Talking Movies

June 16, 2017

Vermeer: Beyond Time

Filed under: Uncategorized — Fergal Casey @ 12:14 pm

VERMEER BEYOND TIME documentary to screen across Ireland to celebrate forthcoming National Gallery of Ireland exhibition – Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

Vermeer Beyond Time, a new documentary chronicling the life and times of one of the most-loved, treasured and well-known artists in the world today, Johannes Vermeer, will have screenings across the country this summer to coincide with the once-in-a-lifetime exhibition Vermeer and the Masters of Genre Painting: Inspiration and Rivalry at the National Gallery of Ireland from Saturday 17th June, in collaboration with the Musée du Louvre, Paris, and the National Gallery of Art, Washington.

In the feature documentary, Vermeer, Beyond Time, French filmmaker Jean-Pierre Cottet adopts an imaginative and sensitive approach to his subject focusing on the work itself but also explores Vermeer’s family life including his conversion to Catholicism, his artistic contemporaries and the wider world of the short lived Dutch Golden Age of the 17th Century. Cottet’s film explores the individual paintings and teases out what has come to be known as the Vermeer style; the representation of light, the interplay of colour and the effects of perspective across the same themes, places and objects.

Vermeer’s paintings are of a world inhabited by refined and cultivated women; respectful or troublesome servants; charming young people and learned men. His ruthless elimination of objects and things that serve no purpose results in an art that suspends time and that leaves us, the viewer, always wanting to know more. The film adds much to our understanding and knowledge of the painter, while still allowing for the mystery and allure of his art. Vermeer’s death in 1675 is sudden and incredibly sad.  Overwhelmed by poverty, physically weakened and humiliated, he dies at the age of 45.  Soon afterwards, his paintings are sold to cover his debts.  Vermeer disappears from memory.  His rediscovery some 200 years later has seen his popularity soar, claiming both our hearts and our admiration.

 

James Mitchell of Irish production company Soho Moon produced the documentary and it is narrated by Fiona Shaw.

Cert: PG

Running Time: 91 mins

https://www.youtube.com/watch?v=P5U2hRC0oKU&feature=youtu.be

 

Vermeer, Beyond Time screens at the following cinemas on Wednesday 21st June – Gate Cork and Light House Dublin; Thursday 22nd June – Mermaid Arts Centre Bray; Sunday 9th July – Tracton The Inkwell Theatre Cork.  For future screenings, please contact Eclipse Pictures – details below

 

 

For advance ticket booking for the upcoming exhibition, Vermeer and the Masters of Genre Painting: Inspiration and Rivalry at The National Gallery of Ireland, go to www.nationalgallery.ie.

The exhibition, which had record numbers at the Paris venue and complimentary reviews in the international media, opens in the National Gallery of Ireland on Saturday 17th June and runs through to 17th September.  It will be the major Old Master exhibition in Europe this summer coinciding with the reopening of the National Gallery of Ireland’s refurbished historic wings and new display of the permanent collection which opens to the public on Thursday 15th June.

Conceived by the National Gallery of Ireland, this revelatory exhibition celebrates the work of Johannes Vermeer (1632-1675) and will give new insights into the relationships the artist maintained with other great painters of the Dutch Golden Age.  It will bring together some 60 paintings from major public and private collections around the world. Ten masterpieces by Vermeer will be included representing nearly a third of the artist’s surviving works and the third highest number of works by Vermeer ever assembled. The National Gallery of Ireland’s own Vermeer, Woman Writing a Letter, with her Maid c.1670, which is regarded as one of the artist’s finest works, will be shown alongside other exquisite compositions including Woman with a Balance, c.1663–4 (National Gallery of Art, Washington); Woman with a Pearl Necklace, 1663–4 (Staatliche Museen zu Berlin); The Astronomer, 1668 (Musée du Louvre, Paris) and The Geographer, 1669 (Städel Museum, Frankfurt). Paintings of daily life by contemporaries of Vermeer, including Gerrit Dou, Gerard ter Borch, Jan Steen, Gabriel Metsu, Pieter de Hooch and Frans van Mieris, will also feature.

Dr Adriaan Waiboer, Head of Collections and Research at the National Gallery of Ireland, and curator of the exhibition, says: “Johannes Vermeer is frequently portrayed as an enigmatic figure working largely in isolation, but this exhibition clearly demonstrates how Vermeer’s subjects, compositions and figure types owe much to works by contemporary Dutch artists, including Gerrit Dou, Gerard ter Borch and Frans van Mieris, all of whom were more successful and influential in their time.” The exhibition brings together groups of paintings of domestic scenes – letter writing, in front of a mirror, musical scenes – and the obvious similarity of the compositions shows the interplay between artists – nonetheless Vermeer’s brilliance and originality brings new heights to the subjects and his work takes genre painting to a yet higher level.

May 20, 2017

Waiting for Godot

The Abbey, in its new baffling role of an Irish Wyndham’s Theatre, hosts Druid’s hit 2016 production of Samuel Beckett’s debut; and it’s incredibly impressive.

Broken down gentlemen Vladimir (Marty Rea) and Estragon (Aaron Monaghan) find themselves in a desolate landscape, waiting for a meeting with possible benefactor Godot. Their attempts to pass the time; or hang themselves, whichever seems more practicable; are aided by the unexpected arrival of Pozzo (Rory Nolan) and his servant Lucky (Garrett Lombard). Vladimir is outraged by Pozzo’s treatment of Lucky, but Lucky’s speech soon puts paid to his sympathy… And then a small boy appears and tells them Godot will not be coming, but that he will certainly see them the next day; if they would be so good as to wait again.

It is hard not to feel watching this production that something remarkable has happened: the torch has passed to a new generation of Irish actors.

5/5

 

Waiting for Godot continues its run at the Abbey until the 20th of May.

April 21, 2017

Rules Don’t Apply

Warren Beatty finally releases his Howard Hughes project, and the result says more about Beatty than it does about Hughes.

Marla (Lily Collins) is an enthusiastic starlet from Virginia who has passed up a university scholarship to seek fame in the movies. She’s assigned personal chauffeurs Frank (Alden Ehrenreich) and Levar (Matthew Broderick), working alternate shifts, and attends dance and acting classes with the likes of Mamie (Haley Bennett), but, much to the chagrin of her mother Lucy (Annette Bening), is not met by Howard Hughes, and cashes paycheques while never being given her promised screen-test. But Frank is in the same boat. When they finally get to meet the eccentric recluse, their mutual attraction is already in danger of getting them both fired for immoral behaviour, if the deranged antics of Hughes; locked in conflict with TWA shareholders, Merrill Lynch money men, his CEO, and paranoid about being declared paranoid; don’t destroy their careers and/or their lives first.

One hesitates to say that Warren Beatty is so vain he made a film about himself, but the long build-up to the first appearance of Hughes, his persistent appearance in dim lighting to hide the rigours of age, the power-tripping of keeping people endlessly waiting for no reason, the constant baloney of stringing people along with projects that are never going to happen, the phone calls at all hours of day and night that must be answered, and the endless cooing to Hughes of his genius by pretty young women, all seem to speak more to the actual Beatty that emerges from Peter Biskind’s biography than to any real portrayal of Hughes. And let’s remember that Beatty; actor, co-writer, director, producer; has been working on this script since about 1980. This was, par Biskind’s narrative, to be the magnum opus.

2/5

Handsome Devil

Filed under: Talking Movies (Reviews) — Fergal Casey @ 2:40 pm

Writer/director John Butler follows The Stag with a film that is somehow much better put together yet actually more infuriating.

Ned (Fionn O’Shea) complains volubly to his father and stepmother (Ardal O’Hanlon, Amy Huberman) about being sent back to boarding school. They don’t care. He complains volubly to his principal (Michael McElhatton) about being forced to share his room with a rugby player Conor (Nicholas Galitzine). He doesn’t care. He then complains volubly to the audience about the importance given to rugby in this school; which is apparently meant to be Blackrock, but somehow seems more like Clongowes; and how awful it is to be a gay student in a heteronormative school. Little does he know that his new roommate has a secret, a big one, that by the end of term will change the school forever.

There is a reference to the Berlin Wall as if it’s still standing, and our hero plagiarises The Undertones, so it’s the 1980s, right? Except for the prominently featured poster of the cover of Suede’s debut album, from 1993. But that doesn’t really matter, right? I mean, it’s not like that year has any special significance. It’s only when Ireland decriminalised homosexuality, so it probably doesn’t impinge on the seriousness of Andrew Scott’s teacher being outed to the principal. It is unfortunate for such slapdash writing to reach Irish cinemas mere months after the innovative and spot-on recreation of period detail in Mike Mills’ 20th Century Women, which was actually concerned with replicating the felt experience of life in 1979 California.

2/5

April 8, 2017

Private Lives

The Gate celebrates its new regime by producing a Noel Coward play. Plus ca change, and all that, darling.

Elyot (Shane O’Reilly) arrives at a spiffy hotel for a second honeymoon, as it were, this being his second marriage. His present wife Sibyl (Lorna Quinn) cannot stop talking about his previous wife Amanda (Rebecca O’Mara) and do you know the damndest thing happens; doesn’t she turn out to be staying in the next room with her present husband, dear old Victor (Peter Gaynor). Whole thing is most extraordinary… Sibyl and Victor make themselves so beastly when Elyot and Amanda try to escape this sickmaking setup that it really serves them right when El and Am simply decamp together to avoid all the unpleasantness.

Coward’s intimate comedy is a bit too intimate for its own good in this presentation. One misses the variety of recent hilarious outings for Hay Fever and The Vortex. Instead we have a fourhander where you can’t help but wonder if director Patrick Mason was foiled in casting his regular foil Marty Rea by the latter’s touring commitments. Francis O’Connor’s set design reuses some familiar elements, but its transformation from art deco hotel to primitive chic flat is a marvel and a delight. There are also some divine musical jokes in the form of Coward’s 20th Century Blues playing between acts, and Rachmaninov mixing with Hitler on the wireless.

3/5

Private Lives continues its run at the Gate for ever so long.

April 7, 2017

Table 19

Anna Kendrick stars in a slightly unusual romcom that is notable for being more amiable than the usual Hollywood fare.

Kendrick is Eloise, the ex-maid of honour, who is still attending her best friend’s wedding despite being ditched from the bridal party after breaking up with the best man Wyatt Russell, brother of the bride. To avoid awkwardness she is relegated to the back of the room, Table 19. And as she planned the wedding Eloise knows just what a humiliation this is: seated next business acquaintances of the bride’s father, Craig Robinson and Lisa Kudrow, a nanny, June Squibb, a ‘successful businessman’ who is clearly nothing of the sort, Stephen Merchant, and a frustrated teenage lothario, Tony Revolori.

The Breakfast Club is an obvious point of reference for Table 19, and there is an undeniably goodhumoured spirit to proceedings that counts for much. But the presence of the Duplass brothers as original screenwriters makes you wonder what this movie was envisioned as in earlier drafts, especially as a striking camera movement when Eloise dances with a stranger and the best man sees it almost feels like a leftover from a draft where the real time wedding was being imagined as one single long take.

Table 19 isn’t hilarious, but it is more thoughtful than one would imagine and hides its grand romantic gesture with some glee.

3/5

March 31, 2017

The Boss Baby

Filed under: Talking Movies (Reviews) — Fergal Casey @ 3:34 pm

Alec Baldwin is the star of the show as the voice of the titular infant in an animated comedy aimed at a surprisingly niche audience.

Tim (voiced in Wonder Years style narration by Tobey Maguire) has a perfect life. Loving parents, who sing him ‘Blackbird’ as his own personal song, a faithful alarm clock that talks to him in the dialogue of Gandalf, and an active imagination, obviously. Which is ruined when a baby in a business suit pulls up in a taxi, power-walks into the house, and demands attention at all hours of the night and day from his parents. When Tim discovers the baby can talk, and does so in the voice of Alec Baldwin, he tries to figure out what is the what before his parents’ love for him is entirely consumed by the demands of the boss baby…

The Boss Baby is a curious creature. Baldwin’s delivery of “Uh-uh, cookies are for closers” is one of a handful of jokes aimed at parents, the other pick being Baldwin’s query if Tim’s parents are actually Lennon & McCartney when he complains how they are now singing his personal song ‘Blackbird’ for the baby. But there is precious little here for parents. Indeed, there is at times precious little for children either. There is, mercifully, none of the usual Dreamworks shtick about how the most important thing in the world is to just be yourself, but instead there’s a message targeted at what can only imagine is a fairly niche child audience. 7 year olds dealing with jealousy at a new sibling. Indeed if a 7 year old was dealing with jealousy at a new sibling they might be as irritated as a cinephile by the painfully protracted ending in which Tim and the Boss Baby get what they want, but…not what they need.

2/5

March 27, 2017

My Own Personal Theatre Awards 2016

It seems odd that Irish theatre should be so ruled by just one set of awards, especially when they have such transparent biases. Someday perhaps someone with the necessary money, reach, and prestige will set up an alternative to the Irish Times Theatre Awards. In the meantime here’s my 2nd annual Theatre Awards, pitched as a corrective; like the Film Top 10 is pitched somewhere between the mid-1990s Oscars and MTV Movie Awards; operating under the fervent aspiration that what is good ought be popular and what is popular ought be good.

Best Production

The Plough and the Stars (The Abbey)

Northern Star (Project Arts Centre)

Who’s Afraid of Virginia Woolf? (The Gate)

The Beauty Queen of Leenane (The Gaiety)

Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Othello (The Abbey)

 

Best Director

Lynne Parker – Northern Star (Project Arts Centre)

Sean Holmes – The Plough and the Stars (The Abbey)

Garry Hynes – The Beauty Queen of Leenane (The Gaiety)

Jeremy Herrin – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Joe Dowling – Othello (The Abbey)

Annabelle Comyn – The Wake (The Abbey)

Ethan McSweeny – The Father (The Gate)

Best Actor

Denis Conway – Who’s Afraid of Virginia Woolf? (The Gate)

Marty Rea – Othello (The Abbey)

Owen Roe – The Father (The Gate)

Peter Macon – Othello (The Abbey)

Phelim Drew – Kings of the Kilburn High Road (The Gaiety)

Gary Lydon – The Weir (The Pavilion)

 

Best Actress

Fiona Bell – Who’s Afraid of Virginia Woolf? (The Gate)

Aisling O’Sullivan – The Beauty Queen of Leenane (The Gaiety)

Cathy Belton – Helen & I (Civic Theatre)

Derbhle Crotty – Juno and the Paycock (The Gate)

Lisa Dwyer Hogg – After Miss Julie (Project Arts Centre)

 

Best Supporting Actor

Marty Rea – Juno and the Paycock/The Beauty Queen of Leenane (The Gate/The Gaiety)

Rory Nolan – Northern Star (Project Arts Centre)

Darragh Kelly – Northern Star (Project Arts Centre)

David Ganly – The Plough and the Stars (The Abbey)

Paul Kennedy – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Aaron Monaghan – The Beauty Queen of Leenane (The Gaiety)

Neill Fleming – Hamlet (The Mill Theatre)

Brian Doherty – The Wake (The Abbey)

 

Best Supporting Actress

Marie Mullen – The Beauty Queen of Leenane (The Gaiety)

Janet Moran – The Plough and the Stars (The Abbey)

Eileen Walsh – The Plough and the Stars (The Abbey)

Ali White – Northern Star (Project Arts Centre)

Sophie Robinson – Who’s Afraid of Virginia Woolf? (The Gate)

Caoimhe O’Malley – Juno and the Paycock/The Constant Wife (The Gate/The Gate)

Darcy Donnellan – Nowhere Now (Players Theatre)

 

Best New Play

The Father by Florian Zeller (The Gate)

The Meeting by Grainne Curistan (Players Theatre)

Nowhere Now by Daniel O’Brien (Players Theatre)

 

Best Set Design

Paul O’Mahony – The Wake (The Abbey)

Jonathan Fensom – Who’s Afraid of Virginia Woolf? (The Gate)

Francis O’Connor – The Father/The Beauty Queen of Leenane (The Gate/The Gaiety)

Ciaran Bagnall – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Riccardo Hernandez – Othello (The Abbey)

Gerard Bourke – Hamlet (The Mill Theatre)

 

Best Lighting Design

Paul Keogan – Observe the Sons of Ulster Marching Towards the Somme/The Plough and the Stars (The Abbey/The Abbey)

Sinead McKenna – Othello/Juno and the Paycock (The Abbey/The Gate)

Rick Fisher – The Father (The Gate)

Kris Mooney – Hamlet (The Mill Theatre)

 

Best Sound Design

Emma Laxton – Observe the Sons of Ulster Marching Towards the Somme (The Abbey)

Philip Stewart – The Plough and the Stars (The Abbey)

Denis Clohessy – The Father (The Gate)

Ferdy Roberts & Filter Theatre – A Midsummer Night’s Dream (Grand Canal Theatre)

 

Special Mention

Pippa Nixon – The Tempest (The Globe)

I’m loath to include anything I saw in London in these awards, but an exception must be made here.

Nixon’s commanding turn as Ariel was one of those performances that upend your perception of a play.

March 24, 2017

Work Suspended

Filed under: Uncategorized — Fergal Casey @ 11:23 am

I’ve been experiencing tremendous technical difficulties for a while now.

Hopefully they should all be resolved in the coming days.

Talking Movies will then return with belated theatre reviews of The Pillowman, Arlington, and The Dumb Waiter.

February 16, 2017

Hidden Figures

Hidden Figures tells the neglected story of the black women mathematicians behind the scenes during the early days of NASA.

hidden-figures

Katherine Johnson (Taraji P Henson) works as a computer in the backrooms of NASA as the fledgling agency tries to put a man in space. She is tapped to work out analytical geometry for hard-nosed director Al Harrison (Kevin Costner), and suffers the contempt of Paul Stafford (Jim Parsons) who resents her attempts to gain credit for her work on his project. Fellow mathematicians Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monae) have parallel struggles. Karl Zielinski (Olek Krupa) wants Jackson as his engineer, but she must jump through Jim Crow hoops to achieve that title, while Vivian Mitchell (Kirsten Dunst) offers no help to Vaughan in her quest to be given the title of supervisor of the coloured computers given that she’s doing the job. Their difficulties are mirrored by America failing to keep pace with the USSR.

Always be suspicious of important films, they are rarely good. And always be suspicious of films based on a true story, they usually make pig-swill of history and defensively claim artistic license even as they demand Oscars for their fearless dedication to telling true stories. Director Theodore Melfi and co-writer Allison Schroeder’s script is full of transparently bogus movie moments that are the hallmark of screenwriting designed purely to create Oscar ceremony excerpts: Costner desegregates NASA with a crowbar, Henson gives her boss the sort of haranguing that in reality precedes being escorted from the premises, and, in perhaps the most delirious touch of all, to symbolise how Johnson despite her important work had the door slammed in her face by white men, Melfi has Johnson hand over her important work and have the door slammed in her face. Indeed.

Spencer hasn’t changed her shtick since I disliked it in Ugly Betty but is Oscar-nominated for Supporting Actress. Spike Lee’s calculated tantrum reaped 6/20 black acting nominations this year, but Spencer is nominated when Greta Gerwig is not for 20th Century Women, and you wonder about that during Spencer’s jaw-dropping put-down of Dunst (who is obviously a snob not a racist). A put-down redolent of the current cultural moment’s disquieting joy in fault-finding witch-hunts which insist dissent from the (ever-changing) party line betrays a racist/sexist/et al mindset which might not even be conscious of its own white privilege/toxic masculinity/et al. Hidden Figures, like Supergirl, is rather effective when it gets off its soapbox. Monae translates her soul star charisma, Mahershala Ali plays quiet grace, Glenn Powell is an ebullient John Glenn, and the rise of IBM in rocketry is fascinatingly handled.

Hidden Figures is entertaining, despite missed opportunities to dig deeper into black identity via radical Levi Jackson (Aldis Hodge), but its depiction of history needs to be taken with a whole cellar of salt.

3/5

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