Review 4

Cast : Leonardo DiCaprio , Tobey Maguire ,Carey Mulligan ,Joel Edgerton, Isla Fisher ,Elizabeth Debicki,
Jason Clarke

 Director : Baz Luhrmann

Genres :Fantasy\Drama

Synopsis:
An adaptation of F. Scott Fitzgerald's Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby's nouveau riche existence, where obsession, madness, and tragedy await.  

Review :

In the spring of 1922, in the era of low moral level, the brilliant jazz and the "kings of smuggled alcohol," Nick Carraway comes from the Midwest to New York, where his life is changing rapidly due to Gatsby. Mysterious Gatsby is handsome, young and devilishly rich, everyone knows him, but only a few have the privilege to talk to him . Man of Mystery, who creates myths about himself myths , he does not dispute anything and does not tell the truth about himself or fiction. Gatsby's house always contains a huge number of people and incredible fun, every weekend his door is open to hundreds of people. The rich man who appeared from nowhere, after few months became incredibly famous, staying in the shade, the main question is, why did he do it, and how the young man was the owner of such wealth.
Leonardo DiCaprio played the role of Gatsby, perhaps,he is the best candidate for this role. Nature of the character is contradictory and complex.
Leonardo DiCaprio and Tobey Maguire are old friends and they had a wish to work together, and now they have a chance to do it.
The film involved talented, beautiful actors, sounds , music , costumes - all this creates an incredible atmosphere in cinema.

Review №3

Prospero's Books (1991)

Director: Peter Greenaway

Writers: William Shakespeare (play), Peter Greenaway

Cast: John Gielgud  ,Michael Clark  ,Michel Blanc  ,Erland Josephson  ,Isabelle Pasco

Synopsis: An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The Tempest'.

Review:  Prospero's Books is a  tale based upon William Shakespeare's The Tempest. Miranda(Isabelle Pasco) and her father Prospero(John Gielgud) have to live on a isolated island. Antonio(Tom Bell) , Prospero's brother became the Duke of Milan , having occupyed brother's position. Being in exile on that island , Prоsperо makes an amazing palace, and a separate wоrld, which is framed by the 24 bооks that he took with him.
John Gielgud  acts, perhaps, one of the best and most insightful of his roles.  Michael Clarke as Caliban is amazing in this film .Also I want to note the acting of  Erland Yuzefson, Michel Blanc and Tom Bell.
Composer Michael Nyman creates  incredibly melodic and insanely beautiful soundtrack for this film , which  perfectly fits into the overall structure of the film, and it creates a deep poetic atmosphere.
Sasha Vierne ,an operator literally surpasses himself, following the director's idea, creating an unforgettable audio-visual Prospero's books, Prospero.
Greenway masterfully combines a visual feast, creating a very real on-screen multi-layered books , so that I'm deeply impressed by this film , it is definitely worth seeing.

Rendering 16

The article published on the website latimes.com is headlined For Clayton, The Gloom Is Gone. It carries a lot of comments on Merry Clayton's spine-chilling vocal on the Rolling Stones' "Gimme Shelter" , one of the most famed in '60s rock.
In addition the author of the article mentions that the Sanborn project is the first step in a campaign to restore the high-visibility career Clayton enjoyed in the '70s as a solo artist and a leading session vocalist. Her recent focus has been on lucrative but uncredited sessions for advertising jingles, the lower career profile,  was a conscious decision.
In this connection it’s worthwhile mentioning that Clayton, who's married to saxophonist Curtis Amy, also found time last year to join Brilliance, a contemporary gospel group that includes her godmother, Della Reese, and O.C. Smith; the group is currently shopping an album, but her participation has already won rave reviews from one critic,Clayton started singing in her father's Los Angeles church choir when she was 5 and By 14, she had graduated to pop sessions as a background vocalist, later she arranged with school counselors to have gym class scheduled for sixth period, and was regularly plucked from school by producer-arranger Jack Nitzsche to work with the Blossoms vocal group.
Speaking of this situation it is also interesting to note that the Blossoms backed Tom Jones in the studio and Clayton also worked on the "Shindig" TV show,a 1964 duet with Bobby Darin gave the youthful Clayton some name recognition, but her big break came when childhood chum Billy Preston arranged an audition with Ray Charles in 1966;the exposure Clayton received during her 5 1/2-year stint as the lead singer of the Raelettes shifted her session schedule into overdrive, in addition to "Gimme Shelter," she worked on Joe Cocker's memorable early records and Carole King's mega-platinum "Tapestry" LP. Clayton also originated the role of the Acid Queen in the London stage production of "Tommy."
The author concludes the article by saying that she kicked off a moderately successful solo career in the early '70s,two solo albums for MCA in the early '80s were her last releases, but Clayton also moved into the film world, appearing in "Blame It on the Night" and writing and performing the music for "9 1/2 Weeks",Clayton is working on a book about her experiences in the music industry; the final chapter may remain unwritten for some time.
As for me I think that it is really difficult to come back on the stage after a big pause , so I'm happy that Clayton is a person with strong desires , I hope she'll become more successful and famous that she is now.

Rendering 15

The article published on the website nytimes.com is headlined Across the Miles and Years, a Gathering of Hip-Hop Beats. It carries a lot of comments on part of the Red Bull Music Academy series of performances, which has been flooding the city with dance music for the last few weeks, it offered both a tactile dance-floor experience and a history lesson.
In addition the author of the article mentions that the D.J. lineup was savvy, mostly a collection of dons of long-gone, diminished or hyperlocal hip-hop tributaries and black dance-music subcultures, the sort that connoisseurs obsess over but that rarely crack mainstream awareness;these were — and in some cases remain — worlds in which place mattered, when a specific set of musicians and locales created a style that largely stayed put, at least until the Internet got hold of it: there was DJ Magic Mike and his Miami bass, Egyptian Lover and his Los Angeles electro; DJ Assault, from Detroit, played ghettotech; Scottie B, from Baltimore, played Baltimore club; Chicago was represented by two generations: DJ Funk and his classic ghetto house, and DJ Rashad and DJ Spinn playing modern juke.
In this connection it’s worthwhile mentioning that ideally, this bill could have served as an opportunity to parse the fine differences among the sounds, though often the bass led with such intensity that to do so in the moment felt meaningless, it was also hampered by each performer’s struggle with whether to be faithful to the sound of his city and genre or to reach out more widely on this bigger stage.
Speaking of this situation it is also interesting to note that the first two main-stage performers were, by comparison, veterans: DJ Magic Mike is a pioneer of Miami bass music, the low-end-intense hip-hop subgenre that has the advantage of having some national hits, like those by 2 Live Crew,he didn’t rely on them, though, and needlessly brought in other styles to his mix, which felt like a violation; Egyptian Lover, whose important records date to the mid-1980s, stayed truer to the viscous electrofunk that helped give early Los Angeles hip-hop a signature sound.
The author concludes the article by saying that Afrika Bambaataa had perhaps missed the memo about the night’s mission, or, at a minimum, is far gone from his pioneering days, for the first half of his set, he was received enthusiastically but looked catastrophically bored, playing a largely characterless set of electro with bits of Nirvana and MC Hammer mixed in;he opened up more widely later on, taking in Latin funk, 1990s club music and, garishly, a touch of dubstep.
As for me I think that such performances are surely worth visiting as it is an excellent rest from daily routine.

Rendering 14

The article published on the website rbth.ru is headlined Vladimir Vysotsky: Hamlet with a guitar. It carries a lot of comments on Vladimir Vysotsky, the Soviet prominent musician who has become a cult figure in Russia like his western counterparts Jonny Cash or Bob Dylan did in America.
In addition the author of the article mentions that among all Soviet musicians, Vladimir Vysotsky is one of – if not the – most popular,he is also the one whose place in history and in the hearts of Russians has grown the most over the years;his blue Mercedes and his style of singing have made their way into the Russian emotional landscape.
In this connection it’s worthwhile mentioning that since his death 31 years ago, displays of admiration have multiplied: Statues of the troubadour have been erected in Moscow and Yekaterinburg; numerous Ph.D. theses have been written about him along with books, biographies and song collections; and his grave in the Vagankovskoye cemetery always seems to be draped with fresh flowers;in addition to his grave, fans make a pilgrimage to the State Vysotsky Cultural Center and Museum, located next to the Taganka Theater, where the artist's photographs, documents, suits and manuscripts are displayed.
Speaking of this situation it is also interesting to note that the latest tribute to him is a film,on Dec. 1, the film Vysotsky, Thank You For Living was released, produced by Konstantin Ernst and Anatoly Maximov, it took almost five years and $13 million to make,screenwriter Nikita Vysotsky, who is also Vysotsky’s son, emphasized at a press conference that, although based on real-life events, this is a fictional film featuring a dramatic time in Vladimir Vysotsky's life: His tour in Uzbekistan in 1979 when he had a near-death experience. He died almost a year to the day later.
The author concludes the article by saying that Vysotsky's unorthodox fame and his extravagant ways – including owning a Mercedes and marrying French actress Marina Vlady – caused suspicion and env, but he played the system, doing concerts throughout small cities and announcing his performances just a few hours in advance so that local authorities would have no time to consult with Moscow on whether to ban them or not.
As for me I think that the film  Vysotsky, Thank You For Living is definitely worth seeing , because Vladimir is a part of the Russian history , a great number of people admire him and  he still has a plenty of fans among Russians. 

Rendering 13

The article published on the website rbth.ru  is headlined Commemorating Vladimir Vysotsky - Russia's best-loved bard poet. The article carries a lot of comments on  Vladimir Vysotsky who's records used to be swapped under the counter in the days of the Soviet Union.
In addition the author of the article mentions that Today, more than 30 years since his death in 1980, Vladimir Vysotsky continues to draw crowds in Moscow; he couldn’t make records legally , so that even without posters and leaflets, everyone knew when and where his next underground concert would take place.
In this connection it’s worthwhile mentioning that Vladimir Shakhrin, leader of the group Chaif, did not discover Vysotsky through the secretly made cassettes; his father used Vysotsky’s songs to help teach him how to play guitar. Shakhrin will turn 54 this year, and his group continues to fill concert venues ; Ilja “Chjort” (a devil) Knabengof, leader of the group Pilot, was not around when Vysotsky was alive, nevertheless, Vysotsky’s legacy is crucial for him, as well.
Speaking of this situation it is also interesting to note that Vysotsky’s legacy is so profound that some see him as untouchable in terms of the heights he reached ;there is a big gap in Russian song, people are wasting their time trying to say yet again something that Vysotsky shouted out loud long ago.
The author concludes the article by saying that the greying heads of those who were the singer’s contemporaries can be counted on the fingers of one hand among his fans and this jubilee was attended by thousands of Muscovites, offering Vysotsky that which he desired above all else during his lifetime – immortality.
As for me I think that  Vladimir Vysotsky is amazing singer and actor, it is out of the question that he is  very talented and one of the or even the most popular artist of Sovet union. His songs are sincere and heartfelt , that's why got such a great  recognition.

Rendering 12

The article published on the website nytimes.com is headlined Trying to Get to ‘Heaven,’ Onstage. The article carries a lot of comments on Todd Haynes film “Far From Heaven,” a deconstruction of the Eisenhower-era melodramas of the director Douglas Sirk.
In addition the author of the article mentions that he hopes that the stage adaptation of “Far From Heaven,” for which he composed the music, will also appeal to both the head and the heart. The production, in previews at Playwrights Horizons, stars Kelli O’Hara as the heartsick homemaker at the center of the show, a role for which Julianne Moore was nominated for an Oscar.
In this connection it’s worthwhile mentioning that with “Far From Heaven,” Mr. Frankel and his longtime collaborator, the lyricist Michael Korie, have once again translated an art-house favorite with a strong gay following to the stage, as they did with “Grey Gardens,” based on the 1975 cult documentary; the challenges this time are related, but different; show business was in the blood of the mother and daughter in “Grey Gardens,” but the characters in “Far From Heaven,” living in cloistered 1950s suburbia, work overtime to hide their true emotions; yet musicals, where people break passionately into song, are typically gushing and unrestrained; the show’s book writer, Richard Greenberg, the Tony-winning playwright of “Take Me Out” and a nominee this year for “The Assembled Parties,” doesn’t see the story and medium at odds.
Speaking of this situation it is also interesting to note that Mr. Frankel said that Mr. Haynes, who saw the show at the festival, gave them the freedom to reinvent the story for a different medium;“What he said that he loved in particular were the ways that we parted from the source material,” Mr. Frankel said; “He was surprised at the things that he either didn’t think of or were very different from the film.”
The author concludes the article by Mr. Greenberg's quote :
 “We will see that things have come a long way,” Mr. Greenberg said, “and the past will become all the more poignant and all the more tragic.”
As for me I think that this story with its incendiary passions, forbidden desires and themes of bigotry and social repression will surely be one of the best  stage adaptations  of the year.

Rendering 11

The article published on the website nytimes.com is headlined The Swashbuckler and the Teenager.The article carries a lot of comments on Kevin Kline, who will portray Errol Flynn in “The Last of Robin Hood.”
In addition the author of the article mentions that his star may have faded since his heyday in the 1930s and ’40s, but the dashing Flynn is regarded even now as one of the most beautiful men to ever work in Hollywood, and one of its more maligned: A 1980 biography claimed that the Tasmanian-born leading man had been a spy for the Nazis when in fact he’d been a supporter of the Republicans in the Spanish Civil War and was later a drinking buddy of Fidel Castro’s; the author later admitted fudging the evidence, but the damage was already done to an actor who never needed help damaging himself.
In this connection it’s worthwhile mentioning that  “The Last of Robin Hood” will star Kevin Kline as Flynn; Dakota Fanning as the teenager, Beverly Aadland; and Susan Sarandon as Florence Aadland, the stage mother who set them up — and who, say the film’s directors, Wash Westmoreland and Richard Glatzer (“Quinceañara”), “believed that everything in her life was predestined.”
Speaking of this situation it is also interesting to note that “The Last of Robin Hood,” aiming for a fall festival premiere, is a highly unusual tale, even for Hollywood, which has turned Flynn into a somewhat tamer-than-real-life character in projects like the 1985 television biopic “My Wicked, Wicked Ways” and the 1982 comedy “My Favorite Year” with Peter O’Toole as the Flynn-inspired reprobate Alan Swann (“I’m not an actor. I’m a movie star!”). Guy Pearce (in “Flynn,” 1993) and Jude Law (in “The Aviator,” 2004) have also tried their hand at Flynn. But no account has addressed Flynn’s appetite for underage women.
The author concludes the article by Ms. Koffler's quote :
“There’s also a way to see it as really a love story,” she said. “Why couldn’t a 50-year-old man be in love with a girl of Beverly’s age?”
As for me I think that it's exciting when somebody tries to make something unusual  and unique. In most cases  stars act according to some cliche and they roles are typical ; every star has his or her own role specialization making all films similar to each other.

Rendering 10

The article published on the website nytimes.com is headlined Almost 80, He Continues the Ruckus.The article carries a lot of comments on  Mr. Jacobs, an aspiring painter who turned to film to make action art by other means, is a master of controlled yet ecstatic, visual cacophony.
In addition the author of the article mentions that  his four-part “Joys of Waiting for the Broadway Bus,” which had its premiere this month at the Modern, is a perceptual ruckus created from time-exposed, digitally enhanced 3-D slides; the nighttime street is transformed into a dynamic tapestry of light streaks and reflections that, floating in space, are at once transparent and eerily solid.
In this connection it’s worthwhile mentioning that  it’s an understatement to say that, given his accomplishments, Mr. Jacobs is not nearly as well known as he should be — although having known him well for over 40 years, as a student and as a friend, I’m most comfortable referring to him as Ken: born in Williamsburg when the neighborhood was a Yiddish-speaking Jewish slum rather than a hipster haven, Ken talks like a son of Brooklyn and looks like a cousin to the Marx Brothers: indeed, he cast himself as Chico in “The Sky Socialist,” his phantasmagorical ode to the Brooklyn Bridge: a feature-length movie, “The Sky Socialist” was shot in eight millimeter in the mid-1960s, toward the end of Ken’s underground period (as opposed to his later, more formalist films) and, like much of his work, celebrates his hometown.
Speaking of this situation it is also interesting to note that everything is grist for the Ken Jacobs mill: among the most impressive aspects of his teaching was the range of his interests; the last time I visited him he pressed a homemade DVD into my hand with the words “your students will love it.” (It was the 1938 version of “Pygmalion,” and that love remains to be seen.)
The author concludes the article by Ken's answer :  As a student, I (the author) once asked why anybody should even bother making art in the face of certain destruction. He (Ken) shook my shoulders, stared into my face and said, “Because there has to be something there to be destroyed!” Mellower now but still feisty, productive and cheerfully apocalyptic, Professor Jacobs is making sure that there will be.
As for me I think that there are artists who burn out at 30 and I'm am happy that there are people among us who in their 80's are still want to create something new.

Rendering 9

The article published on the website nytimes.com is headlined William Miles, Maker of Films About Black History, Dies at 82. The article carries a lot of comments on William Miles, a self-taught filmmaker whose documentaries revealed untold stories of black America, including those of its heroic black soldiers and of life in its signature neighborhood, Harlem, where he himself grew up, died on May 12 in Queens.
In addition the author of the article mentions that the cause was uncertain, but Mr. Miles had myriad health problems, including Parkinson’s disease and dementia, said his wife of 61 years, Gloria.
In this connection it’s worthwhile mentioning that Mr. Miles was part historical sleuth, part preservationist, part bard; his films, which combined archival footage, still photographs and fresh interviews, were triumphs of curiosity and persistence in unearthing lost material about forgotten subjects.
Speaking of this situation it is also interesting to note that  his first important film, “Men of Bronze” (1977), was about the 369th Infantry Regiment, an all-black combat unit that the Army shipped overseas during World War I but, because of segregationist policies, fought under the flag of France;serving with great distinction, the unit spent more time in the front-line trenches than any other American unit;сollectively, it was awarded the Croix de Guerre and came to be known as the Harlem Hellfighters and also the Black Rattlers;the 369th began as the 15th New York National Guard Infantry Regiment, and decades later, after Mr. Miles had himself joined a National Guard unit in Harlem, he stumbled on a dusty storage room containing flags, helmets photographs and other relics from the 369th.
The author concludes the article by William's quote : "A titan of a man who has documented the history and contributions of African-Americans and the black American experience with film, camera and a lens".
As for me I think that it's important to have your own independent opinion , thus making films about heroic black soldiers and athletes William broke some rules and extended the knowledge about them.