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Film and the Arts

March '19 Digital Week II

Blu-rays of the Week 

Fantastic Beasts: The Crimes of Grindelwald 

(Warner Bros)

This sequel to J.K. Rowling’s first post-Harry Potter story (and maiden attempt at a screenplay) once again tracks a wizard, Newt Scamander (Eddie Redmayne), a none-too-subtle version of an adult Harry Potter, and his attempts to return dark wizard Gellert Grindelwald (Johnny Depp) to captivity after he escapes.

 

 

 

Alongside Redmayne and Depp, the cast—including Katharine Waterston, Jude Law, Zoë Kravitz and Carmen Ejogo—does battle with and against eye-popping effects and cleverly designed monsters. Two-plus hours of such exploits becomes wearying, but—as usual when it comes to Rowling’s imaginative worlds—your mileage may vary. The film looks splendid on Blu-ray; extras include on-set and “Unlocking Scene Secrets” featurettes and deleted scenes.

 

Fear the Walking Dead—Complete 4th Season 

(Lionsgate)

The fourth season of this spin-off of/prequel to The Walking Dead is highlighted by the first crossover episode of the two series, and the 16-episode season consists of two eight-episode segments.

 

 

 

As usual, it’s crammed with accomplished writing, directing and acting, but I can’t help but feel that such efficient storytelling obscures the fact that there’s little purpose or point to the whole enterprise. But that seems a minority opinion.  It does look fantastic in hi-def; extras comprise four audio commentaries.

 

 

 

 

 

The Indomitable Bow—Mstislav Rostropovich 

(Naxos)

Russian cellist and conductor Mstislav Rostropovich not only collaborated with the greatest 20th century composers—Prokofiev, Britten, Shostakovich, Dutilleux, Lutaslowski and Penderecki, for starters—but also performed many masterworks for the cello from Bach on; and that’s only part of his long but fascinating story.

 

 

 

Bruno Monsaingeon’s illuminating documentary portrait shows an artist and human-rights advocate fearlessly speaking out during the Cold War, as Rostropovich and his soprano wife Galina Vishnevskaya fell afoul of Soviet policies antithetical to art and humanity. Clips of him performing and speaking are complemented by interviews with colleagues and family members. The film looks fine on Blu; extras comprise his performances of Bach, Tchaikovsky and Beethoven and interviews with the children of dissident writer Aleksandr Solzhenitsyn and Rostropovich about their relationship. 

 

Kalifornia 

(Shout Select)

In Dominic Sena’s nervy 1995 drama—among a group of mid-90s “youthful killer” movies including Fresh Bait, Natural Born Killers and True Romance—Brad Pitt and Juliette Lewis are a charismatic murderer and his compliant girlfriend on a road trip with unsuspecting couple David Duchovny and Michelle Forbes.

 

 

 

Despite manipulative touches, this is an effective and disturbing study, with top-notch performances all around—and whatever happened to Forbes? There’s a finely-detailed hi-def transfer and both the director’s and original theatrical cut are included; extras are a new Sena interview, archival featurette and cast interviews.

 

 

 

 

 

Krypton—Complete 1st Season 

(Warner Bros)

(Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.)

In the first season of this sci-fi fantasy series that creates an alternative Superman origin story, an earthling from the future, Adam Strange, arrives on the title planet to convince Seg-El, Superman’s future grandfather, that his eponymous home planet needs to be saved from destruction.

 

 

 

Despite the intriguing premise, the series takes itself a little too seriously, and it doesn’t really go anywhere unfamiliar or riveting over its 10 episodes. There’s a stellar hi-def transfer; extras are the 2017 Comic-Con Panel, two featurettes, a gag reel and deleted scenes.

 

The Vanishing 

(Lionsgate)

This relentlessly downbeat, exceedingly violent drama shows what happens on an isolated island when three lighthouse keepers discover a cache of gold along with a body after a boat washes ashore.

 

 

 

Based on a tantalizing true-life tale, this prime piece of speculative fiction was directed with supreme control by Kristoffer Nyholm and exceptionally well-acted by Peter Mullan, Gerard Butler and Connor Swindells. There’s an excellent hi-def transfer; the lone extra is a making-of featurette.

 

CDs of the Week

Bartók—Complete String Quartets 

(Chandos) 

Bartók—Piano Concertos; String Quartet; Concerto for Orchestra; Music for Strings, Concerto for Orchestra 

(Orfeo)

The great Hungarian composer Béla Bartók (1881-1945) wrote gloriously original music in all genres, from chamber and orchestral to choral and opera. These two-disc sets bring together defining performances of some of his masterpieces. The Arcadia Quartet, with the daunting task of playing all six of his expressive, explosive string quartets, makes its own mark in this mysteriously elusive but exciting music. 

 

The Orfeo disc compiles performances over several decades of some of Bartók’s most important works, including pianist György Sándor as the brilliant soloist in a 1955 recording of the Piano Concerto No. 2 and Sándor Végh leading the Camerata Academia des Mozrteum Salzburg in a stunning 1995 reading of the masterly Music for Strings, Percussion and Celesta (whose third movement is familiar to anyone who’s seen The Shining).

Off-Broadway Review—“Hurricane Diane”

Hurricane Diane

Written by Madeleine George; directed by Leigh Silverman

Performances through March 24, 2019

 

Michelle Beck, Danielle Skraastad, Mia Barron and Kate Wetherhead in Hurricane Diane (photo: Joan Marcus)
The women who populate Madeleine George’s amusingly off-kilter Hurricane Diane seem to be waiting for something, anything to spice up their daily drudgery. What arrives to uproot the lives of Carol, Renee, Pam and Beth is a literal force of nature: Dionysus, who—or so we are told in the god’s hilarious opening monologue—has decided to return to civilization to convince people that the earth is dying thanks to man-made climate change and that the best place to start changing minds is a cul-de-sac in suburban New Jersey.
 
As Dionysus—who takes the form of Diane, a butch landscaper—worms into their homes, confidences and, eventually, beds, the women’s souls are revealed and their inhibitions drop away. Cautious Carol; levelheaded Renee; irrepressible Pam; and needy Beth (her husband recently left her) all find varying degrees of liberation through Diane’s physical and emotional proximity.
 
For 90 minutes, George’s play gleefully skewers everything and everyone in its path, sometimes incisively, sometimes lazily—there are times when it skirts sitcom writing, but others when it makes skillful comic and even tragic impressions. And, although it simply peters out at the end, it’s crammed with quotable dialogue and a fearless way of destroying the realism of both her characters and her own play. 
 
Hurricane Diane is directed with equal parts vigor and finesse by Leigh Silverman on Rachel Hauck’s cleverly designed set. And the cast of five couldn’t be bettered. The women—Mia Barron (Carol), Michelle Beck (Renee), Danielle Skraastad (Pam) and Kate Wetherhead (Beth)—are magnificent individually and as a unit, with Skraastad as a particularly dynamic scene-stealer. And Becca Blackwell is the perfect embodiment of Diane/Dionysius, drawing every last laugh out of George’s robust and even potent words. 
 

Hurricane Diane

WP Theater/New York Theatre Workshop, 79 East 4th Street, New York, NY

wptheater.org/nytw.org

The Vienna Philharmonic Orchestra Performs Mahler & More at Carnegie Hall

Michael Tilson Thomas, photo by Richard Termine
 
A superb season at Carnegie Hall continued magnificently on the evening of Wednesday, March 6th, with the extraordinary appearance of the terrific musicians of the Vienna Philharmonic Orchestra under the illustrious direction of Michael Tilson Thomas, in the last of four concerts in close succession.
 
The program was devoted to a masterly reading of Gustav Mahler’s incomparable, valedictory Symphony No. 9—a not unexpected selection given that Tilson Thomas is probably the conductor of the current moment who is most prominent as an interpreter of the composer, alongside Simon Rattle. The concert proper was preceded by an informative talk given by Marilyn McCoy, Adjunct Assistant Professor of Music at Columbia University and Barnard College.
 
The haunting first movement was at times ominous, but punctuated by appropriately tumultuous episodes. In the ensuing scherzo, sprightliness was successfully fused with irony. More rambunctious was the eccentric but dynamic Rondo-Burlesque, which had a gorgeous, song-like interlude in the Trio. The rapturous and mysterious Adagio, which closed the work, issued into an ethereal, but powerfully affirmative, coda. The artists received an enthusiastic ovation. I look forward to the next local appearance of these outstanding musicians.

The Music of Karol Rauthus Rediscovered by Orchestra Now

Daniel Wnukowski, photo by Claudia Zadory
 
On the afternoon of Sunday, February 24th, at the Lefrak Concert Hall at Queens College, I attended a notable program—featuring the impressive artists of The Orchestra Now, under the direction of Leon Botstein—devoted to the music of the lesser-known composer, Karol Rathaus, as part of a festival dedicated to his work, sponsored by the Aaron Copland School of Music, the Queens College Center for Jewish Studies, and the American Society for Jewish Music.
 
Rathaus was a student of Franz Schreker who became the first Professor of Composition at Queens College. The festival featured chamber music, a couple of talks, as well as a screening at Film Forum of the 1936 film version of Broken Blossoms—by the still underrated director, John Brahm—for which Rathaus composed the score. (According to a note in the program, the great Bernard Herrmann commented that the music Rathaus had composed for the 1931 film, Der Mörder Dimitri Karamasoff, was “the first full film score.”)
 
The concert I heard opened promisingly with the New York premiere of The Louisville Prelude, which was commissioned by the Louisville Orchestra but “never performed in the United States after its initial premiere in 1954.” The piece began evocatively and plaintively, although eventually became more agitated and concluded abruptly. The interesting instrumental texture included employment of the piano.
 
Soloist Daniel Wnukowski then took the stage for the composer’s spikier Piano Concerto, a more self-conscious expression of High Modernism, “last performed 34 years ago in 1984 by the Queens College Orchestral Society.” The moody first movement was by turns introspective and turbulent, while the second was even more inward, if no less emotional. The closing movement was perhaps the most tempestuous of all, which, for all its volatility, ended not without a note of triumph. As an encore, the pianist graciously performed an arrangement by Egon Petri of Johann Sebastian Bach’s “Sheep May Safely Graze,” which was a highlight of the afternoon.
 
The second half of the concert started with what was by far the most pleasurable and accessible work on the program, the world premiere of Russian-Israeli composer Ariel Davydov’s arrangement of the colorful and charming Merchant of Venice Suite, “incidental music composed for the performance of the play by Habima (now The National Theater of Israel), which took place in 1936 in Palestine.” The fourth movement, entitled Prince of Morocco, was especially memorable for its bewitching exoticism.
 
The event concluded with an accomplished account of the U.S. premiere of the imposing Symphony No. 2, which “was premiered at a Frankfurt Festival of New Music in 1924 together with excerpts from Alban Berg’s opera "Wozzeck.” An unfavorable reception led Rathaus to withdraw the work and it was not performed again until 2002 by the Frankfurt Brandenburg State Orchestra. The organizers of this festival deserve praise for securing the realization of a program of such unfamiliar repertory.

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