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Royal Opera House Live Cinema Season 2016/17: Norma (2016)
A thrilling Norma
Norma contemplating infanticide whilst Watership Down plays on the TV in her swanky apartment is the definition of operatic camp.
This production works exceptionally well. The direction and acting choices feel brave and exciting; though I wouldn't recommend this version to newcomers of Norma, as the relationship dynamics get somewhat obscured by the religious allegory.
The leads are excellent. Yoncheva plays Norma with lots of ferocity, which is riveting to see, particularly when she goes up against Calleja's more tender Pollione. But the star here is the orchestra conducted by Pappano, who keeps a constant fast pace, and always brings out the fire in this score.
Perhaps the ending doesn't have the emotional resonance it should have, but for how thrilling (and camp) most of this production is, this is a version of Norma that is worthy of it's name.
9/10.
Everybody's Talking About Jamie (2021)
Bit of a drag?
You can tell this was filmed in 2019. Jamie feels like a pre-pandemic LGBT movie musical, if ever there was one.
The heart and charm of the stage musical is not apparent in this adaptation. It feels like an ode to narcissism and self-obsession, rather than a tribute to self-expression. Maybe this film would have had resonance fifteen years ago, but it feels so out of sync with the current zeitgeist. The more it tries to be inspiring, the more on-the-nose and garish it becomes, and the more I want to crawl back into my metaphorical closet...
The main fault of this film is the direction. It lacks vision. It's trying to be a 2000s British feel-good movie one minute, then the next it's a parody of a Netflix teen drama. Either way, with the number of stereotypes it perpetuates, it feels like an LGBT story more concerned with pleasing its straight audience than its gay one. If it had rooted itself in a time and place - 2010 Sheffield - examined that culture, and honed in on the mother-son emotional centre, then it could have been something interesting.
It's not a bad film, per se. It just doesn't know what note it's trying to hit... But, alas, the doe-eyed beauty of Sarah Lancashire's performance broke my heart and Work of Art will always be that bop...
6/10.
Peter Pan (1953)
Hints of Magic
It's risky business revisiting movies you loved as a child. Thankfully here, a few vestiges of magic remain intact.
The opening sequence at the Darling home is divine. It's a perfectly economical set up - introducing characters and themes, amidst a ton of physical comedy. The endless slapstick is still charming, though it fails to reach the ingenuity and artfulness of Cinderella (1950). I'd also forgotten Tinkerbell had severe anger issues. Great stuff.
However half way through, once the endless novelty of wacky characters and ticking crocodiles was established, I seemed to lose interest. The story just... collapses. The fast pacing fails to create excitement, resulting in episodic scenes that meander towards a swift conclusion. The magic dust certainly rubs off.
The animation still has hints of beauty and it ties together with the score nicely. But nothing seem to take wing, to soar. I was hoping I'd rediscover something innovative I'd overlooked as a child - like the genius of the animation and the backgrounds in Sleeping Beauty (1959).
But there's still plenty of charm waiting for those brave enough to unlock the child within.
6/10.
Comedians of the World: Mae Martin (2019)
10/10 - Effortlessly Brilliant
Martin is a strong new talent to be reckoned with. Her material is smart and specific, yet her slick delivery makes everything relatable. She has a style of humor with wide-appeal and I hope we get to see more of her in the future.
The Marvelous Mrs. Maisel: Simone (2018)
Still Marvelous, Thank God!
"Here's the card of a psychiatrist who just moved to New York from Boston. He's done wonders for my friend Sylvia Plath".
It's always slightly nerve wracking seeing how follow up seasons are handled, but alas, here there was no need to worry. The first episode of season 2 is exceptional. All the things that made season 1 great - cinematography, music, smart dialogue - are found here in abundance. It's startlingly beautiful and witty and intelligent, yet nothing feels superfluous or overambitious.
Marin Hinkle glistens in Paris as the newly liberated Mrs. Weissman; Michael Zegen brings more emotional depth to Joel and Alex Borstein's portrayal of Susie is as genius as ever.
Watch it, then recommend it to anyone known to watch anything.