Hi everyone!
I just finished reading an extraordinary book. Katherine Boo, a Pulitzer Prize-winning writer for the New Yorker, has written a beautifully rendered portrait of life in the Annawadi slum of Mumbai. Annawadi is a notorious slum that borders on the Mumbai international airport. Its 3,000 denizens live in a shanty community that is bordered on all sides by the luxuries and wealth of New India.. This is not your average non-fiction narrative detailing the horrendous poverty inherent to one of the world's most developing countries. Instead, Ms. Boo approaches her subject through the keenly focused lens of a storyteller. By focusing on the lives of two families and various other individuals that exist on their periphery, "Behind the Beautiful Forevers" provides an insightful and richly detailed account that never slips into sentimentality while maintaining a level of compassion and a narrative drive as finely wrought as the best in crime procedural fiction.
Muslim teenager Abdul is a garbage picker and his family's primary wage earner. His family is able to survive based on the money he brings in by sorting garbage and selling it to local recyclers. His mother, Zehrunisa, holds the family together with her wit, sharp tongue, and strong familial loyalty. Abdul's sister is recently divorced and has left her husband's family to live once again with her own people. Abdul's father is in poor health but dreams of finally moving out of the slum to a small plot of land on Mumbai's outskirts where he hopes he can one day raise his family (consisting of eleven children) in peace.
Unfortunately, a verbal altercation with a neighboring woman results in a self-immolation and a trial that threatens to destroy everything Abdul and his family have long fought for.
Add to this mix is Asha, a determined daughter of the slums, who uses corruption and sexual favors from powerful men to gain a foothold in the cadre of Annawadi's power-wielding elite; youngsters Sunil, Sonu, and Kalu, friends of Abdul's, who do what they can to stay ahead by relying on street smarts; Asha's daughter Manju, who runs an English class out of her home while hoping to pursue a university degree; and Meena, Manju's friend, who resorts to tragic action when she realizes she will never escape the slum.
"Behind the Beautiful Forevers" is a page-turner that is all the more compelling for being true. What prevails is an unadulterated portrait of the human spirit and an innate will to survive despite overwhelming odds. It also brings to life the struggles and challenges of a nation trying to overcome an historically caste-bound society where the division between the very rich and the very poor is epic and seemingly insurmountable. This is one the very best books ever written about India and one that should be required reading for anyone interested in learning about one of the world's fastest growing economies and the lengths people will go to in order to provide themselves and their families a better tomorrow.
Thursday, May 31, 2012
Monday, May 7, 2012
Film Review: Robert Pattinson's star turn in "Bel Ami"
Hi everyone!
This new Robert Pattinson (Twilight, Water for Elephants) vehicle is based on Guy de Maupassant's classic novel "Bel Ami." It tells the often sordid story of young Georges Duroy (Pattinson), a French soldier recently returned to Paris from fighting in Algeria circa 1890. Penniless and living in a rundown cockroach-infested garret with no clear aim in life, Georges reunites with a former army superior, Charles Forestier (Philip Glenister), who takes pity on him and introduces him to his family and Parisian upper-class society, most notably perhaps Forestier's wife, Madeleine (the lovely Uma Thurman). Under Madeleine's tutelage, Georges begins writing a series of articles for a Parisian paper owned by a newspaper tycoon named Rousset (played with blustering efficacy by Colm Meaney). Rousset's faithful and somewhat saintly wife Virginie (an excellent Kristin Scott Thomas) becomes hopelessly smitten by the young Georges, for which she will be rather ruthlessly shamed and punished. Add to this mix is Clothilde (a fetching Christina Ricci), a young married woman who also falls under Georges's charm.
The story itself is not all that surprising though it does contain several twists and turns and an ending that is altogether fitting but feels rushed and rather tacked on. I think this has less to do with the quality of its original source material than the film-maker's need to compress a lengthy novel into under two hours. The further Georges is enmeshed in society, the greedier and more heartless he becomes, using each of these women and casting them aside when they are no longer of use to him. I have not read Maupassant's novel so I cannot attest to the overall faithfulness of this adaptation but I daresay what gets lost in the translation is any attempt at psychological development of these characters, particularly Georges who merely becomes more and more unlikeable as the story progresses.
Still, there is much to recommend, not the least of which is Mr. Pattinson's performance. He should have a long career once Twilight finally wraps up with the release of "Breaking Dawn: Part Two," in November, a franchise that should be credited for making a star out of Mr. Pattinson without really requiring him to put his acting chops to the test. With last year's "Water for Elephants" and now "Bel Ami," Mr. Pattinson proves that he is a quite gifted actor and much more than just another pretty face, though in "Bel Ami" he looks just this side of tubercular. As the women Georges loves and then casts aside, Uma Thurman, Christina Ricci, and (in particular) Kristin Scott Thomas are wonderful. There is a moment toward the end where Ms. Scott Thomas renders her pain and desperation with little more than the subtle expression on her face. We realize at this moment that Virginie is a woman who has experienced no true passion or happiness in her marriage and as a result of her indiscretion, she is rendered utterly lost, her spirit destroyed. It is painful, if not a little uncomfortable, to watch.
Also to be commended is the film's attention to period detail. "Bel Ami" manages to look both sordid and splendid, portraying as it does the parallel universes in which Georges exists, never truly at ease in either. Viewers unfamiliar with the history of France's occupation of Algeria and Morocco may want to bone up on their knowledge of French colonial history. Given the film's rather breathless pace, there is a bit of an assumption here that the facts of France's invasion of Morocco are already known to the audience which does the narrative a disservice.
All in all, "Bel Ami" is a good though not great film. Pattinson's considerable 'tween' fan base are not going to like this movie and, in fact, will probably be bored by it. (Not to mention the fact that the film carries an R rating for some fleeting though graphic sexual content and nudity.) But those adult viewers who enjoy period films and a sweeping narrative with strong performances by a formidable trio of renowned actresses, "Bel Ami" provides a nice two-hour diversion.
"Bel Ami" is currently available for purchase On Demand before its U.S. theatrical release in June.
This new Robert Pattinson (Twilight, Water for Elephants) vehicle is based on Guy de Maupassant's classic novel "Bel Ami." It tells the often sordid story of young Georges Duroy (Pattinson), a French soldier recently returned to Paris from fighting in Algeria circa 1890. Penniless and living in a rundown cockroach-infested garret with no clear aim in life, Georges reunites with a former army superior, Charles Forestier (Philip Glenister), who takes pity on him and introduces him to his family and Parisian upper-class society, most notably perhaps Forestier's wife, Madeleine (the lovely Uma Thurman). Under Madeleine's tutelage, Georges begins writing a series of articles for a Parisian paper owned by a newspaper tycoon named Rousset (played with blustering efficacy by Colm Meaney). Rousset's faithful and somewhat saintly wife Virginie (an excellent Kristin Scott Thomas) becomes hopelessly smitten by the young Georges, for which she will be rather ruthlessly shamed and punished. Add to this mix is Clothilde (a fetching Christina Ricci), a young married woman who also falls under Georges's charm.
The story itself is not all that surprising though it does contain several twists and turns and an ending that is altogether fitting but feels rushed and rather tacked on. I think this has less to do with the quality of its original source material than the film-maker's need to compress a lengthy novel into under two hours. The further Georges is enmeshed in society, the greedier and more heartless he becomes, using each of these women and casting them aside when they are no longer of use to him. I have not read Maupassant's novel so I cannot attest to the overall faithfulness of this adaptation but I daresay what gets lost in the translation is any attempt at psychological development of these characters, particularly Georges who merely becomes more and more unlikeable as the story progresses.
Still, there is much to recommend, not the least of which is Mr. Pattinson's performance. He should have a long career once Twilight finally wraps up with the release of "Breaking Dawn: Part Two," in November, a franchise that should be credited for making a star out of Mr. Pattinson without really requiring him to put his acting chops to the test. With last year's "Water for Elephants" and now "Bel Ami," Mr. Pattinson proves that he is a quite gifted actor and much more than just another pretty face, though in "Bel Ami" he looks just this side of tubercular. As the women Georges loves and then casts aside, Uma Thurman, Christina Ricci, and (in particular) Kristin Scott Thomas are wonderful. There is a moment toward the end where Ms. Scott Thomas renders her pain and desperation with little more than the subtle expression on her face. We realize at this moment that Virginie is a woman who has experienced no true passion or happiness in her marriage and as a result of her indiscretion, she is rendered utterly lost, her spirit destroyed. It is painful, if not a little uncomfortable, to watch.
Also to be commended is the film's attention to period detail. "Bel Ami" manages to look both sordid and splendid, portraying as it does the parallel universes in which Georges exists, never truly at ease in either. Viewers unfamiliar with the history of France's occupation of Algeria and Morocco may want to bone up on their knowledge of French colonial history. Given the film's rather breathless pace, there is a bit of an assumption here that the facts of France's invasion of Morocco are already known to the audience which does the narrative a disservice.
All in all, "Bel Ami" is a good though not great film. Pattinson's considerable 'tween' fan base are not going to like this movie and, in fact, will probably be bored by it. (Not to mention the fact that the film carries an R rating for some fleeting though graphic sexual content and nudity.) But those adult viewers who enjoy period films and a sweeping narrative with strong performances by a formidable trio of renowned actresses, "Bel Ami" provides a nice two-hour diversion.
"Bel Ami" is currently available for purchase On Demand before its U.S. theatrical release in June.
Wednesday, May 2, 2012
TV Review: "Smash"
Hi everyone!
With two episodes left to go and a soundtrack album released this week, the first season of NBC's much-hyped backstage Broadway musical drama "Smash" is coming to a close. For those of you who haven't been watching, "Smash" tells the story of the intersecting lives and loves of a colorful cast of characters, all of whom are involved in the development and production of a new Broadway musical biography about the life of Marilyn Monroe, recently titled "Bombshell." While far from perfect, I argue that it is one of the freshest and most entertaining shows currently airing on network television and I was happy to hear that NBC has indeed picked it up for a second season.
The cast is filled with Broadway, television, and Hollywood veterans. Ivy and Karen (played by Megan Hilty and American Idol winner Katherine McPhee) are a pair of dueling divas both intent on winning the prized role of Marilyn. Ivy is a Broadway chorus girl looking to step out from the chorus into the spotlight. Karen is a Midwestern transplant hoping to make her Broadway dreams come true. "Bombshell" is directed by temperamental British director Derek, played by British actor Jack Davenport, who has a predilection for bedding his show's stars. Debra Messing, best-known as Grace in the long-running sitcom "Will and Grace" and Christian Borle, current star of the multi-Tony nominated play "Peter and the Starcatcher" play Julie and Tom, longtime writing partners and the authors of "Bombshell's" script, music, and lyrics. Anjelica Huston appears as Eileen, the show's much put-upon producer, and British television (MI-5) and West End veteran Raza Jaffrey co-stars as Karen's boyfriend Dev.
While the show has been criticized by theatre purists for being unrealistic in its depiction of what it takes to get a new Broadway musical produced--despite multiple setbacks, "Bombshell" has evolved from workshop to out-of-town tryouts in rapid time--"Smash" succeeds in portraying the love, sweat, and tears of anyone who has ever been involved in live theatre. With a catchy score written by Tony award-winning Broadway composers Marc Shaiman and Scott Wittman ("Hairspray," "Catch Me if You Can") and directed and choreographed by Michael Mayer ("Spring Awakening") and other Broadway alum, one can only hope that "Bombshell: The Musical" will one day actually make it onto a real Broadway stage.
Among this impressive crew, the true standout for me is Debra Messing. While best known for her comedic roles, Ms. Messing brings depth and a poignancy to her role as Julia, particularly in the plot line revolving around the seeming disintegration of her marriage in the aftermath of her affair with "Bombshell's" Joe DiMaggio as she and her husband (another Broadway veteran Brian d'Arcy James) attempt to adopt a child. Ms. Messing's best moments are the quiet ones where she deals with her emotional turmoil in trying to keep her family together while admitting her mistakes. This is a far cry from anything I've seen Ms. Messing do in her long career and it should earn her a much-deserved Emmy nomination.
Another recent standout has been Uma Thurman who arrived relatively late to the party as Hollywood starlet turned Broadway bombshell Rebecca Duvall. I've always found Ms. Thurman an interesting talent though I've never particularly cared for any of her films. In her role as Rebecca, the 'star' cast as Marilyn after "Bombshell's" disastrous workshop, Ms. Thurman brings a subtle combination of comedy and insecurity to her role that is always entertaining and, especially lately, not wholly unsympathetic.
I've read that changes are in the works for season two with apparently less focus on the backstage Broadway storyline and more on the soap opera. This is a shame because, for me anyway, what makes "Smash" so different to anything on television is its focus on a world/industry rarely seen in television or film. With the much-reported departure of lead producer and writer Theresa Rebeck (currently represented on Broadway with her critically-acclaimed play "Seminar"), I can only hope the overall quality, look, and theme of the show is replicated in season two. We'll have to see.
One aspect that I would like to see removed (or at least tweaked) is the inclusion of contemporary pop songs in the show's score. The Broadway stuff works really well within the context of the production of "Bombshell." What works less well are the songs Ivy and Karen break into in moments of character reflection. While Ms. McPhee's version of "Touch Me" (the opening track on the soundtrack album) is pretty darn hot, the treacly emotive ballads that tend to dominant fare less well and stick out for being of lesser quality than the rest of the production. Despite what many have said, "Smash" is not an adult version of "Glee." It's a tighter, slicker, and more mature endeavor than Fox's once-hot high school musical. Keep the music as part of "Bombshell" but outside of the stage and rehearsal studio, we don't need to hear covers of B-level pop music regardless of the considerable appeal of Ms. McPhee's and Ms. Hilty's voices. That's just my opinion.
As I said, "Smash" season one is ending in two weeks with "Bombshell" about to open its out-of-town tryout in Boston. Does the show hit Broadway? Who ends up playing the coveted role of Marilyn? It's anyone's guess and that's what keeps us watching.
Ciao.
With two episodes left to go and a soundtrack album released this week, the first season of NBC's much-hyped backstage Broadway musical drama "Smash" is coming to a close. For those of you who haven't been watching, "Smash" tells the story of the intersecting lives and loves of a colorful cast of characters, all of whom are involved in the development and production of a new Broadway musical biography about the life of Marilyn Monroe, recently titled "Bombshell." While far from perfect, I argue that it is one of the freshest and most entertaining shows currently airing on network television and I was happy to hear that NBC has indeed picked it up for a second season.
The cast is filled with Broadway, television, and Hollywood veterans. Ivy and Karen (played by Megan Hilty and American Idol winner Katherine McPhee) are a pair of dueling divas both intent on winning the prized role of Marilyn. Ivy is a Broadway chorus girl looking to step out from the chorus into the spotlight. Karen is a Midwestern transplant hoping to make her Broadway dreams come true. "Bombshell" is directed by temperamental British director Derek, played by British actor Jack Davenport, who has a predilection for bedding his show's stars. Debra Messing, best-known as Grace in the long-running sitcom "Will and Grace" and Christian Borle, current star of the multi-Tony nominated play "Peter and the Starcatcher" play Julie and Tom, longtime writing partners and the authors of "Bombshell's" script, music, and lyrics. Anjelica Huston appears as Eileen, the show's much put-upon producer, and British television (MI-5) and West End veteran Raza Jaffrey co-stars as Karen's boyfriend Dev.
While the show has been criticized by theatre purists for being unrealistic in its depiction of what it takes to get a new Broadway musical produced--despite multiple setbacks, "Bombshell" has evolved from workshop to out-of-town tryouts in rapid time--"Smash" succeeds in portraying the love, sweat, and tears of anyone who has ever been involved in live theatre. With a catchy score written by Tony award-winning Broadway composers Marc Shaiman and Scott Wittman ("Hairspray," "Catch Me if You Can") and directed and choreographed by Michael Mayer ("Spring Awakening") and other Broadway alum, one can only hope that "Bombshell: The Musical" will one day actually make it onto a real Broadway stage.
Among this impressive crew, the true standout for me is Debra Messing. While best known for her comedic roles, Ms. Messing brings depth and a poignancy to her role as Julia, particularly in the plot line revolving around the seeming disintegration of her marriage in the aftermath of her affair with "Bombshell's" Joe DiMaggio as she and her husband (another Broadway veteran Brian d'Arcy James) attempt to adopt a child. Ms. Messing's best moments are the quiet ones where she deals with her emotional turmoil in trying to keep her family together while admitting her mistakes. This is a far cry from anything I've seen Ms. Messing do in her long career and it should earn her a much-deserved Emmy nomination.
Another recent standout has been Uma Thurman who arrived relatively late to the party as Hollywood starlet turned Broadway bombshell Rebecca Duvall. I've always found Ms. Thurman an interesting talent though I've never particularly cared for any of her films. In her role as Rebecca, the 'star' cast as Marilyn after "Bombshell's" disastrous workshop, Ms. Thurman brings a subtle combination of comedy and insecurity to her role that is always entertaining and, especially lately, not wholly unsympathetic.
I've read that changes are in the works for season two with apparently less focus on the backstage Broadway storyline and more on the soap opera. This is a shame because, for me anyway, what makes "Smash" so different to anything on television is its focus on a world/industry rarely seen in television or film. With the much-reported departure of lead producer and writer Theresa Rebeck (currently represented on Broadway with her critically-acclaimed play "Seminar"), I can only hope the overall quality, look, and theme of the show is replicated in season two. We'll have to see.
One aspect that I would like to see removed (or at least tweaked) is the inclusion of contemporary pop songs in the show's score. The Broadway stuff works really well within the context of the production of "Bombshell." What works less well are the songs Ivy and Karen break into in moments of character reflection. While Ms. McPhee's version of "Touch Me" (the opening track on the soundtrack album) is pretty darn hot, the treacly emotive ballads that tend to dominant fare less well and stick out for being of lesser quality than the rest of the production. Despite what many have said, "Smash" is not an adult version of "Glee." It's a tighter, slicker, and more mature endeavor than Fox's once-hot high school musical. Keep the music as part of "Bombshell" but outside of the stage and rehearsal studio, we don't need to hear covers of B-level pop music regardless of the considerable appeal of Ms. McPhee's and Ms. Hilty's voices. That's just my opinion.
As I said, "Smash" season one is ending in two weeks with "Bombshell" about to open its out-of-town tryout in Boston. Does the show hit Broadway? Who ends up playing the coveted role of Marilyn? It's anyone's guess and that's what keeps us watching.
Ciao.
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