Archives for November 2017

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

BROADWAY:
• The Band’s Visit (musical, PG-13, all shows sold out last week, reviewed here)
• Dear Evan Hansen (musical, PG-13, all shows sold out last week, reviewed here)
• Hamilton (musical, PG-13, Broadway transfer of off-Broadway production, all shows sold out last week, reviewed here)

OFF BROADWAY:
• Pride and Prejudice (comedy, G, remounting of Hudson Valley Shakespeare Festival production, extended through Jan. 6, original production reviewed here)

CLOSING SOON OFF BROADWAY:
• The Home Place (drama, PG-13, extended through Dec. 17, reviewed here)

CLOSING NEXT WEEK OFF BROADWAY:
• The Portuguese Kid (comedy, PG-13, closes Dec. 10, reviewed here)

“These men, and their performances, are characterized by the absence of the desire to please. On screen, they don’t have anything to prove, and so we are extraordinarily drawn to them.”

David Mamet, Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business

In today’s Wall Street Journal “Sightings” column, I write about A Life in Movies and Million-Dollar Movie, the two-volume autobiography of Michael Powell, one of the greatest filmmakers of the twentieth century. Here’s an excerpt.

* * *

Anyone can write an autobiography, and it sometimes seems that most people do. But the ability to write an autobiography with bonafide literary merit—one that can be read for aesthetic pleasure alone—is usually limited to professional writers.

Miracles do happen, though, and anyone who’s had the pleasure of reading (to cite two of my favorite examples) Ulysses S. Grant’s “Personal Memoirs” and Alec Guinness’ “Blessings in Disguise” knows that you needn’t be a pro to write stylishly. “A Life in Movies” (1986) and “Million-Dollar Movie” (1992), Michael Powell’s reminiscences of his young years and later life as a British film director, prove the same point. Almost entirely unknown in this country, these two books were recently drawn to my attention by a film critic. (While both are out of print, used copies are easy to obtain.) Taken together, they constitute what just might be the best autobiography ever published by a working artist of significance who wasn’t a wordsmith by trade….

Don’t be embarrassed if Powell’s name is unfamiliar to you. “The Life and Death of Colonel Blimp” (1943), “I Know Where I’m Going!” (1945), “Black Narcissus” (1947) and “The Red Shoes” (1948), the films for which he is best known, didn’t attract wide attention when they were originally released in the U.S., and for many years they were unavailable for screening. It was only when the Criterion Collection brought them out on home video that Powell and his professional partner, the screenwriter Emeric Pressburger, came to be widely regarded as filmmakers of the first rank, a judgment shared in high places. (“Colonel Blimp,” for instance, is David Mamet’s favorite movie.) Even now, they are not nearly so well known as their Hollywood-based contemporaries, in particular Alfred Hitchcock, who did not become a household name until he immigrated to the U.S. in 1940. Powell, by contrast, never wanted to work in Hollywood, for he saw himself as a wholly English artist and coveted his creative independence. “My art was a proud art, and I still believe in the art of the impossible,” he wrote in “Million-Dollar Movie.” So he steered clear of Hollywood, ran out of money, and made no feature films between 1969 and his death in 1990.

It is, to be sure, a sad story, but there is nothing remotely sad about “A Life in Movies” and “Million-Dollar Movie,” in which Powell recounts his tales of triumph and disaster in the manner of a man who embraced the whole of life, good and bad alike, with unquenchable enthusiasm….

* * *

Read the whole thing here.

From 1986, an episode of The South Bank Show devoted entirely to the life and work of Michael Powell. It was rebroadcast by ITV after his death in 1990:

A scene from The Life and Death of Colonel Blimp, directed by Michael Powell, written by Emeric Pressburger, and starring Roger Livesey, Anton Walbrook, and Deborah Kerr:

Bookmark: Kingsley Amis, a 1991 BBC documentary about the novelist occasioned by the publication of his Memoirs:

(This is the latest in a series of arts-related videos that appear in this space each Monday, Wednesday, and Friday)

“John, you don’t want the train. The train’s Amtrak, am I right?”

“So?”

“And Amtrak’s the government, right?”

“And?”

“And the government’s Republicans right now, right?”

“Yeah?”

“And Republicans don’t believe in maintenance,” Andy explained. “Cause it costs money.”

“Well,” Dortmunder said, “I can’t wait for the Democrats to get back in.”

“Wouldn’t help,” Andy said. “The Democrats don’t know how to run a business. Forget Amtrak.”

Donald E. Westlake, What’s the Worst That Could Happen?

From 2007:

I’ve watched a Senate session from the press gallery and visited the White House a couple of times, but I’d never before seen the Supreme Court in action. It’s quite a show. I suppose you can get used to anything—Dostoyevsky certainly thought so—but I’m sure it would take a good many visits before I stopped feeling awestruck when the clerk cries “Oyez, oyez, oyez!” and the nine justices step from behind the red curtains and take their seats at the bench….

Read the whole thing here.

“Actuality sometimes plays into the hands of art.”

Anthony Burgess, Earthly Powers

Thomas Beecham and the Chicago Symphony perform Haydn’s Symphony No. 102 and Mozart’s “Prague” Symphony. This concert was originally telecast on March 13, 1960:

(This is the latest in a series of arts-related videos that appear in this space each Monday, Wednesday, and Friday)

“The larger revelation of the transcendent gifts of Mozart is a crying need in our present condition of dubious culture and civilisation. His spirit, more than that of any other composer, is made of that stuff which can provide the most telling and efficacious antidote to the chaotic thought and action of a blatant age.”

Thomas Beecham, program note, 1937 (quoted in John Lucas, Thomas Beecham: An Obsession with Music)

The original theatrical trailer for The Heiress, William Wyler’s 1949 screen version of the 1947 stage adaptation by Ruth and Augustus Goetz of Henry James’ Washington Square, starring Olivia de Havilland, Montgomery Clift, and Ralph Richardson:

(This is the latest in a series of arts-related videos that appear in this space each Monday, Wednesday, and Friday)