Showing posts with label patrick stewart. Show all posts
Showing posts with label patrick stewart. Show all posts

10/09/2011

Fall of Eagles (2006) Review

Fall of Eagles (2006)
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Fall of Eagles is another of those wonderful BBC serial dramas from the 1970s, with elaborate costumes, highly literate scripts, and an attention to detail which is rarely found in these less patient times. In 13 episodes, this is the story of the last sixty years or so of the great Hapsburg, Hohenzollern, and Romanov dynasties. There is a large cast which includes many faces familiar to fans of Masterpiece Theater in the 1970s and early 1980s. This series was first shown on the BBC in 1974, then on PBS in the late 1970s, and then in severely edited form on TBS and Bravo in the 1980s. The episodes tend to be heavy on dialogue and light on action, but the scripts draw heavily from speeches, conversations, letters and diary entries of the various characters, providing an abundance of rich historical detail.
Since it has been so long since the series has been seen in its entirety, here is a brief summary of each episode:
1. Death Waltz. Dealing with the early years of the marriage of Emperor Franz Josef of Austria and his beautiful young wife Elisabeth, this episode provides a good contrast between the absolutism of the Austrian court and the rise of European liberalism and the growing nationalism of ethnic groups like the Hungarians.
2. The English Princess. This chronicles the difficulties faced by Victoria, Princess Royal of England. The eldest daughter of Queen Victoria and Prince Albert, Vicky had been raised by her father to be a voice for constitutional government and liberalism. After Vicky married Frederick, Crown Prince of Prussia in 1858, she clashed repeatedly with the Prussian government over its plans to force the unification of Germany as an absolute monarchy. Very good performance by Curt Jurgens as Otto von Bismarck.
3.The Honest Broker. Continuing the German story line, this episode focusses on Bismarck after his successful unification efforts, particularly on his alienation of Vicky and Fritz's son Willy from his parents. After Willy becomes Kaiser William II, he then turns the tables on Bismarck and fires him, allowing for a very nice "I told you so" scene between Vicky and Bismarck at the end.
4. Requiem for a Crown Prince. Returning to Austria, this is the story of the Mayerling tragedy, in which Crown Prince Rudolf first murdered his teenage mistress and then shot himself. This episode is filmed as a crime drama, with dates and times repeatedly flashing on the screen as we see the murder/suicide first discovered, then covered up.
5. The Last Tsar. Here we have the story of Nicholas II as a playboy tsarevich who cavorts with a ballerina while courting a shy German princess named Alix. Nicholas finally convinces Alix to accept his proposals and change her religion to Orthodoxy and her name to Alexandra. This episode contains one of my favorite lines: When one of Queen Victoria's granddaughters asks if it is a good idea for first cousins to marry each other, the old Queen regally proclaims "The same blood only adds to the strength!" (This is a verbatim quote from one of the Queen's letters, by the way.) This episode ends with the death of Tsar Alexander III, Nicholas' father.
6. Absolute Beginners. This is the least "royal" episode. It concentrates on Lenin's rise to power within the Russian Marxist movement and his creation of the Bolshevik party. Some of the discussions drag a bit, and its not really clear what divides Bolshevik from Menshevik from Social Democrat from Social Revolutionary, but this episode does give a good idea of Lenin's energy, charm, and utter ruthlessness.
7. Dearest Nicky. Kaiser William II bombards Nicholas II with endless letters of advice and appallingly ugly paintings during the first years of the Tsar's reign. We get a good picture of Nicholas' fatalism and lack of initiative, and of Empress Alexandra's resolve to maintain the absolute monarchy and block any reforms within Russia. The scenes showing Nicholas and Alexandra's misery over their son and heir's hemophilia are particularly well done.
8. The Appointment. Another Russian story, set in the period after the 1905 Revolution and the establishment of a semi-constitutional monarchy. The main character is a double agent who simultaneously deals with the revolutionaries and the Tsar and the Empress, weakening reform efforts and increasing the instability. There's a particularly fine scene showing Alexandra interviewing the double agent while an orchestra plays "I am a Courtier" from Gilbert and Sullivan.
9. Dress Rehearsal. This deals with the Balkan Crisis of 1908, which nearly started World War I six years early. The diplomatic machinations and double crosses are well portrayed. There are some nice scenes showing King Edward VII of England visiting Nicholas and Alexandra and otherwise playing a pivotal part in helping to prevent conflict.
10. Indian Summer of an Emperor. The least well done episode, focussing on Franz Josef in the summer of 1914. This mainly consists of a series of discussions before and after the Sarajevo assassinations and is meant to illustrate the diplomatic missteps which led to war, but it tends to be tedious. There are some charming scenes showing Franz Josef with his platonic lady friend Katharina von Schratt, whom he visited every morning for coffee and conversation.
11. Tell the King the Sky is Falling. The best episode, depicting Russia during World War I as the few competent leaders try to convince Nicholas to make reforms before its too late. Gregory Rasputin is well played both as lecher and as holy man. There's a particularly strong performance by Rosalie Crutchley as Grand Duchess Marie Pavlovna, aunt of the Tsar and the most domineering of all the Romanovs.
12. The Secret War. Here we see the February Revolution that overthrows the Tsar and the subsequent negotiations between various Russian revolutionary/Marxist groups and the German government, leading to Lenin's triumphant return to Russia and his seizure of power in the October Revolution. Kaiser William II is allowed to be uncharacteristically cautious in warning his ministers not to trust the Bolsheviks.
13. End Game. The final episode, concentrating on the fall of the German monarchy and the last months of World War I. The increasing desperation of the German High Command is well depicted. My favorite scene shows the Kaiser with his wife, talking about their now estranged/dead British and Russian relations, with the German Empress breaking into tears when talking about the Tsar and Empress, saying "Why did they shoot the children? They didn't have to shoot the children!" over and over.
This is a fine series with some excellent moments. If you're not familiar with late nineteenth century/early twentieth century royal European history some of the episodes might be confusing, but history buffs and royal aficionados will enjoy it immensely.

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Playing Shakespeare (1982) Review

Playing Shakespeare (1982)
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The actual DVD set is being reviewed. I didn't see the book or TV in 1984.
This series of 9 episodes (Or should we call them "instructions" in Shakespeare acting?) seem like they were shot yesterday. They are timeless. What, if anything is staged? What is entirely impromptu? It's hard to say, nay, impossible. It's that well done. The wealth within this educational, academic experience is difficult to quickly review, but we'll give it a go.
"Playing SHAKESPEARE" is the DVD presentation of acting workshops, done like a play rehearsal underway, shot in 1982, led by John Barton, who is himself entertaining, plus an encyclopedia on Shakespearean acting. He directed over 50 plays by the (RSC) Royal Shakespeare Company. A Cambridge professor. His main interest in this series is teaching toward the marriage of the Elizabethan acting tradition and modern times or style. It is instruction dedicated to the actor--but it is of interest to so many more.
Through detailed Shakespeare direction, Barton has provided a series that will delight all lovers of the celebrated playwright. Additionally it will encourage the viewer who is newly attempting appreciation of Shakespeare and his works. Novice Shakespearean audiences will want for more, want for a complete play to view.
Much of the success of this series is the famous & talented actors being instructed. The top of the U.K. entertainers, both within the RSC and out. The BONUS FEATURES of this DVD set includes several of their bios and RSC credits. Some, not all as there are over 20, are:
Peggy Ashcorft, 1907-1991, having at some time performed near all Shakespeare's female roles.
Judi Dench, UK Superstar, fantastic in "As Time Goes By"
Ben Kingsley, "Gandhi" and "Schindler's List" to name but 2
Ian McKellan, "The Lord of the Rings" fans will remember
Patrick Stewart, would you believe "Star Trek: The Next Generation"
David Sachet, "Poirot", need more be said--yes--"The Way We Live Now"
Shakespeare wrote, "Our revels now are ended." Nay, Nay.
Here's the list of Episodes (Learning bits)
1 THE TWO TRADITIONS . . . . . . .2 USING THE VERSE
3 LANGUAGE AND CHARACTER . . . . .4 EXPLORING A CHARACTER
5 SET SPEECHES AND SOLILOQUIES . .6 IRONY AND AMBIGUITY
7 PASSION AND COOLNESS . . . . . .8 REHEARSING THE TEXT
9 POETRY AND HIDDEN POETRY
Each is a to-die-for opportunity for the student or the follower of Shakespeare. Not a full play or dramatic film, but an academic experience set in a working studio using excerpts.
In #3 language and words are discussed like Shakespeare's double syllable use of the word Ti-ime. And his often capitalization of the word, even when it's not the beginning word in the sentence. By watching another fine educational DVD series, "The Adventure of English", one can learn Shakespeare invented over 2000 words.
___Also in this segment, John Barton is coaxed into performing a bit of Shakespeare, which he does twice again during episode 9.
___#4 is outstanding when Shylock (The Merchant of Venice) is performed by Suchet (who is Jewish) and Stewart. Both have played the role in RSC under Barton's direction. The 3 demonstrate how Shakespeare characters can be played in different ways, all being good. Suchet also suggests to view this play, not as anti-Semitic, but without the 20th century Holocaust prejudice.
Other bonus extras include a trailer for "Slings & Arrows" and the much valuable SUBTITLES, recommended to be used by all, to catch the full value of the Shakespeare words.
This DVD set makes me thirst for a Shakespeare play--a Shakespearean Sundae.
If you are a William Shakespeare lover--BUY.
If you are an actor, or student of theatre--BUY.
If you are curious of those often talked about plays--BUY.
More elaboration on this would take as long as the 400+ minutes of the set. Instead, in Shakespeare's own words: "So to him we leave it."


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PLAYING SHAKESPEARE - DVD Movie

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9/27/2011

The Rivals Review

The Rivals
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Although I am hardly an authority on the theater, it does not take a genius to see that this production is something special. The acting is wonderful, the camera work is excellent (especially compared to most recordings of stage events) and the play itself is amazing. The performance was done in period costumes, just as it was when it was in 1775, and the language of the 1775 text is retained just as Sheridan wrote it. I have noticed nothing in this performance that detracts from Sheridan's original vision.
I can guarantee you will have a great time watching this; it is completely worth the money to have this gem.

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9/21/2011

Hamlet Review

Hamlet
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"Hamlet" doesn't need any introduction -- the tortured Dane, the ghost, meditations on suicide and a climax full of death. But while many adaptations of Shakespeare's classic play feel stuffy and distant, this "Hamlet" has it all -- sleek elegant sets, powerful acting, and clever modern twists on the age-old stuff. And the best part is the brilliant performances by David Tennant and Patrick Stewart.
Prince Hamlet of Denmark (Tennant) is understandably upset when, only a short time after his father's death, his mother Gertrude (Penny Downie) marries his uncle Claudius (Stewart). But when Hamlet encounters the tormented ghost of his father (Stewart again), he learns that his dad was murdered by his uncle -- but he's plagued by indecision, since he's unsure if the spirit was truly his dad.
Hamlet's behavior becomes more bizarre and erratic -- he dumps his girlfriend Ophelia (Mariah Gale), arranges a play that mimics real life a little too closely, and generally acts like a loon (yodeling with a fake crown?). But when an argument with his mother ends in tragedy, Hamlet's fate is sealed as Claudius begins plotting to get rid of him too...
"Hamlet" is one of those plays that only really comes out two ways -- either you have a passionate, intense tragedy full of very human characters, or you have two boring hours of some whiny guy talking to himself. Having suffered through the latter in the past, it makes me appreciate a well-done performance all the more -- and this "Hamlet" is full of energy, vitality and wit.
A lot of that comes from Tennant, who is simply brilliant as Hamlet -- loads of energy, and a weird edge to his "madness" (example: freaking out Polonius by pulling a weird face). And he runs the entire emotional gamut here -- love, pain, puckish comedy, loathing, sorrow and shock, with the absolute peak being the hauntingly sad "to be or not to be" scene.
And Patrick Stewart is casually brilliant in his double role -- Claudius seems like a genial guy, but Stewart lets out little hints of his true nastiness; on the other hand, the ghost is all heavy intensity. Downie is excellent as Gertrude, and Gale is rather flat in her first few scenes, but after Ophelia goes mad she's amazing. Ripping off her clothes, leaping around, smacking Gertrude -- it's frighteningly good.
And the settings and costumes are similarly amazing. The entire play is done in a sleek, elegant modern style ("mad" Hamlet runs around in jeans), but the grandeur of a royal court is still there -- lots of elaborate formal clothes, and a looming, columned black palace-stage. There are some clever modern twists (Polonius spies through a one-way mirror and security cameras), and there are some truly brilliant bits of symbolism sprinkled through the story (Gertrude seeing the mad Ophelia in a shattered mirror).
This adaptation of "Hamlet" is a solid piece of work, with the smooth feeling of a classic play done by insanely talented people. Also: David Tennant is astounding.

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David Tennant and Patrick Stewart star in this critically acclaimed production of Shakespeare's masterpiece from Britain's renowned Royal Shakespeare Company. No recent stage production in Britain has attracted the excitement and nearly unanimous critical praise as this Hamlet. Tennant's interpretation was recognized as defining the role for a generation, and Stewart's complex Claudius won the Olivier award, Britain's highest stage honor. In this specially-shot screen version, filmed on location rather than in the theater, Tennant and Stewart reprise their roles. Dynamic, exciting and contemporary, it breathes new life into Shakespeare's greatest play.

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8/27/2011

Great Performances: Macbeth Review

Great Performances: Macbeth
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I just finished watching Rupert Goold's film of Macbeth, starring Patrick Stewart and Kate Fleetwood. As mentioned in the last post, I saw this production on Broadway and was eagerly awaiting the film version. Now I've seen a lot of great film Macbeths, including the Ian McKellen/Judi Dench version, the RSC film with Antony Sher, and Roman Polanski's. This film is the best Macbeth that you will ever see. In fact, scenes that I didn't find very effective on stage (Lady Macbeth's mad scene and and the long scene between Malcolm and Macduff) were very powerful in the movie. Patrick Stewart's performance is definitive. You can see every thought that passes through his mind. Kate Fleetwood's Lady Macbeth charted her fall into insanity with such clarity that when Macbeth is told that she has died, it's no surprise to him or the audience. You see that there was no other end to her story. The Weird Sisters, here played as Nurses who have gone over to the dark side, are truly frightening. There is no weak link in this cast, the directing is thrillingly original, and the production design is stunning. It easily could have been shown in movie theaters. This Macbeth is set during the Cold War of the 1950's, and doesn't shy away from the shocking violence of a dictatorship. Characters are brutally executed, and the murder of Lady Macduff and her children is greatly disturbing, even though you see almost nothing happen. And to top it all off, Rupert Goold has the film end with the camera panning from location to location throughout the castle (the dining room, the kitchen, the Weird Sisters' morgue) and then closes with a shot of Macbeth and his Lady in the elevator, hand in hand. So we end with the idea that Macbeth's castle isn't just drenched in blood. Now it's haunted.

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