Maestro Movie Reviews
Veteran soul stylist Jerry Butler, who hosts the show, is himself a legitimate bridge between the street corner symphonies of the '50s and the more sophisticated urban pop and soul that succeeded them. Butler shepherds a lineup including current editions of the Platters, the Del-Vikings, Jimmy Beaumont and the Skyliners, the Penguins, the Cadillacs, the Moonglows, the Flamingos, and other fondly remembered groups. A competent if not exactly inspired revue band accompanies all the acts, taped performing on a set decorated with oversized portraits of '50s icons like James Dean and Marilyn Monroe, with a few vintage hot rods parked alongside to hammer home the nostalgic thrust of the night.
More impassioned doo-wop fans and rock historians, however, will be a tougher sell. If the groups indeed carry the names associated with the hits, many feature reconstituted lineups with few of the members actually heard on the original singles, a practice that can be traced back to the '60s (as with the Platters). Alternatively, more authentic lineups, like The Marcels (heard performing their galloping version of "Blue Moon" for the first time in decades), reflect their advancing years in rough vocal edges or arrangements transposed to lower keys. Given the show's inspiration (Rhino's exemplary Doo Wop Box anthologies, which unearthed both big hits and forgotten gems and placed the music and performers in a rich historical context), it would have been intriguing to provide some documentary context. --Sam Sutherland
DOO WOP RECORDED HISTORY- A MUST HAVE ITEM
excellent performances.
Get it!
Veteran soul stylist Jerry Butler, who hosts the show, is himself a legitimate bridge between the street corner symphonies of the '50s and the more sophisticated urban pop and soul that succeeded them. Butler shepherds a lineup including current editions of the Platters, the Del-Vikings, Jimmy Beaumont and the Skyliners, the Penguins, the Cadillacs, the Moonglows, the Flamingos, and other fondly remembered groups. A competent if not exactly inspired revue band accompanies all the acts, taped performing on a set decorated with oversized portraits of '50s icons like James Dean and Marilyn Monroe, with a few vintage hot rods parked alongside to hammer home the nostalgic thrust of the night.
More impassioned doo-wop fans and rock historians, however, will be a tougher sell. If the groups indeed carry the names associated with the hits, many feature reconstituted lineups with few of the members actually heard on the original singles, a practice that can be traced back to the '60s (as with the Platters). Alternatively, more authentic lineups, like The Marcels (heard performing their galloping version of "Blue Moon" for the first time in decades), reflect their advancing years in rough vocal edges or arrangements transposed to lower keys. Given the show's inspiration (Rhino's exemplary Doo Wop Box anthologies, which unearthed both big hits and forgotten gems and placed the music and performers in a rich historical context), it would have been intriguing to provide some documentary context. --Sam Sutherland
DOO WOP RECORDED HISTORY- A MUST HAVE ITEM
excellent performances.
Get it!
This HBO film shows how Sandoval's life in revolutionary Cuba is affected--beginning in the early 1970s--by his zeal for his music and by the limits placed on him by his homeland. Representing his torn loyalties are Dizzy Gillespie (the enigmatic jazz musician played by Charles S. Dutton) and Sandoval's wife, Marianela (played by the beautiful Mia Maestro). Gillespie embodies the freedom to follow one's dream, while Marianela represents family loyalty and the ideals of the Castro revolution. Yet, the same regime his wife embraces forces Arturo to play government-imposed music instead of the jazz that he loves. Sandoval travels the world, and while the Cuban government profits from his success, he is exposed to a freedom that eventually draws him to the difficult and life-changing decision he and his family feel compelled to make.
Against a backdrop of beautiful scenery and exceptional music, For Love or Country provides a harsh depiction of revolutionary Cuba, its outmoded lifestyle, and the restrictions placed on its people. --Mindy Ruehmann
An amazing story, incredible music
Escape to FreedomArturo Sandoval is one of the most brilliant musicians of our time and is known as a protégé of the great Dizzy Gillespie. He was born in Artemisa on November 6, 1949. Artemisa is a small town on the outskirts of Havana, Cuba.
He realized he was a trumpet player when he was eleven. He began studying classical trumpet at the age of twelve. He is now known as one of the world's most acknowledged guardians of jazz trumpet and flugelhorn. As a Professor, Sandoval has lectured internationally.
Filled with a virtuoso capability, he had an intense desire to share his musical gift with those who share the same love for music. Arturo Sandoval appears on the tracks "Moonglow" and "That Old Feeling" in Rod Stewart's release "It Had to Be You: The Great American Songbook." His diverse style can be heard on albums like Gloria Estefan's "Into the Light." He also has made a contribution on albums by Johnny Mathis, Frank Sinatra and Paul Anka.
This movie emphasizes his virtuoso technical ability and his specialty in high notes. He also is shown playing the piano and is known for lyrically improvising a ballad. He also had the privilege of creating and performing the score for this movie. The story of his own life. He explains:
"When the idea for the movie came up, I was happy to be able to tell my story, but even happier to write the film score," he says. "Music for movies has been my life's passion, and this was my first and biggest step in that direction........."
In the movie, Arturo (Cuban-American actor Andy García) is thinking about defecting when he meets Marianela (Mia Maestro). She becomes more important to him than freedom. Their beliefs are on the opposite sides of the political spectrum and yet their love binds them to one another as they try to overlook their political differences.
Marianela represents family loyalty and the way people who live in Cuba really think. It shows how Marianela goes from being completely loyal to a dictator to having her eyes opened to the reality of the situation. She falls completely in love with this talented musician but fears he may leave her like her first husband. Arturo has also been married before and while he is willing to spend his entire life with Marianela, she has her doubts and issues with trust. She has been betrayed by the government she supported.
"What I feel about you. I've never felt it before ... I don't trust it." -Marianela
This movie is at times so romantic. Especially the scene where Marianela and Arturo are dancing and when she wakes him up after he spends the night sleeping on a grave. The scene overlooking the ocean is so pristine.
After performing with the Cuban Orchestra of Modern Music, he was allowed to start a group called Irakere that promoted a combination of Cuban music and jazz. In 1981 he then leaves Irakere to form his own band.
He believes he has a gift to give the world and is fighting a force that threatened to drown his true love, music.
After living with his wife in Cuba and starting a family, he decides it is time to leave. He believes that by defecting to the United States he is rejecting a system that kills confidence and personality. Rejecting a government that controls everything to the point that people lose their desire to achieve.
The government finally tries to control Sandoval's music and his dream for greater artistic expression. While on a European tour, he leaves for a secret meeting at the U.S. Embassy.
Sandoval was granted political asylum in July 1990. Since his defection, Sandoval has increased his classical performances world wide including performances with the National Symphony, L.A. Philharmonic, National Symphony of Washington D.C. and Pittsburgh Symphony.
"This was such a blessing for me. I thank God everyday for being here in this wonderful country and sharing my music. This experience has been very rewarding. I hope that our modest musical contribution here today shows we stand united and strong and that we are America the Beautiful." ~Arturo Sandoval speaking of his opportunity to share his music at the White House
Even Arturo says he would like to go back to visit his homeland, but under a different government.
"Flight to Freedom" was his first recording immediately following his defection.
An emotional movie about the desire to use your God-given talents without repression from those who don't see beauty in the soul. This movie really is about having a dream and finding your true purpose in life. This is a movie about beauty and sadness with a happy ending.
Life is truly a dream for those who are free and yet at times even if you are free, you can feel that you are in a prison of yourself. There are times when a person feels they have so much to give and they can't find an outlet for their gift to the world. In such a case a person can at times risk everything for the freedom of expression and the freedom to grow as a person, as a soul.
If you never follow your dreams, you might not be really free.
A movie about Romance and Freedom everyone should see! Especially romantics and those who love Jazz.
I love you Arturo
Fun colors, dull script
Great movie.I think "Frida" really captures the essence of the life and times of the artists in those days, and I really loved this movie.
I would recommend this film to anyone who likes movies about famous artists, and/or just creative people who liked to rebel against the norms of society. It is not for those who expect a really intellectual movie about Frida Kahlo. This is entertainment, after all.
Great Film, Excellent Actors!Thank you to all the artist that were in the movie for such an excellent film.
Great moments, no storyThis is the most extreme of the lot: some gorgeous and touching scenes (I especially like the girls-only scene, and the old musicians jamming), but on the whole the movie is ridiculous and immature. It looks like it should be ripped for MTV.
Learn to dance Argentine Tango from this movieIntermediate/Advance Dancers - you will get some good ideas.
Accomplished Amateurs - you will see nothing new.
As a movie, the story line is very simple and not particularly moving, but it was beautifully done.
Very sexy and interesting
Who Cares to Go Back To It ?There isn't any discussion on any composer, nor any musician alive or dead, nor any orchestra at all. He only barely touches on music. About Bartok he only told us that he had taken 6 weeks lesson from him and that Bartok, unlike himself, was very soft spoken. That is it!
Otherwise, on music, all we could see is how he marked on the score and some short clips of him rehearsing and conducting while in performance, plus the fact that he pays much attention to rhythm, one of the only two or three basic elements of music, something which so many musicians including singers ( i.e. Fischer-Dieskau, as per Menuhin ) who either don't know enough or else must have forgotten. We are also told how he tamed Chicago Symphony Orchestra. We can also see that music has really brought him great happiness. Yes, we were brought to some of the great music halls and also the Budapest Academy of Music, the one found by Liszt. So they use Kawai grand pianos... Otherwise, in this DVD there is not much inspiration, neither insight nor depth, almost the same level as "Oistrakh, Artist of the Peole" and categorically inferior to Menuhin's or even Kissin's "Gift of Music".
It is however not boring to watch it as the visual effects are quite good, albeit that Sir George was very old and despite that he spoke with a heavy accent. But I bet I wouldn't go back to it unless I really have nothing worthwhile to do.
Visual version of Solti's "Memoirs"The documentary is basically divided into five segments that flow into one another seamlessly: Solti's early life, up to and including his stint with the Munich Opera; his controversial engagement with the Royal Opera at Covent Garden; the historic studio recording sessions of Wagner's "Ring" cycle with Decca; Solti's encounters with composer Richard Strauss; and Sir Georg's later years with the Chicago Symphony. Of these sequences, I found the famous studio sessions to be the most interesting. As one would expect, interviews with family, friends and colleagues are liberally sprinkled throughout the program. Added to these are numerous location shots of several cities and their music halls, with a trip to the home of Richard Strauss as one of the highlights. Essentially, the film follows the same format as Solti's "Memoirs," which appears to have been worked on simultaneously. The maestro showed great timing to the end, for both works were finished very shortly before his death.
Though this documentary is obviously the work of professionals, it lacks the electricity of more creative minds. Nevertheless, the filmmakers managed to produce a fairly engaging film on a limited budget. It appears that a digital camera was used in the process; while the video quality is not film-like, it is generally very sharp and clean. The audio is pleasing, as it should be for material that is musically pregnant. There are no supplements included, not even subtitles. Captions would have been useful, as some in the film, including the subject, are occasionally hard to understand due to their accents.
Fans of Solti, and classical music in general, should be interested in considering purchase of this DVD. Those that have read his autobiography may want to pass, since the film covers little that isn't discussed in the book. Some who haven't may prefer to watch the film instead. In any event, this DVD respectably chronicles the life of a great musician.
The Maestro Speaks!
The emotional effect of any story is muted by the constant distraction of trying to take in four screens at once, though at times the stories resonate off each other nicely. It's an interesting experiment, made possible by the portability and longer takes of digital cameras; anyone interested in how digital technology has affected filmmaking will want to see this novel film. --Bret Fetzer
Watch it four times, and it might make senseBut I said that Timecode is unique, right? Well, it is. It had no script - just a story, four digital videocams, and a bunch of actors who could improvise their way through 90 minutes of filming. The four cameras shot non-stop - no cuts, just one take. The entire film was shot 15 times - and the final one was released. No editing was required because viewers see the footage from all four cameras - simultaneously. The screen is divided into four quarters, and it's up to the viewer to decide which one to watch. Believe me - it's not exactly an easy task. Though you're often given audio hints (the sound of one quarter will dominate for a while), you'll still keep jumping from quarter to quarter, trying to figure out what's going on - and what you've missed. It's definitely not a movie to watch if you're not completely alert. It is, however, very interesting. And while I wouldn't say that this is one of my favorite movies, it's still an interesting experience. If you're looking for something out of the ordinary, it's worth checking out.
If you happen to pick up a copy of the DVD, you'll find all kinds of goodies. The special features include the entire Version 1 of the film (and yes, it really is different) and an audio option that allows you to choose which dialogue you want to listen to. Perhaps, then, if you watch the entire movie four times, you'll be able to make sense of it all...
brilliant execution, lame storyThe concept is brilliant, but it is not supported at all by a good plot. What we have is basically mindless hipster dross; jet-set stereotypes stabbing each other in the back with their cell phones, and not much else. And yet, I was entertained by the film on a technical level. Certainly worth a look, but I would love to see this idea done again, even by Figgis, with a more engrossing story.
Clever, but also a bit narcissistic
Vivan las mariposas!I also have first hand accounts of what it was like from family members who lived in the country during that time and even exhiled in other countries as a result of this. This movie does not even come close to portraying any of this.
Does not do justice to the book or to the history
Viva las Mariposas!
Good introduction to one of Italy's great film geniuses.Bava's death in 1980 went virtually unnoticed, but now, as his films become more available in quality prints, his massive influence is becoming increasingly apparent. Not only, in inventing the giallo genre (basically crime thrillers filmed with horror senstion) did he give rise to the stalk-and-slasher film, but he influenced major directors from Scorcese to Burton. His low-budget sci-fi classic 'Planet of the Vampires' was reworked as Ridley Scott's 'Alien' (the latter's screenwriters assuming no-one would ever hear of a schlocky Italian B-Movie). Bava excelled in many genres, including the sword-and-sandals epic, the sexploitation comedy, the spaghetti western and the spy romp, but it is unfathomably unique horror movies like 'Black Sunday', 'Black Sabbath' and 'Baron Blood', for which he is revered today. He is often linked to his later compatriot Dario Argento, but whereas the younger man's visceral entertainments function on speed and violent editing, Bava seems to slow down the genre, and his horror films, while full of sensation and terror, are composition-based, masterful tableaux composing light and colour and art design to create idiosyncratic, perverse and disturbing images forever imprinted on the minds and imaginations of anyone who sees them.
Bava's father was an important figure in Italian cinemas as a special effects artist, but his son took the long route up the hierarchical industry ladder to eventually become a leading cameraman for the likes of Rossellini and Pabst. He didn't direct his first film until he was 46, and his career barely lasted more than a decade, blighted by ill-health. He rarely worked with high-budgets, and the American stars he utilised (including Gordon Macrae, Boris Karloff and Joseph Cotten) were well past their Hollywood heyday.
This documentary, a companion piece to the film on Argento ('An Eye for horror'), is more satisfying than the latter because it concentrates more precisely on the work. Directors inspired by Bava (including John Carpenter, Tim Burton and Joe Dante) and prominent critics (Kim Newman, Linda Williams) discuss the strange power of Bava's films, the entanglements of violence, death and sexuality; the transmuting of Catholic ritual into the horror film. It is significant that Mussolini's regime frowned on the genre, which had lapsed by Bava's time, although the documentary is quiet on the compromises the director and his father must have made with the Fascist-run cinema industry. Burton gets closest to the work's appeal - these studio-bound films glorying in thier own artifice - when he says that it sometimes those movies that are less surface-realistic which somehow tap into what is most true.
Amusing rendition of the literary masterpiece.Master, a Russian playwright, is anxiously anticipating the premiere of his new play. In the post-Revolutionary Moscow of the 1920s, the subject of the play, the encounter between Jesus and Pontius Pilate, frightens Master's conformist peers. In the atmosphere of political oppression and officially encouraged atheism, Master's thoughts on secular power, truth and freedom expressed through the play's characters seem alarmingly relevant to the literary hacks of the newly instituted artistic bureaucracy. Predictably, the play is condemned, but to the aid of the anguished writer come his new acquaintances: a beautiful woman he meets on a Moscow street and a mysterious stranger apparently endowed with supernatural powers who takes a special interest in the play.
The movie is loosely based on Mikhail Bulgakov's masterpiece "Master and Margaret". If you haven't read it, you might want to take a chance on this movie -- but I can't predict your reaction to it, as my knowledge of the text makes my judgment very subjective. Ultimately, the movie isn't bad, the acting is adequate, and the plot alone should seem interesting enough to justify watching it.
If you have read the book, you must have raised you eyebrows over my synopsis. Like I mentioned, the movie is based on the book only very loosely -- the story line is different and some key characters are missing or merged into one. The movie is certainly not a worthy screen rendition of the original, but it can still be enjoyed. If you've ever given thought to what it would take to bring the book to the screen, you'll be amused by the choices the filmmakers made. In my opinion, a few of these choices were successful -- as in the case of Korov'ev, in one case brilliant -- as in the case of Jesus, but in most cases poor, as in the case of Voland, most unfortunately. The costumes and the makeup belong in a period at least half-a-century earlier, the soundtrack seems largely random, and yet I don't regret having watched the movie. I would have hated it if it was silly -- but it's not, it's just wrong. And what better way to congratulate oneself on a superior interpretation of an artwork than to encounter someone else's serious yet ultimately flawed attempt to repeat it?