Archive for February, 2016



Screen capture from Oscar Best Picture winner “Spotlight”

by Sam Juliano

The 2016 Oscars are now in the record books.  The winning film in a mild surprise is Spotlight, which previously won the Los Angeles Film Critics, Boston Film Critics Awards for Best Picture and the National Society of Film Critics.  To be sure Spotlight is a very fine film, and it is hard to dispute its selection.  I prefer some others -like Brooklyn more, but this is a solid work, and one I think will be considered one of the Academy’s best choices in recent years.  I was most delighted to see Italian film composing icon Ennio Morricone, now 87, finally win an Oscar and it was a great move to hand over the Best Supporting Actor prize to Mark Rylance for Bridge of Spies.  I found it amazing that Mad Max: Fury Road came away with six technical Oscars.  The foreign language choice – Son of Saul was the right one.  As far as host Chris Rock and the overkill of African American satire I have mixed feelings.

Super Tuesday is here, and it should be quite an interesting primary day, though Hillary Clinton and Donald Trump appear headed for crushing wins across twelve states casting ballots. (more…)


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tolstoy 2tolstoy

by Barry Germansky

From a thematic perspective, Tolstoy is the master chronicler of the “everyday” human dilemma. No matter whatever else happens in our lives, Tolstoy understands that we will always be plagued by our competing material and metaphysical desires, one prominent source of which is our limited, contradictory sexual imagination. He is also the greatest aesthetic synthesizer in prose literature, supremely merging external descriptions, historical asides, psychological insights, philosophical fragments, and spiritual conflicts into a singular, multilayered narrative. In my estimation, this makes him the most compulsively “readable” of prose fiction writers.

Dostoyevsky, on the other hand, is an almost unparalleled chronicler of the “everyday” human dilemma. Thematically, he is less original than Tolstoy, for the grotesquerie upon which he relies is borrowed from a multitude of other authors, most notably Edgar Allan Poe. Dostoyevsky’s thematic uniqueness comes from applying this inherited grotesquerie to the realm of the everyday. In aesthetic terms, his prose is immensely readable, but it is less readable and less unique in its readability than Tolstoy’s prose. Dostoyevsky shares with Tolstoy a penchant for compartmentalization, but each author has a different method of accomplishing this feat. While Tolstoy synthesizes his individual areas of focus together, Dostoyevsky keeps his individual areas of focus separate from one another. (more…)

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by Sam Juliano

More moderate weather has given us Metropolitan area residents a few very nice days, though I understand a rainstorm is heading our way late Sunday night.  We are moving closer to the end of February and the Spring season.  This coming Sunday we will be holding our annual Oscar bash at the Tiger Hose Firehouse in Fairview.  The affair is an Open House to all.  Catering again will be from Dante’s -the finest Italian Deli in town, and both hot and cold food will be offered, and plenty of it!

The science fiction voting and countdown inches closer, although no plan has yet been reached to contact the e mail chain of prospective voters and/or writers.  For a number of reasons we will only go with a Top 50 for this particular countdown.   Political followers like myself have been watching the primaries with great interest.  I am a Sanders supporter, but I think it will be Hillary vs. Trump at this point, though things could still change. (more…)

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 © 2016 by James Clark

      I love film stories where the protagonist is not simply haunted by an oversight but is palpably surprised by rare traces of insight, due to his or her carnal strengths. Fortunately for me and, as I see it, for all of us, there are quite a few cinematic virtuosos who excel in conveying such singular moments. Today, however, instead of trying to put out there the often easily missed treasures, I want to draw attention to the phenomena of film products which, on paper, seem likely to be handling such golden matters but in fact are largely intent upon quantity of approval as against quality of output. My reason for straying away from the usual excitements is a recognition that several such films might harbor their own kind of significant beachhead (or provocation) where surprises may well up for audiences in unpredictable ways.

This is a storm-tossed interpretive venture. But the increasing fate of important work being denied fanfare and serious distribution seems to demand some kind of account by which to get a grip on what might be in store. I think that the undiluted popular triumph of Inorittu’s The Revenant(2015)spreads much farther than the cash flow of a facet of the entertainment industry. While it is true that that auteur (manqué) has now become a darling of the awards self-service of the Gucci corporation, we must not lose sight of the passion from which his enterprise has gone ballistic. (Nor should we overlook the subterranean current of innovation running through an industrial and fashion design concern like Gucci.)

The Revenant unleashes a relentless spree of desperate agitation. What does it hope to accomplish by way of its hyperventilating screenplay (by Inorittu and Mark L. Smith) couched in lovely, but not shatteringly so, landscape cinematography by cameraman, Emmanuel Lubezki? Before tackling that very challenging question, there is a third clarion call in this mixture to be measured very carefully, namely, the protagonist’s frequently looking back to a life of affection with a woman and their young son steeped in the priorities of her aboriginal spirituality, if not to say, mysticism. Mystic, mysterious shards from this quarter do definitely have a role to play in this panorama. The question is, however, how steadily does that asset (closely linked to the remarkably tentative landscape) reach its potential? (more…)

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final-days-wolfe-tone-16 (1)

by Sam Juliano

An arctic vortex descended on the Metropolitan area over the last few days, sending temperatures that bottomed out at -1 F Sunday morning in what is being called the coldest Valentine’s Day in a hundred years.  Yet  tomorrow we are expecting 50 degrees F in an extreme swing that is mind boggling.  Yet a bright sun was out in all its resplendent glory on Sunday.  Today is President’s Day in the US and banks and post offices -not to mention schools for the entire week in some districts including our own- are closed.  In my hometown of Fairview, New Jersey Lucille and I will again host our annual Oscar party on February 28th at the Tiger Hose Firehouse at 6:00. P.M. As always it is an Open House, and all our friends, online or in person are encouraged to attend.  Dante’s will be catering for the third year in a row, and as everyone who is familiar with their food, they know it is phenomenal.  Six hot items and their legendary six foot heroes along with a salad and beer and beverages will be offered.  Usually around 40 people attend, though some years that number has gone higher.

I am still experiencing lower back pain -some days severely- but will be visiting a local chiropractor this week.   I am planning to send out a group e mail to the previous participants of the site’s genre polls within the coming weeks to discuss the tentative launching of the “Science Fiction Films Countdown” in the late spring.

Lucille and I one film in theaters this week, a Valentine’s day screening of the Michael Moore documentary WHERE TO INVADE NEXT, and we also attended the Friday night staging of Peter Danish’s one act play THE FINAL DAYS OF WOLFE TONE in Suffern, New York.   Wolf Tone, was the leader of the United Irishmen and is considered the Father of Irish Republicanism.  While the son of a privledge Protestant family, he saw the scourge of government sponsored sectarianism and prejudice for the tool of oppression it was and formed the United Irishmen to establish an independant republic where all Irish men and women could live in peace and freedom. “The Final Days of Wolfe Tone” tells the tale of his last days in prison leading up to his execution – days spent writing the chronicle of his life, that gave birth to the Irish Revolution that would inevitably lead to the Rising of 1916.  The three actors who compromised the full cast was exceptional. (more…)

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turandot 2

by Sam Juliano

Football fans were treated to a defensive match between the favored Carolina Panthers and the Denver Broncos, who triumphed in an error prone Super Bowl game that wasn’t always pretty to watch.  Still for those of us who traveled to the homes of relatives, where betting pools were run, or stood home to watch the big contest, it offered up a measure of entertainment to close out the nearly six-month football season.

The DGA (Director’s Guild Association) award this past week was handed out for the second year in a row to Alejandro Innaritu, whose The Revenant must now be seen a strong candidate for the Best Picture Oscar, in what is apparently a close race with The Big Short (PGA) and Spotlight. (SAG).  The Academy Awards as always are a shameless rat race with building insignificance, but it gives Lucille and I the opportunity to stage our annual awards bash, which this year like last will happen at Fairview’s Tiger Hose Firehouse, with catering again from Dante’s.  The affair is an open house.

This past week we attended two movie theater presentations, one the new Coens’ brothers film HAIL CAESAR, and the other the encore HD broadcast of Giacomo Puccini’s TURANDOT, seen at a local multiplex.  Lucille and I had seen TURANDOT live at the Met three times prior over the years during our season ticket days.   Remarkably, this is the same lavish Franco Zeffirelli production that has been there for over 20 years. (more…)

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by Barry Germansky

Given his tendency to prize a writer’s capacity for influence above all other evaluative considerations, it may seem unlikely for Harold Bloom to serve as a source of overt originality. But Bloom is a man of profound contradictions, and he is profoundly original in his unoriginality.

His career as a Yale English professor has been spent developing idiosyncratic views on canonical writers. The result is a paradoxical lens of criticism that employs its originality in the service of maintaining the traditional Western canon. Bloom’s personal canon bears a strong resemblance to the widespread canon.  When Bloom talks of one author influencing another, he is essentially validating one author for inheriting the genius of another (and, of course, whenever he does this, both writers are invariably part of the traditional canon). Accordingly, when Bloom asserts his personal literary rankings in terms of influence, the contradictory nature of his preservation of the canon through what may now appear to some as being “outmoded” objective absolutism is revealed. Even if he refers to his opinions as the products of “deep subjectivity,” many would argue that “influence” is, in many cases, an impossible quality to prove and is, whether one believes in objectivity or not, an unconvincing litmus test for canonization. Accordingly, Bloom’s reliance on influence and its associated universality as literary guides makes his rhetoric sound objective. This leads to yet another paradox: Bloom, with his maintenance of the traditional canon (no matter how he maintains it), is a refreshing singular voice in an academic critical environment dedicated to dismantling the canon through a conformist standardization of knowledge that functions by absorbing and disintegrating individual works through the corrosive surface gloss of umbrella paradigms, such as overemphasized versions of postcolonialism and posthumanism. Bloom, now 85, created yet another antidote to such trends with last year’s The Daemon Knows: Literary Greatness and the American Sublime. (more…)

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