Silver Linings Playbook

Last night I watched Silver Linings Playbook, a movie about two characters struggling with emotional issues trying to come together.

Although billed as a comedy on Netflix, I found this to be a tense drama. The main character's anger episodes kept me on edge. The woman he meets and forms a friendship with was also very angry and abrasive. Which is not to say they weren't complex and sympathetic. But the emotional pitch of the film kept me on edge.

Pat returns home from a stint in a mental hospital after a violent episode. He has to move in with his parents and is obsessed with reuniting with his wife, who has a restraining order on him. While trying to figure out a strategy, he meets Tiffany, a damaged woman with a lot of charm. The story is about their off-kilter way of connecting.

The acting was very good.

Alvin Ailey

 Last night I had the pleasure of seeing Alvin Ailey American Dance Theater perform at the David Koch Theater at Lincoln Center. The dancing was wonderful, and I am so pleased that I was finally able to see this company.

Only one of the dances on our program were choreographed by Ailey or the other artistic directors of the company -- that was the short solo, "Takademe", a jittery fun, quirky, fast piece choreographed by Robert Battle.

The first dance, "From Before", was choreographed by Garth Fagan. It included different segments of dancing with Afro-centric moves and pieces of music. The dancers wore brightly colored full body leotards, and the effect was exhilarating.

The dance "Grace" mixed up-tempo and slower music. I was much more interested in the fast segments. Choreographed by Ronald K. Brown, the dance featured dancers in white costumes, taking up the stage in a variety of complex, beautiful, and fun ways.

My favorite dance was the final one, "Minus 16", choreographed by Ohad Naharin, the Artistic Director and choreographer of the captivating company, Batsheva, which I saw perform in San Francisco last year. This dance started before the intermission was even over. With one dancer is a suit standing in front of the curtain. Gradually he started moving, in a quirky, jittery way. Eventually he was full on dancing. After his applause, the curtain was raised to a room full of dancers in dark suits. The music was mildly threatening, and the dancers all worked with chairs in robotic, haunting ways. I can't describe the powerful effect of this piece. Eventually the dancers had stripped to their underpants, and danced without the chairs.

Then, after the set went dark, they were all in full suits again. They came out into the audience in rhythmic fashion and one by one led people up to the stage. Each dancer brought one audience member, and they began dancing with them. It was so exciting to see "regular" people dancing up there. They deliberately chose people wearing red or bright colors, to festive and classic effect. The audience was thrilled and this number got a full standing ovation.

Crimes and Misdemeanors

Crimes and Misdemeanors remains my all time favorite Woody Allen movie. It is perfect. I saw it in the theater when it first came out (1989), then years later watched it on VHS, and today watched it for the third time. It is taut, sensitive, complex and nuanced, and tense.

The movie centers on an adulterous opthamologist whose situation comes to a crisis and he has a serious moral dilemma. Crimes and Misdemeanors is an existential drama that includes many segments and references to Jewish law, philosophy, and moral structure and meaning of the universe. Unlike many of Woody Allen's other movies, these references aren't just thrown in for humor's sake, but add emotional and philosophical cohesion to the whole film.

A real treat is Sam Waterston as the Rabbi who is losing his sight.

Park Avenue: Money, Power, and the American Dream

This afternoon I watched Park Avenue: Money, Power, and the American Dream, a documentary on PBS exploring the gap between the rich and the poor in the US. It focuses on some of the richest most powerful people (such as David Koch), who live in 740 Park Avenue, and highlights their political connections and political power. It also addresses the populist movement which is hostile to taxation of the wealthy, even though so painfully few benefit from the tax breaks and at such cost to so many.

It is informative and straightforward. I would have liked some more analysis of cultural issues that might provide some insights into why people in the US are not outraged by extreme income inequality and the excessive wealth of so few people.

Musee D'Erotisme

After the Pompidou we walked to Montmartre to check out the Musee D'Erotisme. It was located in the red light district and had a kind of cheesy vibe. The collection included a number of ancient fertility artifacts and sexual art from many different cultures, and those were interesting. Then there were several floors of contemporary art, including an exhibition of black and white photography depicting various unusual nudes, such as hermaphrodites and overweight women. It was okay, but nothing to write home about. Another exhibition was very detailed and well executed pencil drawings of a huge ass dominatrix with a scrawny guy who always had his face up her ass or twat. They were interesting, but again, nothing special. Rather mediocre. NYC has a Museum of Sex which I'm going to check out this summer to compare.

Centre de Pompidou

 The other day I went to the Centre de Pompidou in the Marais, Paris. It was an amazing museum of modern art. I saw many wonderful works I had never seen before, including a number of Picassos. I enjoyed the experience tremendously.

Match Point

I watched Match Point last night. I had seen it when it originally came out, about 8 years ago.

Its an excellent, tense thriller about adultery. The acting is fantastic, and the scenes are wonderfully directed by Woody Allen. This is one of his best movies, and it's an uncharacteristic one. Although it is similar in many ways to Crimes and Misdemeanors, which I'm going to watch next. There's nothing funny or goofy here. There's a sense of excitement and dread. The sexual chemistry between the characters Chris and Nola is intense, and his discomfort with his wife is palpable. The relationships are all well executed, and the ending is just fantastic.