Sorry, Nina Arianda–you may have been the toast of Broadway for your role in David Ives’s Venus in Fur, and even won a Tony, but there’s no room for you onscreen!
Roman Polanski’s Carnage, a brisk, 79-minute adaptation of the wildly successful play God of Carnage by Yasmina Reza, is a case of the right film by the wrong director. This one-set, four-character theater piece that kept audiences in stitches for long runs in London, Paris and on Broadway, is a giddy war of words and modern manners between a quartet of highly sophisticated, unspeakably duplicitous New Yorkers who thrust and parry on the front lines of the domestic battlefield to see who can draw more blood with the sharpest teeth and most insincere smile. It’s a slight but highly entertaining little morsel that leaves you laughing and thinking about how rotten apples never fall far from the tree, and it needs a director who knows how to move four people nimbly through a single living room in Brooklyn without claustrophobia. Mr. Polanski is a gimlet-eyed master craftsman, but comedy is not his forte.
fall arts preview
The first New York Film Festival, in 1963, featured Roman Polanski’s Knife in the Water, the then-30-year-old director’s Polish-language feature debut. “Film Fete Places Accent on Youth”, The New York Times headline read. Mr. Polanski was joined by established directors like Alain Resnais, with Muriel, and lesser-known names like Glauber Rocha, with Barravento, his feature debut at the fest.
That inaugural festival ran from Sept. 10 to Sept. 19, and the Sept. 20 cover of Time featured two of the actors from Knife in the Water, with the headline “Cinema as an International Art.” Two American directors were featured at that inaugural festival: Alex Segal, who had previously worked almost entirely in television, and Adolfas Mekas, with his debut feature, Hallelujah the Hills. The festival’s official program depicted a film canister covered in shipping labels and addressed to Lincoln Center – its international origin obscure.
It’s being reported by Reuters today that Goldman Sachs CEO, avowed Lady Gaga fan, and G-Unit extended family member Lloyd Blankfein has recently hired and retained high-profile defensive legal eagle Reid Weingarten to play on his secondary, should the government come after him. And yes, he’s had some famous clients.
Woody “The Heart Wants What It Wants” Allen thinks we should give Roman Polanski a break, according to an interview with France Info radio he gave while in Cannes. Reports the AP:
Allen said Polanski “was embarrassed by the whole thing,” “has suffered” and “has paid his dues.” He said Polanski Read More
The fairytale romance of Hiram Monserrate and Karla Giraldo ends. [NYP]
Syracuse students didn’t really get naked to protest Jamie Dimon. [NYP]
Uncharted frontiers of fatty meat: sheep-pig bacon. [NYDN]
Analyzing NBC’s leaked fall lineup. [BI]
Gramercy Park showdown! [WSJ]
David Carr meta-protests online headlines. Read More
“I can remain silent no longer!” writes Roman Polanski in La Regle du Jeu: he’s kept quiet since his arrest last September in Zurich, but no more. For one thing, February testimony from a deputy D.A. constitutes “a new development of immense significance”; for another, even his victim keeps asking for proceedings to Read More
Good news, cinephiles: a couple of Mount Rushmore-ready directors open films today. Even better news: only one of them brings a scandalous criminal record to theaters as well! (Hint: his name rhymes with Poman Rolanski.) As we do every Friday, here’s a handy guide to the new releases.
What’s the story: If it Read More
Called “the Swiss watchmaker of suspense novels” by Stephen King, Ira Levin set the bar for thrillers as the master of macabre. “He makes what the rest of us do look like cheap watchmakers in drugstores,” Mr. King continued in his 2003 introduction to Rosemary’s Baby, Levin’s best-known novel, thanks largely to Roman Read More