Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Actor-filmmaker-founder of Sundance Film Institute Robert Redford turned 85 today! (Aug. 18).
He has been a major part of my film-going life, first as an actor, then making smart movies, and then deciding storytelling would be his life’s work through honoring independent films in Utah.
“Storytellers broaden our minds: engage, provoke, inspire, and ultimately, connect us,” he once said.
He has changed the film industry and changed lives.
Early on, he broke the mold in Hollywood and carved out a career on his own terms, living far from the celebrity life in Utah, raising a family and becoming an environmental activist.
He turned the perception of a ‘golden boy’ into an exploration of culture and society’s roles/expectations. (His movie, “Quiz Show” is rarely mentioned, but go back, and what he says about the American Dream — great work by Ralph Fiennes and John Turturro).
My sister Julie and I rushed to every one of his film openings in the 1970s after “Butch Cassidy and the Sundance Kid” (when I was in high school), then hit after hit — “The Sting,” “The Way We Were,” “Three Days of the Condor,” “The Candidate” and “Jeremiah Johnson,” among them.
He was born to play the tortured hero Jay in “The Great Gatsby,” starring opposite Mia Farrow in the 1974 adaptation that did not measure up to expectations.
My boys used to give me DVDs of his work for Mother’s Days (and paired “The Natural” one time with “Serial Mom” — yep, that’s my John Waters’ loving son Tim’s idea of humor).
Hubbell Gardiner in “The Way We Were”
He gave us the definitive investigative journalism movie “All the President’s Men,” one of my all-time favorites and inspirations, explaining how the press changed the course of history in our country’s politics.
For his only competitive Oscar, he turned the bestselling book “Ordinary People” into an honest and painful study on families and grief in 1980.
I watched it again a couple months ago, and wow, does it resonate. Mary Tyler Moore, Donald Sutherland and Timothy Hutton turn in some of their finest work. I will argue its value to anyone who wants to fight me on this.
His intelligence behind the baby blues, his sharp observations on human behavior — obvious early on in a remarkable filmography.
He only works sparingly in front of the camera these days, but I think he still has it – particularly in “The Old Man and the Gun” with Sissy Spacek,” “A Walk in the Woods” with Nick Nolte, and his solo tour de force “All is Lost.”
Robert Redford and Paul Newman
He has never been afraid to be a flawed anti-hero (“Downhill Racer”) or an all-out bad guy (spoiler alert: “Captain America: The Winter Soldier.”)
The on-screen pairings have been high points — so memorable as Denys with Meryl Streep in “Out of Africa.”
A good move was working with Brad Pitt in “Spy Game,” and he coaxed a career-best performance (at the time) from Pitt in “A River Runs Through It,” which he directed and narrated.
Of course, the pinnacle was his work with Paul Newman, and thus, the buddy movie was born.
And three films with Jane Fonda, They both started out on stage in the late 1950s and worked early together on film when he reprised his role as Paul in “Barefoot in the Park.” Then, reunited in “The Electric Horseman” in 1979 and “Our Souls at Night” in 2017.
In the Natalie Wood documentary, “What Remains Behind,” he is one of the commentators and remained a close friend, after they made two films together (“Inside Daisy Clover” and “This Property is Condemned” in the ’60s), before he exploded as a superstar. She, in turn, showed up in a cameo in “The Candidate.”
Roy Hobbs in “The Natural”
For a while in the 1990s, he experienced a screen ‘renaissance’ — “The Horse Whisperer,” “Indecent Proposal,” “Up Close and Personal” and “Sneakers.”
He will always be Hubbell Gardiner and Roy Hobbs to me, masterful screen portraits of complicated guys.
Cases in point: Hubbell’s college writing: “In a way he was like the country he lived in — everything came to easily to him. But at least he knew it.
“Roy in hospital: “God, I love baseball.” “There goes Roy Hobbs, the best there ever was in this game.”
Meryl’s Karen in “Out of Africa”: “When the gods want to punish you, they answer your prayers.”
And this:(Robert Redford) “You’ve ruined it for me, you know.”(Meryl Streep) “Ruined what?”(Robert Redford) “Being alone.”
You see all these being said, don’t you?
And of course, the “Be a Beacon” speech in “Sneakers.” https://youtu.be/2q2iQC-4wbA
What great timing!
Thank you, Mr. Redford, for the memories and your lasting impact.
(On a Related Note: In January 2011, my two sons and I made the cut to be volunteer ushers at the Sundance Film Festival. It was a highlight of my life, and sharing it with my movie-loving boys was very special. Tim described it as the greatest two weeks of his life, and he saw something like 23-24 movies in 11 days).
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Inspired by an adored golden-age movie musical 67 years ago, the stage version of “Seven Brides for Seven Brothers” has been updated to rework some of the more problematic portions of the plot for contemporary audiences.
While the Muny’s latest production tries mightily to breathe new life into one of the more neanderthal mid-century musicals, selling the macho characters is a pesky issue to overcome – even with a cast deep with exceptionally skilled dancers and singers.
Head of an all-male household in the mountains, Adam’s caveman way of thinking has influenced his uncultured backwoods brothers. However, they have their ‘teachable’ moments in the revamped book.
The focus on the uncouth siblings becoming more civilized around women – as they have zero experience with the opposite sex – is part of the show’s enduring charm.
They are tutored by their new sister-in-law, the dissatisfied yet determined townswoman Milly (Kendra Kassebaum). Though strong-willed, she is coerced into marrying Adam (Edward Watts) in a weak moment when he comes to town on a woman-hunt.
We can look it this as a ‘glass half full’ or a ‘glass half-empty’ experience.
After all, that is the period. The time is 1850, during the great migration to the Pacific Northwest on The Oregon Trail, when men still acted like women were property, and society felt marriage was in part a financial transaction.
In so many words, people didn’t discuss gender politics. Times, as they tend to do, have changed. But we are still evolving as a society, and theater must address the modern sensibilities to stay relevant. Musical theater, by virtue of its history, is forced to mirror those changes, and this discussion will be ongoing.
As we are painfully aware, during this 21st century, particularly in the last five years, with the #MeToo and #Time’s Up movements, the old-fashioned sexist attitudes on display in the old chestnuts are hard to get beyond. (Think of the abused women in “Carousel” and “Oliver!”). In the upcoming “Chicago,” we hear another side from fed-up females in “Cell Block Tango.”
Thankfully, among the improvements to “Seven Brides for Seven Brothers,” they have removed Adam’s song, “A Woman Ought to Know Her Place,” and Milly’s “One Man.”
Edward Watts and Kendra Kassebaum as Adam and Milly. Photo by Phillip Hamer.
They have added a feisty “I Married Seven Brothers” for a peeved Milly – a highlight for Kassebaum — and “Where Were You?” as a vehicle for Adam to vent his anger from his perspective.
Nevertheless, a musical that is based on a Stephen Vincent Benet short story, “The Sobbin’ Women,” which was shaped by an ancient Roman legend called “The Rape of the Sabine Women,” that’s just hard to spin – and swallow — these days. And the plot hinges on the other six brothers encouraged to kidnap women they took a shine to in town, so that is a controversial hurdle.
And despite a Herculean effort from the Muny’s creative team to focus on a battle of the sexes and bring out the personality and humor, the aggressive song “Sobbin’ Women” and some of the remaining dialogue are wince-inducing, even like nails on a chalkboard.
I know, I know – people generally go to musical theater to be entertained, to escape the realities of daily life and usually aren’t seeking enlightenment while enjoying song and dance. They are just fine taking a respite, blissfully unaware of the real world. They enjoy a bouncy, tuneful musical and take it all in stride.
That’s not me. So, this review is from my perspective. As a friend said, “Every musical is someone’s favorite.” I had to keep reminding myself: “Context.”
It’s like my inexplicable fondness for “Mamma Mia!” Everything screams silly, but I love it, and have seen it at least six times — reminds me of “Gidget” movies when I was growing up, comfort food for the soul.
Under a magnifying glass, many musicals can’t hold up to current scrutiny, but that debate will keep on keeping on.
Peruse a list of musicals from the 1940s through 1970s, and so many female characters are underwritten – typically waiting for a man to rescue her or change her life, which should be annoying to current generations.
Modern musical theater has hopefully moved beyond that. Maybe someday our princes will come, but none of that royal superiority, he’ll be on equal footing, and in the meantime, we’re following paths trailblazed by women who clamored to be heard.
Next week’s “On Your Feet!” will show a true partnership between a husband and a wife, Gloria and Emilio Estefan.
“Seven Brides for Seven Brothers” isn’t the first musical to deal with deception – for starters, the list includes “Light in the Piazza,” “The Most Happy Fella,” “Dirty Rotten Scoundrels,” “A Funny Thing Happened on the Way to the Forum” (and ‘go!’), among others.
And bull-headed Adam and assertive Milly work on trust issues to advance the plot.
People really do have affection for the 1954 movie. It was nominated for Best Picture, losing the Oscar to “On the Waterfront,” but won Best Scoring of a Musical Picture. In 2006, the American Film Institute named it one of the best American musicals ever made, and in 2004, the Library of Congress’ U.S. National Film Registry selected it for preservation because of it being “culturally, historically or aesthetically significant.”
Many fans enjoy the nostalgia, the appealing leads – brawny Howard Keel as Adam and sweet girl-next-door Jane Powell as Milly, plus the gymnastic Russ Tamblyn as youngest brother Gideon, and foremost, those rousing dance numbers.
The Muny drew 6,907 patrons on opening night. This is the sixth time the Muny has produced the show. Taking a cue from a reworked version by the Goodspeed Opera House in 2005, brought in David Landay, an original co-writer of the stage play, to do some rewrites and editing. A female contribution may have been helpful too.
The script feels like whiplash. One minute, the women are acting empowered, and the next minute the guys seem in “Me, Tarzan, you Jane” mode. It’s like when people attempt to update Shakespeare by a couple hundred years, but don’t commit to a wholly new vision.
Oh well. Baby steps. Growth is good.
In recent years, the Muny has resurrected some of the creakier shows and presented versions with freshened books – most notably “The Unsinkable Molly Brown” and “Paint Your Wagon,” both of which I enjoyed.
I was hoping this would be similar. Several members of the “Paint Your Wagon” production team have returned for this reboot, including director-choreographer Josh Rhodes and associate director-choreographer Lee Wilkins, along with music supervisor Sinai Tabak.
The music direction by Valerie Gebert is crisp. Additional arrangements and orchestrations are by Larry Blank and Mark Cumberland. That’s quite a collaboration.
The Muny was one of the first theaters in America to present the stage adaptation of the movie, back in 1978 during a pre-Broadway tryout. The new stage show didn’t make it to Broadway until 1982; its last year at the Muny was 2011.
The music retained from the movie, written by Saul Chaplin and Gene de Paul, with lyrics by Johnny Mercer, includes “Bless Your Beautiful Hide,” “Wonderful Wonderful Day,” “Lonesome Polecat” and “Goin’ Courtin’.”
Al Kasha and Joel Hirschhorn wrote “Love Never Goes Away,” “We Gotta Make It Through the Winter,” and “Glad That You Were Born” for the stage show.
The maidens in The Quilt Dance. Photo by Phillip Hamer.
The show has always been considered a major dance vehicle, and five-time Tony Award winning choreographer Michael Kidd cemented his reputation through his robust barn-raising dance and his movements based on reality.
Kidd’s unpretentious style earned him Tony Awards in “Guys and Dolls,” “Can-Can,” “Lil Abner,” “Finian’s Rainbow” and “Destry Rides Again,” and lasting Hollywood admiration (check out Danny Kaye in “Knock on Wood.”)
His uncommon approach transformed frontier chores into rollicking dance numbers. He once said if he had made slobs in the woods break out in ballet, people would have ridiculed it.
And the Muny has assembled an outstanding dozen triple threats to portray the men and women going courting – the Pontipee brothers show off their muscular moves in “The Challenge Dance” at the church social while the maids-in-waiting demonstrate a graceful, sophisticated elegance in “The Quilting Dance.” The finale, “The Wedding Dance,” wraps everything up on an enthusiastic, happy note as a long winter has turned into spring.
Rhodes has emphasized the ensemble’s energy and spotlighted the athletic and acrobatic dances. He helmed an exhilarating “Newsies” in 2017 and has finessed these pieces with vigor.
Kassebaum, who grew up in St. Louis, was impressive as lovable and comical showgirl Adelaide in the 2019 “Guys and Dolls” (and won a St. Louis Theater Circle Award for that performance). She is an emphatic Milly, strong in voice and spirit.
Edward Watts, saddled with a distracting shaggy hairstyle, struggled with the push-pull of that stubborn barbaric character, but is assured in his commanding vocal numbers and a sturdy physical presence as the dominant hero.
The brothers, nowhere near as educated as the snotty East Coast-bred smart-alecks running the town, show plenty of spirit and ‘street smarts’ when they are struck by love and try to impress the town maidens.
Raised to think marriage is the end-all for their young lives learning how to cook, sew and clean, the women must play the stereotype common to the era. But here, they have a tad more gumption, individually attracted to the guys, no matter what their dads say.
Harris Milgrim is a standout as second-oldest brother Benjamin, and lithe Carly Blake Sebouhian’s beautiful movements and ballet-training are noticeable as Martha.
The seven brothers. Photo by Phillip Hamer.
The limber Pontipee lads include Waldemar Quinones-Villanueva as Caleb, Ryan Steele as Daniel, Garett Hawe as Ephraim, 4-time Muny vet Kyle Coffman as the tempestuous Frank, and Brandon L. Whitmore as Gideon.
The supple refined city girls are Leslie Donna Flesner as Dorcas, Shonica Gooden as Sarah, Sarah Meahl as Ruth, Mikayla Renfrow as Alice and Kristin Yancy as Liza.
Michael Schweikardt has provided majestic mountains to convey the grand open spaces and dense forests for the topography while video designer Caite Hevner’s striking work on the changing seasons and the Echo Pass avalanche are spectacular. Schweikardt’s multi-floor log farmhouse is masterful in levels and details.
While some shows like the culturally inappropriate “Flower Drum Song” have unofficially been ‘retired,’ the jury is obviously still out on this show. The passionate performers carry this one here over the threshold
A look back can be a step forward in some instances. The Muny has put a tremendous amount of effort in making this production palatable for its multi-generational audience. Yet, the outdated debate will continue.
As Thursday’s opening night rainout indicated, patience is a virtue. Not to be a Debbie Downer, this isn’t a step backwards, but some of us are ready to move on.
The company of “Seven Brides for Seven Brothers.” Photo by Phillip Hamer.
“Seven Brides for Seven Brothers” is at 8:15 p.m. through Wednesday, Aug. 18, at the Muny outdoor stage in Forest Park.
The shows remaining are Seven Brides for Seven Brothers (Aug. 12 – 18), On Your Feet! (Aug. 21 – 27) and Chicago (Aug. 30 – Sept. 5). For more information, visit muny.org.
Tickets can be purchased in person at the box office, online at muny.org or by phone by calling (314) 534-1111.
To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Patsy Cline was that rare artist who made a deep connection with anyone who listened to her sing.
A similar effect happens with actresses Diana DeGarmo and Zoe Vonder Haar, who are a delightful combo of sweet and salty, smooth and sassy, silky and spirited, in the jukebox musical “Always…Patsy Cline,” now playing at Stages St. Louis through Sept. 5.
Raised in Georgia and now living in Nashville, DeGarmo has returned to her country music roots in a thoroughly engaging performance.
She sleekly inhabits Cline, who is considered the most popular female country singer in recording history. DeGarmo emulates Cline’s richly textured, emotive voice, and effortlessly delivers 27 numbers, including five with Vonder Haar, who plays Cline’s fan-turned-friend, Louise Seger.
DeGarmo, who was the runner-up on Season 3 of “American Idol” at age 16 in 2004, which Fantasia Barrino, 19, won (a total of 65 million votes were cast for both), has since pursued a music and musical theatre career, appearing on Broadway and in national tours.
Diana DeGarmo as Patsy Cline, Photographed by ProPhotoSTL
Previously in St. Louis, she was impressive as Doralee Rhodes in the first national tour of “9 to 5: The Musical,” which stopped at the Fox Theatre in February 2011, and also at the Fox in 2014 as the Narrator in the revival tour of “Joseph and the Amazing Technicolor Dreamcoat.” Her husband, Ace Young, was Joseph. (She met Young, who was on American Idol’s fifth season, when they were cast in “Hair” and have been married since 2013).
She is poised and commanding as she interprets one hit song after another, showcasing her range and control. The vocals on the ballads “Crazy,” “I Fall to Pieces” and “Sweet Dreams” are particularly lush, tugging on your heart strings.
She has fun changing tempos with the more down-home numbers, such as “Stupid Cupid” and “Shake Rattle and Roll.”
DeGarmo projects an elegance, which is enhanced by Brad Musgrove’s gorgeous vintage costume designs, and she is exquisitely lit by lighting designer Sean M. Savoie.
She has a dynamic chemistry with feisty firecracker Vonder Haar, the veteran fan favorite who has played Louise twice before. Vonder Haar won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for the first time (and would go on to win that same award for Stages’ “The Full Monty” two years later).
It’s a good match. Seger, a colorful Texas housewife, was a devoted fan who first saw Patsy on “Arthur Godfrey’s Talent Scouts” in 1957, when she won after singing “Walkin’ After Midnight.” Living near Houston, she attended the singer’s show at the Esquire Ballroom in 1961, and they connected as friends, writing letters and talking on the phone until the singer’s tragic death at age 30 in a plane crash in 1963.
Playwright Ted Swindley fashioned the interviews Seger did for the biographies “Patsy Cline: An Intimate Biography” and “Honky Tonk Angel: The Intimate Story of Patsy Cline” into the source material for his 1988 two-woman tribute revue, “Always…Patsy Cline,” which is the epitome of a crowd-pleaser. It is licensed by Cline’s family and estate.
Zoe Vonder Haar as Louise Seger, photographed by ProPhotoSTL
From Seger in “Country Weekly”: “The person inside me recognized the person who lived inside her. It was truly eerie.”
Patsy joined Louise and her friends and after the show accepted an invitation to Louise’s home for a late-night breakfast. “It was like I was living in a dream. There was Patsy Cline in my kitchen helping me fix bacon and eggs. She took her shoes off and wore an apron I gave her.
“She told me about her life, her hopes, her dreams. We discussed loves lost, loves found, loves yet to be.
“We talked about her troubled marriage and the pain she endured being away from her children. It was just two people baring their souls.
“We both sang and harmonized old Gospel songs and hillbilly tunes. We sat there and smoked and sang until 4:00 in the morning.”
Louise rushed Patsy to the airport, expecting never to hear from her again. But within two weeks, Louise received her first in what was to be many letters and phone calls they would exchange.
“I often would receive calls at 1:00 in the morning. She’d be singing in some town wanting a friend to talk to.”
Of course, this was 60 years ago, before entertainers had security, a ‘team’ and ‘people.’ It was just two women bonding at a kitchen table.
While Swindley took some poetic license, the story is true – a glamorous celebrity who grew up without privilege and her plain-spoken, music-lovin’ pal.
From the moment she sashays on to scenic designer James Wolk’s vintage 1950s-era kitchen set, Vonder Haar, a St. Louis treasure, is a funny and sincere Louise. She engages the audience as comic relief with her folksy charm, coming across like a neighbor joining you for a kaffee klatch.
This memoir, which opens the theater company’s 35th anniversary year, is the most popular show in Stages’ history. This is the third time it’s being presented, after back-to-back runs in 2013 and 2014, which demonstrates again how endearing and charming it is. It was as warmly received Aug. 11 as it was seven and eight years ago.
The cozy show, first at Stages’ former home at Kirkwood’s Community Center, then moved intact to The Playhouse at Westport Plaza, is opening their new venue, the Kirkwood Center for the Performing Arts. The Ross Family Theatre seats 529 comfortably.
Artistic Director Michael Hamilton has recreated the production, capitalizing on the actress’s strengths. The premise is simple – showing Cline singing at the Grand Old Opry and other locations, with Louise listening to her on the radio, which was a communication lifeline for people back then.
A simpler time, a touch of nostalgia, admiration for a career cut way too short, but spotlighting music that continues to warm hearts to this day.
The lively band, conducted by music director Jeremy Jacobs, who also plays the piano, is an expert blend of Steve Hitsman on steel pedal guitar, Dave Black on electric and acoustic guitars, Kevin Buckley on acoustic guitar and fiddle, Eric Grossman on bass and Joe Meyer on drums. Their tight sound is mighty in an alcove perched behind a scrim.
Original orchestrations for the band and vocals were crafted by August Eriksmoen and Tony Migliore.
While the songs take center stage, the fascinating tale of a close friendship between kindred spirits is what resonates, drawing an audience in, one who welcomes the warm embrace of harmony in music and life.
Diana DeGarmo as Patsy Cline, photographed by ProPhotoSTL
Stages St. Louis presents “Always…Patsy Cline” through Sept. 5, performance times vary, at the Ross Family Theatre inside the Kirkwood Performing Arts Center at 210 Monroe St. ASL interpreting and audio description by MindsEye will be available for the Aug. 20 show. For more information, call 314-821-2407 or visit www.StagesSt.Louis.org. Follow Stages on Facebook and Instagram.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Sure, it’s predictable, but “CODA” earns its way into your heart with a touching family coming-of-age story that makes it impossible not to be moved by it.
As a CODA (Child of Deaf Adults), Ruby (Emilia Jones) is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents (Marlee Matlin, Troy Kotsur).
With warmth, humor and a strong cast, “CODA” has turned a conventional family dynamic and an oft-told tale of a teenager pursuing her dream into something special. Not original, it is a remake of a 2014 French film, “The Belier Family,” but setting it in America translates well.
The film has an appealing lived-in atmosphere. The solid sense of place, set in a New England fishing village — Gloucester, Mass., is one of this small film’s charms. Cinematographer Paula Huidobro deftly handles land and sea — and a flooded rock quarry. Production Designer Diane Lederman has added visual texture with a shabby yet cozy clapboard cottage as the family home and a battered fishing trawler for its business.
The working-class Rossi family has earned its living as fishermen. Dad Frank, Mom Jackie and son Leo are all deaf, and the local fishing business is going through economic struggles, which affects their home life. Ruby helps, but she has high school and can’t be there all the time.
Because she loves to sing, the shy and awkward teen signs up for choir, surprising her best friend and family – and herself. Her mother doesn’t understand this need to pursue a hobby – and underestimates Ruby’s passion.
A tough music teacher, Bernardo Villalobos recognizes her natural talent and pushes her to succeed, although she is her own worst enemy because of her lack of confidence, not commitment.
A graduate of the prestigious Berklee College of Music in Boston, Mr. V has arranged auditions at his alma mater for a bright star, Miles (Ferdia Walsh-Peelo), and decides to do the same for Ruby.
“There are many pretty voices with nothing to say,” Mr. V tells her. “Do you have something to say?” Turns out, she does.
But the family’s dependence on Ruby is so overwhelming that she feels that she can’t pursue her dreams. Well, open the waterworks, because there will be bumps in the road, and baby steps, to finding a way to keep her time slot – not only as an individual, but also as a family.
Director-writer Sian Heder has presented the challenges of deaf adults in a hearing world with compassion and accuracy. Through her sharp observations, we can see what hardships that hearing-impaired people face daily. She demonstrates it effectively throughout the film, but a later scene at a concert, shot with complete silence, is a stunner.
Heder, with only her second feature film, won the directing award at this year’s Sundance Film Festival. Like “Minari” last year, “CODA” was honored with both the Grand Jury Prize and the Audience Award in the U.S. Dramatic Competition, and a Special Jury Prize fpr Best Ensemble.. Apple Studios purchased it for a record-breaking $25 million. I hope it will have a broader reach than arthouses.
Oscar winner Matlin, now 55 and the mother of four children, has been an active spokeswoman for the National Captioning Institute. In 1995, she was instrumental in Congress passing a law requiring all television sets that are 13 inches or larger to be manufactured with built-in chips for closed captioning capabilities on their screens.
After winning the Academy Award in 1987 for her debut screen performance in “Children of a Lesser God,” she has represented the deaf community for breakthroughs large and small.
Her visibility here, as an imperfect mother seeking to be more sensitive to her hearing daughter, is immeasurable, and she does a fine job.
As the sexy mom, she has a playfulness with deaf actor Troy Kotsur, whose portrayal of a gruff but soft-around-the-edges dad is believable. They provide a light-hearted touch, as does deaf actor Daniel Durant as big brother Leo, who tussles with his baby sister like brothers naturally do.
Emilia Jones’ pitch-perfect performance is the necessary glue, and fully engaged, she does not overplay the teenage angst and range of feelings.
The family’s love for each other can be felt, and the actors project that bond.
Supporting players also appear comfortable in their roles, particularly Eugenio Derbez, known for comedies in his native Mexico, showing his drama skills as the no-nonsense choir director.
He’s relatable, as is Ferdia Walsh-Peelo, so terrific in 2016’s sublime “Sing Street,” as Ruby’s duet partner Miles. So is Amy Forsyth, notable as Ruby’s best friend Gertie.
Also noteworthy is composer Maurius de Vries for his expert music supervision. He worked on both “La La Land” and Baz Luhrman’s “Moulin Rouge!” and makes some interesting choices here. Miles and Ruby sing the Marvin Gaye-Tammi Terrell classic “You’re All I Need to Get By” and Ruby’s audition piece is Joni Mitchell’s “Both Sides Now.” Be sure to stay for the credits to hear Jones’ sweetly sing “Beyond the Shore.”
Emilia Jones and Eugenio Derbez
The movie uses English subtitles when characters use American Sign Language.
A crowd-pleaser in the mold of “Billy Elliot,” “CODA” resonates because it takes a familiar story and amplifies it through a different perspective. It is a major step forward in inclusivity. “CODA” is a 2021 drama directed by Sian Heder and stars Emilia Jones, Marlee Matlin, Troy Kotsur, Daniel Durant, Eugenio Derbez, Ferdia Walsh-Peelo and Amy Forsyth. Rated PG-13 for strong sexual content and language, and drug use, its runtime is 1 hour, 51 minutes. It is in theaters and streaming on Apple Plus TV starting Aug. 13. Lynn’s Grade: A-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Jennifer Hudson is a vocal powerhouse as “Queen of Soul” Aretha Franklin, showing her rise from preacher’s daughter to global fame and fortune. She pours her heart and soul into this role of a lifetime.
But unfortunately, the film is a formulaic biopic that hits all the melodramatic cliches of a messy personal life when the career achievements should have been more of a focus, instead of a greatest hits package followed by a photo-and-video collage during the credits.
The R&B superstar Aretha died at age 76 on Aug. 16, 2018, so there is a lot of life to pack into a 2 hour and 25- minute film, and while Aretha’s true story is a dandy one, the movie decides to ramp up the soap opera and leaves gaps in professional highlights.
First-time director Leisl Tommy, coming from Broadway, and screenwriter Tracey Scott Wilson (“Fosse/Verdon”) time-stamp events, but some of the major recording milestones are given short shrift in favor of the seamier side of the characters. The movie touches upon childhood traumas – but no real depth — maintains a choppy style that leaves out facts that should have been included.
Aretha, who grew up comfortably in Detroit and sang not only at New Bethel Baptist Church, where her father was pastor, but also entertained invited guests at his beautiful home, was sexually abused by a family friend as a girl and had her first child at age 12. She was emotionally damaged by the loss of her divorced mother (Audra McDonald), who did not have custody, and died before Aretha was 10.
Skye Dakota Turner does a remarkable job as the young Aretha. She also played a young Anna Mae Bullock, aka Tina Turner, in the recent Broadway musical on that singer’s life and career.
The main theme of this biopic is how Aretha was controlled by men – her father, Clarence, played by Forest Whitaker as a strict authoritarian with a hunger for celebrity status, and her abusive husband-manager Ted White, well-played by Marlon Wayans, whom she was married to from 1961 to 1969. You can feel the tensions rise every time he walks into a room, whether it’s with her family or a recording session, because of his combative know-it-all nature — and his eye on the gravy train.
How she finally dealt with her ‘demons,’ including a downward spiral as an alcoholic that seemed to come out of nowhere, is addressed but quickly. That tonal shift is one of the film’s problems.
The movie hits its stride when the restless artist in her craves something more than recording jazz albums, and she hooks up with legendary producer Jerry Wexler of Atlantic Records – comedian Marc Maron in an endearing, natural performance as the blunt-spoken instinctual record label pioneer.
Her Muscle Shoals recording sessions in Alabama in 1967 and her reinvention of Otis Redding’s “Respect” with the help of her sisters — and back-up singers, is a high point, and offers an intriguing inside look of an uncompromising artist.
Hudson is electric when performing Franklin’s hit songs, including her first number one, “I Never Loved a Man the Way I Loved You,” and her chart-toppers “Chain of Fools” and “Think.”
The Oscar winner for her breakthrough performance as Effie White in “Dreamgirls,” Hudson has grown as a confident performer and understands Franklin’s multi-facets. In her posture, she carries herself with that same dignity. The costumes and hair and make-up are outstanding, encompassing at least four decades.
For as much as this story is heightened drama about her personal life, we mostly get fuzzy details. Aretha, mother of four, was married twice and had a child with her road manager.
Considered one of the most influential artists of the 1960s, she was a civil rights activist early on and a feminist inspiration after recording “Respect” and Carole King’s “(You Make Me Feel Like) A Natural Woman.”
The first woman inducted into the Rock and Roll Hall of Fame, Franklin was named the number one female singer of all time by Rolling Stone magazine. Her blend of spirituals, the blues, R&B and rock and roll was one-of-a-kind. You will leave with more of an appreciation for the woman and the artist.
You must stay through the credits to get some professional nuggets, including her appearance at Barack Obama’s 2009 inauguration and paying tribute to Carole King at the 2015 Kennedy Center Honors. There is a lot of reading to do.
The cast is large and sprawling, and sometimes, hard to figure out who is who. However, Mary J. Blige is notable as diva Dinah Washington, who throws major shade Aretha’s way after she moves to New York City.
Such formidable singers as 6-time Tony Award-winner Audra McDonald, who plays Aretha’s mother Barbara, and Tony winner Heather Headley, as Clarence Franklin’s longtime girlfriend Clara Ward, are in minor roles.
The movie, while overly long, leaves out her second marriage to actor Glynn Turman and one of her biggest triumphs, singing “Nessun dorma” at the Grammy Awards in place of an ill Luciano Pavarotti. It doesn’t mention moving over to Arista Records and RCA, and only gives a photo nod to her appearance in “The Blues Brothers.”
However, it does include the personal triumph of recording gospel music with a Baptist church in L.A. in 1972, “Amazing Grace,” which became her best-selling album of all-time and inspired a riveting documentary of the same name that wasn’t released until 2018. The doc is worth a rental.
R_25682_R
(l-r.) Hailey Kilgore stars as Carolyn Franklin, Jennifer Hudson as Aretha Franklin and Saycon Sengbloh as Erma Franklin in
RESPECT,
A Metro Goldwyn Mayer Pictures film
Photo credit: Quantrell D. Colbert
For all of the film’s zig-zagging, the music plays the most memorable role. And nothing can take that away from Miss Franklin, who tried to live life on her terms, and was a force until the end.
“Respect” is a 2021 biopic directed by Liesl Tommy and starring Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald and Marc Maron. Rated PG-13 for mature thematic content, strong language including racial epithets, violence, suggestive material, and smoking, run time is 2 hours, 25 minutes. In theaters Aug. 13. Lynn’s Grade: B
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Clever, brimming with wit and good nature, “Free Guy” is one of the most pleasant surprises of the summer.
An action video game, comic-book slate of heroes and villains and romantic comedy rolled into one, the plot focuses on a mild-mannered bank teller Guy (Ryan Reynolds) who discovers that he’s actually a NPC inside a brutal, open world video game. When he spontaneously decides to become his own hero, and proceeds to rewrite his story so that he saves the world — on his own terms, he unleashes a frantic race against time. Antwan (Taika Waititi), a megalomaniac tech mastermind, is hell-bent against Guy succeeding.
As one who isn’t a gamer – and had to look up what a NPC is (non-player character), I expected to be lost, but thanks to an engaging cast, I could not only keep up but also be entertained.
Set in a world of video game creation and role-playing, a town called Free City is where the action takes place, a busy burg with old-fashioned charm. Think Mayberry meets Metropolis.
Every day, the mayhem and mean streets one associates with video game action occurs as most everyone is trying to go about their daily lives. They deal with explosions, gunfire, criminals and stunts like it’s normal.
Guy’s jovial best friend, Buddy (Lil Rel Howery), is a security guard. The simple pleasure of a good cup of coffee makes their day, which includes a routine where they avoid gunshots, falling debris and hulking monsters.
Their oblivion and good hearts are refreshing, but of course, if there wasn’t a conflict, there would not be a movie. Can an action movie, particular in the sci-fi realm, be light-hearted?
“Free Guy” demonstrates that a little originality and a lot of technical acumen can produce a fizzy summer blockbuster not bogged down in high expectations.
As agreeable as cheery Guy is to watch going about his day, reminiscent of “The Truman Show,” waiting to pounce is a nefarious computer genius, Antwan. Waititi, the wildly talented actor-writer-director who won an Oscar for writing “JoJo Rabbit,” is gloriously over-the-top playing the devious guru who has underhandedly ripped off an enterprising programming whiz Keys (Joe Keery) and his resourceful co-creator Millie (Jodie Comer) by stealing their innovative life’s work.
Somehow, Guy switches up the rules and displays a mind of his own, which is unheard of in this universe. The whole world is watching as “Blue Shirt Guy” captures viewers/players’ hearts, and he is motivated because he is attracted to one of the tough female characters, also played by the winning Comer, Emmy winner for ‘Killing Eve.”
Game on! The action gets fast, furious – and fun. Shawn Levy has directed this in a high-spirited way. He’s known for the “Night at the Museum” franchise and the streaming TV show “Stranger Things,” and keeps the action moving and the story sharp.
The actor who has played Steve Harrington, Joe Keery, is a likable mild-mannered gamer and smart techie who is on to Antwan’s schemes. With the help of his cynical work pal Mouser, the well-cast Utkarsh Ambudkar, they’re one step ahead.
The cast appears to be ‘all in’ – and having a blast with the story’s playfulness. Howery, whose breakthrough was “Get Out” and has carved a niche as a good buddy, has a nice camaraderie with the everyman movie star Reynolds.
Reynolds is at his best as a good guy caught up in something he doesn’t understand. He has a knack for playing regular dudes under pressure, ready with a quip, and doesn’t shrink from saving the day. This role is more jocular, like DC’s “Deadpool,” his biggest hit, and he’s thoroughly charming.
“Free Guy” possesses a self-assured quality, and its veteran screenwriters know a thing or two about crowd-pleasers. Zak Penn, who sold his first script, “The Last Action Hero” when he was 23, has worked on films in the Marvel Comics Universe, including “X-Men 2” and “The Avengers,” and wrote “Ready Player One,” which bears a strong resemblance to the crux of “Free Guy.”
His co-writer Matt Lieberman has been working on such family-friendly fare as “The Christmas Chronicles” starring Kurt Russell as Santa Claus and the animated “The Addams Family” reboot.
Jodie Comer and Joe Keery in “Free Guy”
Together, they have fashioned a breezy romp that’s well-suited for the big screen and makes nimble use of a crackerjack cast, who has splendidly mastered green screen acting.
“Free Guy,” which was slated for release last summer, is one of those rare August treats that unexpectedly has provided a delightful cinematic experience. “Free Guy” is a 2021 action, sci-fi, fantasy, comedy directed by Shawn Levy and starring Ryan Reynolds, Jodie Comer, Taika Waititi, Joe Keery and Utkarsh Ambudkar. Rated: PG-13 for strong fantasy violence throughout, language and crude/suggestive references, its run time is 1 hour, 55 minutes. It opened in theatres on Aug. 13. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus At times, friendship is not always the perfect ‘blendship.’ Case in point: “Art,” a razor-sharp comedy currently being staged outdoors by Stray Dog Theatre through Aug. 21.
A friendship that spans 15 years is strained over a piece of modern art – an expensive, pretentious painting that art snob Serge (Ben Ritchie) has purchased to show off his privilege and to gain status.
The judgmental Marc (Stephen Peirick), who is domineering, snarky and self-righteous, takes one look and is aghast at this presumably “white” canvas.
With his “Are you serious?” reaction, Marc doesn’t hold back his horror, bluntly calling the vanity purchase a “piece of (expletive deleted),” even if Serge paid 200,000 francs for it.
Serge vehemently disagrees. He points out there is texture. It is, after all, by an artist of some note.
Later, they pull their more sensitive friend Yvan (Jeremy Goldmeier) into taking sides, and he, not wanting to rock the boat, offers a “maybe it has merit” viewpoint. Now he is caught in the middle between two alpha dogs.
Yvan’s comments push Marc’s buttons even further, calling into question the conciliatory one’s intellectual acumen – and life choices – because he might see some artistic significance.
Yvan is a poorer, put-upon chap about to be married, whose life seems to always be stuck in second gear. Anxious about the wedding, keeping both families’ happy, getting acclimated to a new job – it all seems too much for him, and then the two pals draw him into their tiff.
Serge is a dermatologist, Marc an aeronautical engineer and Yvan, well, he’s not really one with a ‘career’ – he just started working for his future father-in-law in the stationery business.
Ben Ritchie, Stephen Peirick and Jeremy Goldmeier in “Art” at Stray Dog Theatre. Photo by John Lamb.
The subjective debate turns into ugly confrontations that devolve into personal attacks, questioning the meaning of friendship and the definition of art. Their opinions – perhaps over-sharing but doubling down on how they feel – cause immediate fractures. Can respect and trust be restored or will the fallout be too much to overcome?
The dialogue is intricate and brings out each character’s distinctive personalities. As mud is flung, the play still retains some good zingers after 27 years.
All Stray Dog regulars, Peirick, Ritchie and Goldmeier settle into a rhythm that reflects their ease of working with each other.
This clever and humorous work by Yasmina Reza, a master at delving into contemporary foibles and a sharp observer of human behavior, was written in 1994.
Christopher Hampton translated it into English. He won an Oscar this past April for adapting another French playwright, Florian Zeller, into a screenplay for the British film, “The Father.”
“Art” opened on Broadway in 1998 after successful runs in Paris and London, winning the Tony Award for Best Play. It starred Alan Alda (Marc), Victor Garber (Serge) and Alfred Molina (Yvan, Tony nominee).
Reza also wrote “God of Carnage,” which won a Tony Award for Best Play in 2009. That show was produced by Stray Dog Theatre in 2015 and featured Peirick.
Re-emerging after a 16-month coronavirus public health crisis, Stray Dog Theatre has chosen well to begin producing shows again for a live audience.
In a wise stroke during these pandemic times, Artistic Director Gary F. Bell moved the production outside at their usual venue, the Tower Grove Abbey. On the lawn is limited, socially distanced seating, and masks are required (city mandate).
The bare-bones outdoor stage, with scenic design by Josh Smith, features two couches to represent the flats of Serge and Yvan – and of course, artwork, relying on its trio of accomplished actors to focus the action on their nimble wordplay.
Longtime lighting designer Tyler Duenow handled those duties and Justin Been, associate artistic director, provided his usual stellar sound design with acumen for appropriately selected music
The dialogue is challenging, and the actors must shift tones, delivery and their body language while staying true to the characters, no easy feat. The trio hit their stride – despite after such a long absence from the stage – and retain the play’s acid bite.
Goldmeier is splendid at portraying a sad sack trying to avoid confrontation and scrutiny. It’s obviously not his day, week, month or even year. His emotional fragility and near-meltdown are played for laughs, and Goldmeier adroitly handles the mood swings – and his complicated monologues.
Peirick conveys the tightly wound traits of Marc, while Ritchie delivers a nuanced portrait of a sophisticate, holding his ground about his beliefs and acquisitions.
Marc will go on to question everything – including choice of restaurant for dinner — mostly in a sarcastic, irritated tone. It’s clear that Serge thinks he is intellectually superior to his friends, and more cultured, while Yvan has valued their companionship, especially in light of his messier life.
Keenly in tune with the material and his actors’ capabilities, Bell has smoothly directed the show.
“Art” is a provocateur, questioning our thoughts on art, relationships and modern society. It’s a refreshing conversation starter for anyone craving intellectual stimulation and presented in a safe setting for an evening of entertainment.
Stephen Peirick, Ben Ritchie in “Art.” Photo by John Lamb.
“Art” runs about 90 minutes without intermission. The Stray Dog Theatre presentation is Thursdays through Saturdays at 8 p.m., Aug. 5-21, with an additional performance on Sunday, Aug. 15 at 8 p.m., outdoors on the lawn at Tower Grove Abbey, 2336 Tennessee Avenue. The seating pods of 2 and 4, for only 40 guests, will be filled from front to back, in guest arrival order, starting a half hour before curtain. For tickets or more information: straydogtheatre.org or call 314-865-1995.
All staff and crew will be wearing masks. Actors will not be wearing masks but are required to be vaccinated to work at Stray Dog Theatre. All guests, vaccinated or not, are asked to wear masks now that a city mandate is in effect.
FYI – Four of the remaining seven shows are sold out.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A thoughtful, meditative, unabashedly far-out sci-fi gem, Edson Oda’s directorial debut, “Nine Days,” asks intriguing questions about the rollercoaster of life.
This quietly bonkers film centers around Will (Winston Duke), an individual deciding which souls get the privilege of being born in a human body. He watches present-day Point Of View footage from everyone he’s allowed into the “real world” from the comfort of his modest house in the middle of nowhere, a salt lake limbo, taking copious notes on their day-to-days in an attempt to understand humanity.
Sometimes accompanied by his good-hearted helper and friend, Kyo (Benedict Wong), Will takes pride in seeing them lead healthy, happy lives. One of them unexpectedly perishes, however, tearing Will apart inside as he struggles to make sense of what happened — vowing to never let it happen again.
Thus, a vacancy opens that needs to be filled. Will meets a variety of applicants wishing to experience life. This archetypal group of souls includes the self-doubting Mike (David Rysdahl), the laid-back Alexander (Tony Hale), the hard-justice-driven Kane (Bill Skarsgård), the earnest, wide-eyed Maria (Arianna Ortiz), and the inquisitive, plot-altering Emma (Zazie Beetz), among others.
They are asked to watch the POV screens and to give answers to various questions examining their moral toughness over the course of nine days, with a victor announced at the end. Upon failing, some applicants get a chance to have a moment they’ve observed recreated for them before disappearing into nothingness. As the group winnows in the passing days, Will is forced to reckon with his own inner demons and consider the unknowable nature of life itself.
A captivating effort from everyone involved, “Nine Days” uses this bold premise to explore what it means to be alive. Oda’s unconventional allegory plays out in frequently powerful fashion — carried by excellent performances and an ethereal, at times mournful atmosphere pulsing with feeling. Along with methodical editing, arresting cinematography, and Antonio Pinto’s haunting score, the film brings viewers into this twisted median space in a manner mixing warmth with menace.
Although the finer details of the film’s universe aren’t clarified (don’t think too much about how or why Will acquired his “job”), “Nine Days” sinks emotional hooks into viewers from the first frames onward. It’s somewhat of a downbeat watch, prizing patient reflection over bombast, but “Nine Days” knows when to strike lighter notes as well and occasionally poke fun at itself despite the bleakness.
Duke does sterling work portraying a mysterious man playing God who’s trapped by his own cynical worldview, his decisions rooted in a desire to protect the applicants from a reality he views as cruel and demoralizing. Thanks to Duke’s pathos and the script’s empathy towards Will, his troubled mindset remains easy to connect with regardless of his flaws. Duke, with wire-rimmed glasses and a reserved demeanor, conveys Will’s inner tensions with a subtle performance that brilliantly showcases his severe facade gradually being chipped away.
Similarly effective is Beetz, a compassionate critical-thinker who doesn’t view human beings in a simplistic manner. Rather, she realizes the importance of relishing the good in the world, not letting negativity or nihilism corrupt her worldview. Her conversations with Will, inquiring into his own troubled past and encouraging him to reflect on what it all means, feature some of the most moving moments in “Nine Days,” tying into overarching takeaways.
Wong is a lovable, comforting presence as Kyo, helping Will recognize his faults and his potential to grow as a human being, providing the bulk of the film’s unexpected humor. The other characters, brought to (sort-of) life by a wonderful cast, get less screen time and aren’t as well developed as the main three, but there’s more to most of them than meets the eye. Like every human soul, they cannot be simplified to a few characteristics — rendering their passage or failure all the more heartbreaking. Their “Last Moments” are masterfully directed and difficult to forget.
Heavy without being dour, intricate yet accessible, “Nine Days” builds towards a conclusion that contains one of 2021’s best scenes. All the emotions felt throughout the film coalesce into a marvelous, life-affirming, slightly convenient resolution that’s aware of its own bizarreness while remaining highly impactful.
An assured effort from everyone involved, “Nine Days” satisfies both the mind and the soul. The world is full of darkness, but there’s still rays of hope bursting through the shadows. Oda’s film is a provocative reminder to appreciate the light where we can and strive to see another day in our beautifully inexplicable existence.
“Nine Days” is a 2020 sci-fi fantasy drama written and directed by Edson Oda and starring Winston Duke, Benedict Wong, Zazie Beetz, Tony Hale, David Rysdahl, Arianna Ortiz and Bill Skarsgard, Rated R for language, its runtime is 2 hours, 4 minutes. The film is available in theaters beginning on Aug. 6. Alex’s Grade: A-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A vibrant mix of bright colors and snappy Latin beats, the animated musical adventure “Vivo” pops with personality.
Set in Havana, Miami and the Everglades, this computer-generated effort from Sony Pictures Animation features multi-level humor and a cadre of lively characters to amuse. Most delightful is how it will tug on your heartstrings, and does so genuinely, not in a manipulative way.
Vivo, a Cuban kinkajou — a tropical rainforest mammal in the same family as a raccoon, known as a ‘honey bear,” spends his days playing music to the Plaza Vieja crowds in Havana with his beloved owner Andres.
The elderly Andres, once part of a musical duo with Marta Sandoval, receives a letter from the now-famous singer inviting him to her farewell concert in Miami. She wants to reconnect, and she is his ‘the one that got away.’ Vivo’s mission is to deliver a love letter to Marta, reluctantly teaming up with Gabi, an energetic tween who bounces to the beat of her own offbeat drum.
At its heart is the incomparable Lin-Manuel Miranda, voicing Vivo with customary charm. He wrote the tuneful score, a captivating swirl of salsa beats, peppy percussion, rap lyrics and emotion-filled ballads.
The much-honored Miranda, whose first animated musical was Disney’s “Moana,” brings his trademark energy and unmistakable writing style to this work, with such memorable songs as “Keep the Beat” and “My Own Drum” playing on a loop in your head post-viewing.
Vivo’s look, with a jaunty little hat and scarf, adds to the character’s appeal, and the other characters he meets along his journey are just as vivid. Because of circumstances, the rapping, flute-playing, music-loving creature reluctantly teams up with Gabi, a spirited maverick tween, with purple hair and a quirky wardrobe, who soon wins over all the outsiders of the world.
Newcomer Ynairaly Simo shines as Gabi, and the voice cast is well-suited for their roles. Gloria Estefan is diva Marta Sandoval, dazzling in shimmering aqua; Zoe Saldana is Rosa, Gabi’s exasperated mother; and Latin musician Juan de Marcos González is Vivo’s kind owner Andres.
In Key West, amid the blazing hot pinks and cool aqua tones, we find the goofy spoonbill Dancarino, voiced by Brian Tyree Henry, and in the dark and foreboding Everglades, Michael Rooker is effectively creepy as the villainous python Lutador.
Co-directors Kirk DeMicco, creator of “The Croods,” and Brandon Jeffords, known for his work on “The Mitchells vs. The Machines,” “Hotel Transylvania 2” and “Cloudy with a Chance of Meatballs 2,” put the characters through vigorous paces and propel the action logically through a zippy 99 minutes.
While this might not be as ground-breaking as Sony’s Oscar-winning “Spider-Man: Into the Spider-Verse” or this year’s outstanding “The Mitchells vs. The Machines,” “Vivo” has plenty of pizzazz to entertain.
It’s visually attractive, capturing the tropical feel – and notable is a funny sequence with pink flamingos. Legendary cinematographer Roger Deakins was a visual consultant.
The screenplay, by DeMicco and “In the Heights” co-writer Quiara Alegría Hudes, with story by Peter Barsocchini, of “High School Musical” fame, has smartly created emotional bonds between the characters and injected humor in a natural way.
In animation, next up for golden-boy Miranda is Disney’s “Encanto,” out Nov. 24, featuring his music and lyrics. Indeed, his future is bright.
But as for the present, his winning combination of voicing Vivo and writing the uplifting music and lyrics is one of the summer’s sweetest smiles. “Vivo” is a 2021 animated musical from Sony Pictures Animation co-directed by Kirk DeMicco and Brandon Jeffords. Voice work is by Lin-Manuel Miranda, Ynairaly Simo, Zoe Saldana and Gloria Estefan. It’s rated PG for some thematic elements and mild action and has a run time of 1 hour, 39 minutes. It is streaming on Netflix beginning Aug. 6. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus My first thought was “What did I just see?” Then, “How am I going to put this into words?”
In present-day Los Angeles, Henry (Adam Driver) is a comedian/performance artist with a shock act who is in love with his opposite, Ann (Marion Cotillard), a beloved and beautiful opera singer. Always in the spotlight, their passion is lived out loud. They have a child together, Annette, a prodigy who can sing like her mother and becomes famous too.
Over time, I predict that “Annette” will gain a cult following and be debated in cinematic circles. For now, this unconventional film is a strange experience, haunting and disturbing –yet there is a willingness to applaud the artists’ ambition at work here.
People involved in this production have renowned reputations for beating to their own drummers. Visionary director Leos Carax, responsible for the strangest film I have ever seen, “Holy Motors” in 2012, an indescribable mix with nods to David Lynch and Guillermo del Toro, took the reins here. He recently won Best Director for “Annette” at the Cannes Film Festival.
Both his films have a trippy hallucinatory quality, although “Holy Motors” is more of a fever dream while “Annette” is akin to a nightmare.
The melodramatic story about love, passion and fame is from the idiosyncratic Sparks Brothers, aka Ron and Russell Mael, two of the most original musicians still at work 50 years later. They never want to repeat themselves, and as film students years ago, they have had a desire to make a film for years.
In the recent documentary about them, their fondness for the French New Wave of the late 1950s is mentioned and how it has influenced their work, which you can see here. For this film, they wrote the music and Russell wrote the screenplay.
This collaboration between eccentric artists would seem to mesh, but this appears disjointed in a brash, intended style and is too bizarre to embrace. It has the vibe of an experimental film, theater of the absurd and a pop opera concept album. Don’t seek answers to your questions because whatever you find mysterious will stay that way.
“Annette” begins with the cast and crew singing the earworm “So May We Start,” with Russell leading and Ron on keyboard, as the cast and crew morph into their duties by the number’s end on the streets of L.A. – Driver and Cotillard turn into Henry and Ann, the star-crossed lovers central to this grand operatic spectacle. This song’s a foreshadowing of the fine line between reality and fiction that the movie addresses with its alternative reality, hyper-reality appearance.
And off we go into a dark abyss. Suffice it to say it will be one wild ride, one you won’t soon forget.
As the famous couple, Driver’s and Cotillard’s characters in the public eye and the paparazzi are obsessed with them.
They are dubbed “Beauty and the Bastard.” Henry McHenry’s act is as an angry, aggressive, defiant man who antagonizes his audience, with back-up singers on stage. She is a world-renowned soprano, revered for her voice and ethereal beauty.
Henry’s self-destructive obsession, jealousy, resentment and massive ego are harmful to their relationship, especially when his career starts spiraling downward. His hostility eventually turns off his audiences. Ann, however, is a celebrity darling. Their lives are a crazy cyclone, comparable to the familiar “A Star Is Born” plot, which you know won’t end happily ever after.
They have a daughter, Annette, who is physically manifested by doll puppets. She will become a singing sensation with something to say. The wooden marionette is creepy.
Simon Helberg, who starred on TV’s “The Big Bang Theory” for 12 seasons and played the delusional singer’s accompanist in “Florence Foster Jenkins,” is a character only called The Conductor. He and Ann had a brief relationship before Henry, and he still carries the torch. He gives a passionate performance, demonstrating he has more range than we’ve seen before.
This world becomes more surrealistic, with blurred lines. But it does have hypnotic visuals.
While Driver has the showier, more ferocious role, he and Cotillard are both mesmerizing performers. She won an Oscar as Edith Piaf in “La Vie En Rose,” and has played a variety of emotionally complex roles since 2008. Her authenticity and earnestness inhabit every character. What’s so appealing in Ann is lightyears from Driver’s dour character.
It’s such a treat to see Cotillard on screen that it’s disappointing she hasn’t more to do.
Driver immerses himself so completely in every role that you can’t pin down his work, but his emotional honesty has always resonated. As the career-focused director in “A Marriage Story,” and as the commitment-phobe Adam in HBO’s “Girls,” he has not been afraid to be unsympathetic and venture into the negatives. Dude, he killed his father in “Star Wars: The Force Awakens”! (Spoiler alert for a 6-year-old movie).
Next to Kylo Ren, this is the deepest dive into darkness yet. He tears it up as a mad man, an unchecked out-of-control bad boy. There seems to have been potential for a more interesting film that could have been developed about such a guy.
But the actors can only take a film so far if the material is thin and not fully developed, at least in a typical narrative way.
And there’s no way the gloom and doom can be lightened. Do not expect a traditional musical format – there are no optimistic song-and-dance numbers comparable to “Another Day of Sun” in “La La Land” or “Life’s a Happy Song” in “The Muppets.” Think of the major tragic operas, conjuring up as much pain and suffering as possible through big arias.
The film is certain to bring up the age-old conundrum – What is art? What does it all mean? And does it mean anything’?
We can understand, however, its take on bleak romance and drawbacks on fame as it rages about toxic masculinity. You don’t need a degree in Fellini to figure these things out.
However, the sung dialogue and repetitive songs are not strong enough to make us care more or enhance the plot, like “La La Land” did with its focus on two career trajectories.
“Annette” is a confounding, confusing, peculiar work that will be one of the most polarizing of the year. It is a difficult story to pin down, and perhaps on repeated viewings, more meaning can be unlocked – or not.
“Annette” is a 2021 musical directed by Leos Carax and starring Adam Driver, Marion Cotillard and Simon Helberg. It is Rated R for sexual content including some nudity, and for language and the runtime is 2 hours and 20 minutes. The movie is in theaters on Aug. 6 and streaming on Amazon Prime beginning Aug. 20. Lynn’s Grade: C.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
