In order to keep busy and get out of the apartment, I have created a mission to visit every museum in New York City.
First up: The Frick.
1 East 70th St
Walking into the Frick is a bit like walking onto the Titanic. Centered on an indoor Garden Court, the former home of Henry Clay Frick is more than majestic. While the artwork and architecture is what the Frick is renowned for, it’s the mode of display that makes this museum unique. It preserves the “domestic setting” of its collections. Instead of room upon room of brightly lit galleries with walls gridded by reverently displayed paintings, each room feels as though it was just used. Clocks still turn and chime and, as you walk through the different living spaces, only a few camouflaged ropes remind you that The Frick is no longer a residence.
Monday, March 29, 2010
Wednesday, October 28, 2009
Never a Bad Word: This is It
The rehearsal documentary This is It takes what is essentially raw ‘home video’ footage meant for Michael Jackson’s private libraries and creates an illuminating film about the artistic process of one of the greatest performers of all time. Of course, the truth is that every film is a fiction film. There is no way of knowing what footage was left out; what moments of brilliance or ugliness that could be on the cutting room floor. The decision of what is used and how it is portrayed is left to the filmmaker (Kenny Ortega), who in this case chose to showcase both the foibles and virtues of an artist and a person.
During rehearsals, Michael works towards perfection. He pulls his wait and expects everyone else to do the same. He always has a soft sweet voice, even as he is searching for a meticulous change or trying to assert his artistic vision. When an earpiece is too loud, he doesn’t demand that something be done about it, he simply states that he needs some time to become accustomed to the discomfort. He is a hard worker.
Throughout the film, interviews with dancers and musicians comment on what it means to work with the King of Pop. An observation made repeatedly by the band members and back up singers is that he Michaels knows his music. He doesn’t just know the music he wrote and performed, but generally how music works and fits together. They have respect for him as an artist.
Not surprisingly, there are moments of awkwardness and weirdness in the film. As controversial as he can be, I don’t think anyone would argue the fact that there is an oddness to Michael Jackson. At times, Michael’s ways of describing spectacular moments in the show are wrapped in strange metaphors. However, his choice of words is no more unique than when the band’s keyboardist tells Michael to “let him know if he wants more booty in it.” Upon being met with laughter, the musician adds, “But you know what I mean.” And we do know what Michael means when he makes similar comments. We certainly know what he means when he says, “Let is sizzle.” We know the moment of awe and the chills that would have run through us in a full-fledged performance. We have experienced those moments in his music and in his videos. He is an accomplished and talented showman.
Though, the one thing the film is missing is the sizzle; the fully realized vision. It is not to say that the vision isn’t there. It is, and the film gives insight into the creativity and sweat that goes into creating a concert. This is It contains pieces of what would have been a jaw-dropping concert. In one segment we see the different aspects of a spectacular 3-d version of Thriller complete with pre-taped video and live segments, but we are denied the execution of the vision. The film attempts to sew the many pieces of the performance together and help create the experience for us, but it can never be fully realized.
This is It would have been an outstanding companion to a concert DVD, but it suffices as a memorial to an artist who can never be given a enough praise for his talent. Though, somehow it is infinitely sadder to know that the genius was still there at the end.
During rehearsals, Michael works towards perfection. He pulls his wait and expects everyone else to do the same. He always has a soft sweet voice, even as he is searching for a meticulous change or trying to assert his artistic vision. When an earpiece is too loud, he doesn’t demand that something be done about it, he simply states that he needs some time to become accustomed to the discomfort. He is a hard worker.
Throughout the film, interviews with dancers and musicians comment on what it means to work with the King of Pop. An observation made repeatedly by the band members and back up singers is that he Michaels knows his music. He doesn’t just know the music he wrote and performed, but generally how music works and fits together. They have respect for him as an artist.
Not surprisingly, there are moments of awkwardness and weirdness in the film. As controversial as he can be, I don’t think anyone would argue the fact that there is an oddness to Michael Jackson. At times, Michael’s ways of describing spectacular moments in the show are wrapped in strange metaphors. However, his choice of words is no more unique than when the band’s keyboardist tells Michael to “let him know if he wants more booty in it.” Upon being met with laughter, the musician adds, “But you know what I mean.” And we do know what Michael means when he makes similar comments. We certainly know what he means when he says, “Let is sizzle.” We know the moment of awe and the chills that would have run through us in a full-fledged performance. We have experienced those moments in his music and in his videos. He is an accomplished and talented showman.
Though, the one thing the film is missing is the sizzle; the fully realized vision. It is not to say that the vision isn’t there. It is, and the film gives insight into the creativity and sweat that goes into creating a concert. This is It contains pieces of what would have been a jaw-dropping concert. In one segment we see the different aspects of a spectacular 3-d version of Thriller complete with pre-taped video and live segments, but we are denied the execution of the vision. The film attempts to sew the many pieces of the performance together and help create the experience for us, but it can never be fully realized.
This is It would have been an outstanding companion to a concert DVD, but it suffices as a memorial to an artist who can never be given a enough praise for his talent. Though, somehow it is infinitely sadder to know that the genius was still there at the end.
Tuesday, June 30, 2009
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Sunday, June 28, 2009
Never a Bad Word: Whatever Works
The latest Woody Allen film, Whatever Works, is an off-hand comedy driven by its superb ensemble. It fails to be poignant, but succeeds at being a diversion from one’s own worries by compelling the audience into the displeased and scrutinizing world of Boris Yelnikov. It’s a gleeful interruption from reality that haphazardly pontificates about love and luck.
Thursday, June 11, 2009
The taking of Pelham 1, 2, 3
I don?t have a lot to say about The Taking of Pelham 1, 2, 3. The opening sequence is very stylistic, and John Travolta and Denzel are cool as always. The ending is a little blah, nothing special for a film set in NYC, but the sounds of the subway are dead on realistic.
There is a shocking car crash in the middle of the film, as police rush to deliver ransom money. The best character in the film is the mayor played by James Gandolfini as not quite sleazy, but not quite likable either.
There is a shocking car crash in the middle of the film, as police rush to deliver ransom money. The best character in the film is the mayor played by James Gandolfini as not quite sleazy, but not quite likable either.
Monday, June 1, 2009
Totally Quotable: Art Deco
This is a quote from the Art Deco exhibit at the NYC Library in Bryant Park.
"The Style symbolizes America's romantic enthusiasm for technological progress"
http://www.nypl.org/
"The Style symbolizes America's romantic enthusiasm for technological progress"
http://www.nypl.org/
Thursday, May 14, 2009
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