Last night, tkp and I attended the Seattle Opera's production of Falstaff. It was a far different experience from the only other I've seen there, Bartok's Bluebeard's Castle paired with Schoenberg's Erwartung. That was an incredibly intense visual and musical experience, unlike anything I'm likely to see again, while Falstaff was much more traditional ( Read more... )

I know you know I find them both unbearably pretty, but I hadn't really thought about this.

( is this too much of a stretch? )

HAPPY BIRTHDAY, ORSON WELLES ( Read more... )

Five things inlaterdays associates with me:

Photography
I started "seriously" taking photos in March of 2005, when I visited Seattle for the first time and brought Mr. Daroga's 80's Minolta with me. The photos in the daffodil fields in Skagit county were sort of a revelation; I realized I loved how they looked, and that I had taken them. (That particular ( Read more... )

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Compulsion, based on the Leopold/Loeb murder case and directed by Richard Fleischer, is a tight little movie whose performances by Dean Stockwell, Bradford Dillman and Orson Welles elevate it above some less-talented bit players and conventional surroundings. It was the last film Welles made in Hollywood for some years, and though he enters an hour ( Read more... )

Due to the enabling power of the Seattle Film Festival Shakespeare series, I was recently afforded the opportunity to see Orson Welles' Macbeth and Othello on screen and restored. As a show of my lack of bias, I also saw Olivier's Hamlet again, and thoroughly enjoyed all three despite what I see as massive problems in each. Perhaps I'll delve into ( Read more... )

Less-than-full reviews so I can get this out of my system, and you won't have to suffer as long.

Tomorrow is Forever (1946)
Tomorrow is Forever is a postwar melodrama Martin Guerre-with-a-twist that was apparently designed to make mothers feel better about having let their sons/husbands go off to war. The story concerns Claudette Colbert and Orson ( Read more... )

I am obsessed with Orson Welles ( Read more... )

Jane Eyre is not my favorite adaptation of Jane Eyre, nor is it a strictly faithful one. It relies heavily on its “literary” merits, demonstrated by passages of typed exposition that do not actually appear in the novel (though large parts of the dialogue do). Its 96 minutes necessitate gross cutting of major subplots. And at no time does anyone ( Read more... )