Finally, my Les Miserable review. If you want the short version, I loved it.
It has never been my favorite musical. When I first saw it on Broadway with the Original Cast, (with the wondrous cast of Colm Wilkenson, Randi Graff and Judy Kuhn) I thought the show was bloated and just a little too over-the-top, but I have seen it so many times since then, with different iterations (Lea Salonga As Eponine, Ricky Martin as Marius, Debbie Gibson as Eponine, Idina Menzel as Fantine, Lea Salonga as Fantine, just to name some memorable ones) that I have grown to be quite familiar with it. In fact, I am confident enough to say I know most of the lyrics to most of the songs. And of course, some of the "hits" are ubiquitous: I think I have probably hundreds of audio versions of both "I Dreamed A Dream," and "On My Own."
A lot has been said about Tom Hoppers' decision to film with actors singing live. Yes, it's unusual, and yes the vocals aren't as polished, but with what's lacking, the actors more than make up with emotions. I have noted that while listening to the soundtrack, a lot of the actors sound too "acting," but with the visuals, they all work. Yes, I know a lot of people have complained about Russell Crowe's singing, but I thought he was more than fine. he wasn't off pitch, he followed he melody close enough, and best of all, he gives Javert a screen presence it needed. I was kind of scared that Hugh Jackman would sound nasal, but no, he, too was terrific. And he is fantastic in the role, perfect for it. He gives "Bring It Home" just enough gravitas without overplaying, and on the new song, "Suddenly," he is heartbreaking. I now in my mind cannot envision anyone but him when I think of Jean Valjean. And yes, Anne Hathaway as Fantine is simply that Academy award-worthy performance. I knew she could sing, I knew she could act, but she does both stunningly. I am officially rooting for her Oscar night. Eddie Redmayne is a revelation: I have always admired him as an actor, and he gives Marius just the right charm, sensitivity, and testosterone. And his "Empty Chairs And Empty Tables" should be more than enough for at the very least a nomination. I know people have complained about Amanda Seyfried's vibrato, but I thought she was touching, and Samantha Banks displays her singing strength (though if I want to be truthful, her screen presence is kind of low batt compared to the other heavy hitters) Aarn Tveit steals scenes he is in, and Sasha Baron Cohen and Helena Bonham Carter are perfect Thenadiers - much needed comic relief. Quite simply, this movie has stars, and the star power makes the movie, in their multitudes.
So why does the movie polarize so much? Well, you really need to love the show to really love the movie. Hopper knows how to push buttons, and I totally understand why people would say "Enough Already." I can understand how the pacing can madden some, especially the last fifth of the movie. I bet the show will get new young fans (there' already a new Broadway revival slated for 2014) Bottom line, though: if you are not into it, have never been into it, then this movie will not change your mind. As for me, I loved it, and yes I shamelessly cried a couple of times, and I know that the waterworks scenes are so manipulative, and yes they got me again and again and again. I just think, that's why I go to the movies: to have my emotions stirred. Okay, so this movie may not have really challenged my intellect, but you can't have everything. This gave me enough.
Among my favorite television from 2012:
1. SMASH (NBC) - Yes, it's the show that everyone loved to hate. But you have got to admit, its pilot is one of the best in a long time. It literally made my heart beat faster, and made me want to see the show, for forever. I would even venture to say that the strength of the pilot made me stay with it even if a lot of things went wrong, after the first episode.
2. EPISODES (Showtime) - My favorite sitcom right now - yes it's irreverent, and maybe too British, but it's laugh out loud hilarious. I found myself doing the ugly laugh whenever it is on. And Matt Le Blanc - who knew there was more to him than Joey?
3. VEEP (HBO) - Julia Louis Dreyfuss is a Goddess. I was never really a fan of hers, but her acerbic Vice President is gross and real, and really really funny.
4. NEWSROOM (HBO) - yes, it's preachy (and to the choir) but damn it if it isn't riveting week after week.
5. BROADWAY OR BUST (PBS) - A reality talent competition show that is close to my heart, and for once, I aw a lot of talent.
Half I Liked: GLEE (Fox) - The episodes focusing on Rachel & Kurt in NYC re-energized the series, teh storylines back home in Ohio dragged it down.
Still On The Fence: The New Normal (NBC) - I still don't love it, and it keeps me coming back every week.
Most Improved: Heart Of Dixie (CW) - The characters are now fully-fleshed out, and each one lovably crazy.
Most Consistent: The Good Wife (CBS) - As good as teh first episode, after all these years.
Disappointment: DTLA (Logo) - A hot mess.
Guilty Pleasure - Bravo series. I can't help it - I regularly watch "Watch What Happens Live," and the Housewives, and the Decorators, and the Real Estate agents. I don't like them all, but they draw me back week after week.
I don't know what possessed me to start reading "Finding Monsieur Right," but here we are, and it is my first book for 2013. (I am doing another one hundred books read for the year challenge , by the way) Muriel Zagha's book isn't the most original in the world: it's one of those swap-life ones between two young ladies, one from Paris, and the other in London. I can't remember the last time I read one, or if I have ever read one at all. Maybe the idea of me having read one just sounds familiar. But this one is pretty much by-the-book. Yes, it is predictable, and yes, some plot points can be seen a mile away. I enjoyed it for another reason altogether: the book read and sounded very British. I am a self-confessed Anglophile, and I loved that the book (or the version I read, anyway) sounded very Continental. There were colloquial British terms I picked up ("niggle," "tetchy," "afeard" ) and I loved stopping, and familiarizing myself with them. I have read British books that have sounded "Americanized," because American editors fear that Stateside readers will not relate, but I loved the challenge. Plus, I love the European feel of the stories. Some kind of did not make sense here, and stylistically, there was a full British "stiff upper lip" vibe. They just made me like the book more. So yes, I totally dug the book, and I think it is a great start to a new year of reading.
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What a way to start 2013! I am too old for current pop sensations, so I might as well go for the one singular sensation! One Direction? Not going there. Rhianna? Never mind. I am going for what I consider real talents: real voices with no vocoders and pro-Tools. Last night, PBA aired "One Singular Sensation: A Tribute To Marvin hamlisch," and in my opinion, a great alternative to the noise and merriment in Times Square, about twenty five blocks north of the crystal ball. And what a wonderful, dignified evening: After a soaring "A Chorus Line" overture, Audra McDonald sang a luminous "The Way We Were," sounding like I have never ever heard that song sung before. Then Megan Hilty - a true Broadway star of today if there ever was one - sang a sexy "Nobody Does It Better." Joshua Bell plays a soulful violin of "I'll Take Manhattan," with dear Marvin "on piano," and it was quite touching. Then guys take stage: an understated Michael Feinstein and Josh Groban, in all his tenor wonderfulness. The little spitfire Lilla Crawford sings "Disneyland," and while a little inappropriate and a tad pitchy, the spirit is there (And while we are at it, how about a "Smile" revival?) A duo of songs come next via Raul Esparza and Kelli O Hara , both wonderful songs from two of my favorites. And who knew Beth Behrs (of Two Broke Girls) could sing, and does a very good Val singing "Dance 10 Looks 3." Maria Friedman sings a song from "The Nutty Professor," and it's a wonderful ballad from Hamlisch's last show. Though Brian D'Arcy James was a bit excessive, he's in character. And Maria Friedman doing "nothing" was a little to much as well. What comes next is pure perfection, though: Audra, Megan and Kelli singing "At The Ballet." I still get chills thinking about that number. They all converge for "What I Did For Love," and "One" for a rousing finale, and yes, it was such a beautiful end. It was nice to see an old friend, Tedd Firth, on piano - oh how he has risen to the big leagues now. This, for me, is the perfect enjoyable musical evening. Yes, it may not have the current factor of Psy, but I will take it.
Joe Wright's "Anna Karenina" is a very different Anna Karenina. It is set in a soundstage, and has been art-directed to death. Actors appear as if on stage: with cues and marks. It took me a while to get used to it. I was kind of expecting scenic and picturesque, even looking forward to how Saint Petersburg will be filmed, since I fell in love with that city when I visited it last year. I read the novel a long time ago and I really can't recall much about it, except for the main character committing adultery. Keira Knightley is fabulous: she looks fantastic, and fills the role with eroticism and oodles of sexual energy. I know people get hot or cold on her, but I find her an appealing actress: one of the bests from her generation. We see a three dimensional Anna here: someone who fell in love, fought for her love, and suffered the consequences. (I hope she gets accolades for her performance) Jude Law, too, is great: subtle, stoic, elegantly virtuous. Aaron Taylor-Johnson, looking like a member of Village People, provide just the right electric connection with Knightley, although at times they look too pretty together, each strand of their hair in place, each muscle of their arms color coordinated and perfectly entwined. There were times that the visuals seemed to be a little claustrophobic, but that may be just me projecting. It is still just a tad too long for me, I found myself clocking it a moment or two. But, it is still a film I would recommend, because it is just so picture-perfect. Each frame is a postcard perfectly arranged on a stage. The heart is not always there, but it makes an appearance more often than not.
This will probably by my last book review for 2012, and what do you know, it's on a genre I normally don't read: a mystery. More specifically, it is a "cozy mystery," a genre I want t read more. I used to associate these mysteries with an older demographic, and all I can say is: look at me now. The story centers on Nick and Stella, two former Manhattanites who move to Vermont. On their first day there, a man gets killed by the well at their new home, and at first they think it is accidental, only to realize it was murder. It was a fun mystery read: the suspects were laid out, and I guess I am still new to the genre that I was kept guessing until the big reveal. But, what struck me most was my first reaction, which was the murder would not have happened if assault weapons were not as readily accessible to everyone. Maybe I just associated the story with what happened at Newtown, because the setting was in new England. I wish the characters were a little more colorful, not cliched, though.
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Tom Ford Noir is a party scent. If I were going out for New Year's Eve, I would probably wear this. Nowadays, I am more the quiet stay-at-home type, but I will still wear it. Somehow, this scent suggests opulence and festivity to me, and maybe that's just my projection, but hey, that's how I feel. Noir is probably one of the most overused description for 2012, and here it makes sense, and at the same time it doesn't. Noir most times mean black, and this scent screams more red than black to me. And obviously, maybe I associate red with this perfume because it reminds me of Guerlain Habit Rouge. Everyone else in the world has pointed out the similarities, but Noir is more the modern child of Habit Rouge. It's younger-smelling, brighter, more alive. As much as I love Habit Rouge, there's something about it that's "flat" to me, while the burst of bergamot in Noir makes it more youthful. Noir starts out flowery, with the deep rose and iris in the beginning. There's something mysterious about it, and then it brightens with the aforementioned bergamot, and it comes alive. That floral heart is unique for a men's fragrance nowadays. It isn't original, but in today's aquatic men's fragrance market, it's downright revolutionary. But what I love most is its drydown - the musk, the leather, the opponax creates a modern, plastic (in the best sense of the word) mix. You thought the scent has already peaked, but it is still evolving. I love that at the end of the night, it gives you that feeling of sex - there's a dirtiness there. I may be alone in bed at the end of the night, but I don't really smell like it. Now that's the best party ever for me.
Apparently, the film "A Christmas Story" is beloved and iconic. I have never seen it. So of course, I also had no desire to see this production. But when the reviews started coming in after the show opened, it had almost unanimous raves and it piqued my interest. "A Christmas Story, The Musical" is quite terrific, and is a must-see if just for the one scene with Caroline O'Connor and Luke Spring. In the second-act opener, they star in a dream sequence set in a speakeasy, they have a tap-off and it's such a rip-roaring crowd pleaser that you won't be able to help but give in. Spring, is a little dynamite that I would give him a Featured Tony award if I had my way. And Caroline O Connor, how come I have never seen her before (or have I?) I know she is a West End legend, and I do have all her CDs, but she is the real deal. (She should have taken over Evita across the street) Seriously, that scene so won me over that I feel like they eclipsed the whole show (and they aren't even the stars!) Based on Jean Shepherd's autobiographical radio show, the story isn't much: little Ralphie wants a Bb toy rifle for Christmas, but things don't go his way before the big day. Along the way, we get to see his eccentric father and his obsession with a leg lamp, and there is a school bully storyline that's just a little creepy for me. I wish I could say that I was fully engrossed in that storyline, but let's just say that I am not its target audience. But, the tuneful score by Benj Pasek and Justin Paul is good enough (I think repeated listenings would make me love it more) and there is a serviceable set by Walt Springer and inventive choreography by Warren Carlysle (he makes good use of the leg lamp) Though I probably would listen to the score, I don't know if I would want to see this show again - but it's just me being a scrooge. If this sounds like something you would see, then I can assure you that you would love this.
Slowly and surely the Christmas spirit is coming to me. Maybe that is why I have been less cynical today, while reading Elyse Douglas "Christmas Ever After." This was yet another one of those Holiday tales wherein you are shown what you will become if you don't change, and sometimes I did roll my eyes while reading it, but I am being generous this time and say that somehow it got to me. Why should I not be happy about a sorry that may inspire good in everyone. Here I am, on the eve of Christmas Eve, and I will just be thankful for m own blessings, and reading "Chrismas Ever After" is one of them.
Plus, this is my 100th book this year, and I have officially made my goal. When I set it out early this year, I was honestly unsure if I would be able to achieve it, but here I am, triumphant.
God Bless Us All
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I was kind of dreading seeing "The Guilt Trip," and it's not what you think. You see, I had been looking forward to this. It's Barbra's first starring role since like, forever - her Fockers movies are none-existent to me. But then I started hearing not-so-good things about it, and the reviews have been decidedly mixed. So, I was afraid i would be disappointed with it. As I was entering the cinemas today, my expectations were lowered, and perhaps because of that (though I doubt it) I found the movie to be thoroughly entertaining, even touching. Barbra is in fine form: I have always felt that she is great in comedic roles, and here she shines. She is natural, fearless, and very very funny. (She ain't the original Funny Girl for nothing) And I was surprised to find myself laughing several times throughout the movie (as well as the frankly geriatric and lesbian-heavy crowd I saw it with) I get so jaded with comedy films sometimes that it sometimes quite tough to get me to laugh. I had also feared that the movie would have an Apatow-vibe to it: mainly low and crass humour. But, maybe because Barbra is part-producer, the humour never panders, it is never not classy. I even liked Seth Rogan here, an actor I have never found appealing. And as I mentioned earlier, there is a sweet surprise in the ending that will make you all verklempt. So, really, what's not to like? Okay, so the film gets a bit sluggish in the middle, and the story is really mindless fun. But, anyone coming in probably won't be expecting anything thought-provoking. So, go see it. It's the Holidays - take your mothers! It's just the right thing to do.
They say that if "Les Miserables," the movie musical, proves to be a hit, it will pave the way for other movie musicals to be made. So count me in among those who are hopeful for its success. I cannot tell you how I am so looking forward to seeing it on Christmas Day. Meanwhile, though, I have listened to the "Highlights From the Motion Picture Soundtrack" release and while as an aural experience, it is very satisfying, I have mixed feelings about it. First off, since this is one of those musicals I know inside and out, it was a bit disconcerting for me to hear "highlights," (As per Amazon, anyway, I don't think there's a release for the whole music) and I felt like I was hanging hearing songs "unfinished," as it were. Now the performances are great. But, on record, they seem too act-y, and very showy. I am sure with the visuals, these would work better but taking them as they are, some performances seem just a little overdone. Hugh Jackman, as Jean Valjean, doesn't possess the best voice. It's nasal and a bit shrill, and on a lot of the tracks those traits show, but the thing with him is that he has such charisma and presence that any deficiencies can be overlooked. Anne Hathaway's "I Dreamed A Dream" reportedly has been getting applause after applause on the test screenings and I can sense why. The recording here is great, but again, I suspect gains from more acting than singing. (I have read reviews wherein the camera never leaves her face during the scene) Samantha Barks' "On My Own" fares better - she is a stage veteran, after all, and you can sense that she knows her way through a song. I was pleasantly surprised to hear Eddie Redmayne so expressive in his singing - ready your hanky for "Empty Chairs At Empty Tables." There's even a song just for the movie, "Suddenly, " if only to get a Best New Song nomination for the Academy Awards. The recording just whets my appetite for the movie, truthfully, and I just hope it lives up ti its promise.
Do you ever describe a city by music? I was in Vienna over the summer and if I were to ask how to describe the city, I would answer "Classical Music." I know, it's weird, akin to dancing about architecture. If someone was to ask me how to describe Maitre Parfumeur Gantier's "Vocalise," I would also answer "Classical Music." I will try to explain - this scent starts with berries and fruits: blackberries and red berries. And then the vanilla and musk comes in, and it's that trademark Gantier musk - slightly salty and slightly sweaty musk. Then floral hints take center stage: I get rose, and ylang ylang. It's a great mix: the dark sweetness is certainly fruity, but you don't smell like a fruit basket. It's classy, and it soars, but it's never overwhelming. Truthfully, I wish the longevity was tougher. (MPG has released a Vocalise Extreme, but I read that they add jasmine in the mix ) This scent is very pretty, very refined, it's like Bel Canto, very full but fragile.
It sounded interesting as an idea: a woman falling in love with Santa Clause, and it at least made me want to read this short novel by Scarlett Bailey (That, and I am still desperately trying to get into the Holiday spirit) However, the execution was really sketchy. I foudn that there was no chemistry between Amy and Santa. There were some cute touches (a stop in Venice, a gay dad) but all in all this was a tepid egg nog of a Holiday novel.
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There is nothing new in "Grace." Craig Wright weaves a story about faith, and how it is tested. And it's pretty much by the numbers. The direction makes it clear that there are no surprises here. We know s soon as the curtain rises that something terrible will happen to the main characters, Steve and Sara (played by Paul Rudd and Kate Arrington) So we get set up on appreciating how we get to that terrible place in their lives. And we ask ourselves, what is this play trying to tell us, what are we to infer, to judge, to take from this evening? As the play is written, not much. But, strangely, though, I still found "Grace" to be a satisfying evening. Why? Because of the electric performances. Paul Rudd, as a religious Christian who moves with his wife to Florida, is a natural actor, who plays the role with charm, obnoxiousness, and passion. He never goes over-the-top which could have been an easy and obvious trap. You feel he doesn't have a desire for the character to be understood deeply, but you do anyway. When his character reaches a breaking point, it is realized: you aren't surprised by the characterization even if the situation is surprising. Arrington is perfectly foiled: she brings a softness and vulnerability to her role. Shannon is fantastic, too. He is low-key and down-to-earth. Ed Asner steals his scenes, but then his role was written that way. Dexter Bullard, the director has fine touches - the turntable stage hasn't been effectively used since Les Miserables. The play may be lightweight, but the amazing performances here are the saving grace for the evening.
I don't know why I ended up spending Sunday morning watching a Disney film, considering my dislike of them, but there I was, immersed in "The Odd Life Of Timothy Green." It has been highly recommended by a friend whose taste I really jive with, and the Blu-Ray just came out, so there was Netflix to the rescue. It tells a story of a husband and wife wanting a child. After a drunken night, they got one (Okay - pun intended) The only thing, though: it came from their garden. And the kid has leaves growing from his feet. (no feet fetish jokes, please) And just like most films of this ilk, the child teaches everyone a lesson. It's your pretty standard children's film, sweet and wholesome and inoffensive. I can't really say I loved it, and I thought it would be a tearjerker, but it didn't really get me, so to speak. It has a very competent performance from CJ Adams, who plays Timothy. I still can't get past Jennifer Garner, though, and here she plays her role as if she was still stuck in a rom-com. All in all, though, it really is a good children's movie, with a fairly interesting story to tell. If I had a child, I would rather he watch this than a violent superhero movie, for example. But then, I don't have one, so my opinion is moot.
