The Infernal Comedy: Confessions of a serial killer - featuring John Malkovich; Laura Aikin; Aleksandra Zamojska; Orchestra Weiner Akademie (2009) Review

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(More customer reviews)The 2009 play "The Infernal Comedy" - confessions of a serial killer by Austrian dramatist Michael Sturminger is a "comedy" only in the most dark and ironic sense. Based on the true events surrounding the conviction, release and recapture of Jack Unterweger, this is a strangely compelling vision. John Malkovich created the role and is, essentially, talking to his audience as if they are witnessing a lecture and book signing from the "Vienna Woods Killer", back from the dead. The drama and vision are made more complete and surreal by having a Baroque orchestra accompany two sopranos as a form of commentary throughout the monologue. The arias are chosen carefully for their depiction of various operatic women in abused, subjugated, disadvantaged and mistreated roles. The two sopranos, Laura Aikan and Aleksandra Zamojska, perform wonderfully and also serve to act as if they are but two of Unterweger's many victims. In real life, Unterweger had written a book, gone on tour, exhibiting the same charm that no doubt gave him access to women, all while still executing an additional nine women, only to commit suicide while awaiting trial in prison. The irony and the palpable "deadly charm" that Jack Unterweger probably possessed are carried off brilliantly by Malkovich, who excels at portraying unusual characters in intense ways. The opera extracts and the performances by the sopranos - musically and dramatically - actually highten the mood and make one want to learn more about this strange case. The orchestra, playing period instruments conducted by Martin Haselbock plays wonderfully and this play/opera/commentary makes a fascinating addition to anyone's collection. The "comedy" is present, especially in some of Jack's almost "throw away" dialogue (like his disgust with the laptop computer provided him) but ultimately the realization that this man was real and notorious and scarily unique make the comedy less funny and more - infernal.

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'The Infernal Comedy' is a stage-play for a Baroque-Orchestra, twoSopranos and one actor. It is based on the real-life story of JackUnterweger, a convicted murderer, acclaimed imprisoned poet, pardonedand celebrated author and journalist, notorious womanizer,and prime example of reintegration, who gradually was suspected ofkilling a growing number of prostitutes in Vienna, Graz,Prague and Los Angeles, later vanished from Vienna, fled into theU.S, got arrested in Miami, transferred to Austria, accused and finallycommitted suicide after being convicted of homicide in eleven cases.'If you wear this name, women will love you or hate you - call you a liar or pervert - but they will never leave you alone.'BONUS: inside THE INFERNAL COMEDYThe deceitful criminal history of Jack Unterweger, the prisoner convicted of killing a woman who subsequently became aliterary sensation and was considered to be a model of rehabilitation, is the true source and subject of the musical theatrepiece for Baroque orchestra, two sopranos and an actor. This role is perfectly impersonated by John Malkovich. Observationsat the rehearsals for this unusual and genre-leaping theatre evening are interwoven with historic background information.

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Jonah Hex (2010) Review

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(More customer reviews)To begin, please understand two things about me:
1: I Love Westerns.
2: I`ve been a fan of the character 'Jonah Hex' for over 30 years.
In the comics, Jonah Hex caught my interest because of the gritty, hard-edged stories that featured a tough ex-Confederate soldier turned hard-case Bounty Hunter roaming the old West. I won`t belabor the details, but if you want a good idea of the tone of Jonah Hex; most fans liken Clint Eastwood`s "The Outlaw Josie Wales" to practically be a Jonah Hex movie. Jonah Hex would indeed ask the immortal question "You Gonna Pull Those Pistols, Or Whistle Dixie?"
The movie "Jonah Hex", while somewhat capturing the charaacter`s 'Attitude', unfortunately sees fit to muck it up with supernatural underpinnings and the sort of gimmickry that James West would laugh at ( ...I mean...c`mon...twin Gatling Guns mounted on a saddle? ...a gun that shoots lit sticks of dynamite ?? )
Jonah Hex --the character -- was NEVER about gadgets and gimmicks, or Bringing The Dead Back To Life for Q&A sessions.
It`s painfully obvious that the makers of this movie were too timid to risk a straight, hard-edged WESTERN, so they basically threw in everything they could think of to please a teen-age audience ...and created A MESS.
Now, I do enjoy so-called 'Steampunk' --The afformentioned 'The Wild Wild West' tv series is a good example--but the storyline of Jonah Hex The Character just was never about Steampunk.
Neither does the character require supernatural powers to be interesting.
This film has been compared to Sonnenfeld`s 1999 "Wild Wild West", which managed to take a successful tv series and ruin virtually every aspect that made it a hit. It`s a common trend in Hollywood: "Let`s make a movie of a fan-favorite tv series and change things"....The changes of course are "To make it more appealing to a broader audience" ... So the logic is that you want to cash in on a pop classic and yet alter it so that the very people who enjoyed it enough to make it a pop classic will be disgusted ?
Hey--Hollywood knows best what people will like...right?
The real tragedy here is that, like James West; Jonah Hex has now been ruined for The Big Screen and likely will never get another shot at that venue.
Of course, film-makers in Hollywood these days have long since lost all faith in the Western genre. It`s too bad...Great characters create fans by being appealing, by being...great. The movie "Jonah Hex" was a twisted take on a great character; twisted to suit the perceived tastes of teenagers who supposedly would not like a solid Western character.
Well....I was a teenager when I became a Jonah Hex fan.

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Out of the pages of the legendary comics and graphic novels steps Jonah Hex (Josh Brolin), a scarred drifter and bounty hunter of last resort who can track anyone... and anything. Having survived death, Jonah's violent history is steeped in myth and legend and has left him with one foot in the natural world and one on the "other side." His one human connection is with Lilah (Megan Fox), whose life in a brothel has left her with scars of her own. But Jonah's past catches up with him when the U.S. military makes him an offer he can't refuse: to wipe out the warrants on his head, he must hunt and stop dangerous terrorist Quentin Turnbull (John Malkovich). But Turnbull, now gathering an army and preparing to unleash Hell, is also Jonah's oldest enemy and will stop at nothing until Jonah is dead.

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The Libertine (2006) Review

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(More customer reviews)If you go into THE LIBERTINE envisioning Johnny Depp in his previous role as Captain Jack Sparrow or Willy Wonka, forget it. You won't find a similar persona here.
THE LIBERTINE is a dark film that the studio wisely decided to release only after the Christmas holiday season. In it, Depp plays John Wilmot, the second Earl of Rochester (b. 1647 - d. 1680), whose life of debauchery was a public scandal even in a society that tolerated the loose morality of King Charles II and his court. Ironically, as the film makes a point of depicting, Charles (John Malkovich) reluctantly, but regularly, banished Rochester from the royal presence for the liberties the latter took in lampooning the former's free-wheeling lifestyle.
THE LIBERTINE is a depressing affair mainly because there's nobody in it to like. Moreover, neither Wilmot nor the viewers' sensitivities are spared the ravages of tertiary syphilis, the disease that ultimately kills the Earl; the film is a great argument for the advent of penicillin. Only Rosamund Pike as Rochester's long-suffering wife may gain audience sympathy. Elizabeth Barry (Samantha Morton), the struggling actress whose career Rochester takes upon himself to further, apparently for uncharacteristically altruistic reasons, matter-of-factly accepts his help but remained unengaging to this viewer. The gloom is enhanced by a cinematography accomplished in somber, washed-out tones, particularly brown and dark green, with lots of shadows and murky candle light. Even the daylight is muted, as if in winter.
Now having said why THE LIBERTINE isn't light and airy, I have to also say that it's a powerful display of Depp's superlative talent. If the film wasn't so bleak, I'd expect a stampede to nominate Johnny for an Oscar. Rochester's two monologues for the camera, at the beginning and the end, the latter as his face recedes into darkness, are but hints of the excellence in between.
At one point in the movie, Rochester says (if I remember correctly): "Life isn't a sequence of 'urgent nows', but a listless trickle of 'why should I?s'." The tragedy for Rochester is that, at least in this screenplay, answers to the latter are piteously few. However, your answer to the question when contemplating seeing the movie should be: "Because Johnny Depp is as good as you'll ever seem him."

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Oscar® nominee* Johnny Depp delivers "a tour de force performance" (Baz Bamigboye, The Daily Mail) in the "seductively entertaining" (Jan Stuart, Newsday) The Libertine.As the celebrated writer and bad boy John Wilmot, second Earl of Rochester, Depp brings to life a decadent 17th century London.There, Wilmot falls passionately in love with his aspiring actress muse (Oscar® nominee Samantha Morton**), but is cast from the heights of privileged society when he scandalizes King Charles II (Oscar® nominee John Malkovich***) with a shockingly audacious play.At the depths of ruin, the rebel seeks redemption on his own terms."Johnny Depp is brilliant," raves Cosmopolitan, while Peter Travers of Rolling Stone calls The Libertine a "one-of-a-kind spellbinder."

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