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about: Regina Weinreich

  • Pedro Almodovar’s Parallel Mothers Closes The New York Film Festival: Penelope Cruz is Spain’s Sophia Loren

    Cruz

    Pedro Almodovar’s Parallel Mothers Closes The New York Film Festival: Penelope Cruz is Spain’s Sophia Loren loves women. He also loves actors. He could not have been more passionate introducing the stars of his new movie, Parallel Mothers, closing night of the New York Film Festival: Penelope Cruz and Milena Smit. Beautiful women, one older, the other younger, they play women who bond in a maternity ward, each birthing a daughter, and if you know this Spanish auteur’s oeuvre, the event occasions the usual high stakes emotional melodrama for which he famously directs the women to pull back the tears.

    For this film, he folds their stories into a historical memory, a time when Fascists came door to door in the Spanish countryside arresting men, shooting them, their fates tied together with barbed wire in mass graves. Having been told of this horrific event by her grandmother, Cruz’s Janis (named for Janis Joplin) seeks to unearth this site in her village so that the men—fathers, brothers, uncles– can be properly mourned and remembered.

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  • The First Wave Opens the Hamptons International Film Festival

    Guild Hall Film Festival2021
    The opening night film is tough, warned a programmer at the HIFF, the beloved festival in person after the pandemic shutdown last year. It’s Matthew Heineman, I said, knowing that this documentary filmmaker embedded with Mexico’s cartels in his film, Cartel Land; of course it is tough. If you can insinuate yourself with murderous drug traffickers, might the hospital wards overwhelmed by Covid be a good subject. But here’s the unexpected: The First Wave covers a tough subject with enormous heart.

    Ahmed, a police officer, overweight, and diabetic oozes pus on a hospital bed. A nurse, Kelly, knows he’s a family guy with young kids; she’s determined to help him make it through. He does not look so good, going in and out of ventilators. Not a good sign. We check in on him as he strains to have face time calls with his wife, Alexis, and their children. Other families come into view: one is a woman who just gave birth now fighting for her life. You know these stories and hundreds like them.

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  • The Power of the Dog: Jane Campion’s Hills are Sexy

    Power of the dog
    Who can forget Harvey Keitel’s full-frontal nudity in The Piano? How daring was Jane Campion’s female gaze in her 1993 feature! Now with her new film, The Power of the Dog, get ready for a well-hung Benedict Cumberbach. Based on Thomas Savage’s novel, The Power of the Dog, the film is shot in New Zealand, a stand in for 1925 Montana; the landscape stars, not that Cumberbach,

    Kirsten Dunst, and Jesse Clemons don’t do their part with superb performances, as well as Kodi Smit-McPhee as Peter, a young, lean, fey boy, not yet at ease with his eye for men. Following a New York Film Festival screening, when asked about the prominent, imposing natural setting, Campion admitted, she found hills sexy.

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  • Todd Haynes’ The Velvet Underground at the New York Film Festival: Homage to a Bygone Era

    Velvet
    Film at Lincoln Center had a grand plan for Todd Haynes’ new film, The Velvet Underground. They would bring extant founding members of the band John Cale, Maureen (Mo) Tucker, for a performance at the movie’s New York Film Festival opening. That, sadly, was not to be. The premiere, though, with a posh party at Jazz at Lincoln Center, celebrated the city’s creative energy from which the New York Film Festival emerged, and the music that influenced generations of artists to come.

    A vivid portrait of the band, yes, The Velvet Underground is a deep dive into the historic artistic period of New York in the ‘60’s, especially showcasing the avant-garde filmmakers who shot evocative footage: Andy Warhol, Jonas Mekas. The Warhol Museum in Pittsburgh is a treasure trove of this rare material. The great Ed Lachman shot the interviews in 2018: Mekas at 96 was first.

    The film is an homage to these underground filmmakers as well as to Lou Reed, whose teen years on Long Island, complicated sexuality and drug use provide the backstory for his artistic development. Studying poetry with Delmore Schwartz, Reed read Allen Ginsberg, William Burroughs, Hubert Selby, Jr., and Arthur Rimbaud. Early on, he proclaimed he would be a rock star.

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  • No Time to Die: The Sublime Seductions of Lea Seydoux

    James Bond 2
    The last James Bond feature to star Daniel Craig, No Time to Die, picks up where the last, Spectre, left off, with James succumbing to love, and a life with Madeleine, the irresistible Lea Seydoux. Off they go on a Rome adventure, carefree in James’ Aston Martin, with “all the time in the world,”—that line alone should send off waves of foreboding. Rome is Vesper Lynd territory, and sentimental as Bond has become, he must visit his former love’s burying place. Boom! Forget retirement! Bond is off and explosive!

    In fact, explosions galore! Fancy cars showing off their equipment! We’re off and running through the many Bond tropes: breathtaking vistas and eye popping laboratories of menacing threats to the world. Among the villains, Rami Malek makes a most chilling appearance as a damaged child gone amok on revenge. “Who’s the blond?” asks Bond eyeing a particularly fawning, smiley sidekick to the CIA’s Felix Leiter (Jeffrey Wright) named Logan Ash (Billy Magnussen). But some heavy lifting belongs to the gun-toting women: Lashanna Lynch as Nomi, a new 007 with 007 chops, Ana de Armas as Paloma, amazingly adept at target practice in crowds, party gown unruffled, and finally Madeleine Swann herself, in for the kill. The girl power is through the proverbial roof!

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  • Joel Coen’s Tragedy of Macbeth Opens the NYFF: Let It Come Down

    Denzel
    As a tragic hero, a deeply flawed man, Denzel Washington was perfect for the role of Macbeth. He’d done downcast/larger-than-life before, say, in August Wilson’s Fences, and now in Joel Coen’s new film that opened the new season’s New York Film Festival, his Macbeth oozes Shakespeare’s eternal wisdom: It’s not that good to be king.

    When Coen was asked whether Washington was his first choice for the role, his producer, Lady Macbeth herself, Frances McDormand said, “There’s no list for Macbeth. You must be born to it.” Seated between Coen and Washington, her two husbands so to speak, in life and in tragedy, on the Walter Reade Theater stage for a post-screening press conference, she professed to have instigated the project, having slept walked in Lady Macbeth’s shoes since she was 14. While there have been many Macbeths through the centuries, this one, in sumptuous and austere black & white most closely follows Orson Welles’ Chimes at Midnight, and yet Roman Polanski’s was referenced as well. Discussing the age of this murderous couple, the usual idea is to make them young and ambitious. McDormand and Washington make them older, passed over by the king, and wanting to get their due. We can attest to that feeling, Frances and Denzel, revel in a private joke.

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  • Alessandro Nivola’s Breakthrough in The Many Saints of Newark

    Gossip
    How was Tony Soprano “made?” That’s the through line for the long-awaited prequel to HBO’s Sopranos series, The Many Saints of Newark. At a stellar premiere this week at the Beacon Theater, Robert DeNiro, who knows a thing or two about mobsters, along with Tribeca Film Festival partner Jane Rosenthal—greeted a packed, masked house of the show’s creators, veteran actors, as well as devotees dressed to kill. As creator David Chase introduced the superb cast, much hooting and shouting, I love you, rang out–well, this was a celebration. With no room for this feature to tank—instead, it radiated excellence intertwining the Soprano’s trademark violence with values of the family kind.

    Tony (a wonderful Michael Gandolfini trying on his late, great father’s shoes) is just a kid here, troubled but smart, a born leader, taking notes from a variety of paternal figures, especially his uncle Dickie Moltisanti played with psychotic charm and menace by Alessandro Nivola. You have never seen this actor this good, turning from lover to murderer on a proverbial dime. At the Tavern on the Green afterparty, Vera Farmiga, Tony’s mother Livia in the film, could not stop talking about Sandro, how she could not take her eyes off his every gesture. She, in turn, transformed to play the Soprano matriarch, brings the mob wives’ domineering submissiveness to new levels of humor and delight. John Magaro as Silvio Dante gets a big laugh as we see him walk that walk. Billy Magnusson as Paulie Walnuts frets over the blood stains on a new jacket as he tortures, making a mess using a drill. They almost got Corey Stoll as Uncle Junior to sing. With its sly humor and nod to the popular, game changing series, the movie creates its own universe—this is not Philip Roth’s Newark.

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  • Hitler’s Tasters at Guild Hall: A Fresh Take on the Evil Men Do

    Guild Hall
    After writing a play about German girls tasked with tasting food prepared for Hitler, Michelle Kholos Brooks worried about using der Fuhrer’s name in its title. She asked her father in-law, who just happens to be Mel Brooks, who famously featured Hitler in the title of a musical within the iconic musical The Producers: “Springtime for Hitler,” you may recall—in the attempt to be as offensive as possible. His answer: “You must.” He insisted.

    The playwright told this story following a production of her play at Guild Hall this weekend, in a conversation with The Producers’ director/choreographer Susan Stroman. Scheduled for a run at 59 East 59, Hitler’s Tasters, based on a little-known pocket of World War II history, was put on hold, as were so many projects when COVID hit. Of the 15 girls made to risk their lives for the good of Germany, only one, Margot Woelk, survived. The others, murdered as the Allies advanced—well, they were just on the wrong side of history. Woelk was raped, but lived on till her mid-90’s. From this slim account, Michelle Kholos Brooks embroidered the story of five such girls, dancing, dreaming, fantasizing about boys, rejoicing as they lived another meal.

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  • Hamptons Journal: Susan Stroman Weekend at Guild Hall: Nathan Lane, Matthew Broderick, Brad Oscar, and Mel Brooks Zoomed, Little Dancer Preview

    Producersa
    Starved for Broadway’s reopening, a happy crowd packed Guild Hall for an evening of clips and anecdotes about The Producers, the winner of the most Tony awards of any musical in history. On a panel introduced by choreographer Susan Stroman, a winner of 5 Tonys herself, the show’s stars Nathan Lane, Matthew Broderick, and Brad Oscar quipped and reminisced about the play’s Chicago debut, and the run on Broadway, shut down for 3 days in the aftermath of 9/11, but then it was Rudy Guiliani who urged everyone to get back to work. People did not know whether it was appropriate to laugh, said Oscar. And of course, the show offered the audience a way to grieve less for a two-hour period, Stroman remembered. Nathan Lane performed, but scheduled for a vacation he decided to take, he joked, “If I cancel my vacation, the terrorists won.”

    And so the evening went with Lane recounting his first encounter with Mel Brooks in a swimming pool at the Ritz in Paris. Anne Bancroft, finished with her swim, went up to her room, and Lane thought, Mel Brooks is in the pool with me instead of with Anne Bancroft. He also remembered that it was Harvey Weinstein, a backer at the time, who read the all-important New York Times review at the opening night party . . . “and then went off to pee in a flower pot” . . . conflating the producer’s crimes with another #Metoo accusee. Matthew Broderick remembered people coming to the door, every performance someone else would show up, Al Gore, for example. Lane said Bill Clinton came, shook hands, but kept his eyes on Cady Huffman, the show’s splendid Ulla. But they were all in awe when Gene Wilder, the original Leopold Bloom, stopped by.

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  • Kathy Hochul: At Brunch at Patti Kenner’s

    Bb copyWhen Patti Kenner sent out the brunch invite with Kathy Hochul for a date in early August, this seemed like tour-stop as usual for the lieutenant governor–to a lovely aged-cedar house just a stone’s throw from the legendary Maidstone Club and golf course in East Hampton. Even the postponement till today seemed normal, until the governor stepped down and, now we were greeting the first female to hold the highest spot in the state, the 57th governor of New York.

    Her theme –breaking the glass ceiling—went from goal to fait accompli—as she spoke about her realization early in political life that little girls were looking at her. “Of course, I am ready on day one,” she told the enthusiastic crowd sipping fresh squeezed orange juice and munching on lox and bagels, “that’s what lieutenant governors do”—train for this moment. This was indeed the historic moment–she will get to summon all that leadership strength and moxie for a year before New Yorkers get to vote her in.

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  • Hamptons Journal: Authors Night: One Cocktail Party Plus a Four Day Festival of Books

    BOOK
    Weary of pandemic year lockdown, I was pleased to attend Authors Night 2021 in person under a tent on the East Hampton Library grounds, a scaled back celebration of books and the people who write them. Gone (temporarily) is the voluminous tent in a large field that could hold150 authors. Twenty sat at a long table behind their books in piles: Robert Caro with Working, film critic Jeffrey Lyons’ Hemingway and Me, a memoir of his bonding with the legendary author over bullfights, the latest cookbook from Florence Fabricant (The Ladies’ Village Society Cookbook) seated near the team Hillary Davis and Stacy Dermont, writers of The Hamptons Kitchen. What could be more geared for the pairing of land and sea?

    Night life and the social scene! Noel Hankin with his wife Gwen sat behind piles of After Dark:Birth of the Disco Dance Party, about the clubs in midtown that inaugurated the era of Studio 54and celebrity culture. An homage to one person who never missed the party scene, Gwenn & Steven Stolman’s Bill Cunningham was There: Spring Flings and Summer Soirees, sold out almost immediately. Stolman explained how he helped Kurdewan, Bill Cunningham’s editor at The New York Times, assemble this collection of the photographer’s work after they toured the photographs cross country. As  Anna Wintour so aptly put it, “Everyone dressed forBill.” The Vogue icon is a star of Thomas Maier’s All that Glitters: Anna Wintour, Tina Brown,and the rivalry inside America’s Richest Media Empire.

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  • Hamptons Journal: Bay Street’s Camelot, Robert Longo at Guild Hall, Diana Frank at Tripoli Gallery

    Camalot
    Legends of King Arthur and his court are having a moment: The Green Knight in theaters, and out east, Bay Street Theater’s production of Lerner & Loewe’s Camelot –under the stars! Now a classic, its signature song “If Ever I Would Leave You” sends a particular nostalgic chill—ah love—especially for the musical theater genre that Bay Street does so well! Remember the glorious revival of Annie Get Your Gun, Bay Street’s very last production before the COVID shut down? Or the intimate production of Evita a year before? With Camelot–outdoors—BayStreet’s setting conveys less castle and more country as Camelot wields its special charms.

    King Arthur in this imagining is a fair and just ruler, looking for equal representation in his governance, hence the knights’ round table. His liberal ideas come after he meets and weds Guenevere; at first, a dated gender bias marks the musical’s first act, especially brow-raising in our current discourse on the roles of men and women. The king’s attitudes progress when Sir Lancelot enters the story, as Arthur (Jeremy Kushnier), “Jen” (Britney Coleman), and “Lance” (Deven Kolluri) sing about good leadership, marriage, and loyalty, all performances solid and square. But, in this three-way expression of courtly love, a stylized representation of king and his knight/ knight and the queen –where the younger pair fall in love at their own peril, heat would be good. But that does not come till the second act.

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  • Hamptons Journal: Graham Nash in Montauk/ Longhouse/ Chuck Manion’s Paintings at Duck Creek

    Crosby
    OM—though that’s not my mantra. Dan and Maureen Cahill hosted an event for the David Lynch foundation to support veterans by providing them with TM—transcendental meditation– life changing according to most practitioners, some of whom attended the concert and sit-down dinner on a gorgeous property between the old and new highways leading into the town of Montauk, with an ocean view, a large vegetable garden, and a chicken coop. 

    Milling about on the manicured lawn, drinking wine, munching on canapes, attendees—among them Drew Barrymoore in an oversized hat pulled down (I took her for Julianne Moore at first, who really does live in Montauk) and Paul Jarrod Frank, MD, author of The Pro-Aging Playbook—(can’t miss the irony of that)–the night recalled Edenic times. Bob Roth led a meditation.

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  • Bob Balaban Directs 2020 at Guild Hall: Laughing Off COVID

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    Begging the question: is it too soon to laugh about the pandemic year, 2020, a collection of short plays by masterful playwrights, did just that in a one-nighter at Guild Hall.‘Some of the actors are serious,” warned Bob Balaban, a tad nervous as he greeted giggle-ready well-wishers. “I hope you like this experiment.” Under his fine direction, Paul Hecht, Susie Essman, Talia Balsam, Mercedes Ruehl, Isaac Mizrahi, and Ben Shenkman performed works by Sarah Ruhl, Lynn Grossman, Jon Robin Baitz, Paul Rudnick, Simon Rich, and R. G. Masons.

    The pairings were perfect: In Rudnick’s “Play Bills,” Mizrahi camps his quarantine, imagining Hugh Jackman, Patti LuPone, Audra McDonald, Nathan Lane coming to his apartment to sing for him, a collision of Broadway talents vying to perform. Ruehl stole it in Jon Robin Baitz’ contribution, “All the Old Familiar Places,” as a woman desperate for contact, and vital ç gloss, in an eternal loop with the pharmacy’s phone voice recording. Who could play that unseen role? Balaban, of course. Did the order go through? The pandemic may have pushed this woman over the brink, but this engagement with the automated world finished the job. Who among us has not suffered that?

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  • Remembering Anthony Bourdain in Morgan Neville’s Roadrunner

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    The Oscar-winning documentarian Morgan Neville assembled much evocative footage of his latest subject, Anthony Bourdain for his movie Roadrunner, even controversially putting words in the celebrity chef’s mouth—literally using A. I. While the film’s critics are abuzz over this technique, Anthony Bourdain’s life and work are overall well served in Neville’s treatment as he tries to untangle Bourdain’s sad demise. Bourdain was first a writer, and sadly, a suicide. If the viewer had not read the 2018 headlines, that news comes at the movie’s start. This is not going to end well, he says, and by the documentary’s end, there’s not a dry eye on the screen.

    Bourdain’s taste for artistic bad boys–Burroughs, Genet,— was not merely literary. You get a sense of his lust for extreme states of consciousness. He disparaged Kerouac, by the way, who might have been a forebear for a man on the road. Beyond his work in Les Halles’ kitchen, his distinct writerly voice, and penchant for drugs, Bourdain played a role as a subversive food ambassador. What I liked best about his sensibility was his sly political slant. In 2014, at Guild Hall, when NYT food writer Florence Fabricant asked CNN’s Anthony Bourdain, which country was most surprising, he quickly answered Iran. Most Americans had not been there, and he seized a moment of opportunity. Now, he said ruefully, would not be the time. That was the Anthony Bourdain everyone fell in love with, the celebrity food maven who sniffed out countries for his “Parts Unknown” series, favoring smelly dysfunction over orderly functionality. Iran surprised him with a people that had the attitude, “Are you American? We don’t care what the government is doing; welcome, we want to know you. In a Teheran restaurant where they put flags on diners’ tables, they apologized, Sorry, all our American flags were burnt.”

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  • Hamptons Diary: Samuel Waxman Benefit and Mike Birbiglia at Guild Hall

    Mike copy
    After a year and a half of sussing out a pandemic, surge-no surge, vax-no vax, mask-open face, it was refreshing to actually hear that cancer kills more Americans per year than Covid did in its tragic scourge. Not that anybody wants to hear about a deadly disease of any kind—or killing. In fact, it was a happy moment to be in a somewhat crowded Bridgehampton tent with glamorously dressed Hamptonites some of whom were wearing high heels as they tread across the grass, the property of the Fishel family for the annual Samuel Waxman’s Cancer Research Foundation Benefit. As I do every year I attend this fun party, I pondered an irony: my mother, the late Pola Weinreich died in the care of this world-renowned oncologist at Mount Sinai in 1996. Should I say something when I see him, remind him of an event commonplace to him and devastating to me? A sign of a good doctor, Samuel Waxman always very much wants to talk about her demise and the deadly disease that he was hoping to cure in his lifetime with the foundation he created so many years ago. “Did we do whatever we could for her,” he asks, caring. “Thank you for coming.”

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  • The Garden as Art: Longhouse/ The Return of Guild Hall’s Popular Tour

    Longhouse
    Textile designer Jack Lenor Larsen died in December of 2020, but Longhouse, the spectacular arts reserve off East Hampton’s Northwest Woods continues his tradition with an exhibition of his work. Influenced by his travels, the show is a glimpse into the adaptation of worldly visions into a uniquely American aesthetic. Of course, that’s only one reason to visit Longhouse, which features sculpture throughout, such as an iconic geodesic dome from Buckminster Fuller and Yoko Ono’s “Wishing Tree.” And what about the gardens, and arches of bright baby pink roses!!!!

    Guild Hall returned to its tradition, “The Garden as Art” tour featuring artists’ work on the grounds of their East End sanctuaries. I’d like to tell you that Tony Ingrao and Randy Kemper’s gorgeous grounds with its statuary and expert landscaping was my favorite. Or the artist Ross Bleckner’s studio left open for all to see, particularly showcasing the paintings so influenced by gardens. The “best” distinction goes to Tucker Marder who took visitors around his “Folly Tree Arboretum,” speaking of each tree and its specific ecological distinction: the “Moon Tree,” for example, a clone of a Sycamore that went to the moon as a seed with astronaut Stuart Roosa in 1971 as part of the Apollo 14 mission.

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  • Truman & Tennessee: An Intimate Conversation: Genius Never Gets Old

    TrumanCapote2
    T Literary titans Truman Capote and Tennessee Williams, both Southerners and gay, travelled in the same artistic circles. Friends with Paul and Jane Bowles, Donald Windham, and Gore Vidal, they were also friends/rivals; each called the other “genius.” The documentary Truman & Tennessee: An Intimate Conversation puts them in dialogue using evocative archival footage. The strategy works well for filmmaker Lisa Immordino Vreeland’s examination their lives and art, using the voices of the actors Jim Parsons and Zachary Quinto as needed for readings from letters, journals, and key texts. They make talk show appearances, on Dick Cavett and David Frost. Tennessee reveals that in Streetcar Named Desire, both frail Blanche and brute Stanley are parts of him. Truman says writing In Cold Blood nearly killed him. Clips from the movie versions entertain, yes, and show how vital these figures are to American culture.

    Having already documented Diana Vreeland, Peggy Guggenheim, and Cecil Beaton in feature length films, the filmmaker may have been most challenged by moving Truman & Tennessee: An Intimate Conversation through the film festival circuit during this pandemic year. At long last, it opens in theaters this week. As the film screened at the Hamptons International Film Festival, I spoke to Lisa Immordano Vreeland about this film about both writers rather than making a biopic about each one.

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  • Martha Stewart Brings Her Flair for Perfection to Southampton

    Marther StuartPatrick McMullan

    Without even saying “It’s a good thing,” Martha Stewart’s reassuring presence sanctions any project. This past weekend, the occasion was a swank party in Southampton attended by a who’s who of who’s out east: from Brooke Shields to Chuck Scarborough to Alina Cho. The event was designed by Bronson Van Wyck and photographed by Patrick McMullan. And, because the party was organized by Peggy Siegal, the concept was high-minded, bringing cultural awareness to a great literary cause: The House of Speakeasy Bookmobile delivering books to children in underserved neighborhoods. The founder and author Amanda Foreman introduced a panel of writers on architecture, Peter Pennoyer and Paul Goldberger, joining Martha Stewart (that makes it Peter, Paul and Martha, someone quipped) to discuss the Coopers Neck Lane site, owned by David Walentas and now on the market. So yes, that’s culture/ cause/ commerce.

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  • Becoming Dr. Ruth at Bay Street

    Dr. RuthCelebrity sex therapist Dr. Ruth Westheimer turned 93 last weekend, and after decades on television and in the public eye, it is still a thrill to hear her, in her German /Swiss /Hebrew/ French/ American accented English, telling men to love their penises, even if the voice is that of the actress Tovah Feldshuh, now starring in Becoming Dr. Ruth at Bay Street Theater.

    Having performed as iconic, historic figures, Israeli Prime Minister Golda Meir, Justice Ruth Bader Ginsburg, the role feels like a no brainer to Tovah Feldshuh, who visited Dr. Ruth four times in her tchotchke filled Upper West Side apartment, to perfect her subject’s movements: her way of climbing to get things off high shelves, and manner of answering the telephone. The premise of Mark St. Germain’s play being, Dr. Ruth is leaving her apartment, purging possessions but also taking a trip down memory’s darkest lane to limn her journey, nee Karola Seigel in Frankfurt, orphaned at 10, sent to Switzerland on a Kindertransport, handling firearms as a sniper in the Haganah during Israel’s war of independence, studying at the Sorbonne, 3 husbands, 2 children, 4 grandkids, a lifetime of memories to pack and unpack.

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  • Love It Was Not and When Hitler Stole Pink Rabbit: The Holocaust in Film

    Love it was notMaya Sarfaty’s Love It Was Not, a most unusual documentary, tells the improbable story of the infatuation of a high-ranking SS officer with a Jewish inmate at Auschwitz. An Austrian-Israeli coproduction, the film was part of a program at New York’s Museum of Jewish Heritage, with a Q&A with the director and Austrian producer, Kurt Langbein, and is to date one of the most affecting films to reimagine Auschwitz in scope and day-to-day detail: the focus on the relationship between Franz Wunsch and Helena Citron allows for a glimpse into the death camp from the perspective of young love. Yes, this really happened amidst the gas chambers and crematoria, an open secret romance.

    According to her girlfriends—interviewed post-war for this film, having survived and benefitted from the special attentions of Wunsch (20), Helena Citron (19) was a beauty. Family photos attest to her looks, and later, interviews with a much older woman show the angles of her cheekbones and fierce eyes, a cross between Kim Novak and Eva Gardner. She and her friends were assigned to the Kanada warehouses, where they sorted the belongings of inmates sent to be gassed. When she had typhus, Wunsch nursed her to health. One day, Helena’s sister arrived with her two children. Wunsch plucked her from their arms amidst a crowd ready to be murdered, allowing her to work alongside her sister. The plight of the children haunts the rescue; the ambivalence of survival at Auschwitz could not be better illustrated. Wunsch was known to be a beast, beating male inmates, and yet was capable of gentle emotions toward Helena.

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  • Revisiting A Quiet Place II: Shhhhhhh!

    A Quiet Place 2
    For my first venture into a theater, still restricted for COVID, I screened A Quiet Place II, coincidentally the very last movie I saw in a theater, on March 9, 2020. When life changed the following weekend, it was understood, the very last thing anyone should see at this time is a work of art that could induce nightmares of a world besieged by unknown killer entities. Wisely, the movie’s opening was put on hold. Now fourteen months later, and on second view, the film feels even more special. Don’t miss it.

    Here is what I wrote about the film, and its swank premiere from 2020:

    Introducing the next chapter to the hit horror movie, A Quiet Place, writer/director John Krasinski said he never wanted to make a sequel, and now he prefers the new one: “That’s for you to decide,” he said to the rapt audience at the Jazz at Lincoln Center’s Rose Hall premiere. Expect: the most successful franchise ever.

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  • Zombies Unite!: Army of the Dead: Location, Location, Location

    Armyof the deadAt a Q&A at the Paris Theater, after a screening of the new Netflix zombie hit, Army of the Dead, to air this weekend, director and D.P.—this is so his movie– Zack Snyder said he was thinking about The Sheltering Sky and how a protagonist dies in the desert of some weird disease. In conversation with Grace Randolph, a comic book writer and YouTube star, and his producer/ wife Deb Snyder, he was invoking Paul Bowles’ midcentury novel and Bernardo Bertolucci’s movie starring John Malkovich and Debra Winger as a married couple who go deeper into anonymity as they leave Western culture behind in the North African landscape. This reference is one of a zillion that makes the movie Army of the Dead so much fun to watch—including Richard Wagner’s Gotterdammerung, a sly nod to the arid humor of doom.

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  • Oscar Women: What They Wore

    Oscars 2100One could suspect from the way the Oscars were put together at LA’s Union Station, this was an unusual year. How do you dress for well, the imperative to simply show up? Some women took the Hollywood glam route: Amanda Seyfried’s red ball gown seemed from every camera angle to fill the room. Ditto for Angela Bassett’s pouf shoulders. Cleavage and bare midriffs were a thing. And others rocked in covered up understatement: Olivia Coleman in demure Dior, Glenn Close dazzled in Armani Prive, even when she was wiggling her butt. The Nomadland women from multi-awarded Chloe Zhao to Frances McDormand whose wolf howl was the most musical note of the evening wore dour. Even the real-life nomads, like Swankie, so endearing and colorful in this desert toned movie, made up and coiffed, looked more dressed up.

    But, had she attended, what would Ann Roth have said or worn collecting her Oscar for costume design? A second-time winner at 89, like Anthony Hopkins at 83, she sat this one out. In 2012, Roth was honored for her work at the Hamptons International Film Festival. Here’s what I learned about her illustrious decades-long career:

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  • Midnight Cowboy in 1969: How to Win an Oscar Without a Campaign

    Midnight cowboy
    This week, the Academy Museum of Motion Pictures sent out a Timeline featuring many “firsts:” among them citing Midnight Cowboy (1969), the first X-rated film to win Best Picture. With Glenn Frankel’s new book, Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, much has been written clarifying that X-rating: “Few had high expectations that an X-rated movie about an aspiring male prostitute made in New York . . . would do well in the Hollywood-centric Oscars.”

    But a more unusual circumstance for the film’s Oscar success was that it won with almost no campaign to shepherd it along with Academy voters—certainly, as Frankel notes, it had “no money for the lavish events that Universal and 20th Century Fox” hosted for Anne of a Thousand Days and Hello Dolly, the kind of thing that in recent years Peggy Siegal did so well, hired by the studios to host luncheons that featured filmmakers and actors in high-minded conversation about making art. Instead, the Midnight Cowboy producers made sepia-toned stills, using different ones for each ad. Frankel quotes Gabe Sumner at United Artists, “It was a terrific movie. We didn’t need anyone to stand up and give a speech. We knew what we had.”

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