Showing posts with label beckett. Show all posts
Showing posts with label beckett. Show all posts

1/01/2012

Beckett on Film DVD Set (2003) Review

Beckett on Film DVD Set (2003)
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First let me say I've been waiting my whole adult life for this collection. I've spent 30 years trying to collect audio and video recordings of Beckett's work, and suddenly here are all the theatre peices in one beautiful package. The chance that you will ever find another film version of most of these works, or ever have a chance to see them on stage, is almost nil. If you love Waiting for Godot and Endgame, you will not regret the money spent on this. Unlike most plays and almost all movies, these are peices to be seen again and again, over a lifetime, letting the beauty and subtlety of Beckett's language slowly soak into your being.
That being said, I was disappointed with only one peice: Endgame. With Michael Gambon as one of the leads, I expected the most from this play. But I'm afraid he was badly misdirected in this. He simply enjoys his dispair too much. He enjoys being a selfish, cruel master and his "Perhaps I could go on..." speech (one of Beckett's greatest)loses all its power. Gambon delivers this with hardly a pause, rambling on with the same puckish tone as the rest of his performance. (I thought maybe I was just too used to an earlier film version directed by Beckett, so I went back to the script to check this. After almost every phrase in the speech, Beckett has written (Pause). Without these pauses to let the anguish of the words sink into our minds, the speech carries no more weight than the rest of the text. Well, probably much more than you wanted to know.)
Short Review: BUY THIS NOW! You'll be watching these films again and again as long as you own a DVD player.

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2003 PEABODY AWARD WINNER!
This acclaimed film project includes all 19 plays of Samuel Beckett, considered the most significant Irish playwright of the 20th century. Many of these outstanding filmed productions have received critical acclaim at prestigious international film festivals around the world including New York, Toronto and Venice. Beckett on Film has brought together some of the most noted directors of our day including: Atom Egoyan, Damien Hirst, Neil Jordan, Conor McPherson, Damien O'Donnell, David Mamet, Anthony Minghella, Karel Reisz and Patricia Rozema. A list of distinguished actors including exceptional performances by Michael Gambon, the late Sir John Gielgud, John Hurt, Jeremy Irons, Julianne Moore, Harold Pinter, Alan Rickman and Kirsten Scott-Thomas.
THIS 4 DVD 19 Play Set includes:Waiting for Godot (running time: 2 hours)Not I (running time: 14 minutes) Rough for Theatre I (running time: 20 minutes) Ohio Impromptu (running time: 12 minutes) Krapp's Last Tape (running time: 58 minutes) What Where (running time: 12 minutes) Footfalls (running time: 28 minutes) Come and Go (running time: 8 minutes) Act Without Words I (running time: 16 minutes) Happy Days (running time: 1 hour 19 minutes) Catastrophe (running time: 7 minutes) Rough for Theatre II (running time: 30 minutes) Breath (running time: 45 seconds) That Time (running time: 20 minutes) Endgame (running time: 1 hour 24 minutes) Act Without Words II (running time: 11 minutes) A Piece of Monologue (running time: 20 minutes) Play (running time: 16 minutes) Rockaby (running time: 14 minutes) Plus a 52 minute Documentary on the making of the Beckett on Film Project
Features*Widescreen*Dolby Digital*Color and Black & White

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12/18/2011

John Cheever's The Sorrows of Gin (Broadway Theatre Archive) (1979) Review

John Cheever's The Sorrows of Gin (Broadway Theatre Archive)  (1979)
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With an eye for details and an ear for the hollow speech of the upper-middle-class residents of Shady Hill, Pulitzer Prize-winning playwright Wendy Wasserstein transforms John Cheever's famous short story into a realistic play about the failure to connect. Set primarily inside a suburban home, the play focuses on the lives of the Lawton family--Kip (Edward Herrmann) and Marcia (Sigourney Weaver), for whom the social whirl of cocktail parties and evening martinis has completely subsumed real life, and eight-year-old Amy (Mara Hobel), sad, lonely, and often fobbed off on the household help. The acting is outstanding, with an amazing performance by young Mara Hobel.
Although the Lawtons' household employees come and go, Amy becomes particularly fond of Rosemary, a cook who is as lonely as she is and who reads to her and gives her affection. When Rosemary returns one evening from a trip to the city, drunk, she is instantly fired, in part because she has embarrassed Amy's father in public. Amy, devastated, decides to follow a suggestion Rosemary once made to her--she pours her father's gin down the sink. When Amy continues this practice, her parents assume that the help is stealing it, and they fire a succession of employees. After her father's hot-headed confrontation with a babysitter, Amy decides to run away.
Produced for Public Television in 1979, this Jack Hofsiss-directed play depicts every aspect of the Lawtons' shallow lives. Amy's imitations of her parents' speech and their alcohol-related entertaining are duplicated when she plays with her dolls, and her mother's concern with appearances and her father's constant escape into martinis show the emptiness of their lives and the effects on Amy. Unfortunately, while this realistically depicted subject may have been fresh in the late 1970s, when the story was written, it is now stale and offers little that is new, thematically. The Lawtons are not intrinsically interesting, and their interactions with their daughter, such as they are, do not develop any real dramatic tension.
The intricacy and satire of Cheever's short story are missing here, and the pacing and careful buildup of details, which enhance the themes of Cheever's short story and leave something to the imagination, are sacrificed--everything in the play is obvious from the outset. The good acting, Wasserstein's natural-sounding dialogue, and the accuracy of the sets and costuming do not compensate for the losses that occur when this carefully constructed short story is transferred from the reader's imagination to an in-your-face revelation of family problems by people who do not learn from their experiences. Mary Whipple


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