This is the Andrei Tarkovsky production of the famous Pushkin/Mussorgsky opera, performed in 1990 at the Mariinsky Theatre in St. Petersburg, Russia, conducted by Valery Gergiev.
[To avoid some confusion: Tarkovsky, who died in 1986, was the director of the opera production, not the man behind the camera for this performance. The original production was staged 1983 in London. Amazon lists both Tarkovsky and Gergiev as directors, IMDB lists Humphrey Burton.] Continue reading
Here is the text for the poem by Sully Prudhomme that the song is based on:
Le long du Quai, les grands vaisseaux,
Que la houle incline en silence,
Ne prennent pas garde aux berceaux,
Que la main des femmes balance.
Mais viendra le jour des adieux,
Car il faut que les femmes pleurent,
Et que les hommes curieux
Tentent les horizons qui leurrent!
About the Jazz Loft Project
In January 1955 W. Eugene Smith, a celebrated photographer at Life magazine whose quarrels with his editors were legendary, quit his longtime well-paying job at the magazine. He was thirty-six. He was ambitious, quixotic, in search of greater freedom and artistic license. He turned his attention to a freelance assignment in Pittsburgh, a three-week job that turned into a four-year obsession and in the end, remained unfinished. In a letter to Ansel Adams, Smith described it as a “debacle” and an “embarrassment.” Continue reading
quote from Amazon user: A complement I say, as this not being complete (well, I’d better say severely truncated) it cannot be your sole Boris in a collection; necessary I add, because it preserved a sizable portion of the title part, as portrayed by one of its foremost exponents ever, the great russian bass Alexander Pirogov. This incompleteness is only implied but not clearly stated in the disc’s box, which should advise would-be purchasers. So what you get is some kind of “extended highlights” of this, arguably the greatest of russian operas and certainly the most popular. It is a film by Vera Stroieva, made in 1954 as part of a project dear to soviet authorities of putting into film both the lives of Russia’s greatest artists and adaptations of their works, to “educate the masses” and of course not being entirely without some ideological hints (or rather more than mere hints). Continue reading
Rick Todd uses the dreams of his roommate Eugene as the basis for a successful comic book.
Ignatiy Vishnevetsky wrote:
There’s a meaty essay to be written about the lengths to which modern-day Americans will go to distance themselves from Jerry Lewis. Lewis represents the unrefined tastes of some earlier era of moviegoing, explained away through pejorative references to “slapstick” and “the French.” (Never mind that Lewis was never as popular abroad as he was in the U.S.) The truth, of course, is that though Lewis produced his share of dross, the gold remains pretty damn funny, and the stuff that isn’t funny tends to be strange and formally audacious in a way Hollywood comedies rarely are. It’s possible to be turned off by Lewis’ mugging (which is fairly relentless) and still appreciate the command of style displayed by his best films, whether it’s the ones he directed himself, or his collaborations with cartoonist-turned-director Frank Tashlin. Continue reading
Members of a circus troupe “adopt” Lili Daurier when she finds herself stranded in a strange town. The magician who first comes to her rescue already has romantic entanglements and thinks of her as a little girl. Who can she turn to but the puppets, singing to them her troubles, forgetting that there are puppeteers. A crowd gathers around Lili as she sings. The circus has a new act. She now has a job. Will she get her heart’s desire? Continue reading
Review by mark.waltz at IMDb:
A campy shipboard musical
A family of bluebloods made destitute by the depression are scammed into leasing out their yacht and posing as crew to tacky “new money”, one of whom is their former cook. The scam turns out to be a plot by the gruff captain (Ned Sparks, the Walter Matthau of his day) to shipwreck them on a desert island run by a madcap queen (Mary Boland) and escape with their money. Of course, things go afoul as the queen has plans of her own. Continue reading