From stage to screen: 5 shows that it is correct (and 5 that did not happen)

“Cabaret” and “Cats” are accepted as the climax and nadir of the film music adaptation. But “Cabaret” is so excellent, and “Cats” is so executable, that neither tells us much about what went right or wrong with the process. The same goes for the game adaptations: “Mid Night at Chimes” (1965) stands proudly next to any of Shakespeare’s stage vocals – and “Gnomio and Juliet” (2011) does not. Below, an opinion is taken from theater experts Cinematic successes and failures that can still show Hollywood how it should (and should not) do it.

You could say that Hollywood lost a few songs from the 1961 musical, doing its usual chop-shop work with this adaptation. But the screen version retained a key element: the biting satire of the show. Much of this has to do with Robert Morse recounting his role, never given to Broadway stars. Morse played A while playing ruthlessly in naïve clothes Frantic And his performance remained Sui Genisys decades later. (Amazon prime video.) Elisabeth Vincentelli

Setting this presentation in contemporary New York was more than window dressing for director Michael Almereida: in an era of suspicion and uncertainty about the drama’s discourse communication and the impossibility of love Vivid life comes. Julia Styles’s Ophelia Mind Spiral out of control at the Guggenheim Museum, And Ethan Hawke delivers “happening or not” in a blockbuster, muttering in front of videotape and pressures. It is a staggering scene of discrepancy, and 20 years later the scene is against the unequaled race of modernity. (CBS All Access.) Elisabeth Vincentelli

Philip Seymour Hoffman created His film directorial debut With this emotionally layered romantic addiction. Adapted by Bob Gloudini from his play, it stars Hoffman as the raucous title character; John Ortiz and Daf Rubin-Vega as Jack’s long-couple friends; And Amy Ryan as they were set up with her. All but ryan were in 2007 Broadway production of Labyrinth Theater Company closes, And his ensemble is as brilliant in chemistry as the film feels for New York City. (Available for rent Amazon prime video.) Laura Collins-Molasses

Shakespeare’s tragedy occupies the film, at least in part, Bravura performance. But humor, so the acrobatics of words depend on pleasure, and freeze Land badly. A great exception: Joss Whedon’s Transplant “Too” From Sicily to Santa Monica. Black and white photography and the lack of Bigfoot stars focus on language rather than furfowers; It is just as much fun, and so it continues to lead as the finest stage productions. (Hbo.) Like gren

Spike Lee used 10 cameras to capture Antoinette NamanduOf Urgent play On stage in Chicago: the story of Moses (John Michael Hill) and Kitch (Julian Parker), two spirited young blacks whose life is threatened and dreams are constrained by more insidious forms of police violence and racism. Lee’s audience was, by design, mostly black and local – and the depth of feeling of his presence shows the film that it matters who is in the room. (Amazon prime video.) Laura Collins-Molasses

Tin had an ear in Hollywood when it came to stars, chosen for midstory musical adaptations, constantly adapting their roles to original, audible talent, not overpowered, synthetic ones. But for that delightful ham Debbie Reynolds (with Shirley McLain stopping in the way), replacing the thoughtful, raucous-sounding Tammy Grimes was only part of what makes this light, melodious music known as the chubby, chubby onscreen mess Is sometimes referred to as “unimaginable Molly Brown.” Amazon prime video.) Like gren

It is not a big loss to be a “mater” A terrible movie; It was not good to begin with. But “A Little Night Music” is the perfect melody, with a Stephen Sondheim score and a baked-in Bakedman Melancholi. In this adaptation, both were crushed by the first casting An awesome singer – Elizabeth Taylor – In the lead, then by dumping the twilight Swedish setting in favor of Scamatically Austria. Sometimes opening a stage property is like tearing it down. (Available on DVD.) Like gren

Despite being co-adapted by its author, Yasmina Reza, it is shocking to carry Roman Polanski’s hit drama “God of Carnage”. From a title to a feast “Massacre” Christoph Waltz is particularly arrogant – to elevate every line he reads in Cartoonland – Reza’s witty satire is reviled. Polanski drew all the wrong lessons from the experience; Two years later he created a French-language adaptation of David Ives. “Venus in Fur.” (Amazon prime video.) Elisabeth Vincentelli

It is difficult to find a more self-conscious star than the movie version of Tracy Let’s’s sprawling family drama. It is as if director John Wells left the cast members to their own devices and they all resort to their evil tricks. The biggest culprit is Meryl Streep, who takes a treacherous role (a drug-addicted tyrannical matriarch with an Oklahoma accent) and delivers Hampi overacting seas reel. A place awaits in the Camp Hall of Fame. (Available for rent Amazon prime video.) Elisabeth Vincentelli

Riz Ahmed calls David Harrower’s “Blackbird” Scott, Ray (Ben Mendelsohn) ‘s Cocky Young Wear co-worker, a sex offender whose life is interrupted by the reappearance of Una (Rooney Mara). Has stolen this adaptation. Abused 15 years ago. Wait a second: I saw Jeff Daniels and Michelle Williams “Blackbird” On Broadway, and had no peer named Scott. Also: There is no flashback and no corporate subspot for a young Una. Stylistically by Harriser’s screenplay and directed by Benedict Andrews, “Una” is not a bad film. But with such operative content, opening the play defeats the purpose. “Blackbird” simmers, then explodes. “Una” is only effective. (On Netflix And Amazon prime video.) Scott Heller

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