Showing 221 - 230 of 260 Performing Arts annotations
Daniel Coulombe (Lothaire Bluteau) is engaged by a Montreal priest to improve on the parish's tired passion play. He is quietly excited by the possibility and invites a group of old friends to join him in revitalizing the ancient tale. They will stage the performance outside by torchlight on the crest of Mount Royal with the lights of the vast city flickering below. The script is modern, visceral, and engages the audience. The actors all manage to improve their life situations if not their finances: a man gives up dubbing scripts for porno movies; a woman leaves an abusive partner to become the Magdalene.
At first, the priest is pleased by their efforts, but he looses confidence and credibility when Coulombe finds he sleeps with one of the women actors. The play is a huge success, but nameless clerical authorities are disturbed by the vibrant sexuality and the avant garde performance; in the absence of support from the priest, "they" revoke the right to perform.
The defiant troupe performs anyway, hoping the police will be sympathetic. A naked Coulombe is arrested off the cross in the midst of his crucifixion scene. A scuffle ensues and he suffers an accidental head injury. Taken by ambulance to a busy hospital, he is neglected, but recovers enough to sign himself out, only to collapse in a subway station. Attended by the two dismayed and disoriented women, he is again taken to hospital where he dies.
Mohammed (Mohsen Ramezani), an eight year old blind boy attending a special school in an Iranian city waits for his widowed father (Hossein Mahjub) to bring him home to his isolated, but idyllic Iranian village for summer recess. During several interminable hours of waiting outside the school, viewers come to recognize the boy’s sensitivity to his surroundings. Through sound and feel he is at one with nature. Remarkably, he is able to rescue a vulnerable baby bird and return it to the tree branch nest from where it has fallen.
Unfortunately, Mohammed’s father fails to exhibit this kind of care with his son. The tardy reunion is painful: rather than embracing the boy, the father requests that school officials keep the boy during the recess. When the request is refused by embarrassed faculty members who are sympathetic to the child’s family needs, father and son begin the long walk, then bus ride into the distant countryside.
In contrast, Mohammed receives a warm and loving welcome from his Granny (Salime Feizi), his sisters, and the neighboring children. Immediately, the children run with him into the meadows to explore and celebrate. Clearly, this is Mohammed’s nest.
Even though Mohammed’s abilities at the local school are superior to those of his classmates and even though he is able to function in normal play with his peers, the father focuses only on the boy’s removal from the family and the village so that he can find a new wife to care for him and his other children. The unprepared boy is taken abruptly by his father to a blind carpenter many miles away where he will serve as an apprentice. Although the carpenter is kind, Mohammed is devastated by the cruel separation from Granny and the children.
Unburdened, the father goes forth with plans for another marriage, but before the arranged ceremony occurs both the heartbroken Granny and Mohammed die. The bride-to-be and her family regard these losses as unhealthy portends. Marriage plans are canceled. Only then, does the father recognize his own blindness.
It is 1832. Europe is in turmoil of revolution and soon to be ravaged by cholera. Italians who resist the Austrian occupation of their country have fled to southern France where they are ruthlessly pursued and killed by special agents. Handsome, young, Angelo Pardi (Olivier Martinez), is an Italian fugitive whose wealthy but revolutionary-minded mother has purchased his rank of colonel. Upon learning that a friend has betrayed his cell of resistors, he determines to return to Italy carrying the funds raised for a defense.
But cholera has struck southern France. Roads and rivers are barricaded, quarantine is enforced, and he encounters death, decay, fear, and angry crowds who accuse every stranger of having caused the epidemic. Pardi meets an anxious doctor who teaches him a treatment for cholera, but moments later the doctor defies his own treatment to die of the illness caught from his patients.
As Pardi runs from both Austrian and French pursuers, he falls through a tiled roof into the life of the abandoned Pauline de Théus (Juliette Binoche). With almost comic formality, he becomes her chivalrous guide--her "angel(o)"--and leads her safely to her elderly husband through an improbable series of narrow escapes, including cholera itself. The doctor's dubious treatment comes in handy not only for saving her life but also as a pretext for nudity in their chaste relationship. A few years later, peace and health returned, Madame de Théus receives a letter from Italy. Her husband knows that he ought to let her go, but the credits roll as she gazes at the Alps and contemplates her decision.
Summary:Patsy (Genevieve Lemon), a middle-aged wife and mother of three grown daughters and a son (Russell Dykstra), is dying of cancer. Her children return home to spend time with and care for their mother in her final days. Each family member and Patsy's sometimes charming, sometimes abusive husband, Vic (Linal Haft), must face conflicts past and present as well as reconcile themselves to their mother's dying.
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
Sam Daniels (Dustin Hoffman) and his wife (Rene Russo) are both working for a federal infectious disease laboratory, but their marriage is on the rocks. A mysterious lethal illness, remarkably like Ebola fever, breaks out at various sites in America, all eventually connected to a pet shop that received a monkey from an illegal smuggling operation. Most cases are immediately isolated and contained, but a town in California develops an epidemic of the new disease.
The lab is called in and the military enforces a strict quarantine that divides families and prevents anyone from leaving the area. One worker dies quickly and Sam's wife falls ill. The crass General Donald McClintock (Donald Sutherland) is convinced that the nation can be saved only by the annihilation of the town by a gigantic bomb.
A plane sets out on the gruesome mission. Meanwhile, Hoffman leaps from a helicopter onto the cargo ship where the sailor-smuggler has just died leaving a photo of the monkey carrier. Sam makes a televised appeal for help locating the cute but dangerous, little monkey; a terrified mother responds and the creature is snatched from the arms of her child.
With military snipers in hot pursuit, Sam returns to the town, radioing the baffled bomber pilots with a barrage of reasons why they should ditch their mission of destruction. He puts the tiny monkey to work producing anti-sera and vaccines, which--in only a matter of minutes!--rescue the town, his wife, and his marriage. The pilots disobey orders and dump their bomb in the sea.
Sam (Hume Cronyn) and Cora Peek (Jessica Tandy) dance to celebrate their 50th wedding anniversary, surrounded by friends and children, grandchildren and great-grandchildren. Not long after this party, Cora dies suddenly, and Sam is left alone and depressed. His anxious, protective children try to manage his life, down to what he eats, but Sam wants to be left alone. There is a classic, often comic conflict between the stubborn, independent old father and his worried, controlling children.
To help Sam, his wife returns from the dead as a white dog which he feeds and cares for, but she keeps hiding when the other family members appear, so they think Sam is hallucinating and demented. When Sam has a stroke, however, the white dog runs to a family member's house and barks for help, saving Sam's life. Later, as Sam recovers and walks using a walker, the white dog "dances" with him by putting her front paws on top of the walker. She also saves his life another time when she leads family members to a stream where Sam has fallen. Mostly she is there as his loving companion, leaving only when Sam dies.
American Beauty, a story about Lester Burnham (Kevin Spacey), his family, and his neighbors, is both comic and tragic. In addition to a loveless marriage, an unhappy teen-age daughter, and an unimaginative, routine job, Lester is worried about aging. Nothing has turned out as expected. From the outside, all seems ideal: the white-framed house, the well-tended red roses, and the white picket fence. As illustrated by meal time settings, a highly-charged cold war atmosphere prevails inside the house. Lester and his wife Carolyn (Annette Bening), a realtor, cannot stand each other and their daughter, Jane (Thora Birch), has no desire to be with either of them.
From the onset, Lester’s narrating voice tells us that he will be dead in a year. He has no illusions about the repressive nature of his life and decides, unilaterally, that abrupt changes are in order. His scripted family role is cast aside as he quits his job, lusts after his daughter’s sexy friend, Angela (Mena Suvari), and smokes an illegal substance with Ricky (Wes Bentley), a teen-ager who has moved in next door.
Uncharacteristic of his customary, go-along behavior, the new, rebellious Lester throws a plate of asparagus against the wall during dinner, drinks beer while lounging on the expensive off-limits couch, works as a cook and waiter at a local fast food restaurant, and begins a body building program so as to impress and seduce Angela. Meanwhile, Carolyn has an affair with a competing realtor and Jane falls in love with Ricky.
Two gay men, who are thoughtful and kind, live on one side of the Burnhams; on the other side, Ricky lives with another version of disturbed parents: an abused and deeply depressed mother and a retired, Marine father (Chris Cooper) who bullies his son, is expressively homophobic, and collects guns and Nazi era memorabilia.
The lives of these characters, many of them familiar to viewers, gain in intensity as various threads cross to produce an unresolvable knot.
The spoiled Long Island heiress, Judith Traherne (Bette Davis) is suffering from severe headaches and visual disturbances, which she tries to ignore in pursuit of wild parties and frenetic horse-back riding. Her friend and secretary, Ann (Geraldine Fitzgerald), and the old family doctor bring her to Dr. Frederick Steele (George Brent). Steele has just sold his neurosurgical practice and is about to catch a train to Vermont where he will devote himself to fulltime research on malignant brain tumors. He delays his departure to operate successfully on Judith's glioma.
He and his patient fall in love. But Steele learns that her disease will recur in a predictable manner: blindness followed by painless death. He and Ann conspire to hide the prognosis from Judith. A wedding is planned and the move to Vermont. But Judith uncovers the secret and flies into a rage at the treachery, breaking off the engagement.
She tries to drown her sorrow of impending doom in drink, a frivolous dalliance with a drunken suitor (Ronald Reagan), and a more serious dalliance with her horse-trainer, Michael (Humphrey Bogart). On the verge of sin with Michael, she realizes that her only hope lies in life itself, marriage and the house in Vermont. Steele conducts his laboratory research in a back shed and the couple carry on as if her death sentence did not exist.
Living a lie provides their few months of happiness, their "Dark Victory," Judith says, over the cruel promise of her death. Just as Steele is invited to New York to present his research, her vision begins to cloud and fade. She tells Ann, but keeps the news from her husband. He leaves the now blind Judith and her friend in the garden planting bulbs that will bloom in spring. She sends Ann away too, and lies down to face her romantic (but painless) end alone.
Between April 1795 and September 1801, 306 bodies were pulled from the river Seine in Paris. A register of these deaths, indicating, sex, age, hair colour, wounds (if any) and a description of clothing (if any) was kept by two mortuary clerks, Citizen Bouille and Citizen Daude. If witnesses came forward in the days that followed, the names, occupations of the "silent guests" and the witnesses would be added together with the circumstances of the deaths. In most cases the cause of violent death was unknown, or unrecorded--be it "accident, misadventure, suicide, or murder." Bouille and Daude would not speculate.
This artistic documentary uses a male narrator and an eloquent text to present 23 out of the 306 cases: traveling clerks, hearty horsemen, children, mothers, mistresses, aged widows, and a laundress with her little daughter drowned together. These people had lived through the Revolution, the Terror and the early Consultate and it seems reasonable to wonder if the political circumstances they had experienced were somehow connected to their demise. On the other hand, the occupations--tobacco-pouch maker, carter, delivery clerk--invoke the continuity of daily life in the great city despite the political turmoil.
Each case is presented with the site and details of the discovery of the body, followed by a description of the external anatomy as the camera moves slowly and clinically upward over the naked corpse from the feet to head. The shadowy antics of the crude yet sympathetic bureaucrats Bouille and Daude appear throughout, as they retrieve bodies, wash them, label them, and arrange for the witnesses to view them with enforced respect. But we know less about Bouille and Daude than we do about their "guests."
The narrator reminds us how memory rarely survives more than three generations. Who will remember us, he asks, or these actors who lay very still? And as the register ends, the Revolutionary calendar that governed it ended too. These people who no longer exist could be said to have lived in a time that also no longer exists, because it is no longer measured.