, and Erin Mackey as Oona O'Neill, his last wife of 34 years and mother of 8 of his children—are excellent, while Zachary Ungar is an astonishingly poised young Charlie. As the star, Rob McClure makes a marvelous Broadway leading-man debut; like Downey in Attenborough's movie, McClure never merely apes or caricatures the great one, but rather hints at his artistry with dexterous physical agility and disarming charm. He can sing too;despite its many flaws, so does Chaplin.
Bacon and Nicholson in Heartless (photo: Joan Marcus)
As the Signature Theatre Company ends its first season at its new, multi-stage space on 42nd Street near 10th Avenue in Manhattan, two plays by veteran playwrights who are no strangers to the Signature are having their local premieres. Too bad both are pale imitations of their more powerful, earlier works.
Sam Shepard returns with Heartless, which in many ways seems a sketchy blueprint for a more complex character study. In the Hollywood Hills, wheelchair-bound Mable and her daughters—antagonistic Sally, who had a heart transplant when younger, and introspective Lucy, who seems jealous of Sally's “specialness”—deal with many skeletons in their family closet, which all come tumbling out in the poetic (or, in this case, pseudo-poetic) dialogues that are Shepard's forte.
Shepard has a harder time of it with the play's other two characters: 65-year-old former hippie turned moviemaker Roscoe, who is Sally's new boyfriend but ends up leaving, improbably, with Lucy; and Elizabeth, the young nurse taking care of Mable, who is so symbolically contradictory that even in such a bizarre context she makes no literal or figurative sense.
Heartless is filled with obvious symbols and metaphors, starting with its clunky title; too bad there's not one character, no matter how idiosyncratic, that's worth spending two hours of stage time on. The actors—particulary blustery Lois Smith as Mable and touching Julianne Nicholson as Sally—smooth over some of the script's rough patches, but director Daniel Aukin is unable to get a handle on Shepard's arbitrary surrealism, something which Eugene Lee's spare set does a better job with. Shepard hasn't written a first-rate play since A Lie of the Mind more than a quarter century ago; his Heartless has little pulse.

Brown and Coster in The Train Driver (photo: Richard Termine)

When apartheid raged in South Africa, Athol Fugard was a voice in the wilderness, writing humane plays that took the measure of how people against all odds lived under such an oppressive regime. But post-apartheid, Fugard's plays no longer have such political and personal urgency, as his more recent work shows.
His latest to come to New York, The Train Driver, is 90 minutes of speechifying and cardboard characterization. We are in familiar Fugard land: in contemporary South Africa, an elderly black grave digger in a squatter's village, Simon, is met by a white man, Roelf, looking for the graves of an unnamed young woman and her baby. It turns out that he was the engineer of a train in front of which she threw herself and her baby, which pulverized them instantly.
The intermissionless drama, which Fugard frugally directs on Christopher H. Barreca's hard-scrabble set of dirt mounds and post-apocalyptic touches like a burnt-out car and tin roof shack where Simon resides, is static to the point of monotony. And, despite the best efforts of Leon Addison Brown (Simon) and Ritchie Coster (Roelf), who give Fugard's grandstanding speeches as much humanity as possible, The Train Driver nearly goes off the rails.
Chaplin: The Musical
Performances began August 21, 2012; opened September 10
Barrymore Theatre, 243 West 47th Street
Heartless
Performances began August 7, 2012; opened on August 28; closes September 30
Signature Theatre Company, 480 West 42nd Street
The Train Driver
Performances began August 14, 2012; opened on September 9; closes September 23
Signature Theatre Company, 480 West 42nd Street

September '12 Digital Week II

Blu-rays of the Week
Blindness
(Echo Bridge/Miramax)
Jose Saramago's metaphorical novel became a sadly literal 2008 disaster drama by over-his-head writer Don McKeller and director Fernando Meirelles: Saramago's poetically imaginative writing is wrongheadedly visualized, reminding one that certain books—like this one—are unfilmable.
An international cast (Julianne Moore, Danny Glover, Mark Ruffalo, Alice Braga, Gael Garcia Bernel) is wasted, although Cesar Charlone's washed-out photography is transferred faithfully to Blu-ray. Extras include a 55-minute documentary, A Vision of Blindness; The Seeing Eye featurette; and deleted scenes.
Harry Potter Wizard's Collection
(Warners)
In this huge boxed set encompassing all eight Harry Potter films on Blu-ray and DVD (along with the last two on 3-D), the numerous bonus features and collectibles are the raison d'etre for any fan with enough disposable income (moms and dads, Christmas is coming!).
In addition to concept art prints, fabric Hogwarts map, poster and hard-cover catalog, there are several extra discs that include pretty much everything you'd want to know—and then some—about the creation of the most financially successful franchise in movie history, starting with a full-length documentary featuring Daniel Radcliffe and Emma Watson, When Harry Left Hogwarts.
High School
(Anchor Bay)
This uneven, fitfully amusing comedy—which finds juvenile humor in a valedictorian and class stoner getting their whole school high—has appearances by Adrien Brody, Michael Chiklis and Yeardley Smith that don't amount too much.
In desperation, director John Stalberg Jr. and his two (!!) co-writers show us nude females showering in the locker room and an Asian student losing the spelling bee because she smoked pot and giggled her way through her answer, just two examples of their crude sense of humor. The movie looks good on Blu-ray; extras are Stalberg's commentary and deleted scenes.
The Lucky One
(Warners)
In this suds-fest about a returning soldier from Iraq who tracks down the lovely woman whose picture belonged to a dead comrade, Zac Efron makes little emotional headway in the lead, always pretty-looking but distant.
On the other hand, the young widow of his dreams is played with bona fide star quality by Taylor Schilling, who was mere eye candy in Atlas Shrugged, with the invaluable Blythe Danner on hand as her mother. Too bad Efron leaves a black hole where the romance should be. The movie has a fine hi-def transfer; extras include featurettes and interviews.
The Moth Diaries
(IFC)
Mary Harron's adaptation of Rachel Klein's novel set in a girls' boarding school where a newcomer may be a life-sucking vampire is a gorgeous-looking but risible scarefest that tries to both rip-off and rebuke Twilight, in the end not being much of anything.
The lush visuals and perfect-looking actresses can't mask the scarcity of drama, tension or—most damagingly—eroticism in what should have been an entertainingly sexy flick. The Blu-ray transfer is excellent; extras include featurette and video diaries.
Post Mortem
(Kino Lorber)
Chilean director Pablo Larrain's trilogy about his country's Pinochet dictatorship began with Tony Manero and ended with No: in between is this intense exploration of a faceless bureaucrat before, during and after the Sept. 11, 1973 military coup.
In the lead, Alfredo Castro looks uncannily like a zombified John Cazale as an autopsy note-taker whose infatuation with a young dancing girl leads him into previously unknown alleys, all the while dutifully doing his job, like sitting in on murdered President Allende's autopsy. Larrain goes from being too obscure to too obvious, but he dramatizes the grimness of Chile during that time with unerring accuracy. The hi-def image is immaculate.
Quadrophenia
(Criterion)
The Who's iconic 1973 rock opera—better than Pete Townshend's first, Tommy—became an intriguing if flawed 1979 film by Franc Roddam, with Phil Daniels as Jimmy, a disaffected teenager drifting through life.
There's a terrific early 60s atmosphere, and the acting is quite superb—including an indelible cameo by Sting as the hated Ace Face—but the songs aren't fully integrated into the story, with the film's last section looking like music videos for songs like “5:15” and “Love Reign O'er Me” spliced together. The Blu-ray images, of course, are splendid; extras include commentary by Roddam and cinematographer Brian Tufano, interviews and segments of vintage TV programs.
Safe
(Lionsgate)
Boaz Yakim, who began with Fresh, a fresh slice of New York street life, in 1994, has been reduced to making this stale New York-set action flick:at least his stylish touches show the grit, not glamor, of the city in this convoluted tale of a scared teen and the tough MMA fighter (Jason Statham) who helps her against gangsters.
It's done well, if not especially compellingly; the hi-def image complements the film's gritty look. Extras comprise a Yakim commentary and a trio of featurettes.

DVDs of the Week
Changing the Game
The Newest Pledge (Lionsgate)
The streets of Philadelphia never seemed as dull as in Changing the Game, an amateurish crime drama where the performers reads their lines as if from cue cards. Not even the violence of this subculture is shown believably—instead, we're treated to an “upbeat” prayer finale that falls flat.

The Newest Pledge, about a baby “adopted” by a college frat house, is a one-joke movie without any jokes. Jason Mewes flounders badly, which shows he needs Kevin Smith to be effectively funny.
8:46 (Virgil)
9/11 (Smithsonian)
It's been 11 years since that fateful day, and once again, new DVD releases remind us of that fact. 9/11 brings together two programs that premiered during the 10th anniversary remembrances: The Day That Changed the World, a straightforward recounting of what happened and how our leaders handled it; and Stories in Fragments, an emotional showing of how found memorabilia explains victims' lives.
Jennifer Gargano's 8:46 is a well-meaning but crude melodrama drama that chronicles victims and their families' personal stories; writer-director Gargano's heart is in the right place, even if the movie is a manipulative tear-jerker.

Penumbra
(IFC)
An obnoxious Spanish woman gets her comeuppance when friends of a man she showed her family's Buenos Aires apartment to decide to torture and murder in front of her—or do they? Typical “suspend your disbelief” stuff, Penumbra is distinguished by directors Adrian and Ramiro Garcia Bogliano's stylish visuals and persuasive actress Christina Brondo in the lead role.
The final twist is pretty banal, but what leads up to it is highly watchable: if you like thrillers more than usually cerebral, watch it.
The Pinochet Case
(Icarus Films)
Director Patricio Guzman has chronicled his beloved Chile for decades, i.e., his brilliant documentary The Battle for Chile. His new film examines Dictator Pinochet's extradition for war crimes and how his arrest and trial dredged up horrific memories for relatives of those “disappeared” and tortured, which comes to a head in testimony which Guzman provides in brief, intense interviews with survivors.
Guzman is painstakingly not partisan: he allows people to speak for themselves, like shameful Pinochet defenses by Margaret Thatcher and ordinary people who still refuse to believe what what such thugs did to a sovereign nation.
The Presidents
(PBS)
PBS's impressive American Experience series covers the political careers of eleven 20th century presidents from Theodore Roosevelt to Bill Clinton in this set's 17 discs, comprising 38 hours of programs, the first originally airing in 1994 and the most recent in 2008).
If straightforward, not too scholarly overviews of the eras of TR, Woodrow Wilson, FDR, Truman, Kennedy, LBJ, Nixon, Carter, Reagan, George Bush and Bill Clinton—only Eisenhower is mysteriously left out from the elected presidents—are what you're looking for, then The Presidents will fill the bill.
CDs of the Week
Fifty Shades of Grey: The Classical Album
(EMI Classics)
This compilation of songs that inspired E.L. James to write her best-selling erotic trilogy that's taken the publishing world by storm is as trite as I assume the novels must be (haven't—won't—read them).
It's Classical 101, with nothing taxing or out of left field: Bach, Chopin, Debussy, Rachmaninoff, Verdi, Faure, Vaughan Williams, one-hit wonders Delibes, Villa-Lobos and Pachelbel. The decent selection is predictable: since the novels are about a woman's hidden desires, how about more adventurously programmed music?

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