Ritz Film Magazine Vol 1.2 by Michael Usowski

Ritzfilm

DEC 2011|JAN 2012 Volume 1 â&#x20AC;˘ Issue 2

Around the Block: Rittenhouse | Now Showing | Best Films of 2011 Winter Theater Preview | Steve Jobs: the Lost Interview | and more!

DEC 2011|JAN 2012

table of contents 5 Letter from the Publisher 7 Arts Calendar 8 Year in Review – Best Films of 2011 12 Ask Ritz Film Magazine 15 Winter Theater Preview 21 Prix Fixe Perfection 22 Around the Block: Rittenhouse 29 Film Focus: Melancholia Steve Jobs: the Lost Interview F is for Fatherhood

34 Now Showing 42 Crossword Puzzle

ABOVE TOP: Left to Right: Owen Wilson as Gil and Rachel McAdams as Inez Photo by Roger Arpajou © 2011 Mediapro, Versátil Cinema & Gravier Productions, Courtesy of Sony Pictures Classics ABOVE BOTTOM: Lotte Buff (Miriam Stein) and Johann Goethe (Alexander Fehling)

ritzfilmmag.com december 2011 | JANUARY 2012 3

letter from the publisher Dear Ritz lovers, We’re thrilled to be publishing the second issue of Ritz Film Magazine (RFM)! It has been a pure delight for the RFM staff to revive this very beloved magazine and expand the distribution to hundreds of locations throughout the Philadelphia area. We have received your feedback via email, phone calls, tweets, in person at the theaters and the verdict is unanimous…Ritz theatre lovers have missed this magazine and welcome RFM back with open arms! This December/January issue has great articles for your enjoyment and also a stellar line-up of the movies showing at the Ritz theatres over the next few months. Eric Bresler, a renowned blogger from cinedelphia.com, recaptures the best films of 2011 in his article “Year in Review.” He provides a handy list of the year’s best films to refer to if you missed any at the theatre. Also in this issue, Shawn Evans makes an impassioned plea to “Save the Boyd”, an architectural masterpiece from 1928 on Chestnut Street. In an interview with Robert Cringley, the director of “Steve Jobs: The Lost Interview”, RFM editor Abigail Sutton finds out what inspired Cringley to create this 3-part series about his former boss. This issue also features more movie trivia questions for our “movie doctor” Andrew Repasky McElhinney and a review of Melancholia by Temple student Alexandra Gibson. The latter is a new feature for university students who love both movies and writing and would like to submit a review. So, if that’s you, please send us your review! Enjoy all of the contents of RFM’s December/January issue including the wonderful movies scheduled to be featured over the next few months. This time of year often serves up the best films and many Oscar hopefuls! As always, we welcome your feedback about RFM so please contact us and let us know how we’re doing!

Sincerely, Lisa H. Rafter Publisher Ritz Film Magazine 215-765-2646 lisarafter@ritzfilmmag.com

ritzfilmmag.com december 2011 | JANUARY 2012 5

A magazine for the Landmark Ritz Theatres Published by R&W Publishing Associates Publisher Lisa H. Rafter 215-765-2646 lisarafter@ritzfilmmag.com Editor Abigail Sutton 609-707-6069 abigail@ritzfilmmag.com Advertising Sales Jamie Berman 610-609-1635 jamie@ritzfilmmag.com Art Director Hedy Sirico hedy@ritzfilmmag.com

Ritz Film Magazine is published 8xâ&#x20AC;&#x2122;s per year by R&W Publishing Associates. Distributed at Ritz Theatre locations and designated locations throughout Philadelphia and the surrounding suburbs. For more information regarding editorial content, advertising or distribution, please contact us at: R&W Publishing Associates 315 Poplar Avenue Devon, PA 19333 (215)765-2646 info@ritzfilmmag.com Landmark Ritz Theatres www.landmarktheatres.com 215-925-7900 Ritz Theatre Philadelphia locations: Ritz Five: 214 Walnut Street Ritz at the Bourse: 400 Ranstead Street Ritz East: 124 South Second Street

6 DECEMBER 2011 | JANUARY 2012 ritzfilmmag.com

arts calendar 1812 Productions

Andrew’s Video Vault at The Rotunda

www.1812productions.org Plays & Players Theatre 1714 Delancey St. 215-592-9560

www.armcinema25.com 4014 Walnut St The Second Thursday of Every Month Free Screenings Continuous From 8 PM

This Is The Week That Is Directed by Jennifer Childs November 25 - December 31 In its sixth year, This Is The Week That Is takes on local and national politics with satirical wit, a song or two and an ever-changing script to bring the American people the truth behind the headlines. Childs and fellow cast members keep the jokes current and lively in this fastpaced show that’s not to be missed, poking fun at all sides of the political spectrum.

January 12 – The Two Mrs. Carrols (1947 / 99 minutes) / The Strange Love of Molly Louvain (1932 / 73 minutes)

Academy of Music

February 9 - Samson and Delilah (1949 / 131 minutes) / Sodom and Gomorrah: The Last Seven Days (1975 / 99 minutes)

Penn Museum (Univ. of PA Museum of Archaeology and Anthropology) www.penn.museum/events-calendar.html 3260 South St 215-898-4000 Majestic Objects of the Chinese Rotunda December 17 - Docent-led tour

www.kimmelcenter.org Broad & Locust Streets 215-893-1999

An Ancient Egyptian Journey December 18 – Docent-led tour

The Pennsylvania Ballet Presents George Balanchine’s The Nutcracker December 10 - 31

Great Riddles: El Dorado in the Americas January 4 – Lecture

Broadway: HAIR January 3 – 8 The Public Theater’s new Tony®-winning production of HAIR is an electric celebration on stage! This exuberant musical about a group of young Americans searching for peace and love in a turbulent time has struck a resonant chord with audiences young and old. The January 4 performance of HAIR will include sign language interpretation. Select seating area is available, please specify when ordering tickets.

Family Sunday: Grecian Vessels January 8

Kimmel Center Presents Jerry Seinfeld January 14 – 2 Performances

Penn Cultural Heritage Center: Saving Haiti January 26 – Lecture

Broadway: Memphis January 17 – 22 Turn up that dial...From the underground dance clubs of 1950s Memphis, Tennessee, comes a hot new Broadway musical that bursts off the stage with explosive dancing, irresistible songs and a thrilling tale of fame and forbidden love. Inspired by actual events, Memphis is about a white radio DJ who wants to change the world and a black club singer who is ready for her big break.

Great Riddles in Archaeology Lecture Series: Otzi the Iceman February 1

Culture Change and Image Film Series: Photo Wallahs (1992) January 8 From Plunder to Partnership Archaeology of Cyprus January 13 – Lecture Secret Cinema: Chang A Drama of the Wilderness (1927) January 18

World Culture Day: Chinese New Year Celebration February 4 Annual Young Friends Event: Love Hurts February 9 Continued on page 14

ritzfilmmag.com december 2011 | JANUARY 2012 7

By Eric Bresler – Cinedelphia.com 2011 was a tumultuous year for cinema though the action mainly took place off-screen. There was that whole Netflix/Qwikster debacle (not to mention the controversial price hike), the announcements that the three main manufacturers of film cameras (Arri, Panavision and Aaton) have abandoned the dying format in favor of digital devices, the ever-increasing effectiveness of film distribution via VOD and streaming outlets, and the ever-declining presence of the brick and mortar video store (RIP T.L.A. Video). Meanwhile on the big screen, Hollywood continue to churn out the big-budget sequels (Fast [and the Furious] Five, Pirates 4, Transformers 3), superhero franchise kick-offs (Green Lantern, Thor, Captain America), risqué comedies (Bridesmaids, The Hangover Part 2,

8 December 2011 | January 2012 ritzfilmmag.com

Horrible Bosses) and slick family fare (The Adventures of Tintin, Real Steel, The Smurfs) that audiences have grown to expect and, in the cases of many, welcome with open arms. But around the corner from the local multiplex, independent-minded theaters continue to offer worthwhile cinema to discriminating moviegoers. These are the people that choose The Illusionist over Gnomeo and Juliet, Blackthorn over Cowboys and Aliens. And for them, 2011 was a pretty good year at the movies.

This Year’s Diverse Gems The obvious contenders for a year-end “best of” list are surely still fresh in the minds of moviegoers. Alexander Payne’s (Sideways) nuanced and easily likable The Descendants; the silent ode to classic Hollywood that was The Artist; the heartfelt and true-to-life emotions of Mike Mills’ charming family drama Beginners. The appeal of Midnight in

Don Cheadle as Agent Wendell Everett in THE GUARD. Photo by Jonathan Hession, Courtesy of Sony Pictures Classics.

Year in Review: Best Films of 2011

…The Guard, a darkly comedic and enormously hip Irish crime film [starred] Brendan Gleeson as a likably corrupt policeman in what is surely one of the year’s most memorable performances Paris, Woody Allen’s highly acclaimed time traveling trip through Bohemian culture, finally transcended the director’s loyal fanbase and became the highest grossing film of his career. Critical favorite Werner Herzog released two rewarding documentaries in 2011: Cave of Forgotten Dreams, a 3D exploration of the Chauvet caves of Southern France, and Into the Abyss, a disturbingly fascinating examination of both the state’s and the individual’s justification for murder. And then there are the recentlyreleased biopics seemingly tailored for awards season such as Leonardo DiCaprio as J. Edgar, Michelle Williams as the titular Monroe in My Week with Marilyn, and Meryl Streep as Margaret Thatcher in The Iron Lady. These are the types of safe, pre-Oscar pool obligations that, forgettable or not, succeed as worthwhile time killers. Some of the past year’s film festival darlings ended up dividing audiences upon their releases. The dreamy, indecipherable beauty of Terrence Mallick’s moderately-paced The Tree of Life is a prime example, as is Martha Marcy May Marlene, the absorbing character study of a cult survivor that many viewers found frustrating due to its lack of a definitive resolution. Elizabeth Olsen is a shoe-in for an Oscar nomination as the film’s titular tragic young beauty, a prediction that can also be extended to include Kirsten Dunst’s performance as the harbinger of the apocalypse in Lars Von Trier’s Melancholia. The bleakness of the Danish filmmaker’s 2+ hour

vision may have served as an endurance test for some, but it can’t be said that the film lacks a reasonable ending. On the other hand, Melancholia’s thematic complement Take Shelter, which starred Michael Shannon (Revolutionary Road) as a family man plagued by apocalyptic visions of his own, featured an ambiguous metaphor of an ending wasn’t worth weathering the storm for many. Likely joining Shannon in his inevitable and well-deserved awards consideration will be Michael Fassbender as the sex-addicted corporate zombie in Shame as well as at least one of the members of the starstudded cast of the latest adaptation of John le Carre’s Cold War-era spy thriller Tinker Tailor Soldier Spy.

Lesser-Known Films to Explore There were plenty of less visible films released in 2011 that received critical acclaim, but failed to draw the theatrical audiences that they deserved. Win Win, the latest film from director Tom McCarthy (The Visitor, The Station Agent), starred Paul Giamatti as a struggling lawyer/high school wrestling coach who is forced to balance opportunity with morality in these trying economic times. A much more literal illustration of today’s economy was found in J.C. Chandor’s debut feature Margin Call, a dialogue-driven thriller that follows the rapid demise of an investment bank over the course of 24 hours. This Mamet-esque ensemble piece features return-to-form performances from both Kevin Spacey and Stanley Tucci and its release couldn’t have been timelier.

Elizabeth Olsen [in Martha Marcy May Marlene] is a shoe-in for an Oscar nomination as the film’s titular tragic young beauty, a prediction that can also be extended to include Kirsten Dunst’s performance as the harbinger of the apocalypse in Lars Von Trier’s Melancholia. ritzfilmmag.com december 2011 | JANUARY 2012 9

Gary Oldman stars as “George Smiley” in Focus Features release of Tomas Alfredson’s TINKER, TAILOR, SOLDIER, SPY.

Likely joining Michael Shannon [from Take Shelter] in his inevitable and well-deserved awards consideration will be Michael Fassbender as the sex-addicted corporate zombie in Shame as well as members of the starstudded cast …in the Cold War-era spy thriller Tinker Tailor Soldier Spy.

Another criminally under seen ensemble cast was found in Kenneth Lonergan’s (You Can Count on Me) brilliantly messy Margaret, the tale of a young woman’s (Anna Paquin) guilt over a car crash that she inadvertently caused (a basic premise shared by this year’s indie sci-fi/drama hybrid Another Earth). Released five years after it was initially filmed, Margaret’s themes are a varied many that inevitably play out to various degrees of success, but Lonergan’s concentrated examination of the privileged upper classes of New York City is a scathing joy of a watch.

Notable Foreign Films There was a lot to love in world cinema this year though some offerings were definitely heavier than others. Denmark’s Oscar-winning In a Better World dealt

with the timely topic of bullying on a familial and international scale. The FrenchCanadian affecting art house exploitation film Incendies involved a pair of Canadian twins who come to a startling revelation upon an exploration into their mother’s secret youth in the Middle East. France’s Cannes-winning Of Gods and Men was a drearily atmospheric real life tale of Trappist monks in 1990s Algeria that will surely ruin your day. And finally, Spain’s much-loved director Pedro Almodovar (Talk to Her, All About My Mother) reunited with star Antonio Banderas for the off-the-wall plastic surgery nightmare that was The Skin I Live In. International cinema wasn’t all bleak in 2011. Submarine, the debut feature from prolific British comedian Richard Ayoade,

Spain’s much-loved director Pedro Almodovar (Talk to Her, All About My Mother) reunited with star Antonio Banderas for the off-the-wall plastic surgery nightmare that was The Skin I Live In. 10 DECEMBER 2011 | JANUARY 2012 ritzfilmmag.com

was a pastiche of quirky film schoolfavorites (think Henry & June, Wes Anderson’s films) that was just as likable as it was forgettable. John Michael McDonagh, brother of In Bruges writer/ director Martin McDonagh, made his feature debut with The Guard, a darkly comedic and enormously hip Irish crime film starring Brendan Gleeson as a likably corrupt policeman in what is surely one of the year’s most memorable performances. Another performance that comes to mind was that of accomplished French actor Andre Wilms as the kind shoe shiner in Aki Kaurismaki’s typically dry crowd pleaser Le Havre. Lesser-seen foreign releases that are worth a look included Israel’s Kaurismaki-like dark comedy The Human Resources Manager, Norway’s awkward exploration of the tenuous ties of marriage in Happy, Happy, and the charming romantic comedies The Names of Love and My Afternoons with Margueritte, two films that are best described as very French.

BEST OF 2011 The Artist Beginners Buck The Descendants The Guard The Human Resources Manager In a Better World Le Havre Margaret Margin Call Melancholia Midnight in Paris Project Nim Shame The Tree of Life

Documentary Filmmaking The deluge of documentaries continued throughout 2011 with varying degrees of quality and subject matter. Director Andrew Rossi’s Page One: Inside the New York Times provided a surprisingly exciting behind the scenes look at the titular news institution’s efforts to stay relevant and accessible within the everchanging media landscape. James Marsh, the director of 2009’s Oscar-winning Man on Wire, returned to the format with Project Nim, the moving and often disturbing tale of a young chimpanzee that was raised like a human child by a succession of hippie scientists in the 1970s. Other worthwhile docs on figures of tear-inducing note included Buck, the story of real life horse whisperer/family man Buck Brannaman, ESPN Films’ Senna, a portrait of the short life of champion Formula One driver Ayrton Senna, and France’s L’Amour Fou [Crazy

Love], which examined the forty-year relationship between fashion giant Yves Saint Laurent and industrialist Pierre Berge. Notable documentaries of a lighter nature included the experiment in advertising that was Morgan Spurlock’s The Greatest Movie Ever Sold, the funnyman tour documentary Conan O’Brien Can’t Stop, and Errol Morris’ Tabloid, a look at the unbelievable life of a former Miss Wyoming turned Mormon kidnapper turned cloning proponent. Also worth a mention is the locally produced Sundance hit Resurrect Dead: The Mystery of the Toynbee Tiles in which some quirky locals set out to discover the truth behind the equally quirky art tiles that have been littering Philadelphia’s streets for decades. From monochrome starlets to surgical monstrosities, 2011 was a celebration of cinematic diversity that is hopefully an indication of great things to come. •

ritzfilmmag.com december 2011 | JANUARY 2012 11

ask ritz film magazine By Andrew Repasky McElhinney – “The Movie Doctor”

Melies’ Trip to the Moon was shot in France in black & white over a hundred years ago in 1902. A (hand) color tinted print from the era of the movie’s original release was recently unearthed in Barcelona, Spain. It was, as fastcompany.com reported, “deteriorated into a solid decomposed mass . . . damaged beyond all likely repair”—however, French cinema personality Serge Bromberg spearheaded a grueling and painstaking restoration process that included soaking the movie in a volatile chemical bath for over fourteen months . . . and the result is a revelatory new experience of one of cinema’s greatest achievements—the very first special effects extravaganza! Bromberg is at work on a documentary, The Extraordinary Voyage, about the making of the Melies movie, its history and restoration. If we are lucky, I bet that it will turn up on Ritz screens in the future. If we are super lucky, it will showcase the color restoration of A Trip to the Moon. I can’t wait!

George Méilès 1902 short film Voyage dans la lune (A trip to the moon).

I heard that a color print of Georges Melies’ classic silent short film Le Voyage dans la Lune (A Trip to the Moon) was recently found in Iceland. . . Is this true and will it be coming to the Ritz any time soon? —J. Patrick Poleentoe, Olney

I loved Animal Husbandry and I’m excited to see that you are taking over Ask The Ritz! What became of your predecessor Michael Norris? —Connie Smyth Kirkbus, Olde City

Mr. Norris has been a great help with the responsibility of taking over this column. Michael is now the Executive Director of Art-Reach, a Delaware Valley nonprofit organization. It joins the performing/visual arts and special needs audiences through organizations serving people with disabilities, or with economic disadvantages, so connecting underserved audiences with the arts. Norris is also active in the cultural community as a board member, volunteer and consultant. And—of course!—Michael remains a film fan who enjoyed doing the Ask The Ritz column for over TWENTY years. American Idol is my favorite TV show of all time!!! I’ve watched all the episodes three times each and read everything ever written about show. However, no one seems to take American Idol seriously enough. Any suggestions on where to get my intellectual Idol fix? —Brownell Giffords, Bensalem, PA

American Ideal: How American Idol Constructs Celebrity, Collective Identity, and American Discourses by Amanda Scheiner McClain might just

12 December 2011 | January 2012 ritzfilmmag.com

be the ticket for you. It is an insightful study that explores contemporary notions of celebrity and collective identity. The book illustrates how a (post-Andy Warhol) star is constructed to support American ideals such as individualism & mythic heroic archetypes while reinforcing an idealized American identity in its media discourse. And— how is this for serious— Dr. McClain proposes that American Idol presents an idealistic vision of American life, where everyone is equal, democracy chooses the right winner, power is shared, and celebrity and success can be attained simply by “being yourself.” McClain goes on to convincingly argue that these idealized versions of America, national identity, and celebrity “support contemporary economic and cultural norms . . . equality epitomized by possibility for success.” American Ideal: How American Idol Constructs Celebrity, Collective Identity, and American Discourses is available now in bookshops and on Amazon.com. Published by Lexington Books. Rumored to be on the short list to be named a notable book of the year. I was watching the last Harry Potter movie with my niece and it reminded me that in the 1980s, I used to watch a TV show (or maybe it was a movie?), about a young girl witch who was attending a witch’s boarding school. I don’t remember the title or the cast, but basically the lead character was sort of awkward, clumsy, and generally pretty bad at being a witch, but then she eventually learns to have confidence in herself and triumphs against the “haters”. Have you ever heard of a show like this? I’d love to find it for my niece! —Elizabeth McCorkle, Fitler Square

I wonder if you are thinking of the UK produced TV-movie of The Worst Witch from 1986 or the subsequent TV series that ran via ITV from 1998 to 2001. Both are based on the series of books written and illustrated by Jill Murphy between 1974 and 2007 (The Worst Witch, The Worst Witch Strikes Again, A Bad Spell for the Worst, The Worst Witch All at Sea, The Worst Witch Saves the Day, The Worst Witch to the Rescue). The ’86 movie has a strong pedigree with stars Tim Curry (Rocky Horror Picture Show), Diana Rigg and Fairuza Balk attached, music by Charles Strouse (Bye Bye Birdie, Applause, Annie, Mayor, Rags) and lyrics by Don Black (scribe of many Andrew Lloyd Webber projects). Despite—or maybe because of—its many 80s-tastic “special effects” (crazy big hair, RAD low-fi video f/x, and synthesized drums underscoring the songs) The Worst Witch ‘86 still amuses. It was a Halloween Eve staple on the Disney Channel for many of the October thirtyfirsts of the 1990s. The legend continued with Weirdsister College: The Further Adventures of the Worst Witch from 2001 to 2002 and a 2004-6 reboot/spin-off called The New Worst Witch. Sources say that Ms. Murphy is currently working on another book in the series. •

Dr. Andrew Repasky McElhinney is a feature film & theater director, author, educator and the programmer of Andrew’s Video Vault at the Rotunda (featuring free cult movie screenings on 2nd Thursday of each month). Visit: ARMcinema25.com

ritzfilmmag.com december 2011 | JANUARY 2012 13

student review Continued from page 29

deep greens and golden light, and the second part being a lighter fresco, playing on the fleeting serenity at the country estate. Every object in every frame is placed perfectly in order to evoke the tone of the section as a whole. This is true even in the now-iconic still photos from the film – for Part I, Kirsten Dunst floating downstream in her wedding dress; for Part II, Dunst staring, entranced, at the static from her fingertips. The acting in this film shines almost as much as the direction. As the sometimes sympathetic, sometimes outright cruel Justine, Kirsten Dunst gives a textured portrayal that changes and adapts to the fluctuations in her character. It is certainly her best performance to date and will usher her onto the tier of the “serious actor.” Likewise, Charlotte Gainsbourg gives a subtle and affecting performance as Justine’s long-suffering sister Claire. The leads’ performances are accented by the impressive depictions by Alexander Skarsgard and Kiefer Sutherland and forces of nature John Hurt and Charlotte Rampling, who play Justine and Claire’s parents. With the arresting original score playing the background, I watched the final credits for Melancholia knowing that I had just seen a film that would appear on every “Best Movies” list from here forward. The first part was better than the second, which lagged at times in comparison. Nonetheless, the film is stunning in more ways than one and will be re-watched and re-analyzed for decades to come. My suggestion is not to go see it, but to go see it multiple times.

To read more of Alexandra’s work, visit nickandnora34.blogspot.com.

arts calendar Continued from page 7

Plays and Players www.playsandplayers.org 1714 Delancey St 215-735-0630 Joe Turner’s Come and Gone January 19 – February 4 As emancipated slaves flood north in search of employment and a chance to start over, Seth and Bertha Holly’s boarding house in Pittsburgh, offers a new place to call home in this drama by the multiple Pulitzer prize-winning author of The Piano Lesson, Seven Guitars and Fences. When an angry and lost man arrives looking for his wife, forcibly removed from him years ago when he was captured and put in a chain gang by a man named Joe Turner, these once strangers are forced to confront their own demons and to come together to help him find his way. This is the first of two plays at P&P that look back at life 100 years ago in celebration of our 100th Anniversary Season. August Wilson is heralded as one of the greatest writers of the 20th century to explore black consciousness and culture.

Annenberg Center www.pennpresents.org 3680 Walnut St 215-898-7240 In the Footprint: The Battle Over Atlantic Yards January 18 –29 Hailed by the New York Times as “fresh, inventive and entertaining,” and included in the “Best of 2010” theatre lists of the New York Times, New Yorker and Time Out New York, In the Footprint examines the conflicts that erupted in the case of Atlantic Yards, Brooklyn’s largest development project in history. Discover how the fate of a city is often decided in the present day and see what can be learned from this ongoing saga of politics, money and the places we call home. RUBBERBANDance Group January 19 – 21 What can you expect when hip hop meets ballet? A whole new aesthetic with eye-popping appeal. These polar opposites are embodied in the work of RUBBERBANDance Group (RBDG) and Artistic Director Victor Quijada. This hip hop master from Los Angeles melds his formal dance training with Les Grands Ballets Canadiens de Montréal and Twyla Tharp to create a fresh, new “exciting, seemingly improbable fusion of hip hop, ballet and modern dance.” (Los Angeles Times) •

14 December 2011 | January 2012 ritzfilmmag.com

Winter Theater Preview By Andrew Repasky McElhinney

Philadelphia is a city of great food (don’t miss Abigail Sutton’s yummy piece on local restaurant prix fixe menus on page 21 of this issue), magnificent architecture (see page 22 or just look around as you scurry from Ritz East to the Five to the Ritz Bourse) and top quality theater. This winter offers several live treats for audiences before the spring season blossoms in our next issue. Short of catching a screening at the Ritz, nothing beats a meal out and a live show. Twenty-first century American theater is, almost often, inescapably cinematic in its writing and design. At the movies, the viewer’s gaze is always framed by the image, whereas at the theater, we choose where to look. This element adds a compelling component to live drama, along with the fact that all theater is unique and hand-made.

This winter holiday theater season, all eyes will be turned to The Wilma on South Broad Street. After the last Mummer’s enthusiast is swept away, Body Awareness by Annie Baker and directed by Anne Kauffman opens January 4th and runs through February 5th. Just two seasons ago at the Wilma, Kauffman (aided immeasurably by brilliant set designer Mimi Lien) delivered a masterful and indelible production of Gina Gionfriddo’s modern classic, Becky Shaw. And so, now, expectations for Body Awareness are incredibly high. Yet, this is tempered by the derisive, (and often deeply disappointed) audience reactions to Baker’s more recent play, The Aliens received during its Philadelphia Premiere last fall. Mounted in a polished and impeccably acted production care of the consummate professionals at Theatre Exile, Baker’s text was, more often than not, criticized by theatergoers

ritzfilmmag.com december 2011 | JANUARY 2012 15

VENUE, SHOW & DATE LIST Wilma Theater, Body Awareness, Jan 4-Feb 5 Arden Theatre Company, Charlotte’s Web, now-Jan 29 People’s Light and Theatre Company, Treasure Island: A Musical Panto, now-Jan 8 Gas & Electric Arts, Hershel and the Hanukkah Goblins, Dec 20-31 Philadelphia Theatre Company, The Scottsboro Boys, Jan 20-Feb 19 Curio Theatre, Accidental Death of an Anarchist (1970), Dec 7-Jan 7 Walnut Street Theatre, The Mousetrap, Jan 17-March 4 Plays and Players, Joe Turner’s Come and Gone, Jan 19-Feb 4 The Stagecrafters, All My Sons, Feb 3-19 The Idiopathic Ridiculopathy Consortium, Marriage, Feb 8-26 InterAct, MicroCrisis, Jan 20-Feb 12 New City Stage, Why Torture Is Wrong and The People Who Love Them, Dec 8-Jan 7 Bristol Riverside Theatre, Raw Space, Jan 31-Feb 19 Villanova University, Museum, Feb 7-19 Hedgerow Theater, Sister Robert Anne’s Cabaret Class, Dec 29-Jan 15 Tony Braithwaite: Heeere’s Tony, Feb 2-19 The Painted Bride, Sandra Bernhard: I love being me, don’t you? Jan 10-14 Brat Productions, Rock And Awe - Four Fast Shows At The Intersection Of Music And Theatre: Eternal Glamnation: A Spectacle of Glitter and Pop, Jan 19-21 The Academy of Vocal Arts, Oberto (Verdi), Jan 26-31 The Academy of Vocal Arts, Pelléas et Mélisande (Debussy), Feb 25-March 3 The Media Theatre, Love Letters, Feb 29-March 4 Theatre Exile, Knives in Hens, Feb 9-March 4

16 December 2011 | January 2012 ritzfilmmag.com

as lacking. However, the premise of Body Awareness—that it is the titular week at Shirley State College, Vermont—perhaps holds some potential. And in all cases, it will be exciting to see how Kauffman and Lien stage Baker’s piece with the Wilma’s vast resources. School’s recessed and the holiday season is the perfect time to introduce a child in your life to the pleasure, magic and importance of live theater. Philadelphia is home to phenomenal children’s performance that does not pander to kids and, importantly, is interesting and rewarding for adults as well. Right now through January 29th, there’s an engrossing production of Charlotte’s Web on stage at the Arden Theater Company directed by Whit Maclaughlin (www.ardentheatre.org). Maclaughin is best known for his avant-garde work with New Paradise Laboratories but wowed Arden audiences in 2006 with a splendid adaption of Roald Dahl’s The B.F.G. (Big Friendly Giant). As a big bonus, the cast of The Arden’s Charlotte’s Web features a trio of Philly’s best: up-and-coming ingénue actor Emilie Krause, the legendary Amanda Schoonover, and stalwart Anthony Lawton (white hot off his triumphant turn in the Arden’s August: Osage County). It is a privilege to see any of these three performers in anything! Also right for the kids out at People’s Light and Theatre Company in Malvern is Kathryn Petersen’s Treasure Island: A Musical Panto with music and lyrics by Michael Ogborn, and direction by Pete Pryor. Petersen and Pryor are two of Philadelphia’s most adroit actors and it is exciting to see their talent turn to writing

and directing, respectively. Treasure Island: A Musical Panto runs through January 8th on the main stage. Sunday matinees have an added attraction—Noon brunch in the Farmhouse Bistro on People’s Light’s campus next to the theater. The meal features beloved Panto characters and accessible prices two hours before the performance (peopleslight.org). One of last season’s most memorable productions was Azuka Theatre’s premiere of Jacqueline Goldfinger’s Southern gothic comedy, the terrible girls. Now, Goldfinger returns (boy, that IS an exciting sentence to write. . . who knew?) with Gas & Electric Arts’ commissioned adaption of Eric Kimmel’s modern children’s classic, Hershel and the Hanukkah Goblins. A spine-tingling play with actors, puppets and original music it runs December 20th through 31st at The Painted Bride (www. gasandelectricarts.org). The most anticipated theater event this winter is the Philadelphia Premiere of John Kander & Fred Ebb’s final collaboration, The Scottsboro Boys. A musical about a gross mistrial of justice in 1931 Alabama wherein nine black teenagers were wrongly accused of gang rape; the writers of the iconic musical theater works Cabaret, Chicago and Kiss of The Spider Woman, etc., have fashioned The Scottsboro Boys after the tropes of 19th Century minstrel shows. Challenging, darkly funny, uncomfortable and finally very moving, it is a powerful and memorable exploration of a painful moment in US history. With a dazzling, (disturbingly) catchy score and witty lyrics—among the finest in the Kander & Ebb cannon—The Scottsboro Boys left audiences shattered during its 2010 Broadway run, while it also attracted angry and organized protesters outside the theater who found the very concept of the show untenable despite it being a deeply ethical work. Now, at the Philadelphia Theatre Company, January 20th through February 19th, The Scottsboro Boys promises to be a controversial, not-to-be-missed and deeply worth discussing start to 2012’s theater scene (www.philadelphiatheatrecompany.org).

Philadelphia’s NEWEST Living Community Concept for People as they Age.

Open House Dates:

Thursday, January 12 at 2 PM Sunday, January 15 at 11 AM Tuesday, February 7 at 2 PM Sunday, February 12 at 11 AM Saturday, March 10 at 11 AM Thursday, March 15 at 2 PM

267-639-5257

22 S. Front St., Philadelphia, PA 19106 info@friendscentercity.org www.friendscentercity.org

Several 20th Century classics are on the

ritzfilmmag.com DECEMBER 2011 | JANUARY 2012 17

boards this winter. West Philadelphia’s Curio Theatre stages Dario Fo’s tricky Accidental Death of an Anarchist (1970), December 7th - January 7th (www.curiotheatre.org). The Mousetrap is the world’s longest continuous running show, having opened in London 6 October 1952, and finally, Agatha Christie’s whodunit comes to the Walnut Street Theatre in a new production January 17th – March 4th (www.walnutstreettheatre.org). Plays and Players has been revitalizing their name with recent productions of high quality like Lost in Yonkers and Pardon My Invasion. January 19th - February 4th, P&P presents August Wilson’s Joe Turner’s Come and Gone (1984) on the mainstage (www.playsandplayers.org). Arthur Miller’s All My Sons (1947) comes to Chestnut Hill care of The Stagecrafters and director Catherine Pappas, February

18 December 2011 | January 2012 ritzfilmmag.com

3rd through 19th (www.thestagecrafters. org). Director/actor Tina Brock and The Idiopathic Ridiculopathy Consortium unearths (and no doubt illuminates) Nikolai Gogol’s Marriage (1833) “an utterly improbable occurrence in two acts” February 8th through 26th at The Walnut Street Theater Studio 5. Marriage features the reliable and winning audience favorite, Brian McCann as a member of the company (www. idiopathicridiculopathyconsortium.org). The very great actor Frank X—rumored to be preparing to play George in Edward Albee’s Who’s Afraid of Virginia Woolf? two seasons from now—headlines Mike Lew’s new and up-to-the-moment satire MicroCrisis at InterAct January 20th through February 12th (www.interacttheatre.org). Satire is also the plate du jour over at the Adrienne Theatre Main Stage where

Michael Brophy and New City Stage present a Philadelphia premiere by local (and internationally famous) playwright Christopher Durang. It is a screwball comedy entitled, Why Torture Is Wrong and The People Who Love Them (Dec 8-Jan 7) and it features another Philadelphia treasure—Paul Nolan (www.newcitystage.org). Bristol Riverside Theatre offers the world première of A Raw Space by Jon Marans, January 31st through February 19th. . . The latest from the author of that chestnut, Old Wicked Songs, this one feature a couple of high-powered couples who scuffle during an interior architectural design competition. Watch out God of Carnage (www.brtstage. org)! College and Graduate Theater Programs provide certain opportunities for vast works that many professional theaters can not often afford to mount. True to this, Villanova University trots out Tina Howe’s 1978 comedy of the art world, Museum. The scene is laid on the final day of a modern art exhibit on the third floor of a renowned but unnamed Manhattan art museum. The play features nearly fifty colorful characters coming and going (promised to be played by Villanova students, faculty, staff and alumni). Joanna Rotté directs, February 7th through 19th (www1.villanova.edu/villanova/artsci/theatre.html). This winter there are also plenty of shows built around one dynamic and powerhouse star. At Hedgerow Theater, Micki Sharpe essays a streetwise Brooklyn nun in Sister Robert Anne’s Cabaret Class December 29th through January 15th. Then, Tony Braithwaite, one of Philadelphia’s finest comic actors, leads Heeere’s Tony, February 2nd through 19th where Mr. Braithwaite hosts an original, Johnny Carson-inspired talk-show comedy featuring special guests, a monologue, skits and songs. Hedgerow Theater promises that like Carson’s show, no two performances of Heeere’s Tony! will be exactly alike (www.hedgerowtheatre.

org). The iconic and fabulous Sandra Bernhard graces The Painted Bride with her intimate evening: I love being me, don’t you? January 10th through 14th only (www.paintedbride.org). Finally, rising performance artist, actor, rock star, vocalist and resident artist at Brat Productions, Jess Conda brings Rock And Awe - Four Fast Shows At The Intersection Of Music And Theatre to the Ruba Club. Running January 19th through 21st is Eternal Glamnation: A Spectacle of Glitter and Pop with Brat alums appearing as their Glam Rock alter egos (www.bratproductions.org/production/ rock-and-awe). While the growing trend of HD broadcasts from the stages of the world’s leading opera house has taken the nation’s movie screens surprisingly by storm, nothing can ever replace the power and thrill of live music and the unamplified human voice. The Academy of Vocal Arts, a conservatory where one can often see (and hear!) the opera stars of tomorrow, presents two intriguing and unusual works. January 26th through 31st is Oberto, a rarely performed Giuseppe Verdi composition from 1839, which was an early hit for the great musician. Then February 25th through March 3rd, AVA stages Claude Debussy’s diaphanous, ethereal and hypnotic 1902 epic, Pelléas et Mélisande, adapted from the symbolist play by Maurice Maeterlinck (www.avaopera.org). Late for Valentine’s Day but still sure to please, The Media Theatre hosts FOX-TV’s Sue Serio and her husband Bill Vargus in A. R. Gurney’s Love Letters. The 1988 play has become a perennial favorite and chronicles the stormy relationship between life-long friends and sometimes lovers, Melissa Gardner and Andrew Makepeace Ladd III. It runs February 29th through March 4th (www.mediatheatre.org). Theater and film impresario Louis Bluver is the honorary executive producer for Theatre Exile’s hotly anticipated new production: Knives in Hens by David

ritzfilmmag.com december 2011 | JANUARY 2012 19

Harrower. Best remembered as the author of Exile’s hit, Blackbird, in his first play, Harrower here tells the yarn of a young woman working the soil beside her new husband, the appearance of the village’s outcast, and the erotic struggle that ensues. Starring Ross Beschler, Jered McLennigan, Emilie Krause and directed by Brenna Geffers at Christ Church Neighborhood House, February 9th through March 4th (www.theatreexile.org).

America-Italy Society of Philadelphia

Spring 2012 ITALIAN CLASSES. Native teachers; conversation and literature courses. 10 WEEK PROGRAM January 9 to March 16, 2012 PARLIAMO ITALIANO April 14 to April 22, 2012 in Siena, Tuscany SUPPORT GROUP AP for High School Students CHILDREN CLASSES OFFICIAL CERTIFICATE IN ITALIAN CILS

Finally, a quick reminder that one of the best (and most affordable) ways to enjoy live theater is by volunteer ushering! While big houses, like on Broadway, or at The Forrest here in town, have professional ushers, many theaters mentioned in the article, (including The Wilma, The Arden, People’s Light, Philadelphia Theatre Company, The Walnut, Bristol Riverside, Theatre Exile), welcome volunteer ushers. Check the website or call the House Managers for details. Basically this is how it works: if you are willing and able to come an hour to an-hour-and-a-half before curtain, stuff a few programs, check for paper towels in the bathroom, take tickets, hand out programs and guide patrons to their seat region, you’ll be rewarded with free seats to that performance. I love to usher—it helps out theater organizations I’m passionate about, it makes me feel like I’m part of the show, and it’s a thrilling way to observe “the theater of the living” as you witness the arrival and actions of the audience members as a (temporary) member of the production team. See you at the Theater! •

Also: Free Classical Music Concerts on Dec. 14, free Italian Movies, Lectures, and trips to Italy! 1420 Walnut Street, Suite 310 215-735-3250 • info@aisphila.org www.aisphila.org

20 DECEMBER 2011 | JANUARY 2012 ritzfilmmag.com

2301 Fairmount Avenue • Philadelphia 215.978.4545 londongrill.com follow us on twitter @londongrill

Prix Fixe Perfection By Abigail Sutton Prix fixe meals are a great way to sample the best a restaurant and the flavors of the season offer. We, Philadelphians, are lucky as we have many options to choose from to get our prix fixe fix on. Below is a handy guide to prix fixe offerings in Philly that are sure to please your palate. Matyson, for one, offers a weekly 5-course menu for $45 Monday through Thursday. It’s comprised of five courses that are sure to satiate your hunger, focusing on one key ingredient from decadent duck to unique persimmon; whatever is freshest and available. Also notable, Sbraga is the newest restaurant on the list, located on the Avenue of the Arts. If the name “Sbraga” rings a bell, you’ve likely heard it on TV. Executive chef and owner, Kevin Sbraga won Season 7 of Bravo’s “Top Chef.” Many BYOs like Bibou and Little Fish are included to ensure that your multi-course tasting won’t break the bank, in the booze department at least. For something truly unique and adventurous think Chifa’s Peruvian Chinese creations, serving some of the city’s best ceviche. Bon appétit!

Restaurant

Cuisine Address

Phone

Cost per person

Caribou Café

French

1126 Walnut St

215-625-9535

$16 Lunch, $29 Dinner

Varalli

Italian

231 S Broad St

215-546-6800

$45, $60 with Wine

Zinc

French

246 S 11th St

215-351-9901

$30

Bibou

French BYO

1009 S 8th St

215-965-8290

$45, Sunday only

Zahav

Modern Israeli

237 St. James Pl

215-625-8800

3 Options from $38-48

Chifa

Peruvian Chinese

707 Chestnut St

215-925-5555

$45-65, add $20-35 for Wine

Lacroix Modern International 210 W Rittenhouse Sq 215-790-2533 $39, 3-course, Sun-Fri $75, 7-course Sbraga

New American

440 S Broad St

215-735-1913

$45

Estia

Greek

1405 Locust St

215-735-7700

$30, 3-course Pre-Theater

Le Bec-Fin French 1523 Walnut St 215-567-1000 Mon-Fri: Lunch: 5-course $55, 3-course $35 Dinner: 4-course $85, 6-course $125, 9-course $185 Bistrot La Minette French

623 S 6th St

215-925-8000

$29, 4-course, Sundays

Little Fish

746 S 6th St

267-455-0172

$33, Sundays

Seafood BYO

Sapori Italian BYO

601 Haddon Ave 856-858-2288 Collingswood, NJ

$45, 4-5 course, Mon-Fri

Vetri

Italian

1312 Spruce St

215-732-3478

$135, tasting menu only

Pumpkin

Seasonal New Amer. BYO

1713 South St

215-555-5000

$35, 5-course, Sundays

Matyson

Seasonal New Amer. BYO

37 S 19th St

215-564-2925

$45, 5-course, Mon-Thurs

ritzfilmmag.com DECEMBER 2011 | JANUARY 2012 21

around the block A spotlight on Philadelphia’s unique neighborhoods

Opening Day 1928, Copyright: Irvin R. Glazer Collection, The Athenaeum of Philadelphia

Rittenhouse is an energetic neighborhood steeped in sophistication. Centered around it’s square park, where people from all over the city flock to sit and read, people watch, stroll around the fountains and statues, and enjoy a game of fetch with their dogs. Boasting some of the best dining, nightlife and architecture the city has to offer, classic and refined Rittenhouse offers something for all. Located on the 1900 block of Chestnut, a stone’s throw from the park, the historic Boyd Theatre has significance beyond its luxurious interior. Read on for the local campaign to save this grand landmark.

22 December 2011 | January 2012 ritzfilmmag.com

Opening Day 1928, Copyright: Irvin R. Glazer Collection, The Athenaeum of Philadelphia

RITTENHOUSE

Saving the Boyd By Shawn Evans, AIA, Atkin Olshin Schade Architects

Behind a boarded-up narrow façade on the 1900 block of Chestnut Street an architectural masterpiece hides, awaiting new life A restrained limestone façade belies its riot of color, swirling patterns and geometric fantasies intended to delight the eyes and set the stage for a couple hours of affordable entertainment. In nearly seventy-five years of operation (Dec 1928-May 2002), it is probable that over 150,000,000 people sat in its nearly 2,500 seats, making it a more popular historical attraction than Independence Hall. Almost ten years have passed since the clattering of film projectors filled its projection booth, since the smell of

The Boyd Theatre was one of the world’s first art-deco movie palaces and was a striking departure from the neo-classical palaces that preceded it. Movie palaces are elaborate theatres with more than 1,000 seats that originated in the 1910s as spectacular environments built to attract large audiences for silent film. Talkies took over the business just as the Great Depression took hold, ending the age of the palace. Center City was once home to a dozen movie palaces and hundreds of smaller screens. One by one they fell – the Earle in 1953, Mastbaum

in 1958, the Bijou in 1967, the Randolph in 1971, the Stanley in 1973, and both the Stanton and the Fox in 1980. That the Boyd has survived is partly luck, but is mostly owed to the persistence of its fans. The Boyd Theatre opened on Christmas Day, 1928, showing an early talkie, “Interference,” and Mickey Mouse’s first appearance, “Steamboat Willie.” The Philadelphia architects, Hoffman-Henon Co., designed over 100 theatres (most on the East Coast, but also one in Ecuador). They were among the most prodigious theatre architects in the country and created many of Philadelphia’s finest theatres. Alexander Boyd commissioned the design in the new Art Deco style to complement the office buildings and stores that were rising on Chestnut and Walnut. A stunning marquee stood over the ticket booth beneath a towering

Opening Day 1928, Copyright: Irvin R. Glazer Collection, The Athenaeum of Philadelphia

popcorn wafted out to the street, since teenagers necked in its back rows, since its sticky floors tried to hang on to passing shoes, and since laughter and shrieks reverberated off its spectacular gilded ceiling. The building is now quiet, but its memories are loud and demand that something be done.

ritzfilmmag.com december 2011 | JANUARY 2012 23

around the block vertical exclamation point. While these features were long ago removed, the interior is remarkably intact. The lobby is lined with etched glass mirrors and exuberant Art Deco ornamentation is found throughout the theatre. The theater was dedicated to the triumph of women in the modern world, symbolized by triumphant Amazons vanquishing their enemies above the proscenium. As early as 1934, the Boyd provided a cool respite from Philadelphia’s hot summers with an early ice-fed air conditioning system. Although built to also accommodate live performances, the Boyd’s stage is only 17 feet deep. Hollywood star-studded premieres were at the Boyd including many of local legend, Grace Kelly’s, including the 1952 premiere of “High Noon.” That tradition continued until 1993 when the theatre hosted the world premiere of “Philadelphia,” where Tom Hanks was heard exclaiming, “Wow! A real Movie Palace!” The Boyd’s first savior was Cinerama, an early attempt at three-dimensional film production. Installed in 1953, a giant curving screen and three projectors provided film-goers with the most realistic images they would see for decades. The Boyd was the only theatre in town equipped with Cinerama. It was selling out year-long runs of films such as “This is Cinerama” and “How the West Was Won” while the other palaces struggled and several were torn down. In 1971, under new ownership, the Boyd was renamed “the Sam Eric.” Until the mid-1970’s, movies began exclusively in one Center City theater. With the growth of the suburbs, movies began to open everywhere at once, and the Boyd’s days as a single screen were numbered. Fortunately, vacant land lied to the west and three smaller auditoriums were constructed, sparing the Boyd again from demolition or insensitive subdivision. Recognizing the Boyd’s status as Center City’s last movie palace, the Philadelphia Historical Commission added the Boyd to the

Philadelphia Register of Historic Places in 1987. In the epic preservation legal battle which ensued, the Pennsylvania Supreme Court tossed the designation and with it the city’s entire preservation law in 1991. The Court reversed itself on appeal in 1993, but ruled that only exteriors, not interiors, could be protected. In 1998, the Goldenberg Group purchased the theater and leased it back to United Artists. The main auditorium has ten times the seats of a standard multiplex auditorium, and was deemed to be economically unviable for films. May 2, 2002 was the last day of daily movies. The Preservation Alliance for Greater Philadelphia filed again for historic designation in 2002, but the nomination was unsuccessful. The Goldenberg Group immediately obtained a demolition permit. Center City attorney Howard B. Haas, a film fan and preservationist, organized the “Committee to Save the Sameric” in 2002, later incorporated as the nonprofit “Friends of the Boyd.” The group began demonstrations, petitions, a website, and public presentations, and employed architects and business planners to add economic reality to the fantasy of movie palace architecture. The theatre was sold to Clear Channel in 2005. They immediately retained theatre architects Martinez & Johnson of Washington DC, who developed a restoration plan that would have transformed the Boyd into a stunning venue for touring Broadway productions. As Clear Channel morphed into Live Nation and put the restoration plans on hold, advocacy efforts for the building ramped up yet again. The Boyd was recognized by the National Trust for Historic Preservation and placed on its 2008 list of “11 Most Endangered Historic Places.” Under this national spotlight, the City of Philadelphia finally added the theatre to the historic register, protecting the exterior at long last. At the same time, the Historic

24 December 2011 | January 2012 ritzfilmmag.com

2011 photo by Matt Lambros

Preservation ordinance was amended allowing historic public interiors to be protected. (A nomination for the Boyd’s interior has not yet been prepared.) The renewed attention brought the plight of the Boyd to the attention of Hal Wheeler, a Philadelphia developer, who packaged an innovative plan to build a film-themed hotel in the adjacent parking lot and incorporate the auditorium and lobbies as a conference and entertainment center. Sadly, Hal passed away before his dream could be realized and the restoration slipped out of grasp again. The Friends of the Boyd continue to raise awareness for this remarkable time

capsule. The Boyd retains a unique ability to transport us to times past when common folk could take part in entertainment in a room fit for a king. Across the country, cities have found ways to restore and reopen closed movie palaces for contemporary entertainment. Buildings in far worse conditions have been brought back from states of decline into cultural and economic assets for entire regions. Philadelphia deserves no less. We must Save the Boyd. For more information, please “like” us on Facebook and visit www.FriendsOfTheBoyd.org. •

ritzfilmmag.com december 2011 | JANUARY 2012 25

around the block

The shops, galleries and dining in rittenhouse Sa Va Retail 1700 Sansom Paper Source 1628 Walnut 215-732-2324 M-W 10-6, R-Sa 10-8, Su 12-5 Paper Source was founded in Chicago1983 by Sue Lindstrom, a woman who was delightfully obsessed with paper. A premier paperie and retail store offering fine papers, stationery, invitations, gift wrap, greeting cards, quirky gifts and a custom collection of envelopes and cards. Local Tip: PS offers many workshops from crafting to gift wrapping and those for children as well (the schedule is available online at www.paper-source.com).

Born Yesterday 1901 Walnut 215-568-6556 M-Sa 12-6, Su 12-5 Exclusive and high-end fashion and gift boutique for children (girls and boys and newborn through size 12). Shipping is available to clients across the country. Local Tip: If you want a sassy, classy or memorable baby shower gift â&#x20AC;&#x201C; Born Yesterday has it all.

26 December 2011 | January 2012 ritzfilmmag.com

215-496-0925 Organic clothing brand and retail store. 90% of the garments available are made on location, in the Garment Center adjacent to the store, often with fair trade and eco-friendly materials. Local Tip: Gorgeous wraps and dresses await; perfect for many body types.

Head Start Shoes 126 S 17th 215-567-3247 European and domestic designers, not your everyday finds. Funky, fresh and young; HS has head turning styles from Alberto Fermani to Via Roma. Local Tip: They have boots galore!

Dining Parc Brasserie 227 South 18th St 215-545-2262 M-R 7:30am-11pm, F 730am-Midnight, Sa 10am-Midnight, Sun 10am-10pm Parc recalls the chic brasseries of Paris, serving traditional bistro fare in a charming

and comfortable space. This stylish addition to Rittenhouse Square pays tribute to French café culture, serving breakfast, lunch and dinner seven days a week.

Alfa 1709 Walnut 7 days: 5pm-2am, kitchen open until 1am 215-751-0201 American cuisine, sourced locally when possible. Their sister space, upstairs, Walnut Room has DJs every night and they also curate art on occasion. Local Tip: Happy hour offered 7 nights a week from 5-7, features $3 select drafts, $4 wine and $3 snacks.

Fuji Mountain 2030 Chestnut 215-751-0939 Lunch: M-F 11:30 – 1:45, Dinner: 7 Days 5pm - 1:30am Japanese restaurant featuring karaoke/ private party rooms. Menu is large and diverse offering sushi, udon, soba and other Japanese entrees. Local Tip: The shabu shabu (soup with vegetables and noodles, cooked at your table) with beef is excellent.

Porcini 2048 Sansom 215-751-1175 M 5-8:30, T-Sa 5-10 Italian BYOB in an 1840’s historic coach home. Porcini is intimate and the pasta is always fresh and memorable.

Continental Midtown 1801 Chestnut 215-567-1800 Lunch: M-F 11:30 – 3:30; Dinner: Su-W 5-11, R-Sa 5- Midnight; Brunch Sa-Su 10-4 Global tapas, owned by acclaimed restaurateur Steven Starr. CM’s decor is lively, bright and flamboyant. Martini list is comprehensive. Local Tip: Enjoy cocktails upstairs on the indoor/outdoor roofdeck complete with a fireplace.

Devil’s Alley 1907 Chestnut 215-751-0707 M-F 11-2, Sa-Su 4-2; Brunch 10-3 Casual neighborhood restaurant/gastropub. Menu features burgers, brisket, ribs, sandwiches, salads and various starters. Pizza offering changes daily. Children’s menu also available. Local Tip: Side dishes stand out (glazed carrots, cucumber salad, mac and cheese with tomato jam, grilled sweet potatoes, etc.). Drafts are seasonal and change often; local beers like Sly Fox and Victory usually available.

Friday Saturday Sunday 261 S. 21st 215-546-4232 Dinner: 5:30-10:30 M-S, 5-10 Sun A Philadelphia institution, has been in operation for around 40 years. New American cuisine. A romantic and cozy spot. Every bottle of wine is just $10 over cost. Local Tip: The Kennett Square mushroom soup should not be missed.

Mama’s Vegetarian

Twenty Manning Grill 261 S 20th 215-731-0900 Dinner: Su & M 5-10, T-R 5-11, F & Sa 5 – Midnight; Bar: T-Sa 5pm – 2am, Su & M 5pm – Midnight Sophisticated, yet casual neighborhood spot. Owned by Audrey Taichman who is also behind Audrey Claire and COOK. The restaurant was revamped in 2010 with a more casual and approachable menu. Local Tip: The scallops melt in your mouth, the outdoor misters come in handy in the summertime and the dessert list is homey and fun (half baked Toll House cookie!).

18 S 20th 215-751-0477 Sun 12-7, M-R 11-9, F 11-3 Casual Kosher Middle Eastern cuisine. Catering services are available. The most affordable and delicious falafel you’ll ever have!

Miel Patisserie 204 S 17th 215-731-9191 French for “honey” this boutique pastry shop has a sister location in Cherry Hill, NJ. Menu includes wedding and celebration cakes, individual pastries, tarts, cakes, artisan chocolates and authentic breads.

ritzfilmmag.com december 2011 | JANUARY 2012 27

around the block

Art/Galleries

Gallery. Over the course of the next four decades, the gallery established a reputation as one of the world’s premiere sources for self-taught art, defining the field and helping to develop major public and private collections of this oncemarginalized group of artists.

The Print Center 1614 Latimer 215-735-6090 T-Sa 11-5:30 Curates contemporary images in print. Its mission is to support printmaking and photography as vital contemporary arts and encourage the appreciation of the printed image in all its forms.

Sande Webster Gallery 2006 Walnut 215-636-9003 M-F 10-6, Sa 11-4 Open for over 45 years. One of the first galleries to regularly include African American artists In Philadelphia. Proud to host cutting edge artists and their work. They also offer framing services. •

Fleisher Ollman Gallery 1616 Walnut, Ste 100 215-545-7562 M-F 10:30-5:30, Sa 12-5 The Fleisher/Ollman Gallery opened in Philadelphia in 1952 as the Janet Fleisher

Solution to last issue’s Crossword Puzzle 1

B U L L

D E

M E

N T T

O F

R I

X I

P A Z U Z U

N E

A N

O T

D I

P L

H E

W I

C Z

B A L I

T A R S

E U R O S I

EclipseCrossword.com

28 December 2011 | January 2012 ritzfilmmag.com

S K I V

A P

R I

W 40

U N I

R P E

A N S

S M

F S

O K

S S

O L

C E

V E N A B L E

R W O O D L

O N

E S

N K

C A N N I

X I

A T

A C K C A R S O N E

A 28

C R E

A 20

T Y E

W M A N

W O O D W A R D 18

E L

G S

D O C T O R

M E N D A C I

A O

M A L D E N

25 27

R O B E U

O L

C L

G O O P E

E 11

T H I

T E

L L

film focus Melancholia: Stunning & Breathtaking A Review by Alexandra E. Gibson, Temple University MFA Student and Film Blogger From the moment the still black screen gave way to color, it was clear that Lars von Trier’s latest film, Melancholia, would be unlike anything I had ever seen before. The film begins with a compilation of nearly still images, the composition and style of which are stunning, set against a breathtaking original score. This collection of images not only sets up the tone of the film, but also foreshadows what is in store for the characters.

In “Part II: Claire,” Justine, nearly catatonic, visits her sister some time after the failed wedding reception. The visit occurs shortly before the planet Melancholia is due to pass by Earth. Claire’s husband John and their son Leo eagerly await what is expected to be the sight of a century, while Claire is terrified that the mysterious planet will collide with Earth. She secretly scours the Internet for proof that they are in danger. Meanwhile, as Melancholia gets closer to Earth, Justine’s stupor fades to enlightenment. The film combines the artistry of fellow Festival favorite The Tree of Life with a deep and layered drama, which gives the artistry body and life. Stylistically, Melancholia resembles a pair of paintings – the first part being a dark oil painting, heavy with

Kiefer Sutherland in MELANCHOLIA, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

Melancholia is a story in two parts. “Part I: Justine” takes place during the wedding reception of Justine and Michael (Kirsten Dunst and Alexander Skarsgard). The reception is held at the majestic castle home of Justine’s sister Claire and her husband John (Charlotte Gainsbourg and Kiefer Sutherland). The newlyweds seem happy as their limo struggles up the narrow driveway to their waiting party guests. However, as the night wares on, Justine slowly unravels as her deep-seeded depression forces itself to the surface.

RFM Film Focus: Student Movie Reviews! Ritz Film Magazine welcomes Philadelphia area university students to submit movie reviews. We want to encourage young people to write and to give voice to what is being produced for the big screen. So if you are a university student who enjoys movies and writing, email abigail@ritzfilmmag.com.

Continued on page 14

ritzfilmmag.com december 2011 | JANUARY 2012 29

film focus

Interview with Robert Cringley, Director of Steve Jobs: the Lost Interview By Abigail Sutton

Silicon Valley Historian and tech writer Robert Cringley interviewed Steve Jobs in 1995 for the PBS three-part TV series, “Triumph of the Nerds.” In shipping the tapes from London to the U.S. they were lost, never to be found. Or so he thought. Until “Nerds” director, Paul Sen recovered a copy of the interview in its original unedited VHS format – in his garage. In mid-November the film played select cities for a 2-day run at Landmark Theatres. If you’re a fan of Jobs the film shouldn’t be missed. Considering that his life’s work revolutionized how we communicate, listen to music, exchange information, download media and dare I say – enjoy our world, perhaps this film is fit for everyone. The recovered interview unveils 70 unedited minutes of Jobs in an intimate format the world has rarely witnessed. They cover topics from Jobs’ early days at Apple, his abundant wealth and the future of the internet. In 1995, Jobs, at 40, was out of Apple and working at NeXt. Apple wasn’t doing well and this is just one year before Jobs’ comeback to the company, when Apple would acquire NeXt. Cringley asks some tough questions and isn’t one to back down. He and Jobs’ have history; Cringley worked for Jobs in the 70’s and 80’s at Apple. It’s a unique and real glimpse into a man the world has been captivated with long before his untimely death on October 5th. Cringley made time for RFM and answered questions regarding his former boss and interviewee.

30 December 2011 | January 2012 ritzfilmmag.com

Q: What was your first reaction when you heard Paul Sen had recovered a VHS of the interview in his garage of all places? A: Why did he wait 16 years to tell me he had a copy?! We did over a 100 interviews and this is the only one he kept. He recognized it was exceptional and held onto the tape for that reason.

Q: What challenged him – where did his drive come from?

Q: You first met Jobs in the 1970s. Did he change at all throughout the years? A: When I first met him he was hiring me to work for Apple; he was young, 24 years old with long hair. In 1995, when the interview took place, he had been fired from Apple and was running NeXt and it was a low point in his career. NeXt wasn’t doing well and he had no idea that very soon, within the same year, Apple would buy NeXt and he’d be back there, taking the company to the next level. He was the same Steve but the times and circumstances had changed. Q: You’ve written about many Silicon Valley tech innovators. How did Jobs stand out? A: He was unique in any number of respects. He took the long view. He didn’t give a damn what others thought of him and was a great marketer and salesman. Q: How did he surprise you? A: For this interview, particularly, I was just happy he showed up! The first interview didn’t happen and I had reason to believe he might blow us off again. In 1995, I had known him for 20 years. He was his same old self, cantankerous. He didn’t like the lighting and complained to the lighting guy on set.

A: He knew he saw things in a way and understood things on a level that the rest of us didn’t. If something wasn’t right he wanted to find a solution and fix it and if someone didn’t see the value in that it wasn’t his problem. He saw the benefits he could have on the world and that was very important to him. Q: In the business sense what did he most value? A: Technological innovation and making a difference in that respect. He valued companies like BMW and Porsche, which made cars as entertainment; they didn’t follow what everyone else was doing. He cared about people like him and creating products for those people. Q: What is his legacy? A: It’s profound. He changed computers, TV, movies, phones, retailing, music; all of these industries will never be the same. He set standards in each of them. Q: Was he afraid of anything? A: No, I don’t think so. By the time he was 24 he had $100 Million and was running a company. He never was without anything or wanted for anything. He wanted more experience and more projects. Q: What are you working on next?

Over the years, he became a good family man which no one expected. People started talking “Steve’s changing” and I thought, “he became nice?!” He found he could surround himself by people like him, people that understood him, and do well.

A: A TV series called, “Start up America” which will tell the story of various tech start-ups.

You can follow Robert Cringley on his blog at: www.cringley.com Visit the official movie site at: www.stevejobsthelostinterview.com

ritzfilmmag.com december 2011 | JANUARY 2012 31

film focus

Punk Parents as Poets in F is for Fatherhood By Abigail Sutton

As rocker Mark Hoppus, from the band Blink 182 explains in the documentary, to most of society, the expectation for him as a parent is rather low. He is after all, the band’s front man who with fellow bandmates streaked naked in the music video for “What’s My Name Again?” F is for Fatherhood, directed by Andrea Blaugrund Nevins follows punk rock parents and how having children affects their punker lifestyles. Nevins saw this as a great project to jump into after time off from filmmaking to stay at home with her children, “this felt like the kind of experiential piece I was looking for… the punk rock community is an extreme prism to look at parenting through.” No one is immune to change in this world and as any parent will tell you, having children changes everything. But what kind of effect would parenthood have on the anti-authoritarian ways of tattooed rockers like Flea and Lars Frederiksen? Fatherhood follows Jim Lindberg, from the punk skate band, Pennywise and

his time touring, over 200 days over the course of a year, away from his three daughters and wife in California. How he navigates fame, fatherhood and life on the road with his punk band is the heart of this film. The idea for Fatherhood came from Lindberg himself, his book, Punk Rock Dad: No Rules, Just Real Life caught the attention of Fatherhood’s Producer, Cristan Reilly, a childhood friend of Lindberg. They met with Lindberg, followed his tour and interviewed other punk rock dads on the way. The punk community is a tightly knit one. Nevins would often hear, “Well you think I’m punk?! You gotta talk to…” and down the “punk rabbit hole” they’d go, talking to more punk dads. Where the film went from there is what Nevins describes as, quoting Wayne Gretsky, “following the puck” or keeping your eye on the story, as is practice for every good journalist or documentary filmmaker (and Nevins is both). Every musician featured, at one point had to debate how to put bread on the table and be there for their children. Nevins expected to tell a story about compromise; how touring schedules would be limited so these rocker dads could make the parent teacher conferences and birthday parties. What resulted was much more poetic. The punk movement was anti-authoritarian,

32 December 2011 | January 2012 ritzfilmmag.com

Blink182’s Mark Hoppus with son in THE OTHER. Photo courtesy of Oscilloscope Laboratories

it stood for being different, and not fitting into a mold of what the youth was told to think, act and say. Many of these musicians entered the punk scene to escape an unhappy, often neglected, or a violent world at home. Most, if not all of the dads featured had bad relationships with their own fathers growing up. Now, as parents themselves, not only do they come to terms with their own tarnished memories of their fathers but it’s necessary to examine their lifestyle and learn to be a good parent for their kids. Now they are the authority they once fought against and are striving to create something they didn’t have: a happy childhood for their own.

Rancid explains it best when he says “having a child makes you think, Should I have really tattooed my forehead?” But in the end, he determines, he is who he is. He hopes that as a result his child will be more tolerant and less judgmental. If one looks past the tattoos, skull and crossbones, and metal spikes, these men are caring artists with families who want to be the best parents they can and just like the rest of us, are learning one day at a time. Nevins is now working on a documentary that explores how we treat our heroes when they’re not on center stage. She says a Fatherhood Part 2 could be a possibility in 10 or 15 years, to check in on these memorable families. •

Nevins describes their parenting as “with urgency.” These dads can’t ignore the fact that their own parents weren’t there. Whatever feelings of resentment, frustration, sadness or bitterness they have towards their parents comes to the forefront now that they find themselves on the unchartered waters of parenthood. There are certain segments in this film that paint rare and intimate portraits of these punk icons. Flea, from the Red Hot Chili Peppers, for example, tears up while discussing how his own children “gave him life” not the other way around. Duane Peters, of the band US Bombs, explains how his 20 year-old son was killed in a horrific car accident and how he almost dealt with the pain by seeking vindication. Lars Frederiksen of the band

ritzfilmmag.com december 2011 | JANUARY 2012 33

Eddie Redmayne as Colin Clark, Dougray Scott as Arthur Miller and Michelle Williams as Marilyn Monroe in Simon Curtis’s film MY WEEK WITH MARILYN.

now showing

Movies are listed in order of their scheduled opening dates which are at theatres’ discretion and subject to change. Visit www.landmarktheatres.com for more information.

MY WEEK WITH MARILYN

Director Simon Curtis Cast Michelle Williams, Kenneth Branagh, Eddie Redmayne Run time | 99 Minutes The Weinstein Company

In the early summer of 1956, 23 year-old Colin Clark (Eddie Redmayne), just down from Oxford and determined to make his way in the film business, worked as a lowly assistant on the set of ‘The Prince and the Showgirl’. The film that famously united Sir Laurence Olivier (Kenneth Branagh) and Marilyn Monroe (Michelle Williams), who was also on honeymoon with her new husband, the playwright Aurthur Miller (Dougray Scott). Nearly 40 years on, his diary account “The Prince, the Showgirl and Me” was published, but one week was missing and this was published some years later as “My Week with Marilyn” – this is the story of that week. When Arthur Miller leaves England, the coast is clear for Colin to introduce Marilyn to some of the pleasures of British life; an idyllic week in which he escorted a Monroe desperate to get away from her retinue of Hollywood hangers-on and the pressures of work.

34 December 2011 | January 2012 ritzfilmmag.com

L to R: George Clooney as “Matt King,” Shailene Woodley as “Alexandra,” and Amara Miller as “Scottie” star in THE DESCENDANTS.

Director Alexander Payne Cast George Clooney, Shailene Woodley, Beau Bridges, Robert Forster, Judy Greer, Matthew Lillard, Nick Krause, Amara Miller, Mary Birdsong, Rob Huebel, Patricia Hastie Run time | 110 minutes Fox Searchlight

THE DESCENDANTS is set in Hawaii and follows the journey of a family at a crossroads. Matt King (Clooney), a husband and father of two girls, must re-examine his past and navigate his future when his wife is in a boating accident. He awkwardly attempts to repair his relationship with his daughters while wrestling with a decision to sell his family’s land, handed down from Hawaiian royalty. When King’s eldest daughter drops the bomb that her mother was in the midst of a romantic fling at the time of the accident, Matt has to take a new look at his life. He embarks on a search for his wife’s lover. Along the way, he realizes he’s finally on course toward rebuilding his life and family.

Actress Carey Mulligan as “Sissy” on the set of SHAME. Photo By: Abbot Genser

THE DESCENDANTS

SHAME

Director Steve McQueen Cast Michael Fassbender, Carey Mulligan Run time | 100 Minutes (NC – 17) Fox Searchlight

Brandon (Michael Fassbender) is a New Yorker who shuns intimacy with women but feeds his desires with a compulsive addiction to sex. When his wayward younger sister (Carey Mulligan) moves into his apartment stirring memories of their shared painful past; Brandon’s insular life spirals out of control. An intense drama from award-winning British director Steve McQueen (Hunger).

ritzfilmmag.com december 2011 | JANUARY 2012 35

Berenice Bejo as Peppy Miller and Malcolm McDowell as The Butler in Michel Hazanavicius’s film THE ARTIST. Photo by The Weinstein Company

now showing

THE ARTIST

Director Michel Hazanavicius Cast Jean Dujardin, Bérénice Béjo, John Goodman, James Cromwell, Penelope Ann Miller, Missi Pyle, Beth Grant, Ed Lauter, Joel Murray, Bitsie Tulloch, Ken Davitan and Malcolm McDowell Run time | 100 Minutes The Weinstein Company

Hollywood 1927. George Valentin (Jean Dujardin) is a silent movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller (Berenice Bejo), it seems the sky’s the limit – major movie stardom awaits. THE ARTIST tells the story of their interlinked destinies. Silent with English intertitles.

TINKER TAILOR SOLDIER SPY

Director Tomas Alfredson Cast Gary Oldman, Kathy Burke, Benedict Cumberbatch, David Dencik, Colin Firth, Stephen Graham, Tom Hardy, Ciaran Hinds, John Hurt, Toby Jones, Svetlana Khodchenkova, Simon McBurney, Mark Strong

Tinker Tailor Soldier Spy is the long-awaited feature film version of John le Carré’s classic bestselling novel. The thriller is directed by Tomas Alfredson (Let the Right One In). The time is 1973. The Cold War of the mid-20th Century continues to damage international relations. Britain’s Secret Intelligence Service (SIS), a.k.a. MI6 and codenamed the Circus, is striving to keep pace with other countries’ espionage efforts and to keep the U.K. secure. The head of the Circus, known as Control (John Hurt), personally sends dedicated operative Jim Prideaux (Mark Strong) into Hungary. But Jim’s mission goes bloodily awry, and Control is forced out of the Circus – as is his top lieutenant, George Smiley (Gary Oldman), a career spy with razor-sharp senses.

Estranged from his absent wife Ann, Smiley is soon called in to see undersecretary Oliver Lacon (Simon McBurney); Run time | 127 Minutes he is to be rehired in secret at the government’s behest, Focus Features as there is a gnawing fear that the Circus has long been compromised by a double agent, or mole, working for the Soviets and jeopardizing England. Supported by younger agent Peter Guillam (Benedict Cumberbatch), Smiley parses Circus activities past and present. In trying to track and identify the mole, Smiley is haunted by his decades-earlier interaction with the shadowy Russian spy master Karla. Even before the startling truth is revealed, the emotional and physical tolls on the players enmeshed in the deadly international spy game will escalate…

36 December 2011 | January 2012 ritzfilmmag.com

Johann Goethe (Alexander Fehling) Lotte Buff (Miriam Stein) and Johann Goethe (Alexander Fehling)

YOUNG GOETHE IN LOVE Director Phillip Stölzl Cast Alexander Fehling, Miriam Stein, Moritz Bleibtreu, Volker Bruch, Burghart Klaussner, Henry Hubchen Run time | 102 Minutes Music Box

Germany 1772 – the young and tumultuous Johann Goethe (Alexander Fehling) aspires to be a poet; but after failing his law exams, he is sent by his father (Henry Huebchen) to a sleepy provincial court to mend his ways. Unsure of his talent and eager to prove himself, Goethe soon wins the praise and friendship of his superior Kestner (Moritz Bleibtreu). But then Lotte (Miriam Stein) enters his life and nothing is the same as before. However, the young lovers are unaware that her father has already promised Lotte’s hand to another man. Director Phillip Stölzl (“Northface”) returns to the very wellspring of Romanticism – Goethe’s autobiographical masterpiece “The Sorrows of Young Werther” – and conjures up a beguiling and refreshingly innocent period romance. German with English subtitles.

ritzfilmmag.com december 2011 | JANUARY 2012 37

Photo courtesy of Dreamworks Pictures

now showing

WAR HORSE

WAR HORSE is a tale of loyalty, hope and tenacity set against a sweeping canvas of rural England and Europe during the First World War. The film begins with the remarkable friendship between a horse named Joey and a young man called Albert, who tames and trains him. When they are forcefully parted, the film follows the extraordinary journey of the horse as he moves through the war, changing and inspiring the lives of all those he meets—British cavalry, German soldiers, and a French farmer and his granddaughter—before the story reaches its emotional climax in the heart of No Man’s Land.

Run time | 146 minutes Dreamworks Pictures

The First World War is experienced through the journey of this horse—an odyssey of joy and sorrow, passionate friendship and high adventure. WAR HORSE is one of the great stories of friendship and war— a successful book, it was turned into a hugely successful international theatrical hit that is currently on Broadway. It now comes to screen in an epic adaptation by one of the great directors in film history.

Director Steven Spielberg Cast Tom Hiddleston, Benedict Cumberbatch, David Thewlis, Emily Watson, Eddie Marsan, Toby Kebbell, Peter Mullan, Jeremy Irvine, David Kross, Johnny Harris

38 December 2011 | January 2012 ritzfilmmag.com

PARIAH

Director Dee Rees Cast Adepero Oduye, Pernell Walker, Aasha Davis, Charles Parnell, Sahra Mellesse, and Kim Wayans Run time | 86 Minutes Focus Features

A world premiere at the 2011 Sundance Film Festival, the contemporary drama PARIAH is the feature-length expansion of writer/director Dee Rees’ award-winning 2007 short film PARIAH. Spike Lee is among the feature’s executive producers. At Sundance, cinematographer Bradford Young was honored with the U.S. Dramatic Competition Excellence in Cinematography Award. Adepero Oduye, who had earlier starred in the short film, portrays Alike (pronounced ah-lee-kay), a 17-yearold African American woman who lives with her parents Audrey and Arthur (Kim Wayans and Charles Parnell) and younger sister Sharonda (Sahra Mellesse) in Brooklyn’s Fort Greene neighborhood. She has a flair for poetry, and is a good student at her local high school.

Alike is quietly but firmly embracing her identity as a lesbian. With the sometimes boisterous support of her best friend, out lesbian Laura (Pernell Walker), Alike is especially eager to find a girlfriend. At home, her parents’ marriage is strained and there is further tension in the household whenever Alike’s development becomes a topic of discussion. Pressed by her mother into making the acquaintance of a colleague’s daughter, Bina (Aasha Davis), Alike finds Bina to be unexpectedly refreshing to socialize with. Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor, and tenacity – sometimes succeeding, sometimes not, but always moving forward.

ritzfilmmag.com december 2011 | JANUARY 2012 39

Jodie Foster as Penelope Longstreet and Kate Winslet as Nancy Cowan. Photo by Guy Ferrandis, Courtesy of Sony Pictures Classics.

now showing

carnage

Director Roman Polanski Cast Jodie Foster, Kate Winslet, Christoph Waltz, John C. Reilly, Elvis Polanski, Eliot Berger

CARNAGE is a razor sharp, biting comedy centered on parental differences. After two boys duke it out on a playground, the parents of the “victim” invite the parents of the “bully” over to work out their issues. A polite discussion of childrearing soon escalates into verbal warfare, with all four parents revealing their true colors. None of them will escape the carnage. Academy Award®-winning director Roman Polanski directs Kate Winslet, Jodie Foster, John C. Reilly and Christoph Waltz in Carnage, the screen adaptation of the smash comedy play “God of Carnage” by Yasmina Reza.

Run time | 80 Minutes Sony Pictures Classics

Shot in real time as the four adults meet to settle the dispute, Carnage pits power couple Nancy and Alan Cowan against the liberal writer and campaigner Penelope Longstreet and her wholesaler husband, Michael. Unpredictable and shocking, the film hilariously exposes the hypocrisy lurking behind their polite façade. Hailed by the critics and public alike, the play enjoyed sell-out runs in Paris, London and on Broadway after its premiere in 2006 and won a slew of awards at both the Olivier Awards and the Tony® Awards, including Best Play and Best Direction of a Play.

As soon as he saw the play, Roman Polanski knew it would make an exciting film. “The tone of the play was hilarious and the pace fast-moving. What particularly attracted me was the real-time action. I’d never made a film without the slightest ellipse and I don’t remember ever seeing one either.”

40 December 2011 | January 2012 ritzfilmmag.com

Keira Knightley as Sabina Spielrein. Photo by Liam Daniel, Courtesy of Sony Pictures Classics.

A DANGEROUS METHOD Director David Cronenberg

Cast Keira Knightley, Viggo Mortensen, Michael Fassbender, Vincent Cassel, Sarah Gadon Run time | 99 Minutes Sony Pictures Classics

On the eve of World War I, Zurich and Vienna are the setting for a dark tale of sexual and intellectual discovery. Drawn from true-life events, A DANGEROUS METHOD explores the turbulent relationships between fledgling psychiatrist Carl Jung, his mentor Sigmund Freud and Sabina Spielrein, the beautiful but disturbed young woman who comes between them. Sensuality, ambition and deceit set the scene for the pivotal moment when Jung, Freud and Sabina come together and split apart, forever changing the face of modern thought. Based on the stage play “The Talking Cure” by Christopher Hampton and the book, “A Most Dangerous Method” by John Kerr.

DECLARATION OF WAR Director Valerie Donzelli Cast Valerie Donzelli, Jeremie Elkaim, Cesar Desseix, Gabriel Elkaim, Brigitte Sy, Elina Lowensohn, Michele Moretti, Philippe Laudenbach, Bastien Bouillon, Beatrice de Stael, Anne Le Ny, Frederic Pierrot, Elisabeth Dion Run time | 100 Minutes

This film is inspired by a true story – the director’s own. It’s the story of young love, of Juliette and Romeo, dragged harshly from their carefree happiness and forced to confront life’s unexpected, brutal chaos. The illness of their son, Adam, will force them to face a terrible trial, to become adults. But as traumatic as it is, their suffering will allow them to blossom. It will reveal them to themselves - their strength, their courage. “Life is huge and full of danger,” and it is only in battle that our own true heroism can be revealed. French with English subtitles.

ritzfilmmag.com december 2011 | JANUARY 2012 41

Silver Bells, Silver Screen

This one comes with a warning! It’s not all candlelight and gingerbread. It’s a cacophony for the many places and the many ways the holidays are referenced in films – heartwarming, heartbreaking, even heart stopping … and a bit off the wall. Blame it on the eggnog!

By Stuart Papavassiliou

Across 1. Actress on Dynasty; She was also ‘done in’ by a maniacal Santa in ‘72 5. Laurel & Hardy holiday film is based on this composer’s 1903 operetta 6. Although it was The Italian Job, this English city posed as Turin in this film. (Think cathedral and carol.) 7. As if #39 Across weren’t bad enough, Santa had to take on these creatures just last year. 9. He co-wrote Eight Crazy Nights, he’s Davey too! 10. This movie with a not-so-merry title is takes place at Christmas dinner (full title) 11. She’s a harried shopper in Miracle on 34th Street; a great character actress too! 15. Baker turned bodyguard for Don Corleone during a holiday visit. 16. He’s a skeleton’s best friend in A Nightmare Before Christmas 18. In Godfather I, Radio City Music Hall’s marquis reads The Bells of St. Mary’s but the headlines read ‘Vito Corleone Feared -----’ 19. Setting for It’s a Wonderful Life (2 words) 21. If you harken to the Gone With the Wind score, you’ll hear these kinds of angels sing 24. He joins opera star Risë Stevens in rendition of Ave Maria, not White Christmas 26. He raises Will Ferrell in 2003 holiday classic 27. He’s the old man in A Christmas Story, yet he ‘stalked at night’ in the mid-70s 29. ‘Thanks for the ……! Love, Clarence,’ ask Jimmy Stewart 32. Setting for A Christmas Story, Ian Hunter says this place rocks! 33. Another town: Toney Chicago suburb where Home Alone house is featured 34. Not another town: He wrote the tunes for Holiday Inn, White Christmas and Easter Parade 35. This actor leaves one kid home alone in 1990 hit (full name) 38. First she in Meet Me in St. Louis, later she was “lost in space” and a “lady MD” on TV, just as pretty as can be… 39. Santa beats these guys in this 1964 “Bottom 100” list of holiday movies that features a tiny Pia Zadora – she’s out of this world! 41. He sinks his teeth into Bob Cratchit role in 2009 version 42. This poet laureate narrates The Black Candle, a film about Kwanzaa 43. This little guy terrorizes the Griswold’s Christmas. Poor Nora! 44. This cult classic has three titles; one is Christmas ____

Down 1. Ester’s ‘Boy Next Door’ in Meet Me in St. Louis – character full name (2 words) 2. Scottish singer Mairi ____; Performs # 8 down in 2008 flick … beautifully I might add 3. He runs Macy’s toy department; his wife likes her martinis … she’ll agree to anything 4. SJ Parker’s role in The Family Stone 6. This director known for holiday classics White Christmas & We’re No Angels; other classics too including Casablanca & Mildred Pierce 8. “For days of auld lang …” Poignant moment in Sex and the City movie 12. He played Bob Cratchit in 1938 version of A Christmas Carol. What’s his first name? (See #38 across for a hint – he’s her Dad) 13. Movie Quote: He says, “I’m as old as my tongue and a little older than my teeth” 14. This movie is called the evil twin to Miracle on 34th Street (2 words) 17. Both Young and Houston played The Bishop’s ____ 19. While this recipe for ______ de Noel didn’t make an appearance in Julie & Julia, it could have. (pensez en francais, s’il vous plait) 20. Although we all loved her in the 50’s, she maims ‘We Need A Little Christmas’ in 1973, pun intended! (2 words) 21. Before he was Mr. B. to Shirley Booth’s Hazel, he was one of these in It Happened on Fifth Avenue 22. First Karloff on TV, then Carrey on the silver screen (2 words) 23. One New Year’s Eve, this vessel turns upside down 25. Movie quote: “Maybe he’s just a little bit crazy like painters or composers … or those men in ______. “ These days, truer words? 28. She sings a famous Christmas song to her sister Tootie … rather well, not like #20 down! 30. This belle steals a kiss in Aunt Pittypat’s parlor on Christmas day. For shame! 31. Jack Skellington: “And his name is ____” (2 words) 33. Still another town … this one’s a crime scene: The setting for How the Grinch Stole Christmas 34. He’s Henry F. Potter, a member of a legendary theatrical family in real life and born in Philly, too! 36. He directed Meet Me in St. Louis. You’d better get it right or his daughter might beat you up! 37. He’s a political advisor in Miracle on 34th Street; we know him as Fred. 40. Before Double Indemnity, Stanwick & McMurray meet up in this lesser known holiday movie, Remember the _____

Look for the answers in the next edition of Ritz Film Magazine.

Stuart Papavassiliou is a transplanted Texan who has lived in Philadelphia for the past 28 years. He is an editor of two commercial finance publications who suffers from an addiction to pre-1970s movies. He and his partner live in Fairmount.

42 December 2011 | January 2012 ritzfilmmag.com