Feeds:
Posts
Comments

Archive for the ‘author Sam Juliano’ Category

images (1)

 

toto-alfredo

by Sam Juliano

The Ridgefield Park Rialto closed its doors on June 13, 2008.  This local institution was the last single screen theater in Bergen County, New Jersey, and the only one in that domain that had shown art house movies.  Opening in 1927 as a vaudeville showcase, it was soon enough transformed to a movie house in the late 30’s, and was purchased in the 70’s by a single owner.  That same person held ownership with his daughter all the way to the final days, showing mainstream fare until the mid 90’s, then catering to the Indian community for Bollywood features until 2001 when the schedule was comprised exclusively of foreign language and independent films.  The experiment yielded mixed results, though there were times when the 600 seat auditorium sold out, if the film was an appealing one.  The inevitable cessation of operations signified the end of an era, and left bewildered customers waxing lyrical about their own personal stories related to their attendance at the venerable institution.  The common lamentations were along the line that larger multiplexes had made it financially incompatible for the smaller operators to earn their keep, and equipment had become antiquated.  In any case the closing of the theater was an emotional time for workers and customers, and it had some regulars scurrying for souvenirs that included posters, marquee letters and actual seats that were unscrewed from the floor by employees.  Any token, big or small would provide some tangible physical evidence well into the future of   a place that helped formulate dreams and escape, a movie house mecca that in the end that left a more lasting impression than even the splendid product it served up to the public. (more…)

Read Full Post »

Romeo-Juliet-about-to-kiss-on-Balcony-1968-romeo-and-juliet-by-franco-zeffirelli-32614019-638-410 (1)

by Sam Juliano

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents’ strife.

The idea was to honor the Bard’s own vision of teenagers playing the parts of his eternally popular play about the star crossed lovers.  The two leads in the 1968 version of Romeo and Juliet were chosen for their physical beauty, not for any special or proven acting prowess.  In fact the performances are far more affecting because they are natural, delivered without dramatic ostentation.  The director, Franco Zeffirelli, put the cart before the horse, confident in his own ability to turn his lead players into Shakespearean thespians.  The end result was a wildly successful film version that at the time eclipsed any film version of the author’s plays in popularity by quite some distance.  Forty-six years later it still holds poll position, and remains the odds-on choice of educators aiming to supplement study of the play with a worthy film adaptation.  The film was made during the heyday of the golden reign of youth and the hippie era.  Rumor in fact has it that Zeffirelli came within a hair of convincing Paul McCartney to play the lead. An extensive talent search yielded the hiring of Leonard Whiting and Olivia Hussey, two extraordinarily attractive actors who imbue their roles with a physical intensity of first love, the kind of love that only those who have experienced it can fully decipher.  Hence there is an innocence, purity and lack of self-awareness to these performances that make them far more affecting than could have been negotiated by older actors with proven credentials.  The film’s lovemaking scenes are charged with eroticism, and there is some nudity in a bedroom scene (that at the time was considered scandalous for a PG movie) to bring consummation to the romance.  Throughout the film the lovers endlessly embrace, kiss and neck far more than in any other version based on the play, and this propensity has interestingly brought into question whether the love would morph into a union of permanence or whether this is just the hormonal awakening of teenagers.  Obviously the right answer is the latter contention, but it is fully consistent with the manner in which Romeo and Juliet are shown in the play.  They are rash, impulsive, oblivious to the consequences of their actions and blind to everything around them save for the burning flames inside them.  Some would like to believe their love is epic and definitive, immortalized as it is through suicide, and borne from the mutual hatred of their brethren, but what we have are two people stung by Cupid’s Bow, helpless to temper their incomparable potent youthful passions.  Romeo and Juliet is not an idealized romance, but rather a cautionary tale about the dire consequences of recklessness, partially facilitated by unfortunate timing and the intrusion of fate. (more…)

Read Full Post »

 

west_side_story_collage_by_jackiestarsister-d5xop4u

by Sam Juliano

The film of  West Side Story produces the same brilliant effect as the play.  This does not mean that the stage show has merely been duplicated; on the contrary, to get the same effect, it had to be effectively translated into a second medium.  Because of the quality of the original materials and of the translation, the result is the best film musical ever made.              -Stanley Kauffmann, The New Republic

West Side Story, a cultural institution with a legacy to match any American film in the musical genre or otherwise, is also a curiosity.  Though it originally ran for 732 performances on Broadway starting in 1957 -an impressive number by any barometer – it did not reach the zenith of theatrical and musical fulfillment until it was transferred to the screen  four year later.  The original show is now seen as much more than a classic musical, indeed one of the very few works that fundamentally changed the form of the musical.  One of the greatest of the influences was in the theatricality of its presentation – the seamlessness and cinematic flow of its staging and the integration of script, song, dance and set.  The operatic score by Leonard Bernstein, with book and lyrics from Stephen Sondheim is arguably one of the two greatest ever written for the musical theater – the other is Jerome Kern and Oscar Hammerstein II’s Show Boat, which also represented a radical departure in musical storytelling.  Almost every song from that score is now considered a standard and most of them are regularly performed in concerts, nightclubs and updated recordings.  Cast albums have been produced all over the world in places like the United Kingdom, Australia, Japan, Sweden and Italy among others, and in various styles, instrumentation and interpretations.   The play continues to be mounted frequently in high schools, universities, community and regional theaters, and in successful revivals around the globe.  The libretto has been translated in over 26 languages, and in high school English classes it has been taught as a companion piece to Shakespeare’s Romeo and Juliet, the timeless romantic work upon which it was based. (more…)

Read Full Post »

penistan crag

by Sam Juliano

Heathcliff, it’s me, your Cathy, I’ve come home
I’m so cold, let me into your window
Heathcliff, it’s me, your Cathy, I’ve come home
I’m so cold, let me into your window

                                            -Kate Bush, 1978

Emily Bronte’s wildly-popular Victorian Age novel Wuthering Heights is surely one of the half dozen greatest novels ever written in the English language.  It is also one of the most adapted works for television and the screen, with nearly twenty titular interpretations, including a 1920 British version directed by A.V. Bramble that appears to be lost.  The most recent adaptation was a visually resplendent 2011 revamping by Andrea Arnold, while the most faithful to its source is undoubtedly the 1978 television series, directed by Peter Hammond,which practically followed the book line by line because of its 255 minute running time.  Some of the most famous of the films based on the novel include Luis Bunuel’s Spanish-language Abismos de Pasion, filmed in Mexico, which accurately reflections the original personalities of the characters while largely eschewing narrative fidelity; the stylish and primordial Japanese Onimaru by master Yoshishige Yoshida which features a serpent-like Heathcliff and a story of taboo desires; French maestro Jacques Rivette’s spiritually provocative and beautifully shot. Hurlevelent, which covers the first half of the novel; and a 1992 interpretation by Peter Kominsky and starring Ralph Fiennes and Juliette Binoche that divided the critics.

Two operas were written on the novel – one an extraordinary work by celebrated American opera composer Carlisle Floyd that was released in 1958 and the other by film maestro Bernard Herrmann, who wrote it in the late 40’s, though it wasn’t actually recorded in its entirety until 1966.  The British pop singer Kate Bush, who was just 18 at the time, never wrote a more popular song in her distinguished career than her 1978 “Wuthering Heights” whose plaintive refrain “Heathcliff, it’s me, I’m Cathy…I’ve come home” helped bring the complex romantic novel new life with teenagers, many of whom were motivated to tackle the novel as a result of the Number 1 charts single. (more…)

Read Full Post »

by Sam Juliano

Italian director Luchino Visconti began his career in the theater, directing works of Tennessee Williams and Arthur Miller in his home country, before moving on to film and opera.  As to the latter form he achieved a well-earned reputation as one of the greatest opera directors of his time, and worked closely with “La Divina” Maria Callas in La Vestale, just after completing his fourth film Senso (1954), a work of exceeding operatic scope, and melodramatic essence.  Like a number of the greatest operas, Senso was a disaster upon its release.  It was critically savaged in Italy as a betrayal of neorealism, and stateside it was mutilated, dubbed into English, and re-titled as the lurid The Wanton Countess.  It took Italian film aficionado Martin Scorsese and the Criterion collection to gloriously return to film to visual splendor with a terrific 2011 restoration for DVD and blu-ray.

It can be persuasively argued that Senso has an operatic structure, offering up doomed lovers, posturing soldiers, clandestine nocturnal meetings, brazen adultery and extravagant demise.  Appropriately enough, the very first scene of Senso takes place in an opera house – the historic Teatro La Fenice in Venice, which stands today still as a major operatic venue, as it was back when the film was made and even when the story was set, nearly hundred years before that in 1866.  The opera being staged is one of the great classics, Verdi’s Il Trovatore, and the rousing aria “Di quella pira” is being negotiated by the work’s main male protagonist, Manrico, who in effect is urging a call to arms to his compatriots who are fighting against Austrian occupiers in a bid for Italian Risorgimento (reunification).  At the close of the aria, gallery revolutionaries drop leaflets that are colored like the Italian flag to the orchestra section, inhabited mostly by Austrian officers. (more…)

Read Full Post »

by Sam Juliano

Batman’s arch-nemesis the Joker was based on the lugubrious and sinister physiognomy of German actor Conrad Veidt, who played the titular character in Paul Leni’s 1928 silent masterpiece The Man Who Laughs.  Batman creator Bob Kane confirmed this and further opined that Cesar Romero’s 1960’s original series incarnation most compellingly aped the Gwynpaine character from the silent film, much as the lead character in Roland West’s The Bat (1926) had inspired the look of Batman himself.

Leni’s film was based on Victor-Marie Hugo’s L’Homme Qui Rit – which was perennially regarded as one of the prolific and towering author’s lesser works.  In France it was significantly less popular than Notre Dame de Paris (1831) and Les Miserables (1862), in part because Hugo had sought to exploit some unusual trends among 17th Century royalty, leading to him to set “‘Homme Qui Rit (The Man Who Laughs) in England instead of France – a move that alienated a good part of the French readership.  It was hoped the tortured and deformed soul of the book’s title, much like the grotesque Quasimodo in Hunchback, would win audience empathy.  In the end the specter of the evil Comprachicos could not match birth deformity in audience sympathy.  Still, The Man Who Laughs came to be seen as one of the cinema’s great masterworks, easily trumping any of the multiple film versions of The Hunchback of Notre Dame. (more…)

Read Full Post »

 

by Sam Juliano

“….Idgy used to do all kinds of crazy harebrained things just to get a laugh.  She put poker chips in the collection basket at the Baptist Church once.  She was a character all right, but how anybody could have ever thought that she killed that man is beyond me…”          -Fanny Flagg

The rap against the film version of Fannie Flagg’s Fried Green Tomatoes at the Whistle Stop Cafe by a sizable minority has always been that it significantly toned down the lesbian romance of its two central characters.  In view of the fact that Flagg’s novel is only marginally more implicit, the argument seems to lose most of its credibility.  Still, the 1991 movie, sporting the streamlined title of Fried Green Tomatoes, has often been brought up as evidence for those who rightly accused Hollywood of cowering away from provocative sexual themes.  For a bastion always seen as ultra-liberal this has always been more than a curious example of bias, if not outright homophobia.   Jon Avnet’s film version to be sure, does straddle the line between benign platonic affection and a more lustier and controlling kind of regard.  It probably had the most suggestive lesbian context of any mainstream film released in the early 90’s or until the sway of sexual acceptance took stronger root in the cultural consciousness.  The story of Idgie and Ruth yields numerous instances make it abundantly clear that these women love each other far more than is normal for most friends.  There a few scenes and instances in the plot that persuasively connect the two romantically without the need to inject the presentation with  blatant erotic encounters.  If Flagg’s critically-lauded Pulitzer prize-nominated novel gave a more compelling picture of a gay romance, it ultimately had more to do with the ability of a literary work to flesh out the details of some narrative strands and relationships that could never make the final cut in a relatively shorter screen adaptation.  The bottom line is this: I read Flagg’s novel back in the day, and have seen the film a number of times over the years, and have come away with the perception that neither presents an overtly lesbian context nor a physical portrait of two lovers overcome by lust.  Both book and film are benign in this sense, but there is still never a doubt that a gay romance is the center of this wistful, charming and nostalgic work which is drenched in feeling and period flavor, and guided by the inexorable bond of friendship.  Still, I can at least partially buy the argument that Avnet played it safe to ensure the wider audience this work so richly deserves by stressing the aspect of platonic devotion, even if the undercurrents are way too potent to dismiss. (more…)

Read Full Post »

Older Posts »

Follow

Get every new post delivered to your Inbox.

Join 347 other followers