dirac

Absolutely -- as long as aesthetic considerations aren’t trumped by the desire to challenge -- I don't want to be challenged if it's not also good dancing -- and I wouldn’t mind going to see such a work. (I don’t see how nudity could ever work in classical dance, for practical and artistic reasons, but never say never.) Thanks to you, Sami~Poo, and everyone else who’s contributed to the revival of this thread. I guess there’s always something new to say.

Ray writes: I agree. All evidence to the contrary. Hope to hear more from you on it.

I forgot to address Michael's post in my last one. Interesting point, and I'd be interested to hear what other writers think about this aspect of the discussion.

Gosh, there really was food for comment. Thanks, everybody. kfw writes: I agree (and I’d add that IMO the presence of an active and engaged father on the scene could have made a difference in the actual course of events, as well). Kathleen O'Connell writes: Good point - but by the same token, Lobenthal is just writing a review, and I assume within space limits. He’s pointing out a potential path not taken. Seems legit, even if one doesn’t wholly agree.

Sidney Sheldon has died at age 89. I admit to enjoying “The Other Side of Midnight.”

Seems to me the superlative pronouncement is what Lobenthal is trying to warn against. Both Croce and Acocella are great writers who adopt Olympian tones that are intelligent, seductive and tend to dismiss all disagreement even when disagreement would be possible. It's good that someone is mentioning that on the record. Lobenthal could actually have said more in that regard. Acocella's essay on Willa Cather, first published in The New Yorker and later expanded into a book, was wonderful reading but its treatment of other writers on Cather, some of whom had opinions with which Acocella did not wholly agree, was not in some respects entirely fair, and really you would have had to read the critics in question in context to understand why and how this was so.

Joel Lobenthal reviewed Joan Acocella’s new collection in today’s New York Sun. Much food for comment here. http://www.nysun.com/article/47738

At least you were able to see it. I looked for that one but if it showed up in my vicinity I missed it. papeetepatrick writes: She gets better and better. I thought she was a beautiful blank in her younger days, but she has such authority now.

Hail and farewell. The obituaries are starting to come in. A sample - Anna Kisselgoff's obit in the NYT.

Let's hope so. Well, I could do without Eddie Murphy.

Interesting observation, YouOverThere. It's often said that concertgoing is a habit; perhaps the older people have developed the habit of going regularly and are not put off by unfamiliar music, while some of the (somewhat) younger set attend the older and better known repertory.

He's a true phenomenon, especially given the amount of singing he's done over the years.

“The Painted Veil” seems to be falling through the cracks, so just a note that it’s worth catching if it should be playing in your vicinity. It’s more romanticized than the original story by W. Somerset Maugham, but that’s not necessarily bad IMO, and there’s good acting from Naomi Watts, Edward Norton, and Toby Jones, plus an amusing turn by Liev Schreiber as the sort of fellow who used to be called a bounder.

Always a good idea, even if the work is in English, IMO.

I did start another thread for the Oscars, but to respond to your comment about DiCaprio, I’d say the Academy chose aright, for once. He’s okay in The Departed, but he’s lots better in Blood Diamond – the part is better suited to him, he’s running around Doing Stuff, initiating and dominating the action, not a victim of events and circumstance. (Also, the Academy likes accents and he was able to muster a good one.) I really enjoyed his performance, although the cynical-soldier-of-fortune-who-grows-a-conscience role is older than Methuselah.

Moreau's almost eighty, I think. There are opportunities for older actresses, but few relative to those available to their male contemporaries, and those can be more frequently found in smaller scale or independent productions. (This is true for younger actresses as well. Generally at Oscar time there are always a couple of first rate male performances that get left out because of lack of room, while in the Best Actress category there’s usually one that’s filler – no chance, but you have to fill out the list.) There’s been some discussion in the entertainment press of the fact that in recent years the Oscar has not been going to women over forty, and this season there are several older actresses –Streep, Dench, Mirren – who have been nominated. But it’s the exception that proves the rule. As a leading man Baldwin made some bad choices, put on weight, attracted less than great publicity, etc. He was able to recover because there are a lot of juicy supporting roles out there for aging actors and also he’s terrific.

Isn't that what stunt doubles are for? Since we can call women 'actors' now, I want to see Angie Dickinson as Pepper again, no matter how many stunt doubles they need to get those tiny running steps in white pantsuits with purple seams in ditches right. Her fistfight difficulty (always solved by Earl Holliman's miraculous reappearance) will be hard to get a perfect double for too. And I want it in a big movie house, not some crummy TV reprise. Ah, dear old 'Police Woman.'

Thanks, sandik. I'm not sure what happened to my original post, but this is what I intended to put up: Oscar nominations are out: Article. List of nominees. Couldn’t be happier for Ryan Gosling.

Clever idea for a topic, Ray. Thanks. Music I first heard and learned to love through ballet: Tchaikovsky’s Serenade, the Faure music from “Jewels,” Stravinsky’s knottier stuff, Symphony in C. There was a time when I sought out anything used by Balanchine, whether or not I had seen it danced, on the theory that if he used the music it would at least be interesting. I don’t really like the Brahms-Schoenberg Quartet but I’m glad I hunted it down – harder work in the days before the Web. papeetepatrick writes: After I saw the video I couldn’t hear the music any other way. I still love Alfred Cortot’s version, though, although I’m not sure you could use it for dancing.

I couldn’t agree with you more. I haven’t had time to post about Pan’s Labyrinth, but it deserves all the raves it’s been getting. It’s getting good studio support as well as reviews, so I hope many people will get to see it. canbelto writes: Maybe it's because I felt like all both the Empress and Emperor were pretty despicable, so siding with the Empress (Gong Li, which Zimou filmed in endless, voyeuristic closeups) is hard. As usual the film had great visual beauty. Can’t say as I blame him. I can think of few moviegoing experiences more pleasurable than gazing voyeuristically upon the countenance of Gong Li, so that’s a recommendation IMO. papeetepatrick writes: Thought it was nice that Barazza and Kikuchi (both marvelous in 'Babel') were nominated in Best Supporting Actress category. I hope they don’t cancel each other out. I'd hate to choose between them but if you put a gun to my head I'd go for Barazza. I’ll start another topic for the Oscars, though.

I think the ‘ancient’ was intended with a certain facetiousness. But Eastwood is in his middle seventies, if I recall correctly. As for 'Indiana Jones' I assume Ford will not be shown being chased by a big boulder as in days gone by, but you never know.

Off topic, but I was just reminded that Fitzgerald never liked being referred to as Ella - I think she thought it was condescending, as sometimes it is. (Not intended to reflect on you, carbro. ) Paul Parish writes: Very true.

We could say that Farrell combined the best qualities of both ladies. I think I see what Lobenthal is getting at, in the context of the quote below: http://www.nysun.com/article/47039 I enjoy reading his reviews, too, although this one maybe wasn't his finest hour - he says the ballet was first performed by Peter Martins. Nobody's perfect.

The movie became about launching Streisand. Everything else suffered. Fortunately she lived up to expectations or things could have really gotten ugly. I have a soft spot for 'Hello Dolly' myself.

Thanks, Helene.