Sam Shepard‘s “Fool for Love,” a finalist for the Pulitzer Prize in 1984, poses a question that most of us never ask: What’s the difference between a man and a guy? Under Daniel Aukin’s very lopsided direction, the answer to that question doesn’t matter because you won’t be looking at the man Eddie (Sam Rockwell) or the guy Martin (Tom Pelphrey) or even the Old Man (Gordon Joseph Weiss) in the new Broadway revival of “Fool for Love,” which opened Thursday at Mtc’s Samuel J. Friedman Theatre. You’ll be looking at Nina Arianda, who...
- 10/9/2015
- by Robert Hofler
- The Wrap
Manhattan Theatre Club's upcoming Broadway premiere of Fool for Love by Pulitzer Prize winner Sam Shepard, directed by Obie Award winner Daniel Aukin, will star Nina Arianda, Sam Rockwell,Tom Pelphrey and Gordon Joseph Weiss. The limited engagement of Fool for Love begins previews Tuesday, September 15 and opens Thursday, October 8 at Mtc's Samuel J. Friedman Theatre 261 West 47th Street. Check out the first pics of the new marquee below...
- 9/19/2015
- by Walter McBride
- BroadwayWorld.com
Manhattan Theatre Club's upcoming Broadway premiere of Fool for Love by Pulitzer Prize winnerSam Shepard, directed by Obie Award winner Daniel Aukin, will star Nina Arianda, Sam Rockwell,Tom Pelphrey and Gordon Joseph Weiss. The limited engagement of Fool for Love begins previews Tuesday, September 15 and opens Thursday, October 8 at Mtc's Samuel J. Friedman Theatre 261 West 47th Street.BroadwayWorld brings you a look inside the rehearsal room below...
- 9/9/2015
- by BroadwayWorld TV
- BroadwayWorld.com
FILM REVIEW - 'All the Vermeers' By Henry SheehanThe winner of the Los Angeles Film Critics award for best independent/experimental feature of 1991, Jon Jost's "All the Vermeers in New York'' is settling in for a limited run at Los Angeles' NuWilshire Theatre. Typically for a Jost film, "Vermeers'' manages a style that is coolly, formally beautiful while still spinning a lucid, emotion-packed tale involving recognizable, provocative characters.
This story of a short-circuited New York love affair set against the twin backdrop of Wall Street boom and bust and the art gallery/museum scene looks like the film that could win Jost a much larger and more mainstream audience.
The film's harmonizing tones of humor, faux romance and desperation are entertainingly set in an early scene involving an argument over money between a not-yet-fashionable artist Gordon Joseph Weiss) and his flattering but tightfisted dealer (Gracie Mansion).
The film's main story, however, focuses on Anna (Emmanuelle Chaulet), a young French woman on an extended stay in New York, who is picked up at the Metropolitan Museum's Vermeer room by a financial trader, Mark (Stephen Lack). Their arm's-length, if consummated, relationship is revealed largely in a series of stop-and-go conversations filmed by Jost in unblinking long takes, often with the camera tracking slowly, stately, between them.
The film is loaded with supporting players (Grace Phillips, as Anna's friend, is a particular stand-out) and anecdotes that are also filmed in the same deliberate style. Rather than feel forced, however, these shots give the confrontations and conversations an added air of reality, of inevitably uncomfortable silences and miscommunications.
Jost also uses them to show people at work, and the scenes of Mark at his trading console, barking out orders to a room full of other traders, are one of the most realistic depictions of the steady, stressful grind of brokering.
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-ity.
ALL THE VERMEERS IN NEW YORK
COMPLEX CORPORATION
in association with American Playhouse
Director-editor-cinematographer Jon Jost
Producer Henry S. Rosenthal
Music Jon A. English and the Bay Area Jazz Composers Orchestra
Color
Mark Stephen Lack
Anna Emmanuelle Chaulet
Felicity Grace Phillips
Running time -- 87 minutes
NO MPAA RATING
(c) The Hollywood Reporter...
The film's harmonizing tones of humor, faux romance and desperation are entertainingly set in an early scene involving an argument over money between a not-yet-fashionable artist Gordon Joseph Weiss) and his flattering but tightfisted dealer (Gracie Mansion).
The film's main story, however, focuses on Anna (Emmanuelle Chaulet), a young French woman on an extended stay in New York, who is picked up at the Metropolitan Museum's Vermeer room by a financial trader, Mark (Stephen Lack). Their arm's-length, if consummated, relationship is revealed largely in a series of stop-and-go conversations filmed by Jost in unblinking long takes, often with the camera tracking slowly, stately, between them.
The film is loaded with supporting players (Grace Phillips, as Anna's friend, is a particular stand-out) and anecdotes that are also filmed in the same deliberate style. Rather than feel forced, however, these shots give the confrontations and conversations an added air of reality, of inevitably uncomfortable silences and miscommunications.
Jost also uses them to show people at work, and the scenes of Mark at his trading console, barking out orders to a room full of other traders, are one of the most realistic depictions of the steady, stressful grind of brokering.
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-
In the end, the film is dealing with big subjects -- art, money, responsibility, love -- but there's no force-feeding of the issues. On the other hand, rarely are these matters treated to such accessible depths and such easy complex-ity.
ALL THE VERMEERS IN NEW YORK
COMPLEX CORPORATION
in association with American Playhouse
Director-editor-cinematographer Jon Jost
Producer Henry S. Rosenthal
Music Jon A. English and the Bay Area Jazz Composers Orchestra
Color
Mark Stephen Lack
Anna Emmanuelle Chaulet
Felicity Grace Phillips
Running time -- 87 minutes
NO MPAA RATING
(c) The Hollywood Reporter...
- 4/1/1992
- The Hollywood Reporter - Movie News
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