Category: Entertainment

Unsung Auteurs: James Goldstone | FilmInk

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Many directors have found themselves in the Unsung Auteurs column due to the fact that the bulk of their work has been in the medium of television, toiling on individual episodes of series and crafting that most maligned of productions, the telemovie. With many of these telemovies basically lost amongst the constantly swirling sands of time, and remembered solely by those who saw them when they were first screened on TV networks, the fine work of many directors is basically ignored. James Goldstone is another filmmaker to add to this list, with a long list of small screen dominating his resume, but a handful of films marking him as a talented director with a strong penchant for actors and a slightly off-kilter world view.

Born in 1931, James Goldstone first moved into the entertainment field with a number of writing gigs in the high-turnover world of American TV in the 1950s. This quickly led to Goldstone being tapped to direct episodes of popular TV series such as Highway Patrol, Tombstone Territory, Rawhide, Perry Mason, The Outer Limits, Dr. Kildare, Star Trek, Ironside (even giving famed oddball performer Tiny Tim his first appearance in a club scene), The Man From U.N.C.L.E, Iron Horse, The Fugitive and many, many more. As well as directing constantly for television, James Goldstone was also an active leader in the Writers and Directors Guilds Of America, an occasional director in the theatre, a later professor at Columbia University, and an infrequent but highly effective helmer of feature films.

James Goldstone

James Goldstone made his big screen debut in 1968 with A Man Called Gannon, a now forgotten but still interesting western infused with some of the youthful upheaval so prevalent of its era. The underrated Anthony Franciosa is a grizzled westerner who takes innocent young tenderfoot Michael Sarazin under his wing and teaches him the ways of the world. Despite their burgeoning father-son relationship, the duo ends up on the opposite sides of a range war. Spinning on the classic conflict of youth and experience, A Man Called Gannon is certainly a mid-level western, and no classic, but Goldstone gets solid performances from his leads, drives the action well, and effectively punches up the timely themes and ideas.

Goldstone once again had his eye on the counterculture with 1968’s Jigsaw, an unlikely vehicle for unlikely Bonnie And Clyde breakout star and Oscar nominee Michael J. Pollard, in which a man drops acid and ends up in the middle of a murder plot. The unusual film is barely remembered, and was followed by perhaps Goldstone’s best-known film. Becoming embroiled in actor Paul Newman’s well documented love of motor racing, Goldstone’s reputation for making fast paced television on time and on budget saw him tapped to helm 1969’s propulsive drama Winning, in which Newman’s self-obsessed race car driver risks his life and family to fulfill his need for speed. Though not highly regarded in the Newman canon, Winning is an excellent film, combining the “beautiful loser” concept beloved of Newman with a thrilling sports-driven narrative. Goldstone also gets excellent performances out of his glittery stars Newman, his wife Joanne Woodward, and Robert Wagner.

James Goldstone with Paul Newman on the set of Winning.

After Winning, Goldstone moved through an incredible eclectic range of films, all while continuing to work steadily in television. Seemingly drawing on his experience with TV’s The Outer Limits, Goldstone created a dark, foreboding mood with 1971’s Sidney Poitier-starring Brother John, an unusual drama which mixed race politics, striking unionists, The Deep South, and a late-game shift into the supernatural with surprising dexterity. Showing off his TV-bred ability to jump genres and make just about anything work, Goldstone then helmed an effective coming of age drama (1971’s Red Sky At Morning, with Richard Thomas), a mob comedy (1971’s The Gang That Couldn’t Shoot Straight, now best known for featuring a young Robert De Niro), and a bizarre, sexually provocative, James Garner-starring comedy-thriller (1972’s They Only Kill Their Masters).

Goldstone’s film career took a surprising budget upturn when he became a chosen director for producer Jennings Lang (the under-celebrated “disaster master” unfairly lost in the shadow of Irwin Allen), who first handed the TV veteran the reins on his big budget 1976 adventure pic Swashbuckler, which starred the wonderfully scenery-chewing Robert Shaw as a pirate battling an evil tyrant in Jamaica with the help of a determined young noblewoman (Genevieve Bujold). Also starring James Earl Jones, Peter Boyle and Beau Bridges, Swashbuckler delivers exactly what its title suggests, and proved that Goldstone was equally at home with a big budget film as he was with a considerably smaller TV budget.

James Goldstone on the set of Swashbuckler

Jennings Lang again turned to Goldstone for his 1977 psycho-killer-meets-disaster-flick belter Rollercoaster, in which George Segal injects much welcome humour (which shows Goldstone again getting the best out of his actors) into his role as a safety officer engaged in a cat-and-mouse game with Timothy Bottoms’ icy madman, who is planting bombs on rollercoasters around America. It’s a compelling, often shocking (the first rollercoaster derailment is an inventive, old-school, pre-CGI visual stunner), and very funny thriller which also has a very engaging 1970s looseness about it, largely due to Goldstone letting his gifted leading man off the proverbial leash.

Though now maligned as a massive financial disaster, Goldstone’s final film with Jennings Lang is in fact a highly enjoyable slab of Irwin Allen-style disaster. 1980’s exciting When Time Ran Out sees Paul Newman’s sensible, laconic drilling foreman attempt to lead a huge cast (Jacqueline Bisset, William Holden, Barbara Carrera, Edward Albert, Red Buttons, Pat Morita, Ernest Borgnine and more) to safety in the face of a volcanic eruption on a tropical island. The very definition of a big budget “disaster movie” (even though its box office failure signaled the end of this now largely and very unfairly maligned genre), When Time Ran Out marked the final big screen outing for James Goldstone, who worked non-stop on TV until his passing in 1999. Sadly and very unfairly dismissed solely as a “journeyman”, James Goldstone was not only an accomplished small screen helmer, but also the director of a number of entertaining and unusual features, most deserving far wider attention than they’ve received since their respective releases.

If you liked this story, check out our features on other unsung auteurs Daniel Nettheim, Goran Stolevski, Jared & Jerusha Hess, William Richert, Michael Jenkins, Robert M. Young, Robert Thom, Graeme Clifford, Frank Howson, Oliver Hermanus, Jennings Lang, Matthew Saville, Sophie Hyde, John Curran, Jesse Peretz, Anthony Hayes, Stuart Blumberg, Stewart Copeland, Harriet Frank Jr & Irving Ravetch, Angelo Pizzo, John & Joyce Corrington, Robert Dillon, Irene Kamp, Albert Maltz, Nancy Dowd, Barry Michael Cooper, Gladys Hill, Walon Green, Eleanor Bergstein, William W. Norton, Helen Childress, Bill Lancaster, Lucinda Coxon, Ernest Tidyman, Shauna Cross, Troy Kennedy Martin, Kelly Marcel, Alan Sharp, Leslie Dixon, Jeremy Podeswa, Ferd & Beverly Sebastian, Anthony Page, Julie Gavras, Ted Post, Sarah Jacobson, Anton Corbijn, Gillian Robespierre, Brandon Cronenberg, Laszlo Nemes, Ayelat Menahemi, Ivan Tors, Amanda King & Fabio Cavadini, Cathy Henkel, Colin Higgins, Paul McGuigan, Rose Bosch, Dan Gilroy, Tanya Wexler, Clio Barnard, Robert Aldrich, Maya Forbes, Steven Kastrissios, Talya Lavie, Michael Rowe, Rebecca Cremona, Stephen Hopkins, Tony Bill, Sarah Gavron, Martin Davidson, Fran Rubel Kuzui, Elliot Silverstein, Liz Garbus, Victor Fleming, Barbara Peeters, Robert Benton, Lynn Shelton, Tom Gries, Randa Haines, Leslie H. Martinson, Nancy Kelly, Paul Newman, Brett Haley, Lynne Ramsay, Vernon Zimmerman, Lisa Cholodenko, Robert Greenwald, Phyllida Lloyd, Milton Katselas, Karyn Kusama, Seijun Suzuki, Albert Pyun, Cherie Nowlan, Steve Binder, Jack Cardiff, Anne Fletcher ,Bobcat Goldthwait, Donna Deitch, Frank Pierson, Ann Turner, Jerry Schatzberg, Antonia Bird, Jack Smight, Marielle Heller, James Glickenhaus, Euzhan Palcy, Bill L. Norton, Larysa Kondracki, Mel Stuart, Nanette Burstein, George Armitage, Mary Lambert, James Foley, Lewis John Carlino, Debra Granik, Taylor Sheridan, Laurie Collyer, Jay Roach, Barbara Kopple, John D. Hancock, Sara Colangelo, Michael Lindsay-Hogg, Joyce Chopra, Mike Newell, Gina Prince-Bythewood, John Lee Hancock, Allison Anders, Daniel Petrie Sr., Katt Shea, Frank Perry, Amy Holden Jones, Stuart Rosenberg, Penelope Spheeris, Charles B. Pierce, Tamra Davis, Norman Taurog, Jennifer Lee, Paul Wendkos, Marisa Silver, John Mackenzie, Ida Lupino, John V. Soto, Martha Coolidge, Peter Hyams, Tim Hunter, Stephanie Rothman, Betty Thomas, John Flynn, Lizzie Borden, Lionel Jeffries, Lexi Alexander, Alkinos Tsilimidos, Stewart Raffill, Lamont Johnson, Maggie Greenwald and Tamara Jenkins.



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What Happened to Mr. & Mrs. Smith?

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Pop quiz hot shot: What’s the best action movie of the past 20 or 30 years that never received a cinematic sequel? Nope, it’s not Speed. Is it Wanted? Nobody? The Accountant? How about Knight and Day or American Made? While the latter comes from director Doug Liman, we’d argue that the correct answer is Mr. & Mrs. Smith, Liman’s eminently watchable assassin thriller that continues to shine thanks to the explosive chemistry between Brad Pitt and Angelina Jolie, two luminous movie stars who met and fell in love during production. Although the movie earned decent reviews and grossed nearly half a billion dollars worldwide, Mr. & Mrs. Smith never received an official sequel or cinematic spinoff and is often remembered for the juicy tabloid gossip surrounding its two superstars. 

Yet, in 2024, a small-screen adaptation of Liman’s hit action flick has been produced by Amazon Prime Video, introducing a whole new generation of viewers to the romantic spy drama. As such, it’s only fitting to take a look back at the production history of Mr. & Mrs. Smith. After all, the script began as a student project and was later accused of plagiarism, several different endings were filmed, a super steamy sex scene was removed to avoid an R-rating, and perhaps most fascinating, Pitt and Jolie nearly did not star in the movie together. Have we got your attention? Darn right, it’s time to find out What The F*ck Happened to Mr. & Mrs. Smith!

The first thing about Mr. and Mrs. Smith worth knowing is that, despite popular belief, it is not based on the 1996 TV show of the same name. Nor is it a remake of Alfred Hitchcock’s 1941 movie of the same name. Believe it or not, Scott Bakula and Mario Bello starred as unmarried couple Mr. and Mrs. Smith in the short-lived crime drama that aired on CBS from September to November 1996. The show marked the acting debut of Timothy Olyphant but was canceled after nine episodes. While Doug Liman’s movie officially has nothing to do with the 1996 TV show beyond its similar premise, the new Prime Video adaptation does take cues from the show as well as the 2005 action hit. It’s also worth noting that, while Mr. & Mrs. Smith is not a loose remake of True Lies, the tango scene in the film pays direct homage to James Cameron’s similar spy thriller. 

With reportedly no knowledge of the preexisting TV show, MFA student Simon Kinberg began writing the screenplay for Mr. & Mrs. Smith for his graduate school thesis while attending Columbia University. According to Kinberg, he was inspired to write the script after hearing friends describe their time in couples therapy, which he noted was “Aggressive and mercenary” and figured “It would make an interesting template for a relationship inside of an action film.”

In July 2000, Summit Entertainment purchased Kinberg’s spec script rights for Mr. & Mrs. Smith and partnered with Weed Road Pictures to produce the project. At the time, the producers were able to secure Brad Pitt to star in the lead role of John Smith. The same producers had their eye on casting Nicole Kidman as Jane Smith. Doug Liman was hired as the director with Pitt and Kidman in line to star. When Kidman had to leave the project due to her commitments to The Stepford Wives, Brad Pitt also abandoned the project while producers scrambled to find Kidman’s replacement. 

Once Pitt left, Liman and the producers considered pairing Will Smith and Catherine Zeta-Jones and Mr. and Mrs. Smith. When that idea fizzled, they entertained the idea of Johnny Depp starring opposite Cate Blanchett in the two title roles. Depp was offered the part but declined due to his overworked schedule at the time. Meanwhile, Gwen Stefani auditioned to play Jane Smith. Eva Green and Gwyneth Paltrow were also briefly considered. Finally, Liman was able to secure Angelina Jolie to play the part. As soon as Jolie was cast, Pitt actively returned to the project with newfound enthusiasm. Once more – when Jolie was cast as Jane Smith, Pitt quickly returned to play John Smith. Both movie stars were paid $20 million apiece for their services, perhaps a mere pittance compared to the invaluable love forged between the two stars on set that eventually led to a marriage and six children. 

After the cast was set and the movie entered production, roughly 50 drafts of Kinberg’s script were reportedly written. Several different writers contributed to the rewrites, including Carrie Fisher, Terence Winter, Jez and John-Henry Butterworth, Akiva Goldsman, Ted Griffin, and Kieran and Michelle Mulroney. Despite the countless rewrites, Kinberg receives the final screenplay credit and also makes a cameo appearance as an investment banker in the movie. 

mr and mrs smith 2005

Strapped with a pricey $110 million budget, principal photography for Mr. & Mrs. Smith was divided into three segments. The first took place between January 5 and April 22, 2004. The second took place between August 12 and October 31, 2004. The final portion was filmed between March 14 and March 18, 2005. One of the reasons for the schedule breaks was to accommodate Pitt’s schedule for Ocean’s Twelve, requiring the actor to leave Mr. & Mrs. Smith for three months to finish his obligations to the Soderbergh heist sequel. 

Filming locations for Mr. & Mrs. Smith were mostly divided between Los Angeles and New York. The exterior shots of the Smith residence were filmed at 1565 San Pasqual Street in Pasadena, California, while the restaurant and dance club scenes were filmed at the Cicada Restaurant and Club on Olive Street in Downtown Los Angeles. The exteriors of the construction site in the movie were filmed at Caltrans District 7 Headquarters Building in Downtown L.A.’s Main Street. Additional scenes were filmed at the Quality Coffee Shop on 7th Street in downtown L.A. and Vincent Saint Thomas Bridge in San Pedro, California. The same coffee shop was used for Old School, which also stars Vince Vaughn, as well as Gone in 60 Seconds, which also stars Angelina Jolie. Elsewhere, Jane Smith’s office at I-Temp was filmed at 570 Lexington Avenue in New York City. The 50-floor skyscraper genuinely exists and was not built for the movie. Outside of Los Angeles and New York, additional photography took place in Glenwood Springs, Colorado, and Rome, Lazio, Italy.

One of the first scenes that take place in the movie involves a flashback to John and Jane’s time meeting each other in Bogota, Colombia. Rather than filming in South America, stock aerial footage of Bogota was lifted from the 1994 Harrison Ford action thriller Clear and Present Danger. The raw footage was enhanced with CGI to add burning buildings and a passenger in the helicopter. However, the original footage for Clear and Present Danger was filmed in rural Mexico as a stand-in for Colombia. When the shot was recycled for Mr. and Mrs. Smith, the Colombian government publicly criticized the production for falsely representing Bogota as a tiny undeveloped village. In reality, the high-altitude city in the Andes Mountains is and was a booming metropolis filled with towering skyscrapers.  

Another early scene that takes place in the movie entails Jane traveling to kill her first mark in a sick and twisted sadomasochistic ruse. While going through the house, Jane casually answers a correct answer on the Jeopardy game show playing on the TV in the background. According to reports, Jolie completely improvised the Jeopardy response on the spot, and her comedic timing was so perfect that Liman kept it in the movie. Meanwhile, Pitt also added his unique ad-libs during the scene that takes place after John and Jane discover each other’s true identities as assassins. When Jane drives away in a car and John chases after, Pitt accidentally tripped and crashed through the fence in an unscripted moment. Rolling with the punches, Pitt uttered the line “Oh dear God,” as a natural impromptu response while the cameras were rolling. Apart from the blistering rapport Pitt and Jolie share onscreen, it’s the small improvisational flourishes that make the movie so entertaining nearly 20 years later.

Yet for all the memorable moments in the movie, it’s easy to overlook parts of the story that did not make the final cut. Indeed, one of the most infamous cut scenes in Mr. & Mrs. Smith involved a torrid love scene between Pitt and Jolie that was so racy that it had to be removed from the film entirely to retain a PG-13 rating. Not to traffic in the juicy tabloid gossip surrounding the Brangelina phenomenon, but it’s difficult to imagine a steamy simulated sex scene between two attractive movie stars having no bearing on their off-screen relationship. Although Pitt and Jolie were both married to other people while making Mr. & Mrs. Smith and wouldn’t marry each other for another decade or so, in the immortal words of Tears for Fears, how could they not be sowing the seeds of love while making the movie? 

One of the most shocking deleted scenes from the movie involves the action-packed finale. Originally, producers felt that Mr. & Mrs. Smith needed one final showdown with the villains in the movie to give viewers a satisfying conclusion. Believe it or not, legendary European actors Terence Stamp and Jaqueline Bisset were cast as the villains and filmed a designated ending that was never used. Once the ending with Stamp and Bisset was discarded, another ending was filmed. This time, Keith David and Angela Basset are revealed to be the villains fighting against John and Jane. While David has a prominent role as The Father in the film, Bassett is uncredited as Mother, the voice of John Smith’s boss in Atlanta. After both of these filmed endings were deemed superfluous and a final confrontation was not necessary, the scenes were left on the cutting room floor. 

Beyond the discarded showdowns with the high-ranking enemies, another alternate ending was filmed for Mr. & Mrs. Smith. The version involves Jane and John returning to Bogota as a happy couple. When their vacation is interrupted by what appears to be an intense assassination mission, Mr. & Mrs. Smith begin chasing an unknown person through the crowd. Just as John reaches into his bag to pull out what viewers assume will be a gun, he retrieves a camera, and their so-called mark is revealed to be their adorable daughter shooting a dart gun at a toy doll with remarkable accuracy. “Not bad,” John proudly states as the family wanders off into the South American sunset to their residence nearby. 

As for other notable Easter eggs, eagle-eyed gamers might appreciate a suit hanging in John’s office that resembles the iconic outfit worn by Agent 47 in the popular video game Hit Man. The black suit, white shirt, and red tie appear prominently throughout the scene, and John speaks with his boss on Channel Number 47. Given Liman’s penchant for gaming, it’s hard to write this off as a mere coincidence. 

A much easier one to spot, Adam Brody’s character Benjamin “The Tank” Danz can be seen wearing a Fight Club T-shirt while being questioned by Mr. Smith, an obvious shout-out to one of Brad Pitt’s most famous movies. There is also a Director’s Cut of the film that runs six minutes longer than the theatrical version.

mr ans mrs smith movie

Speaking of the theatrical version, Mr. & Mrs. Smith opened on June 10, 2005, and immediately became a commercial hit. The film ultimately grossed over $487 million worldwide, ranking as the 7th highest-grossing movie of the year. The film also fared pretty well among critics, currently boasting a 60 Rotten Tomatoes. While the success of the movie is fairly well-known, fans may not be aware of the producers being accused of plagiarism after the movie came out. In 2006, a New Zealand author named Gavin Bishop claimed the moviemakers stole his idea from his 1997 scholastic book “The Secret Lives of Mr. & Mrs. Smith.” The book also follows a married husband and wife living boring suburban lives who secretly work as spies under each other’s noses. Bishop threatened to sue the producers but never found a lawyer willing to take the case. 

Fans may also be completely unaware of the potential TV spin-off that was produced for ABC in 2007. Indeed, a pilot episode for a Mr. & Mrs. Smith TV show was written by Simon Kinberg and directed by Doug Liman. The story took place six months after the events depicted in the film and was described by Kinberg as being akin to “Married with Children with Guns.” Martin Henderson and Jordana Brewster were cast as John and Jane Smith, respectively. However, ABC did not order the pilot-to-series after the chemistry between Henderson and Brewster was deemed non-existent. So much of the movie’s appeal relies on the crackling on-screen rapport between Pitt and Jolie. Without it, there wasn’t much value in making a TV spin-off on basic cable in 2007.

In 2010, Jolie stated that she and Pitt had sought to make a sequel to Mr. & Mrs. Smith but were never able to come up with a worthwhile story. Jolie told Vanity Fair at the time:

“We did ask somebody to look into Mr. & Mrs. to see if they could crack a sequel, but there wasn’t anything original. It was just, ‘Well, they’re going to get married, or they’ve got kids, or they get separated.’ Never great.”

And that brings us to the new TV adaptation of Mr. & Mrs. Smith on Amazon Prime Video. The small-screen reboot was released on February 2, 2024, and stars Donald Glover and Maya Erskine as Jane and John Smith, a married couple who have no clue that the other works for the same espionage ring. The show takes inspiration from the original 1996 TV series and the 2005 movie and has received even better reviews than previous iterations of the story. Unlike the failed 2007 TV spin-off, the new reboot has been praised for restoring the palpable chemistry between the two leads while leaning more into the domestic strife among the married couple. While nobody will ever confuse Glover and Erskine for the star power of Pitt and Jolie, the fate of Mr. & Mrs. Smith has been quite a circuitous journey over the past few decades. Until the next time, that’s What the F*ck Happened to this Movie!

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Chennai’s metal scene evolves with steady head banging and roars

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Most of the 100 people gathered around The Spotted Deer pub in The Palomar hotel in ECR early in April were in black T-shirts, while others wore distinctive white shirts and lungis.

Shreyaa Lakshmi Narayanan, one among the few managing the crowd, had never heard a metal song before this sold-out gig. But she has been bobbing her head to heavy music ever since.

The genre is making noise again in Chennai. And there is no better proof than Metal Munnetra Kazhagam, a cover gig by musicians across the city in tribute to globally legendary bands Slipknot and Rage Against the Machine.

“It wasn’t just a concert…it felt like a turning point, a hope for even greater collaboration and creativity in the community,” said Aditya Rao, frontman of Mangas and the Mango Men, a metal band born in 2022. 

Formed with a sly spin on Tamil Nadu’s distinctive political party suffix, the gig featured members of Chennai’s loudest homegrown bands, like Mangas, Moral Putrefaction, Frankendriver and Godia, teaming up with each other to roar and get roared at.

“We wanted to change attitudes towards metal, and mix bands to give people new to Chennai a chance,” smiled Manu Krishnan, one of the organisers. 

Artistes performing at Metal Munnetra Kazhagam at The Spotted Dear pub in hotel The Palomar by Crossway, ECR in Chennai. Photo: R. Ravindran
| Photo Credit:
Ravindran_R

This year has been more than a revival for metal in Chennai. It has also been a reinvention: in embracing Tamil culture as a brand, who gets to play on stage, accessibility, and in the very heart of what it means to love the heaviest sounds of Chennai. 

Armaan, Manu and Srikanth Natarajan founded Metal Chennai in 2018 to change the idea of “metal being an expensive hobby,” in Manu’s words. Saturday night’s screaming marked the first big Metal Chennai gig since September last year, which was hosted in Gears n Garage in Nungambakkam. When the pub indefinitely shut shop, it signalled a shrunken number of venues willing to host metal.

Nevertheless, metalheads in Chennai have for generations been fighting tooth and nail to keep the volatile pulse of the scene alive: finding scream-friendly venues and trying to build a community that is safe and enticing for everyone, while still tough and edgy enough for the brand.

Venues that both sonically work for metal and are willing to host it in the city are rare, unlike ones like Bangalore. “Metal is not like other genres. We can’t just amplify the sound. It needs an advanced setup,” says Shivamoorthy of Moral Putrefaction.

Artistes performing at Metal Munnetra Kazhagam at The Spotted Dear pub in hotel The Palomar by Crossway, ECR in Chennai. Photo: R. Ravindran

Artistes performing at Metal Munnetra Kazhagam at The Spotted Dear pub in hotel The Palomar by Crossway, ECR in Chennai. Photo: R. Ravindran
| Photo Credit:
Ravindran_R

The Palomar hotel began operations just last month, and talks are ongoing for future events.

The craze for metal in fact dates back to at least the Sixties, according to Eddie Prithviraj, who joined in the early Nineties. He’s been organising live music gigs across genres like jazz and pop in Chennai for 30 years, but back then, he had just founded a metal band called Bone Saw, and another called Blood Covenant in 2004. Issues with venues date back to even his time, when he had to close one himself.

“Come the Nineties, a couple of rebels really wanted to explode themselves,” Eddie explains. “It’s never been in the mainstream. But it was there. Guys recorded extreme death metal on cassettes in 1996. It was something to be cherished. It isn’t anymore.”

Between 2015 and 2018, Chennai’s metal scene had once again “died,” as recalled by Armaan, Mickey and Isaiah Anderson, vocalist of progressive metalcore band Godia.

Mickey has convinced some of his bands to change their names and album art styles to make them fiercer because “branding matters in a commercial music space.” In Chennai and India at large, he argues, bands usually start in universities and they don’t think about branding then.

Chennai has seen a rise in more explicitly defined subjects in metal lyrics, with subjects spanning from genocide, the “rot” in society and rights for the queer community for Moral Putrefaction to mental health and depression for Godia. This, Shivamoorthy of Moral Putrefaction says, also goes against the tide of “aggression”, sometimes tinged with right-wing politics, in metal.  

Artistes performing at Metal Munnetra Kazhagam at The Spotted Dear pub in hotel The Palomar by Crossway, ECR in Chennai. Photo: R. Ravindran

Artistes performing at Metal Munnetra Kazhagam at The Spotted Dear pub in hotel The Palomar by Crossway, ECR in Chennai. Photo: R. Ravindran
| Photo Credit:
Ravindran_R

As a culmination of all the trends in this genre in Chennai, the attendance at Metal Munnetra Kazhagam is what Beeto Jerrin from Moral Putrefaction describes as a “decent” crowd by the standards of 2023. Ironically, during the struggle to regain these numbers in Chennai, bands like his and Godia reached international acclaim with performances and signed records.

Despite metal now being forced to think in terms of business, the desire to increase listeners comes from a very personal place for many.

Armaan, points out that so far in India, there have been barriers of privilege in language, caste, gender and capital that restrict possibilities for both bands and audiences. One way this plays out in Chennai is women being sidelined in the metal scene This is something that Armaan, as an organiser, admits to still navigating. 

The gig also comes at the heels of a brand new college student-run platform MoshLit Events, the youngest group to organise metal and hard rock events, securing venues like 10 Downing Street and Steams n Whistles bar in GRT Grand. The technicality of sound is an issue here, according to Sivaramakrishnan, bassist for Frankendriver, but his bandmate Teeto Jerrin feels the energy at their gigs is sky high.

MoshLit kicked off just this year. They lay it all out on Instagram: commissioning graphic designers for posters, posting videos from the shows,  and almost daring people to come. Their aim is to bring metal to the “forefront,” with uniquely appealing initiatives like relatively accessible ticket prices and an after-party DJ. You could spot MoshLit at a Metal Chennai gig, and vice versa.

In today’s Tamil Nadu, metalheads keep grooving. Inside the toughness, Manu says, “we’re all teddy bears.” As Aditya puts it, “supporting each other will carry us forward.”

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Join the Revolution of At-Home Nail Care and Unlock Your Own Manicure Magic

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Image Credit: Nailboo

Are you tired of spending hours every month (and hundreds of dollars!) on manicures and pedicures that barely last a week before chipping? Get ready to make a big change — the nail revolution has arrived!

Nailboo is disrupting the 8.3 billion dollar nail industry with their long lasting at-home nail kits. Call your manicurist and tell them to take you off the schedule. With Nailboo, you’ll get salon-quality manis and pedis from the comfort of your home.

You might think it’s impossible to get the same results at home as from a trained professional at a salon. Although that might have been true in the past, Nailboo uses only the highest-quality ingredients in their easy-to-apply dip kits, so you’ll get a durable, scratch-free manicure every time.

Nailboo is making DIY nails a lifestyle. With a huge online community and tons of information and inspo on their website, making the switch is a no-brainer. Join us as we take a look at Nailboo and how they are revolutionizing the mani/pedi world.

Changing the Game One Dip Manicure at a Time

When you convert to Nailboo’s dip powder, you’ll be mad at yourself for taking so long! With their Dip Powder Nail Kits, you can expect a resilient manicure that will last you up to six weeks.

Forget struggling to book a spot at your salon every month. A Nailboo manicure is easy to apply and will make maintaining your nails stress-free, simple, and fabulous.

Dip powder is different from traditional nail polish for a few reasons: First, it’s way more durable, which is why Nailboo manicures have a lasting power that normal manicures can’t touch. It will also give your nails a more natural look, even if you’re wearing extensions.

Plus, Nailboo knows that life’s expensive, so your nails shouldn’t have to be. Naiboo promises to help you save more than just time—you can pay as little as $2.49 per manicure when you use a Nailboo Dip Powder Kit. Just think of all the extra lattes, sweet treats, and girls’ nights you’ll be able to afford with your mani/pedi savings!

Along with dip kits, Nailboo provides the essential liquids, brushes, and tools to turn your home into a mini salon. If salon prices and time-consuming manicures are getting you down, switch to Nailboo and save money, time, and energy. You can thank us later!

To find out more about the Nailboo Dip Powder Kit and pick your shades for summer, check out the Nailboo website.

With Nailboo, Salon-Quality Nails Are as Easy as 1,2,3

If all of this sounds good to you, but somehow you’re not convinced, just take a look at how easy it is to get your best nails ever today.

Some at-home nail kits are confusing and require all kinds of lights and lamps. With Nailboo, all you need is 30 minutes and their kit, and you’re good to go! No UV or LED lamps here — just coat, dip, and activate, and you’ll be ready to show off your best nails in no time at all.

The first step is to prep your nails however you like them and apply a layer of the Nailboo clear base coat. From there, all you have to do is dip your nail into the powder, reapply the base coat, and continue the process until you get your ideal color.

One of the best benefits of doing your own nails is the endless opportunities for customization and personalization. With the Nailboo Dip Powder Kits, you can apply one or two layers for a lighter color or several layers for a bolder look.

When you switch to Nailboo, you don’t have to worry about those awkward moments at the salon when your nails don’t turn out exactly how you wanted them. Everything is totally up to you!

Nailboo also prioritizes staying up-to-date on all the hottest nail trends. With their bi-monthly Boo Drops, you’ll always be aware of and have access to the trendiest colors and designs in the world of nail art.

Inspiration and Information Are Just a Click Away!

Even though applying a dip manicure at home only takes three simple steps, there’s a whole world of DIY nail projects that you can explore to level up your nail game. If you need a little help nailing the basics or want to branch out into more adventurous colors and designs, look no further than Nailboo’s Nailflix Academy.

Nailflix Academy provides detailed, step-by-step guides for any nail project. If you want to try applying magnetic gel polish or are wondering how to open a stuck dip liquid bottle, check out the courses on the Nailflix Academy page.

You can also find inspiration by browsing through the Nailflix Academy’s mani inspo library. Let the Nailboo community’s creativity and innovation inspire you to make nail history, too! When you’re searching for the perfect shade for the season or a special design for a holiday or event, you can always turn to the Nailflix Academy for the mani magic you need.

For those moments when you’re mid-mani, and you find yourself wondering, “How many layers of dip powder should I do?” or “How can I avoid clumpy nails?” check out Nailflix Academy’s Q&A page. There, you’ll find seven different categories for all of your most pressing questions: Nail Care, Nail Prep, Tools, Dip Powder, Gel Polish, Gel Strips, and Essential Dip Liquids. With all the information broken down into sections and easy to find, becoming an at-home manicurist has never been easier.

Head over to Nailflix Academy to become a nail expert in no time.

A Celeb-Endorsed Community? Yes, Please!

Over a million people are already raving about Nailboo, and you could be one of them! In addition to the unbeatable quality of Nailboo’s wide range of products, Nailboo offers users the opportunity to join a huge community for nail lovers. When you start to use Nailboo’s kits, you’ll realize that there are tons of people converting to DIY nails, too, who are ready to support, guide, and encourage you along your journey.

Right now, Nailboo boasts the largest nail community on Facebook and several celeb endorsements. From Paris Hilton to GloRilla, Nailboo is making a name for itself as a brand loved by everyday people and celebrities alike. Don’t miss out on the opportunity to join this revolution — get your first Nailboo kit today and see what all the hype is about!

Find Your Perfect Color From Over 100+ Powder Shades — Even If You Need a Re-Do

Nailboo knows that online shopping can be hard. Without the actual products in front of you, choosing the perfect shade can feel like a game of chance. That’s why Nailboo offers a 30-day money-back guarantee. If you don’t absolutely love what you ordered, you can send it back to Nailboo and receive a full refund — no questions asked.

Once your return goes through, keep trying until you find the shade that works best for you. With free shipping on all Platinum Dip Kit orders, you can have a new set of colors delivered to you in just three to five business days.

With the range of colors and designs available at Nailboo, you’ll never have to settle. Unlike a traditional salon where you’re locked into your color once you’ve chosen it, you have the opportunity to be picky about your nails thanks to Nailboo and search until you find your signature shade — or shades!

Ready, Set, Revolution!

Are you ready to join the Nailboo revolution?

Remember that for just $99, you can get six different dip powder colors. With this amazing offer, you can keep your nails looking fresh and festive at all times without breaking the bank! From traditional nude and neutral shades to edgier colors and textures, there’s something for everyone in Nailboo’s collection.

Once you become your own favorite manicurist, you won’t have to worry about fitting into busy salon schedules — or fitting salon trips into your to-do list! You’ll be able to achieve salon-quality nails from the comfort of your bathroom … or should we say spa?

Thanks to the information provided in the Nailflix Academy, you have all the tools you need to become an expert DIY manicurist. With step-by-step courses, inspo pics, and a comprehensive Q&A section, you’ll need to wonder about the best way to apply dip powder or what the hottest nail trends will be this summer.

When you embrace Nailboo and ditch the expensive salons, you’re joining a movement that is disrupting the 8.3 billion dollar nail industry. Plus, you’re saving time and money in the process!

Stop wasting money at the salon, and give yourself the gift of perfect nails today with Nailboo.

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Director Hari interview: On Vishal’s ‘Rathnam’ and his evolution as a filmmaker

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Director Hari is an interviewer’s delight; he loves to talk about films, shares interesting anecdotes about his films — some of which are cult classics today — and gets excited when you point out a deft filmmaking touch past the Sumo car chases and fast cuts he has become synonymous with.

Fascinatingly, for someone who has been in the industry for more than 20 years, Hari says he has never done a film hoping to hit a certain box-office number. “The idea has always been to deliver a good film enjoyed by the masses. My only concern while making a film is to stick to the promised budget. Otherwise, I never get into the business aspects of it. A producer invests money and I’ll be happy if he makes a huge profit; I invest my talents and want the film to get me a good name,” says the filmmaker. His upcoming film Rathnam sees him collaborating for the third time with Vishal after Thaamirabharani (2007) and Poojai (2014), and from the looks of it, he’s got something different in the offing.

Excerpts…

In our previous interview, you had said that you don’t write scripts but narrate them for it to be written by your Assistant Directors. How does that work?

I don’t write scripts, I narrate the story and it keeps getting recorded, which is then turned into written content by my ADs. I don’t have paperwork for the screenplay at all; scene construction happens, which doubles as the screenplay, and from there, I jump to dialogue writing. At that point, I ask them to tell me what they have written all that while and I come up with the lines for those scenes. Once that’s done, then comes in the paperwork, but even then, I don’t write anything though it’s been 17 films (laughs). I would say this goes on for at least 10 drafts and improvisation happens until the day before the shoot. On the day of the shoot, there might be some minor changes but that’s just to glorify the scenes.

…And this unorthodox style, I heard, spills over during the shoot and post-production as well?

I don’t use precise technical terms to describe a scene to my technicians; I just explain how I want it to be. If I’m going to use editing terms with an editor, he might get irritated after a point. For example, I don’t tell my stunt director that I want a somersault; I tell him that once the stuntman gets punched, he should flip around like how a monkey does. Similarly, I get annoyed if someone talks to me technically about filmmaking. When they’re specialists in those streams, you leave it to them about how it’s done. You just tell a cardiologist that you’re having some discomfort; you don’t talk to them about blood vessels.

A still from ‘Rathnam’

A still from ‘Rathnam’
| Photo Credit:
Special Arrangement

We have to keep reassuring that each technician is an expert in their own domain. Not only does this increase their confidence but also makes them feel comfortable to work with us again. Slackers can’t work with me; they’ll run away in a couple of days. Contrary to my discussion space, my shooting spots would buzz with activity. There, I aim to do a minimum of two shifts a day so that in six months I would have done at least 12-18 months of groundwork. That time helps me to find what we are looking for. If you’re looking for any fish, just a fishhook and some bait are enough, but if you want mudfish, you have to get dirty in the mud and keep digging.

We discuss everything, from my films as well as other ones; how contemporary or outdated they are, the technology used in them and even current affairs. We were recently talking about how Ukraine’s President (Volodymyr Zelenskyy) used to be a comedian. That’s a nice arc for a villain; imagine an antagonist who has come up the ladder but still doesn’t forget his roots. That’s basically the characteristics of Perumal Pichai (the antagonist of his hit film Saamy played by Kota Srinivasa Rao). That’s why you have to keep digging to find both the meen and the scene (laughs).

Your films have always concentrated on their male protagonists but ‘Rathnam’ seems to revolve around the female lead character.

You’ve guessed it right; Priya Bhavani Shankar’s role in this film is of utmost importance. Apart from her character, Priya, as an artist, also had a lot of challenges in this film.She pulled off a single-shot scene, 300 feet in film length, involving a lot of movement and filled with dialogue brilliantly. I’ve assisted K Balachander sir and he is known for rightly positioning the artists in lengthy shots. Positioning, especially in such long shots, is of much importance, and the actor should be talented enough to pull it off. The fact that Priya can do all of that and knows the language makes it perfect.

It’s been 17 years since you first collaborated with Vishal. How do you think the two of you have evolved over time?

I think I’ve been the same (smiles) and I’m glad that I’m getting work — which I believe I’ve been doing well. It’s nice to see the growth of Vishal, both business-wise and how he has gained an audience even in the north. Character-wise, he has always been the same. He’s light-hearted, easy to work with, and likes to keep everyone around him at the sets happy.

A still from ‘Rathnam’

A still from ‘Rathnam’
| Photo Credit:
Special Arrangement

For a filmmaker who was known for fast cuts, we spotted you opting for having single-shot sequences, toning down on the over-the-topness of action sequences, or coupling comedy tracks with the main story instead of letting them have a separate track as some examples of changes in your last film ‘Yaanai’. Is that you evolving as a filmmaker or adapting to contemporary filmmaking?

People would see any film if it’s entertaining. My move comes from needing challenges while making a film. It’s not intentional but something a scene demands; the Yaanai interval shot, for example, runs for around 350 feet. The cooperation of artists and technicians for such a shot is of paramount importance. As far as the other changes are concerned, I see films made by my fellow filmmaking friends and notice what’s getting appreciated, and that could probably indirectly influence my work as well. There are films made totally to look like they are made in one continuous take and there are films actually shot in a single take like how Parthiban sir did (in Iravin Nizhal). In Rathnam, I’ve pulled off a five-minute single shot, without any stitching, where there are vehicle tracking shots, an action sequence involving rope work, and a chase sequence involving blasts and vehicles toppling. This is probably the evolution you’re talking about.

It starts with scouting for an empty highway road. For that, you need to know geography and government functioning. According to the rules, after laying a highway, it takes 3 months for it to be opened to the public. So I have to Google and find such newly laid roads in South India. Then, we have to call the local location manager and check the status of the road.

For the climax of Singam 2, I found the ship on Google Maps (smiles). I found a ship similar to what I was looking for in Malaysia. I called the Malaysian location manager who found out that the ship had reached Singapore port. I was invited to an event in Singapore, which I had no intention of going to, but now that I knew this was happening, I attended the event and luckily also found the ship’s owner. We then signed a deal and got the ship for the shoot. Google Maps comes in handy for such location scouting. For the same film, we created a camp for Operation D in a particular area and we finalised that spot just by looking at it on maps. It was at this location I had been to years ago in Tuticorin and I asked my art director to put up the sets there. I remember that there’s enough space to do a parade shot and in the background, we can show the NLC power plant’s cooling towers. Though this is something almost everyone does, I’m geographically strong as far as Tamil Nadu is concerned.

Your films always have an ensemble cast and it’s nice to see many who are considered to be past their prime get good roles with their own arcs in your films. Thyagu, for example, plays a negative role in ‘Singam’ but is a reformed character in the sequel. How does the casting process happen in your film?

Artist selection is something I spend a lot of time on. After finalising the hero, within the next two months, I would’ve zeroed in on the female lead and comedian. The next four months will be spent scouting for the supporting cast. That’s how we got actors like Thyagu anna and Aishwariyaa akka. Akka, for example, is so talented that she should be acting in 20 films a year. But the industry has not utilised her just like the performer in Vadivelu anna. Seeing these cause me grief but I try to do my best.

The example you gave was perfect… Thyagu anna plays a baddie in the first film. but in the second, he’d say “pazhaya pagaiya edhuvum manasula ille sir, unga kitta sollanumnu thonuchu,” when he helps Singam after knowing that Singam’s family is being targetted by the villains. I think it’s an extension of how I perceive people. If someone scolds me, I would try to find out what I did to receive it. I ask my sons to put a lid on their temper when they fight each other and tell them they’ll soon be in a position to transform this anger into something fruitful. Kovam varavanuku dhaan unarchigal adhigama irrukum, neraya vela seivan. I like those with strong temper and probably that’s why I like myself (laughs).

Rathnam is scheduled to release this Friday, April 26

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Steering art and culture in times of conflict and war | Carola Lentz of Goethe-Institut shares her thoughts

Post By Entertainment

Multiple crises in my home country, Germany, and around the world have reopened debates on the significance of artistic production and cultural work. Political intrusion into cultural spaces is not an unusual phenomenon because often culture is the symbolic arena where societies try to examine who they are, process what shapes them, and reflect on how to grow together. However, the global rise of illiberalism is increasingly challenging this vital function. 

As artists, cultural practitioners and intellectuals, our efforts to navigate ambiguities, understand diverse perspectives, and respect the rationality of alternative world-views are now constrained by questions that tend to interfere with fundamental freedoms: who are we allowed to criticise?; with whom are we expected to express solidarity?; which voices must be amplified, and which ones silenced or omitted?; to what extent should culture encompass the political? 

Culture can be, and has been in the past, used as a powerful instrument for propaganda, but also for liberation. The power of culture comes from its ability to influence people’s emotional states, particularly through formats that are not necessarily discursive, but more affective, such as music, images, performance, and art. Culture is a double-edged sword — it can embody greater understanding or be used to create more hatred and prejudice; wielding it as a cultural institution or practitioner is a great responsibility.

In Germany, for instance, I have observed that the conflict in West Asia has polarised public discussions and fuelled an intense debate on public funding of culture and the freedom of expression. I am convinced that owing to the historical weight of the Holocaust, Germany, along with its cultural institutions, must steadfastly denounce any and all instances of anti-Semitism. However, there is debate on how exactly to define anti-Semitism, and where to draw the necessary red lines. Right now, there seems to be a tendency to limit the spaces of discussion — through boycott calls, event cancellations and threats to funding — in mere anticipation of anti-Semitism, even before arguments are fully articulated.

An outreach activity at Simurgh Centre, an initiative of the Goethe-Institut/ Max Mueller Bhavan in New Delhi.
| Photo Credit:
Anuj Rawat

Not everywhere in the world are the red lines defined in the exact same ways, and therefore robust debate is essential. However, it is equally crucial not to enable intolerant, repressive, and violent hate speech and actions in the name of freedom of expression. The discourse of cultural institutions thus becomes a balancing act where the urgency to create inclusive narratives that reflect varied experiences must be negotiated daily.

Listening and sharing 

As an anthropologist, I have learned that too rigid controls stifle expression that lies at the heart of human art and culture, and that curiosity permits authentic and relevant questions to emerge. As cultural arbiters in these unprecedented times, it is imperative that we build bridges of solidarity that transcend geopolitical divides and foster thoughtful dialogue. 

Since assuming the role of President of the Goethe-Institut in November 2020, I have witnessed how digitisation has opened new ways to bring unheard voices into cultural discussions and improved upon channels for listening and sharing information. Despite limitations, such as the exclusion of groups that do not have access to these mediums of communication, overall digital platforms have served as an important tool to advance inclusivity. For instance, Goethe-Institut set up a platform called ‘Goethe-Institut im Exil’, both a physical meeting place in Berlin and a digital network that serves as refuge for artists unable to pursue work in their native countries due to censorship or war. 

Carola Lentz, President of the Goethe-Institut.

Carola Lentz, President of the Goethe-Institut.

Around the world, nation-states dealing with the experience of colonialism have had to develop historical narratives and practices of remembering that support their independence and foment national unity. Memory deals with past events but always responds to agendas and exigencies in the present. This is why memories are repeatedly revised and adapted to emerging needs. At new political conjunctures, such as decolonisation and nation-building, for instance, memory makers reconsider who the heroes of their resistance are; which foundational figures are given place in the national pantheon; or what gets highlighted as precursors of independence for a nation-state. Obviously, all remembering is partial and incomplete. However, narrow or selective interpretations censor and even erase the multiple dimensions of remembrance. By contrast, encouraging a broad range of historical experiences to be remembered may help unlock a shared understanding of histories, integrating local, regional, national, and even global perspectives. 

Wider perspectives

Cultural institutions today, more than ever, need to safeguard against monolithic narratives. This is why in Mumbai it was reassuring for me to experience the ongoing transcontinental exhibition Ancient Sculptures: India Egypt Assyria Greece Rome, at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, which brings to the Indian public the great and magnificent works of other cultures that were also witnesses to human history. This helps us to gain wider perspectives on the past. 

Similarly, the myriad expressions and movements at the closing choreography of the exhibition Critical Zones: In Search of a Common Ground at Goethe-Institut/ Max Mueller Bhavan in New Delhi recently, and an artists’ showcase at the contemporary dance festival March Dance 2024 organised by the Goethe-Institut/ Max Mueller Bhavan in Chennai, reminded me how artistic production and cultural work from different backgrounds can contribute to exciting and mutually enriching exchanges. Such experiences inspire the creative potential of societies and create avenues of cooperation.

As a cultural institution, the Goethe-Institut will continue to support cultural projects and exchanges that are relevant and impactful because they are developed meaningfully with local communities and trusted partners through collaborative and participatory processes. With a bottom-up focus on creativity, friendship, and innovation, we wish to contribute to a positive and resilient future for all. 

The writer is an internationally acclaimed anthropologist, and since 2020, the President of the Goethe-Institut.

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Stardust: Before Charlie Cox was Daredevil he starred in this underrated fantasy epic

Post By Entertainment

INTRO: Director Matthew Vaughn is known for making gangster movies and comic book adaptations. Producing Lock, Stock, and Two Smoking Barrels and making his directorial debut with Layer Cake paved the way for bigger projects: Kick-Ass, X-Men: First Class, the Kingsman franchise, Argylle. But in between the gangsters and the over-the-top heroics, he decided to make a fairy tale. Based on the writing of popular author Neil Gaiman, the film tells of witches, unicorns, flying ships, lightning catchers, and a falling star… that’s actually a person. Released in 2007, the movie we’re talking about is called Stardust. And it’s time for it to be Revisited.

SET-UP: The story of Stardust goes back to the early 1990s. While out driving one day, Neil Gaiman saw a wall running along one side of the road and was struck by the idea that a magical land called Faerie might exist on the other side of that wall. So he started plotting a book that he intended to call Wall. Which would have been about a writer from America moving to England. Where he discovers this wall that separates the world we see around us from the land of Faerie. This idea was set aside when Gaiman saw a shooting star cross the sky one night. In that moment, he was inspired to write a whole different story about Faerie and the wall.

With illustrator Charles Vess, Gaiman crafted a text-heavy four-issue comic book mini-series called Stardust. The story begins in 1839, in the English town of Wall. Every nine years, on May Day, the magical beings that inhabit Faerie hold a market event in the meadow outside the town. The rest of the time, the gap in the wall between the two lands is under twenty-four hour guard. When a Wall resident named Dunstan Thorn crosses over into Faerie, he ends up being enchanted by a young woman named Una. She is kept as a slave by a witch-woman called Ditchwater Sal, who makes Una spend most of her time as a bird. But she’s in her proper form when she meets Dunstan. They have sex and Dunstan returns to Wall… where, nine months later, a baby is delivered to his door. Turns out he and Una have had a son. Dunstan raises this son, named Tristran. Eighteen years later, Tristran has become infatuated with fellow Wall resident Victoria Forester. He gets her to go out with him one night, but she won’t give him a kiss. When they see a falling star, Victoria tells Tristran she’ll give him anything he desires if he retrieves the fallen star for her. So Tristran sets out to find the star, crossing over into the land of Faerie. And going on a much bigger adventure than he anticipated.

Turns out, the star that has fallen to the ground is a person. Or at least she has a humanoid appearance. Her name is Yvaine, and she was knocked out of the sky when she was hit by a topaz pendant. Which was tossed into the sky by the dying Lord of a land called Stormhold. The Lord once had seven sons, but they’ve been killing each other off to get closer to the throne. The dead ones are still hanging around as ghosts. A few sons are left alive, and whoever finds the topaz pendant – now in the possession of Yvaine – will replace their father on the throne. Meanwhile, a trio of decrepit witches have also seen the star fall from the sky. One of them goes to find where it has landed… because if they cut out Yvaine’s heart and consume it, their youth and beauty will be restored. The witch uses magic to cover up her true appearance, but every time she uses other spells on her journey, her real looks start to come through.

Tristran is the first to reach Yvaine. Even though he’s surprised to see that the star is a woman rather than a rock, he still goes through with taking her back to Wall. And thus has to deal with witches and the sons of Stormhold coming after her. Along the way, there are encounters with a unicorn. Goats that have been transformed into people. And the crew of a ship that flies above the clouds, on a lightning-hunting expedition.

A couple years after the Stardust comic book was published, Gaiman also released the story as a novel without Vess’s illustrations. But even before that, Miramax had picked up the film rights to Stardust. They had Gaiman write a treatment for the adaptation. But they didn’t like what he wrote. So they had Ehren Kruger write another treatment. Which they didn’t like, either. So they lost interest and Gaiman got the rights back. Disappointed with the Miramax experience, he spent the next few years rejecting people and companies that wanted to make a Stardust movie. Then, in 2003, he made a short film called A Short Film About John Bolton. Which was produced by Matthew Vaughn. They had a good time working together – and around this time, Vaughn’s wife Claudia Schiffer read and fell in love with Stardust. So Gaiman felt comfortable moving forward with a Stardust adaptation that would have Vaughn involved. At first, Vaughn was going to produce the film. Terry Gilliam was going to direct it. But then Gilliam made the 2005 fantasy film The Brothers Grimm. Which centers on the legendary fairy tale tellers and sends them on their own fairy tale adventure. After making that movie, Gilliam said there was no way he could go right back into the world of fairy tales. So he dropped out of Stardust. In the meantime, Vaughn had gotten into directing when Guy Ritchie decided not to make Layer Cake. On the strength of that film, 20th Century Fox hired him to direct X-Men: The Last Stand. Two weeks before that movie was going to start filming, he stepped away due to creative disagreements with the studio. That’s when Vaughn decided he was going to direct Stardust himself.

At Gaiman’s suggestion, Vaughn brought Jane Goldman in to write the screenplay with him. Establishing a partnership that would continue through several more of Vaughn’s films. Whittling Gaiman’s story down into a two hour film presented multiple challenges. They had to simplify portions of the story. Which included having to remove a really fun character known as “the little hairy man” so they could get Tristran to Yvaine quicker. They also changed Tristran’s name to Tristan and called the magical land Stormhold instead of Faerie. They expanded some elements of the story. For example, Gaiman didn’t write much about Tristan and Yvaine’s time on the flying ship. Vaughn and Goldman put a lot more focus on that, turning Captain Alberic into Captain Shakespeare. A gay man who puts on drag shows in private. Then puts on a macho act in front of his crew. The screenwriters also had to figure out how rough-edged the film should be. Gaiman’s story has been described as a fairy tale for grown-ups. Most of the text is quite family friendly. But then there’s the sex scene between Dunstan and Una in the first chapter. Another sex scene involving a prostitute later. An F-bomb. A throat slitting. A unicorn’s head being hacked off with a meat cleaver. Vaughn and Goldman chose to soften the edges. Keeping things family-friendly throughout. And while Gaiman’s story has a rather low-key resolution, for a movie they had to keep things action-packed.

stardust matthew vaughn

Seeking an unknown to play Tristan, Vaughn chose Charlie Cox. Who, these days, is best known for being Marvel’s Daredevil. Bigger names were cast around Cox. Claire Danes plays Yvaine (although Bryce Dallas Howard was Vaughn’s original choice). Michelle Pfeiffer is the witch Lamia. Some of the sons of Stormhold are played by Mark Strong, Jason Flemyng, and Rupert Everett. Their father is played by the great Peter O’Toole. Robert De Niro took on the role of Captain Shakespeare. Ricky Gervais plays Ferdy the Fence, a character who was created for the film. Sienna Miller is Tristan’s crush Victoria, while Henry Cavill has a small role as a rival for her affections. Ian McKellen provides the narration. Tristan’s parents Dunstan and Una are played by Ben Barnes and Kate Magowan, with Nathaniel Parker as the older Dunstan.

REVIEW: Vaughn and Goldman changed a lot about Stardust on the way from the page to the screen. Reading the book and watching the movie are very different experiences. This could cause some disappointment for those who decide to check out both. If you watch the movie first, you may be let down when you find that Captain Shakespeare is nowhere to be found. Or that the climactic action isn’t there. If you read the book first, the way things are presented in the movie may not live up to the magical world you imagined. Where’s the little hairy man? The vampire trees? The talking badger in a dressing gown? The fight between the lion and the unicorn? Some of the changes were budgetary. It was going to be way too expensive for Vaughn to put a lion and unicorn battle on screen. Some were creative. He wanted to spend more time on the flying ship. Build in a lesson that you shouldn’t pretend to be something you’re not just to impress others. Work in some entertaining action. And present this fairy tale in a more down-to-earth way. Even with the witch’s magic, he didn’t want it to be too outlandish. His approach was to make something that would feel like a blend of The Princess Bride and Midnight Run.

Gaiman acknowledges that the movie is different from what he wrote. And he wasn’t sure about some of the changes that were being made. But in the end, he seemed pleased with and accepting of the film. As he told USA Today, it’s better that Vaughn didn’t try to exactly replicate what was on the page, because, “I would hate for people to go and see a version of Stardust that is Stardust the book, only not as good.” He went on to tell Empire, “I sort of feel like my grounding in comics was actually very useful because in my head, that’s just the Earth-Two version of Stardust. It’s a parallel Earth version of Stardust, which has Robert De Niro and stuff.”

So taking Stardust the movie on its own terms, it’s an entertaining fantasy film. Vaughn was admittedly better at shooting action and keeping things moving along quickly than he was with the human relationship stuff. Stardust may still be over two hours long, but it moves through those two hours at a fast pace. Some of this is due to the way the script condensed the original story. But it’s also due to the fact that Vaughn is always bouncing back and forth between the various characters. Never giving any of them scenes that are too drawn out. There’s so much bouncing around, the witch Lamia and Septimus of Stormhold almost start to overshadow Tristan and Yvaine in a story that’s meant to revolve around them. But that’s where Goldman steps in. Gaiman suggested having her co-write the script with Vaughn because she could help him with the relationship side of things. And there are some sweet moments with Tristan and Yvaine as we watch them gradually fall in love.

stardust claire danes

Sure, the livelier and occasionally over-the-top performances from the supporting cast do steal the show. But Charlie Cox and Claire Danes are able to keep their section of the story grounded.

The climactic action sequence Vaughn and Goldman came up with feels absolutely right for their telling of the story. It wraps things up in a fun way. And even if you’re hung up on the fact that it’s so different from the book… how could you ever complain about a sequence that lets you watch a swordfight where one of the participants is a corpse that a witch is using like a puppet?

LEGACY/NOW: Test audiences were so pleased with Stardust, producer Lorenzo di Bonaventura was even surprised at how highly they scored it. He told Rotten Tomatoes, “It’s a weird thing to say. I don’t think everybody’s going to love the movie because it’s not a movie that’s designed to be that. And yet, when we went and tested it, they really flipped for it. It just caught me off guard. It was a movie where I expected to have a larger portion of the audience sort of go, ‘Well, that’s sort of out there. Not sure it’s for us.’ And what happened was that we delivered a romance so spectacularly well, Matthew Vaughn did such a good job with it, that it caught a segment of the audience that I wasn’t expecting.” The test audiences did bring up an issue on how the movie should be marketed, because they strongly disagreed that it should be described as a fairy tale. So di Bonaventura wasn’t sure what they should call it. As he said, “It is an adventure movie, it is a romance, it is fantasy, it is Neil Gaiman’s bizarre world view.”

Whatever it is, it had a budget somewhere in the range of seventy to ninety million dollars. So it needed to do well. Paramount Pictures gave it a wide release in the United States in the summer of 2007… and it opened at number four. Its opening weekend was described as a crash-landing and Stardust was compared to the fantasy films that flopped in the 1980s. Still, the U.S. ended up being the film’s largest market, as it made a total of thirty-eight million there. The U.K. release followed a few months later and added thirty-one million to Stardust’s haul. It ended up with a total of one hundred and thirty-seven million at the global box office. Not a big success, but not a bomb, either. The film was well-received by critics and the audiences that did show up to see it. It gathered a cult following… and that following grew when it reached home video, where it was more successful than it was in theatres.

That wasn’t enough to get a sequel greenlit, though. Seven years after the movie was released, Vaughn revealed to Den of Geek that he had really been hoping to get the chance to make a follow-up. He said, “I had a really crazy fun idea for a Stardust 2. The opening scene was Charlie Cox’s character, being the King and throwing out the necklace. This time the necklace goes over the wall and bounces off Big Ben, and you’re suddenly in London in the early 1960s, with these mad kings and princes and princesses running around London. All on the quest for the stone. That was my idea for the sequel, but sadly the film didn’t make enough money for anyone to want to make it.”

It’s a shame that Vaughn didn’t get to make his return to the world of Stardust. But at least he got to make one trip to that world. And delivered a film that has been loved by many of its viewers. If you haven’t seen it yet, it’s worth checking out, as it still holds up all these years later. And where else are you going to see a swordfighting corpse being puppeteered by a witch?

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#Stardust #Charlie #Cox #Daredevil #starred #underrated #fantasy #epic

Broadway Spring 2024: ‘Hell’s Kitchen’’ & All Of Deadline’s Reviews

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April on Broadway, to mangle a phrase from a showtune classic, is bustin’ out all over with no fewer than 14 new plays and musicals set to open before the April 25 Tony Award eligibility cutoff date. So crowded are the final weeks of the 2023-24 theater season that three days each will see the openings of two shows, a Broadway rarity.

Deadline will weigh in on each show. Whether you use this page as a guide or as an invitation to argue, drop by often for the latest on Broadway’s offerings. And there’ll be plenty of offerings indeed — here’s the schedule of April openings: The Outsiders (April 11), Lempicka (April 14), The Wiz (April 17), Suffs (April 18), Stereophonic (April 19), Hell’s Kitchen (April 20), Cabaret (April 21), Patriots (April 22), The Heart of Rock and Roll (April 22), Mary Jane (April 23), Illinoise (April 24), Uncle Vanya (April 24), Mother Play (April 25), The Great Gatsby (April 25).

Below is a compendium of our reviews. Keep checking back as the list is updated.

Hell’s Kitchen

Maleah Joi Moon & company of ‘Hell’s Kitchen’

Marc J. Franklin

Opening night: April 20
Venue: Shubert Theatre
Director: Michael Greif
Music & Lyrics: Alicia Keys
Book: Kristoffer Diaz
Choreography: Camille A. Brown
Principal Cast: Maleah Joi Moon, Shoshana Bean, Brandon Victor Dixon, Kecia Lewis, Chris Lee
Running time: 2 hr 30 min (including intermission)
Official synopsis: “Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before…Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano.”
Deadline’s takeaway: Being privileged to witness the birth of a star is one of the many pleasures to be had in Hell’s Kitchen, the semi-autobiographical Alicia Keys musical opening on Broadway tonight after a successful Off Broadway run last year. Twenty-one-year old newcomer Maleah Joi Moon, who plays the 17-year-old Ali – the Keys character – seems to have arrived on stage as a fully formed Broadway presence, a marvelous singer, dancer and actress who is sure to leave every New York theatergoer hoping that Hollywood doesn’t swoop in too fast, and that Hell’s Kitchen is just the beginning of a long career in musical theater.

Directed with energy aplenty by Michael Greif, with thrilling choreography by Camille A. Brown, Hell’s Kitchen is set in the changing New York of the early 1990s, when the city’s street life was becoming safer – for some – and Rudy Giuliani could still be hailed – by some – as the man who would give neighborhoods like the one of the title back to their residents.

At least, that’s the hope for parents like Jersey, the protective, still-young single mother of a teenage girl enticed by the vibrant street life of bucket drummers and hip-hop dancers. Ali – who we know will grow up to be the singer-songwriter of such hits as “You Don’t Know My Name,” “Fallin’,” “If I Ain’t Got You,” “No One,” and “Empire State of Mind” – craves a life beyond the safety and boredom of the one-bedroom apartment she shares with her mom.

Boredom, of course, is a relative thing. Manhattan Plaza, the real-life Hell’s Kitchen building in which Ali and Jersey live, offers affordable housing for artists, and is a terrific setting for a musical. In a delightful bit of stagecraft that makes perfect use of Grief’s direction, scenic design (Robert Brill), lighting (Natasha Katz), projections (Peter Nigrini), sound (Gareth Owen) and, not least, Moon’s performance, Hell’s Kitchen introduces us to the world of music surrounding young Ali. As she descends from her upper-floor apartment in an elevator, each level of the building offers up the sounds of its inhabitants, introducing the impressionable teenager to jazz, opera, classical and other genres. By the time she arrives on a street thumping with the beats and movement of hip-hop, she contains musical multitudes.

The plot is simple: Mother and daughter clash over the girl’s infatuation with a young man – man, as opposed to boy, being the operative word for mom – who plays a bucket drum on the street. To Jersey, young Knuck (Chris Lee) is all too reminiscent of Ali’s mostly absent piano-playing father Davis (Brandon Victor Dixon). Jersey knows these sweet, sensitive, artistic types can be heartbreakers.

An oasis amidst the turmoil is Miss Liza Jane (Kecia Lewis), an elderly Black neighbor (hints of Nina Simone and Odetta) who practices piano in the building’s communal studio and teaches the mixed-race Ali about both music and heritage. In one of the musical’s most moving sequences, old images and vintage film clips of the Black musical “patriarchs” and “matriarchs” unspool just behind teacher and student as the lesson takes hold.

While the musical’s second act falters with unnecessary emotional padding and more than a little heart-tugging – the ailing Miss Liza Jane, well, you’ll guess early enough – the cast is so good we’ll overlook anything.

Stereophonic

The cast of ‘Stereophonic’

Julieta Cervantes

Opening night: April 19
Venue: Golden Theatre
Director: Daniel Aukin
Written By: David Adjmi
Original Songs: Will Butler
Cast: Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, Chris Stack
Running time: 3 hr 5 min (including intermission)
Official synopsis: “Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. In Stereophonic, Adjmi invites the audience to immerse themselves—with fly-on-the-wall intimacy—in the powder keg process of a band on the brink of blowing up.”
Deadline’s takeaway: Even if you’d never consider spending one of your three genie wishes to travel, invisibly, back in time to witness the legendarily volcanic creation of that most fabled rock masterpiece known as Fleetwood Mac’s Rumours, you’d do well to check out Stereophonic, a masterpiece in its own smaller way.

Playwright David Adjmi has engineered a moment-in-time tale that perfectly captures its era, a near-documentary portrait of all-too-human heroes and the messy personal dynamics that go into creating not just any old art but art that’s meant to last, whatever last means in the world of Top 40 hits and rock & roll relationships. With unerring direction by Daniel Aukin and performed by a miraculous cast that so fully embodies Fleetwoo… I mean, the unnamed band at the heart of Stereophonic, the play is like the answer to a question you never knew you needed answered.

Very obviously based on the 1976 making of Rumours – creators’ claims to the contrary fall in the ‘The Rose wasn’t about Janis Joplin’ pile – Stereophonic mines those mythically troubled recording sessions to examine the fraught creation of art, band dynamics when love comes and goes, the male arrogance that permeated every bit of breathable air in a rock world even when women were the nominal stars, and the great toll that fame, fortune and the unquenchable thirst for ever-more success takes on the suspecting and unsuspecting alike.

Playing out on David Zinn’s knob-perfect, bifurcated recording studio set, with a large, period-accurate recording consul dominating the engineers’ room closest to the audience and the recording booths visible just beyond sound-proof glass (we hear what’s going on when the mics are turned on, whether the band wants us to or not), Stereophonic unspools with a vérité accessibility. The characters, their talents, addictions and relationships are established in swift, observant efficiency. Bass player Reg (Will Brill) and singer-keyboardist Holly (Juliana Canfield) are the British husband and wife, his alcoholism getting the better of both; cocky Peter (Tom Pecinka) and insecure Diana (Sarah Pidgeon) are the American newcomers, lovers for nine years, he boasting a more developed musical talent (and the massive ego to prove it), and she self-critically revealing a nascent genius that foretells fast-rising stardom; and drummer Simon (Chris Stack), British founder of the band who watches proudly and helplessly as his control slips from his grasp under the skyrocketing popularity of the yanks.

If you need a scorecard: Reg Holly Peter Diana Simon = John Christine Lindsey Stevie Mick.

Serving as a sort of greek chorus/audience stand-ins are low-on-the-totem-pole engineers Grover (Eli Gelb) and Charlie (Andrew R. Butler), who survive through their own bluffs, skills and tolerance for inexhaustible abuse. They do what they do very well, and they hold the very large bags of cocaine.

As weeks drag into months (many, many months), the recording of the band’s follow-up to a surprisingly successful first album sees tensions and old resentments slow-boil to lid-blowing proportions. There will be tears, break-ups, reconciliations and more break-ups. Not one person, no matter how newly famous, will emerge unscathed.

Making no small contribution to the power of this play are the few original songs (written by Will Butler, formerly of Arcade Fire) that capture the late-’70s vibe with uncanny accuracy without merely copycatting. A cast album has been announced, and it’s more than deserved. Not only do the actors nail the acting, they make for a very credible hit-making band, playing their own instruments and singing their own songs. By the end, these bruised golden gods remain standing, though barely, and certain that, if nothing else, they have a smashing success on their hands. Everyone behind Stereophonic must know the feeling.

Suffs

Shaina Taube and the cast of 'Suffs'

Shaina Taube in ‘Suffs’

Joan Marcus

Opening night: April 18, 2024
Venue: The Music Box Theatre
Director: Leigh Silverman
Book, music & lyrics: Shaina Taub
Choreography: Mayte Natalio
Principal cast: Shaina Taub, Nikki M. James, Jenn Colella, Grace McLean, Hannah Cruz, Kim Blanck, Anastacia McCleskey, Ally Bonino, Tsilala Brock, Nadia Dandashi, Emily Skinner
Running time: 2 hr 30 min (including intermission)
Official synopsis: “In the seven years leading up to the passage of the Nineteenth Amendment in 1920, an impassioned group of suffragists — “Suffs” as they called themselves — took to the streets, pioneering protest tactics that transformed the country. They risked their lives as they clashed with the president, the public, and each other. A thrilling story of brilliant, flawed women working against and across generational, racial, and class divides, Suffs boldly explores the victories and failures of a fight for equality that is still far from over.”
Deadline’s takeaway: Suffs is enthralling, a smart, funny and beautifully sung musical that brings its chosen moment in history to life just as surely and confidently as Hamilton did for its. That the Suffs era is female-focused — and so less known, in its details, to the general public than the doings of the Founding Fathers — makes Shaina Taub’s creation all the more potent.

The urgency comes through in every aspect of this thrilling production, from the extraordinary performances to an exquisite set design that places the Suffs of 1913-1920 squarely within a Washington D.C. of stately marble and paneled wood, right where they belong.

Taub, the composer and performer best known to New York theatergoers through her inspired work for Shakespeare in the Park in recent years, here takes a big step in scope and ambition, and handily pulls it off. She’s populated Suffs with some dozen or so women who, in one way or another, took part in the fight for suffrage, sometimes agreeing with one another, just as often not, but always coming together when history demands.

Taub, director Leigh Silverman and a pitch-perfect cast bring the era to vivid life by alternately focusing on historical sweep and the personal dramas of the (very real) characters. The Suffs plead their case more than once to no less a personage, however craven, than President Woodrow Wilson (Grace McLean, in a terrifically funny performance). But the real drama — and no small bit of the humor (Suffs is anything but stuffy) — comes from the clashing personalities of the women who share a goal, if, as it so often seems, little else.

Taub plays Alice Paul, the young firebrand who, along with her devoted friend Lucy Burns (Ally Bonino), are determined to bring change to the Suffrage Movement, long (too long) under the cautious domination of the older Susan B. Anthony-era organizers as personified by the dismissive Carrie Chapman Catt (Jenn Colella). Carrie can’t let go of a more polite way of achieving change: the lobbying and kowtowing that for decades has gained little but promises.

Alice and her compatriots aren’t nearly so patient. They want marches, and demonstrations and, in the end, even hunger strikes, tactics that appall the establishment Suffs. But one of the most rewarding aspects of Taub’s vision for Suffs is in the suggestion of how the newcomers and their elders inspire and influence one another is significant ways. We see this in the bond, however tested, between Alice and Carrie, and in a similarly positioned friendship between the crusading Black journalist Ida B. Wells (Nikki M. James) and her older friend Mary Church Terrell (Anastacia McCleskey). James’ performance of the righteous “Wait My Turn” is a musical highlight.

Taub’s music (along with Mayte Natalio’s choreography) is an appealing meld of Americana, showtune, and hints of vaudeville and the Blues, all blending into one of the most incisive and pleasing new scores since Kimberly Akimbo. Suffs, though set (mostly) in the distant past, has much to say about the ongoing struggle for equal rights (Hillary Rodham Clinton and Malala Yousafzai are among the producers). History, and Broadway for that matter, deserve no less.

The Wiz

‘The Wiz’

Jeremy Daniel

Opening night: April 17, 2024
Venue: Marquis Theatre
Director: Schele Williams
Book: William F. Brown
Music & lyrics: Charlie Smalls
Additional material: Amber Ruffin
Choreography: JaQuel Knight
Principal cast: Nichelle Lewis, Wayne Brady, Deborah Cox, Melody A. Betts, Kyle Ramar Freeman, Phillip Johnson Richardson and Avery Wilson.
Running time: 2 hr 30 min (including intermission)
Official synopsis: “Based on L. Frank Baum’s children’s book, “The Wonderful Wizard of Oz”, The Wiz takes one of the world’s most enduring (and enduringly white) American fantasies, and transforms it into an all-Black musical extravaganza for the ages.”
Deadline’s takeaway: So much has happened in the land of Oz since The Wiz first eased on down the road to Broadway back in 1975, and the most of that so much was Wicked. Raising the bar on all things Baum, Wicked not only added new storylines, approaches and no small amount of stagecraft dazzle to the universe of witches, wizards and an intruder or four that even a teaser trailer for the upcoming film adaptation can rouse fan excitement to dizzying levels.

The once groundbreaking Wiz, in other words, is gonna have a tough yellow brick road to hoe to keep up, and the new Broadway revival, opening tonight at the Marquis, only occasionally meets the challenge. A good cast, though apparently encouraged to over-sing at the drop of a house, works hard to make up for the production’s shortcuts – painted flats are overused, special effects are few, far between and not particularly special, and director Schele Williams breezes past (or completely ignores) some of the well-worn story’s most anticipated beats.

The tornado, for example, barely registers, signified mostly by a swirling chorus of dancers in bland gray, while the Wicked Witch’s castle is rendered as a pseudo-Hadestown boiler room bathed in red light. Budgetary constraints might play a part in some of the disappointments, but surely the Wicked Witch’s liquidation could have been accomplished with something more impressive than a standard hydraulic lift, and why there’s no one to greet Dorothy back in Kansas is anyone’s guess.

The production is not without its charms, though. A relatively brief moment in the musical spotlight by Wayne Brady, as The Wiz, has enough charm (and dance moves) to fuel a cyclone, and JaQuel Knight’s choreography rises way beyond itself in full-ensemble numbers like the Act II opener “The Emerald City.” Other highlights: Melody A. Betts, as Eviline, blowing the roof off the Marquis with “Don’t Nobody Bring Me No Bad News,” and a funny Allyson Kaye Daniel as Dorothy’s good witch greeter. Best of all, the score, however overstuffed, still shines with at least two evergreens: “Ease on Down the Road” and “Home.” Some spells don’t break.

Lempicka

Eden Espinosa in ‘Lempicka’

Matthew Murphy and Evan Zimmerman

Opening night: April 14, 2024
Venue: Longacre Theatre
Director: Rachel Chavkin
Book and music: Carson Kreitzer (book, lyrics, and original concept), Matt Gould (book and music)
Choreography: Raja Feather Kelly
Cast: Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Joy Johnson, Zoe Glick, Nathaniel Stampley, Beth Leavel.
Running time: 2 hr 30 min (including intermission)
Official synopsis: “Spanning decades of political and personal turmoil and told through a thrilling, pop-infused score, Lempicka boldly explores the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time has finally come.”
Deadline’s takeaway: For a musical devoted to trumpeting the new and daring, Lempicka can feel decidedly backward-looking. That’s not a bad thing when those glance-backs include vivid flashes of Art Deco elegance, invigorating ’90s dance pop, big time Evita belting and a dash or two of One Night in Bangkok‘s jaunty decadence.

A pop bio-musical written by Carson Kreitzer and Matt Gould about the groundbreaking Art Deco painter Tamara de Lempicka, Lempicka follows the artist through such 20th Century milestones as the Russian Revolution, two World Wars, the tragic slide of Jazz Age Paree to Nazi-occupied Paris, and, for a few brief moments, a lonely 1970s Los Angeles.

Actually, the musical doesn’t so much follow the artist as latches on for a ride that’s both thrilling and tiring. Directed by the ever-inventive Rachel Chavkin, with a powerhouse Eden Espinosa (Wicked) in the title role, Lempicka offers up a tempting mix of retro-futurism and just plain retro, with choreography (by Raja Feather Kelly), scenic design (Riccardo Hernández) and costumes (Paloma Young) that work hard to convey the Zelig-like scope of the artist’s life. That means we see, along with some sumptuous Deco-heavy visuals, lots of energetic dancing that frequently cribs from the most arresting of “Vogue”-era Madonna (fair is fair: Blond Ambition was a Lempicka painting come to life). At its worst, though, the dancing leads the musical through some very cartoony presentations of Soviet Realism and Left Bank bohemianism.

Though the musical’s book and lyrics remain doggedly by-the-numbers, Chavkin’s direction (and a good cast that includes Andrew Samonsky, Amber Iman, George Abud, Beth Leavel and Natalie Joy Johnson) keeps Lempicka barreling through the last century’s wartime horrors, peacetime optimism and an art that grew from both.

The Outsiders

Jason Schmidt, Brody Grant, 'The Outsiders'

(L-R) Jason Schmidt and Brody Grant in ‘The Outsiders’

Matthew Murphy

Opening night: April 11, 2024
Venue: Bernard B. Jacobs Theatre
Director: Danya Taymor
Book: Adam Rapp, Justin Levine
Music and lyrics: Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine
Choreography: Rick Kuperman & Jeff Kuperman
Cast: Brody Grant, Sky Lakota-Lynch, Joshua Boone, Brent Comer, Jason Schmidt, Emma Pittman, Daryl Tofa, Kevin William Paul and Dan Berry, with Jordan Chin, Milena J. Comeau, Barton Cowperthwaite, Tilly Evans-Krueger, Henry Julián Gendron, RJ Higton, Wonza Johnson, Sean Harrison Jones, Maggie Kuntz, Renni Anthony Magee, SarahGrace Mariani, Melody Rose, Josh Strobl, Victor Carrillo Tracey, Trevor Wayne.
Running time: 2 hr 30 min (including intermission)
Official synopsis: In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his best friend Johnny Cade and their Greaser family of “outsiders” battle with their affluent rivals, the Socs. This thrilling new Broadway musical navigates the complexities of self-discovery as the Greasers dream about who they want to become in a world that may never accept them. With a dynamic original score, The Outsiders is a story of friendship, family, belonging… and the realization that there is still “lots of good in the world.”
Deadline’s takeaway: A fine and catchy score that references pop, early rock & roll, country and showtune balladeering is performed by a terrific young cast in Broadway’s The Outsiders, opening in a heartfelt production at the Bernard B. Jacobs Theatre.

If you’ve read the book or seen the movie, you know the story. The musical’s book by Adam Rapp with Justin Levine stays close to its origins for better and worse, and the songs by the excellent folk and Americana duo Jamestown Revival, along with Levine, go a long way to fill in plot details and character histories.

Still, even with clever direction by Danya Taymor, The Outsiders never quite outgrows its Young Adult literary origins. Based on the groundbreaking S.E. Hinton novel and Francis Ford Coppola’s film adaptation, The Outsiders often comes across as a precocious teen all dressed up for a night on the New York town — clearly money has been spent on a spare, efficient set, with lots of stacked tires and planks of wood, designed by AMP featuring Tatiana Kahvegian, enhanced by Hana S. Kim’s cool projections (in one case, literally — images of Paul Newman in Cool Hand Luke are, if nothing else, an easy time-placer). The full talents of the designers and special effects masters come together in a terrific barn fire scene, and Brian MacDevitt’s lighting design and Cody Spencer’s sound meld well with with the choreography, especially during a crowd-pleasing slo-mo, freeze-frame, strobe-lit rumble between the vengeance-seeking cliques.

While all the production’s elements seem to be in place — the cast, even when its acting chops falter, is, musically, a full-throated and easy-to-like ensemble — The Outsiders often feels like a musical that wants to hang with the grown-ups while unable to leave behind its adolescent earnestness and self-involvement. A more thoughtfully adult production might invent some credible consequences for a negligent, deadly arson, a fatal stabbing and a train derailment, all of which are presented, true to S.E. Hinton, as temporary glitches in the self-actualization of a 14-year-old boy.

The Who’s Tommy

Ali Louis Bourzgui in Chicago production of 'The Who's Tommy'

Ali Louis Bourzgui in ‘The Who’s Tommy’

Liz Lauren

Opening night: March 28, 2024
Venue: Nederlander Theatre
Director: Des McAnuff
Book: Pete Townshend and Des McAnuff
Music and lyrics: Pete Townshend
Choreography: Lorin Latarro
Cast: Ali Louis Bourzgui, Alison Luff, Adam Jacobs, John Ambrosino, Bobby Conte, Christina Sajous, with Haley Gustafson, Jeremiah Alsop, Ronnie S. Bowman Jr., Mike Cannon, Tyler James Eisenreich, Sheldon Henry, Afra Hines, Aliah James, David Paul Kidder, Tassy Kirbas, Lily Kren, Quinten Kusheba, Reese Levine, Brett Michael Lockley, Nathan Lucrezio, Alexandra Matteo, Mark Mitrano, Reagan Pender, Cecilia Ann Popp, Daniel Quadrino, Olive Ross-Kline, Jenna Nicole Schoen, Dee Tomasetta, and Andrew Tufano.
Running time: 2 hr 10 min (including intermission)
Deadline’s takeaway: The Who’s Tommy is a nonstop surge of electrified energy, a darting pinball of a production that syncs visual panache with 55-year-old songs that sound as vital today as they must have at Woodstock. To read full review, click on show title above.

Water for Elephants

‘Water for Elephants’

Matthew Murphy

Opening night: March 21, 2024
Venue: Imperial Theatre
Director: Jessica Stone
Book: Rick Elice, based on the novel by Sara Gruen
Music and lyrics: Pigpen Theatre Company
Cast: Grant Gustin, Isabelle McCalla, Gregg Edelman, Paul Alexander Nolan, Stan Brown, Joe De Paul, Sara Gettelfinger and Wade McCollum, with Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar and Michelle West
Running time: 2 hr 40 min (including intermission)
Deadline’s takeaway: Water for Elephants is a pleasant, visually beguiling show with a cast led by The Flash‘s Grant Gustin in a sweet-voiced Broadway debut that puts some charm into a thin book by Rick Elice that probably veered too close to the novel for its own good. To read full review, click on show title above.

An Enemy of the People

Michael Imperioli in ‘An Enemy of the People‘

Emilio Madrid

Opening night: March 18, 2024
Venue: Circle in the Square
Written by: Henrik Ibsen, In A New Version By Amy Herzog
Directed by: Sam Gold
Cast: Jeremy Strong, Michael Imperioli, Victoria Pedretti, Katie Broad, Bill Buell, Caleb Eberhardt, Matthew August Jeffers, David Patrick Kelly, David Mattar Merten, Max Roll, Thomas Jay Ryan, Alan Trong
Running time: 2 hrs (including one pause)
Deadline’s takeaway: Watching Jeremy Strong (Succession) and Michael Imperioli (The Sopranos) go head to head for two hours is a treat, as if the stars of your favorite HBO dramas had crossed over some crazy timeline to show each other what for. To read full review, click on show title above.

The Notebook

Joy Woods, Ryan Vasquez, 'The Notebook,' Chicago Shakespeare Theater

Joy Woods and Ryan Vasquez in ‘The Notebook‘

Liz Lauren

Opening night: March 14, 2024
Venue: Gerald Schoenfeld Theatre
Directors: Michael Greif and Schele Williams
Book: Bekah Brunstetter
Music and lyrics: Ingrid Michaelson
Cast: Jordan Tyson, Joy Woods, Maryann Plunkett, John Cardoza, Ryan Vasquez, Dorian Harewood, with Andréa Burns, Yassmin Alers, Alex Benoit, Chase Del Rey, Hillary Fisher, Jerome Harmann-Hardeman, Dorcas Leung, Happy McPartlin, Juliette Ojeda, Kim Onah, Carson Stewart, Charles E. Wallace, Charlie Webb
Running time: 2 hr 10 min (including intermission)
Deadline’s takeaway: Based on Nicholas Sparks’ 1996 bestseller about a young — then older, then much older — couple who survives a lifetime of tribulations (until they don’t), The Notebook is the theatrical equivalent of Muzak, comforting in its unapologetically manipulative way and unabashed in its disregard for anything approaching the grit of the real world. To read full review, click on show title above.

Doubt

Liev Schreiber and Zoe Kazan in ‘Doubt’

Joan Marcus

Opening night: March 7, 2024
Venue: Todd Haimes Theatre
Written by: John Patrick Shanley
Directed by: Scott Ellis
Cast: Amy Ryan, Liev Schreiber, Zoe Kazan, Quincy Tyler Bernstine
Running time: 90 min (no intermission)
Deadline’s takeaway: That the play holds up as well as it does since its 2004 premiere — and it really does — is due in large part to a top-tier cast that the Roundabout Theater Company has assembled, an ensemble that keeps us guessing from beginning to end. To read full review, click on show title above.

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Daytime Emmy Awards 2024: Full List Of Nominations. Details Inside

Post By Entertainment , ,

A still from Bold And Beautiful. (courtesy: YouTube)

Washington:

The nominations for the 51st annual Daytime Emmy Awards have been unveiled, setting the stage for a showdown between Netflix’s documentary series African Queens: Njinga and three long-standing daytime dramas: CBS’ The Bold and the Beautiful and The Young and the Restless, along with Peacock’s Days of Our Lives.

As per The Hollywood Reporter, each of these productions has snagged an impressive dozen nominations. Following closely behind is the enduring ABC soap opera General Hospital with 11 nominations.

In the talk show realm, The Kelly Clarkson Show has garnered the most nods with nine nominations, followed by The View with 7.

Some newcomers to the Emmy scene include Downey’s Dream Cars on Max for Best Lifestyle Program, Selena Chef: Home for the Holidays on Food Network for Culinary Series, Neighbours on Amazon Freevee for Daytime Drama, and Extraordinary Birder with Christian Cooper on Nat Geo for Travel, Adventure, and Nature, along with a nod for Best Daytime Personality in a non-daily format.

Among the surprises is the nomination of Eric Braeden, who received his first Emmy nod in 20 years for his portrayal of Victor Newman on The Young and the Restless.

Braeden, who previously declined submissions for consideration, last won the prestigious award in 1998.

The National Academy of Television Arts and Sciences has introduced changes to this year’s categories, including the elimination of Outstanding Younger Performer in a Daytime Drama and Outstanding Promotional Announcement categories.

Additionally, they merged the categories for Outstanding Writing for a Daytime Non-Fiction Series and Outstanding Writing for Daytime Non-Fiction Special into Outstanding Writing for a Daytime Non-Fiction Programme.

Moreover, the Daytime Programme Host category has been divided into two: Daytime Personality Daily and Daytime Personality Non-Daily.

The nominees span various categories, covering a wide array of daytime programming. Here’s a glimpse at the nominees for the 51st Daytime Emmy Awards:

DAYTIME DRAMA SERIES

The Bay

Popstar! TV

The Bold and the Beautiful

CBS

Days of our Lives

Peacock

General Hospital

ABC

Neighbours

Amazon Freevee

The Young and the Restless

CBS

DAYTIME TALK SERIES

The Jennifer Hudson Show

Syndicated

The Kelly Clarkson Show

Syndicated

Tamron Hall

Syndicated

Turning The Tables with Robin Roberts

Disney

The View

ABC

ENTERTAINMENT NEWS SERIES

Access Hollywood

Syndicated

Entertainment Tonight

Syndicated

Extra

Syndicated

CULINARY SERIES

Be My Guest with Ina Garten

Food Network

Family Dinner

Magnolia Network

Selena Chef: Home for the Holidays

Food Network

Valerie’s Home Cooking

Food Network

What Am I Eating? with Zooey Deschanel

Max

LEGAL/COURTROOM PROGRAMME

Hot Bench

Syndicated

Judy Justice

Amazon Freevee

Justice For The People with Judge Milian

Syndicated

The People’s Court

Syndicated

We The People with Judge Lauren Lake

Syndicated

TRAVEL, ADVENTURE AND NATURE PROGRAM

Animals Up Close with Bertie Gregory

National Geographic

Extraordinary Birder with Christian Cooper

National Geographic

Guy’s All-American Road Trip

Food Network

Mutual of Omaha’s Wild Kingdom Protecting the Wild

NBC

Street Somm

Tastemade

INSTRUCTIONAL/HOW-TO PROGRAM

Fixer to Fabulous

HGTV

Fixer Upper: The Hotel

Magnolia Network

Hack My Home

Netflix

Martha Gardens

Roku

Windy City Rehab

HGTV

LIFESTYLE PROGRAM

Downey’s Dream Cars

Max

George to the Rescue

NBC

Growing Floret

Magnolia Network

Homegrown

Magnolia Network

Live to 100: Secrets of the Blue Zones

Netflix

ARTS AND POPULAR CULTURE PROGRAM

Billion Dollar Babies: The True Story of the Cabbage Patch Kids

Vimeo

King of Collectibles: The Goldin Touch

Netflix

Off Script With The Hollywood Reporter

SundanceTV

Oprah and “The Color Purple” Journey

Max

Variety Studio: Actors on Actors

PBS

Working in the Theatre

AmericanTheatreWing.org

EDUCATIONAL AND INFORMATIONAL PROGRAM

African Queens: Njinga

Netflix

Harlem Globetrotters Play It Forward

NBC

Ireland Made with Love

PBS

Leveling Lincoln

PBS

What Really Happened: America’s Wild

National Geographic

DAYTIME SPECIAL

Culture Quest: Ukraine

PBS

Disney Parks Magical Christmas Day Parade

ABC

97th Macy’s Thanksgiving Day Parade

NBC

Recipe for Change: Celebrating Black Men

SpringHill

Unexpected

Hulu

SHORT FORM PROGRAM

Catalyst

LinkedIn News

The Dads

Netflix

Hollywood Atelier: Rob Pickens

The Hollywood Reporter

How Una Pizza Napoletana Became the No.1 Ranked Pizza in the World

Eater

Temple of Film: 100 Years of the Egyptian Theatre

Netflix

LEAD PERFORMANCE IN A DAYTIME DRAMA SERIES: FEMALE ACTOR

Tamara Braun as Ava Vitali

Days of our Lives

Peacock

Finola Hughes as Anna Devane

General Hospital

ABC

Katherine Kelly Lang as Brooke Logan

The Bold and the Beautiful

CBS

Annika Noelle as Hope Logan

The Bold and the Beautiful

CBS

Michelle Stafford as Phyllis Summers

The Young and the Restless

CBS

Cynthia Watros as Nina Reeves

General Hospital

ABC

LEAD PERFORMANCE IN A DAYTIME DRAMA SERIES: ACTOR

Eric Braeden as Victor Newman

The Young and the Restless

CBS

Scott Clifton as Liam Spencer

The Bold and the Beautiful

CBS

Thorsten Kaye as Ridge Forrester

The Bold and the Beautiful

CBS

Eric Martsolf as Brady Black

Days of Our Lives

Peacock

John McCook as Eric Forrester

The Bold and the Beautiful

CBS

SUPPORTING PERFORMANCE IN A DAYTIME DRAMA SERIES: FEMALE ACTOR

Jennifer Gareis as Donna Logan

The Bold and the Beautiful

CBS

Linsey Godfrey as Sarah Horton

Days of our Lives

Peacock

Courtney Hope as Sally Spectra

The Young and the Restless

CBS

Allison Lanier as Summer Newman Abbott

The Young and the Restless

CBS

Emily O’Brien as Gwen Rizczech

Days of our Lives

Peacock

SUPPORTING PERFORMANCE IN A DAYTIME DRAMA SERIES: ACTOR

Robert Gossett as Marshall Ashford

General Hospital

ABC

Bryton James as Devon Winters

The Young and the Restless

CBS

Wally Kurth as Justin Kiriakis

Days of our Lives

Peacock

A Martinez as Nardo Ramos

The Bay

Popstar! TV

Mike Manning as Caleb McKinnon

The Bay

Popstar! TV

GUEST PERFORMANCE IN A DAYTIME DRAMA SERIES

Linden Ashby as Cameron Kirsten

The Young and the Restless

CBS

Ashley Jones as Dr. Bridget Forrester

The Bold and the Beautiful

CBS

Alley Mills as Heather Webber

General Hospital

ABC

Guy Pearce as Mike Young

Neighbours

Amazon Freevee

Dick Van Dyke as Mystery Man/Timothy Robicheaux

Days of our Lives

Peacock

DAYTIME TALK SERIES HOST

Joy Behar, Whoopi Goldberg, Alyssa Farah Griffin, Sara Haines, Sunny Hostin, Ana Navarro

The View

ABC

Kelly Clarkson

The Kelly Clarkson Show

Syndicated

Mark Consuelos, Kelly Ripa

Live with Kelly and Mark

Syndicated

Akbar Gbajabiamila, Amanda Kloots, Natalie Morales, Jerry O’Connell, Sheryl Underwood

The Talk

CBS

Tamron Hall

Tamron Hall

Syndicated

CULINARY HOST

Lidia Bastianich

25 Years with Lidia: A Culinary Jubilee

PBS

Valerie Bertinelli

Valerie’s Home Cooking

Food Network

Eduardo Garcia

Big Sky Kitchen with Eduardo Garcia

Magnolia Network

Emeril Lagasse

Emeril Cooks

Roku

Sophia Roe

Counter Space

Tastemade

Buddy Valastro

Legends of the Fork

A&E

DAYTIME PERSONALITY – DAILY

Frank Caprio

Caught in Providence

Facebook Watch

Kevin Frazier, Nischelle Turner, Matt Cohen, Cassie DiLaura, Denny Directo, Will Marfuggi, Rachel Smith,

Entertainment Tonight

Syndicated

Deborah Norville, Steven Fabian, Lisa Guerrero, Ann Mercogliano, Jim Moret, Les Trent

Inside Edition

Syndicated

Robert Hernandez, Star Jones

Divorce Court

FOX

Judge Judy Sheindlin, Whitney Kumar, Kevin Rasco, Sarah Rose

Judy Justice

Amazon Freevee

DAYTIME PERSONALITY – NON-DAILY

Samantha Brown

Samantha Brown’s Places To Love

PBS

Derrick Campana

The Wizard of Paws

BYUtv

Christian Cooper

Extraordinary Birder with Christian Cooper

National Geographic

Zoe Francois, Andrew Zimmern

Holiday Party with Andrew & Zoe

Magnolia Network

Jet Tila

Ready Jet Cook

Food Network

WRITING TEAM FOR A DAYTIME DRAMA SERIES

The Bay

Popstar! TV

The Bold and the Beautiful

CBS

Days of our Lives

Peacock

General Hospital

ABC

The Young and the Restless

CBS

WRITING TEAM FOR A DAYTIME NON-FICTION PROGRAM

African Queens: Njinga

Netflix

Mutual of Omaha’s Wild Kingdom Protecting the Wild

NBC

Reconnecting Roots

PBS

Super Animals

Syndicated

Team Rubicon

Roku

DIRECTING TEAM FOR A DAYTIME DRAMA SERIES

The Bay

Popstar! TV

The Bold and the Beautiful

CBS

Days of our Lives

Peacock

General Hospital

ABC

The Young and the Restless

CBS

DIRECTING TEAM FOR A SINGLE-CAMERA DAYTIME NON-FICTION PROGRAM

African Queens: Njinga

Netflix

Billion Dollar Babies: The True Story of the Cabbage Patch Kids

Vimeo

Live to 100: Secrets of the Blue Zones

Netflix

Mutual of Omaha’s Wild Kingdom Protecting the Wild

NBC

Searching for Soul Food

Hulu

TrueSouth

ESPN I ABC I SEC Network

DIRECTING TEAM FOR A MULTIPLE CAMERA DAYTIME NON-FICTION PROGRAM

Disney Parks Magical Christmas Day Parade

ABC

The Drew Barrymore Show

Syndicated

The Kelly Clarkson Show

Syndicated

Turning The Tables with Robin Roberts

Disney

The View

ABC

OUTSTANDING MUSIC DIRECTION AND COMPOSITION

African Queens: Njinga

Netflix

Live to 100: Secrets of the Blue Zones

Netflix

Mutual of Omaha’s Wild Kingdom Protecting the Wild

NBC

Mysteries of the Faith

Netflix

Temple of Film: 100 Years of the Egyptian Theatre

Netflix

ORIGINAL SONG

“Shine”

General Hospital

ABC

“Unexpected Truth”

Unexpected

Hulu

“We’re Home”

Reconnecting Roots

PBS

LIGHTING DIRECTION

General Hospital

ABC

The Jennifer Hudson Show

Syndicated

The Kelly Clarkson Show

Syndicated

The View

ABC

TECHNICAL DIRECTION, CAMERAWORK, VIDEO

The Bold and the Beautiful

CBS

Days of our Lives

Peacock

Disney Parks Magical Christmas Day Parade

ABC

The Kelly Clarkson Show

Syndicated

CINEMATOGRAPHY

African Queens: Njinga

Netflix

Animals Up Close with Bertie Gregory

National Geographic

Live to 100: Secrets of the Blue Zones

Netflix

Living For The Dead

Hulu

Oracles of God: The Story of the Old Testament

CBN

SINGLE CAMERA EDITING

African Queens: Njinga

Netflix

Drive with Swizz Beatz

Hulu

Live to 100: Secrets of the Blue Zones

Netflix

Oprah and The Color Purple Journey

Max

Searching for Soul Food

Hulu

MULTIPLE CAMERA EDITING

Family Ingredients

PBS

The Kelly Clarkson Show

Syndicated

Team Rubicon

Roku

TrueSouth

ESPN|ABC|SEC|Network

The Wizard of Paws

BYUtv

OUTSTANDING LIVE SOUND MIXING AND SOUND EDITING

The Jennifer Hudson Show

Syndicated

The Kelly Clarkson Show

Syndicated

The Talk

CBS

Tamron Hall

Syndicated

SOUND MIXING AND SOUND EDITING

African Queens: Njinga

Netflix

Downey’s Dream Cars

Max

Drive with Swizz Beatz

Hulu

Live to 100: Secrets of the Blue Zones

Netflix

Temple of Film: 100 Years of the Egyptian Theatre

Netflix

MAIN TITLE AND GRAPHIC DESIGN

African Queens: Njinga

Netflix

Car Masters: Rust to Riches

Netflix

Searching for Soul Food

Hulu

Super Animals

Syndicated

Tex Mex Motors

Netflix

CASTING

African Queens: Njinga

Netflix

Days of our Lives

Peacock

General Hospital

ABC

Start Up

PBS

The Young and the Restless

CBS

ART DIRECTION/SET DECORATION/SCENIC DESIGN

African Queens: Njinga

Netflix

The Drew Barrymore Show

Syndicated

General Hospital

ABC

The Kelly Clarkson Show

Syndicated

The View

ABC

The Young and the Restless

CBS

COSTUME DESIGN/STYLING

African Queens: Njinga

Netflix

The Bold and the Beautiful

CBS

The Jennifer Hudson Show

Syndicated

Sherri

Syndicated

HAIRSTYLING AND MAKEUP

African Queens: Njinga

Netflix

The Drew Barrymore Show

Syndicated

Sherri

Syndicated

The View

ABC

The Young and the Restless

CBS

The ceremony, set to air live on June 7 on CBS and Paramount , promises to be an exciting celebration of excellence in daytime television.

As per The Hollywood Reporter, updates on the lifetime achievement honorees, hosts, presenters, and Silver and Gold Circle honorees will be announced soon.

The Daytime Emmy Awards continue to honor outstanding achievements in daytime television, showcasing the talent and creativity of the industry’s finest.

(Except for the headline, this story has not been edited by NDTV staff and is published from a syndicated feed.)

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Raghu Rai’s ‘A Thousand Lives’: a 40-year journey

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“At no given time am I without a camera,” asserts Raghu Rai, one of India’s most important photographers, who is the subject of a major exhibition at the Kiran Nadar Museum of Art in New Delhi. Now 81, Rai has been taking pictures for over half a century — since he was 23, when his elder brother introduced him to the camera, eventually making a name for himself as a distinguished photojournalist and editor who travelled the length and breadth of India to capture its essence.

“I was never just a photographer on assignment. When I was working with The Statesman and later India Today, I was sent to shoot specific stories, but I would document the entire journey and take my camera out on the plane, on the train, sitting in a taxi, or even a bullock cart, photographing the people, landscape and life,” he shares. It is this journey spanning the formative years of Rai’s career, from 1965 to 2005, that is reflected in over 250 striking black-and-white images on display.

Photographer Raghu Rai

Named A Thousand Lives, the exhibition pays homage to India and the passionate journey of a photographer who lived a thousand lives in its pursuit. India is seen in its many faces, in moments of peace and protest, the spiritual and the mundane, glorious landscapes juxtaposed with the stark extremes of wealth, power and poverty. In Rai’s photographs, the political landscape of Delhi, where he lived and worked, is ever-present, yet treated with an intimacy that renders it vulnerable.

Portraits of figures such as Indira Gandhi and her political adversary Jayaprakash Narayan, or JP as he was known — hung in two adjacent rooms — capture their fragility. They reveal the vulnerability behind Gandhi’s stern facade, whether she is waving goodbye to her grandchildren as she departs from the Prime Minister’s residence, or in moments of solitary contemplation before addressing a large political rally. JP is depicted upholding the conscience of the country, both alone and amidst a crowd, until his eventual passing in 1979 in Patna. This poignant moment is captured with his body held by Chandra Shekhar, Atal Bihari Vajpayee, and other prominent leaders who would ascend in political stature in the coming years.

Indira Gandhi at home with daughter-in-law Sonia Gandhi and grandchildren Priyanka and Rahul, in Delhi, in 1972

Indira Gandhi at home with daughter-in-law Sonia Gandhi and grandchildren Priyanka and Rahul, in Delhi, in 1972
| Photo Credit:
Raghu Rai and PHOTOINK

Beyond the political realm, Rai’s photojournalism led him to spiritual leaders such as the Dalai Lama and Mother Teresa — experiences that profoundly impacted and influenced his way of seeing. The Dalai Lama is portrayed enjoying a meal or playing with a cat in Dharamshala, while photographs of Mother Teresa show the dedication inherent in a life of service.

The Dalai Lama watching the serialized television show Mahabharat, in Dharamsala in 1988

The Dalai Lama watching the serialized television show Mahabharat, in Dharamsala in 1988
| Photo Credit:
Raghu Rai and PHOTOINK

Mother Teresa in prayer at Nirmal Hriday (Home for the Sick and Dying), in Calcutta in 1986

Mother Teresa in prayer at Nirmal Hriday (Home for the Sick and Dying), in Calcutta in 1986
| Photo Credit:
Raghu Rai and PHOTOINK

Capturing the soul on India

It was this spirit of service that influenced Rai during his early encounters with Mother Teresa. “I was very frustrated with the state of the media. Most stories were being done from Delhi, and covering Indian politics was becoming monotonous for me. I wanted to photograph the people, the ordinary people, who are the true soul of this country,” says Rai, who ventured deep into villages and urban centres as far as Kanyakumari, Kolkata, Jaipur, Varanasi, Ladakh and Srinagar ––capturing the extraordinary within thousands of ordinary Indian lives.

Beggars, theatre artists, shop owners, tailors, freight carriers, taxi drivers, soldiers, devotees, street gamblers, slum dwellers, school-going kids, nuns, and transwomen — all find a place of dignity in his photographs, bringing to the fore the significant but often overlooked aspects of ground reality. Animals too roam freely — dogs, horses, donkeys, monkeys, cocks, goats, parrots, and pigeons — in harmony with their street surroundings familiar to every Indian.

Wrestlers at an akhara, Delhi, 1988

Wrestlers at an akhara, Delhi, 1988
| Photo Credit:
Raghu Rai and PHOTOINK

Despite the vibrant colours of the country, his photographs are rendered in analogue black-and-white. He notes, “Until the 90s, most Indian newspapers and magazines were publishing black-and-white photo stories, while only a few western publications had begun to embrace colour.” Over the years, he has transitioned from using Nikon camera systems to the Fuji GFX camera, which is almost always hung around his neck. “Digital technology is so amazing; it gives me greater control and superior quality to photograph any situation, day or night,” he says. Most images are now captured in colour, in RAW format, and converted to black-and-white if the situation demands it.

Feeding Seagulls on the Jamuna, Delhi, 1995

Feeding Seagulls on the Jamuna, Delhi, 1995
| Photo Credit:
Raghu Rai and PHOTOINK

‘Photography is about being here and now’

India feels both familiar and foreign, with photographs reminiscent of a recent past — a country on the brink of modernity and liberalisation. “The India of 40-50 years ago was a different world. It was overflowing with poetry. Reality had another kind of visual experience back then. Today, it has been bulldozed by new products and even politicians being sold in the market,” he says, commenting on the changing state of affairs. He recalls the Humayun’s Tomb in Delhi, once surrounded by farms where farmers could be seen ploughing wheat. Now, walls have gone up, separating the people from their heritage, which now lies amidst shantytowns.

‘Confessions of a Wall’ series (1973-1977)

‘Confessions of a Wall’ series (1973-1977)
| Photo Credit:
Raghu Rai and PHOTOINK

But that doesn’t stop him from photographing. “My faith lies in the eyes of the people of my country whom I photograph,” says Rai, who recently returned from snapping the Shri Kashi Vishwanath Temple in Varanasi. “Life is ever-changing and challenging, and every time it has new energy to share.”

Black and white gave way to colour photography, analogue to digital, an old India to a new India. And yet, Rai remains humble in his search. “In Zen Buddhism, there is an old saying about the importance of being here and now. For me, photography is about being here and now. It is about connecting with every inch of space that your eye can see. When you do, you become a part of the whole, and then the whole begins to throb with your heartbeat. That’s when the magical moments happen, and you begin to capture them,” he shares, his words as poetic as his images.

A look around the exhibition makes it clear: Rai is present in each of the thousand lives he photographed — himself a crucial part of the whole.

‘A Thousand Lives: Photographs from 1965-2005’ is on view till April 30 at KNMA.

The culture writer and editor specialises in reporting on art, design and architecture.

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