Thursday, December 18, 2014
Sleuthing in the Holidays: The Burning Room, Thin Air and Murder on the Île Sordou: A Verlaque and Bonnet Provençal Mystery
Wednesday, December 17, 2014
|Noah Wiseman and Essie Davis star in Jennifer Kent's The Babadook|
The low-budget Australian horror movie The Babadook is about the relationship between Amelia (Essie Davis), a widowed single mother whose husband died in a car crash driving her to the hospital to give birth, and her six-year-old son, Samuel (Noah Wiseman). Actually, saying that it’s “about” the two characters kind of understates the matter. The movie doesn’t have any more supporting characters than seems absolutely necessary, and the other people who do drop in—Amelia’s sister Claire (Hayley McElhinney) and her daughter, a sympathetic neighbor (Barbara West), a co-worker of Amelia’s (Daniel Henshall) who briefly takes an interest in her—don’t hang around; they say their lines, establish their connection to the mother and son (or their lack of same), and vanish, at least until they’re needed again. At one point, when a couple of wordless bit players get the film frame to themselves during an outdoor scene, I felt strangely grateful for the sight of them, as if they’d arrived to keep me company on a desert island.
Usually, movies this under-populated just feel cheap and claustrophobic, but first-time director Jennifer Kent has a game plan: her narrow focus, and her fascinatingly jittery, anxious camera work and editing, result in a genuinely frightening little movie, with a near-Expressionist intensity. The style is a reflection of the mindset of the heroine, who can never get enough sleep. Her son, who’s obsessed with inventing weapons, such as a handmade crossbow, to protect them from something evil and menacing, is in a constant wide-eyed manic state, so that the other characters tend to assume there’s something the matter with him. (Veteran horror movie audiences, meanwhile, may leap to the assumption that he’s some kind of demon child, out of The Omen or Village of the Damned.) The movie has what feels like an in medias res opening, with Amelia so exhausted that it’s hard to imagine what the family’s “normal” existence might be like.
Tuesday, December 16, 2014
Teller and J.K. Simmons in Whiplash|
The thing to understand before you see Whiplash is that it isn’t at all like Amadeus or Inside Llewyn Davis or Ray – not just because it isn’t a biopic, but also because it shares little with those films in their exploration and exultation of a life spent making music. Instead it’s a harsh, heart-pounding ride through the dark side of music, that plays more like a thriller than a movie about jazz drums.
The film follows drum major Andrew (Miles Teller) in his struggle to become the number one percussionist at the fictional, Julliard-esque music academy he attends in New York. As a character later points out, if Andrew is the best at his school, then that means he’s the best in New York, which means he’s among the best in the world – and he will accept nothing less. The person who is both prime motivator and immovable obstacle to this goal is Fletcher (J.K. Simmons), the tyrannical bandleader of the school’s competitive studio ensemble, who takes Andrew under his wing and nearly breaks him in the process.
Monday, December 15, 2014
|Kieran Culkin and Michael Cera in This is Our Youth (Photo by Brigitte Lacombe)|
As the late adolescents in the Broadway production of Kenneth Lonergan’s three-hander This Is Our Youth, Michael Cera, Kieran Culkin and Tavi Gevinson are improbably loose and funny together, like performers with strikingly disparate styles who’ve been working together so long they can anticipate each other’s moves. It’s slacker vaudeville. This play, which was Lonergan’s breakthrough, was first produced off Broadway in 1996, with Mark Ruffalo, Josh Hamilton and Missy Yager; it had a limited run but received so much praise that it reopened two years later (with Mark Rosenthal stepping in for Hamilton), and Jake Gyllenhaal, Hayden Christensen and Anna Paquin picked up the roles when it was mounted in the West End in 2002. This new production, directed by Anna D. Shapiro with an acute sensitivity to the play’s complex tonality, is the first time the play has been seen on Broadway. Though the Sunday evening performance I attended was full, overall it hasn’t been drawing crowds – and it deserves to sell out. I saw a tape of the 1998 revival, and though Ruffalo was very funny as the drug-addled misfit Warren, I ran out of patience for the characters. You could see Lonergan’s talent for dialogue and for rendering the milieu, upper-middle-class Manhattan Jewish teens in the early 1980s, very bright but derailed, with highly successful career-focused parents with whom they have brittle, sometimes ugly relationships. (Lonergan’s superb 2011 film Margaret has the same geographical and social setting, though it takes place three decades later.) But the play felt insubstantial. Shapiro’s production is both funnier and more poignant – and it gives a much sharper sense of how good the script is.
Sunday, December 14, 2014
|Leon Theremin poses with one of his inventions.|
There are two schools of thought regarding the writing of historical novels. The first and the most widespread belief is that the novelist should not knowingly violate the historical record but should use his or her imagination to consider what might have happened when no documentary evidence exists. This might include the invention of fictional characters that are in a position to observe and recount the expressed feelings of historical actors; a writer can enter into their minds or flesh out the personalities and biographies of individuals when there is little historical documentation. The novelist in short can enter a domain from which the historian is excluded. Sarah Quigley’s The Conductor (HarperCollins, 2011), the story of the preparation for the first Leningrad performance in 1942 of Dmitri Shostakovich’s Seventh Symphony in the besieged city, exemplifies this literary tradition and will be discussed in a subsequent review.
A second perspective is that the novelist has every right to pick and discard from the historical record whenever it suits his purposes. Sean Michaels, a Montreal-based author who founded the music blog, Said the Gramophone, and the 2014 winner of the Giller prize for fiction for his debut novel, Us Conductors (Random House Canada), illustrates this iconoclastic approach. In his Author’s Note, Michaels explicitly acknowledges that his novel about the Russian engineer, physicist and inventor, Leon Theremin is “full of distortions, elisions, omissions, and lies,” making it difficult for the reader to know where the truth ends and the lies and omissions begin unless one reads Albert Glinsky’s Theremin: Ether Music and Espionage (which Michaels recommends for anyone who wants an accurate rendering of the life of Leon Theremin). Theremin is most famous for the invention that bears his name: an electrical musical instrument played by moving one's hands in the space between two antennae, one hand controlling the pitch, the other the volume. The theremin, forerunner of the synthesizer, was often used in soundtracks for science fiction films because of its other worldly sound, and an advanced version was used in the Beach Boys' “Good Vibrations.” I would recommend Steven M. Martin’s documentary, Theremin: An Electronic Odyssey and the CBC radio documentary “Out of Thin Air." The former highlights the theremin’s cultural applications and provides archival and the then-current 1993 footage of Theremin himself. The latter explains how the theremin operates and we hear some wonderful offerings by Clara Rockmore in YouTube performances and from a modern theremist. Most readers are unlikely to read the biography, or watch the film – which does contain historical inaccuracies and omissions – or may not even care about Us Conductors' historical shortcomings because, it is, after all a novel. But I do and that is why I am motivated to write this review.
Saturday, December 13, 2014
Friday, December 12, 2014
Michael Winterbottom's The Claim (2001) is set shortly after the 1849 California Gold Rush and loosely based on Thomas Hardy's emotionally devastating 1886 novel, The Mayor of Casterbridge. But Winterbottom doesn't simply adapt Hardy's powerfully evocative moral drama and recast it in the emerging American West, he cures the film in the poetically elliptical style of Robert Altman's imagined frontier of McCabe and Mrs Miller (1971). Altman's film, which starred Warren Beatty as a gambler with a vision and Julie Christie as the pragmatic madam he loved, was a dreamy, effusive view of the ruggedness of settling the land. The Claim doesn't share the fulsome lyricism of McCabe, but like Altman's western, Winterbottom allows the story to unfold through an evocatively shifting tableau of conflicting moods.