Stage Beauty (2007) Review

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(More customer reviews)Perhaps thought patterns are changing and prejudices against gay characters are indeed abating. At least hearing the audience delight after viewing STAGE BEAUTY makes a case for more mainstream male actors to shed the fear of taking on roles that feature gender and sexuality variations: Russell Crowe, Colin Farrell, Tom Hanks, Matt Damon, Antonio Banderas, Javier Bardem, Rodrigo Santoro, Gael Garcia Bernal, et al have all performed sensitively as gay men despite their macho image - the once small list is now respectably large. And now add Billy Crudup and Ben Chaplin to that ever-growing list. Bravo to that change.
STAGE BEAUTY (in the screenplay version of his own play 'The Compleat Female Stage Beauty' by Jeffrey Hatcher) is set in the mid 17th century with all the frills and foibles of British dandies and ladies visually intact. This is the time when female roles were assumed by male actors (the theater was simply no place for ladies to participate) and we are introduced to Mr. Kynaston (in a brilliant, multifaceted performance by Billy Crudup!) as he portrays Desdemona in Shakespeare's 'Othello'. He is attended by a dresser Maria Hughes (Claire Danes, another superlative acting achievement) who longs to act and steals away after performances in the theater run by actor Betterton (Tom Wilkinson) to a tavern where she assumes the memorized roles Kynaston performs on the royally approved stage.
Kynaston has been raised to portray women on stage (and indeed in life) and responds to men as a woman (his lover is the Duke of Buckingham - Ben Chaplin). King Charles II (a thorough-going hilarious fling for the gifted Rupert Everett) is convinced by his tart du jour to allow women to play women's roles on the stage, thus dethroning Kynaston as the actress of the time, driving him into tawdry masquerades in pubs after a severe beating from thugs beckoned by the bloated Sir Charles Sedley (Richard Griffiths). Maria Hughes thus becomes the first 'compleat female actress' and this transition between Kynaston and Maria results in desperate tutoring lessons before Maria can play Desdemona for the King. For the first time in his life Kynaston must examine his own sexuality and his successful final curtain after playing Othello to Maria's Desdemona gratefully leaves that choice up in the air.
The script is a delight, the actors are all first rate, especially the wholly immersed Crudup and Danes who could well be part of the Royal Shakespeare Company, so fine is their British sound, demeanor, and Shakespeare! The supporting cast is a kaleidoscope of jewel-like performances from Everett, Wilkinson, Edward Fox, Hugh Bonneville among others. The mood is appropriately British - all dark, candlelit stagecraft and foggy marsh vistas - and the music matches the overall picture. Richard Eyre has directed a film that deserves many kudos, but the main glory should shine on his ability to explore the spectrum of gender and sexuality with dignity, intelligence, and tremendous sensitivity. A welcome delight!


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Since women are forbidden to act in 17th century england mr ned kynaston became the most popular leading lady of his time - until the rules changed and the actress had to finally make a man of himself.Studio: Lions Gate Home Ent.Release Date: 05/22/2007Starring: Claire Danes Rupert EverettRun time: 109 minutesRating: R

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Victor/Victoria (1982) Review

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(More customer reviews)In the age of "Moulin Rouge" audiences would do far better by rediscovering this musical comedy gem, starring the incomparable Julie Andrews, Robert Preston, Leslie Ann Warren and James Garner. Rarely has Hollywood captured the essence of great music with outstanding performances as it has in "Victor/Victoria." There are literally a dozen or so scenes that will leave you hysterical, as in gasping-for-breath hysterical, something many films aspire to, but few ever deliver on. But more than funny, this is a poignant, character driven film where every principal is allowed to shine.
Andrews permanently sheds her "Sound of Music" virginal skin in the title role, embodying the man-pretenting-to-be-a-woman-pretending-to-be-a-man part in a way noone has ever done before or since. Of course, the audience is in on the joke, but it never becomes tired or anything less than fresh. Robert Preston is the antithesis of his former "Music Man" personna, a gay-Paree emcee who discover's Victor's startling 8-octave vocal range and turns him/her into the rage of Paris. These two performances, along with Leslie Ann Warren's unforgettable floosy - all three Oscar-nominated - are drop dead fabulous. These are actors at the very height of their form....funny, passionate, real and endearing. The musical highlights are truly phenomenal, certainly better than other "best loved" musicals like "Singing In the Rain" or "An American In Paris." Andrews scores on "Le Jazz Hot" and shows an indelible comic flair few people knew she was capable of in the legendary cafeteria sequence, which literally had the audience I viewed this with ROLLING in the aisles. It's a movie where even the insects - cockroaches in this case - are memorable. But more so, its also a lesson in what Hollywood USED to do so well in its tradition of movie musicals....and what its forgotten to do over the past two decades since Victor/Victoria was released. In a nutshell, Hollywood forgot that the power of song and music is their ability to HUMANIZE a character and progress the plot, but also lend depth and color to the principals. For me, "Victor/Victoria" IS Hollywood's last great musical, and certainly one of the most visually stunning, fully realized films of our time. This ranks far and away as Blake Edward's crowning masterpiece - high above SOB or the Pink Panther flicks. And the supporting performances are some of the best ever caqptured. Just try and forget Warren's cooing to James Garner ("pooookie....I'm horny) or Alex Karras' gay gangster falling in love with Preston. From roaches to royalty, "Victor/Victoria" is quite simply one of the best films of the 80's or any other decade.
I am anxiously awaiting its release on DVD, and secretly hoping that the currently available Broadway show version silently goes away as it cannot hold a candle to the film. Rent it, buy it, LOVE IT.

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A woman singer masquerades as a man impersonating a woman in Paris, circa 1934. This brings her success in her professional life but complicates her personal life.Genre: MusicalsRating: PGRelease Date: 4-JUN-2002Media Type: DVD

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The Rocky Horror Picture Show (35th Anniversary Edition) (1975) Review

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(More customer reviews)I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.
For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.
Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"
So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.
The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."
The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.
What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

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Fasten your garter belt and come up to the lab and see what's on theslab!It's The Rocky Horror Picture Show Special Edition, a screaminglyfunny, sinfully twisted salute to sci-fi, horror, B-movies and rockmusic, all rolled into one deliciously decadent morsel.And now there'seven more to make you shiver with antici...pation:two additionalmusical numbers, "Once In A While" and "Superheroes", never seentheatrically or available on video!The madcap, musical mayhem beginswhen rain-soaked Brad and Janet take refuge in the castle of Dr.Frank-N-Furter, a transvestite mad scientist from outer space who isabout to unveil his greatest creation - and have a bit of fun with hisreluctant guests!Join Tim Curry, Barry Bostwick, Susan Sarandon androck star Meat Loaf in the most popular cult classic of all time.

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All About My Mother (1999) Review

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(More customer reviews)"Todo Sobre Mi Madre," or "All About My Mother," revolves around the life of an organ transplant coordinator, Manuela, who was briefly shown in one of Almodovar's most recent movie "The Flower of My Secret". After the death of her only child, Manuela sets off from Madrid to Barcelona to find both his father and the traveling troupe who performs "A Streetcar Named Desire," throughout Spain.
Argentinian actress Cecilia Roth is both excellent and convincing as Manuela. Her performance for an actress not from Spain is original, since most of Almodovar's leading startlets are Spaniards. Marisa Paredes as Huma, a fading starlet, reminded me of her performance in "High Heels," wher she played a similar character. However the two emerging standouts in this film are Antonia San Juan as Manuela's drag-queen friend (fact: although she looks like a man, San Juan is actually a woman) and the beautiful Penelope Cruz, who plays a HIV-positive pregnant nun (only Almodovar can bring us such characters). Cruz, who radiates natural beauty and style has become Spain hottest export to Hollywood since Antonio Banderas. Keep an eye out for her in the near future.
The visual arrangement of colors, patterns, and clothes brings the film so much beauty it is unbearable not to watch and adore it. Almodovar's camera illusions, especially watching a grieving Manuela run to her injured son, Esteban, after he is struck by a car (the camera looks like if the victim is watching his mother run in the rain) and the trick of watching Esteban write in his journal (we see his pencil move through a glass that is supposed to be his pad) is amazing. Only the pure genius that Almodovar is could have thought of this.
This happens to be Almdovar's best film in the past 10 years. Truly, if you are an artist, an admirer of Spanish culture, or just love art films, then this film will fascinate you. A true gem in the evolution of Spanish cinema.

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Camp (2003) Review

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(More customer reviews)It's movies like 'Camp' that remind me what I love most about movies. It doesn't preach an agenda and doesn't make me feel like a fool for feeling sentimental. It has a little bit of cynicism but a lot of great music. There are no drugs, no guns, no car chases and no fake breasts. What 'Camp' does, and does very well, is tell a story. Simply and completely. 'Camp' took me into a world I was both familiar and stranger to, and made me feel better for taking the journey. While there will be little chance the film will find the same kind of mainstream hit 'Chicago' or 'Moulin Rouge' became, 'Camp' should become a favorite with discerning movie musical fans and help re-usher in this dormant too long genre.
While summer camp often means nature trips, cookouts and wacky hijinks to most young people, Camp Ovation in upstate New York caters to those who are more artistically inclined. Over the two months campers attend, they will put on a new show every other week, be it drama, musical or something more avant-garde, going through the process of auditioning, creating their own sets and costumes, rehearsing and presenting a new show for an audience, then beginning anew the next day. Many of the kids at Camp Ovation are outsiders within their own worlds. Ellen (Joanna Chilcoat) is reduced to begging her older brother in order to have a date to her junior prom, while Michael (Robin DeJesus) gets beaten up at his prom for daring to arrive in drag. Fritzi (Anna Kendrick) is so starved for any attention, she spends her entire year waiting for camp so she can be the 'assistant' to Ovation's number one drama diva, Jill (Alana Allen). Our first clue things will be different this summer arrives in the form of Vlad (Daniel Letterle). He's cute, talented and seemingly the only straight male in the entire teenage camp populace. Ellen, Michael and Jill will all fall for Vlad, even if he has no idea who Stephen Sondheim is. Each year, Camp Ovation has one artist in residence to help run the shows and inspire the nascent talent. This year's guest director is Bert Hanley (Don Dixon), a once promising writer who had been the toast of Broadway with his first musical, but never delivered a follow-up show. The story follows these kids as they deal with each other over the course of the summer. Hearts are broken, lifelong friendships are created, and there's that one ambitious actress who makes Eve Harrington look undemonstrative.
From the opening credits, in which the company performs the rousing, gospel-esque 'How Shall I See You Through My Tears' to the end, when they dance through their own rendition of 'The Want of a Nail,' it is this group of talented youngsters who make the movie come alive. For while most of the cast are cinema neophytes, they have a warmth and energy which make them feel familiar and comfortable. The film feels almost like a documentary, for what little over-acting does appear is saved for the sequences of the stage performances. And it is these stage performances that are the best part of "Camp." These kids are simply amazing, their voices powerful and seductive!
Residing somewhere between 'Meatballs' and 'Fame,' 'Camp' is the brainchild of actor turned writer Todd Graff, who based the story on his own experiences at the Stagedoor Manor camp (where the film was shot) as a youngster in the 1970s, where he was a camper and later a counselor during his teen years.
Making his directorial debut here, Graff has assembled a first rate team around him, ensuring the film's success as a work of art. Oscar winning composer Michael Gore, Tony winning choreographer Jerry Mitchell, 'Rent' musical director Tim Weil and 'Hedwig and the Angry Inch' composer and lyricist Stephen Trask have all infused their individual talents together to create an extraordinary cinematic experience. I cannot stress how incredible I think this film is. It's everything "Fame" SHOULD HAVE been. 'Camp' gets an A+ for effort and an A+ for execution. Bravo!

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An extremely talented young cast shines in this "energetic musical romp" (Los Angeles Times)about a drama camp where the outcasts of today hone their skills to become the stars of tomorrow. Packed with romance, laughs and "genuine showstopping musical numbers" (The Washington Post), Camp is a "Blast of exuberant fun" (Rolling Stone)!Every summer, talented kids with big voices and even bigger dreams flock to Camp Ovation. But this year, a sexy new guy, Vlad (DanielLetterle), is not only stealing the show he's stealing the heart of every girl he encounters. And as the biggest day of camp approaches, the young performers must overcome backstabbing, unrequited love and Vlad's unpredictable libido to pull off the greatest show of their careers!

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