Showing posts with label east meets west. Show all posts
Showing posts with label east meets west. Show all posts

5/28/2012

Faerie Tale Theatre - The Nightingale (1982) Review

Faerie Tale Theatre - The Nightingale  (1982)
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THE NIGHTINGALE is one of the all-time greatest episodes of FAERIE TALE THEATRE, featuring great performances, expert direction by Ivan Passer and a heartbreaking musical score.
The Emperor of Cathay (Mick Jagger) lives in a porcelain palace with his courtiers completely cut off from his people. When he hears about a magical bird called the Nightingale and it's exquisite song, he demands an audience with it. The Kitchen Maid (Barbara Hershey) swiftly leads the Prime Minister (Edward James Olmos) to the bird. When the Nightingale sings for the Emperor, it immediately gladdens his heart and giving nature.
But when a mechanical version of the Nightingale is given to the Emperor, he quickly dismisses the real bird. Now ill and close to death, the Emperor needs the love and companionship of the real Nightingale more than ever...
Featuring strong performances all around. Co-starring Bud Cort as the Master of Imperial Music. Look closely and you'll spot Anjelica Huston and Jerry Hall as the fairies Primrose and Pansy.
Highly-recommended

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5/18/2012

Masterpiece Theatre: The Wilkie Collins Set - The Woman in White/The Moonstone (1997) Review

Masterpiece Theatre: The Wilkie Collins Set - The Woman in White/The Moonstone (1997)
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Both of these films are intriguing British pieces. The Woman In White is perhaps slightly over-dramatized in this version, but the heart of the story is well captivated by the actors.
The Moonstone has long been a favorite mystery of mine, and this portrayal is rather brilliant.
It was a good purchase for those anglophiles that enjoy nothing better than a good British period movie.

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2/02/2012

The Year of the Dragon (Broadway Theatre Archive) (1975) Review

The Year of the Dragon (Broadway Theatre Archive) (1975)
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This is a dynamic, excellently acted filmed version of one of Frank Chin's greatest plays. The explosive interaction of a family of Chinese-Americans set against the explosive background of Chinese New Year celebrations makes for great drama. The actors really rise to the occasion, particularly George Takei, whose performance is a tense, volatile bundle of energy - always threatening to go over the edge- but with a reserved and collective melancholy that is truly compelling. The tension between the good Chinese-American who keeps quiet, plays the fool, and knows his place and the revolutionary spirit of the young is etched in Takei's face. He is a walking contradiction, and filled with turmoil. This inner struggle culminates in a devastating climax. Takei's performance is like watching a nerve being shredded and is very powerful. It helps raise this play (which gives voice to feelings held quiet for too long) above the ordinary.

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11/12/2011

Luigi Pirandello's The Rules of the Game (Broadway Theatre Archive) (1975) Review

Luigi Pirandello's The Rules of the Game (Broadway Theatre Archive)  (1975)
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Pirandello's "The Rules of the Game," which has nothing to do with the Renoir film of the same title, is a relatively minor entry in the Pirandello canon but it's still an intriguing and effective play.
This TV production, originally presented on PBS's Theater in America series, was based on a stage production by the Phoenix Repertory Company that played on Broadway in 1974. (And how sad is it that it's been so long since PBS has had anything like the Theater in America series?)
The main characters are Silia (Joan van Ark), who is having a long-term affair with Guido (David Dukes), while remaining obsessed with her estranged husband, Leone (John McMartin) As part of their separation agreement (this being Italy and there being no possibility of divorce), Leone must visit Silia every evening for a half-hour.
Leone has decided that the best way to win what he refers to as "the game" is to drain himself of all painful emotions and to give in without argument to what others request of him. By continually agreeing to all of Silia's requests, including when she requested a separation, he frustrates her will, which is why she remains obsessed with him.
The play has a couple of plot twists that are fairly predictable, but what makes it a pleasure is Pirandello's language, which comes through effectively even in translation. (The William Murray translation is used.) And Pirandello provides dramatic situations that give good actors a lot to work with.
As Leone, John McMartin is particularly fascinating, finding ways to make Leone seem somewhat passive while subtly (and sometimes not so subtly) tormenting Silia and Guido. That fine actor David Dukes (who died far too young) provides an excellent foil for McMartin. They play their scenes beautifully.
Joan van Ark, who had been a late replacement for Mary Ure in the stage production, doesn't inhabit Silia's mix of sensuality, sadism, and neediness as fully as she might, but she's generally sound and sometimes more than that.
The supporting cast (including Charles Kimbrough, perhaps best known as Jim Dial on "Murphy Brown," in a fairly important supporting role, and Glenn Close, listed prominently on the DVD case, in a tiny role) is excellent, though it's a little strange that while most of the cast speak in more-or-less standard American stage speech, a couple seem to be trying to sound vaguely Italian.
The play was a cut a bit to fit into a 90-minute TV time slot, but the cutting was done skillfully. I question how McMartin was directed to play the final moments (going way beyond what is suggested in the script), but this DVD is an excellent way to experience this rarely seen Pirandello play. And except perhaps for those final moments, McMartin gives a superb and fascinating performance.

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10/03/2011

Zalmen or the Madness of God (Broadway Theatre Archive) (1975) Review

Zalmen or the Madness of God (Broadway Theatre Archive)  (1975)
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Most familiar with the works of Elie Wiesel will think of his memorable semi-autobiographical novels, his two-volume memoir or his long and unflagging effort to bring the issue of human rights--not only Jewish human rights--before the eyes of the world. Here, we see a different Wiesel, even different than the man who stood up to Ronald Reagan when he urged him (unsuccessfully) not to visit Bitburg. it is not so much that his theme--the plight of oppressed Jews-- is unfamiliar. Rather, it is how it is revealed. Not only is it a play, and brilliantly cast, but, as some may remember from its appearance many years ago on PBS, it focuses us on post-World War II history, the struggle of Jews in freshly post-Stalinist Russia. Joseph Wiseman is the old Rabbi of the town who has nearly given up hope of ever seeing his people breath the brisk air of freedom, and, at the same time, grieving for his spiritually wayward daughter, while he and his neighbors and congregants alike cow-tow to the local officials who gently strong-arm them to behave and shut up. Richard Bauer, as the synagogue beadle, and crazy like a fox, tries to lift Wiseman out of his spiritual malaise and speak out. There is great humanity here, and--please--it is not just for a Jewish audience, much like, I would argue, is the case with most of the Wiesel canon. Watch this and be changed.

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