Tuesday, February 26, 2013

THE LONELIEST PLANET - Review by Joe Calleri


What – THE LONELIEST PLANET (MOVIE)
Where and When - Released through Palace films on 21 March, 2013, and in Melbourne will screen at Palace Cinema Como, Palace Brighton Bay, and Cinema Nova.
Reviewer - Joe Calleri.
Stars – 2.

Full Disclosure - I attended a media screening of this movie.

Running at a ponderous 113 minutes, Russian-American director Julia Loktev’s third movie, The Loneliest Planet, demands much from its audience by way of attention and near infinite patience, but there is precious little by way of a pay-off in terms of story, drama, or character development.

An obviously adventurous, though naïve, thirty-something, engaged couple, Alex (Gael Garcia Bernal, who is probably best known to international audiences for his outstanding turn as Che Guevara in 2004’s, The Motorcycle Diaries) and Nica (Israeli-American actress, Hani Furstenburg) are inexplicably back-packing through, of all places, the rather beautiful, but terrifyingly remote and still dangerous, former Soviet Union republic of Georgia.

Alex and Nica, inexplicably, set off on the hiking / trekking equivalent of a road trip, along with an un-named Georgian guide, played by Georgian actor, Bidzina Gujabidze who reveals himself to be a comedian and competent amateur magician, as well as the most complex and emotionally layered of the three leading characters in this movie.

Frustratingly for audiences, Loktev provides only the skimpiest of factual snippets regarding the intrepid Alex and Nica. Besides their established sense of adventure (some may call it grandiose stupidity), we learn that, Alex speaks fluent Spanish, and Nica tells us he sings well. We never hear Alex sing. Nica, is thirty, has travelled widely to many remote destinations, enjoys alcohol, sex, and smoking a joint or two. Where these two have come from, how they met, why they are in Georgia, why they are trekking (the two are not photographers, and don’t pause to admire, linger, or even comment in any way on the physical beauty around them, so, presumably they are not nature lovers), and exactly where they are trekking to, Loktev never discloses. Rather, Loktev leaves us to speculate all of these important details.

As audience members, we become the willing fourth, and unseen travellers on this aimless trek, trudging, cold, wet and miserable, through the remote Georgian country-side, tempting fate and possible disaster with every single step we take.

So, when the travellers are by chance met by three tribesmen (presumably a father and his two sons), one carrying a rifle, who points his rifle right between Alex’s eyes, after a brief, yet furious exchange between the guide and tribesmen, rather than take that as a sign from God to turn the heck around and return from whence they came, the trio merely silently, and glumly, continue their tedious, trudging trek. Two further incidents, the first, when Nica falls fully clothed, into a freezing cold stream, the second when she shares a passionate kiss with the guide, which, for more rational folk, would represent more screaming danger signs to stop and turn around, barely affect our tenacious trio.   

So, when the closing scene finally arrives, set against a background of the beautiful Georgian wilderness as the trio quietly, and slowly dismantle their tents, many may, like me, breathe an enormous sigh of relief that this movie has come to an uneventful end, and that the three are still alive. One can but mediate on the possibility that, the trio resemble modern-day Sisyphuses, lost, disconnected souls who are forever doomed to wander the remote wilds of Georgian landscape until … well, who knows, and, ultimately, who really cares.


Tuesday, February 19, 2013

HAPPINESS NEVER COMES ALONE (UN BONHEUR N’ARRIVE JAMAIS SEUL), French Movie Review by Joe Calleri.

What – HAPPINESS NEVER COMES ALONE (UN BONHEUR N’ARRIVE JAMAIS SEUL) (French Movie, as part of the 2013 French Film Festival).
Where – The Palace, Como, South Yarra.
When – Friday 15 February, 2013.
Reviewer - Joe Calleri.
Stars - 3.

Full Disclosure - I attended a preview of this movie as a media invitee.

Sacha Keller (the multi-talented, Gad Elmaleh) is one happy man. He lives the perfect playboy existence – by night he plays a mean piano in a crowded jazz bar, and beds an assortment of hot-looking young girls in a string of one-night stands. He doesn’t rise until after noon, and then only to write jingles for ads. He drives a nifty little coupe, is a talented magician, useless handyman, and absolutely hates children. He also has a doting mum, Fanfan Keller (Macha Meril) who cooks, cleans and shops for her boy, and he loves the movie, Casablanca. Perfect, right?

But, this film, delightfully titled, Happiness Never Comes Alone, provides a perfect example of the saying, God punishes those whom he loves. During an epic Parisian rain storm, Sacha, in one of the stand-out scenes of this film, literally bumps into uber yummy mummy, Charlotte Posche (the gloriously beautiful, Sophie Marceau, who shows a lot of flesh during this film), a very complicated woman who also loves Casablanca, but who boasts two separations and two fathers to her three young children. Yes, THREE CHILDREN.

When these two meet, sparks fly, the deluvial rain literally stops, and the sun comes out – yes, folks she’s the one. Cue some laugh-out-loud sex scenes where the two quite literally bounce off the walls. In fact, the funniest scenes from this film involve various painful looking pratfalls sustained by Seth and Charlotte, and selected other physical comedy skits, all nicely staged by director, James Huth.

But, the path of true love never runs straight, does it? It turns out that, one of Charlotte’s former husband’s, and father to Charlotte’s two sons, is the very wealthy, powerful, and very jealous, Alain Posche (a woefully under-utilised, and under-stated, Francois Berleand), whose company is one of Sacha’s employers. Safe to say, Alain is less than impressed when he discovers Sacha and Charlotte in a compromising position. Alain’s knee-jerk response to discovering the existence of his ex-wife’s new lover, is to first black-list Sacha from getting any paid work, and when that doesn’t work, to secretly finance a big-budget Broadway musical for Sacha and his dufus mate, Laurent (Lolo) Helwa (Maurice Barthelemy). Off to New York with you, Sacha!

Fret not viewers, the film does have a happy ending.

Happiness Never Comes Alone, then, is a charming, unpretentious, featherweight, feel-good, generally entertaining, if a little long-winded film, that works best when director Huth highlights and exploits the considerable comedic and physical talents of Elmaleh and Marceau.
  



JOURNAL DE FRANCE (DOCUMENTARY) - Review by Joe Calleri.


What – JOURNAL DE FRANCE (DOCUMENTARY) – As Part of the 2013 French Film Festival
Reviewer - Joe Calleri
Stars – TWO AND A HALF.

Full Disclosure - I watched a DVD version of this documentary provided to me by the event publicist for the French Film Festival.

It’s an unfortunate fact of life that, photographers rarely make for interesting documentary subject matter. A case in point is the rather frustrating and for me, ultimately unsatisfying documentary, Journal de France, which while intended to be a tribute to legendary French photojournalist and documentary film-maker, and full member of the world renowned, Magnum photo agency, Raymond Depardon, suffers from a lack of a clear direction.

I left this documentary feeling confused regarding its intention – was it meant to be a travelogue, or a review of Depardon’s many documentary films? If the latter, then I admit to being watching with some fascination the excerpts from several of Depardon’s documentary films made in 1960’s hot spots in Venezuela, the Central African Republic, and the West Bank, and then a colour film shot in Chad in 1975. Shooting images of conflict, death and destruction demonstrates to me that, Depardon must have had steely nerves. Yet, the documentary fails to explore Depardon’s psychological make-up.

Despite its 100-plus-minute running time, we learn very little about Depardon the man, and his motivations for being a photographer and documentary film-maker. For that information, I referred back to a short, 12-minute segment on Depardon’s photography as part of the excellent French DVD documentary series “Contacts Collection”, which concentrated on Depardon’s reportage of Italian insane asylums, of which Depardon said: “I like to watch, to wander, to close my eyes in the act of voyeurism. The photographer is a voyeur…who looks at what he doesn’t want to see.”

Then, there is Depardon himself. He is not particularly engaging. He is a quiet, solitary individual, who has obviously been traumatised by his experiences as a conflict reporter, hence his desire to drive alone in a van from one destination in France to another to take just one image with his large format view camera - no blasting away at subjects at six frames a second on high tech digital SLR’s for Monsieur Depardon.

But, remarkably and inexplicably, we learn nothing regarding Depardon’s photographic or creative processes (besides his stated desire for his images of French towns and farm houses, to be devoid of any signs of human or animal life), and briefly see only two images taken by Depardon – one from his Italian asylum series, the other a large-scale image of a French farm house.

And, the monotonous narration provided by Depardon’s long-time partner and collaborator, Claudine Nougaret, fails to elicit any sense of excitement or wonder.

This lengthy documentary should appeal to either very patient, die-hard fans of Depardon’s photography and documentary film-making, or to viewers unfamiliar with Depardon, but nevertheless interested in watching clips from beautifully shot documentary films of some critical moments in French and world history.

Monday, February 18, 2013

DANS LA MAISON - French Movie - Review by Joe Calleri.


What – DANS LA MAISON (French Movie, as part of the 2013 French Film Festival).
Where – The Palace, Como, South Yarra.
When – Friday 15 February, 2013.
Reviewer - Joe Calleri.
Stars - 4.

Full Disclosure - I attended a preview of this movie as a media invitee.

Director, Francois Ozon’s tense, edge of your seat thriller, Dans La Maison (In The House), is an exploration of several dark themes including the subtly seductive power of the written word and of imagination, and the inevitable dangers that lurk when stronger minds and personalities dominate and manipulate weaker minds.

Germain (the wonderful, Fabrice Luchini) is a jaded, burnt out, secondary school literature teacher who complains about the lack of quality and imagination shown by his young students. Married to gallerist, Jeanne Germain (Kristin Scott Thomas), they are a childless, middle aged, upper middle class couple who live a seemingly comfortable, though unexciting life.

Enter Claude Garcia (menacingly portrayed by Ernst Umhauer), one of Germain’s teenage students. Germain reads to Jeanne, Claude’s essay on the theme of “What I did on the weekend”, an essay that ends “to be continued …”. Germain is impressed with the quality and tone of Claude’s unusual essay, and he and Jeanne become hooked to knowing more.

Claude writes of his observations of the apparently perfect family, the Artole’s: Esther (the delicate, Emmanuelle Seigner), her husband, Rapha (Denis Menochet) and their son, also named Rapha (Bastien Ughetto), whom Claude tutors in maths and slowly befriends.

We discover, however, that, Claude’s developing friendship with the younger Rapha is a sinister excuse for Claude to enter the Artole’s home and explore his dangerous, adolescent fantasies by voyeuristically observing the Artole’s (especially Esther), much as a social scientist would dispassionately observe and comment on the lives and interactions of a cross-section of people.  

Each story that Claude writes reveals more and more about the everyday details of the Artole’s lives. And, we discover that, the family is not as perfect as Claude may have thought. As the stories become more intimate and revelatory, so does the desperate Germain’s hunger grow insatiable for more stories from the young, talented writer, Claude.

So, when the manipulative Claude threatens to stop writing his fly on the wall stories unless Germain steals a maths test to help Claude and Rapha, Germain stupidly acquiesces to Claude’s request. This event triggers a tragic sequence of circumstances that leads to Germain losing everything in his life he holds dearest.

This is a subtle and beautifully crafted story full of menace and dark obsessions. Highly recommended.


Wednesday, February 13, 2013

ANNA KARENINA (MOVIE) - Review by Joe Calleri.


What – ANNA KARENINA (MOVIE)
Where – CINEMA NOVA, CARLTON, VICTORIA, AUSTRALIA.
When – FRIDAY 08 FEBRUARY 2013
Reviewer - Joe Calleri
Stars – 3 AND A HALF

Full Disclosure - I attended a Universal Pictures media screening of this movie.

This is, apparently, the thirteenth time that, Leo Tolstoy’s epic novel of tragic, forbidden love, Anna Karenina, has been adapted for either the film or television screen. On this occasion, US playwright, Tom Stoppard, has written the screenplay, with Brit Joe Wright, taking the directorial helm.

And, what a beautifully stylish, elegant movie they have created, capably aided by Wright’s extraordinarily creatively gifted technical team and long-time collaborators, including: costume designer, Jacqueline Durran; production designer, Sarah Greenwood; cinematographer, Seamus McGarvey, editor Melanie Ann Oliver, and choreographer, Sidi Larbi Cherkaoui.

Durran, Greenwood and McGarvey, have, quite rightly, received 2013 Oscar nominations for their work on the film.

The movie opens in 1874, in a rather quaint, dilapidated theatre, in Imperial Russia. Sarah Greenwood’s wonderful theatre is the key set piece to this film, almost developing its own personality as it magically morphs in front of our eyes into elegant ball rooms, bustling race tracks, and icy cold railway stations. You may forget the rest of this film, but, not that theatre set!

It you are not familiar with Tolstoy’s story, here’s a brief synopsis: dull, dour aristocrat, Alexei Karenin (Jude Law), is married to the beautiful, flighty, Anna Karenina (Keira Knightley), who falls in love with the much younger, dashing, rakish, blonde hair, blue eyed, Count Vronsky (Aaron Taylor-Johnson). Their forbidden love affair – which becomes the focus for the easily scandalised Russian upper classes - sets off a tragic set of circumstances, which leads to Anna’s banishment from her husband and young family, and her eventual suicide under the wheels of a steam engine.

My main criticism with this film rests with Wright’s decision to create such a visually slick, elaborately surrealistic world, which ultimately impacts negatively on our ability to sufficiently engage with the film’s characters, who at times become little more than beautiful looking human mannequins – especially Knightley and Taylor-Johnson - whom Wright skilfully shifts from one impressive looking set to the next.

So, if you are willing to sacrifice style over substance, you will enjoy the incredible visual beauty of Anna Karenina.



 

Wednesday, February 6, 2013

Fast and Furious 6 – Extended Theatre Trailer posted by Joe Calleri, Wednesday, 6 February 2013.



Fast and Furious 6 – Extended Theatre Trailer posted by Joe Calleri, Wednesday, 6 February 2013.

Courtesy of Universal Picture’s, Bec Walker (thanks, Bec!), here’s a link to the extended on-line trailer for Fast and Furious 6. If your taste in movies runs to fast cars, lots of girls, guns, big biceps, and even bigger things that go boom, then this is THE must see movie for you!

I will post a full review after I attend a preview of this movie.

Until next time …

THE FAMOUS SPIEGELTENT - Media Call Preview and Photos, Wednesday, 6 February 2013, by Joe Calleri.

What – THE FAMOUS SPIEGELTENT
Where – THE FAMOUS SPIEGELTENT, UNDER THE SPIRE AT THE ARTS CENTRE, MELBOURNE.
When – 05 FEBRUARY – 21 APRIL 2013
Media Call Preview and Photos, Wednesday, 6 February 2013, by Joe Calleri.

At the February 06, media launch of the 2013 program for the now 93-year old, Famous Spiegeltent, Judith Isherwood, Chief Executive Officer of Arts Centre Melbourne, reminded guests that, the popularity of performances held at the Spiegeltent grows each year, with the 2012 season attracting more than 50,000 patrons over its three months period.

The Famous Spiegeltent facade.
The Famous Spiegeltent facade.

The Famous Spiegeltent facade.
The 2013 program again promises a wildly diverse range of more than 300 performances over a three-month season that ends on 21 April 2013.

Program Manager of The Famous Spiegeltent, Linda Catalano, scours the globe to find and attract highly skilled circus and cabaret acts to The Famous Spiegeltent, to tantalise our senses and render us speechless.

That wonderful, larger than life Diva of Divas, Trevor Ashley, will present his “I’m Every Woman” drag show in which he will channel divas including the ageless, Shirley Bassey. Ashley’s pounding vocal rendition of Bassey’s “Diamonds are Forever”, the famous theme tune from the James Bond film of the same name, not to mention Ashley’s outrageous golden gown, promises to raise the roof off the Spiegeltent.

 
Grand Diva, Trevor Ashley, knows how to belt out a tune.
  


Physically gifted Queensland duo, Casus, whose show, Knee Deep comes from Adelaide Fringe Festival, consistently earned 4 and 5 star reviews for their risky, dextrous, balancing routine

The physical dexterity of duo, Cassus.
 


Ever wondered what would happen if Samuel Beckett married the Tokyo Shock Boys and they had a love child? Well, if you’re curious to know the answer, catch the stunning show noir by local performers, The Dark Party, that culminates in one of the performers stripping down to a g-string and showering under a bright sea of sparks spewing from two angle grinders. Please - don’t try that at home!

The Dark Party redefine the concept of a "hot shower"!


Finally, and in complete contrast, we witness elegant, graceful, contortionist and performance artist, David Pereira, as he presents his stylish, almost meditative, tissue routine, The Trip.

The quiet grace and elegance of David Pereira.

So, with more than 300 performances to entice you from your living rooms over the next three months, there is bound to be at least one show that will whet your theatrical tastes and predilections.



 

Saturday, February 2, 2013

Chitty Chitty Bang Bang - Review and Photos by Joe Calleri.

What: Chitty Chitty Bang Bang
Where - Her Majesty’s Theatre, Melbourne, Australia
When – Opening Night, Saturday 02 February 2013.
Reviewer - Joe Calleri
Stars – 3.


Full Disclosure - I attended the opening night of this production on a complimentary ticket as the guest of a media invitee.

What a curious and ultimately unsatisfying show, Chitty Chitty Bang Bang is. Born from the fertile imagination of James Bond creator, Ian Fleming, this part pantomime, part farce, part grand spectacle, big budget musical theatre production sadly lacks cohesion, leaving one with a nagging feeling in the pit of one’s stomach that, something is not quite right.

Where to lay the blame? In my view, Roger Hodgman’s stodgy, unimaginative direction, and David Hobson’s overly-restrained portrayal of the mad-cap inventor, Caractacus Potts, are the chief culprits. Hodgman allows so many embarrassing pancake-flat spots to permeate the production, especially in the first half that, at one point I thought I was watching a drama. Honestly, the audience was so quiet and unmoved that, you could have heard a pin drop. Such silence is unforgiveable in a musical comedy, and the discomfort felt by the cast was, in my view, palpable.

Hobson on the other hand, possesses a brilliant, powerful singing voice that is beyond reproach, and he can certainly dance, but his acting lacks passion and conviction. 

The other main issue for this production is that, it is impossible to not compare it to the vastly superior, Mary Poppins, also written by the brilliant Sherman brothers, Richard and Robert. Some of the ensemble dance scenes and songs are overly reminiscent of those seen and heard during Mary Poppins, but with the exception of the title theme, Chitty Chitty Bang Bang (to which the audience happily claps along), nowhere near as memorable.

On the shorter plus-side of the ledger, we have the non-human star of this production, the remarkably intelligent, flying, 1920’s racing car, Chitty Chitty Bang Bang. A joy to behold, and on its own worth the price of admission. Priced at just over $1 million, it’s also, apparently, the world’s most expensive stage prop. But, in my mind, one prop car – however spectacular - does not a successful show make. 
The bright, colourful costumes and gorgeous high chroma, cartoon-like sets (both by Anthony Ward), do, however, present wonderful visual feasts for the eyes.

A mangy group of dogs running across the stage not surprisingly wins the night’s best laughs, as do the bumbling Vulgarian spies, Goran (George Kapiniaris) and Boris (Todd Goddard), and the wonderfully over the top Baroness Bomburst (Jennifer Vuletic) steals every scene in which she appears.

Rachael Beck sings like an angel and is suitably sweetly demeanoured as the improbably named, Truly Scrumptious, Potts’ love interest.

So, despite having the benefit of words and music from the Sherman brothers, Chitty Chitty Bang Bang lacks the theatrical horsepower of its stable-mate, Mary Poppins, and can be best described as a passable night’s entertainment at the theatre for its target family audience who also happen to be fans of the 1968 movie.

Finally, I've included some of the images I took during the January 31, 2013 media call for this production.










Tyler Coppin, The Child Catcher.
 






 


 


 


Friday, February 1, 2013

The Rape of Lucrece - Review by Joe Calleri.


What – The Rape of Lucrece
Where – Southbank Theatre, The Sumner
When – 31 January to 10 February, 2013
Reviewer - Joe Calleri
Stars - 5

When Irish Royal Shakespeare Company performer, Camille O’Sullivan walks onto the stage at the Sumner Theatre to introduce first herself, and her piano accompanist, Feargal Murray, and then calmly announces that she will recount William Shakespeare’s dark poem of The Rape of Lucrece, there is little inkling of the masterful, transformational piece of theatre that audiences will witness during the next 80 minutes. Yes, it is so difficult to describe this performance without over-using and abusing many adjectives and superlatives.

O’Sullivan tells the audience that Shakespeare was a mere 28 years of age when he wrote the poem of Tarquin's defilement Lucrece, who shamed, commits suicide. Lucrece’s rape led to the eventual founding of the Roman republic.

With her smoky voice that would not be out of place in a cigarette smoke-filled room at some dingy cabaret venue, and the sensitive, unobtrusive piano accompaniment provided by Feargal Murray, O’Sullivan alternatively utters, and sings of the events that lead to the evil defilement of the chaste Lucrece, before O’Sullivan inhabits the body and soul of the distraught, vulnerable, sobbing rape victim.

Throughout their entrancing performance, O’Sullivan and Murray inhabit a suitably dark, foreboding space so deliberately and carefully lit by Vince Herbert, and a set created by Lily Arnold that consists of stacks of papers, torn floor-boards, paintings, and a pair of virginal white women’s shoes.

I have seen a lot of theatre recently that sacrifices the subtleties of character development and narrative for special effects driven grand spectacle. The net result of all that sound and fury and assault on my senses has left me empty and hungry for more. This powerful, memorable, one-person performance has for the moment sated my hunger and provided to me yet once more resounding evidence of the magical power of character and story-telling to completely hold an audience breathlessly spellbound for an hour or more. Highly recommended!