Neryssa

Spoiler alert: as if I could spoil this series. The one glint of humor in the earlier episodes with Morse as Washington occurred after he was elected and sworn into office. Was it true that he whispered his oath? I thought that scene was amusing. I am afraid that Jefferson has always been my man. He was such a contradiction. But I didn't know that about GW's memory.

I usually like Morse very much but I did not think he pulled off the Washington role. He was nominated for an Emmy as was Dillane - for Best Supporting Actor in a whatever...so his performance obviously appealed to many people. I agree with you about the series being slow (initially) and "haloed." But again, the series also showed the difficulties and reality of life in America during that time. I suggest viewing the episodes beginning with Adams traveling to France.

Probably they were trying to avoid the stodginess that is often associated with historical costume epics of this type, but they went too far. I must confess that Stephen Dillane gave me heart palpitations. No arguments there. Here's hoping he gets his own sequel. Yes! My thoughts exactly and I have seen the same thoughts expressed in other reviews of John Adams. If there ever was a series where overstatement (Giamatti) and understatement (Dillane) proved a point about acting, this was it. Dillane has always been magnificantly expressive with his eyes. But after reading David McCullough's description of Jefferson in the book "John Adams," I am imagining that Jefferson was equally charismatic. I don't remember the series with George Grizzard; I might rent it one day. Thanks for the suggestion.

Hi dirac, Thank you for responding and indulging me. I agree with you about Giamatti, he was not quite right for the role although he got better as the series progressed. I must confess that Stephen Dillane gave me heart palpitations. I found him so compelling and enigmatic as Jefferson... Unlike others, I thought David Morse was hardly adequate as Washington. I think the New York Times critic also thought Giamatti was miscast and wrote that Dillane stole every scene that he was in... Laura Linney had an engaging delicacy about her. The series did improve towards the end especially when the jerky camera movements ceased - did you notice the cameras were all over the place? I was becoming nauseous and irritable by the 3rd episode. But there were interesting episodes. Especially poignant were the scenes of renewed correspondence between the aging Adams and Jefferson who died on the same day within hours of each other... Did you not see that episode? Giamatti really did improve but he was never as authoritative (or hilarious) as William Daniels in 1776. This series was almost too grim and authentic.

I recently visited Philadelphia and decided (in a patriotic gesture) to rent John Adams, the HBO series. It took me almost a month to slog through it and I was almost on the verge of quitting it until it got better. Has anyone else seen it? I could not find a thread here. Neryssa

"The Paradine Case" (1947) with Gregory Peck, Valli, and Ann Todd. Not one of Hitchcock's greatest or well-known films, it is fascinating. "Shadow of a Doubt" was also an underrated film at the time of its release but it has become a cult film and was reputed to be Hitchcock's favorite. Neryssa

This news is so disturbing. I hope Georgina Bates is at peace. The photographs really should go to the Jerome Robbins Dance Division so the photographs can be shared with the public. http://www.nypl.org/research/lpa/dan/dan.html Neryssa

I will be travelling to New York soon and I am looking for any book stores which sell NYC Ballet Programs from the 1950s/1960s. I remember the Ballet Store or Shop near Lincoln Center which closed years ago and I could kick myself for not buying the programs that I saw when the shop was still open. Are there used or antiquarian booksellers in New York who sell programs? (pardon my ignorance on this issue). I know they exist online but it is difficult to assess what one is buying... Thank you in advance for your suggestions. Neryssa

Neryssa-- Thank you for your comments--I think they're thought-provoking and supported by the texts that you cite. Parodoxically, I think that FarrellFan is probably right too--that she did feel torn; the historian in me, though, would want to know when. I think it's fine to criticize even our most cherished figures. They are, after all, human beings with human failings, even if we idolize them. Helene your "perverse" admiration captures the sense of paradox well. Thanks very much for your post, Ray. My apologies for my typos and defensiveness. Had I seen your post before I posted my previous one, I would not have been so "prickly" Neryssa

I think that we are discussing 2 different things here, Helene (and I need to find that Ballet Review article). Admiring Farrell for saying "no" is one thing, and describing why or how she said "no" (years later) is another. I too admire her for the former but not the latter. Again, I am not the only one who has taken issue with the way she described her disaffection. Is this even an issue that can be discussed, I wonder? I find myself up against a wall, it seems, when I want to give the muses on the "list" equal time. Neryssa

Ballet Review had an excellent review of either Farrell's autobiography or the DVD "Elusive Muse" where she repeats her contention that she did not like being on a list, etc. Apparently, I was not the only one who was rankled by such statements. I never accused her of disrespecting Balanchine but I think she could have been more sensitive (in print, on film) to the muses who preceded her. I am not commenting on Farrell as a dancer; I am only trying to discuss her place in history. Her story is never discussed in context in "Elusive Muse." IMHO, I think she tends to monopolize [on the] Balanchine legacy. It is only my opinion. Neryssa

Interesting, I was just watching the DVD, "SF: Elusive Muse" last weekend. So this is this book only a reprint with a new preface? I wish that Farrell would revise some parts of her autobiography. Especially the passages where she asserts that she never wanted to be on anyone's "list" when she was linked with Vera Zorina, Maria Tallchief, Tanaquil Le Clercq, and mentioned in the press as the next Mrs. Balanchine. The tone of her protests seemed inelegant and somewhat insulting to Balanchine's former wives. As if they were lesser dancers or muses because they married him. One could not fault Farrell for the problems that ensued but I wished she would have showed more respect and humility when Le Clercq was still alive [when the autobiography was originally published]. Just my opinion which has been noted more skillfully in a book review in Ballet Review years ago. Neryssa

I finally found the Lerman book at a bookstore recently. I skimmed the index for choreographers and dancers but had to stop and reshelf it after reading his brief description of Tanaquil Le Clercq [physically] in 1984. I do not think he was trying to be unkind but it was upsetting to me... Although I began to loathe the index examination, I dislike books without indexes, so there is no pleasing me. Anyway, IMO, it is the not the type of diary that sustains a narrative such as Sylvia Plath's "Unabridged Journals." But that is another book, writer and subject entirely- Off-topic: I found myself also skimming Julie Andrews' autobiography and I was pleased to read her lovely description(s) of Svetlana Beriosova. Andrews' book ends when her film career begins and I am already hoping for a sequel. Neryssa

Yes, do watch it again; there is a part where Duvall is not feeling so well and she sinks slowly to the floor. I don't remember if this event takes place after Kubrick loses his temper with her... She is clutching a bunch a kleenex as she "revives" herself I don't have cable anymore but I can only imagine him on a talk show. "Crash" isn't laughable; it is often moving. It just got on my nerves at times, especially the editing and the music [sic]. Oh, I love that song! I want the music box... Did you know that it was actually performed by the maid "Anna" in the film? Quite haunting Neryssa

You have to read the book to understand Kubrick's masterful changes. I agree with you here. I did read "The Shining." And I remember Stephen King's own television adaptation of "The Shining," which was even worse than the novel. I think that was the one time that I appreciated Kubrick's improvements - but there was much to improve. Neryssa

My apologies, dirac, for not searching for "Crash" before I posted. I detested the final scenes of "Crash" and the "music" that accompanied those scenes. It viewed like a television movie. Also, it is difficult for me to respect any film that casts Tona Danza even in a cameo. I am always the exception regarding "The Shining." I am well-acquainted with Kubrick's career but I never understood his fascination with the basic story. I have seen the film numerous times and I am always looking for *something* that isn't there. Have you seen "The Making of The Shining" (1980), a short feature directed by his daughter, Vivian Kubrick? Jack Nicholson and Shelley Duvall were quite strung out on at least 1 "substance" during the production, and I just thought Nicholson's performance was over the top. Davidsbündlertänze: Oh yes, I have seen "The Innocents"; in fact, I bought the DVD a couple of years ago. It is probably my favorite film in this genre because one can interpret it on several levels. I think it is superior to some modern remakes because the ghosts or apparitions are, for the most part, seen briefly and at a distance. And the music, sound effects, and stunning cinematography made the apparitions and children's precocious behavior even more chilling and disconcerting. Neryssa

May I join in? The Departed - not Scorcese's best but better than Crash - this won "Best Picture?" Mystic River The Shining I've never understood why people thought "The Shining" was so "scary." OK, maybe the lady in the bathtub was creepy... Neryssa

Oh, so sorry, I thought I had searched Ballet Talk but I must have done something wrong... Thank you for providing some quotes. I agree with your list of books. \\\"I Remember Balanchine\\\" is a book I keep near my provisions/first aid kit in case I need to run out of the apartment in case of an emergency. Neryssa

Is anyone reading: "The Grand Surprise: The Journals of Leo Lerman?" I have read that it is rather gossipy but it would be interesting to read Lerman's impressions of Lincoln Kirstein, Balanchine, and the dancers he met in general. Neryssa

Yes, it is the same booklet. It is being sold (as used) on Amazon, Alibris, AddAll and other online (and offline) bookstores. Neryssa

I am looking forward to reading the following books when they are available. Has anyone here had a look at Hogan's book? For some reason, it is presently unavailable on Amazon. Balanchine (Paperback – April 2008) by Anne Hogan (Editor) Currently unavailable Balanchine Variations (Paperback - May 11, 2008)) by Nancy Goldner Balanchine the Teacher by Barbara Walczak and Una Kai (Paperback - Sep 4, 2008) One more question: is the memorial publication "Tanaquil Le Clercq, 1929-2000" by Nancy Lasalle (Editor), Randall Bourscheidt (Editor) worth the $$ if one has the Ballet Review memorial issues (from 2000), and her cookbook, etc., etc.? Thanks very much for your thoughts, Neryssa

Is the dancer and choreographer Job Sanders still with us? Does he still teach and live in the Netherlands? I may need his (or his heirs) copyright permission to reproduce a photograph (eventually). Thank you in advance. Neryssa

Thank you for mentioning "Agon" as some [dancers] have forgotten that Sobotka was in the original cast. She was in Ballet Society (one can see her in "Concerto Barocco" in 1948) and I have a couple of photographs of her in the pas de quatre in "Swan Lake." Interesting that one can also see her in the Jacques D'Ambroise DVD as Apollo's mother Leto. I have interviewed Barbara Milberg Fisher who mentions Sobotka several times in her memoirs but I really need to contact Francia Russell about the rehearsals for "Agon." Thank you. Best, N.

This is a good question but I recall reading comments by more than one critic and several principal dancers such as Maria Tallchief and Melissa Hayden that they considered the 1950s as the golden years for The New York City Ballet. Especially since Balanchine worked more [in class] with all the dancers than concentrating on just one dancer during the 1960s. Of course, I am admittedly biased. If I could travel back in time, I would prefer to view this period of ballet. I cannot comment on Balanchine's work during the 1970s, but I think the work he created for such dancers as Le Clercq, Tallchief, Diana Adams, and Allegra Kent but to name a few, was sublime. These dancers were extraordinary and unique and I cannot imagine that the same level of excitement and anticipation existed in the 1970s when the NYCB was established and financially grounded - unlike the 1950s when each season was in question. But of course, I could rename my moniker as Le Clercq fan... It is a personal thing, I suspect. N.

To all: Thank you very much. I have appreciated your answers (especially this one and bart's) because I own all the books mentioned on this thread except the Lincoln Kirstein book which I cannot wait to read. Perhaps I should have written (and therefore a couple of you may know "of me" by now), I am finally finishing what will probably be an article about the late NYCB dancer and costume designer, Ruth Sobotka. She was a minor player, I know. However, my "unpublished manuscript" about her, which has been cited in 2 important books and 1 newspaper article about her 2nd husband, the film director Stanley Kubrick, was meant to set the record straight about her life and contributions to Kubrick's early films and life, etc. Enough said about that. During the course of researching this "ms" I have interviewed many Balanchine dancers from this period and I found their stories fascinating, compelling and touching. In fact, I just returned from New York/Dance Archives a couple of weeks ago with a few more interviews from dancers on tape. I have a lot of material that I think could become a book. A much-needed book but I am biased. I certainly am surprised that a book about this period has not been published yet. My biggest problem is geography. I live in the far Western United States. If I lived in New York, I would probably live and work in the archives. Again, thank you all for your suggestions and I welcome additional advice (and criticism). N.