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Stage-Related Film, TV and DVD Talk
By Elyse Sommer
Director Antonio Campos' and scriptwriter Craig Shilowich's fictionalized account of the year culminates in a headline making 1974 event. That event had the 29-going-on-30 Ohio born Christine Chubbuck take her seat before the cameras and follow a few news announcements with one that sent shock waves through the Sarasota, Florida TV station's audience — and throughout the world.
If you're familiar with the case, you may be put off by what you know is coming. Too dark. Too predictable. More than a whiff of exploitation. Chances are you never heard of it since Chabbuck's story is only now re-surfacing again via this movie and a documentary about Chabbuck. Consequently , the ending will be doubly shocking. (For details about the real back story, check out this link).
Privvy to the ending or not, watching the mounting tension in this complex, volatile young woman's professional and personal life has you prepped for something explosive is going to happen. At times it felt to me like that famous French film, The 400 Blows, but from an adult perspective.
In any case, Christine, for all it's sadness, is fascinating with much to recommend it: The places and finely nuanced interactions to which the film takes us. . . an interesting group of subsidiary characters . . .the authentic 1970s details. . . and, above all, Hall's stunningly layered portrayal of a complex, emotionally troubled young woman teetering on the verge of a horrendous meltdown.
Christine's struggle to succeed as a TV journalist on her own terms and and in spite of her inability to connect is woven into a vivid tapestry. It's never clear just how and why she moved to Florida and ende up in this newsroom but it's quite clear that she and Michael the station head honcho (Pulitzer-winning playwright Tracey Letts who once again proves himself to be a terrfic actor) are on different tracks. But of course, he's in charge and that means he decides who to promote to a bigger station in Baltimore that's been opened up by Bob Anderson, a wealthy mogul (John Cullum as usual making much of a minor part).
Other relationships that go predictably wrong are Christine's friendship with Jean (a lovely, gentle performance Maria Dizzia) and George (the terrific Michael C. Hall), the anchor with his own emotional background on whom she has a secret crush. Her date with George is downright painful to watch.
As for Christine's loving but ineffective mother, there's the always wonderful J. Smith Cameron. And as if Christine's plate wasn't piled high enough with frustrations, she has an ovarian cyst that might end her chance to ever have a baby (pretty unlikely anyway, since she's still a virgin).
Ultimately, this is not just one woman's tragedy, but one of many that should have been possible to prevent. It's also a media story that's ongoing: — about journalists who cater to violence and gossip for the sake of the bottom line. Not an easy sell in a tough movie market. But definitely worth seeing if you appreciate outstanding acting.
London Road, the Musical On Screen
Elyse Sommer's View of the Film, Without Having Seen the Stage Version. . . and London Critic Lizzie Loveridge's Double View
Elyse's Film Only Take
I didn't see the stage version of London Road as my colleague Lizzie Loveridge did, but it's clear that director Rufus Norris has expanded that production to give viewers a broader picture of this torn from the headlines musical about how a 2006 serial murder case ane its effect on the residents of Ipswich where it happend. What Norris has not done is to transform it into a film more true to the musical genre with hummable tunes. Despite one quite catchy number called "It Could Be Him" delivered by two teenagers the overall new music sound is more about tapping into emotions than showing off vocal talent. But then this is not a feel-good musical. Even though the case of the Ipswitch murders was familiar to London theater goers, Alec Blythe and Adam Cork's focus on the authentically recorded testimonies of the Ipswich residents was a risky proposition for the National Theater to undertake. Yet, it was an unlikely success, and so seeded this even riskier film adaptation, now officially released by BBC.
Lizzi Loveridge's review in 2011 pointed out both London Road's limitations in terms of wide audience appeal and the strengths that confirmed the National Theater in putting it on. For her review go here .
While the film sticks to the play's plot and verbatim structure, I suspect that the performers suddenly bursting into song and taking on various roles worked better on stage. Yet its operatic quality and the expanded street scenes are quite mesmerizing, and the situation and its effect on ordinary people is univeral.
Since Lizzie liked the leading character she saw very much, obviously casting Olivia Colman as the pivotal character and Tom Hardy as the mysterious taxi driver was a case of adding some well known, ticket selling names. Colman, though not a singer, is quite fine (as she always is) but Hardy seems under utilized. Like all the film's male characters he somehow comes across as a likely perpetrator.
At this point, I'm going to turn this over to Lizzie Loveridge.
Lizzie's Double View Perspective . . .
My first thoughts: I didn't love it as a play because of the mundanity of the man in the street reaction although it also bears on phenomenon like the Brexit vote — the man in the street having their say. I really don't know how it will go down in America, whether they will "get" the context. It will need a long introduction to cinema audiences
Stage or screen, an almost documentary record of the reaction of a local community to a series of murders. is a curiosity. The film for worldwide distribution by the BBC has an only slightly changed cast from the stage production at the National Theatre in 2011. The concept is verbatim theatre, using only the words that Alecky Blythe has collected from those who lived in the road in Ipswich, Suffolk where the man accused of murdering the five prostitutes had lived for just ten weeks.
The film is unique because the participants are ordinary and their comments are often mundane. The score is sung as if the person speaking has just decided to repeat their words in a singsong tune so, now as then, this is a far cry from a musical star breaking into a melodic song that we can go home singing. The film has a different impact from the stage show since it shows shots of the dismal street of terraced houses that is London Road, dominated by the giant gas holders that immediately make a place soulless.
The Ipswich murders took place over six weeks from 30 October to 10th December 2006 but their bodies were discovered in under a fortnight from 2nd December to the 14th. Before the murderer is identified, we see the Ipswich residents speculating about who he might be.
While Olivia Coleman, best known for her roles in Broadchurch and The Night Manager, takes over the role of Julie. Kate Fleetwood is still on board with a memorable cameo as Vicky, one of the members of the oldest profession struggling with drug addiction. Paul Hilton (Tim) and Anita Dobson (June) also join the cast. Tom Hardy as the taxi driver, Mark, with an inordinate interest in serial murderers and their likely profiles is mostly seen in the taxi's mirror as he would be seen by the fare in the back. Paul Thornley, currently playing the adult Ron Weasley in Harry Potter and the Cursed Child is Dodge.
My feeling on seeing London Road on screens is pretty much the same: The ugliness and selfishness of the locals who appear to have no empathy for the girls who lives were lost is not a pretty picture of small town England. London Road
Theater Close-Up and PBS THIRTEEN will continue their terrific collaboration to bring some of the previous season's Off-Broadway shows to small screen viewers. The third season will launch with a presentation of the imaginative re-telling of the origins of Oz's Tin Woodsman. For an idea of what to expect, see my review of the play during its run at New World Stations: The Woodsman Review . Broadcasts of the play are scheduled for Friday 9/02/16 at 9pm, and again for Sunday, September 4 at 1 a.m. -- also on WLIW21 September 4 at 10 p.m. on WLIW21. The filmed play will be available for streaming to BroadwayHD subscribers beginning September 6, 2016.
The Theater Close-Up season will continue with two other outstanding productions, Buried Child and Old Hats ( Buried Child Review and Old Hats Review)) at dates to be announced.
Florence Foster Jenkins Reviewed By Simon Saltzman
It is quite remarkable how many stories have recently surfaced about this self-deluding, self-aggrandizing patron of the arts in New York during the mid 20th century. Jenkins not only imagined herself a world class singer with operatic aspirations but remained remarkably oblivious to her own state of being completely tone-deaf. Made famous by the now legendary concert at Carnegie Hall in 1944 at which she sang a selection of arias with stunning inaccuracy and with ear-piercing screeches was also notable for being filled to capacity with bribed critics, curious attendees, as well as members of the armed forces who were given comps through the generosity of her devoted and caring husband.
Who else to play this lovable if lamentable loony on the screen but the equally legendary but unquestionably gifted Meryl Streep who creates a complex and conflicted character that far exceeds the minimalist text that has been given her by screen writer Nicholas Martin. Director Stephen Friers gives free rein to Streep's gift for nuance if not in giving much dramatic weight to the story.
For those who only know Jenkins from Stephen Temperley's play "Souvenir that starred Judy Kaye on Broadway and others in regional theaters (see background note below), it is curious how Martin's screenplay adds characters and events to Foster's story but doesn't really expand upon them, that is except for bringing to light the debilitating syphilis that Foster lived with for fifty years. She contracted the disease at eighteen on her wedding night ending her career as a pianist.
In the film, we have to make our own assumption as to the extent the syphilis may have created a form of selective dementia that may have only altered her hearing. There is no other explanation to how she could not have known how awful the sounds were when she sang. However, her strength wanes as her body also fails her for most of the film. When Streep speaks, the voice is generally soft but never wimpy and she has ample opportunities in the film to be emotionally stirring. This, especially in her tender scenes with Hugh Grant, as her second and very kind husband St. Clair Bayfield, a second rate Shakespearean actor who had a more successful second career as her manager. Though he has a secreted live-in mistress (Rebecca Ferguson), we may attribute the depth of his devotion to his knowing where his bread is buttered.
A major lift to the film comes from Simon Helberg who plays Cosme McMoon, the young pianist hired to accompany Foster. Virtually dumbstruck at first by what he hears coming out of her mouth, he nevertheless evolves with a touching complicity through the film and especially in that climactic scene in which he realizes that he has actually played Carnegie Hall. The film leaves us with more questions than answers, but many will be satisfied with the eye-filling decor and the costumes and the sound of Streep warbling like a chicken in heat.
Hello Again A much anticipated, star-studded American stage to screen adaptaton on our must-see horizon: Hello Again based on the musical of same name by Michael John LaChiusa. will be directed by Tom Gustafson and written by Cory Krueckeberg. The cast is a Wow: Audra McDonald as Sally (The Actress) Martha Plimpton as Ruth (The Politician) T. R. Knight as Carl (The Husband) Rumer Willis as Emily (The Young Wife), Jenna Ushkowitz as Marie (The Nurse) Nolan Gerard Funk as Les (The Soldier) Sam Underwood as Leocadia (The Whore) Tyler Blackburn as Jack (The Young Thing) Al Calderon as Alfred (The College Boy) Cheyenne Jackson as Robert. Curtainup wasn't born yet when I saw the original production at Lincoln Center but I did catch and review the Transport Group's fascinating new production in 1911. To read it go here.
The Dresser on DVD
When Ronald Harwood wrote The Dresser in 1980, he created one of our most durable backstage dramas. Its 200-performance Broadway run earned a 1982 Tony nomination for Best Play for Harwood and Best Actor for Tom Courtney as Norman, the title character. The 1983 movie adaptation again won best script and acting nominations, this time both lead actors making the Best Leading Actor Oscar list— Courtney once again as Norman and Albert Finney as Sir, the failing actor-manager inspired by an actual knighted actor-manager, Sir Donald Wolfit. Last year Richard Eyre's starry new television adaptation for Starz and the BBC once again proved that there was still plenty of life in this more than 30-year-old play. Eyre's ability to cast two stage and screen stars like Anthony Hopkins and Ian McKellen as Sir and Norman underscores the opportunity these roles afford for actors of a certain age whose careers include portraying contemporary and classic Shakespeare characters like King Lear which both Hopkins and McKellen have performed impressively). And King Lear, is of course the play within Harwood's play. It's the the frail and disoriented Sir's inability to remember the lines of the role he's played more than 200 times, that drives the drama and Norman's efforts to ready to do it all again. Just seeing these two actors together for the first time is a treat. And, unsurprisingly both are magnificent. Hopkins manages to convey a man overcoming the fear and helplessness on a man on the cusp of dementia to once more assume his stage persona. McKellen brilliantly reveals the seemingly content Norman's affinity for drink and bitterness (just seeing his final triumph over Sir is a masterstroke). For those on the other side of the footlights, the tense night spent with the aging and seriously ailing actor and the dresser who is also line prompter, best friend and ego booster, is a chance to understand what it is that has drawn them to this life. The World War II setting that intensifies the crisis of the about to begin play's lead actor struggling to pull himself together as bombs fall outside, deepens the show-must-go-on poignancy of Sir's own Lear-like finale. The other characters , especially Sir's actress wife Her Ladyship (a superb Emily Watson) and devoted stage manager Madge (a wonderfully touching Sara Lancashire), making periodic appearances broaden this inside look at the theatrical life into a story anyone can identify with. There are people like Her Ladyship and Madge, who having allowed themselves to be satellites to a cynosure figure like Sir, are likely to reach a point in their lives when they find themselves questioning the wisdom of the at choice. Vanessa Kirby an adoring young actress who Sir sees only as a lighter to carry Cordelia than his wife. And my own favorite scene is a solo by Edward Fox explaining how he's come back to the theater to accept any part, after a life devoted to a more "normal" existence. That's the same Edward Fox who also had a part in the 1983 movie. The really good news is that if you missed this star-cast new version of The Dresser when the BBC ran it, no regrets necessary. As of July 12th it's available on DVD from Anchor Bay Entertainment and Starz Digital. But Nicholas Martin was not the first script writer to expand the story with additional characters. Peter Quilter created a multi-character drama with the ironic title of Glorious for Jenkins less than glorious singing. The St Clair character was her boyfriend rather than her husband. Nor is Florence Foster Jenkins, the first film. That honor belongs to French film called Marguerite, another satirical title since that film's Margaret Dumont was obviously intended to connect her to the Margaret Dumont character who served as a comic foil in a number of Marx Brothers films.
But for all the splendid actors who've undertaken this challenging role, Meryl Streep is undoubtedly more famous than her character. Still, while Streep is the star attraction and her latest interpretation of a legendary character will probably bring her yet another Oscar nomination (she's been nominated an amazing 19 times), Florence Foster Jenkins boasts two other big ticket selling names in Hugh Grant and the Big Bang's Simon Helberg as the dumbfounded pianist. Theater goers will also be happy to see Nina Arianda as a Jenkins friend.
When Ronald Harwood wrote The Dresser in 1980, he created one of our most durable backstage dramas. Its 200-performance Broadway run earned a 1982 Tony nomination for Best Play for Harwood and Best Actor for Tom Courtney as Norman, the title character. The 1983 movie adaptation again won best script and acting nominations, this time both lead actors making the Best Leading Actor Oscar list— Courtney once again as Norman and Albert Finney as Sir, the failing actor-manager inspired by an actual knighted actor-manager, Sir Donald Wolfit.
Last year Richard Eyre's starry new television adaptation for Starz and the BBC once again proved that there was still plenty of life in this more than 30-year-old play. Eyre's ability to cast two stage and screen stars like Anthony Hopkins and Ian McKellen as Sir and Norman underscores the opportunity these roles afford for actors of a certain age whose careers include portraying contemporary and classic Shakespeare characters like King Lear which both Hopkins and McKellen have performed impressively). And King Lear, is of course the play within Harwood's play. It's the the frail and disoriented Sir's inability to remember the lines of the role he's played more than 200 times, that drives the drama and Norman's efforts to ready to do it all again.
Just seeing these two actors together for the first time is a treat. And, unsurprisingly both are magnificent. Hopkins manages to convey a man overcoming the fear and helplessness on a man on the cusp of dementia to once more assume his stage persona. McKellen brilliantly reveals the seemingly content Norman's affinity for drink and bitterness (just seeing his final triumph over Sir is a masterstroke).
For those on the other side of the footlights, the tense night spent with the aging and seriously ailing actor and the dresser who is also line prompter, best friend and ego booster, is a chance to understand what it is that has drawn them to this life. The World War II setting that intensifies the crisis of the about to begin play's lead actor struggling to pull himself together as bombs fall outside, deepens the show-must-go-on poignancy of Sir's own Lear-like finale.
The other characters , especially Sir's actress wife Her Ladyship (a superb Emily Watson) and devoted stage manager Madge (a wonderfully touching Sara Lancashire), making periodic appearances broaden this inside look at the theatrical life into a story anyone can identify with. There are people like Her Ladyship and Madge, who having allowed themselves to be satellites to a cynosure figure like Sir, are likely to reach a point in their lives when they find themselves questioning the wisdom of the at choice.
Vanessa Kirby an adoring young actress who Sir sees only as a lighter to carry Cordelia than his wife. And my own favorite scene is a solo by Edward Fox explaining how he's come back to the theater to accept any part, after a life devoted to a more "normal" existence. That's the same Edward Fox who also had a part in the 1983 movie.
The really good news is that if you missed this star-cast new version of The Dresser when the BBC ran it, no regrets necessary. As of July 12th it's available on DVD from Anchor Bay Entertainment and Starz Digital.
All the Way
Playwrights have increasingly kept their plays short in deference to theater goers short attention spans. But despite its 3-hour running time Robert Shenkman's play about Lyndon B. Johnson's "accidental presidency" and his fierce fight to pass a civil rights bill was one of the 2014 Broadway season's major hits. No wonder. It was a good story, superbly staged and with a fine cast headeded by Bryan Cranston of Breaking Bad. ( CurtainUp's review of the play).
Now Shenkman has donned his teleplay writing hat and so, if you missed the play, you now have a chance to see Cranston once again playing LBJ. Even if you saw All the Way on Broadway, you'll want to see this version. It's like it, and yet a very different and equally exhilarating experience. In fact, seeing how director Jay Roach and Robert Shenkman have opened the play up visually and at the same time narrowed its focus, makes for a fascinating comparison between telling a story on stage and screen.
Instead of a single set and multiple casting, both of which worked extremely well in the stage version, director Roach has wisely not settled for replicating the play on screen. Given HBO's generous financial resources, he could afford to go all out and let the camera roam to multiple locations: the Kennedy assassination scene, the offices and private quarters of the White House, the halls of Congress, the Johnson ranch. One of those ranch scenes even features the amphibious convertible in which Johnson drove his guests around, and often pretended to lose control as he headed into a lake. His unwitting victim in the film is his much abused Vice-President Hubert Humphrey (one of countless superb performances by Bradley Whitford, who looks enough like his character to probably not have required special make-up, giving one of too many to write about superb performances).
The camera's ability to give every viewer a close-up of an actor's face and the makeup people's work to make Cranston look more like LBJ. This has also enabled him to deepen his performance. And does he ever. The authentic Texas accent and physical movement and gestures make for an incredibly powerful performance. It's a deeply personal portrait. As we watch Cranston sweet talks and bully people into doing his bidding, he seems to literally grow as tall and massive as LBJ was. But Cranston also knows how to go in the other direction, notably in a scene where Lady Bird pulls him out from a state of hopeless despair and insecurity. o
HBO's deep pockets and the need to reach a much wider audience have tapped into a huge pool of actors and except for Cranston, this is a different cast from the one on Broadway. Frank Langella, who's well known to film and tv audiences as as well as theater goers now plays Senator Russell, LBJ's friend (and opponent on the civil rights bill. Consequently, that role is now expanded. The same is true for Anthony Mackie, the current Martin Luther King and Melissa Leo, the ever supportive Lady Bird. But though these and other roles are writ larger th,e end result is a tighter, more intimate story that plays out in an hour and a half.
For complete production notes, including the walk-on as well as star cast credits, check out this link:
Some Stories Are told As (or more) Effectively Stripped to Their Essence as Big and Splashy
The sparely staged Broadway revival of the musical adaptation of Alice Walker's book The Color Purple, famous filmed with Whoopi Goldberg in a main role resulted in this feature focusing on this topic of how the small-big question has come into play in other stage shows and films we recently saw. Stage vehicles covered besides The color Purple, are Arthur Miller's A View From the Bridge and the musical Dames at Sea. The terrific new film Spotlight , probably the season's most stage actor heavy movie reminded us of a small and very effective stage production of that story, Sin: A Cardinal Deposed. The film Woman in Gold, starring stage and screen favorite Helen Mirren, tackled the big-small question by comparing the film with the book that inspired it. To read the complete feature click here
Downtown Abbey's Final Season. . .
March 7, 2016- Update. You couldn't wish for a happier and more festive finale for a hit that was as much of a phenomenon for television as Hamilton has been for the theater. It left me in such a good mood that I'm not quite ready to look into the new and sure to be much darker House of Cards season
Yes, Lady Edith finally got married, thanks to Lady Mary who previously put the kabosh on it. And what a wedding! The only sad note was that Carsons could no longer perform per his own rigid standards. But not to worry. He remains semi-employed, cared for by his ever sensible wife, and his main butler's functions will now be handled by trembly hands brought back Barrows now worthy of the butler's post. Anna delivered a healthy baby, right in Lady Mary's bed, thus further showing the ever diminishing divide between upstairs and downstairs. The senior romances also blossomed, and the mother/daughter-in-law tensions over Lady Grantham's taking over the hospital ended. Sir Fellowes outdid himself in bringing everyone who ever appeared back for the wedding, which included Lady Rose and even Lady Grantham's American mom via a congratulary letter. Leave it to Tom to help Lady Mary's husband Henry find a career to satisfy his love of cars without the danger of racing them. And who better than the former chauffeur to partner with Henry. As for Tom's own non-existent love life, this too is taken care of by having Lady Edith's editor not only a wedding guest, but catching the bouquet. If this weren't the end, we'd see her and Tom walking down the aisle in the next episode.
And speaking of the next episode. . . Downton may be finished on the home screen but there's talk of a movie. Stay tuned!
February 21, 2016 Update: A mea culpa about my pevious comments. With the penultimate episode Sir Julian Fellowes got his mojo back. So much so, with so many wonderful moments (especially for Lady Mary and the Dowager) that I found myself wishing the episode would go on and on. . .and that somehow the next episode was the finale.
The dowager's stubborn, wrong-headed and, yes, tedious fight to keep the local hospital independent as it's always been comes on top of seeing Maggie Smith in a quite different role — as the crusty, complicated bag lady of the best picture/actress/director/adapted screenplay nominated The Lady In The Van. Smith is a theatrical treasure!
The glimpse of Lord Grantham once again clenching his stomach struck me as an ominous hint that there'll come a time when Lady Violet wished the local hospital were better equipped and staffed as it would be if she'd just stop fighting to keep it in the past.
The best of this week's continually evolving sub-plots revolves around the return of former housemaid Gwen (Rose Leslie) to Downton as an accomplished and happily married woman. She’s there because Rosamund (Samantha Bond) wants Lady Edith (Laura Carmichael) to become a trustee of a college for women, for which Gwen’s husband is treasurer. The Crawleys don’t recognize Gwen, because obviously the only one who bothered to really look at and talk to all but key servants was Sybil. Gwen prefers to keep her Downton connection to herself, probably a combination of tact and lingering discomfort at finding herself a luncheon guest.
As it turns out, the jealous Barrow's vindictively letting that paricular cat out of the bag delights the Crawleys, giving Julian Fellowes another chance to show how much less insular these spoiled aristocrats have become over the years. It also results in a lovely opportunity to pay tribute to Lady Sybil who during Season 1 helped Gwen move out of service and into a job as a secretary. This opens the door to another tribute to a beloved but dead character, the love of Lady Mary's life (Dan Stevens) be far behind — perhaps when she finally settles on a new husband (a rather dull Matthew Goode who I liked a lot better in The Good Wife).
While Lily James's Lady Rose is still very much alive, she too is unlikely to get more than a mention as the season continues. You see, she's now the major female character, Natasha Rostova, in the latest adaptation of Leo Tolstoy's War and Peace. Andrew Davies of the Netflix binge hit House of Cards has managed to tell this epic saga in six episodes (probably because the huge cast and opulent costumes and scenery are too expensive for a longer binge fest).
I won't go into all Downton's other rather predictable plot threads that have been picked up. Suffice it to say that as the last episode ended with the Carson-Hughes wedding, this culminates in their return, apparently having survived the "full marriage" conundrum successfully. I can't say this episode left me in a "can't wait" state about any of this, but I remain committed to staying on board.
Downtown Abbey's Final Season
Dare I say it. So far, the farewell season is kind of boring. Even if I could binge on the whole season at once, I'd be unlikely to do so. An hour at a time is more than enough.
Still, I've committed too much time getting to know all these characters not to hang in there. Carson and Mrs. Hughes ARE finally married. No unpleasant surprises as at Jane Eyre and Mr. Rochester's wedding, just Tom Branson arriving at the wedding breakfast apparently ready to become a fully committed member of the Grantham family. Besides stealing some of the thunder from the bride and groom (but happily not before Mr. Carson could make this poignant toast to his bride: "That a woman of such grace and charm should entrust her life’s happiness to my unworthy charge passeth all understanding."
Tom's arrival opens the door to questions about what this will do to Mary's job as the estate manager. I'm sure Julian Fellowes will, a usual, milk this for some clunky plot developments.
With Anna pregnant and a Harley Street doctor standing buy to help her carry the child to full term, and Edith taking charge of her magazine with the help of a new suitor, could Fellowes really give these consistent sad sack ladies a happy ending?
And how I can not stay the course for the full season to see how the no longer nasty Barrows fares in his search for a new job. His interview for a job with a somewhat demented lord of a once grand manor was a highlight of the last episode as it proved the design team can do delapidated as well as elegant and stately. I'm keeping my fingers crossed for Barrows to find a partner and come up with an idea for another kind of work, maybe as a maitre de in a posh restaurant?
At any rate the clothes are gorgeous as ever.
The final episodes are now posted and depending on how much of its melodramatic plots and sub plots you've seen, you can binge on three full seasons. However, true to the genre each episode ends in a cliff hanger-- and Season 3's finale is likely to leave you frustrated. But then bad as things look for Nurse Sarah, bear in mind that another season is coming so she WILL survive! But you'ra going to have to wait well past next Monday to find out how and what's next.
December 30th Update: Several new episodes continue the saga of the Blighs and Nurse Sarah. The talented writers who've taken over for the show's creator Bevan Lee continue to add plot lines with the same appreciation of the rewards of the melodramatic genre. As Lee explained in an interview "I want to fight the rise of melodrama being viewed as a somehow lesser form. To me a good melodrama is a big plum pudding of a show, full of fruit, flavour and the odd surprise threepence." While Elizabeth Bligh is no longer the nominal villainess and Nurse Sarah becomes almost saintly in dealing with continued bad luck, A Place to Call Home hardly lacks that vital ingredient in any solid melodrama. In fact George's anti-Semitic asister-in-law Regina proves to be not just as a schemer but an Über-villain.
The new episodes and some of the plot complications unfoldingt: Too Old to Dream in which Sarah decides not to go through with the abortion but meets a desperate young woman and her mother at the clinic. After a debate about art, Sir Richard challenges Carolyn to write a critique for one of his newspapers and Olivia dreams about her encounter with Lloyd.. . Living in the Shadow in which René emains cold to Sarah following the revelation that she's carrying George's baby. After one of Regina's threats goes too far, she retreats to the farmhouse but still proves dangerous. Anna confides in Olivia about her unhappiness, accidentally disclosing the contents of Andrew's letter. And in case you're wondering about Ash Park, the Bligh's manor house. . . it's an actual estate called Camelot, a heritage-listed property located at Kirkham on the outskirts of Camden. It was built in 1888 and has also been used as a setting for the 2008 Baz Luhrmann film Australia.
PREVIOUS POSTING ABOUT THE SERIES: Season 3 of the addictively entertaining series from Australia is a semi-binge
With public television still devoting Sundays to past Downton Abbey episodes before launching the final season, Acorn TV Media has begun streaming season 3 of Australia's answer to family dramas on imposing estates. While you can still binge watch seasons 1 and 2 in their entirety, season 3 is being streamed 3 episodes at a time, always on Mondays with the DVD scheduled to be released in April of 2006.
Since the popularity of the show has reprieved A Place to Call Home from being a 2-series hit, you need to go back to the final, and now rewritten, episode of Series 2. George is shot, and how it happens and how he survives establishes that there'll be no shortage of melodramatic complications in the life of Nurse Sarah Adams and her seriously shell-shocked husband René Nordman (Benjamin Winspear) and the Bligh family.
While the problems for the various characters, especially Nurse Sarah, pile up to the point of overload the key characters are still wonderfully nuanced. And the actors playing them continue to be eminently watchable.
The terrific Noni Hazelhurst who plays Elizabeth Bligh, the villain of the initial series, has now let the always present touch of humanity come to the fore. Could her taking off her fur collared coat to help out in an attractive older gentleman's soup kitchen bring a late in life romance? But, more importantly, what's a meolodrama without a villain, so there's Jenni Baird as Regina, the scheming, anti-Semitic sister-in-law of George Bligh (Brett Climo).
With George newly focused on a political career that may help him better cope with his loss of Sarah, Regina's past experience as a diplomat's wife may well help her win the prize she's after: Succeeding her dead sister as Mrs. George Bligh. While George has the right stuff to be the sort of public servant we'd all like to see in office, being supported by the nasty Regina and a reactionary power broker indicates trouble ahead. Elections having a way of exposing things best kept strictly in the family, also threatens to cause problems for the homosexual James Bligh (David Berry), his wife Olivia (Arianwen Parkes-Lockwood). And if that weren't enough the sexually frustrated Olivia becomes smitten with a sexy portrait painter.
Even the blissfully in love young couple —, Anna Bligh (Abby Earl) and Gino Poletti (Aldo Mignone)— who overcame the cultural clashes of Italian farmers and landed Aussie gentry, are on board with potential problems. While Gino's plans to grow grapes promise a poor boy-turned-wine baron twist, Gino's rigid Catholicism is a fly in the happy ever after story. Even if James's treatment to "cure" his sexual nature turned out to be successful (which it obviously can't be!), Gino can't deal with his revulsion.
Episode 1, The Things We Do for Love, deals mostly with the aftermath of George's injury.
Episode 2, L'chaim, to Life, has a tender scene that holds out hope for Anna and René but there's an unanticipated pregnancy to get in the way.
Episode 3, Somewhere Beyond the Sea, segues back and forth between Sarah in Sydney trying to deal with her "problem" and Ash Park, with an interlude in that afore mentioned soup kitchen.
I'm hooked! How about you? Oh, and I did tell you, didn't I, that there's also a Season 4 to feed our addiction.
Our take on A Place to Call Home Seasons 1 and 2
This is a chance for Downton Abbey fans to binge on a family drama full of family secrets, relationships complicated by money, class and religious differences. The Bligh family is Australian so they have no official titles, but their Ash Park estate is mighty grand. It's set in early 1950s rural Australia with post world war II traumas and rapidly changing social customs rife with high drama. And yes, there are lots of eye popping costumes.
The saga of the Blighs and those who become entangled with them begins with a shipboard encounter between the Blighs on their way home from a wedding and a beautiful nurse, Sarah Adams (the terrific Marta Dusseldorp) that sets things up for the soon to unfold central events. There's an autocratic Bligh matriarch who is pretty mucch the villain of the series except that she's so fully dimensioned by the show's creator, Bevan Lee, that there's room for the superb Noni Hazlehurst to make her a decidedly human villain. George (the attractive Brett Climo) the widowed head of the Bligh sheep farm's business is obviously smitten with Sarah who, like the various Blighs has her own past to contend with.
While most of the gradually revealed surprises are fairly predictable, you're hooked and likely to watch them non-stop. The series is pungently atmospheric in its depiction of 1950s still caught in the painful war years: George Bligh's wife was killed by a Japanese bomb, the town doctor is still haunted by his years as a Japanese POW, and Sarah's past includes a stint as a Resistance worker and concentration camp inmate. Anti-semitism and treatment, or rather mistreatment, of homosexuals adds strong thematic underpinnings. Despite the dark subtext, A Place to Call Home is essentially a romantic, consistently absorbing drama given strong support by a uniformly top drawer cast. <
Series one and two are available at Acorn on line: Click here for Series 1 & click here for Series 2.
Justin Kurzel's Macbeth comes to US Screens
The Australian director and screenwriter Justin Kurzel premiered his Macbeth at Cannes in May and now brings it to the U. S. in time for the holidays. Following in the vein of Roman Polanski's 1971 film of the same name, it is a gritty retelling of Shakespeare's Scottish Play. And with two big name actors on board — Oscar nominated actor Michael Fassbender as the Thane and Oscar award-winning actress Marion Cotillard as the Queen — this new film is bound to create buzz around the eggnog bowl this season.
The cinematography is stunning! It was shot on location in Scotland and England, and captures the fair and foul weather that sweeps over those rugged landscapes. You can practically smell the Scottish highlands and English countryside in some sequences, and feel the gusty winds and rain pelting down in various outdoor scenes. And to add even more atmosphere and mystery, there's a wash of reddish light in pivotal frames that serves as a visual metaphor for the bloody tragedy in progress under the tyrant Macbeth.
This is Kurzel's first go at Shakespeare. But it's no accident that he's chosen Macbeth out of the canon. After all, his first film Snowtown (based on the true life story of the Snowtown murders), was a grisly but fascinating study of a serial murderer in Australia. It brought him much critical acclaim, and marked him as a rising star in the film world. Kurzel has an uncanny talent for creating menacing portraits of murderers on the big screen. And his new Macbeth is sure to cement his reputation. What's more, Kurzel has a modern-day spin—and diagnosis—for the Bard's deranged protagonist: post-traumatic stress disorder. No, the term hadn't been coined yet in 11th - century Scotland. But Macbeth certainly manifests many of the symptoms of this mental condition that is now widely accepted by the medical world, seriously researched, and treated.
Although Kurzel is faithful to Shakespeare's text, he takes creative license, now and then, to drive home his own vision. In fact, the film opens, not with the Weird Sisters gathering on the heath, but Macbeth and Lady Macbeth at a burial rite for a stillborn child. Whether it is their child remains unclear. But it clearly brings to the fore that the Macbeths are grieving over a child and later resonates with the witches' prediction that Macbeth will wear a barren crown. Kurzel threads the plot with more innovations: Duncan's brutal murder happens on screen and the Porter scene gets jettisoned, along with its wit and levity. In short, Kurzel gives you a relentlessly dark look at the ancient myth and forces you to confront its discomfiting elements through a new prism.
German actor Fassbender and French actress Cotillard have the right chemistry to bring Shakespeare's most famous power couple alive on screen. Fassbender is commanding as Macbeth, and Cotillard (Natalie Portman was originally slated for the role but bowed out when funding for a film she was directing came through) is well-matched as his ambitious wife. No, they don't come to this project with a background in Shakespearean acting and don't affect Scottish burrs to define their characters. And though their delivery of the verse (flavored with in their native accents) might not measure up to the polished thespians at the Royal Shakespeare Company, they surely pass muster with their cinematic chops here. The rest of the cast hold their own but it is definitely Fassbender and Cotillard who are the most mesmerizing on screen.
There's no question that Kurzel has scored with his new Shakespearean film. You might nitpick over some of his directorial choices at times, but his retooled Scottish Play gives a fresh pioneer spirit and badlands flavor to the classic.
Macbeth opens in selected theaters across the U.S. on December 4, 2015. Running time is 1 hour; 53 minutes. Reviewed by Deirdre Donovan based on preview filming on 11/23/15 Back to Index of Topics
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