The band’s back together. Alfred Molina plays Rothko for the third time in Michael Grandage’s revisiting of John Logan’s richly textured two-hander, first seen at the Donmar in 2009 and then bypassing the West End for Broadway.
Edward St Aubyn’s Patrick Melrose novels have been admired for their prose style, scathing wit and pitiless depiction of a rotting aristocracy. Benedict Cumberbatch claims that Hamlet and Melrose were the two roles he was desperate to play, and now (via his own production company SunnyMarch) his portrayal of Melrose lands on Sky Atlantic.
Writer Robert Schenkkan’s Building the Wall imagines modern America in the not-too-distant future. The date is 22nd November 2019 and following an attack on Times Square in which 17 people were killed, martial law has been imposed. Demands for illegal immigrants to be thrown out of the country have resulted in mass round ups and swollen detention centres. Hysteria stalks the country.
Shot in 2004 when photographer Robert Frank was 80 (main picture), this award-winning film was aired on The South Bank Show the following year, but is only now on release. I hope the experience was cathartic for Frank, because to the viewer it feels as if he is being put through the ringer.
Back in the early Sixties Lucian Freud was living in Clarendon Crescent, a condemned row of houses in Paddington which were gradually being demolished around him. The neighbourhood was uncompromisingly working class and to his glee his neighbours included characters from the seamier side of the criminal world.
Playing Vancouver’s Commodore Ballroom on 8 September 1974, the New York Dolls opened their first set of the evening with three cover versions. Muddy Waters’ “Hoochie Coochie Man” was followed by The Shangri-Las’ “(Give Him a) Great Big Kiss” and Otis Redding’s “Don’t Mess With Cupid”. They were acknowledging that blues, girl group records and soul were integral to who they were. A pretty comprehensive sweep considering they were a prime influence on the purportedly reductive punk rock.
Back by feverishly popular demand, Jim Steinman’s mega-musical is no longer in danger of alarming unsuspecting opera-goers. A year on from its Coliseum debut, this indisputably bonkers show moves to the West End venue it was surely always destined for – that lingeringly inhabited by its rock operatic forebear.
What is it about Brian Selznick’s ornate illustrated fictions that leads good directors to make bad films? Turning The Invention of Hugo Cabret into Hugo was a near disaster for Scorsese, and now comes Todd Haynes’s stifling adaptation of Selznick’s novel, Wonderstruck.
Two different narratives intertwine, one set in the 1970s, the other in the 1920s. Both centre on children battling with hearing loss who embark on a solo quest in New York searching for an absent parent. Eventually their lives overlap, but it takes forever to get there. At one point the Julianne Moore character tells a child, "I need you to be patient with this story", but by then it’s way, way too late.
The three child actors are not hugely engaging, although Rose (played by deaf actress Millicent Simmonds, main picture) is at least very striking to look at and gives it her all. The two boys are cute moppets (Oakes Fegley, pictured below) but don’t have much to do but hide out for days in the American Museum of Natural History dodging adults in a wholly unbelievable way. It’s amazing that they didn’t stumble into the crew setting up for the Night at … series.
As in his work on other period films like Carol, Haynes has put together an expert team of art directors and costumiers (including Britain's own wondrous Sandy Powell) and given them full rein to show their talents. The magnificent DP Ed Lachman does an expert job of capturing the grungy streets of Manhattan in the Seventies in Kodak colour. This homage to the mean streets of early Scorsese and the Harlem of the blaxploitation era is impressive. The lustrous black and white sequences set in the Twenties are perhaps a little weaker and a touch clichéd. There’s real artistry in Haynes' homage to DW Griffiths in the film-within-a-film, although Moore goes over the top as a melodrama star.
But ultimately one comes away with the impression that far more thought has gone into creating impressive tableaux and evoking the patina of the past than working on a dynamic narrative or getting absorbing performances out of its young stars. Towards the end, Haynes breaks into charming stop-frame animation, but it’s not enough to save Wonderstruck; it’s simply too mannered for children and too slow for adults. For a far more modest but moving portrayal of life as a deaf child, the Oscar-winning British short, The Silent Child, is currently on iPlayer.
Overleaf: watch the trailer for Wonderstruck
This New York band’s first album for a decade is as good as anything else they’ve done, but what were they thinking with the track order? Things get off to an agreeable bouncy Blondie-esque start with first single “Pirates”. But after that there are several decidedly plodding, generic tracks before the party really gets started. Perhaps they have succumbed to the long-held received wisdom that only a dull four-to-the-floor beat will seduce the masses.
In recent months Woody Allen has been publicly disavowed by a conga line of major film stars. The latest who seems to have expressed regret for working with him – if not by name – is Kate Winslet. She stars in his latest film, and may also feel slight regret for artistic reasons.