“‘Porgy’ Meets Katrina, and Life’s Not So Easy” Response

Ralph Blumenthal’s piece about the re-adapted version of Geroge Gershwin’s “Porgy and Bess,” is both informative and engaging. Blumenthal opens his review with a strong lede, quoting lyrics from probably the most recognizable song from the musical, “Summertime.” He then extensively describes the musical’s history and its past racial controversy. It was interesting to hear how Gershwin’s work has been updated into a much more modern production, with “jazz-heavy soul and gospel orchestrations, choreography and imagery.”

As well as extensively describing this new twist on a classic, Blumenthal goes into a lot of depth about the history of the musical and how, during the civil rights movement, “‘Porgy and Bess’ was often derided as racially demeaning.” However, this piece contends that this new and improved version is able to “transcend stereotypes,” and instead represents “a snapshot of American history.” While Blumenthal’s kicker leaves a less than notable impression, his review of this Austin, Texas adaptation of a Gershwin classic is clever and well-done. With his use of historical context and stylistic descriptions, he definitely succeeds in building up the musical’s interest and appeal.

Once Upon a Musical

A broken vacuum cleaner, a worn-out, holey guitar, and dusty Dublin streets: these shabby images don’t often make for movie magic. However, they certainly enhance the charming simplicity of John Carney’s Once, a beautiful story of two musicians who help each other to find inspiration despite their less than luxurious circumstances. The plain but alluring cinematography, music, and characters make for a lovely, low-cost surprise.

Director/writer John Carney pulls off the low-budget style with unsophisticated grace. The rough, shaky camera work gives the film a documentary-like appearance, as if stepping into the real-life story of musicians Glen Hansard and Marketa Irglova. This style of filming also enhances the setting and situation of the characters in their cramped, homely Dublin apartments. It makes it easier to gain a sense of how poorly the characters live and how hard they must struggle to make a sustainable living as musicians. This unique aspect of realism is hard to come by in today’s films, and instead of coming off as cheap or coarse, this blunt authenticity is portrayed with careful and elegant simplicity.

As well as adding to the setting, this real-life sensation makes the main characters easier to relate to. Though musicians by profession, Hansard and Irglova achieve their roles perfectly, with unexaggerated acting and genuine, true-to-self personality. And while the characters remain nameless throughout the film, their direct, openhearted portrayals make them likeable and help us to better understand their relationship. Irglova’s straightforward, honest character is especially charming as she works toward helping her dear friend (Hansard) find inspiration and take action toward winning back his love. And instead of portraying a feeling of regret at their end parting, the characters convey a sense of gladness, ending the film with bittersweet beauty and hope.

Also adding to the underlying simplicity of the film is the musical score, which is both bare and beautiful. Hansard’s songs are heart-breaking but hopeful, enhancing the overall tone of the film. He and Irglova’s voices, though not grand or voluptuous by any means, are exactly fitting to their style: plain, straightforward, and heart-wrenchingly honest, singing “take this sinking boat and point it home/We’ve still got time.”

While this love story is not exactly riveting, it is strikingly realistic and charming. This enchanting realism is apparent in the film’s singular and carefully delivered style, characters, and music. While simple in nature and appearance, John Carney’s work is well thought out and makes for a Once in a lifetime viewing experience.

The Proud Critic: William Zinsser’s Writing About the Arts

William Zinsser has some very constructive and helpful hints on good critiquing in the chapter Writing About the Arts from his book On Writing Well. First, Zinsser makes a clear distinction between a reviewer and a critic. However, Zinsser’s high-handed, snobbish tone makes reviews sound cheap and shallow, something he describes as “plainer and less sophisticated” than a critique (196). He obviously believes that criticism requires a larger investment of knowledge and skill than your everyday review.

After identifying the difference between a review and a critique, Zinsser extensively describes what not to do when writing criticism. Again, his know-it-all tone makes him sound as if he is the be-all and end-all of good criticism. Regardless, Zinsser seems to know what he is talking about and definitely has some well-founded tips on how to keep your readers’ interest, while still retaining your credibility as a writer. He emphasizes the importance of detail, knowledge in the medium, and most of all, personality. He describes criticism as something that should be “stylish, allusive” and full of zest and character (202). Zinsser also welcomes humor as an acceptable “lubricant in criticism” (203). But he warns against using it inappropriately. Obviously, Zinsser regards good criticism as a careful art that requires both experience and know-how, and while his tone is one of haughty superiority, his advice is both helpful and valuable.

“They’ve Got Those Mekong Blues Again” Response

They’ve Got Those Mekong Blues Again by R.J. Smith is an informative piece about the L.A.-based band, Dengue Fever. Smith’s story goes into a lot of depth about the band’s background because, to say the least, there’s a lot of it. He starts by describing the band as “an unlikely mix of 1960s Cambodian pop, rock, and other genres.” With so many different styles and backgrounds, it must be difficult to group their sound into any specific category. The band’s formation makes for an appealing story. Vocalist Chhom Nimol’s background as a Cambodian singer definitely enhances Smith’s piece and adds interest to the band’s overall image.

Smith also writes about the band’s spreading popularity and how they have been branching out of Los Angeles. Though Smith talks a lot about the band itself and Chhom’s history as a Cambodian vocalist, he could have spent more time describing and critiquing the band’s music. It’s difficult to gain a sense of how unique Dengue Fever’s sound really is just from reading this article. However, Smith does a good job of building up the interest and allure of the band, most likely spurring several readers to go out and buy some of Dengue Fever’s music.

http://www.nytimes.com/2008/01/20/arts/music/20smit.html?ref=music

“They Wrong. We Write”

On November 4^th, 2007, more than 12,000 screenwriters decided to go to war, battling evil producers gruesomely for- what else- money. The Writers Guild of America (WGA) strike has created mayhem in Hollywood, threatening an excessive outpour of reruns and a significant surge in trashy reality TV shows. As much as we all fear this development, Hollywood’s writers certainly have a point. Also, with the support of celebrities such as Ben Stiller and Alicia Keys, it is difficult to disagree with their cause. The internet is a profitable and ever-developing investment for the film and TV industry. The writers of these shows definitely deserve a larger portion of the earnings made from the internet. Until the Alliance of Motion Picture and Television Producers (AMPTP) agrees to negotiate the distribution of profits with the WGA, no headway will be made, and the public will continue to be subjected to reruns and sleazy reality rubbish. These two groups’ refusal to cooperate also threatens the cancellation of the Academy Awards ceremony. How is the American public supposed to go without this annual dose of cheesy celebrity witticisms and Joan Rivers’ fashion critiques? Unacceptable! A compromise must be reached if there is to be any advancement in the film and TV industry.

http://www.nytimes.com/2007/11/26/business/media/26strike.html?_r=1&oref=slogin

http://www.broadcastingcable.com/article/CA6498384.html

http://en.wikipedia.org/wiki/2007_Writers_Guild_of_America_strike

Demon Barber Leaves a “Deep” Impression

by Emily France

This latest adaptation of the musical Sweeney Todd: The Demon Barber of Fleet Street is a creative attempt to revamp a classic, but comes up short in plot development and depth. Our “hero,” played by Johnny Depp, is a deeply disturbed and revenge-obsessed barber. Though Depp’s performance is seamless, our main character’s apparent heartlessness soon robs us of any sympathy we might have developed for his oh-so-sad story. The ridiculously exaggerated violence overshadows the plot and any deeper meaning to be found in this film. The constant show of blood and guts is overpowering and does not make for a very pleasant viewing experience. For those who can handle the gore, however, this film could prove to be an original and unique addition to their repertoire.

While the violence is sometimes distracting, there are some niceties to be noticed. The acting in this film is both pleasurable and fun to watch. Depp, in his best role, plays the dark, brooding type perfectly. Helena Bonham Carter’s character is absolutely charming, winning over the audience with her blunt wit and pessimism. Alan Rickman’s acting also wonderfully enhances Judge Turpin’s wickedness. The costumes also add a unique stylistic touch. In true Burton style, the story takes place in a charming setting, with dirty, gray buildings and shockingly white make-up. The dark and disheveled appearances of the main characters certainly add to their attitudes of corruption. While the costumes and setting are fitting to the theme of the movie, the music is lacking in both depth and character. Composer Danny Elfman’s score is not quite cohesive with the tone of the film, and the singing is mostly awkward and unfitting.

While Burton’s adaptation of Sweeney Todd: The Demon Barber of Fleet Street contains a few notable stylistic touches, the plot leaves us unsatisfied and wondering what just happened. The small number of original elements does not make up for the overwhelming gore, inappropriate musical score, and deficient plot.