Rebecca Redshaw
Sofa Cinema
Published on Wed, Jan 13, 2010 by Rebecca RedshawRead More Sofa Cinema
Rebecca Redshaw's "SOFA CINEMA: An Easy Guide to DVDs Volume 1" is available at your local bookstore, at the Sequim Gazette and online at www.rebeccaredshaw.com.
The movies selected for review are the choice of the reviewer. Suggestions for DVD titles are welcome. Enjoy the movies.
NEW RELEASE
"Fame," rated PG
Remakes are not a new phenomenon in the film industry. Many huge films have been reincarnated by another generation of filmmakers and most were strong stories approached from a different perspective.
"Ben-Hur" went from a silent to a talkie and was equally spectacular; "A Star is Born" was reborn with various "stars" a number of times, and A.E.W. Mason's "Four Feathers" has had more than four releases dating from 1915 to 2002.
Why remake the 1980 Alan Parker picture "Fame?" After seeing the 2009 remake, I can honestly tell you, I have no idea.
Director Parker's "Fame" was fresh with new talent (notably Irene Cara) and a better-than-average pop score (by Michael Gore). The 2009 version (for lack of a better word) is directed by Kevin Tancharoen, a name that is difficult to remember and luckily not necessary. In spite of glowing descriptions in his press bio like "dynamic director" and "double-fisted success at MTV" and "skyrocketing career," none of those attributes surface in "Fame," which may be one of the biggest disappointments of 2009.
This remake is flat-out boring in spite of name talent in supporting roles: Kelsey Grammer, Bebe Neuwirth, Debbie Allen and Megan Mullally.
If SOFA CINEMA serves no other purpose than helping you dodge this dog of a movie, it's been worth it.
CLASSIC
"Cabaret," rated PG
Film adaptations of stage musicals often are disappointing, but Bob Fosse worked his directorial magic and "Cabaret" is definitely the exception to the rule.
Set in Germany in 1931, the hints of Hitler's rise and Nazi influence are anything but subtle. The politics of the era take a back seat to the colorful life of Sally Bowles (Liza Minnelli), a cabaret singer/wannabe movie star who entertains gentlemen on and off the stage.
When writer Brian Roberts (Michael York) moves into the same apartment building as Sally, their unlikely attraction becomes complicated when a rich businessman dabbles with their affections.
"Cabaret" is a brilliant movie that withstands the test of time for a number of reasons. Minnelli may have had her role of a lifetime in this 1972 film. Wide-eyed and spunky, her off-stage mannerisms would be irritating under other circumstances, but playing opposite York's utterly British demeanor, this odd couple becomes endearing. As the master of ceremonies, Joel Grey alternates between creepy and charming and mesmerizes the on- and off-screen audience. Ultimately, the success of "Cabaret" goes to Bob Fosse. As a director, his body of work is brief and nothing short of brilliant: "Lenny," "All That Jazz" and "Star 80."
Starting Feb. 5, Olympic Theatre Arts will open its new stage with a production of "Cabaret." The stage version also features the musical score of Kander and Ebb yet is far different from the movie. Why not see both?
HIDDEN GEM
"84 Charing Cross Road"
"The book is better than the movie."
"No, the movie is better than the book."
This debate has gone on ever since filmmakers have purchased rights to stories in hardcover and brought them to the silver screen.
The 1987 adaptation of Helene Hanff's memoir "84 Charing Cross Road" would not be worthy of arguing the point at all if it weren't for the stellar performances of Anne Bancroft and Anthony Hopkins.
A lover of books, particularly English literature, Helene (Bancroft) began her correspondence with the famed antiquarian English bookseller Marks & Co. in 1949. As the primary purchaser of books, Frank Doel (Hopkins) formed a discreet relationship over the years that expanded to include the small establishment's staff and his wife (Judi Dench) and children.
Helene and Frank do have a love affair; however, it is a love affair of books, consummated only by letters.
Even though technology literally has put books at our fingertips with Kindles and Readers, there's something terribly satisfying about curling up with a real good book. "84 Charing Cross Road" does an eloquent job of reminding us of that joy.
Rebecca Redshaw can be reached at
r2redshaw@hotmail.com.
The movies selected for review are the choice of the reviewer. Suggestions for DVD titles are welcome. Enjoy the movies.
NEW RELEASE
"Fame," rated PG
Remakes are not a new phenomenon in the film industry. Many huge films have been reincarnated by another generation of filmmakers and most were strong stories approached from a different perspective.
"Ben-Hur" went from a silent to a talkie and was equally spectacular; "A Star is Born" was reborn with various "stars" a number of times, and A.E.W. Mason's "Four Feathers" has had more than four releases dating from 1915 to 2002.
Why remake the 1980 Alan Parker picture "Fame?" After seeing the 2009 remake, I can honestly tell you, I have no idea.
Director Parker's "Fame" was fresh with new talent (notably Irene Cara) and a better-than-average pop score (by Michael Gore). The 2009 version (for lack of a better word) is directed by Kevin Tancharoen, a name that is difficult to remember and luckily not necessary. In spite of glowing descriptions in his press bio like "dynamic director" and "double-fisted success at MTV" and "skyrocketing career," none of those attributes surface in "Fame," which may be one of the biggest disappointments of 2009.
This remake is flat-out boring in spite of name talent in supporting roles: Kelsey Grammer, Bebe Neuwirth, Debbie Allen and Megan Mullally.
If SOFA CINEMA serves no other purpose than helping you dodge this dog of a movie, it's been worth it.
CLASSIC
"Cabaret," rated PG
Film adaptations of stage musicals often are disappointing, but Bob Fosse worked his directorial magic and "Cabaret" is definitely the exception to the rule.
Set in Germany in 1931, the hints of Hitler's rise and Nazi influence are anything but subtle. The politics of the era take a back seat to the colorful life of Sally Bowles (Liza Minnelli), a cabaret singer/wannabe movie star who entertains gentlemen on and off the stage.
When writer Brian Roberts (Michael York) moves into the same apartment building as Sally, their unlikely attraction becomes complicated when a rich businessman dabbles with their affections.
"Cabaret" is a brilliant movie that withstands the test of time for a number of reasons. Minnelli may have had her role of a lifetime in this 1972 film. Wide-eyed and spunky, her off-stage mannerisms would be irritating under other circumstances, but playing opposite York's utterly British demeanor, this odd couple becomes endearing. As the master of ceremonies, Joel Grey alternates between creepy and charming and mesmerizes the on- and off-screen audience. Ultimately, the success of "Cabaret" goes to Bob Fosse. As a director, his body of work is brief and nothing short of brilliant: "Lenny," "All That Jazz" and "Star 80."
Starting Feb. 5, Olympic Theatre Arts will open its new stage with a production of "Cabaret." The stage version also features the musical score of Kander and Ebb yet is far different from the movie. Why not see both?
HIDDEN GEM
"84 Charing Cross Road"
"The book is better than the movie."
"No, the movie is better than the book."
This debate has gone on ever since filmmakers have purchased rights to stories in hardcover and brought them to the silver screen.
The 1987 adaptation of Helene Hanff's memoir "84 Charing Cross Road" would not be worthy of arguing the point at all if it weren't for the stellar performances of Anne Bancroft and Anthony Hopkins.
A lover of books, particularly English literature, Helene (Bancroft) began her correspondence with the famed antiquarian English bookseller Marks & Co. in 1949. As the primary purchaser of books, Frank Doel (Hopkins) formed a discreet relationship over the years that expanded to include the small establishment's staff and his wife (Judi Dench) and children.
Helene and Frank do have a love affair; however, it is a love affair of books, consummated only by letters.
Even though technology literally has put books at our fingertips with Kindles and Readers, there's something terribly satisfying about curling up with a real good book. "84 Charing Cross Road" does an eloquent job of reminding us of that joy.
Rebecca Redshaw can be reached at
r2redshaw@hotmail.com.
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