Showing 171 - 180 of 271 Performing Arts annotations
This film traces the shared career and dissolution of Beverly and Elliot Mantle, male identical twins (both played, thanks to seamless special effects, by Jeremy Irons) who are gynecologists, running a successful fertility clinic in Toronto in the 1980’s. They share both work and personal lives; Elliot, the dominant twin, lectures at the hospital, accepts awards, plays the smooth professional--and seduces women. Beverly, the quiet one, sees patients, does research--and sometimes has affairs with women his brother passes on to him.
They usually draw the line at patients, not because of ethics, but because "it’s not safe." Their dealings with women have to be carefully compartmentalized, for the ambiguous intimacy of the gynecological doctor-patient relationship is difficult and dangerous for the twins, who form a psychologically unstable and deeply interdependent relationship on their own, likening themselves to the original Siamese twins, Eng and Chang, whose names they eventually take on, too.
Their symbiotic system is disrupted when a television actress, Claire Niveau (Genevieve Bujold), consults them about her infertility. She has a trifurcate uterus--the twins call her a "mutation"--and will never have children. Elliot, fascinated, seduces her, and then gives her to Beverly, who falls in love, with disastrous consequences. When Claire discovers that they’ve deceived her and temporarily leaves, Beverly becomes addicted to the amphetamines and sleeping pills that Claire habitually abuses.
The drugs impair his work, he begins to hurt patients, is hospitalized, and after a calamitous breakdown in the operating room (where Beverly attempts to use the monstrously beautiful surgical instruments he designed himself
"for operating on mutant women") both brothers keep their hospital privileges only on condition that they don’t use them. Elliot tries to rehabilitate Beverly, but realizes that the need to do so comes from their absolute interdependence--they might as well be physically joined. So Elliot begins taking drugs as well, and when Claire returns and Beverly goes back to her, Elliot breaks down completely.
The rest of the film traces Beverly’s failed attempt to become a separate individual. The instruments he invented are now, he says, "for separating Siamese twins," and, in a terrifying surgery scene, the drugged Beverly "operates" on his conscious though equally drugged brother, apparently disemboweling him. Next morning, Beverly leaves the apartment where his dead brother lies and calls the woman he loves, but he cannot talk to her. He goes back, his bid for independent identity a failure, and the film ends on a shot of the two, dead, in an embrace echoing the Renaissance anatomical illustrations of in utero twins which illuminate the film’s opening credits.
The film is an adaptation of an award-winning play by Ariel Dorfman, a Chilean writer forced into exile in 1973. Through revelatory events affecting the three characters, audiences learn about atrocities committed by the Fascist government that had, until recently, ruled the unnamed country where the story is set.
Paulina Escobar (Sigourney Weaver) had been a political prisoner during the oppressive period who was tortured by her captors. After gaining her trust by treating her kindly and playing a tape of Schubert’s Death and the Maiden, Dr. Miranda, a physician (Ben Kingsley) cruelly participated in the abusive treatment of his powerless victim. Gerardo Escobar (Stuart Wilson), then her boyfriend, now her husband, had been editor of the underground newspaper and target of the absolutist regime. In spite of torture, she did not disclose his whereabouts and, in effect, saved his life.
Currently, Paulina lives with Gerardo in a desolate coastal setting. At the film’s onset, viewers note Paulina’s agitation concerning a news bulletin about the presidential appointment of a human rights commission charged with investigating abuses by the previous regime. According to the report, her lawyer husband has been appointed committee chair. The remainder of the film concerns victim, physician, and husband of that oppressive period who through strange circumstances are brought together during the night.
Reminiscent of a Lear-like heath, past terrors are howled out against a raging storm. On his way home Gerardo’s tire became flat and he was picked up and brought home by Miranda, a good Samaritan. When Paulina, who had been blindfolded during her captivity, recognizes his voice and pet phrases, she steals his car and pushes it over the cliff into the sea. Totally perplexed by the Paulina’s actions, the men pace about in the living room where the doctor delivers derisive diatribes about women in general and wives in particular. Gerardo, to a lesser extent, expresses condemnation and embarrassment for his wife’s inexplicable behavior.
When she returns, both men have had too much to drink; she finds a gun in their house, tapes the groggy physician to a chair, pistol whips him as he resists and shouts, stuffs her panties into his mouth, and begins a heated exchange with her incredulous and very angry husband. He wants evidence for her seemingly preposterous charge. She can "smell" him she screams; she found a tape of the Schubert String Quartet in D Minor in his car; and he quotes Nietzsche just as he did when she was strapped to a table. Under much strain, her husband agrees to a taped trial in which he will represent the accused and force a confession.
((Note: This film has a surprise ending that will be discussed below.) Tenoch (Diego Luna) and Julio (Gael Garcia Bernal) are friends, two sex-obsessed 17-year-olds boys who flirt with the beautiful and somewhat older (and married) Luisa (Maribel Verdú), at a wedding and invite her to drive with them to an imaginary beach. She pays little attention, but after discovering that her husband has cheated on her again, she decides to flee her crumbling and childless marriage and calls the boys to see if the invitation is still good. The boys quickly make real plans and all three take off to a remote destination.
There is a lot of driving, and the three talk a lot about sex, and then have it. When things threaten to blow apart because of jealousy between the immature boys, Luisa steps in aggressively to take control of the road trip to make it continue to work for her. After she imposes her rules, there are some fine moments of peace at the beach, with Luisa enjoying the natural beauty of the waterfront and also a more mature relationship with the boys. She even attempts a tender if unhappy telephone farewell with her unfaithful husband.
At the beach, Luisa becomes close to a local fisherman, his wife, and their young child, and when the boys have to get back, Luisa announces she is staying at the beach with the fisherman's family. A month later the boys hear that she has died from cancer. A voice-over tells us that the boys will eventually split up with their girlfriends and never see each other again. Luisa's achievement is what remains.
Warren Schmidt, played by Jack Nicholson, is a middle level officer in an Omaha insurance company who faces retirement and, shortly afterward, the sudden death of his wife of 42 years. He struggles with emotional chaos and mental confusion and with the nagging thought that his life is over and that he has failed to make the world better in any way.
An additional complication is that his only child, Jeannie (Hope Davis), is planning to marry a man (Randall, played by Dermott Mulroney) Schmidt strongly feels is below her. He tries several times to prevent the marriage but fails at that, too. Returning home from the wedding in despair, Schmidt finds a piece of mail with a drawing made by a young boy in Tanzania he had begun to support just after he retired, and the final scene shows him deeply moved.
Set in the 1950s Eisenhower era, this film creates an enlarged snapshot of a model suburban household in Connecticut as well as a companion negative of two suppressed social issues lurking beneath the painfully smooth surface. In his effort to portray dominant values, as well as the melodramatic look and feel of the period, Director Hayes appropriates visual effects and music associated with fifties films by Douglas Sirk such as "All That Heaven Allows" with Rock Hudson and Jane Wyman. Colors are too vivid; music heavily underlines emotional elements; and stylistically designed sets reflect superficial ideals. Too perfect.
Moving from the margins and into the center two disruptive shadows gradually emerge, one dealing with race, the other with homosexuality. In the years preceding racial protests and riots and in a time when few could imagine public conversation about sexual orientations, use of condoms, or AIDS, the story reveals unspeakable abuses, intolerances, and injustices that have subsequently been addressed but not resolved.
This made-for cable film is based on the real-life story of Dr. Gisella Perl (Christine Lahti) as told in her autobiographical book, I Was a Doctor at Auschwitz. Originally published in 1948 and reprinted in 1997, the book is hard to find now. The film tells how Dr. Perl, a Jewish Hungarian gynecologist, is imprisoned and forced to be a camp doctor in Auschwitz during World War II.
Dr, Perl lost her parents, husband, and son during the war years. She had to relive her horrifying experiences and difficult moral choices as she faced an immigration panel in the U.S. in order to get her American citizenship after the war. Accused of collaborating with the Nazis, she was eventually exonerated and practiced in New York, later immigrating to Israel where she did important work. There were many other talented women who also fought to live but failed in their quests and Dr. Perl tells of the spirits of these women also.
This documentary, narrated alternately by the daughter-filmmaker and mother whose stories it tells, focuses on how two women move apart and together while experiencing, respectively, adolescence and mid-life. The mother has cancer, a mastectomy, and then rheumatoid arthritis, and these experiences intertwine thematically and structurally with the narrative of the mother-daughter relationship.
Another provocative juxtaposition cross-cuts scenes from the daughter's modeling career (and the social and erotic body that context constructs for her) with scenes of the mother's illness, stigmatization, and erotic daydreams. Both women come to a new awareness of the social meaning of mastectomy within heterosexual and same-sex contexts by the documentary's end; they also come to a place of recognition of the mother's personal and social value and the nature of their relationship.
This film tells the story of Alfred Kinsey (Liam Neeson), the scientist who famously changed his focus in mid-career from the study of gall wasps to the study of human sexuality and through his publications on male and female sexuality (1948, 1953) revolutionized the way we think and talk about sex. Kinsey entered adult life with the classic Boy Scout's view of sex that it was best not to think about it. (He collected a million gall wasps instead.) But under the influence of one of his students, Clara McMillen (Laura Linney), who later became his wife, and listening to the questions some students were asking about sex, he decided to teach a course at Indiana University on human sexuality. "Sexual morality needs to be reformed," he proclaims, and "science will show the way."
He begins doing statistical research on individual sexual behavior, training his interviewers to be open and neutral as they encounter a very wide variety of behaviors. He also encourages them to experiment sexually among themselves, and later even to participate in sexual encounters filmed for research purposes. Naturally, not everyone accepts this readily, and there are problems between Alfred and Clara, among the research assistants, and eventually between the whole project and Indiana University and the Rockefeller Foundation.
Rockefeller withdraws its support, complaining that Kinsey is preaching in public, and Clara tearfully complains that some social restraints are needed to keep people from hurting each other. The assistants struggle with the ties between sex, which is part of the experiment, and love, which is not. Kinsey continues striving, but with much reduced means. The film ends with video clips of interview subjects speaking strongly about the benefits that Kinsey's revolution has brought to them, one woman concluding: "You saved my life, sir!"
Summary:A one-person performance of thirteen characters during a single night on a hospice unit. Portrayed are patients, family members and professional caregivers. With minimal lighting and few props the actor/writer, who has been a hospice volunteer for many years, is able to capture in words and action the poignancy and humor of caring for the dying.
This documentary video follows the making of an opera, based on the illness experiences of four Australians who have been diagnosed and treated for cancer. Their feelings about these experiences are translated into music (with lyrics) as they work closely with music therapist/composer, Emma O'Brien. As the three women and one man tell their stories of physical debility and emotional pain, the music therapist asks them to think in terms of color (they choose purple, black) and tones and rhythms that she plays for them on the piano.
When the narratives and their musical representations have evolved sufficiently, trained singers take on the roles "written" for them by the four former patients; the latter continue to be intimately involved in the opera's production, directed by David Kram. At the end of the project, which is also the conclusion of the film, the opera is performed in front of an audience (with musicians playing instruments, singing, and dramatic enactment) and the four people whose illness experience is performed take their bows together with the singers.