Something’s Gotta Give

Watching Something’s Gotta Give and re-realising what a lovable movie it is. It’s filled with such gems of sharp written dialogue, and I love watching the drama play out through the dynamics between Keaton and Nicholson. I especially love watching Keaton’s emotions gently bring every line and muscle in her face into play- it’s like watching the theatre in her mobile countenance. Her face, and also that well-modulated voice (she can’t seem to scream even when at the end of her tether. I think it was deliberate to bring such a poised and likable persona to this role of 50 something single woman who *gasp* begins to date again), well her acting together with Jack Nicholson’s gently gravelly, gently ironic voicing of his lines is perfect. Speaking of Nicholson he finds that sweet spot where a 63 year old man can date 30 years old and younger women and not come across as a desperate creep. He is either charmingly kind and solicitous or plain adorable.

Jack N
Falling off the bed when when snooping around Erica’s (Keaton) room when she returns from her date with a 36 year old doctor (Keanu Reeves 😀 ). How did his glasses spring into the air in an amusingly complementary movement like that?

I’ve got so many screen grabs of the more amusing dialogues, but maybe another post, there were just so many.

 

Advertisements

A play

Performing Shakespeare in India is a prickly business.  It’s probably easier if the entire troupe is Indian, there’s little chance of stiffness and awkwardness being attendant upon the scene, but when the director is British! Oh dear. It’s a little like that Gloria Gaynor song,

“And so you’re back! From outer space,
I just walked in to find you here with that sad look upon your face,…”

Hee,hee,hee.

No, but really, a couple of people walked in late and one man sitting behind me tittered uncomfortably about “us late Indians”. I almost expected him to prostrate himself in front of the director, who in the meanwhile, with the well practiced ease of a college professor who has generally had a captive audience for many years (well, the doors are usually shut), talked for fifteen minutes straight without hitch or pause or break. He eventually took himself off the stage and someone apparently went to call the actors. I thought that part was kind of charming.Like we were in the middle of their day and asked them at that moment for a play :).

The performance was The Rape of Lucrece, a narrative poem that is not usually performed. We disagreed, the director and I, on whether the character remained static in her perception of the world or whether she began to question her role in it, but that couldn’t be helped :). Well, e.g. I didn’t see Lucrece unable to support the character of an orthodox wife anymore because her world was turned upside down by brutality. That is, she says something about the death of a true wife, but she doesn’t say it like she discovers it to be a hollow thing, a condition that let her down and didn’t protect her. It was more like she  couldn’t continue as if nothing had happened to her. So pain yes, questioning no. Every time you mark a text to be a thing of it’s times because it is so unrelenting in it’s presentation of one point of view there will be one small sentence wherein a character will say – she should have just killed the attacker instead of herself.

Which makes you think that putting actions or thoughts down as a consequence of an era just doesn’t hold water.

I thought the lady who played Lucrece was a pretty good actor just the same. I knew the Tarquin dude was new to this theatre but… I wondered why he did not lend more richness and nuance to his words, as if they were emerging from him as he was thinking them, and not as if he was saying his lines prepared. On top of everything else the actor was so ludicrously chubby cheeked, he looked more like a baby padding determinedly towards it’s goal than a man bent on rape. Still, that let me dislike him a lot less. Have you ever, (quite unfairly)hated an actor because they had to play the villain? I have. I have very poor distancing skills.

I liked it enough, but I wouldn’t gaily book a sex assault play for a Sunday evening again.

TVD-S8 Episode 12

Oh gods.No words to describe the eternal boredom of S8 episode 12. There’s  a touch of miserable realism in the scene where Stefan is arrested and can’t compel himself out of it. My fantasy filled series has been ruined.I’m so depressed. Couldn’t he have had his humanity under happier circumstances? All leading up to Stelena end game? Everyone has had to act so different in these episodes. It’s as if all the characters have had the mainspring of their action broken this season (though they’ve been a little boring and repetitive for a while), and they’re all like – I don’t have a reason anymore to be a particular way, I don’t know what that reason could be. And I blame the story arc for this (not so much an arc as a series of bumps  that eventually stop, unlike S1-4  😦  ). As I was saying tho, I do not like you, story arc. You do nothing for my vampires precieux. Damon acts like he’s blissed out on ether, not chasing redemption, Caroline is strange but okay she was a mom for five years so maybe that’s why, Alaric feels redundant and for the first time I wished he’d remained in his coffin and now I find myself hoping against hope that that’s not what surfaces when  i see Elena again. :/. How could the writers run out of good plots? I thought there was a whole book series of happenings to draw on.

The Force Awakens- and is unexpectedly goodlooking

I’m hooked! Adam Driver as Kylo Ren is so jawdropping HOT! I hope the force is strong in this one, and that he winds up with Rey. I sense an angst filled movie times couple in the making.

 

That last fight scene was awesome. I thought Daisey Ridley instilled it with so much unexpected raw feeling, especially in victory. It was all so perfect.

Up ↑