Is It Hitchcock's Masterpiece???????????????? No, But It Is Exhilarating In Its Detail!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                       Girls, there are so many things I can say about this film, and will, but I will start with my grad school years at NYU.  I took a film course as an elective, and as the semester rolled on, the professor kept hinting that he was going to show us a film that was not legally allowed to be shown at the time--I forget why--and that we were not to tell anyone he had shoun it.

                                             Well, I thought it was going to be something daring, foreign, with a touch of eroticism.  In a way, it turned out to be that way, for the film we saw, Alfred Hitchcock's "Vertigo," had a more European sensibility than most American film, especially of that time.  I had seen it on TV years before, while still in my teens, and after screening it a few days ago for what was my fourth viewing, I can say this is a film that does not stay static.  Instead, it gets better and better with each viewing. 

                                                   I would also bet, dollars to donuts that Ingmar Bergman saw this film before making his 1966 classic "Persona," as did Robert Altman before filming his 1977 gem, "Three Women."

                                                   "Vertigo" is a film about obsession, and let's start with the director's obsession with blonde women.  This film offers a diptych of them, what with Kim Novak's Madeline, and Barbara Bel Geddes' Midge.  Then there is Novak again as Judy Barton.  Ah......But let me get to some other details.

                                                          James Stewart, in one of his darkest performances, plays John "Scotty" Ferguson, a retired detective due to his suffering of the titular illness.  He is roped in by a former college friend, Gavin Elster, played by Tom Helmore, to following his wife, Madeline, about, and this sets in motion a cat and mouse game that does not end until a confrontation in a church bell tower.

                                                                For viewers'' sakes, that is as much of the plot I will divulge.  The force of this film is Kim Novak's performance as Madeline/Judy.  As the former, she is so elegant looking--my God, how I would want to wear that green dress in that red walled restaurant, or the white coat when she kisses Stewart by the sea with the waves majestically dashing against the shore--yet switches adeptly to crudeness when playing Judy, a girl who seems to have come from the wrong side of the tracks.  It is to Novak's credit as an actress, and Hitchcock's direction, that she is able to pull this off so adeptly.  I would never have expected it of her.

                                                                    I had forgotten how lushly technicolored this film is. San Francisco is to this film what Venice Italy was to "Summertime."

                                                                       "Vertigo" has any number of interesting shots--Madeline's apartment building, the museum and the portrait of Carlotta Valdez, with matching flowers, in the museum where Madeline sits, the iconic shot of Madeline "jumping" into the bay--demonstrating this may not be Hitchcock's masterpiece, as some declare, but his most visually arresting film.  And one can see here the foreshadowing of his next film which I consider his masterpiece--1960's "Psycho."

                                                                            Watching "Vertigo" is like putting together a jigsaw puzzle, one that fascinates again and again.  I do not know when, if ever, I will see it again, but I can say with certainty it will continue to fascinate viewers.

                                                                                And, oh my God, Kim's outfits!!!!!!!!!!!!!!!!!!!!!!

                                                        

Girls, You Will Not Believe It--I LOVED This "Ragtime!!!!!!!!!!!!!!!!!!!!!!"

                                  We saw this show last Sunday.  I had been curious about it ever since seeing the TV commercial with the whole company performing outdoors in what was my former workplace.  I knew the cast was terrific, but I had reservations that it was staged by Lear DeBessonet, now the head of Lincoln Center Theater.  I did not care for how she handled "Oliver!" at ENCORES, and I was afraid she would ruin "Ragtime" more than I felt it had been.

                                    I admit I have a problematic history with this show.  The E. L. Doctorow novel on which it is based is one of my favorites.  So much so that, when I first heard Robert Altman was to direct the movie version, I was on cloud nine.  But that fell through, and I refused to see the Milos Forman film version of 1981.  I still feel only Altman could have done "Ragtime" justice.

                                      I saw two previous productions.  I saw the original at the tail end of its run, and I am sorry to say no one in it was memorable, and the performers seemed to be walking through the performance, so it was lackluster.  There was a revival in the early 2000s, featuring Christiane Noll, whose father, a musical director, I had worked with in "The Pajama Game" in 2001.  She was good, but in retrospect brought nothing to the role.

                                        This "Ragtime" started as a concertized version at The New York Philharmonic.  At the time I asked why?  Then it became such a hit it moved to its current occupancy, The Vivian Beaumont Theater, next door to my former workplace.

                                          Allow me some humble pie.  Lear DeBessonet's staging of this production more than compensates for her miss with "Oliver!"  "Ragtime" begins on a dark stage, with the title in lights hanging above it.  The lights go down, the stage lights go up, and a little boy runs across the stage.  Then another begins the story of the New Rochelle family.  Then slowly, inexorably, like the dancers in "A Chorus Line," the entire company is elevated to upstage center, assembled and ready to sing.  They sing, they form combinations suggesting their stories will all interconnect, which they do, and while I always loved the opening number, I have never seen it staged as beautifully.

                                            That's just for starters.  Joshua Henry was out that week.  I had seen him in the 2018 "Carousel," so I know what he can do.  His replacement, John Clay III was every bit up to the level of Henry, and his and Kayla Pecchioni as Sarah's rendition of "The Wheels Of A Dream" not only stopped the show but brought tears to my eyes.  I had never shed tears for this show before.

                                              But the real anchors of this show are Caissie Levy as Mother, and Brandon Uranowitz as Tateh.  By the way, the story of he and his daughter may resemble another musical, 1986's "RAGS," which I still say has the superior score, but "Ragtime" is more embracing of all cultural intersections into America at the turn of the century.  Levy's is a powerful presence on stage, as is her singing, especially in the second act song, "Back To Before."  I am glad this gifted actress, whom I first saw do Sheila in the 20099 "HAIR," was recognized with a TONY Award.  Uranowicz breaks your heart every time he is on stage, as does Pecchioni as Sarah.  And there is also "SUFF's" Shaina Taub as Emma Goldman, Ben Levi Ross as Younger Brother, Morgan Marcell as Evelyn Nesbit, and Rodd Cyrus as Harry Houdini.  Part of this "Ragtime's" success is the great cast that has been assembled.  I urge you to see them before the show closes in August.

                                                I cannot say I now embrace the score, but I recognize more its quality and how it functions in relation to the story.  Some of that comes from DeBessonet's staging, and the exquisite cast.  I may not listen to a CD of this show, or sing any of its songs, but I will remember this production with special affection, as it made me appreciate "Ragtime."

                                                    This "Ragtime" is all that is promises and is as definitive a production as ever will be done.

                                                    Girls, I strongly urge you to see it!!!!!!!!!!!!!!!!!!!!!!!!!!!

Hell May Be Hot, But "Hadestown" Is Not!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                     I really cannot say what I expected from this show, which we saw last Saturday night, but whatever it was I did not get.

                                     This show swept the 2019 TONY Awards, and has been running for seven years, and I cannot figure out why.  To be fair, none of the performers in the current cast can be accused of walking through the show; their passion in performing the material was palpable.  Yet the end result was unsatisfying.  

                                        The plot blends two Greek myths--that of Hades and Persephone, and the other of Orpheus and Eurydice.  For starters, I did not like the idea of Jordan Tyson, playing Eurydice as a 21st century schoolgirl.  Tawdry and cheap!  I also was not bowled over by the score, written by Anais Mitchell, who also did the Book and Lyrics.  Those who like gospel, spiritual, Black culture centric music should go for it, and while I respect those forms, they did not work for me here.  Maybe the Book was just a little too long, and the show in the second act dragged.  I did love the trio of actresses playing the Three Fates; their numbers were always well staged and fun.  Plus, the set design, by Rachel Hauk, establishes a sort of smoky 'Streetcar Named Desire,' or "Porgy And Bess" atmosphere that works.

                                          Dark lighting may be apt for the subject, but it is rough on an audience.  I have not seen a show so darkly lit since the original "CATS" over forty years ago.  Though we sat fairly close to the stage, some things were not as visible as I might have wished.

                                           I looked at the show as an interesting, if not quite successful, experiment.  It started downtown at the New York Theatre Workshop, then moved uptown to Broadway.  Maybe it should not have.  Or maybe the Book should have been trimmed, and the show kept off-Broadway.

                                              Nevertheless, I am glad I saw "Hadestown."  I wish it seven more years of success, and joy to all the theatergoers who see and embrace it.

                                                 Simply not my cup of tea, darlings!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                                 

Girls, We Stayed At The Algonquin Last Weekend!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                            Now, last weekend was Pride, but that is not the reason we stayed.

                           The Actors' Temple, where David has been active before we met, and with me has been to several gatherings and services, were having a twenty-year anniversary tribute to Rabbi Jill.  That was the impetus for going, though we did other things, too.

                           But let me start with The Algonquin.  Quality service as always, but I was disappointed that have not yet replaced Hamlet with another feline mascot.  And after nine months, since I first inquired.

                              However, I did find out--and I hope I was not just getting the runaround--that they are looking for a rescue cat to replace Hamlet.  Now, according to Algonquin history, the cat to replace Hamlet has always been a female and always named Matilda.  But that will not be the case this time.  I have been assured that the succeeding cat will be a male and also named Hamlet. When he arrives, he will be Hamlet IX.  Isn't that exciting?  I cannot wait to meet him!!!!!!!!!!!!!!!!

                               As for the temple, the service was lovely and the tribute fitting.  The highlight of the tribute, especially me, was when Musical Stage Legend Neva Small, got up and sang a song she sang in Bernstein's "Mass." I have always wanted to hear the whole work, which Neva and others introduced originally at the Kennedy Center.  Neva was superb and showed everyone there how to really perform.  She will be 74 in November, the day before my birthday.  Mine is the 18th, hers the 17th.

                               We love you, Neva!  You will always be a legend to us!!!!!!!!!!!!!!!!!

                               And congratulations to Rabbi Jill.  I wish her another twenty years of service.

                              "Would a convent take a Jewish girl?"  No, darlings the real question is--Would a Yeshiva take a Catholic boy??????????????????"

                                And love to The Algonquin, and all the staff there!!!!!!!!!!!!!!!!!!

Darlings, Would You Believe I Never Saw "The Bicycle Thief" Until Now???????????????????????

                               Having reached the age of 71, and approaching 72 in November, I can live with the idea that certain books--like Joyce's "Ulysses"--I may never read.  But there are so many films that I am embarrassed to say I have never seen, and while the lists may help, there is so much out there it boggles the mind.   Having seen "GWTW," 'Oz',' and 'Bernadette' combined over 100 times, there is so much I am lacking.  So, I decided, especially with the imminent approach of cataract surgery that now is the time to make up for lost time.

                                 The other day, I was talking with a film friend of mine about "The Bicycle Thief," and she could not believe I had not seen it While I took many film courses in college, the Vittorio De Sica film the professor chose to show was 1952's "Umberto D," which for reasons I won't spoil viewers I cannot sit through again.

                                  What a revelation "The Bicycle Thief" turned out to be.  This 1948 film is a cinematic meditation on father and son, child and adult, good and evil, beauty and ugliness, and visual patterns.  The opening shot panning people walking the streets through a ravaged post-war Rome is only the beginning.  The narrative impetus is a husband, played by Lamberto Maggiorini, and his son Bruno, played by Enzo Staiola.  The film follows them on a journey of justice throughout the city in an effort to reclaim the bicycle stolen from Antonio Ricci, and the journey is long and hard, culminating in two tragedies that are heartbreaking and question the heartlessness of the world.

                                     So, where is the beauty?  Never have I seen geometric patterns used to such visual effect. Crescent moon shaped arches, especially in the night club and church sequences, square patterned cobblestones, and the linear geometrics of the apartment buildings in Rome that De Sica places his camera on. are compelling to behold.   This film is as much a visual treat as a narrative one, and in exploring Antonio and Bruno's quest for justice, the film visually explores post war Rome.

                                        Really, I have never seen ugliness pictured as a kind of beauty, which is what makes this film special.  De Sica displays a grasp on the material that not even the finest of American directors of the time could touch.  I loved every minute of "The Bicycle Thief".  I have known the title as this all my life, though some label it "The Bicycle Thieves."  Which will make sense once viewed.

                                        So, that is my first step, a baby one, into the waters of film exploration.

                                        I will be back, with others!!!!!!!!!!!!!!!!!!!!

Girls, Here Is What "Svengoolie" Is Offering, Tonight At 8PM! We Here Are Watching Something Else!!!!!!!!!!!!!!!!!!!!!!!!!!!

                            That I cannot reveal until after tomorrow, because I am keeping it from David as a surprise.  I have never heard of this film, and frankly I do not care.  It is some kind of Forties spy thriller, with Peter Lorre doing his own take on H.G. Wells' "The Invisible Man."  Does this really belong on "Svengoolie?"

                              As you shall see as we progress through July, "Svengoolie" is not offering up a great selection for this month.  I was disappointed when I saw the July lineup.

                               Nevertheless, if you decide to watch, go ahead.  I wish he could have shown Peter Lorre in "M."  Though not a horror movie technically speaking, it comes off more as one than I am sure this will.  And "M" is a work of art.  Sometimes classy films do turn up on "Svengoolie."

                                So, girls, in between fireworks, watch at your peril!!!!!!!!!!!!!!!!!!!!!!!!

                                This almost makes me long for "The Killer Shrews!!!!!!!!!!!!!!!!!!!"

Happy July 4th, Darlings!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! And Happy 250th Birthday, America!!!!!!!!!!!!!!!!!!!!!

 

                            When I think about the bicentennial back in 1976, I never gave a thought as to fifty years later; to me, then, it was like eternity.  Well, here we are, and however you choose to celebrate the fourth, darlings, that is up to you.  If you want to listen to the cast recording of "Hamilton," I would personally throw up, but the choice is yours.

                               Mine, of course, pictured above, is "1776."  And the song I am going to try to include on here is the simple song called "The Egg."

                               Those of us in the metropolitan, tri-state area are still suffering from the heat, so I think for many it will be a quiet Fourth Of July.  Sometimes those are the best of all.  Besides, I have lots of reading and writing to do.

                              So, let me wish all my readers a Happy Fourth Of July.

                              And all the fireworks and sky rockets you could wish for.

                                 Here is that short song.  I think it is from the movie.  But it should suffice!!!!!!!!!