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    The World Has Finally Caught Up to Colman Domingo

    Colman Domingo was at the Equinox on 43rd Street and Fifth Avenue when his agent called. A rush of hope overtook him: After a week spent auditioning for eight film and television roles, finally he was about to get something.This was in 2014, which Domingo experienced as a year of incredible highs and dangerously low lows. He had just come off a successful, soul-enriching transfer of the stage musical “The Scottsboro Boys” in London, but upon returning to New York, he felt quickly cut down to size. Despite his Tony nomination for the Kander and Ebb musical, Domingo was stuck auditioning for “under-fives,” screen roles that had little more to offer than a line or two. Still, he felt backed into a corner, praying that one of them would hit.The most promising was a callback for HBO’s Prohibition-era drama “Boardwalk Empire”: To audition for a maître d’ at a Black-owned nightclub, Domingo had donned a tuxedo to sing and tap dance for the producers. You can imagine how he felt, then, when his agent began that call at the gym by saying that everyone on “Boardwalk Empire” had loved his audition. This is the one that’s going to change it up for me, Domingo thought. This is the one that’s going to finally be my big break.There was just one problem, his agent said. After the callback, a historical researcher on the show reminded producers that the maître d’s in those nightclubs were typically light-skinned, and Domingo was not. “Boardwalk Empire” had passed.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?  More

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    What to Know About ‘Maestro’: A Guide to Bradley Cooper’s Bernstein Biopic

    Now on Netflix, the movie tracks the life of the American conductor and composer and his wife, the actress Felicia Montealegre, played by Carey Mulligan.Pop quiz: Who wrote the score for Bradley Cooper’s new Leonard Bernstein biopic, “Maestro”?Trick question: Bernstein. But you might not realize it, or learn of some of his more lasting accomplishments (“West Side Story” erasure!), even after watching the entire film, which focuses on the personal life of the prodigiously talented musician.Which is to say, the film — which Cooper directed and starred in, and which is now streaming on Netflix — does not hand-hold. It assumes some basic familiarity with one of America’s most storied conductors and composers. Here’s a guide to help you get up to speed.His careerWhat is Bernstein best known for?One of the rare virtuosos to compose for musical theater, write classical music and conduct august bodies like the New York Philharmonic, Bernstein is probably best remembered as the composer of the 1957 musical “West Side Story.”The Manhattan-set tale of urban gang warfare in New York City, based on “Romeo & Juliet,” includes standards like “Tonight,” “I Feel Pretty” and the aching, wistful “Maria.” The classic show, a collaboration with Arthur Laurents, who wrote the book, and Stephen Sondheim, who penned the lyrics, won two Tony Awards in its original incarnation.In his day, Bernstein was known first and foremost as an animated, passionate conductor. After his spectacular fill-in debut at the Philharmonic at age 25 in 1943 — on just a few hours’ notice, because the scheduled guest conductor fell ill — Bernstein would be affiliated with the orchestra for four decades and conduct symphonies around the world.He also wrote classical music, including three symphonies, “Jeremiah,” “The Age of Anxiety” and “Kaddish,” and made the classical realm accessible to ordinary Americans through his Young People’s Concerts. Those televised lectures, which ran on CBS for 14 years, covered a broad range of subjects including humor in music, and the composers Gustav Mahler and Igor Stravinsky.What is Tanglewood?Tanglewood, the summer home of the Boston Symphony Orchestra and its training academy in the Berkshire Hills in Massachusetts, is where Bernstein studied with Serge Koussevitzky, then the director of the ensemble. The two met in 1940, when Koussevitzky selected a 22-year-old Bernstein as one of three inaugural conducting fellows for the Berkshire Music Center, now known as the Tanglewood Music Center.Bernstein went on to teach and perform there nearly every summer for 50 years, becoming the head of orchestral conducting at Tanglewood after Koussevitzky died in 1951. In 1990, Bernstein led the final performance of his life there — a gripping account of Beethoven’s Seventh Symphony.How much of the film’s score is Bernstein’s music?That cue you hear when Bernstein finds out he’ll be making his conducting debut at the New York Philharmonic? That’s from “On the Waterfront,” the 1954 Marlon Brando drama for which Bernstein wrote the music. That spiky, horn-filled composition that signals tension when Bernstein and a male lover arrive at the family’s Connecticut home? That’s the prologue from “West Side Story.”In fact, most of the music you hear was written by Bernstein. (Also see if you can spot classical excerpts from his ballets “Facsimile” and “Fancy Free,” his opera “A Quiet Place,” and parts of his second and third symphonies.)His personal lifeWas Bernstein gay or bisexual?Though he was married to his wife, the actress Felicia Montealegre (Carey Mulligan), for 26 years, he had numerous relationships — with both men and women — before and during their marriage, and after her death in 1978.The film focuses on two of them — his dalliance with the clarinetist David Oppenheim (Matt Bomer), whose bottom Bernstein slaps at the beginning of the film, and the musician Tom Cothran (Gideon Glick), whom he steals kisses with at a party and brings to his Connecticut home.What was society’s attitude toward gay people at the time?Anti-gay prejudice was rampant in America in the 1940s and 1950s, and the Lavender Scare — a fear that homosexual people had infiltrated the federal government and were a threat to national security — led to the dismissal of gay and lesbian employees, and those assumed to be, en masse. Gay, lesbian and transgender people — particularly public figures — faced intense pressure to conceal their identities, and Bernstein worried that the public revelation of his sexual orientation would hurt his conducting prospects.Did Montealegre know Bernstein was gay or bisexual when she married him?Yes, according to a letter she wrote to him the year after they were married, which the couple’s children discovered after her death. “You are a homosexual and may never change,” she wrote, adding later, “I am willing to accept you as you are, without being a martyr.” She went on to tell him, “Let’s try and see what happens if you are free to do as you like, but without guilt and confession.”Was Bernstein open about his affairs with men?At first, he was discreet, heeding Montealegre’s request to not embarrass her publicly. But, as “Maestro” shows, he became “sloppy” later or, rather, decided that he no longer wanted to hide what he viewed as a fundamental part of himself amid society’s changing attitudes.In 1976, he briefly left Montealegre to live openly with his boyfriend, Cothran, though he returned to her a year later when she learned she had lung cancer and cared for her until she died at age 56.What did Bernstein say about his sexuality?Nothing, at least, publicly. But privately, he suffered through years of therapy, apparently in the hope that he could be “cured” of his attraction to men. That desire lasted a lifetime: “I have been engaged in an imaginary life with Felicia,” he wrote in a letter to his sister, Shirley, from Israel in 1950, “having her by my side on the beach as a shockingly beautiful Yemenite boy passes.”Did Bernstein love his wife?Bernstein was “a gay man who got married,” his “West Side Story” collaborator Arthur Laurents once said in response to the assumption that Bernstein, who had three children with Montealegre, was bisexual. “He wasn’t conflicted about his sexual orientation at all. He was just gay.”But what is clear, from their children’s memories and from Bernstein’s own letters, is that he and Montealegre had an abiding affection for one another, and that their relationship was built on tenderness and mutual respect.“Bernstein absolutely loved her — there was no question about that,” Paul R. Laird, the author of “Leonard Bernstein,” a 2018 biography, recently told Time magazine. “It was as sincere a marriage as you’re going to get between a male homosexual and a woman at a time when a lot of male homosexuals married women.”Bernstein’s oldest daughter, Jamie, has spoken about her parents’ friendship. “They were really great friends, and probably that counts for the most in the long run, that they could still make each other laugh,” she said in a 1997 PBS interview.How did Bernstein die?He had received an emphysema diagnosis in his mid-20s — he would struggle with addiction to cigarettes and alcohol for most of his life — and died on Oct. 14, 1990, at 72, of a heart attack caused by lung failure.He was often depressed in his later years, intimidated that he would be best remembered as a conductor, resigned to the fact that he could never live up to the success of “West Side Story,” and guilty about his wife’s death from cancer, which he held himself responsible for. More

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    ‘Barbie’ Makes a Strong Showing on Oscar Shortlists

    The film is the equivalent of a semifinalist in the song, score and sound categories. “Killers of the Flower Moon” also landed on several lists.Will the Oscars also be living in a “Barbie” world when the statuettes are handed out in March? Maybe, if the shortlists in what’s known as below-the-line categories are anything to go by. The academy released the equivalent of semifinalists for best song, documentary and more on Thursday, and “Barbie,” the director Greta Gerwig’s feminist smash, made a strong showing.Three songs from the film — Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken” and Billie Eilish’s “What Was I Made For?” — landed on the list for best song, while the film also showed up in the best score and sound categories.“Killers of the Flower Moon” was also well-represented, appearing on the lists for makeup and hairstyling, song (“Wahzhazhe (A Song For My People)”), score and sound.What about the other film that contributed to our Barbenheimer summer? “Oppenheimer” made the cut in three categories: score, sound and makeup and hairstyling. It tied with “The Color Purple” (for score and the songs “Keep It Movin’” and “Superpower (I)”); “Spider-Man: Across the Spider-Verse” (for score, visual effects and the song “Am I Dreaming”); and “The Zone of Interest” (international feature, score and sound).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?  More

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    ‘Anyone but You’ Review: Baring Bums in the Land Down Under

    Sydney Sweeney and Glen Powell romp in a rom-com bomb with gratuitous clothes-shedding, played out against beautiful backdrops.The floundering romantic comedy “Anyone but You” has several things going for it: the rising stars Sydney Sweeney and Glen Powell, a luxurious Australian backdrop, and more white teeth and washboard abs than the Sports Illustrated swimsuit issue. The plot is a classic switchback prank. Sworn enemies Bea (Sweeney) and Ben (Powell) pretend to fall in love at a destination wedding so that their friends and family (Alexandra Shipp, Hadley Robinson, Bryan Brown, Michelle Hurd and GaTa) will quit trying to trick them into liking each other. It’s a loose reworking of “Much Ado About Nothing,” and, presumably, the first Shakespeare adaptation where a dog does yoga — and certainly the first in which a man (GaTa) serenades a koala. Nevertheless, the film, directed by Will Gluck, who wrote the screenplay with Ilana Wolpert, is so awkwardly assembled that our attention gets pulled away from the leads to the bizarrely lavish buffet spreads in the background. We’re mildly curious about whether these two fakers will slip between the sheets for real — and majorly interested in why a guest bedroom has so many bowls of fruit.“Anyone but You” is being sold as a return to the salacious rom-com, although that’s only true for one good scene. Overall, it’s more bawdy than erotic. “You know a lot about bathroom law,” Ben purrs to Bea when they meet-cute wheedling a restroom key from a barista. After a whirlwind first date, Bea wakes up in Ben’s arms fully clothed. The night appears to have been innocent — at least, that’s the implication from Gluck’s close-up shot of Bea’s cinched belt buckle — but both panic and settle into a shtick of exchanging public insults with the spite of jilted lovers.We can barely make out whether a month has elapsed since that encounter or several years. Just resign yourself to nonsense, like the entrance of Margaret (Charlee Fraser), Ben’s ex, with her new boyfriend, Beau (Joe Davidson), a galumphing surfer who promptly attempts to eat a bundle of ceremonial sage. The running time is all flimsy bikinis and flimsier excuses to get people undressed. A tarantula? Strip off those shorts! Itchy sand? Swim trunks begone! A fire? Snuff out the flames with a dress! By the time Bea tumbles into Sydney Harbor, it’s a shock that Ben leaps in after her without tearing away his pants.Sweeney and Powell could do wonders with a better script, something that makes more use of the way they grin at each other like they ate knives for lunch. She’s skilled at layered insincerity; he specializes in smirky, put-on machismo, shooting the camera a horrifically funny tongue waggle. Here, their performances get bullied around by the insistent pop soundtrack. One genuinely tender scene involves Bea crooning a peppy Top 40 hit to steady Ben’s nerves. But she only gets in a few quiet a cappella bars before Gluck cranks the original at an earsplitting volume — are you not entertained!? — and, for good measure, blares it again at the end over some riotous behind-the-scenes karaoke. You wonder if he spent more time on the closing credits than the actual film.Anyone but YouRated R for nudity and brash language. Running time: 1 hour 40 minutes. In theaters. More

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    ‘Freud’s Last Session’ Review: Film Adaptation and Its Discontents

    Sigmund Freud and C.S. Lewis probably never met. What the stage-based film presupposes is: Maybe they did?In “Freud’s Last Session,” when the Oxford academic C.S. Lewis (Matthew Goode) arrives late to the London home of Sigmund Freud (Anthony Hopkins), Freud’s chow chow, Jofi, brushes him off. The dog, Freud explains, values punctuality.The men’s encounter — concocted for Mark St. Germain’s 2009 play of the same title — is imaginary, but the timing is not. The setting is September 1939, and Hitler has invaded Poland. The atheist Freud has sought out Lewis, whom he has never met, to learn how such a sterling intellect could believe in God. Given the historical backdrop (we hear radio of Neville Chamberlain announcing Britain’s entry into the war), that hardly seems like the most pressing topic. That’s true even if Freud, who has oral cancer, would be dead before the end of that month.But the war context gives the director, Matthew Brown, who shares screenwriting credit with St. Germain, license to wage a futile campaign against the material’s stage-bound origins. An air raid siren sends Lewis and Freud out of the house and to a nearby church, where Freud helps Lewis through a triggered recollection of his service in World War I. Freud shows off his surprising expertise in Christian iconography, after dismissing his interest as simple art appreciation.The men return to Freud’s den, but the movie, already diffuse with flashbacks, is hardly content to stay put. Before the tête-à-tête is over, the film will have shown us Lewis in the trenches (Freud is fascinated by Lewis’s fixation on the mother of a fallen friend); the Gestapo’s arrest and improbable release of Freud’s youngest daughter, Anna, before the family’s flight from Vienna; and Freud’s father chiding young Sigmund after seeing the boy cross himself.Expanding what was a two-character play, the film adds a major part for Anna (Liv Lisa Fries), a pioneer in the field of child psychoanalysis. Her devotion to her father is depicted as so intense that a colleague diagnoses an attachment disorder. But her dad refuses to accept that she is in a relationship with a woman, Dorothy Tiffany Burlingham (Jodi Balfour). And his professional curiosity about her mind may have monstrously overpowered his compassion as a father.What a viewer (or a therapist) should take from their queasily etched codependency is unclear, and it’s not certain that the script made sense of it, either. But the Sigmund-Anna muddle has more juice than the genteel intellectual parrying between Sigmund and C.S. (or Jack, as he was known to familiars), which has been carefully written to a draw. Lewis argues that the Gospels can’t be myths because they are too disorganized. Freud scoffs that “bad storytelling” doesn’t prove Christ was a divine figure. Lewis pounces when Freud unthinkingly says, “Thank God.” Later, Freud asks how God could let him lose a daughter to the flu and a grandson to tuberculosis.Eventually they bridge their differences, in a détente made grotesquely literal (and Freudian?) when Lewis reaches into Freud’s mouth to help with a dental prosthesis. Hopkins already argued the other side of this case when he played an older, Narnia-era Lewis in “Shadowlands” (1993) — a Lewis who, oddly, gave a near-identical speech to this film’s Freud about humanity’s need to “grow up.” In any case, Hopkins parlayed Lewis’s propriety, airs and implied discomfort around sex into a more compelling character than Goode has been given, and one who — faced with his wife’s death — urgently considered the absence of God.The look of “Freud’s Last Session” could make one doubt the presence of a cinematographer. Shot after shot is so gray, shadowy and colorless that it’s hard not to wonder why Brown didn’t shoot in black-and-white, whose contrast and timelessness would suit the stakes. The filmmakers might argue that black-and-white is no longer commercially viable. But Freud would say that nobody wanted anyone to see this movie.Freud’s Last SessionRated PG-13. A cigar that’s just a cigar. Running time: 1 hour 48 minutes. In theaters. More

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    ‘Migration’ Review: Is It a Road Trip if You Have Wings?

    An animated feature written by Mike White (“The White Lotus”) stars Awkwafina, Elizabeth Banks and Kumail Nanjiani as birds, but it never fully gets off the ground.Classic cartoon wisdom deems that ducks are brash and brazen creatures. See Donald and Daffy, ill-tempered anthropomorphic animals who aren’t afraid of making a display of their displeasure.Mack Mallard, the waterfowl patriarch voiced by Kumail Nanjiani in the animated family picture “Migration,” is not exactly a shy bird himself. He displays a rapid-fire volubility when telling his kids a bedtime story at the movie’s opening. But he’s very timid in one respect. The emphatic point of the bedtime story is: Never leave the pond. It’s the only place that’s safe.But when his kids, Dax and Gwen, encounter a flock flying from their home in upstate New York to Jamaica for the winter, Mack’s wife, Pam (Elizabeth Banks), takes the kids’ side.Even when the highways are in the sky, it’s not an American comedic road trip without a crusty older relative coming along for the ride, and this is where Uncle Dan (Danny DeVito) comes in. The Mallards spend a lot of time trying to avoid being eaten, first by a couple of grotesque herons, and then in a Manhattan restaurant run by a thoroughly obnoxious chef.The movie was directed by Benjamin Renner, but the dominant artistic voice is that of the screenwriter Mike White, the creator of the satirical HBO series “The White Lotus.” White is vegan, which explains the insistent meat-is-murder angle throughout, although considering that “Lotus” is so disdainful of tourism, the perspective on travel here may be surprising. The stellar voice cast also includes Awkwafina as a tough New York City pigeon and Keegan-Michael Key as a captive parrot.This Illumination-produced feature is preceded by a “Minions”-adjacent short called “Mooned,” which overexerts itself trying to approximate a vintage Looney Tunes gag-fest. In the end, “Migration” moves along at jet speed while often feeling labored.MigrationRated PG. Running time: 1 hour 32 minutes. In theaters. More

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    ‘The Inner Cage’ Review: The Leftovers

    In this solemn Italian drama, the guards and inmates of a decommissioned prison renegotiate the limits of power.Is there anything more quintessentially Italian than solving differences over a hearty plate of pasta and a glass of wine? Not as far as “The Inner Cage” is concerned, a ponderous prison drama that teeters on the verge of violence right up until one of the inmates gets to cooking.The prison in question is the fictional Mortana, a crumbling, remote institution days away from being closed down. Most of the inmates have already been transferred to other facilities, leaving a forlorn few in limbo until a vague bureaucratic snafu has been corrected. Uncertain of their fate, these left-behinds grow increasingly petulant, especially when visitors and other diversions are canceled. Expecting them to eat the disgusting catered meals, though, is simply an insult too far.Contrived and more than a little corny, the screenplay (by the director, Leonardo Di Costanzo, as well as Bruno Oliviero and Valia Santella) sets up a philosophical negotiation between freedom and control. While the handful of guards (led by the marvelously dolorous Toni Servillo) try to forestall a riot, a former Mafioso (Silvio Orlando) is granted permission to whip up palatable meals. Which gives him access to a cupboard full of knives.Sadly, Di Costanza fails to exploit this alarming plot point, being more intent on mulling the increasing pointlessness of supervision amid peeling paint and failing electric power. Hampered by a depressingly dreary location and an earnestness that can edge into staginess (a roll call at the end is accompanied by the sound of phantom hands clapping), “The Inner Cage” isn’t exactly a feast for the senses. Even so, if you’re in the mood to listen, the film’s careful conversations occasionally serve up food for thought.The Inner CageNot Rated. In Italian, with subtitles. Running time: 1 hour 57 minutes. More

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    ‘Rebel Moon — Part One: Child of Fire’ Review: Galaxy Brained

    Zack Snyder creates a space opera that’s bloated but rarely buoyant.Oddly, for a movie that’s rated PG-13 and often plays like a young-adult fantasy, Zack Snyder’s “Rebel Moon — Part One: A Child of Fire” features at least two attempted sexual assaults and a queasily erotic encounter between a shirtless man and a many-tentacled alien. The film’s most thorough violation, though, is of its cinematic bloodline: To call “Rebel Moon” a “Star Wars” pastiche — with a dash of “Dune,” a lick of “Lord of the Rings” and a whole heap of “Seven Samurai”— is both glaringly accurate and somewhat redundant. In today’s fantasy-verse, derivativeness is virtually a given. Snyder has long been open about his influences, and has been imagining this crossbreeding of mythologies since he was in college.Somewhere in a galaxy (you know how far) floats a peaceful planet called Veldt where burlap-clad villagers till the soil and mind their own business. A fascistic empire known as the Motherworld has other ideas, sending its representative, Admiral Atticus Noble (a scenery-scarfing Ed Skrein), to demand grain for its army. Brazenly channeling Ralph Fiennes’ character from “Schindler’s List” (1993), Atticus sports bowl-cut bangs, an S.S.-style uniform and a really big stick; so after he promises to return and slaughter the villagers if grain is not forthcoming, finding a savior is on top of everyone’s to-do list.Enter Kora (Sofia Boutella) a mysterious outsider with a secret past, an ultraflexible spine and an expression that splits the difference between ticked-off and smoldering. Kora has her own reasons to seek revenge on the Motherworld; accordingly, accompanied by the gentle Gunnar (Michael Huisman), a confrontation-averse villager who looks at Kora the way your dog eyes your dinner plate, she embarks on a planet-hopping quest to round up fellow rebels.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?  More