THEATRE REVIEW: Tom Stoppard’s ‘Arcadia’

Posted on June 9, 2009 by admin

'Arcadia' Jessie Cave (Thomasina Coverly), Dan Stevens (Septimus Hodge) photo by Catherine Ashmore

By Ray Bennett

LONDON – There are many terrific productions on currently in London’s West End but none is better than the revival of “Arcadia” at the Duke of York’s theatre, which is revealed as probably Tom Stoppard’s finest play.

Given that the Czech-born British playwright and Oscar-winning screenwriter’s output includes such gems as “Tapestries”, “Jumpers” and “Rock-and-Roll”, that is to really say something.

In “Arcadia,” Stoppard achieves the perfect blend of ideas and great comedy so that his intellectual flights are accessible and the laughs are many. Besides a challenge to the brain, it also warms the heart.

The setting is an English country house in Derbyshire where events some time early in the 19th century are being investigated in modern times. Thus there are two time frames. The initial situation involves a supremely bright teenaged girl named Thomasina (Jessie Cave) whose wit and insight constantly surprise her tutor, a lesser poet but a sharp character named Septimus Hodge (Dan Stevens, pictured above with Cave).

Thomasina is inquisitive beyond her years and ready to tackle the scientific theories of Newton and mathematical theories of Fermat. Hodge encourages her brilliance while he dallies with the older women of the household.

arcadiaX

Cut to the present day where an opportunistic scholar named Nightingale (Neil Pearson) is drawn to the house by literary clues that suggest the place was the setting for a duel over Lady Caroline Lamb that involved Lord Byron. Current occupants Hannah Jarvis (Samantha Bond) and Valentine Coverly (Ed Stoppard, the playwright’s talented son) meanwhile address the key elements of the second law of aerodynamics.

The scene changes from the present to the past with great ease as Stoppard raises questions of how what is bequeathed by literary and scientific greats serves often only to mystify and mislead future scholars. The playwright’s great gift is to write on such a high level of intelligence and wit and take the audience along with him all the way

The sequences in the 19th century also involve the exquisite Lady Croom (Nancy Carroll), who combines serene hauteur with a taste for fun and games in the gazebo. Carroll’s performance is delicious and well matched by Cave, Stevens, Bond and Stoppard in particular although the entire cast is in top form.

Director David Leveaux is helped greatly by Hildegard Bechtler’s evocative set design and Paul Anderson’s lighting.

Venue: Duke of York’s Theatre, runs through Sept. 12, 2009; Cast: Samantha Bond, Dan Stevens, Nancy Carroll, Neil Pearson, Jessie Cave, Ed Stoppard; Playwright: Tom Stoppard; Director: David Leveaux; Set designer: Hildegard Bechtler; Costume designer: Amy Roberts; Lighting designer: Paul Anderson; Sound designer: Simon Baker for Autograph; Music: Corin Buckeridge.

This review appeared in The Hollywood Reporter. Photos by Catherine Ashmore

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George Fenton Q&A to kick off LSO concert at Barbican

Posted on June 6, 2009 by admin

blue planet 3By Ray Bennett

LONDON – Director Stephen Frears will join composer George Fenton for a conversation with film music expert Tommy Pearson ahead of the London Symphony Orchestra concert of Fenton’s movie scores at the Barbican on Sunday.

The Q&A begins in the Fountain Room, Barbican Level 0, at 6:15 p.m. with the concert starting at 7:30. The concert will feature Fenton conducting his great music for the hit BBC natural history series “Planet Earth” and “The Blue Planet” and films such as Frears’ “Dangerous Liaisons” and “Mrs. Henderson Presents”, and Richard Attenborough’s beautiful “Shadowlands”.

In 2002, Fenton put on shows in London and Los Angeles that combined images from the “Blue Planet” documentary with an orchestra playing his music. I wrote about one that took place in Hyde Park, where I took the photo above. See my review here

 

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THEATRE REVIEW: Jude Law in ‘Hamlet’

Posted on June 4, 2009 by admin

hamlet 1By Ray Bennett

LONDON – Anyone who expects a fey and fragile prince from Jude Law in the Donmar’s new West End production of “Hamlet” is in for a surprise as he renders the troubled Dane as rugged and fit, and filled with anger.

It is sometimes overlooked that at the end of the play the crown prince of Norway reckons Hamlet would “like to have proved most royal” and Law shows why with a robust delivery in which his vulnerability is manifested in foul temper.

Delivered while Hamlet sits in falling snow, the “to be or not to be” soliloquy expresses less a querulous contemplation of death than outrage at mankind’s fate in general – “What should such creatures as I do, crawling between heaven and earth?”

His fury over the death of his father, the king, at the hands of his uncle, Claudius (Kevin R. McNally) consumes him. But his dismay that his beloved widowed mother, Gertrude (Penelope Wilton, pictured with Law below)) has so soon married her brother-in-law complicates matters to leave him in a torment of inaction until the climactic duel with Laertes (Alex Waldmann).

hamlet 2 x650Director Michael Grandage defies Shakespeare and acknowledges Law’s star power by opening the curtain on Hamlet sitting silent and pensive in twin spotlights. But if it’s a movie star that is drawing the huge crowds to the last show in the year-long Donmar season at Wyndham’s Theatre, then at least they will see one who is a genuine stage actor in a production that is clear, passionate and involving.

Wilton is an exceptional Gertrude, demonstrating her shift from gullibility to knowing regret and Gugu Mbatha-Raw is a beguiling Ophelia, sliding sweetly into madness. The moment she begins to sing her addled laments is mesmerizing and chilling.

McNally’s Claudius is a bit too matter-of-fact and John McMillan and Gwilym Lee as Rosencrantz and Guildenstern are under served by the direction. Ron Cook wins laughs as Polonius, Matt Ryan makes a stalwart Horatio and Peter Eyre, with his droll delivery, has great fun as the Player King.

Best of the males besides Law is Waldmann as Laertes, Ophelia’s grief-stricken brother who seeks revenge upon Hamlet. When the two of them draw blades for their fateful duel, the action is fierce and exciting.

Tall sliding doors opening on a bleak wall at the rear of the stage and billowing curtains at the front in Christopher Oram’s clever design, and skilful lighting design by Neil Austin contribute to the play’s clean and striking presentation.

Venue: Wyndham’s Theatre, runs through August 22; Cast: Jude Law, Penelope Wilton, Kevin R. McNally, Ron Cook, Alex Waldmann, Gugu MBatha-Raw, Peter Eyre, Matt Ryan; Playwright: William Shakespeare; Director: Michael Grandage; Set designer: Christopher Oram; Lighting designer: Neil Austin; Music, sound designer: Adam Cork; Presented by: Donmar Warehouse.

This review appeared in The Hollywood Reporter. Photos by Johan Persson.

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Actor David Carradine dies aged 72

Posted on June 4, 2009 by admin

David-Carradinex650

By Ray Bennett

LONDON – Associated Press has reported out of Bangkok that actor David Carradine, star of the 1970s TV series “Kung Fu” who had a wide-ranging career in the movies, has been found dead in the Thai capital. A news report said he was found hanged in his hotel room and he is believed to have been murdered. Investigation is ongoing. He was 72.

Carradine was always a forthright individual and he gave me one of the best interviews I’ve ever done. I ran into him at the Festival de Cannes at the opening Marché Party in May 2000 and he agreed to meet for a beer and a chat at the Noga Hilton.

“The secret to Cannes,” he told me, “is: Don’t hustle. Let everyone else hustle. Then you can have fun.”

Carradine had been coming to the festival on and off for over 20 years. He had films in competition, he won a prize, and he usually responded when a producer asked him to help get attention for a picture.

He said, “Often I’ll come without portfolio, as it were. I hang out; do an interview here and there; take a couple of meetings; go to a party or two and get bored instantly. I make so many independent movies that there are always two or three in the marketplace I don’t even know about.”

He said he always enjoyed it. Not least because in Europe he was associated more with such films as “Bound for Glory” and “The Long Riders,” and having worked with Ingmar Bergman, than for his cult TV series, “Kung Fu.”

Carradine said, “I had no idea that show would change things and mean so much to people, but my life has been very arbitrary. I wish it weren’t. I wish I could direct my destiny. There are many things I wished I could do that I never did. Too old to play Hamlet now. Better hurry up and play Lear.”

Like many of the genre actors who worked outside the studio system, he said he made B pictures because he enjoyed the work. He had one called “Nightfall” at Cannes in 2000, and he left mid-festival to head for British Columbia to make a western titled “By Dawn’s Early Light” with Richard Crenna.

He said, “For me, I want to work, if there’s something at hand to do. But something about the project needs to jog me. Even at my age, I’m still trying to make a name for myself.”

He was in Cannes that year with his brother Robert Carradine, who was known for the “Revenge of the Nerds’ films: “We don’t get to see each other a lot because we’re always off on location somewhere, so that was nice. Usually at a party there’s a little meditating pool of quiet where I can talk, say, to Gene Hackman about cars and planes.”

He had no time for people who went home from Cannes complaining: “People in L.A. say Cannes is such a drag. I say, ‘What the fuck are you talking about?’ The place is beautiful, the food is beautiful, the women are beautiful. It’s because they were on the second floor of the Carlton sweating and praying, desperate. Fuck that.”

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THEATRE REVIEW: ‘Sister Act” the musical

Posted on June 3, 2009 by admin

Sister Act 1 x650By Ray Bennett

LONDON – Brash and sentimental but witty and tuneful, the stage musical version of Whoopi Goldberg’s 1992 comedy film “Sister Act” is a foot-stomping, hand-clapping success with great songs by multiple Oscar-winner Alan Menken and a star-making performance by American newcomer Patina Miller.

Originating at the Pasadena Playhouse, the show has a book by “Cheers’ alumni Cheri and Bill Steinkellner and lyrics by Glenn Slater that draw on Joseph Howard’s original screenplay. Now it’s a major West End production with all the trappings at the celebrated London Palladium.

The most rousing songs are delivered by Miller, whose previous experience includes a stint on “All My Children” and a production of “Hair” in Central Park. With good looks, a splendid voice and terrific comic timing, she has catapulted into the big-time.

Miller has the Goldberg role of Deloris, a brassy lounge singer in 1978 Philadelphia, who witnesses a murder and is placed in a convent to keep her safe before the trial. British stage, film and TV veteran Sheila Hancock has the role of the Mother Superior played in the film by Maggie Smith.

sister act 2 x650She tolerates Deloris by putting her in charge of choir practice and the nuns quickly become high-stepping, swinging sisters whose performances attract paying audiences that will save their decaying church. The publicity also attracts the killer, Deloris’ manager Shank (Chris Jarman), who is determined to silence her.

The plot is simply a device on which to hang 17 songs and everyone in the cast gets a chance to shine. It’s harmless and cheerful, but both book and lyrics are mildly disrespectful of the church exploiting iconography and an impersonator of the Pope, and the show more than the film takes the view that being a nun is not a great idea.

Hancock has a sweet song titled “Here Within These Walls” to evoke her sincerity but Katie Rowley Jones, as an orphan who is now a novice, sings a number titled “The Life I Never Led” in which she lists the freedoms she’s been denied. “How I Got the Calling,” in which the sisters first display their talent for soaring harmony, is more about the ability to sing than their devotion.

The theme of individuals revealing their true nature extends beyond Deloris to individual nuns including Claire Greenway as the plump and boisterous one and Julia Sutton channeling Ruth Gordon as a tough old bird. Deloris’ mild-mannered boyfriend, a cop named Eddie (Ako Mitchell), and Shank’s hoodlums also deliver songs that reveal them to be more than they at first appear.

Slater’s lyrics are bright and sassy with many clever and inventive rhymes, and while Anthony Van Laast’s choreography is more about keeping the nuns leaping than anything else, director Peter Schneider makes it all snappy, and the show has been rewarded with cheering and standing ovations.

Venue: London Palladium, runs through Feb. 10; Cast: Sheila Hancock, Patina Miller, Ian Lavender, Chris Jarman, Ako Mitchell, Katie Rowley Jones; Music: Alan Menken; Lyrics: Glenn Slater; Book: Cheri and Bill Steinkellner, based on the motion picture written by Joseph Howard;Director: Peter Schneider; Choreographer: Anthony Van Laast; Set designer: Klara Zieglerova; Costume designer: Lez Brotherston; Lighting designer: Natasha Katz; Sound designer: Mick Potter;  Producers: Whoopi Goldberg, Michael Reno, Joop Van Den Ende, Bill Taylor, Adam Spiegel.

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CANNES FILM REVIEW: Denis Villeneuve’s ‘Polytechnique’

Posted on May 23, 2009 by admin

polytechnique x650By Ray Bennett

CANNES – Denis Villeneuve’s “Polytechnique” is a dispassionate retelling of the massacre of 14 young women at a school in Montreal by a deranged young man with a high-powered rifle in December 1989.

Filmed in black and white, the French-language film, which screened in Directors’ Fortnight, does not set out to comprehend the crime other than to suggest that the shooter (played with a vacant stare by Maxim Gaudette) was a pathetic loser who chose to blame women for his empty life.

The focus is on what happens to two survivors of the incident. Jean-Francois (Sebastien Huberdeau) is the only person in the huge, crowded building who appears to do something to help, while Valerie (Karine Vanasse) is an engineering student who somehow survives being shot at point-blank while her fellow students die beside her.

The impact on them is quite different and as they are composite characters it could be said that they represent the guilt of the men, who were not targeted, and the determination of the women who survived to honor their dead schoolmates and push on with their lives.

The 76-minute film, produced by Remstar and Don Carmody Prods., and handled by Wild Bunch, is as much a memorial as it is a docudrama and as such it will interest educators and students, and make for sober television. It’s a pity, though, that more of an attempt wasn’t made to understand the killer and explain such things as why no one apparently thought to phone for help or hit the fire alarm.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Michel Franco’s ‘Daniel and Anna’

Posted on May 23, 2009 by admin

daniel and anna x600By Ray Bennett

CANNES – Michel Franco’s prurient and off-putting little film “Daniel & Ana”, which screened in Directors’ Fortnight, is about a teenage brother and slightly older sister in Mexico City, who are kidnapped and forced to have sex with each other for a video camera.

The camera lingers unnecessarily on the attractive characters as they are made to disrobe and couple at the risk of death from three hoodlums. The siblings are released afterward and do not report the crime.

They deal with the event differently, as soon-to-be-married Ana (Marimar Vega) seeks help from a psychologist to put it behind her and formerly shy and caring 17-year-old Daniel (Dario Yazbek Bernal) develops a raging lust for his sister. A scene in which Daniel brutally rapes Ana also is overly indulgent.

Suspense builds as Daniel becomes increasingly possessive of Ana and jealous of her fiance, and the youth goes to their wedding ceremony and reception bearing a newly purchased and deadly looking knife.

Produced by Alameda Films, with Fortissimo handling sales, the film’s titillating subject matter and sex scenes could find some boxoffice return but audiences will puzzle over such things as an absence of motive for the kidnappers.

Using the video for blackmail seems the most obvious, but the kidnappers are never seen or heard from again.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: ‘The Imaginarium of Doctor Parnassus’

Posted on May 22, 2009 by admin

imaginarium x650By Ray Bennett

CANNES – The first big question about Terry Gilliam’s “The Imaginarium of Doctor Parnassus” involves how the filmmaker managed to complete the film when his star Heath Ledger (below) died in the middle of shooting. The answer is with great imagination and skill.

The second big question is whether Gilliam has produced something to rank with his great fantasies “Time Bandits” and “Brazil,” and the answer is sadly no.

A carnival show with a mirror to the imagination allows Gilliam to employ his remarkable gift for imagery, but the worlds he creates will not take the breath away of children or grown-ups. The combined star power involved will generate a plentiful boxoffice return, but the film is neither intelligent enough nor silly or grotesque enough to become a lasting favorite.

imaginarium2 x325Filled with phantasmagorical images with the occasional echo of “Monty Python’s Flying Circus,” the picture involves a classic duel between the forces of imagination, led by Dr. Parnassus (Christopher Plummer), and the architect of fear and ignorance, known here as Mr. Nick (Tom Waits, pictured with Plummer).

Andrew Garfield and Lily Cole provide youthful love interest, and Ledger is again the joker in the pack as a stranger who is not what he seems.

The setting is a horse-drawn carnival sideshow in modern London, an attraction in which Dr. Parnassus, who claims to be immortal, invites ticket buyers to enter a world of their own imagination by stepping through a large mirror. Once beyond it, faces change and fates vary, which is how Gilliam gets away with having Johnny Depp, Jude Law and Colin Farrell step into the Ledger role.

Ledger makes his entrance as a man being hanged from London’s Blackfriar’s Bridge with his arms tied at his back. Saved and named George by the members of Dr. Parnassus’ troupe, he claims to remember nothing and joins the players. The doctor and Mr. Nick have a lifelong wager in which the soul of Dr. P’s daughter (Cole) is the prize, and he suspects the devil has placed George there to make trouble. The rest of the film involves various plunges into the mirror’s vast wonderland, with George changing physiognomy along the way.

The visual effects are colorful and entertaining without ever becoming a coherent force. The score by Mychael Danna and Jeff Danna has the required flair and sweep.

Plummer and Waits are the twin rocks of the film, and they enter the spirit of playfulness with typical skill. Garfield continues to expand his considerable range, and model Cole makes a pretty picture. The three stars that came to Gilliam’s rescue also make amusing contributions, but it’s hard not to wonder how much better the film would have been with a complete performance by the charismatic, adventurous Ledger.

The film is dedicated to Ledger and producer William Vince, who died after filming was completed.

Venue: Festival de Cannes, Out of Competition; Cast: Heath Ledger, Johnny Depp, Jude Law, Colin Farrell, Andrew Garfield, Christopher Plummer, Tom Waits, Lily Cole, Verne Troyer; Director, producer: Terry Gilliam; Screenwriters: Terry Gilliam, Charles McKeown; Director of photography: Nicola Pecorini; Production designer: Anastasia Masaro; Music: Mychael Danna, Jeff Danna; Costume designer: Monique Prudhomme; Editor: Mick Audsley; Producers: William Vince, Amy Gilliam, Samuel Hadida; Executive Producers: Dave Valleau, Victor Hadida; Production: Infinity Features Entertainment, Poo Poo Pictures, Davis Films; Sales: Mandate International; Not rated; running time, 122 minutes.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW BRIEF: Juraj Lehotsky’s ‘Blind Loves’

Posted on May 21, 2009 by admin

'Blind Loves' 2008 x650By Ray Bennett

CANNES – Love is blind, the poets say, and the blind also love but it’s not so easy to clink glasses of celebratory champagne when you and your partner cannot see.

Slovakian director Juraj Lehotsky observes this charmingly in his heartwarming documentary “Blind Loves”, screened in Directors Fortnight at the Festival de Cannes.

Filmed in the half-light of claustrophobic living quarters that do not bother those without vision, this look at several blind people getting on with their lives sends an unsentimental but optimistic message. Destined for strong showings on the festival circuit, the film also should thrive in educational circles.

Lehotsky has a keen and compassionate sensibility and he uses classical music to great effect. Even at a trim 77 minutes, the film makes the characters come alive and some of the small moments are deeply affecting.

These include blind lovers losing each other momentarily on a crowded dance floor; a sightless woman hanging up the laundry to dry on a line; a young boy asking his now-blind mother what she used to see; a blind woman describing why her favorite color is orange because of all the senses primed by the fruit; and a teenaged girl tapping into the Internet and dreaming of love.

It’s a film that puts a smile in your heart and you don’t need eyes for that.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Ken Loach’s ‘Looking for Eric’

Posted on May 19, 2009 by admin

Looking for EricBy Ray Bennett

CANNES – The term “crowd-pleaser” is not often attached to the work of Ken Loach, the British Palme d’Or-winning director of films of social realism, but his latest Festival de Cannes Competition entry, “Looking for Eric,” is exactly that.

At the press screening, there was laughter throughout, frequent clapping and sustained applause at the end. Loach regular Paul Laverty’s script is filled with great gags and the director does his typically polished job of bringing out the best in his actors.

They include former soccer player Eric Cantona (pictured right with Steve Evets), the Frenchman who was unheralded at home but called King Eric at Manchester United, the world’s biggest football club.

With Man U having just won the English Premier League title once again and heading to the Champions League final in Rome on May 27, the film’s football connection could not be more advantageous. If only the club’s millions of supporters around the world go to see it, and they will all want to, the movie will be a hit.

But “Looking for Eric” should connect with moviegoers who enjoy clever comic writing with a touch of fantasy plus fans of any sport that has legendary heroes. It looks set to be Loach’s biggest mainstream hit.

The footballer materializes in the home of a sad-sack postal worker also named Eric, played with great energy and flair by Steve Evets, whose latest panic attack leads to him repeatedly driving the wrong way round a roundabout until the inevitable crash.

He escapes unhurt and no one else is harmed but Eric is chastened by his latest attempt to flee the unhappy realities of his life. His second wife split seven years earlier and his two stepsons, Ryan (Gerard Kearns) and Jess (Stefan Gumbs), ride roughshod over him at home.

His mates at work, led by portly Meatballs (John Henshaw), do their best to cheer him up, and there’s a hilarious sequence in which they go one at a time to try to make him laugh, but it doesn’t help.

Retreating to his own room, which is full of Man U memorabilia and pictures, including a life-sized poster of Cantona, to whom he confides his worries, Eric is startled to discover the genuine article has shown up to listen.

More than that, the iconic star, who was known for quoting obscure sayings, has brought a bunch of his favorite aphorisms and proverbs to help Eric clean up his life and find some happiness. This involves setting his kids straight and trying to make amends with his first love, Lily (Stephanie Bishop), whom he abandoned with their baby decades earlier.

There’s a moment in the picture when a shift from high comedy to grim reality, caused by Ryan’s involvement with a local hoodlum, is a bit abrupt and some may find the themes incompatible, but it wouldn’t be a Loach film without some of that. With Lafferty’s help, he manages to achieve a balance. In the end, with Cantona’s wisdom and the help of his pals from the post office, Eric finds the courage and wit to win the day in a hugely entertaining final sequence.

Very funny and a bit sentimental, it’s naturalistic comedy of the highest order, with Evets and Henshaw standouts among a terrific cast. Cantona too shows great comic timing and is both imposing and self-effacing, playing off his reputation for being a proud and temperamental man.

Not only Man U supporters will enjoy the splendid clips showing some of his classic passes and goals, and his dialogue is a constant delight. “Sometimes we forget you’re just a man,” Eric tells him. Comes the reply: “I am not a man. I am Cantona!”

Venue: Festival de Cannes, In Competition; Cast: Steve Evets, Eric Cantona, John Henshaw, Stephanie Bishop, Lucy-Jo Hudson, Gerard Kearns, Stefan Gumbs; Director: Ken Loach; Screenwriter: Paul Laverty; Production designer: Fergus Clegg; Music: George Fenton; Costume designer: Sarah Ryan; Editor: Jonathan Morris; Producer: Rebecca O’Brien; Executive producers: Eric Cantona, Pascal Caucheteux, Vincent Maraval; Director of photography: Barry Ackroyd; Production: Cantos Bros. Prods., Sixteen Films, Why Not Prods., Wild Bunch; Sales: Wild Bunch; Not rated; running time, 116 minutes.

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