It may be time for such a charity.
The Italian comedy Do You See Me? looks at the difficulties a talented female architect faces when after succeeding around the world, she decides to return to Italy where she’s lucky to get a low paying waitress job. While Serena Bruno has graduated from top schools and won awards for her work, back in Italy the economy’s tight and jobs, particularly for women, are scarce.
Serena Bruno first is attracted to and then when she learns he’s gay, she befriends the owner of the restaurant where she works. He sees her talent and intelligence when no one else does. He encourages her to enter an architecture contest to redesign a public housing space. Though her idea, which was inspired by input from the residents, is fantastic she fears she’ll be passed over for a man so when the committee mistakes her for a secretary to Bruno Serena she plays along. She convinces her former boss, now friend and roommate to pretend to be Bruno Serena. Comedy ensues and while the situation is ridiculous, it’s a thoughtful, fun film that doesn’t insult the audience’s intelligence.
It’s an enjoyable film that depicts the difficulties woman still face.
Starring Audrey Hepburn and Peter O’Toole, How to Steal a Million is another fun, witty movie. Hepburn plays the daughter of an art forger. When her home is broken into by O’Toole, her father and she fear that his forgeries will be revealed. Later they fear that a sculpture lent to a museum will be proven to be a fraud when it’s examined for insurance. Throughout the caper delights.
It’s a lighthearted romp with a clever final heist and a surprisingly moral end. It’s lots of fun and Hepburn and O’Toole are quite entertaining.
Mary Tyler Moore, a paragon of excellence, died this week. I saw her on the Dick Van Dyke Show and later The Mary Tyler Moore Show, where she blossomed. Her work, comedy and drama, was high caliber, always high caliber. I miss that. She showed that you can entertain without stooping to the lowest common denominator. Above is an interview with another TV great, Johnny Carson.
Thanks to Eva, for sharing this clip of Mary on Sesame Street in Isreal. I love how approachable she is and how she’s able to connect with the girl and laugh at herself. The essence of good comedy.
Isn’t it nice to know she liked cheeseburgers and could laugh at herself.
The more I see Harold Lloyd, the more I love him and his films. In The Freshman (1925) Lloyd plays an young man also named Harold who saves up enough money to go to college. Once on campus, Harold’s main concern is getting popular by following the tricks he saw in a movie.
Instead of being the big man on campus he’s soon the butt of everyone’s jokes. His peers love putting him in awkward positions and taking advantage of him. He never catches a break as he inadvertently insults the dean, takes the dean’s car from the train station and makes wrong step after wrong step. The gags at the student assembly, the dance and the football field are priceless.
Jobyna Ralston plays the sweet love interest Peggy perfectly. Harold meets Peggy on a train and then it turns out that she’s the daughter of his landlady. Yes, it’s coincidental, but it’s a small town and she’s the one sincere woman in a sea of fakes.
I watched a Criterion Collection disc with the commentary, which I find adds to my appreciation of any silent film. I seem to need some talk.
A masterful comedy, The Freshmen is a film I can see watching again and again.
I thought I was quite lucky when I managed to get two discount tickets for Steppenwolf Theater’s The Flick, an award winning (so hard to believe) play by Annie Baker. That feeling lasted 10 minutes when my hope that the play would entertain or enlighten at all was starting to vanish.
The Flick is a long, (3 hours, 10 minutes) dull look at two men who sweep and mop up the theater and the female projectionist, who’s a vapid loudmouth. The advertisement called the show “mesmerising” and I can only imagine that’s an agency’s spin on “sleep inducing.” I came expecting humorous banter about the love of film by some theatre employees with quirks and some sort of meaning or at least novel social observations along the lines of the very quotable Clerks film.
Those hopes were dashed rather early one by prolonged stretches of mopping or sweeping interspersed with dull dialogue about stealing from the till, the projectionist’s personality and sexuality, and movie trivia between the new guy, a nerd with high levels of social anxiety who’s little more than a walking IMDB.com. The nerd does realise he doesn’t have much personality his life is going nowhere but his long winded phone conversation with a therapist just bored me.
The play desperately needs 1) a plot, 2) more characters, 3) cut about 90 minutes out of it, 4) somehow find a theme and 5) take the characters you’re stuck with and give them some personality.
Evidently, the play contains humour, but I only know that because the theatre employees who sat behind me laughed. Any laughter in the theatre came from about 10% of the audience whom my friend and I guess were parents of the actors. During the first half of the play, I looked at my watch three times, not a good sign. I was relieved to get to intermission and delighted when my friend asked, “Would you mind leaving?”
Certainly not! Ninety more minutes would be hell.
As I went to collect my coat, my friend asked an employee what happened in the second half. “It’s pretty much more of the same.” That’s what we guessed. If the playwright had any ability or sense, she’d have put something good into the first half of this long, long opus. We overheard some people trying to decide whether to stay or go. My friend shared the employee’s comment. After exchanging some comments about how dreadful this show was and trying to figure out why a high quality theatre like Steppenwolf would choose to do this and how this Annie Baker managed to not only win a Pulitzer but also a Guggenheim so she’s getting a fortune to continue to write dull plays, we all decided to leave. Life is too short.
We weren’t alone either. I figure my $20 was a gift to the arts. We were so sorry that Domesticated with Tom Allen was sold out.
Sunday I saw The Heir Apparent at the Chicago Shakespeare Theater. It’s a fast-paced farce about a young man who connives to get his uncle to name him sole heir so he can marry his true love. The problem is his love has a shrewd guardian, an aunt, whose arranged for the young lady to marry the uncle. Woe is me!
So the conniving continues all done in verse. The couplets are clever and constant. Some include modern references to “soccer moms” and such so if you’re a purist, you won’t be thrilled. It’s a play to go to for a bit of fun.