Archive for July, 2009

A SURPLUS OF SCINTILLATING SUNSHINE…

Posted in Hot Video on July 31, 2009 by Miranda Wilding

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Summer is my favourite season.

Much as I adore the town where I was born and raised, we get a lot of rain. As in, a real lot…

Even during those precious few sweltering months. It has been improving. The last few summers have been pretty damn glorious weather wise.

But we’re in the midst of a heat wave like this city has never seen. I’m talking 100+ degree temperatures in the shade. Last I heard, it broke a record going all the way back to 1937.

That’s a long time…

If this were Cali or Arizona or New Mexico, then it would seem like nothing. I swear, I’m NOT complaining. It’s gorgeous. It’s just that we’re not used to it up here.

So it’s hot and getting hotter…

In celebration of all this wicked heat, I present one of the classic British bands that I adore – THE KINKS singing SUNNY AFTERNOON.

It’ll cool down eventually. But not too soon, I hope.

After all, it is the weekend. Summer was made for good times…

SERIOUSLY FUNNY: 24 COMEDIANS WHO PLAYED IT STRAIGHT

Posted in Film on July 31, 2009 by Miranda Wilding

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Sad that comedic actors get very little respect – at least in comparison to their brothers and sisters in the profession that choose parts in dramatic productions.

MERYL STREEP is an actor who is equally excellent doing both. But when you have a phenomenal talent like hers, the gifts are limitless.

But would she be this highly respected icon, this elegant force of nature, if she had done comedic work principally instead of mixing it up?

I DOUBT IT.

To some degree, people would still revere her. But she wouldn’t be nearly as appreciated or acclaimed as she is now.

So, considering the reality, I’m grateful that she stuck with the plan.

Almost any performer who you talk to will tell you that comedy is much tougher and far more challenging. It’s all about timing and being able to work effectively with the other actors in the same scene.

It’s an exceptionally difficult, highly complicated balance. Drama is not always easy. But it’s a cakewalk compared to comedic acting.

It’s much more delicate and there are too many opportunities for it to go right off the rails.

Some famous performers had to take serious roles in so called substantial fare before they were fully given their respective due. They’re still known primarily for their comedic chops (even the ones who have left this world) but the dramatic parts allowed them to explore other dimensions. They were able to show the world their range and scope.

No one could ever sell them short after that.

EW has an exceptional slideshow of comedic actors who crossed over to the dark side…and showed the world what they were made of.

All of the performances that I list in this post are monumental. This is some of the best work that has ever been done in film.

This gallery includes…

WHOOPI GOLDBERG – THE COLOR PURPLE

PETER SELLERS – LOLITA

JACKIE GLEASON – THE HUSTLER

MARY TYLER MOORE – ORDINARY PEOPLE

ROBIN WILLIAMS – THE WORLD ACCORDING TO GARP

For the whole damn thing, please go here

THE 2009 VENICE FILM FESTIVAL LINE UP

Posted in Film Festivals on July 31, 2009 by Miranda Wilding

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FROM VARIETY

THE VENICE FILM FESTIVAL has unveiled a refreshingly rich mix of established auteurs and lesser known helmers in its line up of 71 world premieres marked by prominent U.S. and European contingents (with a considerable amount of Asian entries).

There are even a robust number of participants from rarely represented countries such as Egypt and India.

In a year in which American titles were thin in CANNES, there are six entries flying the stars and stripes in VENICE competition berths and 17 spread around the official selection.

U.S. pics vying for a GOLDEN LION are: MICHAEL MOORE’S global meltdown doc CAPITALISM: A LOVE STORY, Werner Herzog’s BAD LIEUTENANT makeover BAD LIEUTENANT: PORT OF CALL NEW ORLEANS with NICOLAS CAGE and EVA MENDES, Todd Solondz’s long in gestation LIFE DURING WARTIME, which is a sequel of sorts to HAPPINESS…and former GUCCI creative director TOM FORD’S helming debut A SINGLE MAN with COLIN FIRTH.

STEVEN SODERBERGH’S THE INFORMANT - starring MATT DAMON as a price fixer – will debut out of competition, along with Grant Heslov’s military mind control satire THE MEN WHO STARE AT GOATS, starring GEORGE CLOONEY, JEFF BRIDGES, KEVIN SPACEY and EWAN McGREGOR.

“Everybody thought that the writers’ strike and the economic crisis had created a stall in American cinema. Instead this year, like never before, we found such ample offerings coming from the U.S. – both from established directors like Steven Soderbergh and first timers like Tom Ford,” MARCO MUELLER commented at a packed press conference at ROME’S EXCELSIOR HOTEL on the Via Veneto.

But Mr. Mueller, now in his sixth year as director of the fest, also underlined that, during his tenure, VENICE has never seen so many countries represented — there are 25 this year — and also such a high number of first and second works.

First works at the fest include Egyptian helmer Ahmed Maher’s competition entry EL MOSAFER (THE TRAVELER), which marks OMAR SHARIF’S return to filmmaking in Egypt since the early 1990s. It is one of three Egyptian entries. Another from Egypt is Yousry Nasrallah’s new cut of his SCHEHEREZADE TELL ME A STORY, which stirred local controversy earlier this year for its realistic depiction of women, including their sexuality.

The wide ranging Euro roster includes the customary copious contingents from France and Italy.

Hot sci fi pic MR. NOBODY marks the English language debut of Belgian helmer Jaco van Dormael and stars DIANE KRUGER, SARAH POLLEY and JARED LETO.

As previously announced, the fest will kick off with BAARIA, Giuseppe Tornatore’s big budget Sicilian epic, VENICE’S first ITALIAN opener in two decades. It plays in competition.

Other ITALIAN pics looking to be LIONIZED are: Michele Placido’s 1968 themed IL GRANDE SOGNO (THE BIG DREAM), the Naples set drama LO SPAZIO BIANCO (THE WHITE SPACE) by Francesca Comencini and first timer Giuseppe Capotondi’s psychological thriller LA DOPPIA ORA.

FRENCH fare playing the fest includes: experimental auteur Jacques Rivette’s GALLIC/ITALIAN coproduction 36 VUES DU PIC SAINT LOUP, Claire Denis’ Cameroon set WHITE MATERIAL, starring ISABELLE HUPPERT and CHRISTOPHER LAMBERT and Patrice Chereau’s love triangle drama PERSECUTION with CHARLOTTE GAINSBOURG.

Highlights of the more cutting edge HORIZONS section, which is becoming more high profile this year and being equipped with its own red carpet, include REPO CHICK, BRITISH bad boy Alex Cox’s REPO MAN sequel of sorts, set 25 years later during the credit crunch – with JACLYN JONES in the lead along with KAREN BLACK and ROSANNA ARQUETTE and ITALIAN director Luca Guadagnino’s IO SONO L’AMORE (I AM LOVE) with TILDA SWINTON as a high society dame who falls for a cook.

Here is the 66TH ANNUAL VENICE FILM FESTIVAL LINE UP…

IN COMPETITION

BAARIA – GUISEPPE TORNATORE (OPENING FILM)

36 VUES DU PIC SAINT LOUP – JACQUES RIVETTE

ACCIDENT – CHEANG POU SOI

BAD LIEUTENANT: PORT OF CALL NEW ORLEANS – WERNER HERZOG

BETWEEN TWO WORLDS – VIMUKTHI JAYASUNDRA

CAPITALISM: A LOVE STORY – MICHAEL MOORE

LA DOPPIA ORA – GUISEPPE CAPOTONDI

IL GRANDE SOGNO – MICHELE PLACIDO

LEBANON – SAMUEL MAOZ

LIFE DURING WARTIME – TODD SOLONDZ

LO SPAZIO BIANCO – FRANCESCA COMENCINI

LOURDES – JESSICA HAUSNER

MR. NOBODY – JACO VAN DORMAEL

PERSECUTION – PATRICE CHEREAU

PRINCE OF TEARS – YONFAN

THE ROAD – JOHN HILLCOAT

A SINGLE MAN – TOM FORD

SOUL KITCHEN – FATIH AKIN

SURVIVAL OF THE DEAD – GEORGE ROMERO

TETSUO THE BULLET MAN – SHINYA TSUKAMOTO

THE TRAVELER – AHMED MAHER

WHITE MATERIAL – CLAIRE DENIS

WOMEN WITHOUT MEN – SHIRIN NESHAT

OUT OF COMPETITION

ANNI LUCE – FRANCESCO MASELLI

THE HOLE – JOE DANTE

THE INFORMANT – STEVEN SODERBERGH

THE MEN WHO STARE AT GOATS – GRANT HESLOV

NAPOLI NAPOLI NAPOLI – ABEL FERRARA

L’ORO DI CUBA – GUILIANO MONTALDO

PROVE PER UNA TRAGEDIA SICILIANA -JOHN TURTURRO/ROMAN PASKA

REC 2 – JAUME BALAGUERO/PACO PLAZA

SCHEHERAZADE TELL ME A STORY -YOUSRY NASRALLAH

SOUTH OF THE BORDER – OLIVER STONE

YONA YONA PENGUIN – RINTARO

CHENGDU, I LOVE YOU – FRUIT CHAN/CUI JIAN (CLOSING FILM)

MIDNIGHT MOVIES

GULULAAL – ANURAG KASHYAP

DEV D – ANURAG KASHYAP

BROOKLYN’S FINEST – ANTOINE FUQUA

DELHI 6 – RAKEYSH O. MEHRA

VALHALLA RISING – NICOLAS WINDING REFN

GOLDEN LION FOR LIFETIME ACHIEVEMENT

JOHN LASSETER & THE DISNEY/PIXAR DIRECTORS

TOY STORY 3D (NEW VERSION) – JOHN LASSETER

TOY STORY 2D (NEW VERSION) – JOHN LASSETER/LEE UNKRICH/ASH BRANNON

HORIZONS

FRANCESCA – BOBBY PAUNESCU (OPENING FILM)

ONE ZERO – KAMLA ABOU ZEKRI

BURIED SECRETS – RAJA AMARI

TENDER PARASITES – CHRISTIAN BECKER/OLIVER SCHWABE

ADRIFT – BUI THAC CHUYEN

CRUSH – PETR BUSLOV/ALEKSEI GERMAN JR./BORISD KHLEBNIKOV/KIRILL SEREBRENNIKOV/IVAN VRYPAYEV

REPO CHICK – ALEX COX

ENGKWENTRO – PEPE DIOKNO

THE MAN’S WOMAN & OTHER STORIES – AMIT DUTTA

PARAISO – HECTOR GALVEZ

IO SONO L’AMORE – LUCA GUADAGNINO

COW – GUAN HU

JUDGE – LIU JIE

PEPPERMINTA – PIPILOTTA RIST

TRIS DI DONNE E ABITI NUNZIALI – MARTINA GEDECK

INSOLACAO -DANIELA THOMAS/FELIPE HIRSCH

1428 – DU HAIBIN

I TRAVEL BECAUSE I HAVE TO, I COME BACK BECAUSE I LOVE YOU – MARCELO GOMES/KARIM AINOUZ

ONCE UPON A TIME PROLETARIAN: 12 TALES OF A CENTURY – GUO XIAOLU

VILLALOBOS – ROMUALD KARMAKAR

IL COLORE DELLE PAROLE – MARCO SIMON PUCCIONI

THE ONE ALL ALONE – FRANK SCHEFFER

TOTO – PETER SCHREINER

HORIZONS EVENTS

PROGRAM 1

THE DEATH OF PENTHEUS – PHILIP HAAS

FACES OF SOUL – GINA KIM

LA BOHEME – WERNER HERZOG

MUDANZA – PERE PORTABELLA

PROGRAM 2

DESERTO ROSA – LUIGI GHIRRI/ELISABETTA SGARBI

READING BOOK OF BLOCKADE – ALEKSANDER SOKUROV

ARMANDO TESTA – POVERO MA MODERNO – PAPPI CORSICATO

LA DANSE – LE BALLET DE L’OPERA DE PARIS – FREDRICK WISEMAN

HUGO EN AFRIQUE – STEFANO KNUCHEL

VIA DELLA CROCE – SERENA NONO

CONTROCAMPO ITALIANO

POETI – TONI D’ANGELO

NEGLI OCCHI – FRANCESCO DEL GROSSO

IL COMPLEANNO – DANIELE ANZELLOTTI/MARCO FILIBERTI

DIECI INVERNI – VALERIO MIELI

COSMONAUTA – SUSANNA NICCHIARELLI

HOLLYWOOD SUL TEVERE – MARCO SPAGNOLI

IL PICCOLO – MAURIZIO ZACCARO

CONTROCAMPO ITALIANO EVENTS

GUISEPPE DE SANTIS – CARLO LIZZANI

CONTROCAMPO/RETROSPECTIVE EVENTS

LOLA – GIULIO QUESTI

HOTEL COURBET – TINTO BRASS

HOT MALE CRIME FIGHTERS OF 2009

Posted in Entertainment News on July 30, 2009 by Miranda Wilding

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Just continuing on from yesterday with an EW slideshow of gorgeous guys that play heroic characters who keep the world safe.

I haven’t seen all of these television shows.

But these are some of my favourite men. I don’t need excuses to post flattering photos of these boys, do I?

This gallery contains pics of these gentlemen…

CLIVE OWEN (LOUIS SALINGER) – THE INTERNATIONAL

JIMMY SMITS (MIGUEL PRADO) – DEXTER

BENJAMIN McKENZIE (BEN SHERMAN) – SOUTHLAND

DYLAN McDERMOTT (CARTER SHAW) – DARK BLUE

SIMON BAKER (PATRICK JANE) – THE MENTALIST

For the whole damn thing, please go here

DIANE KEATON’S SEXY NEW SHOW FOR HBO

Posted in Feminism, Television on July 30, 2009 by Miranda Wilding

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FROM EW

It looks like DIANE KEATON is moving her famously quirky battle of the sexes from the big screen to the small.

According to THE HOLLYWOOD REPORTER, the ACADEMY AWARD winning actor will do a new half hour comedy for HBO.

Ms. Keaton will portray a GLORIA STEINEM like character who tries to jump start national passion for the feminist movement by launching a sexually explicit womens’ magazine.

DIANE will also serve as executive producer to the show, which is as yet untitled.

HOT FEMALE CRIME FIGHTERS OF 2009

Posted in Feminism, Television on July 29, 2009 by Miranda Wilding

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EW has an awesome slideshow filled with photos of hot female actors whose characters kick ass and keep the streets safe for humanity.

Tomorrow I’ll put up their male counterparts.

This list includes…

ROBIN TUNNEY (TERESA LISBON) – THE MENTALIST

JENNIFER CARPENTER (DEBRA MORGAN) – DEXTER

EMILY PROCTER (CALLEIGH DUQUESNE) – CSI: MIAMI

While I’m here, I must say this.

One of the great joys of having your own site is being able to promote films and performers that fly under the radar. I can make my readership aware of anyone or anything that I feel is important.

ROBIN TUNNEY has long been a big favourite of mine. I’ve loved her in everything that I’ve ever seen her in: particularly JULIAN PO, CHERISH and HOLLYWOODLAND.

She was robbed of a SUPPORTING ACTRESS nom for the latter. Shame, shame, AMPAS

I watch television so rarely now that I didn’t even know she was in Prison Break. But I am thrilled that she was cast in THE MENTALIST.

Now if I could only make time to watch…

But ROBIN is brilliant, gorgeous and has the goods. I wish that Hollywood would provide her with better opportunities. She deserves to be a big star.

What can I say…?

Green eyed Irish girls rule

For the whole damn thing, please go here

KRISTEN STEWART TAKES ON JOAN JETT’S STYLE

Posted in Style on July 29, 2009 by Miranda Wilding

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From dyeing her hair black to her new rock & roll style, KRISTEN STEWART is really getting into character.

While filming a JOAN JETT biopic, KRISTEN has adopted a uniform of vintage rock tees and skinny jeans – and has even gone so far as to hang out with the rock legend she is portraying.

While this new punk look is genres away from TWILIGHT’S Bella Swan, KRISTEN totally pulls it off.

She turned up at COMIC CON in another Chaser T shirt featuring early 80s hardcore punk band Minor Threat.

THE 40 MOST BEAUTIFUL HOLLYWOOD WOMEN (AS OF RIGHT NOW…)

Posted in Film on July 27, 2009 by Miranda Wilding

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Yeah, lists are completely ridiculous, arbitrary, subjective and frustrating.

But they’re also fun.

PREMIERE has concocted a compilation of the 40 most beautiful Hollywood women that are currently working.

Bear in mind that there a lot of attractive, good looking, sexy women included here.

But beautiful is in a whole different category all together.

Here are the choices I concur with…

38. ALISON LOHMAN
36. NATALIE PORTMAN
33. ABBIE CORNISH
31. SCARLETT JOHANSSON
28. ISLA FISHER
23. ANGELINA JOLIE
17. VANESSA FERLITO
16. DIORA BAIRD
10. EVA MENDES
9. SIENNA MILLER
1. MILA KUNIS

To find the gallery, please go here

(500) DAYS OF SUMMER **

Posted in Film Reviews on July 27, 2009 by Miranda Wilding

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TOM HANSEN (JOSEPH GORDON LEVITT) has a romantic soul.

His existence has been shaped by ever constant viewings of the Mike Nichols classic THE GRADUATE and an enormous amount of sad British pop music.

His parents’ divorce barely left a scratch. Tom is sure that he is destined to have a love that will last forever.

When he was growing up, he wanted to be an architect. But he feared that he wasn’t good enough.

Firmly entrenched in his midtwenties, he whiles away the hours at the Los Angeles greeting card company where he’s employed – waiting, longing, hoping for the day that he will find THE ONE so that his life will be complete.

And then in strolls SUMMER FINN (ZOOEY DESCHANEL), the new addition at his workplace…

From the moment he sets eyes on her, Tom knows that this is the girl he has been waiting for. Unfortunately, Summer has very different ideas about personal fulfillment.

The disintegration of her parents’ marriage left her with painful memories that still haunt her. She doesn’t trust easily so she readily takes a detached, distant attitude towards other people.

This is a girl who would be overly intellectual, analytical and closed off in any case. But her bad experiences just reinforce these tendencies.
Summer doesn’t believe in love – lasting or otherwise.

She had previously been in a handful of relationships that didn’t work out. Someone always ended up getting hurt. Those unhappy endings only serve to make her feel that her philosophy is justified.

Summer believes in living for the day and not worrying about the future. She has no interest in being with anyone long term or even short term. She’s Tom’s age and acutely aware of her youth and of the swift passage of time.

Summer thinks it’s smart not to get tied down or lost in some big melodramatic scenario. Casual is best. You’re only young once. Plenty of time for all of that substantial stuff MUCH further down the road.

She’s open to friendship. Possibly sex in an open ended ongoing sense. But nothing that she would characterize strongly as a relationship.

Tom is skeptical. He isn’t sure if she really means it and he sets out on a quest for Summer’s affections.

(500) DAYS OF SUMMER is the cinematic diary of that romance – from Day 1 when they first meet to Day 500 when Tom is finally finished obsessing over her.

And this relationship is an enormous existential lesson for Tom. After he and Summer inevitably break up, he will never look at life in quite the same way again.

They both make some drastic mistakes and have serious regrets. Tom should have taken her at her word. But he thought that if she got to know him she would change her mind.

That happens often. How many times have people ended up married or cohabitating when one of them starts out saying that they really don’t want to be involved in anything serious?

Circumstances change and so do people. But when they don’t, you have to learn when to cut your losses and move on.

Tom thinks that if he sticks it out that Summer will fall for him just as madly as he has for her. But love isn’t like a disease. It doesn’t spread easily from one party to another.

Summer isn’t sure of her feelings. But she doesn’t love Tom. He’s fun to be with. She enjoys spending time with him. But it’s simply not as significant for her as it is for him.

For her part, she never leads Tom on. But calling him a friend after she’s been sleeping with him for months is an egregious sin that deserves severe punishment of some description.

That would be a huge insult coming from anyone.

At one point late in his 500 days of (mostly) misery, caring friends set Tom up with a lovely blind date who seems into him. At any other time, Tom might have jumped at the chance to be with this woman.

But he’s just not over Summer.

They end up at a diner where the girl wears out her neck from nodding sympathetically and Tom proceeds to get effectively snockered.

Finally, she can’t take any more of it. She has to fight to keep her eyebrows from sliding off her forehead.

“So…this girl never cheated on you, never took advantage of you and told you right up front that she didn’t want a boyfriend…?”

Tom doesn’t have much to say after that. But his companion is correct.

This is the true tragedy of many romantic interactions. Quite often there is no one at fault. Both people are essentially good, they attempt to be honest with each other and they do try to work things out.

But things happen anyway and at least one participant’s heart is shredded to smithereens.

(500) DAYS OF SUMMER is far from your standard rom com.

You are told in the opening moments that this is not a love story. It actually isn’t. The entire film is told from Tom’s perspective. It’s his life and his dreams.

It’s really about how he survives his time with Summer, how he learns and grows from that and what happens to him afterwards.

Director Marc Webb tries to keep it edgy with a variety of innovative techniques. Most of them are effective to a degree.

There’s the split screen (expectation vs. reality), the classic European black and white film homage – Bergman fans will love this – and the biggest one of all…

Tom stumbles out of Summer’s apartment after their first night together into a bright sunshiny morning. He’s smiling so brightly the reflection coming off his teeth is dazzling.

Somehow everyone in the city seems to know about his big evening. An animated bluebird settles on his upper arm. Passersby shake his hand in congratulations and then hoist him on their shoulders. This culminates in a full blown musical number where Tom and the other residents dance to HALL & OATES’ YOU MAKE MY DREAMS COME TRUE.

Screenwriters Scott Neustadt and Michael H. Weber do construct some genuinely funny dialogue.

It was also interesting to view the every day Los Angeles instead of the dreamy glamorous one that we’re used to experiencing in movies.

Despite all of this, the film still seems exceptionally ordinary and prosaic. This is a scenario that’s extraordinarily commonplace and the attempts to make it seem more original – though entertaining enough – are barely sufficient to keep you awake.

It is possible to try too hard…

Mr. Levitt and Ms. Deschanel lack any sort of discernable chemistry. Perhaps this is by design as they are obviously not right for each other. But there are no sparks between them whatsoever.

Tom’s final scene with Summer (which is the second to last sequence in the film) does not ring true. Without giving anything away, her behaviour – even though the writers address all of that in great detail – is not realistic from what you know of her character.

There are very few cases in off screen life that go that route. It’s simply not believable.

There are a couple of performances that are exceptional. CHLOE MORETZ portrays RACHEL, Tom’s sharp, precocious younger sister. If ANGELINA JOLIE were a blonde 11 year old, that’s probably the way she would come across.

JOSEPH GORDON LEVITT should be one of the biggest stars on the planet. Given time, he might be. He was magnificent in THE LOOKOUT and even made the execrable BRICK almost bearable.

Here he’s blatantly adorable, marvelously expressive and supremely charismatic.

And he has a fabulous karoake scene. He’s one hell of a singer.

But the failure of this film falls squarely on ZOOEY DESCHANEL’S shoulders.

In every role, she has the same blurred monotone and utterly flat delivery. There is no distinguishing from one characterization to the next. She is not unattractive. But watching her attempt to act is not a highly intriguing prospect.

Summer is filtered through Tom’s infatuated gaze. She’s an idealized azure eyed princess. But there are still many young women who could have done amazing things with that particular part.

Ms. Deschanel clearly is not one of them.

What on earth does Tom see in Summer? After watching this, it’s still incomprehensible.

If a film in this genre doesn’t have two compelling leads (rather than one) and make some serious sense at the end, then it’s doomed to permanent oblivion.

(500) DAYS OF SUMMER felt like a long trek through a desert with no oasis.

A case of Coca Cola is most definitely in order…

THE LETTER IN SANTA FE: OPERA AS FILM NOIR

Posted in Music on July 26, 2009 by Miranda Wilding

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FROM THE ASSOCIATED PRESS

Gunshots. A dead lover. A cigarette puffing leading woman whose neck could end up in a noose.

Welcome to opera noir.

The SANTA FE OPERA’S latest original offering (called THE LETTER) is classic opera mayhem in a compact, stylish package.

Based on a short story – later turned into a play – by W. SOMERSET MAUGHAM, THE LETTER also was a 1940 OSCAR nominated movie starring BETTE DAVIS.

The tale of love and revenge on a steamy rubber plantation is “naturally operatic,” stated PULITZER PRIZE winning composer PAUL MORAVEC, who teamed up with librettist TERRY TEACHOUT to create the opera that has its world premiere tonight.

“We’re not trying to make an opera out of a movie,” Mr. Moravec said.

“However, the look that we wanted is something that you’d see in international film noir.”

For contemporary audiences, the experience of storytelling has been almost exclusively shaped by film, commented Mr. Teachout, the drama critic for THE WALL STREET JOURNAL.

“We wrote this opera for a general audience. Therefore, we thought, OK, let’s make it feel like a film, and let’s give it the time scale of a film.”

No four hour extravaganza here: It’s 95 minutes, with no intermission, from the opening volley of gunfire to the final curtain.

Set in the jungle of British Malaya between the world wars, THE LETTER is the story of LESLIE CROSBIE, who kills her faithless lover, lies about the affair to her husband and faces trial for murder.

Her fate, and that of those around her, hinges on a letter she wrote.

“I imagine this opera as a beautiful nightmare,” said PAUL MORAVEC, who won the 2004 PULITZER PRIZE Prize in music for his composition TEMPEST FANTASY.

“There’s something dream like about opera to begin with. There’s something fantastic by nature about people singing at the top of their lungs with a 70 piece orchestra supporting them and commenting on the action.”

Billowing white curtains, slow turning ceiling fans and the constant interplay of light and shadow give the stage a noir look and a tropical feel – even on a chilly summer night in the open air opera theatre, which is on a hilltop outside town at an elevation of 7,000 feet.

Sung in English, the opera stars American soprano PATRICIA RACETTE as LESLIE – decked out elegantly in gowns by TOM FORD.

The fashion designer, who grew up in
SANTA FE and has a home here, is making his debut as an opera costume designer with THE LETTER.

The SANTA FE OPERA, a summer festival, commissioned Mr. Moravec three years ago to do a new opera. He immediately turned to Mr. Teachout, a longtime friend and neighbour in MANHATTAN and a prolific writer who also blogs about the arts and has a biography of LOUIS ARMSTRONG coming out this year.

While it’s their first such collaboration, it’s informed by their friendship and ease with one another.

TERRY TEACHOUT had never written for the stage but says it wasn’t intimidating to tackle something entirely new.

“Yes, it was. What are you talking about?” PAUL MORAVEC interrupted with a laugh.

It was challenging, the composer added, citing the complexity and the length of the piece.

“This was the hardest thing I’ve ever written,” said Mr. Moravec, who has more than 100 compositions to his credit and is a professor at Adelphi University.

“At the end of the day, the composer is the dramatist. All problems and all successes in opera are ultimately musical.”

Both men were giddy with excitement after watching the opera’s first dress rehearsal.

“I wrote on my blog this morning, ‘It looks like a movie, sounds like an opera and plays like a play.’ We’re three for three,” TERRY TEACHOUT commented.

THE LETTER also stars ANTHONY MICHAELS MOORE as ROBERT CROSBIE, JAMES MADDALENA as lawyer HOWARD JOYCE and ROGER HONEYWELL as GEOFF HAMMOND, the slain lover.

Performances are scheduled for JULY 25 and 29
as well as AUGUST 3, 7, 15 and 18.

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