Meeting the Moment: September 5

Peter Sarsgaard (left) and cast in September 5. (Photo: Paramount.)

We are pleased to welcome a new critic, Nick Braccia, to Critics at Large.

Like many movie lovers, I have grown so cynical about contemporary releases that when I stumble upon something great, I’m left staggered. That was exactly my reaction after watching September 5, Swiss director Tim Fehlbaum’s docudrama thriller about the Israeli hostage crisis and the murder of eleven athletes and coaches by the Palestinian militant group Black September at the 1972 Munich Olympics. Despite award noms, nobody’s talking about it—certainly not Paramount, which released it – and that’s a terrible shame, because September 5 is a masterfully calibrated newsroom pressure cooker, engineered with the same craftsmanship the ABC Sports team applied on the movie’s titular day, when seasoned pros accustomed to lower stakes were suddenly called to a higher purpose, broadcasting the unfolding catastrophe to 900 million.

Alone with David Lynch: Notes from a Séance

David Lynch in the documentary David Lynch: The Art Life (2016).

A wise man once told me that mystery is the most essential ingredient of life, for the following reason: mystery creates wonder, which leads to curiosity, which in turn provides the ground for our desire to understand who and what we truly are.

 — “Opening Statement” of “The Archivist,” from The Secret History of Twin Peaks (2016), by Mark Frost

Only a few times have I ever felt that being in an audience enhanced my experience of a film. For me art has always been a private thing: “just me and a mirror and my brain,” as The Bee Gees once put it. The obvious benefit of solitary viewing is that you needn’t filter out your neighbors’ responses—contagions of fidgeting whenever action slows or logic separates, gales of laughter at aggressively unfunny jokes. Freed from the bullying influence of consensus, you watch differently; you don’t expect a film to perform for you in the same way. Instead of saying, “Here I am, entertain me,” you adopt the less adversarial, more absorptive role of the engaged bystander. You let the thing develop on its own terms, taking whatever risks it chooses to become whatever it wants to be. Then you judge how well, or if, it did that.

The Brain Doctor: William Burroughs (1914-1997)

Portrait of William S. Burroughs by Lance Austin Olsen.

“Language is a virus.”

W. B.

William S. Burroughs’ supernal and subterranean Beat influence on Allen Ginsberg and Jack Kerouac alone would secure him a stable place in the modernist canon of American letters, as would Norman Mailer’s prescient early acclamation, “Burroughs might be the only American writer of sheer genius.” For me, Alexander Kafka penned what I’ve long felt was an ideal characterization of this experimental literary legend: “Burroughs was an ethereal intermediary between the here and the fiery beyond, pausing to give us the purgatorial skinny.” That skinny was transmitted in haunting and disturbing novels such as Junky (1953), Naked Lunch (1959), The Soft Machine (1961), and The Ticket That Exploded (1962), among many others. However, it was through his influence on every other aspect of 20th-century culture in all media that his spectral presence as a testifier was most perhaps most long-lasting.

Intoxicating: People, Places and Things at Coal Mine Theatre

Kwaku Okyere, Louise Lambert, Sarah Murphy-Dyson and Nickeshia Garrick in People, Places and Things (Photo: Elana Emer)

Duncan Macmillan’s People, Places and Things has landed at Toronto’s Coal Mine Theatre in a production that is as intimate as it is harrowing. Directed by Diana Bentley, this Canadian English-language debut transforms the celebrated 2015 play into an immersive experience, leveraging the theatre’s compact, square stage to pull the audience into Emma’s chaotic journey through addiction and recovery.

A Regal Triumph: La Reine-Garçon Shines at the Four Seasons Centre

Kirsten McKinnon as Christine (played by Kirsten Leblanc at the performance our critic saw) in La Reine-Garçon. (Photo: Michael Cooper.)

At a time when Canada’s cultural sovereignty faces external pressures, the Canadian Opera Company, in collaboration with Opéra de Montréal, has delivered a resounding artistic statement with La Reine-Garçon. This polished production, currently at Toronto’s Four Seasons Centre until Feb. 15, exemplifies the heights of Canadian operatic achievement.

Two Servos, With Love: Broadway's Maybe Happy Ending and Gypsy

Helen J Shen and Darren Criss in Maybe Happy Ending.

The musical Maybe Happy Ending is first surprising, then charming, and finally touching. It’s a romantic musical about robots written by Will Aronson (who composed the music) and Hue Park (who collaborated with Aronson on the book and lyrics), that comes to Broadway by way of Korea. The two protagonists, Oliver (Darren Criss) and Claire (Helen J Shen), live across the hall from each other in apartments in the Helperbot Yards in Seoul, where they were left after their owners “retired” them – though Oliver is under the impression that his, James (played by Marcus Choi in flashbacks), will be coming by any day to pick him up and ferry him to his home on Jeju Island. It’s been twelve years, but Oliver continues to live in happy expectation, watching the movies James taught him to love and listening to the classic jazz that is his special legacy from James. (James continued Oliver’s subscription to Jazz Monthly when he departed.) Oliver’s only companion is a plant he’s named HwaBoon – another gift from James – until one day Claire knocks on his door and asks him to let her use his recharger. At first, true to the conventional romantic-comedy set-up, they don’t like each other, but they warm up and eventually realize that, in defiance of the way their manufacturer created them, they have begun to have feelings for each other. And since Claire’s owner left her with her old car, the bots are able to embark on the archetypal romantic-comedy journey, to Jeju Island to find the long-gone James.

So Long, Marianne (1946-2025): What Becomes of the Brokenhearted

Marianne Faithfull. (Photo: Peter Seeger.)

“The men and women who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or culture the most extensive, but rather those who have had the power, ceasing suddenly to live only for themselves, to transform their own personality into a sort of mirror.”

Marcel Proust

If there is a sadder singer-songwriter on earth, I’m not sure who it might be. The late Marianne Faithfull was sadder than Neil Young, sadder than Leonard Cohen, sadder than sad. She even exceeds the sorrow and bleakness quotient of one of the great lamenters of all time, Nico, the chanteuse of pain who originally performed with The Velvet Underground but who left them, probably because they were too happy for her. She might be sadder that Amy Winehouse, although she was fortunate enough to live a full half-century longer than the poor lamentable Amy. Marianne Faithfull was the dark side of Joni Mitchell: while it’s true that Mitchell had her own dark side, Faithfull was the dark side of Joni’s dark side. She was an exile who lived in a dream world for so long that her reports from its frontier took on the status of legend. She was also, apart from being a consummate risk-taker, an empath of the highest order, with a remarkable ability for turning sheer survival practically into an authentic religion.

A Smattering of Recent Releases

Tye Sheridan and Jude Law in The Order.

The Order (available on Apple+), based on Kevin Flynn and Gary Gerhardt’s book The Silent Brotherhood: Inside America’s Racist Underground, is taut and gripping. It tells the true story of a secret white supremacist organization housed in the Pacific Northwest – the brainchild of a young man named Bob Mathews who splintered off from the Aryan Nation because he found them too weak-minded, all talk and no action – which the FBI uncovered and busted in 1985. Like other violent self-proclaimed revolutionaries (Timothy McVeigh, the Oklahoma City bomber, for one), Mathews uses William Luther Pierce’s novel The Turner Diaries, published under the pseudonym Andrew Macdonald, as a guidebook. He prepares to declare war on the U.S. government by staging, with a small cohort, a series of robberies and bombings and the murder of Alan Berg (played in the film by Marc Maron), a confrontational Jewish radio talk-show host in Denver who has been taking on rabidly anti-Semitic callers.

The Seed of the Sacred Fig: A Way Must Be Made

Missagh Zareh and Soheila Golestani in Mohammad Rasoulof's The Seed of the Sacred Fig.

Part political chronicle, part thriller and part family drama, the Iranian film The Seed of the Sacred Fig, directed by Mohammad Rasoulof, is complex and terrifying. Like Agnieszka Holland’s Green Border, released last summer, it captures an ongoing situation so disturbing that we can’t shake it off when we leave the theatre. Its focus is on Iman (Missagh Zareh), who works in the justice system, and on his family: his wife, Najmeh (Soheila Golestani) and their two teenage daughters, Rezvan (Mahsa Rostami), who is at university, and Sana (Setareh Maleki), still in high school. Iman has just been promoted to interrogator, which puts him on track to become a judge, a distinction that brings with it not just a more enviable salary but also a larger house. But as his colleague, Ghaderi (Reza Akhlaghirad), cautions him, the job is dangerous because those who believe they have been charged unjustly may seek revenge on him and his family. It carries moral perils as well: Iman, who has behaved with strict rectitude during a twenty-year career, is immediately asked to sign off on a wiretapping without having a chance to read the file; when he hesitates, his supervisor overrides him. And things get worse. Tehran has been swept up in protests over the arrest of twenty-two-year-old Mahsa Amini for wearing her hijab improperly, and her suspicious death in custody, he is pressured to confirm death indictments against other young people, one a boy the same age as Rezvan.

Echoes of a Vanishing World: Last Landscape at Buddies in Bad Times

The cast of Last Landscape. (Photo by Fran Chudnoff.)

A droning litany of environmental crises emanates from a laptop in a cramped, cardboard-walled apartment. Outside, a dog’s incessant barking punctuates the claustrophobic atmosphere. This unsettling opening of Last Landscape at Buddies in Bad Times Theatre thrusts us into a world teetering on the brink of ecological collapse, as envisioned by Toronto-based theatre artist Adam Paolozza, the show’s creator and director.

Short Cuts

Flow. (Courtesy of Janus Films.)

Flow: This gorgeous-looking animated film from Latvia, written by Gints Zilbalodis and Matiss Kaza and directed by Zilbalodis, is one of the few treasures of a disappointing holiday season. Set in a jungle in the wake of a tsunami, it seems to take place at the end of the world – there are no human beings in it, and the animals who populate it travel on a deserted sailboat. Its subject is the surprising harmony of living creatures who need to look to each other to survive. Flow has an obvious underlying melancholy, but it’s sweet and playful. The protagonist is a cat, a natural loner who is befriended by a secretary bird, a capybara, a ring-tailed lemur and a Labrador. The most striking relationship is between the cat and the secretary bird, whose attempt to reach out with an offering of freshly caught fish is met with hostility from his pack, who ostracize him and step on his wings so he can’t fly away with them. On the boat with the others, the cat reciprocates; he also figures out how to navigate the bird’s regal pride. This coming together of two solitary creatures in a strange, almost mystical friendship is the most touching element of the film but far from the only one.

Argonaut of Modernity: Impersonating Pessoa

“You are what you contemplate, so choose wisely.”

--Machado de Assis

Reaktion Books/University of Chicago Press.

This new entry into the modernist archive by CultureLab member Bartholomew Ryan, Critical Lives: Fernando Pessoa, sheds fresh and welcome light on one of the most mysterious and elusive figures in the annals of contemporary literary culture. He was, in fact, not only a prototypical modernist, but also a stylistic harbinger of the amorphous postmodern ethos long before it even existed. The French writer Jules Michelet once declaimed, “Each epoch dreams the era to follow it.” Pessoa seems to have been the brilliant dreamer who imagined the relativistic and quantum-drenched psychological environment in which we currently dwell. Assis certainly knew whereof he spoke, for both he and his younger countryman Pessoa may have bravely contemplated the very shaky future we all live in now as a wobbly present.

Narcissism Disguised As Altruism

I have a confession: for eighteen months, I’ve been addicted to Sixteen Tons Entertainment’s Emergency(2023, a.k.a. Emergency [Free to Play]), the latest entry in a real-time strategy (RTS) series (1998–) created by Ralph Stock. I’ve gone cold turkey twice, and every time the game has haunted my daydreams and nightmares till I downloaded it again. Now I just accept that I’ll have to spend half an hour each day on this thing.

Coming of Age as an Apologue – and the Reverse

Elliott Heffernan and Saiorse Ronan in Steve McQueen's Blitz. (Photo: Parisa Taghizadeh/Apple TV+.)

Steve McQueen’s film Blitz, set in September 1940, in the early days of Hitler’s incessant bombing of London, is an obvious labor of love. It takes place over just a couple of days, during which Rita (Saiorse Ronan), an armaments factory worker, puts her nine-year-old son George (Elliott Heffernan), on a train bound for the countryside with other children but he jumps out and tries to make his way back to Stepney, the working-class neighborhood where he lives with Rita and her father (Paul Weller); he never knew his father, who is African and was deported unjustly after a street fight. Production designer Adam Stockhausen’s recreations of the period are gorgeous, as is the cinematography by Yorick Le Soux, the favorite collaborator of the French director Olivier Assayas. The editing by Peter Sciberras is masterful: it actualizes McQueen’s remarkable sense of rhythm, which was showcased in his Small Axe series and especially in Lovers Rock. The film is propelled forward, moving back and forth between Rita and her wayward boy with remarkable fluidity and from one London location to another so that the continuity is simultaneously whole-cloth and fragmented. It contains a number of beautifully constructed setpieces that rank with the finest work that has been done with this period in film. And along the way McQueen takes care to pay homage to some of its predecessors: Hope and Glory, Empire of the Sun, Saving Private Ryan, Atonement. (There’s also a subplot out of Oliver Twist and a speech in an underground shelter by a left-wing character, played by Leigh Gill, who seems to have been inspired by Agate in Clifford Odets’s Waiting for Lefty.)

Genius is Pain: A Complete Unknown

Timothée Chalamet in A Complete Unknown. (Photo: Macall Polay. Courtesy of Searchlight Pictures.)

Long conflicted on its subject, I was reluctant to see A Complete Unknown, James Mangold’s biopic of the young Bob Dylan (played by Timothée Chalamet), which traces his development from a barbed-wire folksinger to the sleek provocateur who caused a near-riot at the 1965 Newport Folk Festival by assailing a crowd of purists with noisy, abstract blues rock. (“Dylan goes electric” is the legendary summa, as well as the title of the Elijah Wald book on which Mangold and Jay Cocks based their screenplay.) But people I value kept saying the movie was better than they’d expected, and it turns out they were right. More than that, though. Still reeling a bit from The Philosophy of Modern Song, I've had difficulty wanting to listen to Dylan these past two years. This movie snapped me out of that, precisely by taking me past the artist and into the art, the limits of one into the free skies of the other.

Off the Shelf: Life Is What Happens to You While You’re Busy Making Other Plans: House

The cast of House. From left: Omar Epps, Olivia Wilde, Robert Sean Leonard, Hugh Laurie, Lisa Edelstein, Jesse Spencer, Jennifer Morrison, Peter Jacobson. (Photo: Joe Viles/NBC.)

I despise prestige television. Art relies on limitations, and narrative is an architecture. Thirteen hours of a single story deprives you of both, and “fleshing out” each character’s backstory is just exploring so many blind alleys. No, give me episodic television anytime.

Time Transfixed: The Momentary Music of Hemisphere

“My desire was not to compose, but to project sounds into time, free from any compositional rhetoric. Music which specifically defined pitch but allowed the temporal dimension to remain indeterminate, thus creating a sonic world where each instrument is living out its own individual life in its own individual sound world.”

Morton Feldman

To become transfixed is to be rendered motionless with wonder, to be immobilized by astonishment. To some extent it touches upon the condition which in more classical eras was associated with what was known as the sublime, a state akin to awe. The sublime is still with us, of course, but it is often sublimated since the course of modernism conducted its now well-known radical discontinuity. This was especially the case in the domain of music, which is a durational art, one occurring strictly as momentary sonic situations, relying historically on the laws of harmony in order to soothe the savage breast. The aleatory and organic flow of what became known as “new music,” however, tended to naturally embrace dissonance in a manner which celebrates time transfixed. If we try to imagine the notion of time transfixed we can also determine how frozen time might amount to space itself: to hear and see them as one in the same quantum thing, or, in Zen terms, no-thing.

New on Broadway: Eureka Day, Death Becomes Her and Swept Away

From left: Thomas Middleditch, Amber Gray, Bill Irwin, Chelsea Yakura-Kurtz, and Jessica Hecht in Eureka Day. (Photo: Jeremy Daniel)

Eureka Day premiered in a production by Berkeley’s Aurora Theatre Company half a dozen years ago, and it’s finally arrived on Broadway via off-Broadway (in 2019) and London (in 2022). Written by Jonathan Spector and directed by Anna D. Shapiro, it’s a sensationally funny satire of contemporary woke communities – about the impossibility of reaching consensus among progressive people who are trying painfully hard to maintain, or at least convey, sensitivity to each other’s viewpoints when reality seems to have deliquesced into a bog of ferociously held competing opinions. The characters we meet are five members of the board of a private Berkeley elementary school called Eureka Day School who find they have to meet a crisis: a mumps epidemic that divides the parents, some of whom believe in traditional medical practices and some of whom resolutely do not. The school’s middle-aged director is Don, who has a gentle manner and almost bottomless patience but whose demeanor, as Bill Irwin plays him, suggests that his desperation to keep an even keel and indicate respect toward all the other voices in the room has been eating away at him. (He’s like one of Christopher Durang’s befuddled heroes, but without the repressed anger that flares up suddenly every now and then.) Eli (Thomas Middleditch) is a tech billionaire and young father whose generosity has funded the struggling school’s various initiatives, like an all-gender washroom. Eli’s son and the daughter of another board member, Meiko (Chelsea Yakura-Kurtz), are good friends, and their play dates enable the adults to engage in extramarital games of their own; though Eli claims that he and his wife have an open relationship, it turns out that either he’s misrepresented the situation to Meiko or else he and his wife don’t necessarily agree on the rules. The latest addition to the group is Carina (Amber Gray), a Black woman whose perspective, according to the longest-running member, Suzanne (Jessica Hecht), is particularly welcome. Suzanne articulates that view euphemistically, but it comes across as presumptuous and condescending – especially since Carina, like the others, comes from a comfortable middle-class background. But Suzanne is a genius at spurious apologies that sound perfectly sincere, so the colleagues who find her putting words in their mouths tend to trip over themselves when they call her out on it, or come across as more brusque than they’d intended.

There Are More Things in Heaven and Earth: An Impossibly Small Object (2017)

Director and cast member David Verbeek in An Impossibly Small Object.

An Impossibly Small Object (2017), Dutch filmmaker David Verbeek’s second feature set in Taiwan and third feature set in the Far-Eastern Sinosphere, is two stories thinly interconnected: a grade school friendship between a girl and a boy just as it’s ending, and a Dutch photographer (Verbeek) torn between homesickness and wanderlust. The first tale is an atmospheric work of magical realism reminiscent of the work of Apichatpong Weerasethakul, albeit with more dynamic camerawork; the second tale is little more than subtitled mumblecore. But an enigmatic third act, though brief, manages to transmute unanswered questions into mysterious ambiguities.

Three Musicals: Once Upon a Mattress, She Loves Me and A Wonderful World

Sutton Foster as Princess Winnifred in Once Upon a Mattress. (Photo: Joan Marcus)

Once Upon a Mattress, the Looney Tunes alteration of Hans Christian Andersen’s fairy tale “The Princess and the Pea” with book by Jay Thompson, Marshall Barer and Dean Fuller, music by Mary Rodgers and lyrics by Barer, opened on Broadway in 1959 and has been playing high schools and children’s theatres ever since. This musical is so familiar to stage kids and their loyal parents that it’s easy to forget how jovial and funny it is, and how tuneful and witty the score is. So it was a boon to New York theatregoers that Encores! opted to stage it early in the year with Sutton Foster as Princess Winnifred – a production, adapted by Amy Sherman-Palladino and staged by Lear de Bessonet, that wound up in the current Broadway season, with most of the Encores! cast, for a limited but enthusiastically received run. (There was a revival in the late nineties starring Sarah Jessica Parker.)

The Big Carnival: Billy Wilder’s Ace in the Hole (1951)

Kirk Douglas in Billy Wilder's Ace in the Hole. (All movie stills courtesy of Paramount Studios.)

“The biology of the shadow has yet to be fully explored.”

Andrei Biely, 1913

“We are a nation of hecklers. The most hard boiled, undisciplined people in the world.”

Billy Wilder, 1950

I think it’s fair to say, at least from my perspective, that someone has finally come along and fully studied the biology of the shadow. After their divorce as filmmaking partners, both Charles Brackett and Billy Wilder went on to make solo efforts that pushed film noir even further towards an unexpected edge. Brackett produced Niagara with Marilyn Monroe in 1953, and Wilder created Ace in the Hole (a.k.a. The Big Carnival) with Kirk Douglas in 1951. By a strange coincidence, unless it was synchronicity, just after writing the section of the tumultuous story having to do with their final noir masterpiece as collaborators, Sunset Boulevard, I happened upon a TCM broadcast of Wilder’s first independent effort after their break-up. I had seen Ace in the Hole several times previously; however, it had seldom resonated in quite the same way as it did while I was watching it from a retrospective point of view. So I sat back with a glass of wine and my notebook, prepared to venture once again into Billy’s post-Brackett domain. My instinctive initial response was even more severe than my first viewings had been.

Edges of Ailey: A Personal Reflection on Legacy and Movement

Alvin Ailey, circa 1960. (Photo: John Lindquist/Whitney Museum of American Art)

In mid-November, unaware of the poignant irony that would soon unfold, I found myself wandering through the vibrant halls of the Whitney Museum of American Art, eyes scanning the Edges of Ailey exhibition for glimpses of Judith Jamison. The legendary dancer, who led the Alvin Ailey American Dance Theater as artistic director after its founder’s death from AIDS-related complications in 1989, had been my original dance idol and a beacon of inspiration throughout my life. As a teenager with dreams of dance, I had her majestic image from Ailey’s Cry pinned to my fridge, praying daily to channel even a fraction of her grace and power. Now, I searched for her influence, her indelible mark on the company, hoping to reconnect with that youthful adoration.

Toil and Trouble: Wicked, Part I

Bowen Yang, Ariana Grande, and Bronwyn James in Wicked, Part I.

Unbelievably, I have seen the stage musical Wicked three times. I saw the pre-Broadway tryout in San Francisco, with Idina Menzel, Kristen Chenoweth, a young Norbert Leo Butz, and Robert Morse (replaced by Joel Grey on Broadway). At more than three hours, it was bloated and unfocused, but I liked two of composer Stephen Schwartz’s songs, “Popular,” which does everything a musical comedy song should do, and the pretty and affecting “I’m Not That Girl.” And Chenoweth was hilarious. (I didn’t much care for Menzel; of course she won the Tony.) I saw it again several years later on tour in SF, when I took a friend’s daughter to see it for her birthday. Dramaturgically (we’ll get into more about dramaturgy later), it was fascinating to see how they had tightened the show up and how solid its construction now was. It still didn’t make it a great show, but there are any number of far worse musicals out there that have become hits, The Outsiders among the latest. The third time a friend, the talented Jason Graae, played the Wizard, charmingly.

Still Nuts About The Nutcracker: Celebrating a Holiday Tradition at the National Ballet of Canada

Heather Ogden and Christopher Gerty in The Nutcracker. (Photo: Karolina Kuras. Courtesy of The National Ballet of Canada)

As the curtain rose on the 29th anniversary of James Kudelka’s Nutcracker at the Four Seasons Centre, you couldn’t help but feel a frisson of excitement. This wasn’t just another night at the ballet; it was a celebration of a production that has become as much a part of the holiday season as last-minute shopping and the towering Christmas tree illuminating Nathan Phillips Square.

A Lesser Lear, and a Greater

Kenneth Branagh in King Lear. (Photo: Johan Persson)

You can see the problem with the imported two-hour-without-intermission King Lear, co-directed by Kenneth Branagh, Rob Ashford and Lucy Skilbeck, in the opening scene. Lear (played by Branagh) sweeps onto the stage of The Shed and dives into the love contest among his three daughters. Goneril (Deborah Alli) recites her stock speech declaring her bottomless love for her father, but when the invisible baton is passed to Regan (Saffron Coomber), her outpouring of affection has been cut so drastically that all she seems to be saying is “Ditto.” So when Cordelia (Jessica Revell) refuses to “heave [her] heart into [her] mouth” and Lear’s response is to divide her intended portion of his land between her elder sisters, you wonder why he’s more put out than he was by Regan’s spare offering. In fact, the king seems angrier at Kent (played, bafflingly, as a woman, by Eleanor de Rohan) than anyone else. The scene has no weight; it feels like a plot set-up.

Silent Heartbreak at the National Ballet Of Canada

Harrison James and Svetlana Lunkina with Artists of the Ballet in Giselle. (Photo:Aleksandar Antonijevic)

Giselle is more than just a ballet; it explores themes of love, betrayal, and redemption that have enchanted audiences for nearly two centuries. Originally choreographed by Jean Coralli and Jules Perrot in 1841, this latest production of Sir Peter Wright’s acclaimed interpretation by the National Ballet of Canada, performed at Toronto’s Four Seasons Centre for the Performing Arts on November 20, brought this classic tale to life with remarkable artistry.

Liquid Moonlight: The National Ballet of Canada’s 2024 Winter Season

Christopher Gerty and Hannah Galway in Silent Screen. (Photo: Bruce Zinger)

Last Saturday night, the National Ballet of Canada launched its winter season at Toronto’s Four Seasons Centre with a triple bill featuring works new to the company. Running until November 16, the two-hour program included Sol León and Paul Lightfoot’s evocative Silent Screen, Frederick Ashton’s sparkling Rhapsody, and Guillaume Côté’s introspective Body of Work. Côté’s solo piece expressed his personal connection to dance as he prepares for retirement at the end of the 2024/25 season.

Dr. Jekyll and Mr. Hyde: Five for One and One for All

Nathan Darrow in Dr. Jekyll and Mr. Hyde. (Photo: T. Charles Erickson)

The Scotsman Robert Louis Stevenson wrote two of the most enchanting children’s adventure novels, Treasure Island and Kidnapped, as well as the ineffable A Child’s Garden of Verses, a collection of sixty-four poems for the young. But his most celebrated literary work is most emphatically not for kids. His 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde, in which a scientist obsessed with the human capacity for holding both good and evil within one personality devises a potion to isolate the two impulses and ends up turning himself into a monster – evil unchecked by restraint – shares with Oscar Wilde’s The Picture of Dorian Gray, written half a decade later, the distinction of being the quintessential portrait of the repressed Victorian Age. Jekyll and Hyde is, like Mary Shelley's Frankenstein, a work of conceptual genius framed as a great horror story. And like Frankenstein it’s continued to excite the cultural imagination without interruption since its publication. It’s been filmed repeatedly, notably on three occasions: as a silent picture with John Barrymore in 1920; by Rouben Mamoulian in 1931 with a famous Oscar-winning performance by Fredric March; and in 1941 under Victor Fleming’s direction with Spencer Tracy in his most surprising – and possibly his finest – performance. (The Fleming version is the real gem; it’s one of the best literary adaptations in Hollywood history.) Stevenson’s narrative has generated countless replicas and parodies, the most delightful of which is surely Motor Mania (1950), the Disney cartoon in which Goofy plays the placid pedestrian Mr. Walker and his demonic alter ego Mr. Wheeler, whom Walker morphs into as soon as he gets behind the wheel. At this juncture, sad to say, probably most people know the Stevenson story through the wretched Frank Wildhorn-Leslie Bricusse-Steve Cuden musical.

Cries in the Night: Children of Film Noir – Nocturnarama, A Noir Childhood

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‎BearManor Media (June 2023).

“Nailing down a coffin lid is far easier than nailing down a universally agreed upon definition of the term film noir.”  – Robert Strom

Every so often a book comes along that somehow manages to evoke our childhood and our love of films at the same time. Robert Strom’s Cries in the Night: Children in Film Noir is just such a book.

I grew up in a place I used to call Shadowland, a quiet suburb of Toronto known officially as Don Mills (the first formally designed suburb in North America) where there wasn’t much to do but listen to music and watch movies. Luckily I was also a kid in the 1960’s, a time when the best of both of those pursuits was available to us in abundance. When I was about ten years old my life was changed forever by a secret practice I used to engage in when the rest of my relatively normal suburban family was fast asleep at night. Back in those days, after midnight the public broadcasting system in Canada used to transmit overnight classic movies across the airwaves and into our homes, and I would quietly go out into our dark living room, turn on the television and start watching old films long into the wee wee hours. That was my initial and probably too young exposure to dark movies I would never have been allowed to watch in theatres or during the daylight.

Past Lives: Lives Unlived, Lives Unremembered

Teo Yoo, Greta Lee and John Magaro in Past Lives.

One of the most familiar tropes in sci-fi and fantasy narratives – especially recently – is the existence of multiple existences in different dimensions that echo each other but don’t replicate them. (That is, of course, the premise of the delectable animated Spider-Verse franchise.) In Past Lives, the debut film by Celine Song, those echoes are meant to suggest lives the characters have already led but don’t remember; layered on each other through time, they create a ghostly pyramid that leads us toward the coupling fate intended for us. After Maestro and the Japanese filmmaker Hirokazu Kore-eda’s Monster, Past Lives was my favorite movie last year. It’s not like anything else I’ve ever seen. Song was born in South Korea but her family emigrated to Canada when she was still a little girl, and as an adult she emigrated again, this time to New York, where she is a playwright and now a screenwriter and director. Past Lives is based on her own story, and the idea for it came out of an extraordinary moment when she sat in a Manhattan bar flanked by her white American husband and her Korean childhood sweetheart.

My Best Friend’s Wedding and Stereophonic: Too Much Music and Not Enough

Matt Doyle and Krystal Joy Brown in My Best Friend's Wedding. (Photo: Nile Scott Studios)

The notion of a jukebox stage musical based on the 1997 romantic comedy My Best Friend’s Wedding, featuring the songs of Burt Bacharach and Hal David and directed and choreographed by Kathleen Marshall (who has helmed ace Broadway revivals of Kiss Me, Kate, Wonderful Town and Anything Goes), sounded promising. (The movie uses Bacharach-David tunes in key moments.) But the show, which is premiering at Ogunquit Playhouse in Maine, is both synthetic and clunky. The movie, written by Ron Bass and directed by P.J. Hogan, is an unconventional romantic comedy in which the heroine, Julianne, a magazine food critic, plays every dirty trick she can think of to stop her best friend and one-time lover Michael from walking down the aisle with Kimmy, the woman he’s fallen head over heels in love with, but her schemes keep backfiring. It’s a tricky proposition, because we fall in love with Kimmy too, yet Julianne is the heroine and the movie won’t work if we end up disliking her. The movie pulls it off because Julia Roberts, in a wonderful comic-neurotic performance, plays Julianne.

Pulling Strings: Ronnie Burkett's Wonderful Joe

Joe Pickle and Mister (left) in Ronnie Burkett's Wonderful Joe. (Photo: Ian Jackson)

Ronnie Burkett, the internationally acclaimed Canadian puppeteer and recent recipient of the Governor General’s Lifetime Achievement Award, brings his latest production Wonderful Joe to Toronto’s St. Lawrence Centre for the Arts. This poignant and wickedly funny show, running until Oct. 24, spotlights Burkett’s unparalleled skill in marionette theatre, weaving a tale that is both deeply human and fantastically imaginative.

The Weir: Ghost Stories

Stephanie Jean Lane, Philip Themio Stoddard, Harry Smith, Sean Bridgers and Joey Collins in The Weir. (Photo: David Dashiell)

Director Eric Hill, scenic designer Randall Parsons, lighting designer Matthew E. Adelson and a first-rate cast of five actors bring a hushed intimacy and a profound sense of place and community to the Berkshire Theatre Group’s production of Conor McPherson’s The Weir. The play, which premiered in London in 1997 and transferred to Broadway two years later, is set in a rural pub in County Leitrim where four locals share drinks with a young Dubliner, Valerie (Stephanie Jean Lane), who has just rented an old house in the area. Finbar (Harry Smith), a hotel proprietor who no longer lives in the countryside, is showing her around the town. The pub’s owner and bartender is Brendan (Philip Themio Stoddard); the other men in the room, Jack (Sean Bridgers) and Jim (Joey Collins), are older. Randomly the conversation turns to episodes that the tipplers have had, directly or indirectly, with fairies and ghosts.

The Lost Weekend: A Brilliant Darkness

Ray Milland in The Lost Weekend (1945).

“It’s like the doctor was just telling me—delirium is a disease of the night, so good night.” – Bellevue Nurse Bim, in The Lost Weekend.

The Lost Weekend, released November 29, 1945. Paramount Pictures. Directed by Billy Wilder, Produced by Charles Brackett, Screenplay by Charles Brackett and Billy Wilder, based on a novel by Charles Jackson. Cinematography by John Seitz. Edited by Doane Harrison. Music by Miklos Rozsa.  Duration: 101 minutes. Featuring Ray Milland and Jane Wyman, Phillip Terry, Howard Da Silva, Doris Dowling, Frank Faylen. Wilder has explained that part of what originally drew him to this material was having worked with Raymond Chandler on the screenplay for Double Indemnity, subsequent to Brackett’s brief vacation. Chandler had been a recovering alcoholic during that stint and claimed that the stress and tumult of his working relationship with Wilder (actually not that much different from Wilder’s relationship with Brackett) caused him to start drinking again to survive the collaboration. Wilder has claimed that he made the film, about a drunk with chronic writer’s black, at least partly in order to explain Chandler to himself.

One’s Company, Two’s a Crowd: that could be the business card logo of struggling novelist Don Birnam in The Lost Weekend, but also of his real life alter ego Charles Jackson, author of the novel on which Billy Wilder and Charles Brackett based their Academy Award-winning 1945 cinematic study of the struggle to outrun your own shadow. This unsettling masterpiece of internalized noir is an example of a certain brand of dark cinema at its finest, and when it was shown recently on the TCM network we got to see exactly why that is: it’s a kind of exotic corporate merger between personal and professional angst, exploring two competing compulsions, writing and drinking, and it takes no prisoners in exposing the raw nerve inhabiting and inhibiting the urge to tell stories. Ironically, it also demonstrated to Brackett and Wilder that, at least for the time being, they were stronger working in tandem than apart, despite the fact that they could barely stand being in the same room together.

Maggie: Musical Melodrama

The company of Maggie sings "Everyone's Gone". (Photo: Diane Sobolewski)

The Canadian musical Maggie, which was birthed at Theatre Aquarius in Hamilton, Ontario and is currently running at the Goodspeed Opera House, is set in Lanark, Scotland between 1954 and 1976. The family whose saga inspired it is that of Johnny Reid, who co-wrote the music with Bob Foster (he also supervised and orchestrated it) and the book and lyrics with Matt Murray. The title character, played by Christine Dwyer, who has to raise three sons by herself after her miner husband (Anthony Festa) dies in a pit accident, is based on Reid’s grandmother. Maggie is a feminist narrative that celebrates the strength of its heroine and places her in the center of a group of other hard-working women, miners’ wives who provide emotional support for each other that their stoic, closed-off men don’t. (Ironically, the exception seems to be Maggie’s husband.)

Robert Towne: A Portrait of the Artist as a Hollywood Screenwriter

Robert Duvall, Robert Towne, and Tom Cruise on the set of Days of Thunder (1990). (Photo: Don Simpson)

Robert Towne, who died July 1, at age 89, at his Los Angeles home, established irrefutably that a screenwriter could operate as an artist. Unlike literati such as Ben Hecht and Dorothy Parker, who separated movies from their real work, and writers who catered to directors, the way Jules Furthman did to von Sternberg and Hawks, and Frank Nugent to John Ford, Towne initiated and nurtured projects that fascinated him, and he fought to get his visions on the screen.

Towne elevated his chosen form by developing a style of his own, as intricate, expressive and plainspoken as Thornton Wilder’s or Mark Twain’s. He used sly indirection, canny repetition, unexpected counterpoint, and even a unique poetic vulgarity to stretch a scene—or an entire script—to its utmost emotional capacity. He changed how Americans hear themselves, whether with the vocabulary of everyday obscenity (in 1973’s The Last Detail) or the feel-good mantras of domesticated hedonism (“You’re great”; “George is great”; “Jill is great”; “Everything is going to be great”), given satiric edge in 1975’s Shampoo.

Off the Beaten Path: Ghostlight and A Farewell to Shelley Duvall

Keith Kupferer and Dolly De Leon in Ghostlight.

For the first half hour Ghostlight made me restless. Everything about it felt awkward: the actors seemed to be working too hard for obvious effects and I couldn’t find the performing rhythms. But then Dan (Keith Kupferer), a small-town road worker, is persuaded to join a community theatre production of Romeo and Juliet, and, almost magically, the movie, written by Kelly O’Sullivan and directed by O’Sullivan and Alex Thompson, settles down and turns into something quite unusual. Though it takes a while for O’Sullivan to fill in all the requisite information, we learn by bits and pieces that Dan and his wife Sharon (Tara Mallon), a teacher, have lost their teenage son Brian to suicide and are suing the parents of his girlfriend Christine (Lia Cubilete), who was intended to die with him but survived, for wrongful death because the kids got access to her folks’ pharmaceuticals. But though he and Sharon are going after them, Dan’s response to the loss of his son is mostly denial. He refuses to talk about Brian, which makes his daughter Daisy (Katherine Mallon Kupferer), who was very close to her brother, crazy. Always, we assume, a handful, Daisy can’t control her temper and keeps getting in trouble at school.

Holland and Breillat: Green Border and Last Summer

A scene from Agnieszka Holland’s Green Border. (Photo: Agata Kubis)

The gorgeous opening shots of Agnieszka Holland’s Green Border reveal a lush lime-green expanse. It’s a dream landscape, symbolic of the free and happy future that refugees from Syria and Afghanistan and other oppressed or war-torn Middle Eastern and Asian countries set their hearts on when they cross the border from Belarus into Poland. But these images, like the movie’s title, are ironic: almost immediately, Holland and her first-rate cinematographer, Tomasz Naumiuk, shift into black and white and we never see color again.

Holmes on the Case: Sherlock Holmes and the Mystery of the Human Heart

Damien Atkins and ensemble in Sherlock Holmes and the Mystery of the Human Heart. (Photo: Emily Cooper)

Arthur Conan Doyle’s Sherlock Holmes tales have inspired two TV series, a series of fourteen beloved movies starring Basil Rathbone and Nigel Bruce that coincided almost exactly with the Second World War, and many other films through the years. Holmes’s theatrical history is a century and a quarter long. In 1899, only eight years after the most famous detective in the history of fiction first appeared in Conan Doyle’s A Study in Scarlet and The Sign of Four, the actor William Gillette adapted Holmes as a vehicle for his own talents. His Sherlock Holmes, loosely adapted from “A Scandal in Bohemia” and “The Final Problem,” was an enormous hit that he performed about 1300 times. Gillette also played the most famous fictional detective in a 1916 silent movie that’s available on Prime. (Newly restored, it was screened at the 2015 Silent Film Festival in San Francisco.)

The first stage Holmes I saw was The Crucifer of Blood on Broadway, written and directed by Paul Giovanni, with Paxton Whitehead as Holmes. It was extremely enjoyable, and that’s a description I would happily extend to Sherlock Holmes and the Mystery of the Human Heart, the Holmes play in the current season at the Shaw Festival, where Whitehead was once artistic director. The Mystery of the Human Heart is the third Holmes produced at the Shaw since 1918, all three directed by Craig Hall and starring Damien Atkins as Holmes, Ric Reid as Watson and Claire Jullien as Holmes’s unassailable landlady, Mrs. Hudson. (I didn’t see either The Hound of the Baskervilles or Sherlock Holmes and the Raven’s Curse.)

Betwixt and Between: The Polarity of Lady Gaga and Taylor Swift

“I think there are different kinds of fame. There’s a fame which is plastic and about money and then there’s a fame when no one knows who you are but everyone wants to know who you are.” – Stefani Germanotta (Lady Gaga)

“Nothing is permanent. So I’m very grateful every second that I get to be doing this at this level. My response to anything that happens, good or bad, is to keep making art.” – Taylor Swift

Unlike the deeply distressing confessional songwriting mode and music of such classic heart-on-their-sleeve singers as Marianne Faithfull and Joni Mitchell, or even the ultra-suffering effigy of the late, lamentable Amy Winehouse, Lady Gaga and Taylor Swift are self-curated performance artists whose homeopathic medicine doses are dolloped out to us in artfully crafted personas always on the verge of revealing their wounds but never quite arriving at divulging it all the way. They are practically tantric in this regard. Their massively popular primal therapy sessions, conducted in ritualized public spaces and thus akin to ancient Roman colosseum spectacles, and delivered in real-time diary entries of the most flamboyant sort since Madonna, have become a kind of cultish conceptual living theatre designed to permanently suspend gratification for worshipping audiences whose fervor almost approaches the stunned crowds gathered to writhe before the early Beatles.

Donald Sutherland, 1935-2024

Elliott Gould, David Arkin, and Donald Sutherland in M*A*S*H (1970).

Even in a roster as quirky as the list of actors who dominated American movies in the late sixties and early seventies, Donald Sutherland – who died at the end of June, just a month shy of his eighty-ninth birthday – was an outlier. Of course, he was different from his cohort in an obvious way: he was Canadian, born in the Maritimes and educated as an engineer at the University of Toronto, though he went on to train as an actor at the London Academy of Music and Dramatic Art. And he carried his Canadian identity with him always, through nearly six decades of a career in the U.S. – he never lost his accent or his elocution-class diction, and his acting virtues included distinctly Canadian qualities like modesty, gentleness, understatement and an ironic wit that you might miss if you weren’t listening closely enough. His skill at conveying the interior conflicts of decent men amounted to a sort of genius, and his best roles permitted him to move that skill, which has generally been relegated to supporting performances in Hollywood pictures, into the foreground. His slender six-foot-four frame made him appear paradoxically slight and imposing at the same time, as if he’d slipped off a hanger in a closet, and he had rather a goonish face (which his frequent beard tended to offset). He looked like a small-town Canadian square, but he was as much a hipster as Elliott Gould, who partnered him memorably in Robert Altman’s M*A*S*H, the film that made them both famous. And, defying movie conventions, he was sexy at the same time, opposite Jane Fonda in Klute, Julie Christie in Don’t Look Now, Brooke Adams in Invasion of the Body Snatchers.