2/03/2012

Harry Potter and the Chamber of Secrets (Extended Version with 13 Minutes of Footage Not Shown in Theaters) (2002) Review

Harry Potter and the Chamber of Secrets (Extended Version with 13 Minutes of Footage Not Shown in Theaters) (2002)
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"The Chamber of Secrets" novel in the Harry Potter series is generally considered the weakest of J. K. Rowling's books - it does not have the joyful discovery of "Philosopher's Stone", the dark twists of "Prisioner of Azkaban" or the epic nature of "Goblet of Fire", but is simply a very good story. However, I predict its relative simplicity will make "Chamber of Secrets" the most successful book-to-movie translation in the series, as it is undoubtably better than the first movie, and it will be a daunting task for film-makers to tackle the intricate plot lines of book three and the collosal book four.
Like all the books, "Chamber" begins midway through the summer as Harry's twelfth birthday is nearing, and again he faces a rather dismal one in the company of his horrible uncle, aunt and cousin. Excitement is already on the move however, as when Harry enters his bedroom the house elf Dobby is waiting for him, who warns him that under no circumstances is he to return to Hogwarts, where a great danger is waiting for him.
But return he does, after being rescued from his family by the Weasley family and the now-famous flying blue Ford Angelia, and indeed finds what Dobby promised - something is stalking the halls of Hogwarts, putting all the students in great danger. Taking it upon himself to save his beloved home Harry and his friends Ron and Hermione seek out the clues, and find themselves facing a terrible evil. In a story filled with giant spiders, savage willow trees, magical swords, disembodied voices, mysterious diaries, glorious phoenixes, flying cars and Quidditch matches, the action and excitement doesn't let up until the ending credits.
Once again Daniel Radcliffe, Rupert Grint and Emma Watson return as the three main protagonists, and I'm glad to say that while their acting was a little awkward in the first movie (understandable for newcomers) they've mellowed out and are much more natural with their characters and each other. Under-rated actor Tom Felton is again wickedly good, and Maggie Smith (McGonagall), Robbie Coltrane (Hagrid) and Alan Rickman (Snape) roll out brilliant performances. Unfortunatly I can't say the same for Richard Harris - Dumbledore in my mind is an elderly yet lively and energetic man, yet here I was petrified he was going to kneel over any second.
The best part of any sequel in a series is the myraid of new characters to see, including the afore mentioned Dobby, the mysterious and sinister Tom Riddle, the narcissic Gilderoy Lockhart (played with great pizzazz by Kenneth Branaugh), and pompous Cornelius Fudge, and more of the Weasley family - more from Julie Walters as Molly Weasley, an introduction to Arthur Weasley, and from George, Fred and (especially) Ginny.
Three performances stick out though: Lucius Malfoy was great - cold, calm and elegant, this guy just *oozed* sinister charm, Moaning Myrtle, with her high-pitched sobs and shrieks was an unexpected surprise and Colin Creevy, the forerunner to Book Four's reporter Rita Skeeter and J. K. Rowling's dig at the media was a small, but essential gem, and I love that split-second scene of horror on his face as the runaway Buldger hurtles towards him!
Finally the sets, costumes and props are lovely, but the special effects are only so-so. The Quidditch game (again more visually exciting than any written account) is very good, as is the 'monster in the chamber', but the phoenix, spiders and Dobby could have used some tweaking.
All in all, a fun, interesting, colourful, sometimes-scary, and faithful adaptation to a beloved book, that (along with the Two Towers) brought 2002 to a fantasy-filled climax in the movie industry.

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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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Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre Review

Shakespeare - The Winter's Tale / Royal Shakespeare Company, Barbican Theatre
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This filmed stage recording is indeed magical. I believe a former critic's particular critique in this regard should be regarded in the light of two distinguishing characteristics of Shakespeare on film: whether the production is a film interpretation or a filmed stage production. This DVD is the latter: over-the-top FX, panoramic view and the like don't necessarily apply. Here one has the magic of being in the audience at a grand performance of the Royal Shakespeare Company, with the added pleasure of being granted close-ups! The acting is all-around sublime, especially Ian Hugh's Autolycus; I've yet to see a rogue interpreted better.
For a contrast of what can be accomplished with Shakespeare as film interpretation versus filmed stage production, compare Orson Welles' Othello with Richard Burton's Hamlet (both available through Amazon); both, I believe, are the ideal of each venue.

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King Lear (1984) Review

King Lear  (1984)
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I have to disagree with the negative reviews posted above. This is possibly Olivier's best recorded performance, and the bulk of the other performances are excellent as well, particularly that of Diana Rigg. The actors speak their lines so casually and easily that, even if you're not used to Shakespearian dialog, it'll soon all seem perfectly natural. The set is minimalist, true, but if your enjoyment of Shakespeare is dependent upon set design then I recommend you never attend a stage performance. If I have one complaint about this production it's that the actors, while individually turning out great performances, don't appear to be relating to each other very well--as if they're each giving their rendition of their characters without letting their performances be informed by the performances of those around them. Still and all, this is an extremely moving production of one of the most powerful plays in the canon.

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2/01/2012

Sea Marks (Broadway Theatre Archive) (1976) Review

Sea Marks (Broadway Theatre Archive)  (1976)
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Colm Primrose, a fisherman from the wild coast of Ireland, loves his work, his boat, his fishing buddies, and the sea in all its moods. Living in a small, rural community, he has no telephone, no modern conveniences--and no wife. While at a local wedding, he sees Timothea, a young woman from Liverpool, to whom he eventually writes a letter. Their correspondence, in which he describes his life, continues for eighteen months, before she returns to the area for another wedding. Before long, she has persuaded him to visit her in Liverpool, where she works for a publisher.
Their relationship, the first ever for Colm, provides sweet romance, but the seeds of disaster are sown from the beginning, when Timothea has his letters published as "sonnets." Described by publicists as "primitive," the unschooled Colm finds himself, unexpectedly, a celebrity poet, in demand for talks to clubs. Like the proverbial fish out of water, however, Colm misses the sea and "the heads," while Timothea, who has escaped to Liverpool from rural Wales, wants never to live the primitive life again. Their love, which drives the first act of the play, becomes the conflict which drives the second act.
Gardner McKay has created a romantic drama which glorifies the life of the fisherman and his ties to the most basic elements of wind and weather. The visual contrast between the wild Irish coast in this filmed-for-television production and the seamy side of Liverpool illustrate the themes. The plot is simple--and predictable--but George Hearn manages to make Colm a real person experiencing real agonies as he tries to reconcile his first experience with love with his need to return to his roots. Veronica Castang, as the more experienced lover, plays her role with a lovely softness, which disguises her selfish side, seen in her refusal to consider leaving the city and her determination to persuade Colm to remain.
This Broadway Theatre Archive production from 1976, contains themes as relevant today as they were then--the desire for love, the need for openness to new experiences, and the beauties of the simple life vs. the city life. The attractions of a life as raw and primitive as Colm's may be less appealing today than they were in 1976, however, and the conflict is so basic that the conclusion is obvious from the beginning of the play. Still, Hearn makes Colm such an attractive character that one hopes that he will achieve happiness by finding both a lover and a continued life on the sea he loves. A well-acted romantic drama. n Mary Whipple


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Burning Bright (Broadway Theatre Archive) (1959) Review

Burning Bright (Broadway Theatre Archive) (1959)
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The Broadway Theatre Archives series is full of gems. You will find treasures hidden in this collection, especially memorable performances by many actors and actresses who never made it big in the movies, like Kim Stanley, Julie Harris, Blythe Danner, Joan Hackett. Or some legendary performances from the stage, which were luckily preserved in these TV adaptations, like Jason Robards in "The Iceman Cometh" and Lee J. Cobb in "Death of a Salesman".
Unfortunately, this adaptation of the John Steinbeck play is not one of those treasures.
The story plays like a male "Yerma" (the Garcia Lorca play in which a woman is devastated for her inability to have a child). You might be laughing already and that's the problem. Such a subject needs a very careful treatment for it to be compelling in any time and place. A desolate old guy who could never have children laments that he will die without passing on his bloodline. The concept borders on the ludicrous, but it's intriguing nonetheles.
Unfortunately, this is more ludicrous than intriguing, greatly helped by the pathetically melodramatic performance of Myron McCormick, the lead. You can not help but feeling turned off by his constant wailings and it makes it very difficult to understand what is it that his wife (Colleen Dewhurst) sees in him.
The fact that the four acts of the play take place in different settings to show us the universality of the dilemma only makes thingw worse. At the beginning we have the characters in a circus setting, on the second act in a farm, and then it all ends up in a ship, with everybody changing costumes. By the end, we have been bulldozed by the fake "universality" of this atrocious take on the tragedy of male sterility.
As for the intriguing, that's left to the great Collen Dewhurst, as the sterile man's wife, who will go to any lengths to give him a child that he believes is his. Her character reaches malignant dimensions in her quest and her performance gives hints of this, unfortunately the story is more interested in the syrupy side.
A curiosity, but not really worth it. If you want to see great theather on TV, better go check one of the rare (and spectacular) performances of Kim Stanley in "Dragon Country" or Blythe Danner in "The Eccentricities of a Nightingale"

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Groucho: A Life In Revue (2001) Review

Groucho: A Life In Revue  (2001)
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I had the good fortune to see this show at the Majestic Theatre in Boston on October 23, 2004 (Gummo's Birthday!). I sat in the 4th row and it was a treat! It was like seeing the Great Man himself. Ferrante's Groucho is dead-on accurate, and you just get completely drawn into the show watching him. I have the video, and it's terrific.
Ferrante is a great ad-libber. My show was during the first game of the World Series between the Red Sox and the St. Louis Cardinals. He was aware of the baseball fever sweeping Beantown, and in Groucho character, kept us all updated on the score of the game!!! He ad-libbed about the game all night, keeping the audience in stitches....hilarious.
The format is very simple: It's Groucho telling his life story to you, the audience, and the way Ferrante tranforms himself into Groucho at various ages is fabulous. Get the video to see what I mean.
It's a trip down memory lane of jokes, songs, with funny (and touching) moments in Groucho's life. You will laugh your butt off and I dare you not to shed a tear as "Groucho" reflects on his life, and the memories of his brothers Chico and Harpo.
I will admit I was teary-eyed during those moments in the theater, and you will be while watching the tape. And you will scream with laughter just as much too.
I will be purchasing the DVD soon, and it has got to be just as good as the tape, if not better. Get this one, and if you get a chance to see the show....GO!!!! You won't be disappointed, either way. It's the closest you will ever get to see a Marx Brothers show and I got the feeling that night in the theater the Marxes were looking down over us, laughing along too....

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