David Fox and Cameron Kelsall
If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.
We shared a feeling that writing about The Fugitive Kind was a date with destiny.
Opera Philadelphia Channel invites viewers to revisit a 2015 production of La Traviata, captured on the Academy of Music stage, that’s notable for Lisette Oropesa’s debut as Violetta Valéry.
Truly, I think it would be almost impossible to overpraise Anna Magnani in a performance that’s absolutely riveting from start to finish
I’ve said it before, and I’ll say it again: nobody hits rock bottom like Susan Hayward.
The first thing I noticed about Ma Rainey’s Black Bottom is how it’s been slimmed down and punched up—clocking in at just 95 minutes, it hits all the marks of August Wilson’s original while smartly settling into a snappier, more focused filmic style.
If the original version of The Prom had zazz—to borrow from one of the show’s signature numbers— Ryan Murphy’s adaptation barely achieves fizz.
I have to say I struggle with I Want to Live! The camp appeal of it—including Hayward’s performance—is undeniable… yet it’s also a sincere and even important movie.
While I would say that the great James M. Cain remains underappreciated as a novelist in literary circles, he’s generally done very well by Hollywood. The Postman Always Rings Twice, Mildred Pierce, and Double Indemnity have had multiple film adaptations, and at least one of each is a classic.
Pretty, petite and forgettable where her predecessor was striking and irresistible, Susan Strasberg doesn’t convince as the headstrong, mercurial aspiring actress who takes Broadway by storm.
I’ll just note that Cameron and I listened separately; we didn’t compare notes; and on our own, came up with the same list of top three singers… none of whom were among the actual winners.
Beatrice Page is a wonderful fit for Ginger Rogers, who plays it with brassy charm and a laudable sense of humor, since the character seems not to notice that she has aged out of her 20s by a couple of decades.
“Camp” is exactly the lens through which The Velvet Touch is best examined, including an utterly bewildering cross-pollinating of genres.
I often think of Boys in the Band as the gay play equivalent of Kern and Hammerstein’s Show Boat—it’s hugely important in theater history, but the politics have become extremely problematic.
While I’d stop short of calling All About Eve a camp classic, it holds an undeniable and lasting interest for gay viewers.
Fueled by a fierce intelligence, deep earnestness, exceptional eloquence, and social media savvy, Joyce DiDonato is a presence and a power, as much when speaking and thinking as when singing. Who better to imagine a program that would suit this (we hope) unique moment?
The candor of some aspects of Now, Voyager—which at times can feel fairly formulaic—has moments that are truly startling, and there is something surprisingly modern and frank in the not-entirely-fulfilling concluding moments.
It was hard for me not to get choked up, watching two of AVA’s most promising young graduates having to make this opportunity for themselves, and doing it with such palpable good humor.
We put together these two very different movies from more than half a century apart—Of Human Bondage (1934) and The Whales of August (1987)—and thus get a sense of the long arc of a career.
Johnny Guitar, the delightfully subversive Western by director Nicholas Ray, features one of Joan Crawford’s most iconic performances.
What Ever Happened to Baby Jane is, of course, the founding document behind the concept—itself almost a piece of Grand Guignol theatrics—of horror as the genre to which female stars are left once they’ve hit 50.
By the end, we have rolling heads, a lot of screaming, and cheap horror too often overwhelms the better instincts of the screenwriters.
It’s the legendary Jeanne Eagels in the spotlight, which is exactly the right term. From our first glimpse of her fabulous face, she seems almost lit from within.
I’ve heard admirers for years describe this as their favorite Bette Davis performance, and it’s easy to see why; she brings her entire range to the role, and you can’t take your eyes off her.