The Girl with the Dragon Tattoo

First Swedish author Stieg Larsson wrote a blockbuster series of books, The Millennium Trilogy (named for the magazine of which his protagonist is co-publisher and owner), the first of which was The Girl with the Dragon Tattoo. The books were all published posthumously.
Then Sweden made films of each of the books, to critical acclaim befitting movies based on the praised books.
Now, David Fincher has made the first book into the 2011 movie of the same name.
For better or worse, I have not yet read the books, nor did I see the Swedish films. So I came in cold, with expectations that this could be something special.
I was not disappointed. The filmmaker who brought us such diverse movies as Fight Club, Se7en, Zodiac, The Curious Case of Benjamin Button, and The Social Network, has created a flawless film.
That said, this film isn’t for everyone. For instance, the squeamish or easily-offended viewer will recoil at the violence, nudity, sexuality, and sadism within. There is also one scene that cat-lovers will hate.

The setting is Sweden. Mikael, a disgraced journalist who loses a libel suit after exposing a corrupt businessman (Daniel Craig) and his newly-acquired freelance research assistant Lisbeth (Rooney Mara), team up to write a biography of a wealthy scion Henrik Vanger (Christopher Plummer) while actually investigating the disappearance and presumed death of his great-niece nearly 40 years earlier. Henrik and his family all live on a family-owned island, in separate mansions, of course. They are estranged, dysfunctional, unlikable (two of Henrik’s brothers were enthusiastic Nazis), and decidedly unforthcoming. Enter Martin Vanger, Henrik’s great-nephew, now CEO of the Vanger Corp. (Stellan Skarsgard), whose home looms over all on the island. These are just some of the many players. If you want to keep them all straight, you might google a cheat-sheet before going to the theater.
Mikael moves into a caretaker’s cottage on Henrik’s estate to research his book. It’s a barely livable space with heat, in the bitter Swedish winter, hard to come by.
Everyone turns in stunning performances, none more amazing that Mara’s portrayal of the sullen Lisbeth. She’s my pick for Best Actress. (Hey, if Natalie Portman can win for Black Swan, another very dark performance, then surely Mara can!)
I’d try to explain the plot, but it’s just too complicated. If you pay close attention you can follow it all, though, as the mystery unfolds through some ingenious sleuthing. There is an aura of danger throughout that permeates the theater. Sweden is yet another star, showing us a seldom-seen backdrop which is fascinating if sunless.
I loved the controlled performance of Craig, who is decidedly less glamorous than James Bond. These characters are all flawed, and yet we find something to like in almost all of them, something to root for.
The images in my head won’t go away, even as time passes. This is probably perceived as an “art” film, or at least an “arty” one, but I think it is just a dark mainstream film with a lot of plot and a lot of courage not to flinch.
Some of the situations and images are very hard to experience, but they help to bring out the character of those wounded souls.
As I said, not for everyone, but for those who go after knowing what to expect, you will be rewarded with superb acting and plenty of quiet thrills. It’s like the train wreck that you can’t turn your eyes away from.
Oscar material for sure.
Four reels (out of four)!

Beautiful Dracula

The fabulous presentation of Dracula by Ballet Nebraska last Friday night only proves the promise this young company has.
Performed at the Orpheum Theater, the dramatic ballet was a visual feast. From the enormous handsome sets to the impressive lighting, the mood was suitably creepy. Transylvania indeed. Kudos to set design and construction wizards Ron Barrett and Homer McClure, and lighting by Jerry Wolderski of Theatrical Media Services.
And the next best thing to live music is expertly edited recorded music and a great sound system. The music of masters – Liszt, Strauss, Brahms, Kilar, Class, Barry, and Goldenthal – were perfectly blended to set the tone.
The costumes were so beautiful they took your breath away. Lucy’s red dress was perfection, as were the brides’ dresses. Even the flower-strewn hairdos were heavenly. And the Masquerade Ball/Wedding Reception gowns were resplendent. Even the men’s costumes were impressive (especially Dracula’s). All worked to tell the story more effectively.
Ah, the story. A familiar one. Jonathan Harker (Matthew Carter who is also ballet master) come to the Transylvania castle of Count Dracula with papers to sign. There he almost becomes a victim of the vampire, with three of Dracula's brides taunting him (Erin Alarcon, Claire Goodwillie and Kelsey Schwenker). He escapes to his fiancee, Mina. The three vampire brides were so beautiful, and so graceful, it was simply enchanting. The choreography was quite lovely and foreshadowed a larger version later.
The Masquerade Ball offers the opportunity for all of the company to dance, either to a Strauss waltz or as a band of Gypsies who entertain (in more beautiful, colorful costumes). A mysterious masked guest arrives, but no one recognizes Count Dracula as he dances with Mina, the bride, and her best friend, Lucy (in the stunning red dress). After the ball, he returns to find Lucy alone, begins to seduce her then bites her, leaving her dead.
At her funeral, the Count shows up to claim his new bride, taking her body with him to his castle, with Jonathan, Mina and townspeople on his heels.
At the castle, Lucy is brought to life as a vampire. When Mina is left alone, Lucy begins to initiate Mina as Dracula’s next bride. But when the Count sees Mina again, he realizes he is in love with her, so can’t claim her as his vampire bride.
All of these scenes are brought to life with some pretty wonderful dancing. Sasha York IS Dracula. He conveys his creepy nature in a subtle way that is all the more menacing. Natasha Grimm as Mina and Erika Overturff as Lucy were both terrific.
Really, by the last act, I was beginning to be swept away by the ethereal beauty of the dancers – my criteria for a really wonderful experience at the ballet. Guest choreographer Winthrop Corey is amazing, and I think this company was up to the challenge.
Congratulations to Ballet Nebraska founder and artistic director Erika Overturff (also the beautiful Lucy) on her many accomplishments, wearing her many hats.
I am really looking forward to Ballet Nebraska’s next offering, their own brand new version of The Nutcracker. It will be presented at Iowa Western Arts Center on December 2 and the Omaha Music Hall on December 4. There will also be a Nutcracker Tea Party at Joslyn Castle, hosted by the Ballet Nebraska Guild, on November 27. (Visit the website: balletnebraska.org.)
Count Dracula may be scary, but the ballet bearing his name is beautiful!

To be or not to be ... Anonymous

Did that Bard fellow, William Shakespeare, really write all those plays and poems?
The new film, Anonymous, attempts to answer that question definitively.
Another question: are we the audience able to follow the intricate political thriller?
We shall attempt to answer that question definitively.
Suppose that the reportedly nearly illiterate bard actually took credit for the works of Edward De Vere, Earl of Oxford. Why would Shakespeare do it? Why would De Vere permit it? What else is at play at the time of upheaval in Queen Elizabeth’s England circa 1550 - 1603?
If you know the answers to even some of those questions, you should be able to navigate this new film easily. If not, you – like me – will probably suffer from confusion as the fast-talking (with those English accents!) cast weaves its spell.
Okay, it sounds like I didn’t like it. Not so. I just got confused on occasion.
It didn’t help my confusion that the film jumped back and forth in time, forcing me to ID not one, but two, faces for every name.
Here’s the good news: It’s not only an interesting premise, but a pretty convincing one, at least in this context. The film does satisfactorily explain the whys. De Vere, the mature version played by Rhys Ifans (an absolute chameleon – do you remember him from Notting Hill?) – is mesmerizing as the talented royal who was driven to write despite the taboo against him stooping to such a thing. Enter Will Shakespeare, an aspiring actor who in fact could read but not write. De Vere wants his plays produced (at the Rose, later called the Globe, Theater). To do so, he must find someone to submit them; he chooses Ben Johnson, another writer, with the stipulation that he will not reveal the true author. Wait. Where does Shakespeare come in? Sort of accidentally. Once he has taken credit for one of the plays on stage, he has to stick with it, and so does De Vere.
But, that is not the whole story. The big picture includes the struggle taking place over the throne of the aging queen. (Remember that whole Mary, Queen of Scots thing?)

Joely Richardson and Jamie Campbell Bower as the young Queen
and Earl.

The cast is quite good, including Vanessa Redgrave (looking ancient) and her real life daughter Joely Richardson, who portray the “virgin” queen as older and younger versions. Richardson’s young queen falls in love with De Vere and may have had his child. Okay, I’m going to stop staggering through English history, known and unknown, now because I’m out of my element (and I actually studied this era rather enthusiastically at one time!).
What can’t be beat: the atmosphere of the streets, the palace, the Globe (I have been to the replicated Globe and this brings it to life). The actors, the costumes. If this had smell-a-vision, we’d probably have to leave the theater.

Vanessa Redgrave and Rhys Ifans in later years.

One final prop to Rhys Ifans. He was fantastic. And tell me he didn’t look like Ryan Gosling’s clone! (I’m not the only one who thought so.)
There’s a lot of drama here, and a few laughs along the way. It immerses us in a time four centuries ago with fully realized characters. I do think this will appeal to a somewhat narrow audience. Pity, it’s a fascinating look at history, with not a little speculation thrown in.
So, did it answer the question: Did that Bard fellow write all those plays?
You’ll have to see the movie and decide for yourself. And that’s the fun of it.

I’m giving this three reels (out of four).

"The Ides of March are come"

As Caesar said, “The Ides of March are come.” 
It’s not the 15th of the month, but the Ides are indeed here and there’s no need to beware. The Ides of March, starring George Clooney and Ryan Gosling, opens today, heralding the official beginning of the Oscar race.
What do we think of when we say “Ides of March”? Betrayal by those you trust. Hence the title of this terrific film.
But there are many forms of betrayal, and its many forms are explored here. The story takes place during the last few frantic days before a heavily contested and pivotal Ohio presidential primary, pitting two Democrats. Gov. Mike Morris (Clooney) is waging a tight race led by his campaign manager Paul (Philip Seymour Hoffman) and press secretary Stephen Meyers (Ryan Gosling). Stephen is an idealist who reveres Morris. Paul Giamatti is Hoffman’s counterpart. When a chink appears in the governor’s armor, Stephen faces the biggest challenge of his career. His idealism is shattered in ways we don’t see coming.

Ryan Gosling is winning, no matter which way the campaign goes.

Clooney co-wrote and directed this taut political thriller. While the challenges of the campaign are not new, and in fact mirror reality, the way these participants handle the challenges is gripping and revealing.The inside look at a campaign is fascinating and it, like everything else in the movie, feels authentic. That is one of the film’s strengths. Another strength is the powerhouse cast – each of them hitting just the right notes.
The film revolves around the character of Stephen Meyers. Ryan Gosling, that chameleon actor who dominates every film he is in, positively shimmers in this and is sure to garner an Oscar nod. Not far behind is Clooney as the enigmatic candidate. Nor is Philip Seymour Hoffman (I can’t think of a bad performance in his career) who is both likable and ruthless. Paul Giamatti is likewise ruthless. The women in this story are equally powerful and engaging. Young intern Molly Stearns, portrayed by Evan Rachel Wood, catches the eye of Stephen, resulting in a complicated relationship. (FYI, Mollys’ father, Jack, is played by Gregory Itzin, so good on 24.) Marisa Tomei is compelling as New York Times reporter Ida Horowicz.
The script is very smart, and echoes many themes in today’s politics, which even supplies one of the film’s funniest and most ironic references. 

George Clooney (left) and Ryan Gosling (center) in a staff meeting.

I liked that the movie moved quickly, with zigs and zags we don’t see coming. I love it when I can’t predict where a movie is going. 

This is not a spoiler, but the ending is abrupt and may infuriate some. I personally loved it.

Just as I loved this smart film, shot on location in Cincinnati, and especially the acting of Ryan Gosling – who never looked better, and that’s saying something!

This film earns 3 1/2 reels (out of 4).

“Can’t Take My Eyes Off of You"

"Jersey Boys” keeps you riveted and won’t let you go.
Ever since I saw Joseph Leo Bwarie (Frankie Valli) perform a song from “Jersey Boys” on both the Tony Awards and the Academy Awards, I’ve been excited about seeing this Broadway musical.
Finally, they arrived this week in Omaha for a three-week run at the Orpheum Theater. Oh boy, did they ever arrive!
Friday’s official opening night performance played to a full house. It’s a wonder the roof didn’t come off of the 84-year-old building, if not due to the thunderous response of the audience, then surely due to the incredible vocal range of the show’s star!

Joseph Leo Bwarie is a vocal marvel.

Four underprivileged Jersey kids carved out a huge pop career for themselves as The Four Seasons. This is the story of their meteoric rise (after years of struggle) in the emerging rock and roll world, where they continued for four decades. After their first hit, “Sherry,” in 1962, came another, and another, and another. While still in their 20s, they had sold 175 million records. Some reasons for their success: they wrote their own songs (thanks to the brilliant Bob Gaudio and Bob Crewe, who is also portrayed in the show, by Jonathan Hadley, created their own unique sound (thanks to an incredibly talented Frankie Valli), and insisted on doing it their way.
Along with the successes came failures – relationships faltered, alcohol and drugs tempted, love came and went, laws were broken or bent, disagreements sowed dissent, and tragedy struck. Each of the four original members of the group recalled things slightly differently, so the play’s creators decided to tell it narrative-style from each of their perspectives. It works on many levels.
First, it delivers a breakneck pace. Second, it gives you time to bond with each character, investing emotionally in them. Third, it provides humor. Fourth, it presents a unique way of telling a fascinating, and to most of us unknown, story.
The set is stark, a scaffolding of metal staircases and walkways. It works brilliantly, providing for exits while the next scene is beginning (hence that fast pace). Overhead, old-fashioned comic book-like panels provide some more context. Especially fascinating are the projected black and white scenes of appearances on “American Bandstand” and “The Ed Sullivan Show” as the scene is filmed “live” on the stage. It is impossible to discern if those scenes are the originals! It’s very cool.
The band, up to 10 pieces, is onstage throughout, moving around from scene to scene. And they are marvelous.
But wait, I haven’t even gotten to the best parts: The actors, especially the four who portray the group, from their days as The Four Lovers, and other equally-bad group names, to The Four Seasons. From Bwarie (Valli) with his nearly four octave range to Quinn VanAntwerp (Bob Gaudio), Matt Bailey (Tommy DeVito) and understudy Adam Zelasko (Nick Massi), all were perfection. They sounded fabulous as they replicated the Four Seasons’s songs. The crowd went wild with every song – and there were a lot of them.
Standouts were “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “My Eyes Adored You,” “Rag Doll,” and on and on.
But it was “Can’t Take My Eyes Off of You” that threatened to blow that roof off.
One other really good thing is the sound quality. You can hear every word, spoken or sung. And that is not always the case.
The rest of the cast is also excellent, playing multiple roles
Be advised that it’s not for pre-teens. The story deals with jail, mobsters, loan sharks, and the “f-bomb” is sprinkled liberally – sometimes with great comedic result (hey, these were guys who had done time or narrowly avoided it).
The thing is, this isn’t just a good story or good music. It’s the whole package, adding up to a powerful – and fun – experience. It is infectious, you find yourself moving to the music and in some cases singing along (don’t).
I’ve seen many musicals old and new, and this is far and away the best contemporary musical I’ve seen.
If you are planning to see it, you’d better hurry because I guarantee seats will fill up fast.
Of note: you’ve only got two more performances (Sunday’s) to see the uber-talented VanAntwerp before he leaves to star as Bob on the Great White Way. The good news is, he’ll be replaced by the vastly-talented Preston Truman Boyd, whom I had the pleasure of meeting when he was in Omaha starring as the Monster in “Young Frankenstein.” And a new "Nick Massi" will come from Canada next week, when he wraps up his appearance with that tour. And be advised that Frankie Valli is portrayed by an understudy at some performances.
No matter what, the show will go on, as good as or better than ever, of that I’m sure.
I can’t recommend this highly enough. It is a masterpiece, with music everyone will love.
As Time Magazine proclaimed, “It will run for centuries!” But in Omaha, only now through September 25.

Is Contagion Contagious?

Short answer: maybe. Depends on the kind of movies you like.

“Contagion” opens today, with its star-studded cast and director Steven Soderbergh amping expectations.

First, I love procedurals and medical stories and suspense thrillers. So I should love this, right? And I do, to a point.

The acting is good, especially Laurence Fishburne, Marion Cotillard and Kate Winslet. Jude Law sports the ugliest set of teeth ever, presumably to reinforce that he is English. Matt Damon and Gwyneth Paltrow are good, but their talents are underused I think.

The story of a rapidly lethal new airborne virus that quickly spreads worldwide is a great premise. (Watching the credits, I also thought this movie was a good excuse for some great trips – to Hong Kong, China, London, Atlanta, Chicago, San Francisco and Minneapolis.)

Gwyneth Paltrow’s luck may have been good at the craps table, but not after the virus claims her as the first victim.

Anyway, we follow each of these people and many more, as the story cuts back and forth to them, all over the place. If you are not paying close attention, you’ll soon be lost.
The best thing about this movie is the medical jargon and explanations, which are really fascinating. I actually learned something. And this part was entirely believable and, I’m sure, rooted in real science. So we have every reason to worry about this seemingly unstopped epidemic that threatens to rival the Black Plague in fatalities worldwide. Many scenes show either the utter cluelessness of people, or the irrational response to the news of the virus as it leaks out (no pun intended). Panic, which the World Health Organization and the Centers for Disease Control and all kinds of others have tried to avoid by keeping the information under wraps, is inevitable.
The actors portray doctors and scientists (Fishburne, Cotillard, Winslet), ordinary people caught up in the growing tragedy (Damon, Paltrow, and many others), and opportunists (Law) – who is exploiting a dubious cure to further his blog. Scientists frantically try to understand the virus so that they can develop a vaccine for the bug that is killing 25 percent of its victims. It has a high incidence of transmission, but the scientists don’t know exactly how it is transmitted.
Of course the suspense arc of the film is: How long will it take them to find the source and a vaccine – and will it be in time for those with whom we have become acquainted?
My chief complaint is that the film felt flat to me, without a real heart-pounding climax. I also felt that because of the large cast, I really didn’t get to know anyone, so I wasn’t very invested in them. The movie, paradoxically, seemed to rush through their stories, while plodding along at the same time. Stories should have “acts,” and varying tension. This seemed to stay on a pretty even keel throughout. And the ending was stunning only in that it ended rather abruptly.
The one actor I have to take issue with was Elliott Gould, as another researcher. His acting style has always been a little affected, but in this I felt he was reading/reciting every line. I did not think he was effective in the role.
So, while I’m critical of many things, there are also many bright spots. Many scenes have stayed in my head, replaying and replaying. There were many interesting subplots – which would have benefited from being developed a bit more. This is not for children, who would not only be bored but probably grossed out, particularly by the autopsy scene (as even the adult audience seemed to be).
Maybe I was just in a mood. Most critics liked it, as did a majority of audience members, as reported on Rotten Tomatoes. If I see it again, I could love it.
This is one of those movies you’ll have to see to judge for yourself.
First impression: I’m giving this movie 2 1/2 reels out of 4.

Jersey Boys Here at Last!

   The smash Broadway hit – Jersey Boys, the Story of Frankie Valli and the Four Seasons – is finally in Omaha. Tonight is preview night at the Orpheum Theater, at 7:30 p.m. Tomorrow will see a rare weekday matinee at 2 p.m. and another performance at 7:30.
   Then Friday, it’s the official opening night at 8 p.m.

From left, Quinn VanAntwerp, Matt Bailey, Joseph Leo Bwarie and Steve Gouveia will entertain us in Omaha.

Photo: Joan Marcus

The musical about the Rock ’n Roll Hall-of-Famers took home the 2006 Tony Award for Best Musical, the 2006 Grammy Award for Best Musical Show Album among other honors.

January 30 of this year, Jersey Boys worldwide had passed the $1 billion (yes, with a “B”) dollar mark. Not bad for a story about four blue-collar guys from the wrong side of the tracks whose unique sound propelled them to the top of the pop music charts in the 1960s. 

The show has been called “a play with music” because of its compelling story. What it is NOT is a tribute band or impersonator group. 

There are 52 people in the traveling company, including 19 actors, many of whom play multiple roles, some as many as 16 to 18 roles!

   Those four guys sold 175 million records worldwide, all before they were 30. There are 33 songs in the show, including five #1 hits and 11 that made Billboard’s top 10. But there were still 19 hit songs, including four top ten hits, that didn’t make it into the show!

   They wrote their own songs, invented their own sound, and became one of the most successful pop sensations of all time. 

   Three of the four original band members, Frankie Valli, Bob Gaudio and Tommy DeVito, participated in the writing of their “rags-to-rock-to-riches” story. Can’t get much more authentic than that. BTW, the fourth member of the original band was Nick Massi. 

   The musical has enjoyed great success since it opened on Broadway on Nov. 6, 2005. There are now five touring groups worldwide.

   How about more trivia? 

• Frankie has five costume changes, destroying a pair of pants a week (sliding on his knees). His shortest costume change is 15 seconds.
• There are 102 shirts in the show, including reproductions of vintage shirts (patterns are printed on fabric by computer and then made into shirts, costing over $200 a yard). 
• 87 shoes are used in one performance.

   It all adds up to a big show with a big sound.

   Say you don’t remember the Four Seasons? How about “Big Girls Don’t Cry” or “Sherry,” or “Can’t Take My Eyes Off You”?  Now you remember. Hear these and many, many more, starting tonight.

   The show runs in Omaha for three weeks, through Sunday, Sept. 25. Songs like “December, 1963” and some language may be inappropriate listening for younger audiences.

  Tickets, starting at $28, can be purchased at the Holland Center’s Ticket Omaha Office, online at TicketOmaha.com, by calling 402-345-0606.

   I’ll be there. Will you?

'Planet of the Apes' Still Rising

Caesar and Will have a close bond.

The movie came out a few weeks ago, but I didn’t have the opportunity to blog about it.I had my doubts about this movie, especially after some of the later sequels to the original 1968 film. My husband was even more reluctant to attend. But we went, and we’re glad we did. It was easily the best “action” film of the summer!
The brilliant Andy Serkis (Gollum in “Lord of the Rings”) is astounding as Caesar, the genetically-engineered super smart chimp rescued from the research lab by scientist Will Rodman (James Franco). The experiment held the promise of a cure for Alzheimer's Disease among other brain ailments, a quest all the more personal for Will because his father Charles (John Lithgow) is suffering from the disease.
Will raises Caesar as a child, with the help of fellow scientist and love interest Caroline (Freida Pinto). Harry Potter fans will get a kick of out Tom Felton’s (very good) performance as the sadistic keeper of heretofore helpless apes in the “sanctuary” where Caesar ends up after a rampage through his neighborhood.

Caesar’s intelligence transforms him into an activist for the humane treatment of his fellow apes. All-out war ensues.A note to science-fiction haters (you know who you are): This plot is crafted so that the premise is really quite believable and easy to accept. Only the ending scenes take a little extra license with reality.
The biggest reason to see this, besides its surprisingly sweet story, is the bravura performance of Serkis and his CGI transformation into the ape. Using cutting-edge technology, the movie makers allowed Serkis to act with the other humans rather than just in front of a green screen. How they managed it is beyond me, but boy, does it work! Caesar is as real as you’d ever want him to be, as are all the other (CGI) apes. If Serkis does not get an Oscar nod for his work, I give up.

Andy Serkis before CGI!

This adrenalin rush should appeal to a broad audience. It has something for everyone. Excitement, sentiment, humor (Lithgow is a gift), pathos … you name it, it’s got it. Audiences have agreed, making it one of the biggest blockbusters of the summer.
One of the best movies I’ve seen this year. Really. Go. You’ll love it. Really.
I’m giving “Rise of the Planet” three and a half reels.

'The Debt' Pays Off

Some actors never turn in a bad performance. Michael Caine, Meryl Streep, Judi Dench come to mind. Oh, and Helen Mirren.

So now here’s her latest release, “The Debt,” and she is amazing as usual. But hers is not the only fine performance in this unusual espionage thriller directed by John Madden.

Helen Mirren as Rachel, 1997.

The story begins in Tel Aviv in 1997, with the publication of a book by Sarah Gold about her mother, Rachel Singer (Helen Mirren), who along with Stefan and David, are revered for their heroic exploits in 1966. The Mossad trio’s mission was to track down Nazi war criminal Doktor Bernhardt – “The Surgeon of Berkenau,” (Jesper Christensen) kidnap him out of East Berlin and bring him back to Israel for trial. The movie cuts back and forth from 1997to 1966, with young Rachel being portrayed by Jessica Chastain. Marton Csokas and Sam Worthington play the young Stefan and David, while Tom Wilkinson and Ciarán Hinds portray their 1997 versions. All are excellent, especially Chastain, Christensen and Wilkinson.

We learn early on that there is a dark secret about their mission, one that continues to haunt them. I can’t tell you more, lest I spoil the suspense.

The young trio of spies: Rachel, Stefan and David.

There is mounting tension as the events of 1966 unfold, punctuated by some surprising and violent developments. And 1997 is not without its shocks either. One event is so well depicted that its conclusion is apt to induce cardiac arrest!

The last act contains surprises and thrills as well.

The drama is dark and tense, but always riveting, as we try to keep up. 

This movie signals the start of the “serious” films, those angling to be considered for awards. This one could be in the mix. And it bodes well for the rest of the Oscar-race season to come.

I’m awarding “The Debt” three and a half reels (out of four).

Pardon My Absence...

After a little summer R&R, I’m back and ready to catch up and move forward. I have some reviews for you, as well as some information on future events. Please scroll down to see all my latest offerings.
One amazing thing I’d like to share with my readers first.
There are at least two reasons why I ended up reviewing movies and other forms of entertainment. One is that my father worked in the motion picture business his entire 50+ year career. He retired as a branch manager in Kansas City, Mo. As a result of his job, I had movie passes to some theaters, so I saw a lot of movies. When I was 16, I spent my summer working as a cashier at a local neighborhood movie theater. That’s one reason.
The other reason is that I grew up two doors down from Helen and B.C. Altman. So? Helen and B.C. were the parents of movie director Bob Altman. His daughter Christine was my age and spent the school year at her grandparents’ house. We spent an enormous amount of time together. She was cute and funny and a little glamorous when she began spending summers with her father in California, returning with all kinds of fantastic stories. Bob Altman was just beginning his amazing career. He shot his first (to my knowledge) feature length film in Kansas City, in and around our neighborhood, and in his parents’ house. Christine had a part in that film, titled “The Delinquents.” It is a dreadful film. But there are two redeeming features of it: Christine is in it, and is pretty good, and the star of the movie is the then pretty much unknown actor Tom Laughlin, who went on to become famous for “Billy Jack.” He played a teenager in Bob’s movie, although he was then 24 years old. (Released in 1957, it was shot in 1955.) He showed talent even in this film. (Digging a little, I found that Bob’s then-wife, Lotus Corelli, played Mrs. Wilson in the film.)
So, I was too young then to be allowed to see the movie. Through the years, I always wanted to see it, but before the Internet and video tapes and DVDs, it was pretty hopeless. A couple of years ago, my husband found a listing in “The Big Reel” a now defunct publication that sold all kinds of films. There it was! He ordered it for me for Christmas. The print was event worse than the movie itself – a bootleg copy shot from a car in a drive-in theater! But I finally got to see it.
So, fast forward to Wednesday night. Flipping through the TV channels, I saw “The Delinquents” was just starting. It couldn’t be, I thought. But, it was! At least the print was a little better.
A postscript: Christine’s son, Dana (who adopted his grandfather’s last name) lives here in Omaha and owns a film production company. He is the producer of “Lovely Still,” the well-received indie film from two years ago that starred Ellen Burstyn and Martin Landau and was filmed right here in Omaha!
Just thought you’d like to know.
See my other new postings for much more.