One Fine Morning

The second movie in my double feature yesterday was One Fine Morning at the Broadway.  Unfortunately, I was a bit underwhelmed by it.  Sandra Kienzler (Lea Seydoux) is a young widow working as an interpreter in Paris while raising her pre-teen daughter Linn (Camille Leban Martins), who is growing up and starting to pull away from her, and caring for her father Georg (Pascal Greggory), who is suffering from a neurodegenerative disorder and will soon require more supervision that she can provide.  She becomes reacquainted with her husband's old friend Clement (Melvil Poupaud) and eventually begins a passionate affair with him despite the fact that he is married and has a child.  She wants a commitment from him but he is unwilling to hurt his family.  Sandra deals with these losses by choosing to celebrate the little moments that bring her happiness.  Seydoux gives a lovely performance filled with quiet desperation as she gets on with the duties of her life (there are so many scenes of her walking and taking public transportation from place to place) but I found her character's passive resignation to the realities of life, while relatable, to be very depressing.  Also, while there are some incredibly poignant scenes, such as when Sandra and her mother (Nicole Garcia) and sister (Sarah Le Picard) try to convince Georg that he needs to go to a care center, the action becomes repetitive and I found my mind wandering many times (in all fairness I was really tired when I watched this).  Like most of Mia Hansen-Løve's films, this is beautifully shot and features an atmospheric score but, in my opinion, nothing about it is extraordinary enough to warrant all of the praise that it has received.  It didn't really appeal to me and I wouldn't recommend it.

All Quiet on the Western Front

When the Academy Award nominations were announced last month, All Quiet on the Western Front was the only Best Picture nominee that I hadn't seen (click on the titles for my commentaries on Avatar: The Way of Water, The Banshees of Inisherin, Elvis, Everything Everywhere All At Once, The Fabelmans, TÁR, Top Gun: Maverick, Triangle of Sadness, and Women Talking).  Even though it is streaming on Netflix I really wanted to see it on the big screen so I waited, hoping that it would return to theaters.  I was able to find a screening yesterday afternoon and I was completely overwhelmed by this devastating portrayal of the futility of war.  After a particularly deadly battle three years into World War I, the uniforms are removed from the dead, transported, laundered, repaired, and given to the new recruits.  Paul Baumer (Felix Kammerer) and three of his school fellows, Albert Kropp (Aaron Hilmer), Franz Muller (Moritz Klaus), and Ludwig Behm (Adrian Grunewald), enthusiastically enlist in the Imperial German Army hoping for adventure and the opportunity for glory.  They unknowingly receive these repurposed uniforms and are transported to the front, where they are soon confronted by the brutal realities of trench warfare.  As Paul watches his friends and comrades, Tjaden Stackfleet (Edin Hasanovic) and "Kat" Katczinsky (Albrecht Schuch), die in battle one by one, a German politician named Matthias Erzberger (Daniel Bruhl) attempts to negotiate a ceasefire with the Supreme Allied Commander Ferdinand Foch (Thibault de Montalambert) to prevent more loss of life.  Foch refuses and gives Germany 72 hours to agree to Allied terms during which Paul's unit is decimated in battle.  The armistice is eventually signed with a ceasefire scheduled to take place at 11:00 on November 11 but General Friedrichs (Devid Striesow) does not want the war to end without a victory so he orders an attack at 10:45 with deadly consequences.  The battle sequences are some of the most realistic ones I've seen and they are visceral and unrelenting.  The jarring and foreboding score only adds to the horror and chaos of battle.  The juxtaposition of the elegant drawing rooms and beautifully appointed train compartments where the ceasefire is negotiated with the desolate landscape of battle littered with corpses is also very effective.  Kammerer gives a brilliant and heartbreaking performance, especially in a scene where he finds his friend's body after his first battle and a scene where he begs the soldier he has just killed for forgiveness.  This is a movie I will not soon forget and I highly recommend it even though it is hard to watch.

Note:  Everything Everywhere All At Once seems to be the front-runner to win but, honestly, with the exception of The Fabelmans (which I did not care for) I would be happy with a win for any of the nominees.  Do you have a favorite?

RRR

I didn't have a chance to see RRR (which stands for "Rise, Roar, Revolt") when it was first released so I am really glad that Salt Lake Film Society brought it back for a limited engagement!  I had heard a lot of rave reviews so I went to see it with a large crowd at a late screening last night and it was absolutely amazing!  I had so much fun watching it and I may or may not have cheered out loud during several thrilling sequences!  It takes place in India during the British Raj in the 1920s.  When a young girl named Malli (Twinkle Sharma) is taken from her village by the British Governor Scott Buxton (Ray Stevenson) and his wife Catherine (Alison Doody), the guardian of the tribe, Komaram Bheem (N. T. Rama Rao, Jr.), travels to Delhi and vows to do whatever it takes to rescue her.  Meanwhile, a member of the Indian Imperial Police named Alluri Sitarama Raju (Ram Charan) begins searching for him when the Governor offers a promotion to the officer who captures the man reported to be coming for Malli.  Bheem and Raju meet when they cooperate to save a young boy from a burning train wreck and bond with each other but, when they finally learn of their true allegiances, there is an epic confrontation between them at the Governor's residence leading to Bheem's capture.  However, Bheem eventually discovers Raju's motivation for his actions while Raju begins to question whether his cause justifies the betrayal of a friend and they ultimately join together (literally) to defeat their common enemy.  This is obviously about overthrowing the evils of colonialism (the portrayal of the British almost verges on caricature) but I really loved the message about the power of friendship.  Rao and Charan are incredibly charismatic and have tremendous chemistry with each other.  Their physical performances are almost larger than life and so dazzling on the screen!  The action set pieces are spectacular (my favorites are a scene where Raju single-handedly subdues an angry mob and a scene where Bheem fights a tiger) with unbelievable visual effects (I loved that Raju is associated with fire and Bheem with water) and soaring choral music which acts as narration.  Speaking of which, the dance-off between Bheem and Raju and the stuffy British guests at a garden party during the song "Naatu Naatu" is wildly entertaining (it is nominated for the Academy Award for Best Original Song and I am really looking forward to its performance during the broadcast).  I am so happy that I got a chance to see this on the big screen because I thoroughly enjoyed it and I highly recommend it (it is currently streaming on Netflix).

Note:  I enjoyed it so much it was worth having to drive home during a snow storm at midnight!

Dear Evan Hansen at the Eccles

When Dear Evan Hansen was announced as an add-on to the Broadway at the Eccles 2022-2023 season, I decided that I probably didn't need to see it again but, as the date of the run got closer and closer, I started to feel really sad that I wasn't going.  I ended up getting one of the few remaining tickets for last night's performance and I am so glad I did because I love this show and its message so much!  Evan Hansen (Anthony Norman) suffers from anxiety and feels insignificant and alone ("Waving Through a Window").  Heidi (Coleen Sexton), his busy single mother, doesn't know what to do to help ("Anybody Have a Map?").  His one friend, Jared (Ian Coursey), is only nice to him so his parents will pay for his car insurance and he is too scared to talk to Zoe (Alaina Anderson), the girl he likes.  His therapist encourages him to write letters to himself to help build his confidence but Connor (August Emerson), a deeply troubled young man, intercepts one of them from the printer because it mentions his sister Zoe.  When Connor takes his own life, his parents, Cynthia (Lili Thomas) and Larry (John Hemphill), find the letter and, assuming it is a suicide note, reach out to Evan.  To comfort Connor's parents, Evan pretends that they were friends ("For Forever").  When Cynthia and Larry press for more information, Evan asks Jared to create a history of emails between him and Connor ("Sincerely, Me").  Larry and Zoe struggle to reconcile Evan's version of Connor with the difficult son and brother they knew ("Requiem").  Zoe tells Evan that the only nice thing Connor ever said to her was in his suicide note, which Evan wrote ("If I Could Tell Her").  Alana (Gillian Jackson Han), another lonely girl at school, wants Evan to do more to keep Connor's memory alive ("Disappear") so they create The Connor Project and Evan gives a heartfelt speech about loneliness at a memorial assembly for him ("You Will Be Found") which goes viral.  He soon begins a relationship with Zoe ("Only Us") and bonds with her family ("To Break in a Glove") to the exclusion of Jared, Alana, and Heidi ("Good For You").  Eventually the falsehoods spiral out of control and, when the truth is finally revealed ("Words Fail"), Heidi helps him realize that he has never been alone ("So Big/ So Small").  As someone who suffers from anxiety and struggles to interact with people, I find Evan's story to be incredibly powerful and I always have tears in my eyes during "Disappear" and "You Will Be Found."  Norman is very endearing and sympathetic in the role and I loved all of his idiosyncratic tics and rapid-fire line deliveries.  The rest of the cast is also really strong and Anderson, Emerson, and Han portray Zoe, Connor, and Alana, respectively, very differently than I have seen before which I enjoyed.  Finally, as always, one of my favorite elements in this show is the use of social media, which is depicted on large moving panels, because, even though the world seems increasingly connected by technology, so many people still struggle to find a connection.  This inspirational show only has two performances left at the Eccles Theatre but it is definitely worth getting a ticket (go here).

Note:  Just so you know, the stage musical is so much better than the movie!

Dvorak's Symphony No. 5

I always love it when I have a Utah Symphony concert to look forward to during the week and the one last night was especially worth the anticipation because I was swept away by the music of Bruch and Dvorak.  The orchestra began with Ringelspiel by Ana Sokolovic and it pains me to say this but I didn't particularly care for this piece.  I appreciate that the composer meant to mimic the disoriented and dizzy feeling that one has while riding on a merry-go-round but most of the time it just sounded like noise to me, especially a section where it seemed like everyone was playing a different note (it was so jarring).  This hardly mattered because I absolutely loved the next piece as well as the soloist!  Randall Goosby joined the orchestra for Violin Concerto No. 1 by Max Bruch and he was brilliant!  I loved the themes played by the solo violin because they are passionate in the first movement, melancholy and filled with longing in the second movement, and intense in the third movement.  I also really enjoyed the orchestral background because it is incredibly lush but Goosby has such a magnetic stage presence that I couldn't take my eyes off him and all of my attention was focused on his dazzling performance.  The audience literally erupted with thunderous applause so he performed "Louisiana Blues Strut" by Coleridge-Taylor Perkinson as an encore!  After the intermission, the concert concluded with Symphony No. 5 by Antonin Dvorak.  I had never heard this piece before but I'm glad I had the chance last night because it is so emotional and romantic!  I always love it when the woodwinds are prominently featured and the themes played by the clarinets in the first movement are beautiful.  My favorite movement was the second because it has the feel of a Bohemian folk dance with a lyrical theme played by the cellos and then echoed first by the violins and then the woodwinds.  The final movement includes a tender dialogue between the clarinets and violins and another between the flutes, oboes, and violins followed by a triumphant conclusion from the brass.  It was another wonderful evening at Abravanel Hall and I highly recommend getting a ticket for tonight's performance of the same program (go here for tickets).

Note:  Yesterday I renewed all of my subscriptions (Masterworks, Films in Concert, and Opera) for the 2023-2024 season without even knowing what will be programmed!  That is how much I love attending Utah Symphony concerts (and Utah Opera performances).