Blog

On ‘Words and Pictures’ – and words and pictures at The Lionheart Gallery

May 21, 2014

We’re all patterns in the universe, swimmer Daniel Reiner-Kahn reasons in my new novel “Water Music.” But sometimes it’s only when we’re at the end of a journey – maybe even life’s journey – that we understand how the strands came together. At other times, we recognize how the strands fit as they’re being woven.

Last week, I had an onstage conversation with film critic Marshall Fine at the Emelin Theatre in Mamaroneck, N.Y. about the relationship between language and images after a screening of “Words and Pictures,” which opens this Friday, May 23. It’s the story of a tempestuous rivalry between a prickly artist (Juliette Binoche) and a showoff writer (Clive Owen). Four days later, the writer (me) and the artist (David Hutchinson) came together more happily at a reading from “Water Music” at The Lionheart Gallery in Pound Ridge. After, I opened up the floor for a discussion about David’s paintings and drawings there, which are based on the perverse writings of Jean Genet.

First, a few words about “Words and Pictures,” a rather contrived but nonetheless absorbing movie about a love-hate relationship that sparks a contest between the artist’s students and the writer’s. It occurred to me after that the only arena in which men and women compete is the intellectual one.

‘Son of God,’ ‘The Bible’ and the tradition of the beautiful Jesus

April 18, 2014

Was it sacrilegious – not to mention completely shallow – of me that I bought “The Bible” miniseries for the hunky guy who plays Jesus?

The series itself – from Roma “Touched by an Angel” Downey and her hubby, “Survivor” impresario Mark Burnett – isn’t very good, concentrating too much on the dreary dutifulness of religion rather than the joy it can bring. Which is, I think, part of Jesus’ message.

The actor who plays Jesus in “The Bible” and the subsequent Downey-Burnett collaboration “Son of God” – Portugal’s Diogo Morgado – is one of a long line of beautiful Jesuses. Think of Jim Caviezel in “The Passion of the Christ.” (The moment I saw him in “The Thin Red Line” as the otherworldly Christ figure Witt, I knew he’d make an excellent Jesus.) Or Robert Powell, my favorite, in Franco Zeffirelli’s “Jesus of Nazareth.” Jeffrey Hunter’s blue eyes were so dreamy in “King of Kings” that some critics dubbed the film “I Was A Teenage Jesus.”

Sure, there have been stern-looking Jesuses (a miscast Max von Sydow in “The Greatest Story Ever Told”) and even commonplace Jesuses. (Dennis Potter’s “Son of Man,” with stocky, course-looking Colin Blakely in the title role, was lambasted for making Jesus ordinary, even homely, when it aired on British TV in 1969.)

But these are the exceptions that prove the rule: Jesus must be gorgeous.

Di –Virgin-t

March 31, 2014

My friend Babs and I went to see “Divergent” this past weekend. The film was just about to start when five giggly tweens plopped down in the seats next to me.

“Are these seats saved?” the one closest to me asked, suddenly all girlish concern.

I was tempted to say “yes.” Who needs five texting jumping beans when you can have peace and quiet? But how dog in the manger would that be? “No, no,” I said, smiling.

I bring this up to begin with, because these tween girls are, after all, “Divergent’s” target audience. It may be “The Hunger Games” 2.0 or another American tale of the limits of conformity. But at its heart, “Divergent” is very much a virgin’s story, about growing up and learning to use your mind and body properly as you follow your heart and overcome your fears, including the fear of men.

Are warrior women winning the battle only to lose the war?

March 26, 2014

Call it “The Hunger Games” 2.0.

This past weekend, “Divergent” opened with a respectable $55 million at the box office. It’s hardly “Twilight” money, but it’s a satisfying spring debut for a franchise hopeful that’s following in the wake of “The Hunger Games,” which is also about a feisty young woman leading a rebellion in a post apocalyptic society. (I plan on seeing “Divergent” this weekend though I’m in it mostly for Brando-esque co-star Theo James – he of the sculpted cheekbones and the sullen, sultry way with a self-contained character, Mr. Pamuk in “Downton Abbey” and the title character in CBS’ short-lived “Golden Boy.”)

The success of “The Hunger Games,” which cemented humorous everywoman Jennifer Lawrence as a star, has led toy companies to develop a whole line of weaponry – guns and bows and arrows in pink, no less – for girls who want to emulate Lawrence’s Katniss or Shailene Woodley’s Tris in “Divergent.” I have no problem with this or with stories featuring gutsy, independent-minded young women, having once been a gutsy, independent-minded young woman myself...

The sex trap

March 13, 2014

One of the great illusions that some feminists and more than a few sentimental men hold is that women offer a different leadership model than men – that they’re more collaborative and compassionate, building consensus rather than creating chaos.

I’m here to say, You think that if it makes you happy. In a 33-year career, I’ve worked for men and women, and I have to say I prefer working for men.

For one thing, they don’t take everything personally. For another, they have the advantage of millennia of leadership DNA. Women are relatively new to the leadership game, and they often ape men instead of developing their own styles. They think they have to be tough when they really should be strong and so they wind up merely being shrill.

But women have also had the disadvantage of their sex, which they in turn tend to use.

In “Frozen,” Elsa embraces her magical powers as she sings “Let It Go.”

Are men the hotter sex? Or are women just ‘Frozen’?

March 9, 2014

It’s been a week since the Oscars, but Cate Blanchett’s Best Actress acceptance speech is still trending with me. Or rather, Maureen Dowd’s riff on it is.

Blanchett implied that her Oscar win for “Blue Jasmine” proved that films with women at the center aren’t “niche experiences.” Dowd’s March 5 column “Frozen in a Niche?” demonstrated otherwise:

“The percentage of women directing, writing, producing, editing and shooting films has declined since 1998, according to an analysis of the top 250 grossing films of 2013 by the Center for the Study of Women in Television and Film at San Diego State University. (The anticipated halo effect from Kathryn Bigelow becoming the first woman to win a directing Oscar for 2009’s “The Hurt Locker” never happened.)

“The center’s latest report had some stunning stats: Women accounted for 6 percent of directors, 10 percent of writers, 15 percent of executive producers, 17 percent of editors and 3 percent of cinematographers. And women are still more likely to be working on romantic comedies, dramas or documentaries than the top-grossing, teenage-boy-luring animated, sci-fi and horror movies.”

Sound like a niche to me. Mais pourquoi?

Jared Leto, the inside man

March 3, 2014

How great was it to see Jared Leto – who left Hollywood to front a band – win the Best Supporting Oscar for his role as a transgender prostitute in “Dallas Buyers Club”? (Actually, the win was sort of a no-brainer. Hollywood loves to reward actors who transform themselves and stories that have their hearts in the right place.)

Leto seems to have his in the right place, too. Of course, there was plenty of Internet snark about his acceptance speech, in which he told the “dreamers” in Ukraine and Venezuela that we were thinking of them. (Apparently, actors aren’t allowed to be human.) I came late to his speech, but I’m glad I caught the end: "This is for the 36 million people out there who have lost the battle to AIDS.” He concluded, “To those of you who have felt injustice because of who you love and who you are, I stand here with you and for you.”’

As he left the stage, host Ellen DeGeneres shook her head and said, “Beautiful.”’