Here’s how this week’s arts and culture column begins: At last, LA is poised to have the museum it has long deserved: the Academy Museum of Motion Pictures, opening Sept. 30. I love that they’ve named it the Museum of Motion Pictures: not the Museum of Film, which would have skewed hoity-toity and auteurish; not […]
The opera was worth every minute of the 3 hours. The acting was superb; French maestro Manuel Rosenthal conducted. But it wasn’t the music that stayed with me. It was the Reverend Mother’s death—so excruciating as almost to be unworthy of her; so NOT a traditional martyrdom.
More podcast fun. This one is from Catholic Culture, with Thomas Mirus and James T. Majewski, good Catholic boys from NYC. Here’s the YouTube blurb: “In 1962, inspired by Pope St. John XXIII’s outreach to non-Christian artists, a gay communist picked up the Gospels and ended up making a film about Jesus. Nervous yet? But […]
Mountains of eyeglasses, combs, shaving brushes, human hair: “Here are the stockpiles of the Nazis at war.”
The ceilings of gas chambers, raked by desperate fingernails. The surgical ward where human experiments were performed: amputations, castrations, burnings with phosphorus
WOMEN’S PRISON MOVIES: Caged (1950) Eleanor Parker, Agnes Moorehead. “She’ll be back.” Don’t miss the scene where butch sadistic prison matron steps out for her Saturday night date, lording it over and leaving the love-starved inmates to twist and turn. Turn the Key Softly (1953), dir. Jack Lee; British drama starring Yvonne Mitchell, Joan Collins (surprise) as a prostitute, Kathleen Harrison and Terence Morgan. Three women from different backgrounds are released from prison over the course of 24 hours each face a struggle to avoid returning to her criminal ways.
Remember the carefree days when we could leave our homes, gather in public places maskless, and take in a museum exhibit of a Sunday afternoon? I did that, way back on February 23. It was right after the Annenberg Space for Photography mounted a presentation, now “up” through July 26, called “VANITY FAIR: HOLLYWOOD CALLING: […]
Both Petit and Honnold practiced obsessively and incessantly, memorizing every every inch of the cable, every handhold and foothold.
“I like to differentiate between risk and consequence,” says Honnold. “The chance of me falling off is quite low even though the consequence is extremely high.”
That may be, but what of a risk in which the consequence is certain death?
Director/producer Leo Zahn has made documentaries about mid-century architect William F. Cody and Frank Sinatra in Palm Springs.
Now he brings us “Iconicity.” The core theme: “Why are artists attracted to the [Southern California] desert? There is something here, call it a mystical energy or what have you, but it’s also very practical as to why certain art gets created only in the desert.”
Dancing at the Vatican, a 38-minute documentary directed by Brian Moore and produced by Amanda Spencer, showcases the plight of those suffering from Huntington’s Disease (HD), a progressive neurological disorder. A parent with HD has a 50/50 chance of passing it on to his or her offspring.
Watched a wonderful Finnish film the other night, directed by Klaus Härö, and recommended by a reader: Letters to Father Jacob. Synopsis: “Set in the early 1970s and based on a story by Jaana Makkonen, the film tells the story of Leila, a pardoned convict, who becomes an assistant to a blind priest, Jacob. The film […]