Psycho, Hopper, Tourists & Booze… Rooftop Met

2 Jul

Sitting in the bench against the wall, facing Central Park & the Dakota, In the full hot early evening sun, watching 400 or so of my closest strangers pass by as they walk around & display themselves & peruse the (maybe not) Art … I am reminded why I love Manhattan & why I really love the seasonal rooftop installation pieces at the Met. 
An adorable 8 year old is splayed out over his dad like a blanket as his mom reads “Digger & Daisy” to him (they are in the shade of the pergola column, facing me & so completely obvious of the Installation – a version of ” psycho meets hopper ” type of scaled down installation that actually works with the background of various skyscrapers setting it off as a grown-up’s over done doll House set. 

With the 2 bland exceptions in the distant past of painted blood colored leaves on the floor & ripped up tiles with weeds growing between them ( the former meant to inspire contemplation of the blood being spilt in the Middle East & the latter meant to be an imitation of an urban archeological dig) usually the seasonal exhib – no matter how great or horrible is wonderful- because it serves to bring the city’s flotsam & jetsam of tourists, art lovers, first dates, young families, bored bro-artists, etc etc etc., together. 

They are the real, ever changing, often drunk, sometimes complaining, never boring, exhibit. Sit with your prosecco & ham with Brie sandwich, & watch it all go by. 

You have got to love it. Literally. Love. It. 
If you don’t, don’t bother taking up space in my bench…

Derek rocks…

15 May

Love him or hate him – check out Ricky Gervais’ gentle 2012 comedy “Derek” on Netflix. 
His autistic character is kind, patient and caring & the whole show looks at the humanity & dignity of the overlooked, the old, the different, the forgotten & the ignored.

Gervais said in an interview that he loved Derek because the character was a hero…

  &… A bonus is Karl Pilkington, Gervais’ Idiot Abroad, in a wonderful turn as Dougie. 

Swingers: 20 years & still so money, baby…!

7 May

Kevin Smith broke out with his no-budget CLERKS; Robert Rodriguez did it with EL MARIACHI; Matt Damon & Ben Affleck did it with GOOD WILL HUNTING… But maybe the eponymous break- out indie of all time is 1996’s SWINGERS by Jon Favreau & Vince Vaughn. 

The Derby in Los Feliz is long gone, and cell phones have removed the need for a wise ass answering machine machine & paper photos of ex-girlfriends, but otherwise the tenor of this little indie gem still stands the test of time on its (almost) 20th anniversary. 

Favreau’s performance as a hapless jilted comedian trying to navigate his personal life & career during his twenties in Los Angeles is a preview of the tremendous comic timing & emotional fragility that Favreau exhibits in his 2014 follow-up CHEF. 

Italian funeral dinners…

4 May

Look Who’s Back – A comedy about…Hitler!!??!

4 May

April 22, 1945 -Hitler  admitted defeat; 

April 30, 1945 -Hitler committed suicide; 

April 1, 2016 – Hitler meets Netflix.
In this turbulent election year Netflix’s April 9 release of Mythos Films’ German satire based on the book of the same name by Timur Vermes, is either a bold choice or an epic miscalculation. 

Whatever the case, the film, which has similarities to Sascha Baron Cohen’s  2006 send-up BORAT, could have been released on one of the April Dates associated with Hitler’s  end for maximum bang. This was a sadly missed PR move for some added exposure that could have matched the book’s release in Germany, where the book price was 19.33 – a shrewd PR move- linking the book to the year he came into power…

Both the 2012 book & the film (titled in German -Er ist Wieder Da:  He is Back…) were blockbusters in Germany, with the book breaking sales records & the film doing incredible box office. A combination of fish-out-of-water premise & mistaken identity film, the major premise here is that from the get-go Hitler always says he’s Hitler & yet no one believes him. 70 years after he was believed to have committed suicide – he’s taken for a comedian, political satirist, caricature artist…but never the world’s most notorious mass murderer.

With a grand slam performance by Oliver Masucci as Hitler, the film pushes the boundaries for racism & animal cruelty while simultaneously  calling people out for being hypocritical, greedy, gullible & short-sighted.  One tv exec in the film notes people’s embrace of Hitler’s policies towards humans but their horror at seeing Hitler’s Hitler-like behavior with a dog…

Sharing a page with films like ENCINO MAN  & THE FIFTH ELEMENT, LOOK WHO’S BACK  shows Hitler catching up with technology but unlike these other films, he immediately embraces the new methods of communication offered up by social media. He understands the importance of communication. This allows for comedic moments as well as a chance for the viewer to contemplate the impact the Web’s immediacy has on public opinion & action. 

At times shocking, funny & abhorrent, the film, was shot in Germany before the massive Syrian influx into Europe & Germany broke all records in the summer & autumn 2015.  Since the film’s release in Germany on October 8, 2015,  Frontex, the EU’s  external border force, has pegged the total land wave of non-visa holding Syrian immigrants at over 1,800,000 total for 2015. 

The film itself is  well written, superbly acted ,and finely shot, with seamless effects.  It deals with major issues (including feeding the entertainment appetite of the lowest common denominator) while also winking its eye at the viewer, seemingly admitting it is pushing the same greedy, racist buttons as its protagonists do throughout the film. 

But it also comments on the evil of Hitler’s actions, the complacency of the people who accepted his leadership, the repetition of history & the shared responsibility for maintaining a humanist’s integrity.  It’s social & moral conscience is recovered in the character of Fabian and his realization of the truth of Hitler’s identity. 

Hitler responds to this accusation about his identity by reminding his accuser that he always said he was Hitler & never said he was anyone else. True evil never does. Likewise, the film stays true to itself & never shies away from being what it is. Interesting movies never do. 

Schultze gets the blues & we get lucky…

11 Mar

What is a fellow to do when he is forced into early retirement? if you are Irish, you go in on a fish & chip van (The Van-based on Roddy Doyle’s book of the same name). If you’re Scottish, you decide to swim the English Channel, like Peter Mullan (2005’s On a Clear Day). If you’re Schultze, forced out of your job in the salt mines in a small German town, you stumble around as time passes, until you find something that speaks to your soul.

Part road trip, part performance film, part German beer part Louisiana beignets, we go from small town to bayou & enjoy the journey all the way. Director Michael Schorr’s gently paced doesn’t pander to the audience but instead pulls us along with it…


Del Sarto, Sorrentino, Bottura & Klimt… 

10 Jan
  • We might finally be going into the cold void of winter here in New York, but for me it has been an explosive spring, a veritable reawakening of art, food & film.    Today’s brunch at the Ron Lauder’s Neue  Gallerie ( of smoked trout crepes in the Sabarsky Cafe, thank you very much…) caps several crammed weeks of Museum hopping, Oscar screenings, and cafe dining.  
  • I’ll be looking at the various films, exhibits and nibbles in more detail in the coming weeks,but I couldn’t let anymore time go by without commenting on a few quick highlights . 
  • Go see Paolo Sorrentino’s La Giovinezza/Youth. And then go see it again.  Set in a spa retreat in the Alps, Sorrentino seduces you with incredible imagery, amazing sound ( AND SILENCE), as wel las presenting you with a sometimes comic, often poignant, look at relationships, careers & lifespans.  Michael Caine, Harvey Keitel & Rachel Weisz all contribute nuanced complicated performances that pull you along.  
  • Tarantino’s  The Hateful Eight is also another must see  with compelling storytelling- although you have to be up for the bloodiest & violence that is Tarantino. His choice to shoot in 70mm, even though much of the film occurs in an interior setting, kept making me think that this medium would serve Sorrentino’s visual poems much better.  Paolo – per favore! shoot in 70mm!!! Or maybe even IMAX!!
  • ( in an odd aside, I was immersed in Freds as I am curating a series on Mel Brooks. The same week that saw Michael Caine’s performance as Fred, included Gene Wilder’s performance as Frederick ( or “Froderich”-  according to Marty Feldman’s incomparable Igor.) –  
  • Another great combo this week was the trout crepes (pictured above)  and the small but potent permanent collection in the main gallery at the Neue on Fifth.  
  • The rotating space is changing over for a February 18th opening of Munch (& yes, it will feature The Scream …) so the next few weeks are given to the permanent gallery & an exhibition on German posters.   
  • There is a simple joy in standing  in front of a few perfect Klimts, including of course, the portrait of Adele Bloche Bauer, bought for $135 mil by Ron Lauder for the Neue from Maria Altmann a few years after she won a court case for the restitution of 5 of her uncle’s Klimts that had been sold to the Austrian State Gallery collection by the German state.  ( Last year’s film, The Lady in Gold, hollows Altmann’s legal battle fur restitution of her uncle’s collection) 
  • There are 3 other portraits & 3  landscapes in various styles (pointillist, Toulouse-Latrec inspired, nods to Fernand Knoppf, etc) that will also capture your imagination, but it is the Ravenna/San Vitale mosaic inspired portrait of Bloch Bauer that is the scene stealer in the room. 
  • In fact, I think I am going to sneak one more peak at the incredible detail …     
  • More on next time on Del Sarto’s Madonna & Bottura’s rescuing Of the parmigiano cheese industry after the Modena earthquake with a simple risotto cacio e pepe recipe…
  •   Until then… “Ciao chow”

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