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February '25 Digital Week III

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Wednesday, 26 February 2025 19:44; Written by Kevin Filipski

In-Theater Release of the Week

Parthenope

(A24)

Italian director Paolo Sorrentino returns with an exploration of youthful beauty in the form of a beautiful young woman named after a Greek siren, who turns heads—among other things—in her hometown of Naples (aka Parthenope). Celeste Dalla Porta is exquisitely gorgeous; whether she can act is immaterial, since Parthenope is a symbol for whatever the men who ogle her—even her beloved brother and an old, obese priest—want her to be. If the shots of males leering were cut, the movie would probably be an hour shorter. Visually, Sorrentino and cinematographer Daria D’Antonio overload on sumptuousness, but dramatically and thematically it’s trifling.

Sorrentino even brings in Gary Oldman to ham it up mercilessly as drunk novelist John Cheever, whose writings Parthenope happens to adore. Meshing religion and sex is Sorrentino’s prime subject, but even Dalla Porta’s great beauty palls after awhile, and the final shots of just-retired anthropology professor Parthenope (Stefania Sandrelli) watching a celebratory float go by make as little sense as the rest of this long perfume ad—even a 30-second commercial would have more depth.

Streaming Release of the Week

Nosferatu

(Focus Features)

Writer-director Robert Eggers’ latest genre exercise is in many ways his most enervating yet—his unnecessary remake of the old and moldy Dracula/Nosferatu films is overloaded with hysterically overwrought performances; moody but hammy camerawork; more metaphorical packs of rats and shadows than one would expect even from a nervous student film; and a self-indulgent, slow pace that drags this flimsy tale to a torturous running time of 135 minutes.

Even Willem Dafoe, often an amusing overacter, seems flustered by his ridiculous character and dialogue; poor Lily-Rose Depp looks elegant but remains relentlessly dour, while Nicholas Hoult is unable to fashion a real character out of disparate fragments. As for the vampire himself, Bill Skarsgård gives a performance that grows more risible as the film continues.

Blu-ray Releases of the Week

Last Summer

(Janus Contemporaries)

French provocateur Catherine Breillat hadn’t made a film in about a decade following her stroke, but her long-awaited return doesn’t disappoint, as she adapts the Dutch film Queen of Hearts to dissect the relationship—initially antagonistic, then sexual, and finally emotional—of a 40ish wife and mother, Anna, and her teenage stepson, Théo.

The always rigorous Breillat explores the psychological state of Anna—who is also, ironically, a respected lawyer—and, despite a few narrative misplays (a couple important sequences are elided), allows her to tell her truth, even when it’s based on a torrent of lies. As Théo, Samuel Kircher is simultaneously (and plausibly) a child and a young man, while Léa Drucker gives a towering performance of feminine sexual confidence as Anna, a woman who makes wrong decisions and doubles down on them. The film looks fine on Blu; lone extra is a Breillat interview.

Respighi—Maria Egiziaca

(Dynamic)

Italian composer Ottorino Respighi’s 1931 theatrical triptych follows the prostitute Maria of Alexandria, whose sacrifice later earned her Catholic sainthood, in a dramatically tense account accompanied by some of Respighi’s loveliest music.

Pier Luigi Pizzi’s 2024 Venice production centers on the fiery aliveness of soprano Francesca Dotto’s portrayal of Maria, who could have been merely symbolic but instead is a flawed, fully achieved protagonist. Respighi’s score sounds luminous performed by the Venice State Opera orchestra and chorus under the baton of Manlio Benzi. Hi-def video and audio are first-rate.

Strauss—Arabella

(Naxos)

German master Richard Strauss’ 1933 operatic romance—his final work with longtime librettist Hugo von Hofmannsthal—follows the title heroine, a noblewoman with no shortage of suitors, and her younger sister Zdenka (brought up as a boy to save the family money); the combination of Hofmannsthal’s wit and Strauss’ melodies makes this one of the great autumnal operas. Tobias Krazer’s 2023 Berlin State Opera staging mixes a lush Viennese setting with postmodern touches like film clips and casual contemporary wear for the leads.

If the production is less than visually sparkling, musically it’s aces—as Arabella, Sara Jakubiak adds to her glowing portraits of complex heroines, while Elena Tsallagova (as Zdenka) provides superb support. Donald Runnicles conducts an effective reading of Strauss’ sumptuous score. The hi-def video and audio are topnotch.

4K/UHD Release of the Week

Constantine

(Warner Bros)

In Francis Lawrence’s 2005 supernatural mess, Keanu Reeves sleepwalks through the title role, an exorcist of sorts who visits heaven and hell and who tries to save L.A. detective Angela, whose twin sister Isabel killed herself under suspicious circumstances. Lawrence conjures the look of dankness and gray foreboding that David Fincher did in 1995’s Seven, which was more plausibly and terrifying.

Opposite the somnolent Reeves is Rachel Weisz, desperate to make Amanda more than a caricature but defeated by the material and Lawrence’s approach. The UHD images are flawless; extras include new interviews with Lawrence and Reeves as well as archival featurettes and commentaries.

CD Release of the Week

Supertramp—Live in Paris ’79

(Mercury/Universal)

On the heels of its biggest-selling album, Breakfast in America, prog-rock group Supertramp released a two-LP live set, Paris, documenting the extensive world tour. That 1980 album has just been reissued on two CDs that include the entire two-hour set with the band firing on all cylinders, from prog epics like “Crime of the Century,” “From Now On” and “Fool’s Overture” to classic cuts like “School,” “Ain’t Nobody But Me” and “Even in the Quietest Moments” and a wide selection of tracks from the then-current smash album: “The Logical Song,” “Goodbye Stranger,” “Take the Long Way Home” and even “Child of Vision.”

What’s heard in this impeccably remixed concert is how tight the quintet was, from drummer Bob Siebenberg and bassist Dougie Thomson’s rhythm section to John Helliwell’s saxophone and the coleaders, keyboardist/singer Roger Davies and keyboardist/guitarist/singer Roger Hodgson.

Off-Broadway Play Review—Shakespeare’s “Henry IV” in Brooklyn

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Monday, 24 February 2025 03:16; Written by Kevin Filipski

Henry IV

Written by William Shakespeare; adapted by Dakin Matthews

Directed by Eric Tucker

Performances through March 2, 2025

Theatre for a New Audience, 262 Ashland Avenue, Brooklyn, NY

tfana.org

James Udom, Cara Ricketts, Jay O. Sanders, Slate Holmgren and Elan Zafir in Henry IV (photo: Gerry Goodstein)

When I saw Dakin Matthews’ canny distillation of the two parts of Henry IV at Lincoln Center Theater in 2003, I found it the best Shakespeare I’ve ever seen in New York (and still do)—Jack O’Brien adroitly directed a star-studded cast headed by Kevin Kline as Falstaff, and Matthews’ adaptation subtly distilled the essence of both works into one absorbing four-hour play.

Matthews’ Henry IV returns in a far different staging at the Polonsky Shakespeare Center in Brooklyn. Unlike O’Brien’s lush, almost cinematic production, Eric Tucker directs a smaller-scaled version in the round. There are drawbacks to this approach, since the action takes place among dozens of characters in several far-flung locales, including the king’s court, London taverns and a battlefield. The cramped stage area is acknowledged by actors sitting in seats among the audience when not performing, which fosters more intimacy among spectators and performers. And performing in the round by definition has actors facing away from a part of the audience at all times, which has a tendency to swallow important dialogue.

Nicole E. Lang’s lighting illuminates the proceedings on Jimmy Stubbs’ minimalist set both dramatically and psychologically, while Catherine Zuber and AC Gottlieb’s costumes pleasingly mix period and modern. Tucker nicely paces the drama among the king’s council discussions, the rebels’ machinations and the lively tavern interludes among London’s lowlifes. He has also double-cast several roles, so some performers change costumes and become other characters right onstage. It’s a diverting effect, but it also points up the difficulty of doing the Bard on a budget, since such busyness at times detracts from the play itself.

Of those taking on multiple roles, best are the charismatic Jordan Bellow, who adroitly shuttles between Prince Hal’s brother John and Hal’s partner in frivolity Ned Poins; and the winning Cara Ricketts, who makes both a touching Lady Percy and a rollicking Doll Tearsheet. Matthews himself—who played a supporting role in the 2003 Lincoln Center production—gives the title monarch a sturdy royal presence.

Shakespeare is most interested in the relationship between Hal and his friend, the braggart, womanizer, and self-styled wit named Sir John Falstaff. When Hal prods Falstaff to even greater heights of self-delusion, it makes Falstaff simultaneously funnier and more sorrowful. Elijah Jones finds a nice balance between Hal’s foolishness and budding maturity, and Jay O. Sanders follows in Kevin Kline’s large footsteps to create a Falstaff who is both outsized and normal, buffoonish yet always sympathetic.

Near the end, Hal—now Henry V after his father’s death—coldly banishes his erstwhile friend and sparring partner from the kingdom; Sanders plays this moment with shock and resignation but also a sliver of pride that the young man Falstaff believes he himself has led to this moment has, indeed, met the moment. This is not an essential Shakespeare staging but it is entertaining, which nowadays is nothing to sneeze at.

February '25 Digital Week II

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Thursday, 20 February 2025 21:26; Written by Kevin Filipski

In Theater/Streaming Releases of the Week

Becoming Led Zeppelin

(Sony Classics)

How a quartet of British musicians—guitarist Jimmy Page, bassist John Paul Jones, drummer John Bonham and singer Robert Plant—got together to form one of the planet’s legendary rock bands is at the heart of Bernard MacMahon’s straightforward portrait. Introducing each member, born in 1940s war-torn England, and taking their story until the start of 1970—following the huge success of the group’s first two albums and tours—MacMahon lets the four speak for themselves: Page, Jones and Plant give new interviews, and Bonham (whose death in 1980 effectively disbanded the group) is heard in an unearthed 1970s interview.

The result is two hours of musical bliss for Zepheads: not only are there fresh nuggets like the many mid-’60s hits Page and Jones both played on as session musicians or the besotted female fan calling Plant a “fox” in a call-in interview on an American radio station (“what’s that?” Plant ignorantly asks), there are also incendiary live performances of “Dazed and Confused,” “Communication Breakdown,” and other Zep classics, all looking and sounding brilliant in restored video and audio. A must-see in IMAX, with its killer sound, but even a smaller screen and less than optimal sound system aren’t a dealbreaker.

The Annihilation of Fish

(Kino Lorber)

Charles Burnett’s 1999 romance starring James Earl Jones and Lynn Redgrave was never released after a bad review scared off the original distributor—although not THAT bad, it’s more than a bit of a mess. Burnett, who made Killer of Sheep and To Sleep with Anger, shows a less than sturdy directorial hand in this slapstick, rom-com, tragedy and heartache.

Anthony C. Winkler’s scattershot script deserves its share of blame as well. Jones’ and Redgrave’s performances swing from wildly overdone to nicely subtle, sometimes in the same sequence, while Margot Kidder (whom I didn’t recognize at first) provides needed levity as the couple’s landlord.

Something Is About to Happen

(Film Movement)

Director-cowriter Antonio Méndez Esparza’s account of middle-aged Lucia’s horrifying spiral when she’s laid off and becomes a cabbie has been compared to Taxi Driver itself—but the outbursts of violence that climax Lucia’s story are miles from Travis Bickle’s cleaning the “scum” off NYC streets; rather, Lucia has been wronged, in her mind, by friends and lovers and exacts her own sort of vengeance.

Malena Alterio plays Lucia forcefully but also with an understated ability to keep her sympathetic even if the bloody final act has been all but foreshadowed by Esparza and Clara Roquet’s script; baring herself emotionally and physically, Alterio makes Lucia and her plight worth watching however unnerving.

Three Birthdays

(Good Deed Entertainment)

Jane Weinstock directed Nevin Schreiner’s script that’s a choppy look at a liberal Ohio family—father Rob, mother Kate (both professors) and their free-spirited 17-year-old daughter Bobbi—on their birthdays in the pivotal year of 1970. The movie brims with so many signposts of the “hippie” era—open marriages, female sexual awakening, racism, sexism—that when the Kent State shootings are brought in (Kate’s birthday is May 4, the day of the shootings), it tips the scales into lazy contrivance.

It’s too bad, for some family confrontations are realistically fraught, while the acting of Josh Raynor (Rob), newcomer Nuala Cleary (Bobbi), and the always great Annie Parisse (Kate) is first-rate. I chuckled during the end credits at an aria from Camille Saint-Saëns’ opera Samson and Delilah mistakenly listed as being composed by Claude Debussy.

Trinity

(First Run Features)

The sorrowful legacy of the atomic bomb, brought back into the spotlight after the success of Christopher Nolan’s supremely flawed Oscar winner Oppenheimer, is vividly if haphazardly recounted in Martina Car and Anthony Audi’s short but wandering documentary, which lets residents of New Mexico—site of the “Trinity” testing site—discuss the lingering physical, emotional and even political effects of the decades of stonewalling, sweeping under the rug and ignoring their plight by the government.

Along with the often heartrending interviews, the directors also provide a broader political and human context, although even at a succinct 75 minutes, Trinity could use a bit more meat on its bones.

Blu-ray Releases of the Week

In the Summers

(Music Box)

Writer-director Alessandra Lacorazza’s auspicious feature debut is this intensely personal memory film about two sisters, Violeta and Eva, who visit their dad Vicente during several summers over a number of years. Although the drama is sometimes too on the nose as the girls discover how complex their relationship is with a father they only see a couple of weeks a year, only once does Lacorazza stoop to melodrama—a drunken car accident that injures Violeta—but even that sets the stage for a final, touching reunion.

It’s enacted by a group of fine young actors playing the sisters at various ages and who rotate around the impressive Puerto Rican rapper René “Residente” Pérez Joglar as Vicente: best are Sasha Calle and Lio Mehiel as, respectively, the adult Eva and Violeta. The film looks splendid on Blu; extras include Lacorazza’s commentary, interviews with the director and cast, deleted scenes, bloopers and Lacorazza’s short film, Mami.

Handel—Theodora

(Naxos)

George Frideric Handel’s 1750 oratorio about fourth-century Christian martyrs Theodora and her husband Didymus contains some of the composer’s most glorious music—and has also been staged as an opera over the centuries, as this misguided Vienna production by director Stefan Herheim shows. Set in Vienna’s modern-day Café Central, which is inappropriate enough, the staging hits its nadir after the chorus sings movingly about Christ raising a man from the dead, and…a waitress brings out tea trays filled with desserts.

The music, at least, lives up to Handel’s high standards: the Arnold Schoenberg Choir (under chorus master Erwin Ortner) and La Folia Barockorchester (under conductor Bejun Mehta) perform superbly, and Jacquelyn Wagner (Theodora) and Christopher Lowrey (Didymus) sing beautifully. There’s fine hi-def video and audio.

CD Releases of the Week

Getty—Goodbye, Mister Chips

(Pentatone)

Now 91, Gordon Getty—yes, he’s one of the Gettys—has been composing operas for 40 years, and his latest, a 2017 stage work that premiered as a film in 2021, is an attractive adaptation of the James Hilton novella about beloved teacher Mr. Chipping at an English boys’ school. Getty also penned the libretto, and his music is accomplished and, by its end, quite moving (Chipping’s wife Kathie has a couple of emotionally climactic appearances).

This excellent recording, by the Barbara Coast Orchestra and San Francisco Boys Chorus under conductor Dennis Doubin, highlights wonderful vocal performances by soprano Melody Moore as Kathie; bass-baritone Kevin Short in several smaller roles; and tenor Nathan Granner as Mr. Chips himself, a man whose personal tragedies color his natural optimism for his students.

MacDowell—Piano Concerto No. 1, Other Orchestral Works

(Chandos)

It might be difficult to believe that Edward MacDowell (1860-1908) was considered a leading American composer of his generation; but then, who else was there at the time? Whatever the case, MacDowell’s music, at least on the basis of this elegantly played survey of his orchestral works by the BBC Philharmonic led by conductor John Wilson, is perfectly structured and lushly orchestrated.

Although his shimmery Piano Concerto No. 1 is the main draw—especially as played by the exquisite soloist Xiayin Wang—the two symphonic poems, Lancelot und Elaine and Lamia, are also beautifully wrought.

New York Philharmonic Play Debussy & Saariaho

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Thursday, 20 February 2025 14:50; Written by Jack Angstreich

Photo by Chris Lee

At Lincoln Center’s excellent David Geffen Hall on the night of Tuesday, February 18th, I had the exceptional privilege to attend a splendid New York Philharmonic subscription concert—which continued a strong season—impressively led by Karina Canellakis.

The event started very promisingly with an admirable realization of Kaija Saariaho’s powerful and striking Light and Gravity from 2009. The background to the work is usefully discussed in an informative program note by Nicholas Swett, who is described as “a cellist, writer, and music researcher who is a PhD candidate and Gates Scholar at the University of Cambridge, and who has annotated programs for Carnegie Hall, the Chicago Symphony Orchestra, the BBC, Music@Menlo, The Chamber Music Society of Lincoln Center, and others.” He writes:

The Finnish composer Kaija Saariaho came upon Weil's writings as a teenager. She later described how

the Finnish translation of her book Gravity and Grace was one of the few things I packed into my suitcase when I travelled to Germany in 1981 to continue my studies in composition. … The combination of Weil's severe asceticism and her passionate quest for truth has appealed to me ever since I first read her thoughts.

Weil's work became a lifelong resource; in a 2021 interview Saariaho said, “I never totally understood what she is saying, but I am still trying. And I don't agree with her thoughts, but they force me to create my own opinions and they are very contemporary.”

In the early 2000s, while on the set of her opera L'Amour de loin, Saariaho discovered that her interest in Weil was shared by the director Peter Sellars. In 2006 they worked with librettist Amin Maalouf to channel their admiration into La Passion de Simone, an oratorio based on Weil's life and work. The piece followed the tradition of J.S. Bach's St. John and St. Matthew Passions, in which the composer interleaved declamatory recitatives describing the final stages of Jesus's life with more emotional, poetic commentary to be sung by chorus and soloists. Saariaho wrote 15 movements, or “Stations,” for a massive orchestra, a choir, the recorded voice of actress Dominique Blanc reading Weil's writings, and a solo soprano, who narrates and tenderly addresses Simone as “my sister.” Early performances of the oratorio were staged by Sellars. Saariaho dedicated the work to her children, and 15 years after its premiere she maintained, “this piece is maybe the most important piece I ever wrote.”

In January 2009 conductor Esa-Pekka Salonen and the Los Angeles Philharmonic put on a well-received production of La Passion. Salonen told Saariaho that he especially liked the Eighth Station, the composition's shining cornerstone. At the start of that movement, the soprano sings just one phrase. Her words eerily double a recorded reading of Weil's explanation for the absence of God in everyday life — that he “withdraws himself” because he doesn't want to be “loved like the treasure is by the miser.” The soprano's lonely melody is repeated several times with slight variations by a diverse suite of instruments, a strategy that structures the meditative middle chapters of many of Saariaho's large-scale works.

Saariaho made an orchestral transcription of the Eighth Station and dedicated it to her fellow Finn. She called it Lumière et Pesanteur (Light and Gravity) after two cardinal elements of Weil's philosophy.

A remarkable soloist, Veronika Eberle—who debuted with this ensemble with these performances—then entered the stage for a memorable account of Alban Berg’s estimable Concerto for Violin and Orchestra from 1935. The first movement has a somewhat mysterious, Andante introduction, but its main body, marked Allegretto, is agitated and concludes relatively quietly and unexpectedly. The second and final movement opens portentously and with considerable urgency but this Allegro section is followed by a more reflective although still highly emotional, Adagio conclusion that then turns more intense once again; after several, mostly more subdued episodes, it closes rather gently. Enthusiastic applause elicited a rewarding encore from Eberle: the second movement, Andante dolce Theme and Variations, from the Sergei Prokofiev Sonata for Solo Violin.

The second half of the event was even stronger, beginning with a haunting account of Olivier Messiaen’s exalting, seldom played The Forgotten Offerings: Symphonic Meditation for Orchestra, from 1930. The composer authored these stanzas in conjunction with the piece:

Arms extended, sad unto death,
On the tree of the Cross you shed your blood.
You love us, sweet Jesus: we had been forgetting that.

Driven by folly and the serpent's tongue,
On a course panting, unbridled, without relief,
We had been descending into sin as into a tomb.

Here is the spotless table, the spring of charity,
On the banquet of the poor, here the Pity to be adored, offering
The bread of Life and of Love.
You love us, sweet Jesus: we had been forgetting that.

The initial part is luminous, if solemn, while the second is turbulent and breathless in pace, and the ultimate segment is hushed, serious and introspective.

The last work on the program was its greatest: Claude Debussy’s astonishing masterpiece, La Mer: Three Symphonic Sketches—it was partly inspired by Hokusai’s amazing woodblock print, The Great Wave off Kanagawa—which was gloriously rendered here. The often contemplative, opening movement—titled From Dawn till Noon on the Sea—begins evocatively and bewitchingly; it unforgettably climaxes just before its sudden close. The next movement, The Play of the Waves, is more energetic, even hurried at times and invokes East Asian music; it finishes softly. The concluding movement, Dialogue of the Wind and the Sea, starts suspensefully and almost ominously and then becomes tempestuous with driving rhythms but also with moments of calm and shimmering passages—it vaguely recalls the compositions of Nikolai Rimsky-Korsakov, particularly his Scheherazade—and it ends brilliantly and stunningly.

The artists deservedly received a standing ovation.

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