Ritzfilm
March/April 2012 Volume 2 • Issue 2
Around the Block: University City | Inside the ICA…Free for All Spring Outdoor Dining! | Spring Theater Preview Interview with Ezra Miller from We Need to Talk About Kevin
March/April 2012
table of contents 5 Letter from the Publisher 6 Ask Ritz Film Magazine 8 Spring Theater Blossoms: A Preview of What’s in Store 12 Salmon Fishing in the Yemen A Critique and Comparison of
the Book & Film
15 M is A Gem— It’s Spring! Philly Dines Outdoors 20 Film Focus: 15 Minutes with Ezra Miller from We Need to Talk about Kevin Student Review We Need to Talk about Kevin
24 Around the Block: University City 30 84th Annual Academy Awards 32 Arts Calendar 34 Now Showing 42 Crossword Puzzle
ABOVE TOP: Jess Conda stars in Rock and Awe—Part Three: Let’s Start a War. Photographed by Kate Raines, PLATE3PHOTOGRAPHY. ABOVE BOTTOM: Tilda Swinton in We Need to Talk About Kevin Directed by Lynne Ramsey COVER: Robert DeNiro and Julianne Moore in Being Flynn, a Focus Features release
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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 8x’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
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letter from the publisher
Dear Ritz lovers! Spring is in the air! And this year we’ve already had an early taste of Spring with lots of warm weather. For movie lovers, Spring is a time of year when outdoor activities are abound…and yet, we still covet our indoor time at the Ritz for the movies! In the spirit of Spring, the March/April RFM includes a list of some of the best restaurants in the city for outdoor dining. We know many of you dine before or after the movies, so we wanted to provide you with outdoor options! Starting with a review of “M”, you’ll find some great little gems for your dining pleasure and special spots to talk about your favorite subject: movies, of course! This issue also has a mix of cultural activities to enjoy all throughout Philadelphia during the Spring months. Andrew Repasky McElhinney reviews the upcoming theater productions in Philadelphia, a city Andrew calls a “great theater town…because the community itself is so close knit, accessible and welcoming.” We also cover events and places to go in University City, this issue’s Around the Block featured neighborhood. You’ll find lots of other goodies in this issue including a book/movie comparison of Salmon Fishing in the Yemen by Gary M. Kramer and a review of this year’s Oscars by Eric Bresler. And don’t miss a review of Let’s Talk About Kevin by Temple student Jason Berman and an interview with the movie’s Ezra Miller by RFM’s editor Abigail Sutton. Enjoy Spring in the city and Spring at the movies! As always, we welcome your feedback so please contact us and let us know how we’re doing and what you want to see in RFM!
Sincerely,
Lisa H. Rafter Publisher Ritz Film Magazine 215-765-2646 lisarafter@ritzfilmmag.com
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ask ritz film magazine By Andrew Repasky McElhinney – “The Movie Doctor”
Rope of Sand starring Burt Lancaster, not Burt Reynolds, might be the film you are thinking about. In it, Lancaster is a tortured man involved in a shady scuffle for diamonds. The supporting cast is strong with Casablanca alumni, Peter Lorre, Claude Rains, and Paul Henreid. Reason enough to track down this movie is its cinematographer, Charles B. Lang, Jr. In over fifty years as a director of photography, Lang shot an amazing array of diverse titles including She Done Him Wrong (1933), Peter Ibbetson (1935), The Big Heat (1953), Some Like It Hot (1959) and Bob & Carol & Ted & Alice (1969). Finally, Rope of Sand is under the direction of an underrated pro—William Dieterle. He helmed such recommendable films such as The Last Flight (1931), Satan Met a Lady (1936) and Dark City (1950 ‑ not the one you’re thinking about by Alex Proyas from 1998). Dieterle also directed a movie I’ve always wanted to see, Jewel Robbery (1932). I just saw The Public Enemy for the first time. Wow!!! I was bowled over by James Cagney’s electric performance. And, I
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Ian McKellen
As a kid, I saw Burt Reynolds in a black and white, Casablancatype picture called, Rope of Sand. However, I have not been able to track it down since. Have you ever heard of this movie? Why can’t I find it? —Robert Thompson, University City
looked into him—he has so many credits!!! Where do I go next—or do I just watch them all? —Kala Church, Queen Village
James Cagney (1899-1986) is best remembered for playing gangsters like Tom Powers in The Public Enemy (1931) or Cody Jarrett in White Heat (1949); however Cagney was a very versatile and nuanced actor. Early on, he first showed his range with a more or less comic turn in Warner Bros.’ wonderful, truly shocking, pre-code melodrama, Picture Snatcher (1933). And, I don’t think anyone has ever forgotten Cagney in William Dieterle’s 1933 movie of A Midsummer’s Night Dream. Mid-career, Cagney mellows out playing George M. Cohan in Yankee Doodle Dandy (1942); and leads the cast (including his sister Jeanne!) in The Time of Your Life (. . . which, for its first forty-five minutes is relatively faithful to the great 1939 William Saroyan play). Late in the game, Cagney’s last screen role finds him in the boxing television movie, Terrible Joe Moran (1984). I’ve never forgotten James Cagney as Bottom the Weaver in A Midsummer’s Night Dream. We went to see it at the movies on a school trip back in 1935! I credit my second grade teacher, Mrs. McFrazer for teaching my class a true and lasting appreciation for the works of William Shakespeare. I am exited to see Ralph Fiennes in Coriolanus because as far as I know there has never been a movie of this play.
So, in many ways, I’ve waited my whole life to see Fiennes’ new movie. What Shakespeare adaptations do you think are the most noteworthy? —Penelope Longfellow Fuller, Fishtown
There are a few English language television versions of Coriolanus but none of great note. Without a doubt, Shakespeare on-screen is tricky. Despite being well regarded, I’ve never warmed to Laurence Olivier’s screen adaptations of the Bard [Henry V (1944), Hamlet (1948) or Richard III (1955)] because they reek of dower affectation. I do however, very much admire Orson Welles’ screen Shakespeare because it is commanding and visceral while using these mighty forces in the service of Shakespeare’s words and stories. 1965’s Chimes at Midnight is Welles’ History Play mash-up focused on Sir John Falstaff (Orson himself). The screenplay’s dialogue is masterfully cobbled (again by Orson, himself) from Henry IV, Parts 1 & II as well as Richard II, Henry V and The Merry Wives of Windsor with a bit of narration from Raphael Holinshed (1529-80) tossed in for good measure. Welles’ Othello (1952) features an opening sequence (the Moor’s funeral procession) as arresting and compelling as anything in Welles’ oeuvre. Finally, Welles’ 1948 Macbeth is a spooky affair—expressionist and caked in sloppy, messy mud. While not as great as Welles’ Macbeth, Roman Polanski’s 1971 film of “The Scottish Play” is Polanski’s best work as a director and remarkable for its grim violence and psycho-sexual (if somewhat obvious and perhaps even forced) candor. If Polanski is too middlebrow, and far-out Shakespeare is your cup of tea, you can do no better than John Gielgud in director Peter Greenaway’s groundbreaking and revolutionary adaptation of The Tempest, Prospero’s Books (1991); or Leonardo DiCaprio and Claire Danes as the doomed lovers in Baz Luhrmann’s enthralling Romeo + Juliet (1996). Finally, my vote for the best Shakespeare movie of all time goes to Ian
McKellen in Richard III (1995) directed by Richard Loncraine. Updated to a fantasy, fascist World War II era England, it features a starry galaxy of impeccable actors including Annette Bening, Maggie Smith, Jim Broadbent, Robert Downey Jr., Nigel Hawthorne, John Wood, Kristin Scott Thomas, and Edward Hardwicke. The opening sequence where Richard drives a tank through his rival’s encampment is one of cinema’s all-time great set pieces. I was very impressed with Viggo Mortensen in David Cronenberg and Christopher Hampton’s delicious, sexy and wickedly fun new movie, A Dangerous Method. What do you think and are you a Mortensen fan? —Antony Holtsman, Rittenhouse Square
It is true that Viggo Mortensen set an all new personal best with his scene stealing work as Dr. Sigmund Freud in A Dangerous Method. It is remiss that the Academy did not recognize him this Oscar season. While sporting leading man looks and charisma, Mortensen excels at character parts and has memorable supporting roles in the likes of Young Guns II (1990), Brian De Palma’s Carlito’s Way (1993), and Jane Campion’s underrated and nearly forgotten, Portrait of a Lady (1996). Mortensen is more prominently featured in Kevin Spacey’s debut as a director, Albino Alligator (1996), the very peculiar Gus Van Sant remake of Psycho (1998), the nostalgic A Walk on the Moon (1999), and Peter Jackson’s Lord of the Rings movies (20012003). •
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
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Jess Conda stars in Rock and Awe—Part Three: Let’s Start a War. Photographed by Kate Raines, PLATE3PHOTOGRAPHY.
Spring Theater Blossoms: A Preview of What’s in Store By Andrew Repasky McElhinney Philadelphia is such a great theater town—not only because of a plush crew of regional and local theaters—but because the community itself is so close knit, accessible and welcoming. Reacting to the recent passing of Jiri Zizka (1953-2012), founding co-artistic director of The Wilma Theater, how could one not be moved—or—feel apart of a very special era that had ended? Moreover, how many theater towns have a centralized hang-out like Plays & Players’ third floor, Quig’s Pub— THE place to go for the creative class? Nicknamed “the actor’s speakeasy,” Quig’s is run by Brat Production’s founder Madi Distenfano, and features many local luminaries on either side of the bar. Any night of the week, (Quig’s is open into the wee after-hours), you’re likely to
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catch Greg Giovanni (Big Mess Theatre) reading palms, Corinna Burns (Inis Nua Theatre Company) spinning yarns like a bar-stool Scheherazade, or GANG! band member Amanda Damron helping funk up the place with her certifiable, soulful foxiness. Behind the bar, actor Keith J. Conallen will keep your glass filled with expertly mixed drinks while appearing in The Wilma Theater’s production of Sam Shepard’s Curse of the Starving Class, March 7–April 8. Keith is thrilled to be making his Wilma debut this month, having been seen on area stages the last few seasons with Theatre Exile, Azuka
Theatre, Flashpoint Theatre Company, Simpatico Theatre, Mauckingbird Theatre Co. and his own production company, Traverse Arts Project, among others. Speaking of Brat Productions, Jess Conda’s latest installment of Rock and Awe: Four Fast Shows at the Intersection of Music and Theatre entitled Eternal Glamnation sold out its run and was met with huge standing ovations at the Ruba Club this past January. Tickets are already going fast for Rock and Awe— Part Three: Let’s Start a War, inspired by the music of the Dead Kennedys. The late night evening, (doors are at 10 PM), runs for three nights only at Ruba, March 29-31. Smart and savvy theater patrons will get their tickets now, as
physical intimacy. Directed by Philly’s stalwart pro Jennifer Childs, Boston Marriage is the not to be missed show of the spring season. Speaking of premiers, white-hot Flashpoint Theatre presents a new work by the brilliant Jacqueline Pardue Goldfinger entitled Slip/Shot. Directed by Rebecca Wright, it runs April 11 though May 5. Two great, local favorites return to the boards this spring. First, Mary McCool is one of the three stars of People’s Light and Theatre Company’s Shipwrecked! by Donald Margulies, March 22 though April 15. Second, Frank X, fresh off his hugely successful turn as several characters in Inter/Act theater company’s delightful production of MicroCrisis, clocks
Tickets are already going fast for Rock and Awe—Part Three: Let’s Start a War, inspired by the music of the Dead Kennedys Conda is one of the bright new stars of the Philadelphia stage with thrilling lung power and a burgeoning cult of admirers who compare her to potent mix of Amy Winehouse and Ethel Merman.
in at the Lantern Theater Company as Friar Laurence in director Charles McMahon production of Shakespeare’s beloved tragedy Romeo and Juliet, March 1-April 1 (www.lanterntheater.org).
The most exciting Philly première of the next several months is 1812 Production’s mounting of David Mamet’s seldom performed 1999 play, Boston Marriage, April 26 though May 20. Known for his colorful and creative use of four-letter words (*&klf*^%*!), and gruff dialogue for men with a capital “M,” Boston Marriage, set at the turn of the 20th century, was an unexpected change of pace for the great American playwright. In Boston Marriage, Mamet took up the challenge to craft an evening of theater focused on three women, two of whom may be in a “Boston Marriage”—that is a union between two females that perhaps involves both emotional and
Philly loves nothing more than a “local boy done good” and actor turned playwright, Bruce Graham has the debut of not one—but two—exciting, brandspanking-new plays coming up. First, the gifted actor’s director, James J. Christy directs Graham’s The Outgoing Tide at the Philadelphia Theatre Company, March 23-April 22. Second, actor turned director Pete Pryor, helms Graham’s Mr. Hart and Mr. Brown, a prohibition era dramedy, at People’s Light and Theatre Company, July 18 though August 19. The Philadelphia Shakespeare Theatre, under the artistic direction of Carmen Kahn, goes out on a limb (pun intended) to present the Aaron Cromie production
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Local semi-professional college theaters present many interesting productions this spring. of Titus Andronicus, April 11 through May 19. Titus was HUGELY (…think blockbuster…) popular at the time of its composition, and then fell out of favor in the 17th, 18th and 19th century, only to gain new relevance as one of Shakespeare most profound and pleasurable works in the 20th and 21st centuries. And, if you’re an avid Shakespeare fan who just can’t get enough, The Curio Theatre presents The Tempest, April 19 through May 19.
Two modern classics, and a classic-classic, round out the Spring season. Robert Harling’s Steel Magnolias is featured at Bristol Riverside Theatre, March 20 though April 8. The production stars Jo Twiss (of the cult movie, A Gun For
Frank X stars in Romeo and Juliet through April 1
Local semi-professional college theaters present many interesting productions this spring. That singular sensation, A Chorus Line runs at Temple University March 16 though 31. Next, Villanova University
presents Roger and Hammerstein’s Carousel, March 27 – April 2. The fantastic and caustic Lillian Hellman’s The Children’s Hour goes before the footlights April 19-29 at Arcadia University. And, finally, in what is sure to be a sexy, fun evening filled with bright, new talent, Kander & Ebb’s classic Chicago is given a run by The University of the Arts’ School of Theater March 22-25.
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Jennifer) and Jennie Eisenhower. Next, beloved and beguiling local actor Christie Parker stars in Paula Vogel’s iconic, poignant and incisive drama of child abuse, How I Learned to Drive, directed by Kathryn MacMillan, April 5 though April 29 at Theatre Horizon in Norristown. See you at the theater! •
SPRING THEATER 2012 AT A GLANCE • Quig’s Pub: The Actor’s Speakeasy http://playsandplayers.org/members/events • Wilma Theater, Curse of the Starving Class, March 7–April 8, 2012, www.wilmatheater.org • Temple University, A Chorus Line, March 16– 31, www.temple.edu/sct/theater/currentseason/ index.html • Bristol Riverside Theatre, Steel Magnolias, March 20–April 8, www.brtstage.org • University of the Arts, Chicago, March 22–25, www.uarts.edu/theater/chicago • People’s Light and Theatre Company, Shipwrecked! March 22–April 15, www.peopleslight.org
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• Philadelphia Theatre Company, The Outgoing Tide, March 23–April 22, www.philadelphiatheatrecompany.org • Villanova University, Carousel, March 27–April 2, http://www1.villanova.edu/villanova/artsci/ theatre.html • Brat Productions, Rock And Awe - Four Fast Shows At The Intersection Of Music And Theatre: Let’s Start a War, March 29–31, www.bratproductions.org • Theatre Horizon, How I Learned to Drive, April 5–April 29, www.theatrehorizon.org • Flashpoint Theatre, Slip/Shot, April 11–May 5, www.flashpointtheatre.org • Philadelphia Shakespeare Theatre, Titus Andronicus, April 11–May 19, www. phillyshakespeare.org • Curio Theatre, The Tempest, April 19–May 19, www.curiotheatre.org • Arcadia University, The Children’s Hour, April 19–29, http://www.arcadia.edu/arcadiatheatre • 1812 Productions, Boston Marriage, Apr 26–May 20, www.1812productions.org • People’s Light and Theatre Company, Mr. Hart and Mr. Brown, July 18–August 19, www.peopleslight.org
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Salmon Fishing in the Yemen A Critique and Comparison of the Book & Film By Gary M. Kramer A bestseller in England, this high concept satire concerns Dr. Alfred (Fred) Jones, a British fishery scientist, employed by a Yemeni sheikh to introduce salmon fishing to the desert.
A
bestseller in England, this high concept satire concerns Dr. Alfred (Fred) Jones, a British fishery scientist, employed by a Yemeni sheikh to introduce salmon fishing to the desert. Fred thinks the idea is “totally absurd and scientifically nonsensical.” One might even call it “fishy.” But Torday spins this comic premise into an amusing tale of love, politics, faith, and, well, fish. There’s even some wacky intrigue involving the AlQaeda trying to put an end to the project. Salmon Fishing in the Yemen is told through various emails, letters, diary entries, interview transcripts and extracts from Hansard—the official record of proceedings of the British Houses of Parliament. The narrative structure gives insight into the various characters’ perspectives. When Fred writes about his rocky marriage to Mary, a cutthroat investment banker type who treats him rudely, readers will root for him to leave her. He is a largely sympathetic everyman, admitting his dislike of the irrational and unknown, and worrying about his job and the impossible salmon project. Likewise, when project coordinator Harriet Chetwode-Talbot pens letters to her fiancé Robert, a soldier in Iraq, one gets a clear sense of her confidence but also her palpable despair. These lead characters are well suited to one another, making their potential romance a believable subplot.
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Salmon Author: Paul Torday Mariner Books, 352 pages, $14.95 What is unbelievable is the idea of bringing angling tourism to Yemen. But much of the story spins on this absurd, ambitious, idea. While the sheikh is happy to spend money like it’s water to realize his dream, there are those who want to exploit the situation. One such individual is Peter Maxwell, the Director of Communications for the Prime Minister. He seems to think it is good public relations opportunity, and hopes to secure of photo of the PM catching the first fish in the desert. And so begins a series of clever exchanges in which the sheikh teaches Fred and Harriet about faith and belief and happiness, while Peter schemes to achieve his goal. The conflict between these characters is delightful, especially when Fred, Harriet, and Peter share a
The narrative structure gives insight into the various characters’ perspectives. meal at the sheikh’s private Glen Tulloch Estate. While Fred and Harriet come to understand and appreciate the sheikh’s position, and enjoy his company, Peter reveals himself to be a first class idiot. It is surely one of the novel’s wryest in-jokes when Maxwell reveals in an interview that he thinks reading a novel is a “a terrible waste of my waking hours.” Salmon Fishing in Yemen does spend several pages on Spey casts, wadi engineering, and salmon cycles, but there are also moments of cloak-and-dagger conspiracy, especially when Harriet learns that her fiancé may be in danger. There is also an unnecessary (albeit silly) chapter in which Peter details his idea for a TV show entitled Prizes for the People—in which Pakistani villagers can win dishwashers by answering trivia questions. Oddly, the book ends with a darkly funny dénouement involving the outcome of the salmon project. And herein lies the curious wrinkle of the book. Although many of the characters get their come-uppance for their hubris and sense of entitlement, there are punishments meted out to folks who may not necessarily deserve them. Which shows that Torday, like his characters, doesn’t take the easy way out. It’s a curiously satisfying story about how people change and adopt to the most unusual situations and circumstances. Like fish out of water.
These lead characters are well suited to one another, making their potential romance a believable subplot.
Salmon Fishing in the Yemen Directed by Lasse Hallström, CBS Films The film version of Salmon Fishing in the Yemen is a crowd-pleasing comic romance. While faithful to the central plot—a trio of disparate characters work together on the title project with an “uphill climb” degree of difficulty—the story, characters, and situations have been shortcut, or in some cases completely streamlined, to bring the novel to the big screen. The major changes include Harriet’s (Emily Blunt) fiancé in the novel being only a new boyfriend in the film, while Peter Maxwell becomes Patricia (Kristin Scott-Thomas in a very funny turn). Significantly, several characters that die on the page, live on screen. These alterations increase the dramatic, comic, and romantic potential of the story. However, the best change in the film version is pushing the subtle romance between Fred (Ewan McGregor) and Harriet to the forefront. This relationship engages, mainly because of McGregor’s keen performance and Blunt’s sympathetic one. Salmon Fishing in the Yemen also
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The best change in the film version is pushing the subtle romance between Fred (Ewan McGregor) and Harriet to the forefront. This relationship engages, mainly because of McGregor’s keen performance and Blunt’s sympathetic one.
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includes a comic bit involving the engineers of the Three Gorges Dam, and some charming, sentimental details about Fred inventing a fly for fishing and finding comfort by talking to the fish is his backyard pond. These elements capture the spirit of the book even though they were invented for the film. Even with all the differences, the film is an agreeable adaptation. But the book is well worth reading. For a unique story about an exotic land, far, far away take a dive into the waters of Salmon Fishing in the Yemen. •
Gary M. Kramer initiated the Ritz book
column 15 years ago. He has never gone salmon fishing in the Yemen, or anywhere else.
All photos courtesy of Deborah B Lefevre, Owner of M Restaurant and The Morris House Hotel and Photographer
M is A Gem
It’s Spring! Philly Dines Outdoors By Abigail Sutton As the winter layers peel off one by one, the days get longer and the spring season refreshes the city to the beat of a vibrant kick drum. Gourmet food trucks? Check. Affordable and innovative multi-course prix fixe meals? Check. Fried chicken Thursdays cooked by one of the city’s best chefs1? This city’s got that covered too. 2012 James Beard Semi Finalists2? Yes!! Philly’s dining scene is creative and everchanging. Not to mention the price point which beats NYC and L.A. As the winter layers peel off, one by one, the days get longer and the spring season refreshes the city to the beat of a vibrant kick-drum. Diners will be headed outside to sought-after outdoor tables at favorite city establishments. Of the below list that
we profile, M Restaurant at the Morris House Hotel in Washington Square West (231 S. 8th Street) is a favorite. Built in 1787, the hotel is named after Robert Morris, a signer of the Declaration of Independence and US Constitution. The large outdoor garden can seat up to 120 guests. Chef Aaron Bellizzi attended the Culinary Institute of America and, upon graduation, was recruited to work at Le Cirque in New York City—one of the most acclaimed restaurants in the world. After moving to Philly, Bellizzi spent time in the kitchens at both Fish and a.kitchen.
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The cuisine at M is sustainable, in season, and thus the menu is ever changing. Bellizzi is a perfectionist who is forever evolving in his creativity with food. A truly innovative chef, the food is modern, focused, yet fun and playful as well. The sun choke soup is perfection with pumpernickel crumble, shaved red onion, capers and home-smoked salmon, which are all served on the side, and intended to accompany every bite. You’ve never had soup like this before! For other options, the pork belly, red cabbage with brussel sprouts and pork ballontine should not be missed. You can’t go wrong with any of the small-to medium-sized plates on the menu.
Mussels and frites are out of this world. An excellent and diverse beer list.
As for the outdoor aspects of this city gem, the grounds between the restaurant and hotel remind me of the film The Secret Garden. In the movie, a girl stumbles upon a hidden garden that has been locked up and uncared for. M resembles the garden in the movie after the stunning rehabilitation takes place. There are iron benches, vines, trees with beautiful lights, surrounded by the gorgeous colonial architecture of the Morris House Hotel. It’s absolutely a magical and calm setting for a romantic night out or a dinner with friends inside bustling Center City.
American fare, one of the first neighborhood gems in this area of the city that still exists. Owners are usually present and friendly. They often feature special dinners or movie nights upstairs at the Copper Bar.
RFM Outdoor Dining Favorites Beau Monde
624 south 6th street, 215-592-0656
Voted one of the top romantic spots as well as best brunch from www.gayot.com. Service is fun, charming and enthusiastic.
The Belgian Café
2047 Green Street, 215-235-3500
Fairmount’s Monk’s. How can one go wrong?
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Bistrot La Minette
623 South 6th Street, 215-925-8000
The ever-friendly and hilarious Peter Woolsey, Executive Chef, always has something enjoyable cooking at Minette. Whether it’s the French movie nights projected outside in the courtyard in the warmer months or affordable Sunday prix fixe dinners. His food is refined and classic with a modern twist. The friendly servers are educated on the menu and friendly.
Bridget Foy’s
200 South Street, 215-922-1813
Cantina Los Cabalitos
1651 E. Passyunk Avenue 931 N. 2nd Street (newer NoLibs location)
Tons of outdoor dining. Food is excellent. Features vegetarian and vegan options. Bathrooms are entertaining with chalkboard paint.
The City Tavern
138 South 2nd Street, 215-413-1443
Dine as if in colonial times. Rich and wonderful platters. Large backyard garden with benches and lots of space, located in the heart of Old City.
Cooperage
123 South 7th Street, 215-226-2667
Located inside The Curtis Center, Cooperage is a whiskey bar with a great bill of fare as
well. Bartenders are friendly and the space is smartly laid out. Check out the Tiffany mosaic in the building’s east wing when you’re done your meal and whiskey libation. Outdoor seating features comfy couches and large tables great for groups.
Darling’s Diner
1033 N. 2nd St, 267-239-5775
A diner should be two things: clean and efficient. Darling’s accomplishes this and then some. Known for excellent cheesecake. Staff is friendly and courteous. A sister location is in Fairmount.
Devil’s Alley
1907 Chestnut Street, 215-751-0707
Go for local beers, good pizza and fried green tomatoes at the center city gem which has more of a down-home neighborhood feel than the commercial/retail location would suggest.
Estia
1405 Locust Street, 215-735-7700
Greek cuisine located near the Academy of Music, which offers a great pre-theater dinner special. Desserts aren’t to be missed. Solid wine list. Gorgeous digs inside and out.
2301 Fairmount Avenue • Philadelphia 215.978.4545 londongrill.com follow us on twitter @londongrill
Frankford Hall
1210 Frankford Avenue, 215-634-3338
Playful beirgarten with ping-pong, other games, fire pits and plenty of room to bring the whole crowd. Food options are limited but interesting.
Jamaican Jerk Hut
1436 South Street, 215-545-8644
Live music. Jamiacan cuisine. BYO. What could be better? Escape the city life to the tranquility and fun of the Caribbean.
Manayunk Brewery & Restaurant 4120 Main Street, 215-482-8220
Huge patio overlooking the Schuylkill. Pub/ American fare with sushi on certain nights Local brews featured. Multiple meeting/entertainment rooms for large gatherings/events.
Moshulu
401 South Columbus Blvd., 215-923-2500
This moored antique sailboat, located on the Delaware River, sailed around Cape Horn dozens of times. There is one bar located outside on the lower deck of this grand ship, all with great views. Food is seasonal and they
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offer an affordable champagne buffet brunch on weekends.
Positano Coast
212 Walnut Street, 215-238-0499
Southern Italian cuisine. Organic cocktails. DJs perform in the lounge/bar on Saturdays. The ceviches, salads and gnocchi are stellar.
Raw (3 locations)
1225 Sansom Street (original) 215-238-1903 1818 Chestnut Street (inside Boyd’s–no outdoor seating) 1050 N Hancock Street
Modern Japanese. Raw recently expanded to NoLibs, increasing this Philly empire to three locations. Raw NoLibs is closed for the season but will reopen once the winter thaws. Fruitinfused sakes and reasonably priced bento boxes are sure to please the most discerning of palates.
Rouge
205 S 18th Street, 215-732-6622
Wine selection is great. Bartenders are pros. Upscale. The burger is one of the best in the city.
Sam’s Morning Glory Diner
735 South 10th Street, 215-413-3999
Superb down-home cooking. Efficient service
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and big plates of comfort food leave you full. Coffee served in fun steel mugs. Courtyard fills up quick on the weekends—get there early.
Sidecar
2201 Christian Street, 215-732-3429
GHo’s neighborhood gastropub. Known for brunch and a great meeting place for friends. Sidewalk dining is the only outside option.
Silk City
435 Spring Garden Street, 215-592-8838
Tim Burton meets Dia de Los Muertosinspired courtyard/garden/patio. Food is wholesome, fresh and prepared well. DJs on weekends. A great happy hour crowd outside. Parking usually available right out front.
Southwark
701 S 4th Street, 215-238-1888
Sourcing their ingredients from local farmers and co-ops to sustain and support local farms and economies. They strive to set the standard in the farm to plate slow food movement that is sweeping the region and nation.
Standard Tap
901 N. 2nd Street, 215-238-0630
Upstairs patio. Great burger – good beer – classic gastropub, in many ways the original to the city.
Talula’s Garden
210 W Washington Square, 215-592-7787
Features a whimsical, outdoor dining corridor that is highlighted with white lights and a garden-esque mystique.
Tria
12th & Spruce (Washington Square West) 215-629-9200 18th and Sansom (Rittenhouse) 215-972-8742 Tria Wine Room - (University City) 3131 Walnut Street 215-222-2422
Wine, cheese, beer...What more could you want? “Wine is loosened up and beer grows up” at this “passionate bar without pretension.” Every Sunday a not-so-common beer, cheese and wine is featured and available for purchase at a reduced price. Sunday school was never so fun and interesting!
The Ugly Moose
443 Shurs Lane, 215-482-2739
This Manayunk/Roxborough establishment is friendly and has a great atmosphere. Easy and free parking available out front. Burgers are solid and satisfying.
Village Belle
757 S Front Street, 215-551-2200
Diners’ Choice winner 2010 at OpenTable. com. Two brothers from Queen Village opened this new neighborhood favorite, serving seasonal Mediterranean cuisine. We highly recommend all of the pastas from the cappellini to the chicken and mushroom cannelloni. Closed Mondays.
Water Works Restaurant
640 Waterworks Drive • 215-236-9000
Philadelphia’s “Landmark” restaurant adjacent to the Museum of Art. A grand location for a special event or occasion. A brunch buffet is offered on Sundays from 11 to 2. For the month of March they offer a $35 prix fixe dinner.
Even more outdoor dining options… Branzino
261 S 17th Street • 215-790-0103
Byblos
116 South 18th Street 215-568-3050
Chick’s Café & Wine Bar
614 S 7th Street • 215-625-3700 Continued on page 28
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Ezra Miller in We Need to Talk About Kevin
film focus
15 Minutes with Ezra Miller from We Need to Talk about Kevin By Abigail Sutton
“W
e Need to Talk About Kevin” is a dark drama about a very emotionally disturbed teenager, Kevin, played by New Jersey bred Ezra Miller. The major characters in this film are Kevin’s parents, Nick and Eva, played by John C. Reilly and Tilda Swinton, respectively. The film chronicles Kevin’s family before and after he commits a bloody crime in their affluent neighborhood. One poignant concept of this film is viewing the family at various stages and times throughout their growth and demise. Kevin’s parents are portrayed as a young and carefree couple, in their 20s, gallivanting through New York City after a night on the town, as new parents with their first child, Kevin, and again, growing their family when their youngest is born, Kevin’s sister, Celia (Ashley Gerasimovich). The viewer also sees another side of parenthood, when Tilda is left to pick up the pieces of her life after Kevin’s crime changes the family and neighborhood, forever. The movie is not so much about the horrific crime committed but the rift in the family unit that Kevin’s erratic and evil behavior creates throughout his life, leading up to his crime. Ezra Miller thoroughly succeeds at showing the human side of Kevin, not simply the criminal. There are heartfelt times in the film, when Kevin wants his sister to help him in the backyard, but Eva interrupts—disallowing it, perhaps being too protective, perhaps not. RFM chatted with Ezra from his Manhattan apartment.
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What was it like to play Kevin, this problem child? On many levels it was greatly challenging. I had many hurdles to overcome. I strived to find the real kid, the real person along with his sinister ways; I didn’t want the character to be one-dimensional. I wanted to show Kevin on an honest and emotional level. He’s looking for love, like anyone else. Kevin is this deep character who’s destroying himself with what he believes to be the only action to take.
In the movie, the parents, especially Eva, are often at odds with Kevin’s behavior. Can you sympathize with their parenting in the movie? I can absolutely sympathize with them. The mistakes made by Eva and Franklin are minor ones. They may be guilty of parental misdoing but there are many small mistakes that add up over time. They are guilty of blindness, obliviousness and the need to love their child and show their love. Eva finds herself in a cycle of drama, depression and hatred for Kevin. She’s at her wits-end and unsure where to turn or who to talk to.
You’ve done work in both television and film. What do you like and dislike about working in each medium? In TV, I like the idea that you can grow a character over time. It’s ever-changing and yet has the aspect of being constant – through the stories and actions of the character. In film, changes and constraints are less flexible as they have to evolve around one story and one course of action. In TV, ratings affect a lot of the decision making and can hinder the creative process.
Who would be your dream cast and director/ writer to work with? Oh man, what a question! David Lynch would return to direct and co-write with Darren Aronofsky. It would be a sexy thriller with Susan Sarandon, Phillip Seymour Hoffman, John Hoff, Glenn Close and Tom Hanks. The film would involve dueling gangs, sexual intrigue, violence and psychological manipulation. Sounds like a winner to us!! •
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STUDENT REVIEW
Tilda Swinton and John C. Reilly in We Need to Talk About Kevin
film focus
Kevin himself is a frightening and unpredictable character from the moment he is born. All the way to the end of the movie, the audience has no choice but to witness his descent. We Need To Talk About Kevin is a film that demands to be discussed. By Jacob Berman – Freshman Film Major, Temple University What defines a film as being in the horror genre? Is it the moments that make an audience jump out of their seats? Is it the copious amounts of blood that fill the frame? Lynne Ramsay’s We Need To Talk About Kevin contains no jump scares, and blood is only seen occasionally, but the sense of dread and fear it creates in the viewer is far greater than almost any recent horror film. We Need To Talk About Kevin is a film that demands to be discussed. It asks question that apply not just to its own world, but also to real life. Almost every day, the news presents stories of not just people, but children or teens, hurting or killing others. Could these kids be just like Kevin? Is there any way to stop these things from happening, or to see them coming? Kevin himself is a frightening and unpredictable character from the moment he is born. All the way to the end of the movie, the audience has no choice but to witness his descent.
We Need To Talk About Kevin is a film that demands to be discussed. It asks questions that apply not just to its own world, but also to real life. Almost every day, the news presents stories of not just people, but children or teens, hurting or killing others. Could these kids be just like Kevin?
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It is rare to experience a movie that so successfully withholds the truth without seeming as if it’s teasing the audience.
Fortunately for the viewer, the film is told from the moral center of Kevin’s eversuffering mother Eva (Tilda Swinton— one of the best actresses working today). The relationship between Eva and Kevin is the driving force of this raw drama, with every scene between the two bursting with intensity. The film urges the viewer to wonder why Kevin is the way he is—whether he was born evil or the victim of Eva’s parenting. The constant uncertainty present in the film creates not only ambiguity, but also a pitting dread that turns We Need To Talk About Kevin into a truly intense and unforgettable experience. Ramsay’s use of a non-linear structure, very effectively mounts the tension and creates the tone, while building up to an incident perpetuated by Kevin that changes the lives of Eva and everyone around her. As the audience gets hints of what the incident was, the film shows both the crescendo to that moment and the aftermath. The scenes taking place before the event show Eva’s life with Kevin, starting around his conception. As Eva raises Kevin with her husband Franklin, played by John C. Reilly, (in his first dramatic film in some time), the child constantly creates problems, starting simply with causing messes as a toddler, and building to problems of a more serious nature as he matures. The scenes taking place after the incident show Eva’s life afterwards,
as the entire world seems to place their blame, not on Kevin, but on Eva. The film succeeds at building a world that is just as unpredictable and potentially dangerous as Kevin himself. The confrontations Eva has after the event range from nervously positive in tone to exaggerated aggressiveness, such as when Eva is slapped in the face by a passing woman. Even the characters sometimes feel like they could have come from different movies, with Tilda Swinton’s subtle performance contrasting against the affable near-cluelessness of John C. Reilly’s character, with the two of them contrasting against some of the nearcaricatures of supporting characters. This film is heavily dependent on its ambiguity for drama, and Lynne Ramsay has a great understanding of what an audience should be told and when and why. One thing is for certain— the conversations that this movie will provoke will be endless. It is rare to experience a movie that so successfully withholds the truth without seeming as if it’s teasing the audience. •
Jacob Berman, born and bred in Philadelphia, is a graduate of Central High School, and is currently a Freshman Film Major at Temple University and Ritz Theatre fan.
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.
ritzfilmmag.com March/April 2012 23
around the block A spotlight on Philadelphia’s unique neighborhoods
Maha Maamoun, Film still, Maw’id Ma’a al-Habib (A Date with the Beloved). Dir. Helmy Rafla. Prod. Wahid Farid & Ramsis Nagib, 1971. Courtesy of the artist.
Yto Barrada, Hand-Me-Downs (still), 2011. Courtesy of Sfeir-Semler Gallery.
Some say U City is the new Center City. With its plethora of dining, retail, cultural/arts organizations, and nightlife we can’t blame them! The area is diverse, growing and usually more affordable than its downtown neighbor. Spring is a great time to explore Penn’s campus and the fun activities that await west of 30th Street Station.
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Jacqueline Hoang Nguyen, 1967: A People Kind of Place (still), 2011. Courtesy of the artist.
UNIVERSITY CITY
Ever-changing & Always Free, The ICA Has Something for All By Abigail Sutton
W
hat characteristics would the best museum possess?
• Convenient location • Diverse and constantly changing programming of artists, including local and young talent • Affordability • Innovative and modern exhibits • Constant collaboration with university and community-based art entities Enter, The ICA or Institute of Contemporary Art, located on the corner of 36th and Sansom in University City, at 118 S 36th Street, to be exact.
Living Document / Naked Reality Towards an Archival Cinema was a multimedia project exhibited through March 4th. In case you missed it, and the below description sounds interesting to you; use this as a lesson to check out the ICA as soon as possible—the exhibits change often and the programming is free. That’s right…ICA is FREE for ALL. In fact, they make that their motto. Living Document was organized by ICA 2011-2012 Whitney-Lauder Curatorial Fellow Jennifer Burris, and is accompanied by an illustrated publication. The exhibit was a collaboration of many artists, from all over the world, which ups the diversity, perspective and overall fun of the project. In Living Document
expression abandoned alongside the utopian ideals of the 1960s; source material for artists and researchers. And, that’s just the beginning of the various meanings and definitions the term cinema evokes. Archival film stock was utilized in 60mm or 35mm film formats. Burris knew many artists interested in this dying art, and bringing this old film footage into their projects, so she created the project around the archival stock and artists interested in exploring the artform to turn a critical gaze into what the footage tells us about history. The results are thought provoking and stunning. In the 1960s art on film, i.e. film footage became democratic. It was easier to
Burris knew many artists interested in this dying art, and bringing this old film footage into their projects, so she created the project around the archival stock and artists interested in exploring the artform to turn a critical gaze into what the footage tells us about history. The results are thought provoking and stunning. the artists explored what cinema meant to them and its importance. The definitions of cinema vary—in its literal definition, cinema is a technical practice in which flexible, gelatin-coated celluloid is exposed to light, generating a latent image made visible via chemical processing; a scientific means of recording reality; an objective and standardized economy of image production. Cinema also means a spectacle or entertainment; a fantastical realm of wish fulfillment or escape from the everyday. Another take on cinema involves a vehicle of revolutionary struggle that lays bare the causes of oppression and effects of colonialism; formal innovation that encourages social change. In addition, it is considered an antiquated technology destined for libraries and museums; a form of audio-visual
produce, less expensive and not meant for simply the elite or those with big pockets. Film became cheaper and more films were made. It wasn’t just the rich using filmmaking as a vehicle for art. This opened up filmmaking to catalogue just about anything; a boy’s first haircut, a young couple’s first trip to the beach, or a political protest in a foreign land through the eyes of the protester. Now, in our digital age, with Twitter, cell phone cameras and inexpensive video cameras, many can afford to make videos on all kinds of digital devices. A friend of mine knew about what was going on in Egypt last year before CNN did, because of her huge Twitter following. Others in the US knew about Michael Jackson’s death, before the news media reported it. We are only beginning to understand
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Alexandra Navratil, Sample Frames, 2011, installation with 4 synchronized slide-projectors, 81 images on each projector (loop). Courtesy of the artist.
around the block
the societal effects and benefits of the ease of media creation and viewing. Another portion of this project featured various slides from a projector, along with an original book for the exhibit, on color and proper uses of color and color styles/formats/ effects to create a pleasing image. It is a poetic look at color and photographic image vocabulary. Burris’ previous work includes the exhibit Foreclosed: Between Crisis and Possibility at The Whitney Museum of American Art in spring 2011 which explored the various meanings associated with the term foreclosed. In today’s real estate market the word has a strong negative connotation for many, but the term has many other definitions as well. First
Among Equals will be another big exhibit forthcoming at ICA. From the website it’s explained as “Focusing on Los Angeles and Philadelphia, First Among Equals considers the various modes that contemporary artists have developed to work with their peers and reach across generations. Cooperative, if at times contentious, contributions to the show include performance, publications, curatorial projects, and artworks that incorporate the work of other artists. Who comes first in these relationships?” Keep your artistic eye on the ICA in University City and Jennifer Burris, each making waves in the art community of Philly. •
For more info visit: http://icaphila.org/ & http://whitney.org/Research/ISP/CuratorialProgram/2011Exhibition
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around the block
What to do and where to eat in University City DINING: White Dog Café
3420 Sansom Street 215-386-9224 Nuevo American. Environmentally sustainable ingredients. The bar is a nice place to meet friends and enjoy a local beer or a glass of wine and burger. Their soups are excellent, as are the fresh fish entrees and chili. Don’t skip dessert! The setting is also perfect for a more formal dinner with family for a special occasion. A sister location in Wayne is simply gorgeous and features valet parking! Full bar.
Zocalo
3600 Lancaster Avenue 215-895-0139 Traditional Mexican. Margarita Thursdays are a deal with $3.75 ‘ritas until closing. Crab and shrimp lettuce cups are fresh, tasty and healthy! The guac is delicious and chips/ tortillas are homemade. Wifi access and patio seating as well. What more could you want?! Full bar.
Vietnam Cafe
New location with parking! 816 South 47th Street 215-729-0260 Excellent noodle dishes. Pepper Chicken is delicious! Staff is friendly. Full bar.
Hummus
3931 Walnut Street 215-222-5300 Fast food, Mediterranean style. Quick and inexpensive. Moroccan cigars, beets, carrots and falafel are all strong picks for a healthier take on fast food dining.
Manakeesh
4420 Walnut Street 215-921-2135 You can’t go wrong with anything from this father and son venture in West Philly.
The manakeesh (flatbread with a variety of sweet or savory toppings), all of the desserts, chick pea stew, hummus, pita… are all mouth-watering and addictive. Ingredients are fresh, homemade and served with a smile with manager, Abd Ghazzawi behind the counter. They also serve various coffees, teas and espresso. Wifi is available as well. Located in a former bank, the building is beautiful with many fun architectural details. Open 7 days.
Landmark Americana 3333 Market Street 215-222-4500
Retail: Urban Outfitters
110 South 36th Street Sister Location to the Center City digs on Walnut Street. Trendy clothing, fun gifts for 20/30/40-somethings.
Last Word Bookshop 220 South 40th Street 215-386-7750
EMS
3401 Chestnut Street 215-382-0930
Arts/Culture: ICA
118 South 36th Street 215-898-7108
Addams Gallery 200 S. 36th Street 215-898-8374
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M is a Gem
around the block
Continued from page 19
International House Philadelphia 3701 Chestnut Street 215-387-5125
Mandell Theater at Drexel University 3300 Chestnut Street 215-895-2787
Paul Robeson House 4949-51 Walnut Street
Philadanco
City Tap House
3925 Walnut Street • 215-662-0105
The Corner
102 South 13th Street • 215-735-7500
Dock Street Brewing Company 701 S 50th Street, 215-726-2337
Interstate Draft House
1235 E Palmer Street • 267-455-0045
9 N Preston Street 215-387-8200
Jack’s Firehouse
Spiral Q Puppet Theater and Living Loft Puppet Museum
Kennett
3114 Spring Garden Street 215-222-6979
The Gathering Concert Series
2130 Fairmount Avenue • 215-232-9000 848 South 2nd Street • 267-687-1426
Memphis Taproom
2331 E Cumberland Street 215-425-4460
3916 Locust Walk 610-734-1009
Pagoda Noodle Café
World Cafe Live
Water Works Restaurant
3025 Walnut Street 215-222-1400
Service Organizations: Habitat for Humanity
215.895.1328 Drexel University Habitat for Humanity is affiliated with Habitat for Humanity International: an international nonprofit organization dedicated to providing affordable housing to those in need. The Drexel chapter serves this purpose for South and West Philadelphia. Drexel’s chapter aids South Philadelphia and West Philadelphia Habitat for Humanity Chapters in construction at their various donated sites. Habitat does various jobs around these sites such as painting, framing windows, leveling out backyards, and lots of other construction projects.
People’s Emergency Center
325 North 39th Street 215-382-7523 PEC nurtures families, strengthens neighborhoods, and drives change. PEC is committed to increasing equity and opportunity throughout the entire community. They provide comprehensive supportive services to homeless women and their children, revitalize the West Philadelphia neighborhood, and advocate for social justice. •
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125 Sansom Street • 215-928-2320 640 Waterworks Drive • 215-236-9000
Warmdaddy’s
1400 S Christopher Columbus Boulevard 215-462-2000 Meme’s David Katz and team whip up scrumptious and addictive fried chicken every Thursday—lunch only.
1
The following Philly-area restaurants and/ or their chefs received James Beard nominations for this year’s awards ceremony, which takes place on May 4 and 7: (MAKE your RESERVATIONS now before they fill up after the winners are announced.)
2
The Farm & Fisherman Tashan Zeppoli Standard Tap Belle Cakery Vetri (2 noms) Starr Restaurants Fountain Tria Le Virtu Fond Bibou Koo Zee Doo Kanella Blackfish Barbuzzo
Solution to last issue’s Crossword Puzzle
47 North 3rd Street Philadelphia, PA 19106 | 215-923-0508 | www.margotcamille.com
ritzfilmmag.com March/April 2012 29
Girl With the Dragon Tattoo.
84th Annual Academy Awards By Eric Bresler—Cinedelphia.com True genius in the arts is seldom embraced by the masses and thus the films that typically receive widespread attention are safe, accessible cookiecutters, driven through production with self-conscious eyes on the prize(s).
M
ost cineastes justifiably scoff at awards shows. True genius in the arts is seldom embraced by the masses and thus the films that typically receive widespread attention are safe, accessible cookie-cutters, driven through production with self-conscious eyes on the prize(s). The Academy Awards are a perfect example of this, though my claims, like the ceremonies themselves, are suspect, which is really part of the fun. If room allowed, I would gladly weigh in with my thoughts on why it’s a travesty that the humanist masterpiece The Descendants lost out to the cutesy gimmickry of The Artist, or how insane it is that Extemely Loud & Incredibly Close had any presence at the ceremony whatsoever. Again, it’s all part of the fun. The Oscars are the Super Bowl for movie lovers—like myself—whose sports
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knowledge is limited to what we’ve seen on the silver screen. I have always appreciated the pageantry of the Oscars, but my true passion for awards season lies in the Oscar pools that I have participated in annually since 1995. I have only lost one of these, a defeat of my own making. It was 2008, the year of No Country for Old Men, when, in a hubris-driven effort to increase the level of my competition, I explained to my girlfriend at the time my traditional approach towards predicting the winners (a combination of Vegas odds, analyses of recent awards shows, and Entertainment Weekly’s picks). She obviously heeded my words, as we were both 21 for 24 categories by the time Best Picture rolled around. Supporting the underdogs usually pays off for me, but it just wasn’t meant to be for There Will Be Blood that year because, then, Denzel Washington handed the statuette to No
Country producer Scott Rudin. And thus, the $40 pot was hers and my 13-year winning streak was forever broken. The safe bets in this year’s Academy Awards paid off well aside from Meryl Streep’s (The Iron Lady) surprising win over Viola Davis (The Help) in the Best Actress category. Early frontrunner The Artist went in with 10 nominations and came home with five statuettes including Best Picture (the first silent film to win this category since 1929’s Wings), Actor (Jean Dujardin), Director (Michel Hazanavicius), Costume Design, and Original Score. Hugo, which led the way with 11 nominations, also brought home five trophies including Cinematography, Art Direction, Visual Effects, Sound Mixing, and Sound Editing. It’s fitting, during these tumultuous times for public film exhibition, that 42% of the night’s 24 awards went to films that captured beloved eras of the medium’s past. The Descendants would have swept the show in a different year, but alas, it won only one of its five categories, Adapted Screenplay. Christopher Plummer and Octavia Spencer were shoe-ins for the Supporting Actor (Beginners) and Actress (The Help) categories as was Woody Allen in the Original Screenplay category (Midnight in Paris). Allen’s highest grossing film to date,
marked the writer/director’s fourth Oscar win. The Foreign Language Film category was a tight race between Israel’s Footnote, Poland’s In Darkness, and Iran’s A Separation, but the latter’s immersive and oftentimes frustrating exploration of social and familial responsibilities justifiably won the night (and just happened to be Woody Allen’s favorite film of 2011). Gore Verbinski’s Rango won for Animated Feature though I’m of the mindset that the strangely snubbed The Adventures of Tintin was a better film than all five of the animation nominees. Pixar’s La Luna lost the Animated Short category to Moonbot Studio’s adaptation of a former employee’s iPad book, The Fantastic Flying Books of Mr. Morris Lessmore. Documentary Feature predictably went to the underdog high school football film Undefeated... not that my fingers weren’t crossed for Wim Wenders’ Pina. As for the rest of the winners: Documentary Short: Saving Face, Live Action Short: The Shore, Film Editing: The Girl with the Dragon Tattoo, Makeup: The Iron Lady, and original song went to Flight of the Conchords’ Bret McKenzie for “Man or Muppet” from The Muppets. And in case you’re wondering, I went 19 for 24 this year, slightly below average for me, but still respectable. See you at the movies! •
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arts calendar Chestnut Hill Film Group Tuesday nights at the movies! The Chestnut Hill Branch of the Free Library 8711 Germantown Avenue, 215-248-0977 FREE screenings Tuesday Nights at 7:30 PM March 20 — ‘B’ Picture Double Feature: DICK TRACY MEETS GRUESOME (1947) & THE BRUTE MAN (1946)
Juried exhibition for professional local artists: Meta-Fiber March 12 - May 11, 2012
15 local artists using fiber techniques and nontraditional materials. Juror: Sarah Archer, Philadelphia Art Alliance. Display cases on 1st and 2nd floors, NE corner.
First Person Art
First Ralph Byrd faces off against Boris Karloff in what is widely considered one of the great comic book adaptations of all time. Second, Rondo Hatton is “The Creeper,” a disfigured psychopath who befriends a blind woman who may be able to curb the murderous rage in his heart. Co-starting Tom Neal.
StorySlams take place on the second Monday of each month at World Cafe Live and the fourth Tuesday of each month at L’Etage. World Cafe Live is located at 3025 Walnut Street. L’Etage is at 6th & Bainbridge Streets. Doors open at 7:30PM, and the slam begins at 8:30.
March 27 NINOTCHKA (1939) “Garbo laughs!”
Philadelphia Antiques Show
Russian communist Greta Garbo falls for capitalist Melvyn Douglas in Paris against her better judgment in Ernst Lubitsch’s beloved romantic comedy with a delightful screenplay by Charles Brackett & Billy Wilder. April 3 CANYON PASSAGE (1947)
An exceptionally beautiful Technicolor Western directed by Jacques Tourneur set in the Oregon territory of 1856. April 10 THE MAN I LOVE (1947)
Our 2011-2012 season finale is a rich, unmissable noir-melodrama. Ida Lupino stars in her fourth collaboration with director Raoul Walsh. This time she is a nightclub torch-singer visiting her troubled sister, avoiding the mob, and falling in love with a down-and-out pianist haunted by the past. Film introduced by Inquirer film critic Steven Rea.
City Hall Art Gallery Exhibitions Philadelphia Yarnbombing 101 March 12 - May 11, 2012
by Ishknits a.k.a. Jessie Hemmons, the Philadelphia’s Yarn Bomber with accomplice artist, Christina LeFevre and Streets Dept documentarian, Conrad Benner.
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Benefiting Penn Medicine PA CONVENTION CENTER April 28 - May 1 ADA “AWARD OF MERIT” DINNER
April 28 • 8 – 10 PM The annual event hosted by the Antiques Dealers’ Association of America will feature the presentation of the 2012 Award of Merit to The American Folk Art Society in recognition of its outstanding contribution to the fields of art and antiques. For information, contact Lincoln R. Sander, Executive Director, ADA atadadealers@aol. com. $95/person.
International House Philadelphia 3701 Chestnut Street, 215-387-5125 Free to IHP members - $7 students + seniors - $9 general admission. Wednesday, April 18 at 7PM Archive Fever! 3.0: A Trip to the Moon with The Extraordinary Voyage
The magical Georges Méliès, one of the celebrated heroes of Martin Scorsese’s Hugo, was the creator of that image, and his A Trip to the Moon thrilled audiences in 1902. Now, thanks to one of the most technically sophisticated and expensive restorations in film history, A Trip to the Moon can delight audiences once again in color.
A Trip to the Moon
dir. Georges Méliès, France, 1902, video, 16 mins, color, silent w/ recorded musical accompaniment by Air. The Extraordinary Voyage
dir. Serge Bromberg and Eric Lange, France, 2011, video, 60 mins, color.
Philadelphia Film Society The Artist As A Filmmaker presented by the Philadelphia Film Society & UArts Gershman Hall, 401 S. Broad Street $5 General Admission (Door only, no advance sales), 7:30pm Free to PFS Members & UArts Students/ Faculty
The series will debut on Wednesday, April 11, 2012 with Jim Jarmusch’s film Stranger than Paradise, a benchmark in the progression of independent cinema. Monthly film lineup is available at www. filmadelphia.org. •
Please see page 11 for RFM’s: “Spring Theater 2012 at a Glance” listing
Reach Philadelphia area’s most adventurous residents! Advertise in
Ritzfilm For advertising rates & Information, contact: Jamie Berman 610-609-1635 jamie@ritzfilmmag.com
ritzfilmmag.com March/April 2012 33
Samantha (Cécile de France) and Cyril (Thomas Doret) in Jean-Pierre and Luc Dardenne’s THE KID WITH A BIKE. Photo credit: Christine Plenus. A Sundance Selects release.
now showing
Visit www.landmarktheatres.com for movie schedules and additional information.
The Kid with a Bike
Directors Jean-Pierre and Luc Dardenne Cast Cécile de France, Thomas Doret, Jérémie Renier, Fabrizio Rongione, Egon Di Mateo, Olivier Gourmet Run time | 87 Minutes French with English subtitles
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Winner of the Grand Jury Prize at this year’s Cannes Film Festival, the deeply moving new film by the Dardenne brothers (L’enfant, Rosetta) delves into the emotional life of troubled 11-year-old Cyril (newcomer Thomas Doret). When his father (Jérémie Renier) abandons him, Cyril obsessively tries to find his bicycle— after all, his father must have cared about him enough not to sell that off, he reasons. Almost by accident, he becomes the ward of a kind hairdresser (Cécile de France), a woman who seems surprised to find herself so determined to help him. With his wild, unpredictable behavior and his disastrous search for father figures, Cyril risks losing her— though she refuses to give up without a fight. Full of heartbreaking betrayals and unexpected grace, THE KID WITH A BIKE is a film about a child, abandoned to the elements, learning to become good.
The Raid a Sony Pictures Classics release
The Raid
Director Gareth Huw Evans Cast Iko Uwais, Joe Taslim, Doni Alamsyah, Yayan Ruhian Pierre Gruno, Ray Sahetapy, Tegar Satrya, Iang Darmawan Run time | 100 Minutes Indonesian with English subtitles.
As a rookie member of an elite special-forces team, Rama (Iko Uwais) is instructed to hang back during a covert mission involving the extraction of a brutal crime lord from a rundown fifteen-story apartment block. But when a spotter blows their cover, boss Tama (Ray Sahetaphy) offers lifelong sanctuary to every killer, rapist and thief in the building in exchange for their heads. Now Rama must stand in for the team’s fallen leader Jaka (Joe Taslim) and use every bit of his fighting strength – winding through every floor and room to complete the mission and escape with his life. Recently named one of 2012’s “Directors To Watch” by Variety – Gareth Huw Evans reteams on THE RAID with Iko Uwais, the star and fight choreographer of the cult sensation Merantau – which first brought the Indonesian martial art of Pencak Silat to global attention. Already a word-of-mouth sensation at the Toronto Film Festival, where it played to sold out crowds; the film is now poised to reach global audiences with a propulsive new score by alternative rocker/composers Mike Shinoda of Linkin Park and Joseph Trapanese of M83.
The Salt of Life (Gianni e le donne) Director Gianni Di Gregorio Cast Gianni Di Gregorio, Valeria De Franciscis and Alfonso Santagata Run time | 90 Minutes
Gianni is a retiree who has become invisible to most everyone around him. In response, he tries his best to generate some kind of extracurricular love life.
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Nik (Tristan Halilaj) and his best friend Tom (Erjon Mani) hangout after school in Joshua Marston’s THE FORGIVENESS OF BLOOD. Photo credit Anila Jaho. A Sundance Selects release.
now showing
The Forgiveness of Blood
Director Joshua Marston Cast Tristan Halijaj, Refet Abazi, Zana Hasaj, Erjon Mani, Luan Jaha Run time | 109 Minutes Fully subtitled
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Winner of the Silver Bear for Best Screenplay at the Berlin Film Festival, the powerful and richly textured second feature from Joshua Marston (Maria Full of Grace) focuses on an Albanian family caught up in a blood feud. Nik (Tristan Halilaj) is a carefree teenager in a small town with a crush on the school beauty and ambitions to start his own Internet café. His world is suddenly up-ended when his father and uncle become entangled in a land dispute that leaves a fellow villager murdered. According to a centuriesold code of law, this entitles the dead man’s family to take the life of a male from Nik’s family as retribution. His uncle in jail and his father in hiding, Nik is the prime target and confined to the home while his younger sister Rudina (Sindi Laçej) is forced to leave school and take over their father’s business. Working with non-professional Albanian actors and a local co-writer, Marston boldly contrasts antiquated traditions with the lives of the young people whose future is put at risk by them.
Directors David Foenkinos and Stephane Foenkinos Cast Audrey Tautou, Francois Damiens, Bruno Todeschini, Pio Marmai, Melanie Bernier Run time | 108 Minutes
Featuring Audrey Tautou. Nathalie has everything to be happy—she is young, beautiful, and contentedly married. But then her husband’s accidental death stops her in her tracks. For several years, she buries herself in her work and puts her love life on hold. Then suddenly, without really knowing why, she kisses one of her colleagues, Markus, a very atypical man. A peculiar love affair ensues between this highly improbable couple that gives rise to bewilderment and aggressiveness amongst Nathalie’s colleagues. Do we really choose the way in which life is reborn? Nathalie and Markus end up fleeing so as to live their relationship and joy in peace. This story of a rebirth is also one about the strangeness of love.
Top to Bottom: Krzysztof Skonieczny as Szczepek and Robert Więckiewicz as Leopold Socha Photo by Jasmin Marla Dichant, Courtesy of Sony Pictures Classics
La Delicatesse (Delicacy)
In Darkness
Director Agnieszka Holland Cast Robert Więckiewicz, Benno Fürmann, Agnieszka Grochowska, Maria Schrader, Herbert Knaup Run time | 145 Minutes Polish/German/Yiddish/ Ukrainian, with English Subtitles.
From acclaimed director Agnieszka Holland, IN DARKNESS is based on a true story. Leopold Socha, a sewer worker and petty thief in Lvov, a Nazi occupied city in Poland, one day encounters a group of Jews trying to escape the liquidation of the ghetto. He hides them for money in the labyrinth of the town’s sewers beneath the bustling activity of the city above. What starts out as a straightforward and cynical business arrangement turns into something very unexpected, the unlikely alliance between Socha and the Jews as the enterprise seeps deeper into Socha’s conscience. The film is also an extraordinary story of survival as these men, women and children all try to outwit certain death during 14 months of ever increasing and intense danger.
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Paul Dano (L) stars as Nick Flynn and Robert De Niro (R) stars as Jonathan Flynn in Paul Weitz’s BEING FLYNN, a Focus Features release. Photo: David Lee
now showing
Being Flynn
Director Paul Weitz Cast Robert De Niro, Paul Dano, Olivia Thirlby, Lili Taylor, Wes Studi, and Julianne Moore Run time | 102 Minutes
The Lady
Director Luc Besson Cast Michelle Yeoh, David Thewilis, Jonathan Reggett, Jonathan Woodhouse, Susan Wooldridge, Benedict Wong, Htun Lin, Agga Poechit
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BEING FLYNN is the new dramatic feature from Academy Award-nominated writer/director Paul Weitz (About a Boy). Adapted from Nick Flynn’s 2004 memoir “Another Bullshit Night in Suck City”, the movie explores bonds both unbreakable and fragile between parent and child. Evocatively told, ruefully funny, and moving in its depiction of the ties that bind, BEING FLYNN tells a story that reveals universal truths, featuring a star-studded cast including Robert DeNiro, Olivia Thirlby and Paul Dano!
THE LADY is the extraordinary story of Aung San Kyi and her husband, Michael Aris. It is also the epic story of the peaceful quest of the woman who is at the core of Burma’s democracy movement. Dispite distance, long separations, and a dangerously hostile regime, their love endures. A story of devotion and human understanding set against a backdrop of political turmoil that continues today. THE LADY as written over a period of three years by Rebecca Frayn, interviews with key figures in Aung San Suu Kyi’s entourage enabled her to reconstruct for the first time the true story of Burma’s national heroine.
Director Joseph Cedar Cast Shlomo Bar Aba, Lior Ashkenazi, Alisa Rosen, Alma Zak, Daniel Markovich, Micah Lewesohn, Yuval Scharf, Nevo Kimchi Run time | 105 Minutes Hebrew with English subtitles
FOOTNOTE is the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are both eccentric professors, who have dedicated their lives to their work in Talmudic Studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. Meanwhile his son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition. FOOTNOTE is the story of insane academic competition, the dichotomy between admiration and envy for a role model, and the very complicated relationship between a father and son.
Susan Sarandon in JEFF WHO LIVES AT HOME, a Paramount Vantage release.
Footnote
Jeff Who Lives at Home Directors Jay Duplass and Mark Duplass Cast Jason Segel, Susan Sarandon, Ed Helms, Judy Greer
Salmon Fishing in the Yemen
Director Lasse Hallström Cast Ewan McGregor, Emily Blunt, Kristin Scott Thomas Run time | 112 Minutes
Dispatched from his basement room on an errand for his mother, slacker Jeff might discover his destiny (finally) when he spends the day with his brother as he tracks his possibly adulterous wife.
When Britain’s leading fisheries expert is approached by a consultant to help realize a sheikh’s vision of bringing the sport of fly-fishing to the desert, he immediately thinks the project is both absurd and unachievable. But when the Prime Minister’s overzealous press secretary latches on to it as a “good will” story, this unlikely team will put it all on the line and embark on an upstream journey of faith and fish to prove the impossible, possible.
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Eric Wareheim and Ray Wise in TIM & ERIC’S BILLION DOLLAR MOVIE, a Magnet Release. Photo courtesy of Magnet Releasing.
now showing
TIM AND ERIC’S BILLION DOLLAR MOVIE Directors Tim Heidecker and Eric Wareheim Cast Tim Heidecker, Eric Wareheim Run time | 91 Minutes
An all new feature film from the twisted minds of cult comedy heroes Tim Heidecker and Eric Wareheim (Tim and Eric Awesome Show, Great Job). Tim and Eric are given a billion dollars to make a movie, but squander every dime… and the sinister Schlaaang Corporation is pissed. Their lives at stake, the guys skip town in search of a way to pay the money back. When they happen upon a chance to rehabilitate a bankrupt mall full of vagrants, bizarre stores and a man-eating wolf that stalks the food court, they see dollar signs—a billion of them. Featuring cameos from Awesome Show regulars and some of the biggest names in comedy today!
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Crazy Horse
Tilda Swinton in We Need to Talk About Kevin Directed by Lynne Ramsey
Director Frederick Wiseman Cast Daizy Blu, Philippe Decouflé, Philippe Katerine Run time | 134 Minutes
We Need to Talk About Kevin
Director Lynne Ramsay Cast Tilda Swinton, John C. Reilly, Ezra Miller Run time | 112 Minutes
Paris France’s Crazy Horse cabaret is the most famous nude dance show in the world. Here, acclaimed documentary filmmaker Frederick Wiseman (Titicut Follies, High School) explores one of the most mythic and colorful places dedicated to women. Founded in 1951 by Alain Bernardin, the legendary cabaret club has become the ‘must’ of Parisian nightlife for visitors, ranking alongside the Eiffel Tower and the Louvre. Wiseman’s impeccable eye finds the CRAZY HORSE a uniquely French showcase, with an emphasis on elegance, perfectionism and a grueling schedule (2 shows a night and 3 on Saturdays—7 days a week). The film chronicles the rehearsals for, and the unveiling of the brand new show, Désir, created by the renowned French choreographer Phillippe Decoufle.
An exquisitely realized adaptation of Lionel Shriver’s bestselling novel, “We Need To Talk About Kevin”, the film was an audience and critics favorite following its competition screenings at the 2011 Cannes Film Festival. Tilda Swinton turns in a stunning and breathtakingly fragile performance as Eva, a concerned mother with a troubled, angry son - Kevin. Eva is a haunted middleaged woman trying to grapple with her own feelings towards her son as he grows up to be a brooding teenager. His unimaginable actions will shatter her life. What was her role in it? Did she resent her son since birth…? How much of what Kevin did was her fault? What could she have done to help him? This is a fearless film that will provoke and enthrall audiences in equal measure, raising questions of guilt, regret and loss. At the heart of the story is an eerie portrait of the idea of nature vs. nurture, and a bold look at the alienation of parenthood. Chilling but absolutely captivating, WE NEED TO TALK ABOUT KEVIN is directed by visionary filmmaker Lynne Ramsay (Morvern Callar, Ratcatcher), who constructs a mesmerizing, intimate piece of cinema.
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Music for a While
... shall all your cares beguile. Or so Henry Purcell’s song says. This month we celebrate the musical score. From Mozart to Mancini to The Rolling Stones, we salute only a few of the composers and performers who have wrenched our hearts and sometimes our guts, brought us to the edge of our seats and have made us laugh and cry. Above all, they have beguiled our cares through their use in film.
By Stuart Papavassiliou
Across 6. Give us the first name of Russia’s Nevsky. Prokofiev scored the film.
31. This film composer went only by his last name and he wrote the scores to “Pillow Talk” and “Whatever Happened to Baby Jane?” Talk about versatile.
8. This diva’s voice is heard in gripping scene from Demme’s “Philadelphia.”
32. Musical version of “All About Eve.”
9. Setting for “Midnight in the Garden of Good and Evil.” It’s also Johnny Mercer’s hometown.
DOWN
11. This eerie sounding electronic instrument has us “Spellbound” in Hitchcock’s 1945 classic.
1. A Tale of Two Kinskis: He played “Paganini” in ’86.
12. Travolta, Thurman, Misirlou and The DelTones meet in this film from 1994. 14. This jazz royalty played Pie-Eye in “Anatomy of a Murder.”
3. “Pleased to meet you … Tell me baby, what’s my name.” Think final scene of “Interview With the Vampire.” (2 words)
15. This great American composer scored William Wyler’s “The Heiress.” When it comes to composing, he was no “common man.”
4. Robbins plays his “Sull’aria” to Freeman and the other guys in the yard in “The Shawshank Redemption.”
19. This actress says, “One does not applaud the tenor for clearing his throat.” Last name only please or else you’ll go too far.
7. Bernard Herrmann’s “Psycho” score … he uses only these.
20. A Tale of Two Kinskis: She played Robert Schumann’s wife in Spring Symphony in 1983.
13. Beethoven’s Ninth Symphony plays a part in this Kubrick film.
2. Subject of Corbiau’s film of an 18th century “rock star.”
10. Setting for “Songcatcher.”
21. Birthplace of great film composer Max Steiner. Some say it’s a City of Dreams.
17. In 1960, this song took the Oscar…a first for a foreign film. The song title and film title are the same … but don’t worry, you can hear it any day of the week.
22. This singer was born Jasper Cini in South Philly in ‘27, but he went on to croon “Hush, Hush Sweet Charlotte” in ’64.
18. He scored “The Godfather.” Full name, prego.
24. Henry Mancini won an Oscar for this original song in ’61. Andy Williams made it his theme song. 25. A Tale of Two Strauss’: This one was “The Waltz King.” First name only, bitte. 26. A Tale of Two Strauss’: Although he wrote a great waltz in “Der Rosenkavalier” this Strauss is better known in film in “2001: a space odyssey.” Again, first name only.
23. His Fourth Symphony, not a lullaby, are featured in “The Tree of Life.” 27. This composer, pianist and conductor is a musical legend and can do it all. And once upon a time was his, not “My Fair Lady.” Last name please. 29. His Don Quixote songs were composed for film, although they were never used. They were his last work. What’s his last name? 30. If you know minimalist music, it’s crystal clear that he scored “Notes on a Scandal.”
28. Speaking of “Philadelphia,” his “Streets of Philadelphia” won him an Oscar.
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.
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