THEATRE REVIEW: Anna Friel in ‘Breakfast at Tiffany’s’

Anna-Friel-as-Holly-Golig-001By Ray Bennett

LONDON – Anna Friel is attractive and spirited as Holly Golightly in Samuel Adamson’s new stage adaptation of “Breakfast at Tiffany’s” at London’s Theatre Royal Haymarket, but the production cannot match her sparkle.

The mountain-stream clarity of Truman Capote’s writing has never been distilled successfully onscreen, though Audrey Hepburn’s ineffable charm and Henry Mancini’s marvelous music combined to make magic in Blake Edwards’ 1961 movie.

Depicting onstage such a brilliantly conceived character in the mad rush of wartime New York is doubly difficult. The film also had Manhattan locations and George Peppard, with his hunky looks and dissolute eyes, a plausible leading man for the inevitable Hollywood ending.

Both are lacking in the stage version, with the city re-created in an unconvincing setting of tall fire escapes and skyline backdrops and New York actor Joseph Cross as the callow narrator, a love-struck writer who never really stands a chance with flibbertigibbet Holly.

Adamson strives to conjure an atmosphere of reckless hedonism with Holly hovering between being a whacky socialite and woman of the night. Her sources of income are all men, though what they pay for is never clear. Except that one of them is a jailed drug baron whose messages she blithely carries to and from his criminal lieutenant.

There are millionaires, actresses and Hollywood types that Holly toys with as she tries to make her way in the world while remaining free as a bird. James Dreyfus has a good scene as a blustery but loyal Hollywood agent, and Dermot Crowley does well as Holly’s favorite bartender, who also is a bit in love with her.

Friel plays Holly as blonde, poised and dangerous to know, which leaves the youthful Cross (“Running With Scissors”) the tough job of trying to make her interest in his character credible. It doesn’t come off, unfortunately, which takes some of the gloss off Friel’s portrait of Holly.

Still, she’s the best thing in the show and even survives a clunky sequence with the two leads holding reins and making believe they’re on horseback while standing on a high platform with the Manhattan skyline behind them.

Friel handles a nude scene with confidence and no little sensuality, and she adds considerable depth to the character with a touching breakdown when Holly gets news of her brother’s death in combat. It might not be Hepburn’s Golightly, but it’ll do nicely.

Venue: Theatre Royal Haymarket, runs through Jan. 9; Cast: Anna Friel, Joseph Cross, Dermot Crowley, James Dreyfus; Playwright: Samuel Adamson; Based on the novella by: Truman Capote; Director: Sean Mathias; Producers: Colin Ingram, Peter Kane; Set designer/costume designer: Anthony Ward; Lighting designer: Bruno Poet; Sound designer: Paul Groothuis; Music: Grant Olding.

This review appeared in The Hollywood Reporter.

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MUSIC REVIEW: Cliff Richard and the Shadows reunion

cliff richard shadows 50th x650By Ray Bennett

LONDON – It seemed like a good idea to catch Britain’s evergreen pop star Cliff Richard as he kicked off his big 50th anniversary reunion tour with his original band the Shadows, who went separate ways 20 years ago. But as Simone Signoret famously said, nostalgia ain’t what it used to be.

I was a kid in England when Richard was among the crop of embarrassing British singers trying their best to emulate Elvis, Gene Vincent, Eddie Cochran and the rest. With names like Billy Fury, Marty Wilde and Vince Eager, they gyrated onto the BBC with lame cover versions of U.S. hits and rinky-dink originals from London’s fiercely anti-rock Tin Pan Alley.

Richard and the Shadows at least wrote their own material, but hearing it all repeated with soulless efficiency in their O2 Arena on concert Monday brought back those dog days when Elvis seemed so far away and the Beatles, Kinks and Stones hadn’t arrived yet.

Extremely well-preserved physically, Richard and the two leading Shadows, Hank Marvin and Bruce Welch, looked immaculate in their polished attire and did their unctuous best to please but resembled the resident Stepford Band in the way they performed.

Richard sings in tune but with no character in his voice, and the songs are trite and repetitive, lacking wit, emotion or passion. The guitar players delivered their narcoleptic chords while taking two somnolent steps forward, two steps back.

They played all the hits that have long pleased their fans in the U.K., Australia and Europe but almost never in the United States, and the sold-out auditorium was filled with happy smiling people.

It’s odd that the crowd at the Led Zeppelin reunion looked pretty much the same, all white hair and wrinkly, but were so very, very different.

Venue: O2 Arena, London (Monday, Sept. 28 2009)

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THEATRE REVIEW: ‘Mother Courage and Her Children’

Mother Courage x650

By Ray Bennett

LONDON – There is much to admire in the National Theatre production of Tony Kushner’s translation of “Mother Courage and Her Children” Bertolt Brecht, especially Tom Pye’s dynamic set design and Duke Special’s inspired music. But it fails to coalesce into the fierce anti-war statement it is meant to be.

Director Deborah Warner’s pacing might be at fault as the play, made up of 12 scenes over three hours, seems fragmented and some sequences drag. Aside from the poetic songs, Kushner’s language, while pleasingly free of anti-war clichés, lacks memorable lines.

This adaptation was presented first in 2006 at the New York Shakespeare Festival with a series of free performances at the Delacorte Theatre in Central Park starring Meryl Streep and Kevin Klein.

Fiona Shaw, who has won three Olivier Awards as best actress and who plays Petunia Dursley in the Harry Potter films, has the title role of a mother of three children caught up in the 30 Years War in Poland. She brings her usual bravura strength to the part but also perhaps too much swagger in the early scenes that feature her singing, making the resourceful character something of a rock chick (photo below).

4 Mother Courage

Harry Melling, as her simple son whom she calls Swiss Cheese, and Sophie Stone, as her mute daughter Kattrin, are compelling and Stephen Kennedy, who stepped into the role of the chaplain at the very last minute, gives a fine performance.

Brecht’s saga of a woman who seeks to not only survive but also profit from constant warfare, sacrificing her grown children in the process, is still powerful. Its bitter argument that chronic warfare suits the powers that be while causing endless suffering to everyone involved, remains thoroughly pertinent.

Duke Special, a singer songwriter from Northern Ireland with a distinctively plaintive voice who deserves to get a major boost from his appearance in the play, sings the mordant final words that “war goes on and perseveres!” He is pictured above on the right with Martin Marquez and Shaw.

Octogenarian U.S. writer Gore Vidal, who provides the narration for the production, underscored the point at the curtain call on first night by reminding the audience from his wheelchair, “and war goes on in Afghanistan.” When he struggled to his feet, the audience responded with a standing ovation.

Venue: National Theatre; Cast: Fiona Shaw, Sophie Stone, Harry Melling, Clifford Samuel, Stephen Kennedy, Martin Marquez, Duke Special; Playwright: Bertolt Brecht in a translation by Tony Kushner; Director: Deborah Warner; Set Design: Tom Pye; Costume Designer: Ruth Myers; Lighting Designer Jean Kalman

Photos by Anthony Luvera

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When Mackenzie Phillips was fired from ‘One Day at a Time’

T8DONDA EC009By Ray Bennett

LONDON – Mackenzie Phillips has written a memoir titled “High On Arrival” in which she says that she had an incestuous relationship with her father, John Phillips of the Mamas and the Papas. Family members have fallen out over her revelations and I have no idea what the truth is. But I do know recall what she told me in 1981 when I spent some time with her in Los Angeles for a story in TV Canada.

Looking clear-eyed and well fed, Mackenzie Phillips glances around the office of Alan Horn – who runs Tandem/TAT, the production company that produces “One Day at a Time” (CBS) – and says, “This will show you how messed up I was. The last contact I had with this company was in this office. I thought they were calling me in to give me a pat on the back; to say ‘You’re doing a wonderful job, Mack.’ Instead, they fired me.”

That was in February 1980, when Mackenzie was 20. Two years earlier, she’d been arrested in Hollywood for disorderly conduct under the influence of drugs or alcohol. She wouldn’t admit it at the time, but she was in the middle of a $400,000 binge involving cocaine, Quaaludes and assorted other drugs. After five hit seasons on “One Day at a Time,” the actress – who, at 12, had won filmgoers’ hearts as the independent brat in “American Graffiti” – was out on her ear.

And she was too stoned to realize it. “My priorities were so screwed up that I walked out of here thinking that it was roughly the equivalent of losing the phone book. You can always get another one. I thought I was healthy. I thought I looked great. I thought I was just in top form. In fact, I weighed 90 pounds, and I was a drug addict.”

Now, on a break from rehearsals, she’s again sitting in Alan Horn’s office, but in happier circumstances. She’s returning to “One Day at a Time” for two guest appearances (Nov. 8 and 15), and while that’s added reason to celebrate her 22nd birthday (Nov. 10), it means more to her. It’s her first job since the successful drug rehabilitation program she and her heroin-ravaged father – singer-composer John Phillips, once of the Mamas and the Papas rock group – underwent last winter. She sees it as confirmation that Mack is back.

She was nervous about seeing her old co-stars again. Relations with Bonnie Franklin and Valerie Bertinelli (pictured) and Pat Harrington had been difficult in the period leading up to her firing. “I was very irresponsible,” says Mackenzie. “Things were strained, and everyone was uncomfortable. There were hard feelings for a while, but of course it was my own fault. I hadn’t spoken to any of them over the 19 months since I was fired, except briefly to Valerie just before she got married in April. I didn’t expect them to call me, and I’m certain they didn’t expect me to call them. We all understood that that was exactly the way it had to work out for it ever to work again.”

She needn’t have worried. “The first five minutes were the hardest. But then I walked into rehearsal, and there were hugs and kisses, and ‘God, you look great,’ and the whole thing. It was like old-home week. It all feels very natural.”

By the end of the first week, at the Friday taping of the first part of a two-part story in which Mackenzie’s characters, Julie, goes home to complain of her husband’s infidelity, it seemed as if she’d never been away. “I’m very proud of her,” said Bonnie Franklin, who plays her mother in the series.

Valerie Bertinelli was still marvelling at the new Mackenzie: “She’s a changed person. She’s like my sister again, just like the first two years on the show.”

“It’s like it was at the beginning, before she started to slip,” said Pat Harrington. “I’ll tell you this: She’s got a better chance on her comeback than Muhammad Ali has on his.”

“I’ve always loved this show and loved the people,” Mackenzie says. “I’ve always wanted to rekindle the old relationship. When they realized that I was really working on my life, and they called me up and said would I like to work with them again, I said of course, I’d love it.”

She hasn’t watched the show very often since she left, but she does watch her own performance in reruns. Sometimes that hurts, bringing back painful memories – especially when she sees her drug-affected performances. Mackenzie had been a precocious child, bouncing back and forth between the chaotic world of her rock-star father and the more staid environs of her well-connected socialite mother, Susan Adams, who was married to Phillips for five years. By the time she was 15 and living with her aunt in the Hollywood Hills, Mackenzie was a TV star with a substantial income, and she moved in a fast crowd.

She doesn’t blame Hollywood for her drug problems, but she says, “There is a lot of pressure in this town, especially for young actresses. They want to be thin. They want to be ‘up.’ And they want to express their success. How do you do that? You buy a car. You buy a house. And you have nice clothes. And then maybe it’s a way to express yourself if you can offer someone coke and carry it around. It’s one more symbol. For me, it started that way. Then I just kept getting more and more into it until I was so far in that I couldn’t get out of it on my own.”

Many people tried to help her as time went by, she says, including her aunt Rosemary Throckmorton, her mother and father, the producers of the series and her then manage, Pat McQueeney. “Part put me into several hospitals and tried to get me to stop, but I just wasn’t ready to accept it. Last year, my father put me into a hospital on the East Coast, and I left against medical advice. I ran to New York, met a guy and moved in with him, and he showed me how to use needles. It got so that I was injecting cocaine every 10 or 15 minutes.”

She was divorcing a rock-group manager, Jeff Sessler, and was losing job opportunities steadily. “The would offer me things, and my manager would just say, no, she’s not available, because I really wasn’t capable.”

Mackenzie went back to Los Angeles and the day before her divorce was to be finalized, she overdosed on Tuinals and had to spend three days in an intensive-care unit. “I almost died,” she says,” but that didn’t faze me a bit. I got out of the hospital, and my boyfriend said he didn’t think he should see me anymore because I was so irresponsible. I said, ‘You’re gonna let a little thing like an overdose put you out of my life?’ I mean, I was so stupid.”

John Phillips, meanwhile, had become deeply addicted to heroin. Toward the end of 1980, he was arrested in New York for bartering illegal drugs. He pleaded guilty and was sentenced to a one-month prison term, which he served last spring, and five years’ probation. But after his arrest, he voluntarily went into Fair Oaks psychiatric hospital in Summit, New Jersey, to be detoxified. “He started calling me from the hospital, saying, ‘This is a great place, the doctors are wonderful, and you have a problem, too!’ I’d say, ‘What? Me? I don’t have a drug problem.’ And I’d be sitting there surrounded by all the things you need to use drugs. I kept saying, ‘I don’t have a problem.’ Then one day he called and seemed like he meant it, and I listened.”

Mackenzie joined her father and met the man treating him, Dr. Mark Gold. “I said to him, ‘If you can treat my father, I’ll be a piece of cake.’ I didn’t need any convincing. I’d had it.” “She looked pitiful,” says Dr. Gold. “Her skin was to the bone. She could hardly walk because she was so weak. And she had terrible acne from dietary deficiencies.”

She entered an intensive five-week course of therapy, followed by individual therapy three times a week for three months. She was also a trainee counsellor with other drug users 25 hours a week for the same period, and continues to counsel on a volunteer basis. She regards that as a responsibility of her fame. “Unfortunately, kids don’t listen to their health or guidance counsellors. But I’m someone they’ve seen on TV, and I think they can relate to me. I go up on stage and tell a graphic 15-minute story of my problems.

“I think that if you’re going to prevent drug abuse, you have to start in grade school and just drum it into their heads that this can kill you. What I say to the kids is this: “I’m going to tell you a story, and I wish you would just use your imagination and put yourself into my life, and maybe you won’t have to follow that road.’ People go into the drug scene and get so wrapped up in it that they forget they can die. I’m very lucky to be here.”

She feels, too, that entertainers must take responsibility for the way they influence young people. “I think that actors and actresses and rock musicians have been advocating drug use for too long,” she says. “When you think of who’s doing the sales and marketing for illegal drugs, it’s films and TV and music. I don’t know if they mean to do it or not, but they’re doing a disservice to their fans.”

Dr. Gold says that some entertainers he’s treated have kept their recovery secret because to reveal that they no longer use drugs might harm their image. Others, like move producer Robert Evans, have undertaken court-directed anti-drug campaigns such as NBC’s recent “Get High On Yourself” week.

For herself, Mackenzie knows that the title of her old TV series reflects the vigilance she must maintain to remain drug free. “It’s east to get into cocaine, but it takes years to get out of it. You have to take it a bit at a time.” She says she doesn’t think about drugs any more, and so far she hasn’t run into any of her old drug connections. “I wouldn’t feel a threat anyway. If anything, they’d feel threatened by my straightness.”

Mostly, she surrounds herself with family and friends in the small New Jersey town where she shares a house with Spanky Macfarlane, formerly of the Spanky and Our Gang rock group. John Phillips lives in the same town with his wife, actress Genevieve Waite; his son Jeff, 23; and their two children, Tamerlane, 10, and Bijou, 16 months. Denny Doherty, also one of the original Mamas and Papas, lives there, too, with his wife and new baby.

It seems almost inevitable that all that togetherness has resulted in Phillips and Doherty re-forming the Mamas and Papas, with Mackenzie and Spanky replacing Michelle Phillips (John’s ex-wife) and the late Mama Cass. (Michelle and Phillips have a daughter, Chynna, and his drug rehabilitation has brought an end to their estrangement too.)

“It’s one big, happy family again,” says Mackenzie. She credits her part in it to the day she walked into Fair Oaks hospital. “They gave me hope that there really was life after cocaine. I didn’t think I could live without it. I was wrong.”

TV Guide Canada Nov. 7 1981

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Recalling my great friend Mark Schwed on his birthday


Ray Bennett & Mark Schwed at Dan Tana's 1998
From too much love of living,
From hope and fear set free,
We thank with brief thanksgiving
Whatever gods may be
That no man lives for ever;
That dead men rise up never;
That even the weariest river
Winds somewhere safe to sea.

A.C.Swinburne 1866

More about Mark Schwed

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THEATRE REVIEW: ‘The Shawshank Redemption’

The Shawshank Redemption x650

By Ray Bennett

LONDON – Fashioned more to take advantage of the enduring popularity of the 1994 movie, the stage version of “The Shawshank Redemption”, which moved to the West End following a good run in Dublin, succeeds as entertainment but adds little by way of artistic achievement.

Based on Stephen King’s short novel rather than the film’s script, the production nonetheless features a black actor, Reg E. Cathey as Red, the lifer who befriends wrongly conflicted Andy Dufresne (Kevin Anderson) in the grim cells of Shawshank.

Confined to the prison, made claustrophobic by designer Ferdia Murphy’s set of massive steel bars, the play follows the storyline that pits Dufresne against aggressive convicts, brutal guards and a corrupt warden. With full-frontal nudity and graphic depictions of gang rape, it’s not all easygoing but a measure of its ambitions was reflected during the curtain call on opening night when the bad guys were booed like pantomime villains.

American actors Anderson and Cathey channel the film’s stars Tim Robbins and Morgan Freeman pretty well with Cathey acting plausibly as the story’s narrator and principal believer in the hope that Dufresne represents. Anderson plays the determined innocent convict with appropriate reserve and conveys his implacable resolve convincingly.

The chorus, as it were, of prisoners divides into good guys who pal around with Red and bad guys led by Joe Hanley, who does a good job of acting depraved. Mitchell Mullen is smoothly sinister as the immoral prison warden.

Best of all is veteran British actor Geoffrey Hutchings as Brooksie, the lifer who runs the prison library and who was portrayed by James Whitmore in the film. Hutchings manifests the oldtimer’s recognition, faced with parole, that he is no longer fit for everyday life beyond prison bars but also shows that the character has a mean streak that explains why he was sent there in the first place.

Venue: Wyndham’s Theatre, runs through Feb. 10; Cast: Kevin Anderson, Reg E. Cathey, Geoffrey Hutchings, Mitchell Mullen, Joe Hanley; Playwrights: Owen O’Neill, Dave Johns, based on the short novel by Stephen King; Director: Peter Sheridan; Set designer: Ferdia Murphy; Lighting designer: Kevin Tracy; Music and sound designer: Denis Clohessy; Producers: Paul Elliot, Breda Cashe, David Ian, Pat Moylan.

This review appeared in The Hollywood Reporter.

 

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VENICE FILM REVIEW: Michele Placido’s ‘The Great Dream’

Il grande sogno x650By Ray Bennett

VENICE – A kind of Italian “The Way We Were” although without that film’s epic ambition, Michele Placido’s “Il Grande Sogno” (The Great Dream) tells of a love triangle set against the political turmoil and student protests in Italy in the late 1960s.

With attractive performances, especially by Jasmine Trinca, who won the Marcello Mastroianni Award for best young actor or actress at the Venice International Film Festival, the polished, atmospheric production will take the film to success at festivals and in art houses internationally.

The handsomely mounted film deals a lot in nostalgia for those who were young at the time including the director, who has said there are some autobiographical elements to the story. Trinca plays Laura, a beautiful but bookish young woman from a traditional Roman Catholic family who gets caught up in the anti-war passions of the time.

At university, she meets charismatic protest organizer Libero (Luca Argentero) and throws herself into the marches and sit-ins that result. Meanwhile, young police officer Nicola (Riccardo Scamarcio, above right with Trinca and Argentero) has discovered that he’s not best suited for the military requirements of policing and accepts a position going undercover at the protests.

Jasmine Trinca x650

In his guise as a student, Nicola meets Laura and they fall in love with Libero looking on and being surprisingly tolerant. The fabrications inevitably unravel and the film follows the threesome as the political tension escalates.

Placido does well to evoke the period mixing what appears to be documentary footage in with cinematographer Armaldo Catinari’s evocative images.

Laura’s family, with her two brothers in teenaged rebellion against middle-class traditions, is well drawn and the screenplay by Doriana Leondeff and Angelo Pasquini balances the elements cleverly while Nicola Piovani’s score enhances it all.

Scamarcio is plausible as a handsome cop who would rather be an actor and Argentero brings knowing experience to his role of the elder statesman of the protest scene. Trinca combines her fetching looks with a spirited depiction of a young woman striding boldly into the world to leave a lasting impression.

Venue: Venice International Film Festival, In Competition; Cast: Riccardo Scamarcio, Jasmine Trinca, Luca Argentero; Director: Michele Placido; Writers: Doriana Leondeff, Angelo Pasquini, Michele Placido; Director of photography: Arnaldo Catinari; Production designer: Francesco Frigeri; Music: Nicola Piovani; Costume designer: Claudio Cordaro; Editor: Consuelo Catucci;; Producers: Pietro Valsecchi, Camilla Nesbitt; Production: Taodue, Babe Film, Medusa Film; Sales: Films Distrubution; Not rated; running time, 101 mins.

This review appeared in The Hollywood Reporter.

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VENICE FILM REVIEW: George A. Romero’s ‘Survival of the Dead’

survival of the dead x650By Ray Bennett

VENICE – George A. Romero’s latest zombie fest, “Survival of the Dead,” is a polished, fast-moving and entertaining picture whose mainstream success will depend on the mass audience tolerance of its tendency to become an abattoir of extreme carnage.

Zombie aficionados will feast on the inventive and often funny ways that the genre king – with the help of special effects make-up artist Francois Dagenais and visual effects supervisor Colin Davies – contrives to show heads exploding and bodies being blown apart.

True to the form with savvy cultural points, clever wit and a nice twist on what might happen to the newly deceased, “Survival of the Dead” should make a tidy box office killing.

Romero keeps his script simple and direct. The world is in crisis with 53 million people dying each year but refusing to stay dead. The deadheads, as they’re now called, feed on live humans who then become deadheads and so on.

On Plum Island off the coast of Delaware, two Irish families, the O’Flynns and the Muldoons, are continuing their lifelong feud by disagreeing on how zombies should be treated. Rascally O’Flynn (Kenneth Welsh) is all for blowing them to pieces, no matter if they were once members of the family. Stern Muldoon (Richard Fitzpatrick) believes they should be chained up and held to await the development of a cure.

As the film opens, the feud has exploded and Muldoon puts O’Flynn onto a boat to return to the mainland. There, meanwhile, a small band of soldiers led by Sarge (Alan Van Sprang) has turned outlaw, robbing others to stay supplied with food and ammunition and reducing deadheads to dead bodies whenever they encounter them.

They are seeking a relative safe haven and through a quick series of events they end up going to Plum Island with the exiled and vengeful O’Flynn in tow, little knowing that besides having deadheads to worry about they are now heading into a violent turf war.

Made in Canada with a Canadian cast, the film is expert in all areas with Sprang a plausible leader and Welsh and Fitzpatrick old hands at the two faces of Irish charm. The mayhem includes heads responding explosively to the effects of fire extinguishers, flares and variously blades besides the usual assault weapons.

It’s surprisingly good fun.

Venue: Venice International Film Festival, In Competition; Cast: Alan Van Sprang, Kenneth Welsh, Kathleen Munroe, Devon Bostick, Richard Fitzpatrick, Athena Karkanis, Stefano Di Matteo; Director, writer, executive producer: George A. Romero; Director of photography: Adam Swica; Production designer: Arv Greywal; Music: Robert Carli; Costume designer: Alex Kavanagh; Costume designer: Michael Doherty; Producer: Paula Devonshire; Executive producers: Peter Grunwald, Dan Fireman, Art Spigel, Ara Katz, Patrice Theroux, D.J. Carson, Michael Doherty; Production: E1 Entertainmen, Artfire Films and Romero-Grunwald Productions present a Devonshire production; Not rated; running time, 90 mins.

This review appeared in The Hollywood Reporter.

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VENICE FILM REVIEW: ‘Around a Small Mountain’

around a small mountain x650By Ray Bennett

VENICE – Jacques Rivette’s “Around a Small Mountain” (36 vues du Pic Saint Loup) is a fable about chance encounters and lost love set against a small traveling circus in France but it feels more like the characters are going round a molehill.

With no chemistry between leads Jane Birkin and Sergio Castellito (pictured), a distinct lack of dramatic tension and a ring with three lame acts but no lions or trapeze, this is a circus that won’t travel very far. Box office prospects appear slim even on home territory.

Castellito plays a well-appointed Italian named Vittorio about whom little is learned except that he drives a smart sports car and says he’s on the way from Milan to Barcelona. In the French countryside, he happens upon Kate (Birkin), whose four-wheeler has broken down.

Vittorio fixes the car in no time, and Kate invites him to come to see her circus, which has set up at a nearby town. There, Vittorio is the only one in a paltry audience to laugh at a trio of clowns who perform an act that involves smashing plates.

Afterwards, the top clown, Alexandre (Andre Marcon), asks him why he laughed. It’s a good question. Vittorio offers some suggestions and the next night he sees that Alexander has expanded the act although to no greater comic effect.

Still, Kate has piqued his interest and he sticks around gradually meeting the others in the show including Kate’s niece Clemence (Julie-Marie Parmentier), who tells him that her aunt has only recently rejoined the circus after leaving 15 years earlier due to the death of her lover.

Vittorio and Kate dance around each other as the Italian becomes an ad hoc member of the troupe but any sparks between them are left in the sawdust. Castellito tries hard to get into the spirit of things but when he ends up joining the clowns, their act remains stiff and unconvincing.

Birkin’s acting is a puzzle since her physical expressions often appear at odds with the words she’s speaking as if the language were foreign to her. The story is really about her character’s redemption but she’s required to deliver two tearful soliloquies, one in the empty circus tent and the other at a graveyard, and they both fall flat.

Sadly, too, the circus acts involve merely tumbling and juggling, and what is supposed to be a climactic scene involving a dangerous bullwhip has no crack at all.

Venue: Venice International Film Festival, In Competition; Cast: Jane Birkin, Sergio Castellito, Andre Marcon; Director: Jacques Rivette; Writers: Jacques Rivette, Pascal Bonitzer, Christine Laurent, Shirel Amitay; Director of photography: Irina Lubtchansky; Production designer: Manu de Chauvigny; Music: Pierre Allio; Costume Designer: Laurence Struz; Editor: Nicole Lubtchansky; Producers: Martine Marignac, Maurice Tinchant, Charlotte Henry, Margherita Chiti, Raffaela Campagnolo; Production: Pierre Grise Productions; Sales: Les Films du Losange; Not rated; running time, 84 mins.

This review appeared in The Hollywood Reporter.

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VENICE FILM REVIEW: ‘Between Two Worlds’

between-two-worlds x650By Ray Bennett

VENICE – Striking images and the suggestion that life is a series of random events that might be repeated make “Between Two World”, Vimukthi Jayasundara’s tale of life in Sri Lanka, intriguing.

With no narrative arc, the film follows a young man, Rajith (Thusitha Laknath) who falls from the sky into the sea, clambers onto the shore and survives dangerous encounters in a city filled with rioting people and then in the countryside where unseen authorities shoot on sight.

Cinematographer Channa Deshapriya and production designer Lal Harendranath contribute to remarkably enigmatic sequences that might prove winning at festivals and could reach sympathetic international audiences as a cry for help for the young people of strife-torn Sri Lanka.

The urban scenes are realistic and terrifying with groups of men with clubs descending on anyone found alone, constant gunfire and explosions, and streets strewn with the wreckage from general mayhem.

People Rajith encounters stay with him for a while but then disappear without explanation and are not heard from again. In the jungle-like countryside, he sees incidents that he then learns happened a long time ago and commits acts of violence that prove never to have happened.

He finds a woman, Kanthi (Kaushalaya Fernando) who is apparently his sister-in-law and when she notices he has a damaged eye she treats it with milk from her breast although she hasn’t given birth. A little boy tends to a wounded bird but then climbs a tree and drops it into a large knothole in the trunk.

When a village’s well is found to be poisoned, all the young men who have been hiding from the guns of the authorities, emerge from the forest to bale the water away. The young man joins in and their movements become a dance and a chant followed by a celebration that ends when armed men on horseback swoop down on them.

What all of it adds up to is left to the viewer, but there’s no question that while some bits are simply puzzling there are many arresting episodes and the film echoes as a plaintive call for attention to the ongoing plight of the young people of Sri Lanka.

Venue: Venice International Film Festival Competition; Cast: Thusitha Laknath, Kaushalaya Fernando, Lu Hiuang; Director, writer: Vimukthi Jayasundara; Director of photography: Channa  Deshapriya; Production designer: Lal Harendranath; Music: Lackshman Joseph De Saram; Costume designer: Kanchana Thalpawila; Editor: Gisele Rapp-Meichler; Producers: Michel Klein, Philippe Avril, Michel Reilhac, Chandana Aluthge, Anura Silva; Production: Les Films Hatari, Unlimited, Arte France Cinema, Film Council Prods. Sri Lanka; Sales: Artscope; Not rated; running time, 85 mins.

This review appeared in The Hollywood Reporter.

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