Assortment of Intrigues

Museum Mission: The Frick

2010-03-29T22:26:00.000-04:00

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.

Never a Bad Word: This is It

2009-10-28T09:34:00.001-04:00

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.

The Pot of Gold's South of Houston

2009-06-30T08:41:00.004-04:00

Never a Bad Word: Whatever Works

2009-06-28T22:22:00.000-04:00

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.

The taking of Pelham 1, 2, 3

2009-06-11T22:37:00.001-04:00

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.

Totally Quotable: Art Deco

2009-06-01T09:22:00.002-04:00

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/

Chinese Tea Garden

2009-05-14T08:54:00.000-04:00

Live Long and Prosper

2009-05-06T22:32:00.000-04:00

There aren’t many summer Blockbuster’s that can make you misty eyed before the title card, but, when James T. Kirk screams his first baby cry, letting his father hear him just once before he dies crashing his ship into the bad guys to save the rest of the crew including his wife and newborn son, I couldn’t help but feel my eyes start to swell.

J.J. Abrams’ Star Trek has you emotionally invested from the very first battle. It, then, powers through the childhoods of both Kirk and Spock with speed and poignancy giving each the back story they need without wasting any time; a rarity among action tentpoles. The rest of the cast is appropriately introduced as Kirk makes his way to and through Starfleet Academy, where he garners unwanted attention from Spock for ‘cheating’ on a Starfleet test. The two finally meet face to face just in time for the Enterprise to be called into action, but before the two could come to terms with there opposing values.

The rest of the movie negotiates ideas of identity, friendship, and faith all while fighting an expertly rendered alien bad guy whose athleticism is intimidating and motivation is near humanizing. With just the right doses of reality and extraterrestrial shine, every moment between the first shot and the final breath, which reminds us space is the final frontier, proves Star Trek will continue to live long and prosper.

Athens

2009-05-04T22:30:00.003-04:00

Most of What Follows is True

2009-04-29T00:03:00.003-04:00

It was a gorgeous day last Friday and, as the sun slowly crept away, the Tribeca Film Festival geared up for its second Drive-in of the year; Butch Cassidy and the Sundance Kid. The screening was part of a tribute to the amazing William Goldman, who is responsible for Marathon Man, All the President’s Men, and beyond all else both the book and the movie versions of The Princess Bride.

Ever since I first witnessed the sepia toned opening to Butch Cassidy and the Sundance Kid, I have been in love with it. I once tried to write down every line that made me chuckle, but found that I couldn’t go 2 minutes without having to pause the movie. It’s funny and witty, but also truthful and sweet. In addition to the writing, the films leads; the impeccable Paul Newman and Robert Redford, created two of the most riveting characters I had ever seen. They engage the audience with every nuance of their movement, smiles, and tone of voice.

However, on Friday, I was really taken aback by the cinematography. The camera acts like an artist framing, highlighting, and blending everything on screen. Between director George Roy Hill and cinematographer Conrad Hall, the choice of what is in focus and how much and from how far things are seen augment the other areas of story telling and really push Butch Cassidy and the Sundance Kid into being a great film. The writing is brilliant and the acting’s superb, but the camerawork really takes advantage of what make the medium unique.

Adventureland

2009-04-26T21:56:00.000-04:00

Usually, the “and” credit goes to the most esteemed non-leading actor in a film; often it goes to an older venerated thespian. In Adventureland, the honor goes to the young Ryan Reynolds. At first, I was irked by this. In my opinion, his previous body of work did not warrant this position, however I was pleasantly surprised by his role in the film. He plays O’Connell, the often needed mechanic of the titular second-rate theme park. Both the way Reynolds crafts the character, and the way the story reveals him exposes a man who is at times enviable and also absolutely pathetic.

O’Connell is a man who, at first, seems to be the hippest of the hip; the kind of guy to swoon for. He doles out advice to the main character with worldly poise. However, as the fresh out of college lead goes through his coming of age, the film’s perspective on O’Connell changes; he becomes pitiable. Ryan Reynolds’s performance is so precise that it is purely the audience’s informed vantage point that changes their opinion.

Let’s see if Ryan Reynolds’s can convincingly play a mutant this weekend in X-Men Origins

Identity by Design

2009-04-19T20:44:00.001-04:00

The National Museum of the American Indian currently has an exhibit called Identity by Design, which investigates the culture of crafting Native American dresses. It highlights the evolution of design as Native American women were introduced to European and Eastern materials, and as integration forced American ideals and traditions onto the tribal culture.

The exhibit is expertly crafted with enough objects and text to be meaningful while being limited enough to avoid being cluttered. Objects are finely selected, which leaves the visitor with plenty of time and space for contemplation. The walls are lightly peppered with quotes from Native American women about what dress-making means to them.

“When you wear your dress, you’re carrying the spirit of all the people who gave you the lessons of life, who made dresses before you – dresses that you can look at today and be inspired by.” Keri Jhane Myers (Comanche) 2005

“When I wear the dresses that I’ve made, I feel a strong sense of accomplishment because a lot of work has gone into them.”
Jamie Okuma (Luiseño/Shoshone-Bannock), 2005

“When I create an object that is of our tribe, like a dress, it’s almost like I’m so connected to the past. I almost feel like somebody is guiding me as to what I’m supposed to be doing. It’s a very spiritual experience for me.”
Jackie Parsons (Blackfeet), 2005

While I do not presume my experience crafting sweaters and scarves to be nearly the same as what the exhibit discusses, the comments do reverberate with me. Even though technology has changed the way we dress, the combination of the sense of perpetuating tradition and the time it takes to create the handmade clothes puts a higher significance on the objects than their beauty and functionality. The object is both part of the past and the future; the long-established method of productions infuses the objects with history and the items quality and craftsmanship allow for it to be cherished and used for years and perhaps generations to come.

Exhibit Website: http://www.nmai.si.edu/exhibitions/identity_by_design/IdentityByDesign.html

Museum Website: http://www.nmai.si.edu/index.cfm

Get Your Balls in a Knot

2009-04-18T23:50:00.003-04:00

Check out my new blog dedicated to my yarn craft obsession. Here is a brief summer

http://www.getyourballsinaknot.blogspot.com/

Turning balls of yarn into crochet or knit pieces can be daunting, but that’s part of the adventure. Simply knotting string transforms it. My adventure is about creating works that

match my style and growing skill level. I am chronicling my journey so others can find the courage to knit their own path too. When the books aren’t as insightful or the patterns aren’t as inspiring as you’d like, that’s when the adventure begins. When you can’t put your yarn down, that’s when you know you’re hooked.

Never a Bad Word - Bellevue's Finest

2009-03-01T20:20:00.000-05:00

Over the past few years, I have consciously avoided all music groups that were not immediately recognizable by the mass populace. However, this past week I was roped into seeing the band Bellevue’s Finest; and was pleasantly surprised.

For me, the pleasure produced by popular art is derived from the music/movie/book’s ability to create a seamless space; to construct a world or sound that is complete unto itself. Bellevue’s Finest has a look, sound, and attitude that is inclusive and unique. It can be best described as Revenge of the Nerds, meets Rooney, meets a bunch of NYC Jewish boys. Their music is quirky, spirited and inventive and I wish them all the best.

A Superbad Exhibit at the Met

2009-02-04T23:52:00.001-05:00

A giant phallus being carried through Roman streets in a celebratory parade is not what comes to mind when thinking about the sketches of great renaissance artists. However, the Metropolitan Museum’s exhibit ‘Art and Love in Renaissance Italy,’ and its art object "The Triumph of the Phallus,” focuses on art that would have been used, cherished, laughed at, and generally enjoyed. The objects call to mind contemporary images from film and television. They are not only examples of superior craftsmanship and artistry, but of the representations of sex and love in Renaissance Italy.

Many institutions and individuals distinguish between ‘high art’ and ‘low art.’ So-called low art encompasses items made from mediums of artistic potential, but with the primary intention to entertain or titillate the masses. While some creations of popular art are dumb-ed down to appeal to the lowest common denominator of the populace (aka its audience), they can also be so in tune with human nature that their popularity comes from their ability to speak to everyone. It is odd, then, that popular art, and its position within society, is often ignored in our museums until centuries after its manufacture. ‘Art and Love in Renaissance Italy’ highlights many objects that are valued as high art, even though their contemporary counterparts are not.

While exploring the galleries dedicated to physical love, it is hard not to think of similarities between the subject matter, and at times even the composition of the Renaissance images, and contemporary renderings of physical love. One can, of course, argue for the skill of the Renaissance artist tools in hand. However, it is also undeniable that these images are of the same intention as the penis drawings made by Superbad’s young Evan. The glorifying image he draws of a group of phallus’s raising the flag at Iwo Jima is not far off from the literal depiction of a Phallus’s Parade hung reverently on the Metropolitan Museum’s wall. The same humor and exuberance is in and escapes both.

Through exploring he past, there are ways to evaluate present trends as not new, but part of a recurring, or constant, humanity. A humanity expressed through all art; functional, entertaining, and always enlightening.

http://www.metmuseum.org/special/art_love/view_1.asp?item=23

Totally Quotable-Mildred Wirt

2008-12-21T22:27:00.002-05:00

On her first solo-flight: "Touch the throttle and it would snort with rage. Step too hard on the brakes and it would try to pitch the instructor through the windshield. Airborne, it arrogantly flew itself, tying me into a mental pretzel." From the Toledo Blade

Never a Bad Word-Girl Sleuth

2008-12-21T22:24:00.002-05:00

Never A Bad Word
Girl Sleuth: the Women Behind Nancy Drew-Melanie Rehak

Girl Sleuth: The Women Behind Nancy Drew sets out to tell the tale of how Nancy Drew became the smartest, bravest, most popular, and best-dressed girl in children’s literature. Though, along the way it becomes a chronicling of American feminism guided by the much beloved fictional character. At times, the book suggests that Nancy may have made her readers grow into feminists, but mostly it proposes that the Nancy Drew’s character was the product of woman’s growing role in society, as well as, a mascot lovingly appropriated by later movements.

In order to frame the tale of Nancy Drew, Melanie Rehak starts with the college educations of her two most notable writers Mildred Wirt and Harriet Stratemeyer. Both have very different backgrounds, values, and ambitions, but both, unknowingly, blaze the path to feminism by being some of the first educated working women in America. Ms. Drew definitely gets her gumption from Mildred who went on to become a reporter, pilot and adventurer who was still actively writing for the Toledo Blade past her 93rd birthday. On a different note, Nancy gets her style, and graciousness from Harriet whose father originally came up with the idea for the Nancy Drew Mysteries. Somewhere between the two women’s views of their creation, Nancy grew to be a timeless role-model and inspiration for millions of women and girls.

Quantum of Solace

2008-11-16T15:27:00.000-05:00

Quantum of Solace can be best described as Bond goes rogue. The Marc Foster directed film is the perfect second installment of the 'new Bond.' In my opinion, Casino Royale set the 007 franchise back to zero, not only with a new lead actor, but with a new attitude and a new credibility. As the second film, Quantum has the difficult job of continuing to grow Bond into the character we love without losing the believability and grittiness that Royale brought to the famous spy. I hope, over the course of his five films, Daniel Craig will continue the trajectory of becoming more like the Bond we know and love. So far Craig has the swagger, the confidence (or shall we say cockiness), and the wit of James Bond, but he still has a few rough edges that need to be hammered out.

The first film saw fit to beat up Bond a bit, smoothing a few edges. Royale exposes that he couldn’t always kill with complete ease and not only proves, but shows, that Bond sweats and bleeds. Royale makes Bond human. This addition to the Bond canon is why the opening action sequences of the Quantum are a little disappointing. Pre and post the opening credits, Quantum seems to suffer from a desire to be Bourne not Bond. The fast confusing editing and the jerky handheld style keep the audience from really understanding the lay of land. Particularly in the post-credit sequence, a hand to hand fight against a traitor who just tried to assassinate M, the camera moves briskly and haphazardly without keying into the psyche of the struggling men. You want the camera to linger on the hits and grimaces, to show their determination and blood thirst. However, the editing removes you from the scene keeping the audience as a fight spectator rather than a witness. Finally, in a very dramatic shift, the camera settles on a close up of Bond as he coolly shoots and kills his opponent. The first of many casualties; Bond certainly makes good use of his license to kill in Quantum.

From then on the film changes pace and, even though Quantum is less then two hours long, it seems to take its time. The lead characters are fleshed out, the minor characters are kept from being simple stereotypes and, of course, there is just the right proportion of action. If Royale makes Bond human, then Quantum gives him humanity. Faced with the betrayal and suicide of Vesper, the woman he loves in Casino Royale, Bond is lost between the desire to avenge her and the desire to hate her. His journey is not just to find a tiny piece of solace, but also the ability to forgive and Daniel Craig finds an understated way to give Bond emotions giving the character over to them.

Returning as M, Dame Judi Dench not only delivers some of the funniest lines with a perfected dry wit, she also gets to finally showcase her acting chops while playing the erudite head of MI6. After the assassination attempt on her life, M is left wondering who she can trust: the revenge seeking Bond, her oil thirsty country who is ready to get in bed with the bad guys, or even her own security team. Faced with this, she continues to move with a confidence, determination and grace that make you wonder how many people she killed before getting to her high position. Further, the maturing relationship she has with Bond takes several steps towards being filled with the mutual respect and friendship of the original Fleming creations. When, in the end, she says to Bond, "We need you back," she means it with a sincerity and respect that wasn’t yet there in Royale.

This installment's villain, Mr. Greene, has the right amount of intelligence, narcissism, and poor fashion sense to make him both enticing and terrifying. Played by Mathieu Amalric, Greene heads a company that is creating environmental sanctuaries, but really his company is Quantum's way of hording natural resources. Quantum, a creepy sounding organization, has its meetings during an Opera and not only claims, but literally has people everywhere; there could be one behind you right now.

Camille, Quantum’s sultry main Bond girl, is given a revenge plot of her own. When we met her she is in league (and in bed) with our badie Mr. Greene, but only as a way to be re-introduced to her personal villain; General Medrano. Earlier in his career Medrano was a henchman who murdered, raped and killed Camille’s family. Now he is about to take over the Bolivian government with the help of Greene and Quantum. Like, Camille has a no-nonsense attitude which can border on arrogance. After Greene sends an unsuccessful hit man after her, she boldly walks back into his compound to demand why he wants her dead. Actress Olga Kurylenko will undoubtedly be remembered as one of the best Bond girls.

Also returning are Casino Royale’s Renée Mathis (Giancarlo Giannini) and Felix Leiter (Jeffrey Wright). Mathis is Quantum’s unlikely sage. After his passports and credit cards are canceled, Bond goes to Mathis for assistance. Proving his charms aren’t solely for the use on women, he convinces Mathis to accompany him to Bolivia. A few poignant conversations between the men give a window into why Bond can’t find the titular solace.

Quantum’s Leiter, a character carried over from the book and film series, is more refined than his predecessors. Played by the expertly cool Wright, Leiter gives the appearance of a hard-ass but is quick to joke with his favorite Brit. One can only hope that Felix will be given more a role in future films.

And what is a Bond film without a car chase followed by a boat chase followed by a plane chase. This film has it all. Quantum of Solace is as a good a Bond as any and, as one final proof; I put forth the opening credits. Traditionally, Bond has long opening credits played over graphic imagery and accompanied by the theme song, instead of having the bare credits over a few establishing shots like most contemporary films. Casino Royale has Daniel Craig’s silhouette mixing with casino imagery including hearts, spades, kings, aces etc. Coupled with the song “You Know my Name,” which flirts with the main Bond theme song, but never quite hits it, the credit sequence is an effective way of positioning Craig as the new lead. However I couldn’t help but feel the absence of the ‘possibly naked’ ladies that usually populate the screen.

Quantum starts with stylized shots of Bond walking across an expansive desert with the cosmos behind him. The theme song “Another Way to Die” compliments the way Bond seems to be alone in the universe. Then, a shape seems to emerge out of the dunes, until a possibly unclad woman rises from them. At times it is unclear if the camera is panning across a woman lying underneath thin sheets or a female form made of mounds of sand. Quantum’s opening sequence is the perfect step back toward the classic Bonds, while the film is the perfect step forward for the franchise. Leaving camp behind, Craig and the cast take bonds to new heights of legitimacy. Although, I don’t think Oscar talk is appropriate for this year; it no longer seems entirely ridiculous to use Oscar and Bond in the same sentence.