A deep (very, very deep) dive into the writing, making, directing, editing and producing of “Drop Dead Gorgeous,” a film that bombed at the box office but (despite its lack of streaming or even a DVD) became a cult classic.
Western film and TV viewers knew her as the go-to actress for feisty Indian old lady roles (Bend It Like Beckham, Bhaji on the Beach, Masala, Jewel in the Crown, Dr Who). Yet she had a seven-decade stage and movie career in the subcontinent: she toured as a young dancer with Uday Shankar, and worked in Bollywood well into her 90s.
The Odessa International Film Festival “almost didn’t happen [this year], after the annexation of Crimea in March, and the events of 2 May, when 43 pro-Russian activists died in Odessa in a fire started in unclear circumstances. The festival was, however, eventually given the go-ahead, albeit on a drastically reduced budget, and helped by a crowdfunding campaign.”
“I was listening this morning to a Norwegian doctor who’s been in Gaza and working in a hospital in Gaza, risking his neck and going through a kind of unimaginable hell. And I was thinking, well, he’s there because of Ibsen. He wouldn’t be there if that man had not influenced his society in such an extraordinary way.”
“Since selling its final CD in 2007, Torontonians have been waiting to find out what would happen to the flashing neon discs that used to lure them into Sam the Record Man’s flagship store for nearly 40 years. … City officials were able to finally secure the storefront’s fate earlier this month – on top of a mid-rise tower one block away.”
“The show is exactly what the title says. A narrator … gets very, very drunk, on camera. As she downs her whiskeys or fancy cocktails, she delivers a historical account … It is ridiculous – and very funny. The surprising part is that it’s also a perversely effective way to deliver historical information.”
“While the film industry eventually embraced the notion of a director’s cut and ran with it – ran, in fact, with the idea of releasing multiple versions of films, each definitive in its own, idiosyncratic way –publishing did not. Despite a few exceptions, there seems to be very little enthusiasm today for multiple editions of the same contemporary book.”
“The demands for censorship speak to the illiberal tendencies of much of the art world and their self-important overestimation of the impact of cultural boycotts. They are the kind of artists who call for artistic freedom for themselves, and for those whose opinions they approve of, but deny it to those who they disapprove of, or, in this case, those whose countries they disapprove of.”
“In its nearly 80-year history, the Cinecittà film studio lured the world’s greatest directors and biggest movie stars to this Italian capital, earning it the title of Hollywood on the Tiber. Now the studio, its fortunes in decline and its edges fraying, is hoping to attract some less famous visitors when Cinecittà World, a new theme park dedicated to its golden era, opens on Thursday.”
“Done well, jukebox musicals, which are by nature about popular music, can have great music and dramatic insight, too. I propose that we stop being embarrassed by them, and I hope that producers and librettists continue to make the genre better. Great pop music can be celebrated well and enjoyably.” Sarah Lawson explains how, with examples.
“‘The real curse is that too few scholars have devoted attention to the contents of the tomb,’ says [curator] Paul Collins, … [who] believes that specialists have shied away from serious study of the boy king’s tomb because he ‘so quickly became imbued with glamour and mystery’ in the public imagination.”
And Here’s Another New Contemporary Art Museum
AJBlog: Real Clear Arts | Published 2014-07-23
AJBlog: Dancebeat | Published 2014-07-22
Footloose and Fancy Free
AJBlog: Dancebeat | Published 2014-07-22
The Composer as Cripple
(alias, Musicology as Schadenfreude)
AJBlog: PostClassic | Published 2014-07-22
“The way we look at this violin, from an investment point of view, is that this is a store of value,” Allain said. “We are big investors in gold. That’s a store of value, to the extent that someone is saying it’s worth something, just as we think bitcoin is worth something. This Stradivarius—it’s a finite supply. It’s musical gold.”