Road To Nowhere

Monte Hellman, the director of RTN, was 78 when the film was completed.  He had taken a 22 year break from the film industry and returned with this 121 minute feature starring Shannyn Sossamon, Tygh Runyan and Dominique Swain.

The film is hard to describe plot-wise.  It has been compared (favorably and unfavorably) to David Lynch's Mulholland Drive, yet Hellman has decided to take us on a ride into the realistic realm as opposed to the surrealistic world that Lynch often favors.  Also notable is the fact that wikipedia still has no plot summary for the film.

A filmmaker (Runyan) is preparing to make a film about a true crime story.  Upon casting, he comes across a young woman who has never acted before (Sossamon), but who eerily looks like the real life femme fatale the movie within a movie is based off of.  What follows is left up to us.  Reality blends with fiction.  Stories are left open for us to decipher.  However, what starts out as possibly frustrating leads to an interesting dynamic in the film industry.  The question of our own image, our own reflection, our own dreams start to play a larger part on this road.

All of the actors do very well in the roles provided, especially Ms. Sossamon.  For when the shots seems to linger five to ten seconds too long, there's something about Ms. Sossamon's beauty that lets it slide.  It's a pleasure to see Ms. Swain in more of a leading role as the sassy blog reporter Nathalie.

I grant most reviewers that the similarities between this film and Mulholland Drive are sometimes too blatant.  Yet, Mr. Hellman's vision gives us something more.  It, of course, requires, repeat viewing.  Yet, it is all about the beauty.  The images that come forth seem to display an earnest energy to engage us, as minute as they are.

Shot for under five million on the Canon 5D Mark II, Mr. Hellman made a beautiful choice to capture the reality of the people and environment around him.

While RTN may put some viewers to sleep with its slow pace and lack of story, there are some filmmakers out there, like Hellman, who understand that beauty defines cinema.

London and Lucidity

It's 5:40 in the morning and I'm having trouble getting back to sleep. These new plot devices I put in are on my mind. In December when we tried some new stuff, it worked, but who's to say this time? As usual, I am finding music to be an important part of the telling of the story. I cut one character and moved a couple of plot lines but something still feels off. No doubt that and the new title will come to me very soon but I do wish it wasn't pounding on my cranium, so I could get a few winks.

Let's be honest: the main reason I can't sleep is because of Keira Knightley's debut in "The Children's Hour" tomorrow. I am seeing the very first show in the very first row and I'm shaking. This is one of my all time favorite plays with one of London's leading beauties. Though it hasn't been mentioned much, Ellen Burstyn is also co-starring. An amazing actress. Love her.

I wasn't going to go museum hopping until Sunday but I might just do that today. There isn't enough time in the day to do everything, especially when you're in London.

I still say London makes me feel more like an artist than New York. I feel safe here, like I do in rehearsal sometimes. I've rarely been in a foul mood since I've arrived (with the exception of the baby seated next to me onboard) and it's great to just relax and really experience relaxation, not eight hours of sleep then rushing to the subway.

"I think London is sexy because it's so full of eccentrics." ~Rachel Weisz

The Beginning Of "Lucidity"

And so the journey for a new play begins. This play is very exciting for me. It again deals with dreams and the absurdity in our everyday living. It's the last play in the "Katarina" trilogy, and has a fantastic female protagonist named Keira Kamp. I was lucky enough to have success with December's production of "The Girl With The Red Hair" to have Theater For The New City produce this current for me. I have a fantastic designer, Micaela Carolan on board, who is bringing amazing ideas to the table.

I am off to London for a week to finalize the script because, to me, London instills inspiration in me equal to New York.

Most of all, I'm excited to work with this cast. For starters, I have the super talented Ashley Spivak leading us as Keira. Not only does she have a wonderful heart to match her talent, but she has shown such passion for this project that it shines through whenever she speaks to me about it. I met Ashley in a Viewpoints class at Primary Stages and am thrilled we can collaborate on this particular project. She's fun, energetic and extremely artistic. What more could you ask for?

I have my residents coming back on board. The vivacious Danielle Carroll, the riveting Lisa Rosado, the phenomenal Lisa DiFiore and the entertaining Patricia Nicastro.

Michelle Silvani, who will play the much coveted role of Bailey, is another true magician. Just wait until she opens her mouth to sing, you'll be floored. I produced a work she was in a couple of years back and am excited to work directly with her.

Finally, there's the superman powers of John Wiggins. John and I have worked together many times and it's always fun and brilliant. This will be no exception.

The key to a successful production is to surround yourself with warm-hearted people who are passionate about the work, the specific work. Everyone of them embody this and it's just such a privilege to have the opportunity to work with them.

Getting excited. Flight leaving soon.

Gruseome Playground Injuries

A director who produces quality work. A Pulitzer Prize nominated (and snubbed) playwright. A chameleon of an actress. 2nd Stage Theater. Combining them together we get "Gruesome Playground Injuries." Rajiv Joseph's new wonderfully painful play about the dynamics of two people over the course of 30 years. The play is headlined by Jennifer Carpenter of TVs "Dexter" and Pablo Schreiber.


Going into this play is as much of a surprise as sitting through it as a thorough search of google only gives you fragments of the plot. An accident prone Doug (Mr. Schreiber) meets a cutting edge girl Kayleen (Ms. Carpenter) one day in the nurse's office at age eight. From this point on, the play goes back and forth in its narrative to Doug's accidents and his wounds. He insists she heals him when he touches her wounds, and she adamantly states there would be no wounds to heal if he wasn't "retarded." As the play progresses from comedic tone to dramatic, we are let in, though briefly, on the lives of these two through their injuries and how they effect the other. Mr. Joseph writes with passion about the human condition and the ways our emotions intersect. For once, Mr. Joseph stands alone. In that, I mean, he is incomparable to other playwrights out there. His stage directions are specific, his characters are real and there is clearly no message being pushed. He simply writes what it's like to live with scars.

Under Scott Ellis' fine-tuned directing, the play holds its own as a virtually unknown piece of work. Mr. Joseph's new play "Bengal Tiger at the Baghdad Zoo" opens in March starring Robin Williams and will sure to have a lasting run. (Bengal is what Mr. Joseph was nominated for the Pulitzer for.)

Mr. Schreiber has fantastic moments on stage, especially through his outbursts. It's a fine line in theater to show the soft versus the hard and he maintained a perfect balance. His chemistry with Ms. Carpenter steals the show and the two have wonderful trust in each other, even through all transitions that are done on stage in mid-light to establish time passing. Doug becomes a character we pity for his stupidity but love for the very same reason.

Ms. Carpenter, known as the hard Debra Morgan on "Dexter", turns in a magnificent portrayal of Kayleen here. From the first scene, where she is playing an eight year old version (I dare you to try and look away from her incredibly range at this opening scene) to a scene of lost innocence and buried truth later on, Ms. Carpenter shows us everything. A natural on the stage, a vision to admire and completely having exorcised Debra Morgan from any part of Kayleen proves Ms. Carpenter is on the rise, even more than she has been. It's in Ms. Carpenter's performance, we get to understand the difference between television/film and theater. For here, we hold our breath and know when it's released, it will be released in the same atmosphere as hers. We get to see the little nuances in which we might not be privy to during cutaways on television. For Kayleen, and for Ms. Carpenter, that is essential.

Black Swan

After viewing the much anticipated release of Darren Aronofsky's new film "Black Swan," one query dangles in the air. It has not to do with story, structure, theme, plot or even recalling what was just witnessed for the past 108 minutes. The question simply is: how does Natalie Portman make any film she appears in transcend its source material?

In this case, the film provides depth and emotion for Ms. Portman to work from. Living, acting is not even appropriate as is this was more a performance, as Nina Sayers, a ballerina who is plagued with self doubt and whose idea of completion is knowing she's perfect, Ms. Portman transforms herself physically.

Granted, this is an Oscar role. It's meaty, dark, sensual and audiences will only be appreciative of Ms. Portman for giving us the truth. Truth in acting, truth in art and truth in life.

The story follows Nina as she vies for the lead in her ballet company's new production of Swan Lake. In a newly renovated production, she will portray the White Swan and the Black Swan, and perform a metamorphosis, while at the end of the ballet, killing herself. Her rival, Lily, played by Mila Kunis turns in a rock solid performance as the loose cannon, who represents everything Nina is not and is a threat to her personally and artistically. At this point, it's worth noting how intricate Ms. Portman's character work appears to be in this film. If it's possible to reach a state beyond breathlessness without losing conciousness, she lets us achieve this through her specific characterization all the way down to the simple sound of her breath.

Nina is a focused young woman. She knows nothing of the fun that Lily indulges in, which at the forefront of this film, is sex. Sexuality as a theme in "Black Swan" is given just as much weight as its central theme of perfection. To strive for perfection, one must be a whole being. This theme and its depiction is reminiscent of Ingmar Bergman films such as "The Seventh Seal" and "Persona." Here, the homoeroticism that exists between the two female characters is played out graphically. One can't help but want to protect Nina from this turn to the dark side: The Black Swan. Through discovering pleasure, as demanded research from her director Thomas, played by a wonderful Vincent Cassel, both masturbation and oral sex provide Nina with a push towards something that is almost out of her reach. Constantly being told to "loosen up", one night, she finally does, much to her mother's dismay.

Her mother, played to Mommie Dearest perfection by Barbara Hershey, has a fascination with her daughter's success because of what she gave up herself when she was 28. However, Nina, who still calls her mommy, never feels the need to address pent up with issues with her mother to the point of full confrontation until Nina starts to break. Winona Ryder also makes a brief but permenant appearance as Beth, the original Swan who first performed the lead when the ballet company was first opened. Still, the movie oozes with sexuality. Images and references bring this theme home but nothing more so than the realization that without our sexuality, we are not a whole. Through sensuality, and the feeling of ourselves, only then can we begin to grow.

We are human. We are good and we are evil. Can we be good without having evil inside us? Is the evil inside us something waiting to be released that will self destruct us? "Black Swan" not only demands answers to these questions, but forces us to face their consequences. For in each of us, there is a black swan, someone wanting to be heard, to go against society's rules and expectations. Most of us remain white swans without ever giving over to our black swan. The examination of this aspect resides in control. To be slightly self destructive, to let loose per say, there needs to be a controlling factor.

Aronfsky's images provide proof of his genius. His collaboration with Ms. Portman brings us a story that, though dark, needs to be told. Beautiful dance sequences, dopplegangers, mirrors, self mutilation, graphic images of fantasy and reality, a REAL story shot almost as a horror movie: the film truly has it all. Shot in digital and 16mm, the shaky effect works wonderfully for this mentally unstable world we are allowed into. Truly like the masters of cinema such as Bergman, Kurosawa, Cassavetes and more, Mr. Aronfsky only leaves hints for us to discover Nina's true psychosis.

In the performance of her career, Ms. Portman not only leads this film to its grace, but dares us to look away from her for a moment. For if we do, there's a fear that lurks inside of us, just like Nina, that we will miss something monumental. A smile, a glance or even a breath not seen from our generation's Meryl Streep would be a sin.

Black Swan, finally, gives us something we've been waiting a really long time for in cinema: a picture that transforms us, livens us, teaches us and proves to us that great filmmaking is still possible.

Next To Normal Gets New Leads

Next To Normal has always been known as the show about the "crazy mom." Having lost out on 2009's Tony Award for Best Musical to Billy Elliot, N2N became that much more empowered by its audience. Up until July of 2010, Diana Goodman was played by stage veteran Alice Ripley, in a Tony winning performance. Ripley is currently playing Diana on a nationwide tour and announced her departure in May. The role of Dan Goodman, her husband, was played alternately by J. Robert Spencer and Brian D'Arcy James, both whom brought spectacular clarity and vulnerability to the role. Diana and Dan's daughter Natalie was played from its origin by Jennifer Damiano. Ms. Damiano leaves N2N to star in Spiderman: The Musical, opening this winter.

Next To Normal is a story by Tom Kitt and Brian Yorkey centered around Diana, a bi-polar depressive with delusional episodes, and the toll her illness has taken on her and her family. A stunning soundtrack with a perfectly built set for this particular piece allows us inside the mind of Diana. Except, this musical goes one step further. It lets us inside the mind of Dan, Natalie, Henry (Natalie's love interest), and even the various doctors that treat her. A story of struggle, devotion, treatment and above all family garnered Next To Normal the 2010 Pulitzer Prize in Drama.

Diana and Dan Goodman are now played by real-life husband and wife Marin Mazzie and Jason Danieley. The role of Natalie is played by Meghann Fahy. The first thought upon hearing the change in casting is who could possibly replace Alice Ripley? The answer is no one. Ms. Mazzie does a wonderful job portraying Diana and having her mania brought center stage, as opposed to Ripley's internal struggle. For a few moments, it's tough to settle into the new Diana. Granted, Ms. Ripley originated Diana from paper and has been with the show through every workshop and production, so there is an ease in favoring her in a comparison. At moments, I felt Ms. Mazzie was singing the words instead of striving to give them meaning and at other times, I felt her choices were remarkably and wonderfully thought out, as they contrasted the old Diana. Of course, the new cast needs to settle their kinks. As Ben Brantley from the Times said, the show is still there. Ms. Mazzie is beautiful to watch, haunting at times even but one still feels she, as Diana is, still searching for something she hasn't found yet.

Mr. Danieley plays Dan with a great rugged nature. Unlike Mr. Spencer or Mr. D'Arcy James, this Dan feels a bit more masculine in the way he shows us his emotions. Not entirely negative is this display, yet Dan's softer songs such as "I've Been" and "I'm The One (reprise), don't satisfy the breakdown of this mask Mr. Danieley has put up. Dan is a favorite among many who see the play because of his generosity and devotion. Those attributes are still there, only with a harder edge.

The dynamic between the couple, bringing real life to stage or vice versa, seems to fit the balance quite well. You will never see a more moving version of Diana's "So Anyway", as when you share the intensity from each of their eyes. The final pause when the song is over renders you heartbroken, as it should. The sobs in the theatre, throughout the whole production, affirmed N2N still retains its power.

Ms. Fahy, a strikingly beautiful and talented young actress, gives Natalie a bit of space. Not too much different from Ms. Damiano's performance, Ms. Fahy encaptures the rage, angst and worry of a teenager embarrassed of her mother's illness. A little bit lacking in comedic is Ms. Fahy's performance, but instead we find the pleasure of an added element of a young girl on the verge. Will she turn out like her mother? In the end, does she think that's a horrible thing after all? Most impressively enacted is her performance that opens the second act in the song "Wish I Were Here." It's at this moment as Ms. Fahey is swinging on poles and feeling what loss of control is that the actress truly shines.

N2N, being the story and musical it is, can stand on any one's feet. A brilliantly told story of mental illness in today's age seen from differing points of views will make you leave the theatre sobbing, enthralled and maybe even a bit more compassionate when using the word "crazy."

Next To Normal continues to play performances at The Booth Theatre in NYC on 45th Street. Tickets can be purchased at telecharge.com

"Chloe"

Atom Egoyan's return to the big screen since 2008's "Adoration," brings us a sexual thriller, though that's being generous, of what we've seen repeatedly in this genre. In "Chloe," his direction lends little thought to this type of obsession-marriage-sex-sex-marriage-obsession picture. One thing the audience does got a whole lot of is skin. Amanda Seyfried (Chloe), most recently of the gag-fest "Jennifer's Body", is the hot topic of this conversation. Julianne Moore, Catherine, has appeared nude before and for the most part her nudity was somewhat integral to the story. The frequented number of times that Ms. Seyfried is shown in either full frontal or from the side feels beyond voyeuristic and almost pornographic.

The film centers around Chloe (Ms. Seyfried), a "lady of the evening" who has a particular outlook on life that arouses our curiosity of her justification. Beginning with a voice-over(which never again happens in the film, only for a brief 45 seconds here), we watch Chloe getting dressed. Mr. Egoyan may have been issuing us a warning to "run now or sit for the ride" when the very first shot of the movie is a medium over the shoulder shot revealing Chloe topless. Catherine (Ms. Moore), a gynecologist who works next to a hotel that Chloe is "working" at, has planned a surprise party for her husband David (Mr. Neeson). The plot was not entirely clear as to why David had to continuously fly back and forth to his job. However, the night of his birthday his students ask him out for a drink, knowing he needs to be on a plane and unaware there is a surprise party waiting for him, he intentionally misses his flight to spend it with his student, lying to Catherine about missing the plane by a mere minute. Catherine notices a picture on David's phone of him and a student the night before. Giving him the chance to confess, she already feels as if her world has been taken away. He does not confess, and thus are introduced to Chloe. Ms. Moore's portrayal of Catherine seemed to have the most depth behind it without dipping into the melodrama which is at the center of this film. She hires Chloe to seduce David, seeing if he takes the bait. When Chloe reports back, with explicit sexual detail, Catherine's life begins to fall apart. Her son Max has no respect for her and sleeps with his girlfriend in the house, continuously shutting Catherine out of his life. Soon the curiosity turns to obsession and this is exactly the part of the film that, I believe, led to its negative reviews. Up until this point, the plot was intriguing, the actors interesting, even the score was haunting. When Chloe becomes obsessed with Catherine, the audience is aware of her vulnerability and that she is capable of more than just boiling a rabbit. Slow motion shots, a graphic sex scene between Ms. Moore and Ms. Seyfried and dialogue that becomes painful to listen to are only a fraction of why the second half of this movie made you wish it was, infact, on Cinemax.

Praise goes the actors, as it usually does, to pull off something not quite as mainstream as "Chloe." Ms. Moore is known for her vibrant, sexy roles, in which she takes pride in and we take pride in watching. Here, she is on the reverse. She becomes someone discovering a part of desire that is brought out for reasons that remain unclear. Through the film, she remains harried and distressed. For a brief moment, we can understand what makes her jealousy become confused with attraction and impishness.

Ms. Seyfried has held movies together in the past with grace. Here, she repeats this until the "climax" of the film. Having played Chloe with a brilliant isolation, childlike nature and a soft-spokenness that lets us see inside her. It lets us imagine her thoughts instead of her being portrayed as someone falling for a "client." She seems in love at times, doing her job and reporting home. The problem? She's so innocent, it feels as a daughter spying and reporting back to her mother, who she then falls into an obsession with.

Ms. Seyfried's nudity which has been the debate since a scene of the two women kissing was leaked on the internet will draw people in. The story, as its being represented in reviews, will also draw people in. Mr. Neeson gives a wonderful performance here. Watch for a scene in a cafe that becomes chilling for all three actors when a twist is revealed. And once again, therein lies the sole problem with Chloe. These wonderful actors gain our attention and interest but to a story being told that is entirely predictable, line to line, point to point. Though a remake, the source of the entertainment here comes out to shock value. We are shocked to see Ms. Seyfried in such a sexually explicit role that it lends a recollection back to Dakota Fanning's horrifying scene in "Hounddog". The film maintains humor at times which is a welcome release. "Chloe", in the end, is THAT movie. It's the movie you cannot separate the audience's laughter from being genuine or ridiculing.

Beautiful cinematography, which Egoyan is known for and a haunting score will keep you in your seats until the end. And those interested in seeing "the chick from Big Love" bare it all will surely be in attendance. Going into "Chloe", someone told me to go in expecting trash and to come out with your own opinion. "Chloe" is not trash. "Chloe" is not a breakthrough or even engaging enough to call "good." It is, however, one film that willingly and forcefully reaffirms that sex on screen in Hollywood is continuing to be used as a promotional device instead of a creative one.