dirac

I’m not sure that sexuality is really sublimated in “Now, Voyager” – isn’t the story really about Davis reasserting the sexuality that her mother stomped on (remember the early scene on the boat that Davis recalls for Claude Rains)? True, Henreid and she don’t wind up together technically, but although the censor wouldn’t allow it to be presented openly I do get the impression that they manage to make great music. I love NV too. Within the woman’s picture context, it has genuine power, mainly due to Davis of course. I think my favorite scene isn’t the famous “we have the stars” one but an earlier bit where Bette gives her Boston Brahmin fiancee the brushoff: (“Let’s not linger over it, Elliott.”)

True -- if by “museum” you mean “ballets with the life frozen out of them with neglect and the passage of time." I would agree Balanchine wouldn't have wanted such a thing. But having the care of classic works as a central concern doesn't mean presiding over a "museum" in that negative sense.

The revolutionary naturalism of one era becomes mannerism in the next. Changing times.

Gilda is indeed a romance of a noirish kind, although I thought the interestingly kinky relationship between Ford and George Macready was rather more intriguing than the Ford –Hayworth affair. I've said this elsewhere and so apologize for repeating myself, but I tend to dislike the masochistic elements in the latter. It’s upsetting to see Hayworth kicked around, with the strong implication that she deserves all this punishment for being a Bad Woman.

Gelsey Kirkland tells a similar story in her first book -- she goes for too much and and falls flat, and there's a horrified silence until Balanchine steps forward and says that "energy" is exactly what he wants. papeetepatrick writes: None of it ever sounded as good as 'Sleepin' Bee' or 'How Does the Wine Taste?' Totally off topic, but: What you say is true, but I didn't really blame Streisand for trying. She couldn't sing those songs forever, and to her credit she found a very successful way to adjust to the changing pop scene in a way that Minnelli for example couldn't. But we digress. I love Gene Kelly, but on some occasions he's a good example of an over-dancer -- grinning too broadly, straining for effects (The Pirate), trying too hard, and venturing into areas -- some of his more 'balletic' efforts -- out of his depth.

Thank you, omshanti. I had not heard of this book but it sounds fascinating and I appreciate the heads up. It would be interesting to hear from others who have read it!

I've always enjoyed the love story in The Quiet Man. John Wayne and Maureen O'Hara play two strong minded people from different cultures who find a way to live with each other with mutual respect for those differences. (At first Wayne can't understand the big deal about the dowry; he sees it as just money, not realizing that to her it's not money either, but a symbol of her worth and what she brings to the marriage.) Also worth the price of admission is Barry Fitzgerald viewing the wreck of the marital bed and muttering "Impetuous! Homeric!" A very intriguing list, papeetepatrick -- a few titles there I'd not have expected to see on a list of romantic films, although I agree with most of them. I really, really like A Summer Place, although I'm not sure I can defend it, and Stolen Kisses is the picture I most prefer from Truffaut's Doinel cycle (next to 400 Blows) -- not a group of movies I admire as a whole. I'm afraid I took an active dislike to "Morgan!" for reasons available upon request. Vanessa Redgrave is ravishing, however.

All Martins’ successor will have to do to get off to a good start is invite a few older dancers in to coach. The results will immediately be greeted with ecstatic reviews declaring that The Magic is Back or On the Way. I think I could compose the reviews in advance out here in California without actually seeing any of the performances. You could argue that NYCB already has a canon of ballets by Balanchine and Robbins, and the primary responsibility of any ballet master at NYCB is the custody of that canon. You don’t necessarily want someone who is building his own, because if that person is interesting and original enough he will quite naturally want a company that will showcase his own work with dancers coached in his manner, which may or may not be compatible with the central repertory.

Thank you for the link, papeetepatrick. (I noodled with it to make it work a little faster, hope you don’t mind.) I agree with the quote from David Hare below, Redgrave is indeed just right for this.

I think you see more than you give yourself credit for, and thank you for your two cents!

Thanks, sandik, for reminding me of that quote from Attenborough.

I recall reading that when Robert Helpmann saw the preparations for ABT's revival, he was appalled by the general look of the production - the colors were off, details not as he remembered them -- and when he asked Messel about it he was assured that "everything is just as it was" or words to that effect, and Helpmann said they certainly were not. Messel was in poor health -- arthritis, heart disease -- and nowhere near peak form, which may have affected things.

In the interests of pedantic accuracy, I have read that Balanchine began making the role on Stephanie Saland while Farrell was absent, although Farrell's role was intended for her, of course.

Say hello to a new addition to the dinosaur family, Dracorex hogwartsia.

I like the view taken by this writer– it strikes a nice balance.

I think Scott is a trifle unfair here, and not especially thoughtful. Thrillers, although apparently not this one, can handle difficult issues – “Munich” is a high profile example of a picture with thriller elements on a serious subject. There’s really no reason why the book couldn’t have been a good picture – the elements are there amid the hooey. Most likely Howard was the wrong director for the project.

On the other hand, the organization doesn't number many albino monk assassins in its ranks, either. But let's not turn this into the Opus Dei thread.

The book isn't written too badly by the standards of the genre, truthfully. I have read worse.

Those quotes can be found in Ismene Brown's article in the Telegraph from last weekend. Presumably Messel was too busy socializing and getting pally with royals to learn his trade.

According to this item, even the Louvre is angling to bring in the curious. I read it this weekend – it doesn’t take long – and it seemed to me an above average example of the genre Books You Buy at the Airport. If it sends people to museums and further research, then I think that’s great, and a lot more than they’d get from many other best sellers. The prose, as accurately parodied by Farrell Fan, is pretty painful, though. Regarding the complaints, I will refrain from comment except to say that Opus Dei complaining about damage to its good name is pretty funny. This kind of book often makes a good movie, so I plan to go, although I fear for Paul Bettany. First he's threatening to waste Harrison Ford and his family, and now this?

papeetepatrick, welcome to the board. I am moving this query to our 'Ballets' forum.

You're very welcome, kfw. It's nice of the Journal to let us in once in awhile.

The Wall Street Journal is offering free access to its site today. A search pulls up several articles by Robert Greskovic.

Thank you for the long and detailed review, vagansmom. Apparently quite a few writers respond direct to Amazon -- an indicator of the growing influence of the reviews on the site, I suppose.

Good to hear from you, Drew. I'm not quite sure what the intent was, either -- hardly a ringing endorsement of Martins, but a definite slap on the wrist to the critics.