Fishburne, Laurence

Subterms

    Latest story

    113 Shares179 Views

    ‘Megalopolis’ Review: The Fever Dreams of Francis Ford Coppola

    by

    The director’s latest is a great-man story about an architect, played by Adam Driver, driven by ideals and big plans. It’s a personal statement on an epic scale.Francis Ford Coppola’s “Megalopolis” is a bursting-at-the-seams hallucination of a movie — it’s wonderfully out-there. At once a melancholic lament and futuristic fantasy, it invokes different epochs and overflows with entrancing, at times confounding images and ideas that have been playing in my head since I first saw the movie in May at the Cannes Film Festival. There, it was both warmly received and glibly dismissed, a critical divide that’s nothing new for Coppola, a restlessly experimental filmmaker with a long habit of going off-Hollywood.Nothing if not au courant, “Megalopolis” is a vision of a moribund civilization, though also a great-man story about an architect, Cesar Catilina (Adam Driver), who dreams of a better world. An enigmatic genius (he has a Nobel Prize) with an aristocratic mien and a flair for drama, Catilina lives in a city that resembles today’s New York by way of ancient Rome, though it mostly looks like an elaborate soundstage. As familiar as Fifth Avenue and as obscure as the far side of the moon, it is a world that mirrors its real counterpart as a playpen for the wealthy and a prison-house for the destitute. The city haunts Catilina; it also inspires him.What Catilina dreams of is a “perfect school-city,” in which people can achieve their better selves. It’s an exalted aspiration, as seemingly boundless but also as sheltering as the blue sky, and one that invokes a long line of lofty dreamers and master builders. There are predictable obstacles, mostly other people, small-minded types without vision, idealism or maybe just faith. Among these is the mayor, Franklyn Cicero (Giancarlo Esposito), a consummate politician with no patience for fantasies or for Catilina. Their animosity runs through the story, which is narrated by Catilina’s aide, Fundi Romaine (Laurence Fishburne), dense with incident and populated by an array of noble souls and posturing fools.The fools prove better company in “Megalopolis” than most of the upright types, though with their all-too human comedy they’re not always distinguishable. They begin rushing in after the jolting opener, which finds Catilina dressed in inky black and uncertainly climbing out of a window in the crown of the Chrysler Building. Before long, he is standing with one foot firmly planted and the other shakily raised over the edge. He calls out “time stop” and everything — the clouds above, the cars below — freezes, only to restart at his command. He looks like a colossus, though also brings to mind the early-cinema clown Harold Lloyd hanging over a different abyss in “Safety Last!” (a title that could work for this audacious movie).It’s quite the to-be-or-not introduction. Given that filmmakers are in the business of stopping time, Catilina’s entrance also reads as an auteurist mission statement. So it’s a relief when Catilina gets off that precipice, even if Coppola never really does. The filmmaker has a thing for dreamers and their great, big dreams, and it’s easy to see “Megalopolis” — which he mentioned in interviews as early as 1983 — in autobiographical terms. Like Catilina, Coppola has endured and almost been consumed by catastrophic setbacks (most notably with his founding of a film studio that nearly ruined him), only to rise phoenixlike from the ashes. It’s one reason that “Megalopolis” feels like a personal statement on an epic scale.Giancarlo Esposito plays a consummate politician with no patience for the architect’s fantasies.LionsgateWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 150 Shares169 Views

      in Theater

      ‘Like They Do in the Movies’ Review: Laurence Fishburne Widens His Lens

      by

      In his solo show, the screen and stage star shines a light into his formative dark corners and on the people who made an impression.When Laurence Fishburne wants to get closer to audiences of his one-man show, he lowers himself into a deep squat near the lip of the stage. Hands clasped and knees spread wide, the actor — who has become an avatar of inscrutability during his half-century screen and stage career — seems to be trying to shrink himself down to life-size.Fishburne’s indomitable presence is the muscle behind “Like They Do in the Movies,” which opened on Thursday night at the Perelman Performing Arts Center in Lower Manhattan. His vigor and gravitas are unwavering, even as Fishburne, the 62-year-old “Matrix” star, softens to reveal difficult details from his childhood and to portray others whose vulnerability made a personal impression.Part memoir and part ethnography, the show opens with Fishburne, who played a schemer in the 2022 Broadway revival of “American Buffalo” and a Supreme Court justice in the 2008 one-man play “Thurgood,” as you’ve likely never seen him before: draped in sequins (the flowing black robes are credited to Jimi Gureje). Addressing the audience in griot fashion, Fishburne briskly sketches his early years, introducing his mother, Hattie, a charm-school matron turned abusive stage mom. Using the refrain “but more on that later,” he indicates open questions he’ll return to, including how his father fits into the picture.These recollections have a clipped momentum, like listening to a celebrity narrate a tell-all at 1.5 speed. If the pacing makes him seem a bit guarded, it also serves a practical purpose: The production, written by Fishburne and crisply directed by Leonard Foglia, runs nearly two and half hours with an intermission. Greater economy would pack a more decisive punch, but the show rarely goes slack and Fishburne’s performance is thoroughly engrossing.That’s especially true as he slips into the more familiar territory of playing other people, in a series of vividly drawn monologues book ended by his own reflections. The play’s title may suggest a tour through Fishburne’s own Hollywood résumé, which includes an Oscar-nominated turn as Ike Turner in “What’s Love Got to Do With It.” But here, Fishburne plays a truck packer for The New York Daily News, a Hurricane Katrina survivor and a homeless man who washes cars, among others.Stalking Neil Patel’s sparse set — a stage with only a long table and a pair of chairs — Fishburne nimbly dons each persona with a keen and easy sensitivity. The assembly of character studies, mostly everyday New Yorker types, lacks an obvious sense of cohesiveness, though Fishburne himself emerges as the common thread.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares119 Views

      in Music

      World Trade Center Arts Space to Open With Music, Theater and Dance

      by

      A one-man Laurence Fishburne show, a Bill T. Jones premiere and a new take on “Cats” will be among the offerings at the new Perelman Performing Arts Center.As the marble-clad, cube-like Perelman Performing Arts Center has taken shape at the World Trade Center site, questions have swirled about what will actually happen inside.Some answers came on Wednesday, when the center announced a first year of programming that will feature original work, including the premiere of an autobiographical play written by and starring the actor Laurence Fishburne called “Like They Do in the Movies,” as well as partnerships, including with the Tribeca Festival.Bill Rauch, the center’s artistic director, said the roster was deliberately eclectic.“We much want to give many different audiences many different reasons to come into our building,” he said in a telephone interview, adding that PAC NYC — as the center is being called — is invested in “creating connections.”The year will feature dance, opera, music and theater. Some highlights include:The world premiere of “Watch Night,” a new multidisciplinary piece by the dance artist Bill T. Jones, the poet Marc Bamuthi Joseph and the composer Tamar-kali, in November.The New York Premiere of “An American Soldier,” an opera by the composer Huang Ruo and the playwright David Henry Hwang. The opera, which will be staged in May, tells the true story of Danny Chen, a New Yorker who enlisted in the Army and was subjected to hazing and racist taunts in Afghanistan, and who killed himself at 19.A reimagining of the Andrew Lloyd Webber musical “Cats” set in New York City’s ballroom scene. The musical, planned for next June and July, will be directed by Zhailon Levingston and Rauch; its choreographers will be Arturo Lyons and Omari Wiles, and its dramaturg and gender consultant will be Josephine Kearns.Dance performances will include a celebration of street dance from around the world, including notable D.J.s. There will be a recital by the Easter Island pianist Mahani Teave, an evening with the Broadway performer Brian Stokes Mitchell and, in October, the 2023 Herbie Hancock Institute of Jazz International Piano Competition.Performances at the center are to begin Sept. 19 with a five-evening, pay-what-you-wish concert series called “Refuge: A Concert Series to Welcome the World.”One night will feature New York artists who come from elsewhere, including Raven Chacon, Angélique Kidjo and Michael Mwenso. Another will focus on spiritually oriented performers, including the Klezmatics and the Choir of Trinity Wall Street. Other concerts will highlight educators (featuring Arturo O’Farrill and the Afro Latin Jazz Orchestra), family ensembles (such as the Villalobos Brothers) and childhood traditions (with Alphabet Rockers).The center is named for Ronald O. Perelman, the billionaire who made a $75 million pledge in 2016. But its largest donor wound up being Michael R. Bloomberg, the billionaire former mayor, who gave $130 million to get it built. The center, which used to call itself “the Perelman” for short, now calls itself PAC NYC.“There will be something for everyone at PAC NYC,” Bloomberg, the center’s chairman, said in a statement.The Tribeca Festival will do its own programming, but Rauch described its presence as “a collaboration.”“It’s a natural allyship for us, given our location — it made great sense,” he said. “We’re very excited to have them in the building.”PAC NYC has also partnered with Creative Artists Agency to present conversations with celebrity authors like Kerry Washington, Jada Pinkett Smith, Jenna Bush Hager and Barbara Pierce Bush.“Part of what we want to do is not only reflect the dynamic energy of all five boroughs but to invite conversation in our spaces,” Rauch said, “so having events that are book readings and getting to hear from the authors just feels like it’s well aligned.”Beginning June 23, tickets, starting at $39, are available through February. PAC NYC memberships starting at $10 for the inaugural season are available as of Wednesday.There are three stages at the PAC seating 99, 250 and 450 people. David Rockwell and his Rockwell Group designed the interior of the lobby and restaurant, which will be run by the chef Marcus Samuelsson, along with the bar and outdoor terrace.Plans for programming in the building’s lobby space will be announced in the future and will generally be programmed with less lead time, Rauch said.“All the performances on that stage will be open and free,” Rauch said. “That commitment to access is really crucial.” More

    • 125 Shares189 Views

      in Theater

      Laurence Fishburne Cools Down With Classic Jazz and Cashmere Blankets

      by

      The actor is back on Broadway for a revival of David Mamet’s “American Buffalo.” He discusses his other must-haves, like a chef’s knife, trampolines and crystals.“I have a working knowledge of what my gifts are,” Laurence Fishburne said. “I’ve been blessed with a wonderful voice. And I have a real innate sense of the dramatic.”Fishburne, 60, was speaking, in that velvet baritone, a few hours before his call at Circle in the Square for the Broadway revival of David Mamet’s “American Buffalo,” a brisk study in hustle and flow.Though best known for his film work (the original “Matrix” trilogy, “Boyz N the Hood,” the “John Wick” series), which trades on his sleek looks and natural authority, Fishburne is a Tony-winning actor. He has rarely stayed away from theater for long.He last appeared on Broadway in 2008, in the one-man show “Thurgood.” And it took him more than a decade to find another stage role that he wanted: Donny, the avuncular owner of a shabby junk shop. With his friends Teach (Sam Rockwell) and Bobby (Darren Criss), Donny agrees to a plan to rob a wealthy customer of a valuable coin.“He’s the father figure in this triangle of these three men,” he said of Donny. “He’s trying to guide them and protect them and school them as best he can.”“American Buffalo” was in rehearsals when the pandemic hit. Fishburne and his colleagues kept working on the play for months afterward, which Fishburne said had allowed him to dig into his role more deeply and better present the precise rhythms of Mamet’s language.“He works with these seemingly simple words that are loaded with a lot of tension, a lot of subtext, a lot of nuance,” Fishburne said of Mamet’s script. “It’s like a beautiful piece of music.”From his home, an apartment on the Upper West Side where he keeps a mini trampoline and assorted crystals, he discussed the items, artworks and philosophies that help him shake that tension off. These are edited excerpts from the conversation.1. A chef’s knife I’m an only child and both my parents worked. Sometimes I had to fend for myself. So I did kind of grow up cooking. A chef’s knife with a great handle and a great edge, that’s what you need. It can chop your onions and your celery, smash your garlic, do all your prep work so you can eat well. I love to cook Caribbean-style food, Italian-style food, Asian-style food. There’s a fish I like to do with tomato and saffron, Cornish game hens, roasted with jam and port wine. I’m pretty good in the kitchen.2. James Allen’s “As a Man Thinketh” I was given this book when I was about 30, and it really changed my life. It’s a book about meditation and the power of thought and the reality of life and truth. I started meditating and my life got better. My life has improved.3. A good pair of shoes These feet, they carry us around. We’ve got to be good to them. It’s not a brand thing. The foot is as individual as the fingerprint. It’s just whatever feels right, whatever feels comfortable, whatever supports your foot well. Right now I’m wearing a pair of beautiful, lace-up wingtip boots. They fit great. And I have some shoes made by my friend Ozwald Boateng that are my dress shoes.4. My favorite music I listen to mostly music that was made in the last century. I’m not allergic to music that is being made today. I just need a booster. I need somebody young to introduce me to the music that’s happening now. Some of my favorite music would be Miles Davis’s “Kind of Blue,” “John Coltrane and Johnny Hartman,” “Identity” by Airto Moreira, “Band of Gypsys,” Cassandra Wilson, the Beatles, the Stones. Howlin’ Wolf, Duke Ellington, Mahalia Jackson.5. A great neck pillow and a warm blanket I’m a good napper. Actors, we have to use our energy like cats — we lie around and sleep a lot and then we have to get up and perform. So having a little place to lay down with a pillow that cradles the neck, supports the head, keeps the spine in alignment, it’s all good. Cashmere makes a great blanket. I actually have one of those in my dressing room at the theater. It’s fantastic.6. Moroccan mint tea There’s a restaurant in Los Angeles that I’ve been eating at since I was a kid, Moun of Tunis. At the end of the meal, they serve mint tea and almond cakes. Mint is such a wonderful taste and smell, such a wonderful flavor. It just brightens everything up. Makes me happy.7. A mini trampoline It’s low impact, gets your blood going. Kind of like jumping rope, without jumping rope. You get to defy gravity, seconds at a time. I have a mini tramp at both my homes. I do a routine, but there’s nothing rigid about it.8. Crystals I got into crystals around 1988. My house in Los Angeles, I’ve got a bunch of crystals there. I only have a few here in New York. But I have a medicine bag of them that I sleep with. There’s a Herkimer diamond in it. There’s a piece of moldavite in it, a piece of smoky quartz, a piece of tourmaline. I get a good sound sleep every night. And my dreams can be very vivid. Crystals are medicine, man.9. Meditation A calm and serene mind is the product of calm and serene thoughts, positive thoughts. You can train the mind like you can train a muscle. I try to meditate daily for at least 15 minutes. I generally sit down in a sort of lotus position. Sometimes I lie down. When I started meditating, I became very centered and very grounded. I began to take responsibility for my life, for my thoughts, my words and my deeds. I’ve just gotten an Oculus and there’s a wonderful meditation app on it called Trip that’s just out of this world fun.10. Movies of the 1960s, 1970s and 1980s In my library I have “Lawrence of Arabia,” “To Sir, With Love.” Another movie with Mr. Poitier, called “Brother John.” Another O’Toole film called “The Lion in Winter.” What else do I have? Oh, “The Man Who Would Be King.” Great movie. “The Fugitive Kind.” That’s with Marlon Brando. “My Favorite Year.” Seeing these movies makes me hungry. Makes me happy. Makes me hungry. More

    • 100 Shares99 Views

      in Movies

      ‘Under the Stadium Lights’ Review: Friday Night, Lite

      by

      Some sports movies build to inspirational speeches; this one treats platitudes as the main event.A clunky high school football movie inspired by the 2009 season of the Abilene Eagles (of Abilene, Texas), “Under the Stadium Lights” appears aimed at audiences who already know the outcome, the rivalries and the highlights. Occasional clips of the original games are presented with so little context they seem designed to jog memories rather than advance the drama.Some sports movies build to inspirational speeches; “Under the Stadium Lights” treats platitudes as the main event. The character of Chad Mitchell (Milo Gibson, a son of Mel), a police officer and the team’s chaplain — and off camera, a producer on the movie and an author of the book it’s based on — invites the players to “talk about the stuff that” they “can’t talk about at home,” a device that ensures a steady stream of outpourings for the director, Todd Randall, to cut to.A few characters get enough screen time to register, like Ronnell Sims (Carter Redwood), the quarterback, and his cousin Herschel Sims (Acoryé White), a running back, who both have parents who aren’t always there. Augustine Barrientes (Germain Arroyo), a linebacker known as Boo, resists joining a gang, while the selfless Chad learns to make time for his family. Despite prominent billing, Laurence Fishburne has only a peripheral role as a barbecue joint proprietor who watches the climactic game from a hospital bed.The hokiest lines go to Coach Warren (Glenn Morshower), who, seizing a metaphor, tells Chad why he thinks that trucks have bigger windshields than rearview mirrors: to keep people focused on the present and not the past. “If we keep our thoughts in the windshield of life,” he says, “we’re going to do just fine.”Under the Stadium LightsRated PG-13. Talk of drug dealing and drug use. Running time: 1 hour 49 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More