Review 2

Review of the film "Moulin Rouge!"

Moulin Rouge!(2001)

Directed by: Baz Luhrmann

Produced by: Fred Baron, Martin Brown, Baz Luhrmann

Written by: Baz Luhrmann, Craig Pearce

Starring: Nicole Kidman, Ewan McGregor, Jim Broadbent, Richard Roxburgh, John Leguizamo, Jacek Koman, Caroline O'Connor

Music by: Craig Armstrong, Marius de Vries

Cinematography: Donald McAlpine

Editing by: Jill Bilcock

Studio: Bazmark Films, Angel Studios

Distributed by: 20th Century Fox

Release date(s): May 9, 2001 (Cannes), May 24, 2001 (Australia), June 1, 2001

Running time: 128 minutes

Country: United States, Australia 

Language: English 

Plot:

Christian, a young poet, leaves his respectable background behind when he moves to the bohemian underworld of Montmartre. Taken under the wing of the hedonistic artist Toulouse-Lautrec, he becomes a regular at the notorious nightclub, the Moulin Rouge, where he falls under the spell of Satine, the most beautiful courtesan in Paris, and the star of the show.

Main characters:

• Ewan McGregor - Christian

• Nicole Kidman - Satine

• Jim Broadbent - Harold Zidler

• Richard Roxburgh - The Duke of Monroth

• John Leguizamo - Henri de Toulouse-Lautrec

• Jacek Koman - The Narcoleptic Argentinean

• Caroline O'Connor - Nini Legs-in-the-Air

• Garry McDonald - The Doctor

• Keith Robinson - Le Pétomane

• Natalie Mendoza - China Doll

• David Wenham - Audrey

• Kiruna Stamell - La Petite Princesse

• Deobia Oparei - Le Chocolat

• Kylie Minogue - The Green Fairy

• Peter Whitford - The Stage Manager

• Ozzy Osbourne - The Green Fairy's laugh

Direction:

Personally I think that Director Baz Luhrmann creates a film that slides into a category beyond extravagant. This movie takes musicals to a level never before experienced, and which may never be equaled in its exaggerated style.
Writing:
I dare say it seems to me that "Moulin Rouge!" blends elements that normally would clash, and does it with such panache it's almost painful to watch in its beauty.  
Editing:
Speaking about editing I have to say that McGregor reveals a fine tenor voice as the lovestruck lead, but it’s Kidman who steals the movie with a devastating display of sultry allure. Watching her commit herself body and soul to Luhrmann’s bizarre vision makes it easy to overlook the film’s structural deficiencies and its tendency to sacrifice emotional resonance for stylistic bombast.
Costume design:
From my point of view the clothing choices exactly fit the style of the movie. They fully make us imagine the atmosphere of this art movement, Moulin Rouge.
Set design:
The setting of the film influences other elements too.

Background music: 

So in this film I like music very much. It works with the scenes and fit the style of the movie. It works well with all over named aspects.

As for me, I like this movie. It impressed me greatly. It’s extraordinary. What is more, there are lots of problems, which are hidden in the film. "Moulin Rouge" is an incredibly riveting film. Not a scene went by that didn't virtually electrify my senses.

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The article published on the website of the newspaper "The Guardian" on March 26, 2013 is headlined "Why British critics don't get The Book of Mormon" by Oliver Burkeman. The article reports at the South Park creators' musical was much lauded in the US, but its satirical sensibility may be lost in translation to London. 
Speaking of this situation it is necessary to note that the Book of Mormon, the much-applauded musical from the creators of South Park, officially opened in London last week – and like the grinning, clean-cut missionaries whose story it relates, it's been getting some baffled reactions from the locals.
The author writes that this is a show that won nine Tony awards, and which the New York Times – leading the near-unanimous praise from US critics – called "something like a miracle". 
It’s important to point out that the first strange thing about this difference of opinion: you'd have thought it might have been the other way around.
It is necessary to note that the second curiosity is how much the unimpressed Brits disagree with each other.
It is important to point out that Letts even trots out that laziest of criticisms, never far away whenever Christians are being satirised.
Analyzing this situation it is necessary to emphasize points towards the great value of Parker and Stone's comedy, which elevates "take no prisoners" to the status of an ethical principle.
The author writes that If you'll allow a vast cultural generalisation from the perspective of a British person living in the United States: comfort with this kind of complexity, he suspects, is something at which Americans are peculiarly good.
The article draws a conclusion that "The Book of Mormon" seems to say, to locate that vantage-point from which you can laugh at others' absurdities; laugh at your own; engage in pointed, angry satire when you need to; make running jokes about scrotums; and still maintain a certain cracked and off-kilter faith in humanity.
As for me, I think you can't be Swift and Pollyanna at the same time. But I'd respectfully disagree that sometimes, it's the only way to stay sane.

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The article published on the website of the newspaper "The Guardian" on March 27, 2013 is headlined "Belarus Free Theatre to bring battle against death penalty to UK" by Matt Trueman. The article reports at Belarus Free Theatre will present a new piece, which is called "Trash Cuisine" – their first in English – that challenges the use of capital punishment around the world at the Young Vic this summer.

The author writes that Trash Cuisine, will argue that state-sanctioned capital punishment breeds a wider culture of violence and It will blend verbatim testimony with music, dance and sections from Shakespeare's tragedies.

It’s important to point out that the company's co-artistic director Natalia Kaliada tells the Guardian that they want to look at whether a state's use of capital punishment sets an example to its citizens and legitimises other forms of violence.

Speaking of this situation it is necessary to note that Belarus is the last European country to employ the death penalty, and was urged last year to abandon the policy by the EU and Human Rights Watch in the wake of two high-profile executions.

It’s important to note that In Belarus, when people are executed, their bodies are not given back to their families, so they never get the chance to bury their relatives.

The author writes that Trash Cuisine will also feature testimonials drawn from some of the other 94 countries worldwide where the death penalty remains in use, including Thailand and Malaysia.

Speaking of this situation it is necessary to note that co-artistic director Natalia Kaliada adds that they absolutely understand what it means not to be heard and we need to find those areas of the world that are hidden, where people's stories do not get a chance to be heard.

Speaking of this situation it is necessary to note that Belarus Free Theatre is banned from performing in its home country and, in the past three months, its underground performances in Minsk have been subject to five police raids.

It is important to mention that today, according to Kaliada, it operates as a "two-headed beast", maintaining operations in Minsk while performing around the world.

The article draws a conclusion that Trash Cuisine  will run in the Young Vic's Maria Studio between 30 May and 17 June, before opening in Edinburgh on 19 August. 

As for me, I think that BFT is provocational, daring and unforgettable theatre, which expresses all human feelings and emotions. I think it's really worth seeing their performance "Trash Cuisine"!  

Summary 6

"The Catcher in the Rye"

By J.D. Salinger

1. Holden alludes to "getting sick" and living in a mental hospital. 2. He mentions that he'll be attending another school in September. 3. The boy has been asked whether he will apply himself properly to his studies this time around. 4. Holden wonders whether such a question has any meaning before the fact. 5. He says that he doesn't want to tell anything more about his life. 6. It happens so, because surprisingly the boy found himself missing two of his former classmates, Stradlater and Ackley, and even Maurice. 7. Maurice is the pimp who punched Holden. 8. He warns that telling others about their own experiences will lead them to miss the people who shared them.

Summary 5

"The Catcher in the Rye"

By J.D. Salinger

1. Holden makes the decision that he will head out west and live as a deaf-mute. 2. He mentions about it to his little sister Monday morning. 3. She wants to go with him. 4. Holden declines her offer and it upsets Phoebe. 5. That's why Holden decides not to leave after all. 6. The boy tries to cheer the girl up by taking her to the Central Park Zoo. 7. While he is watching her ride the zoo's carousel, he is filling with happiness and joy at the sight of Phoebe riding in the rain. 8. Holden decides not to mention much about the present day, finding it inconsequential.

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The article published on the website of the newspaper "The Guardian" on March 17, 2013 is headlined "Once the Musical: how I fell for its honesty" by Enda Walsh. The article reports at why it breaks into song and dance to exorcise your inner emotions when you can talk yourself through it.  
The author writes that in October 2010, she got the call from the producers asking her to write a stage musical version of the small Irish film ''Once''.
Speaking of this situation it is necessary to note that the woman loves the movie "Once". It's pretty much perfect: the story of a love that can never happen, between a failing Dublin songwriter and a Czech immigrant, it has that Brief Encounter bittersweet ache to it. 

It’s important to point out that John Tiffany was directing. Choreographer Steven Hoggett and musical director Martin Lowe were also on board. It's interesting to mention that John and Steven have known each other since they were kids.They've worked on a bunch of productions (most famously Black Watch).

Analyzing this situation it is necessary to emphasize that Enda Wash knew Martin only by reputation. His musical direction on Jerry Springer: the Opera was superb, and he earned his commercial chops on the behemoth that is Mamma Mia.

It’s important to note that they all met up. They had found two days in their schedules, two actor/musicians and a rehearsal space to read John Carney's screenplay and sing Glen and Markéta's songs.

The author writes It's still a mystery to her how a song comes together. But the frailty of a three-minute song – the concise honesty of that expression – amazes the woman and turns her into a bucket of jealousy.

Speaking of this situation it is necessary to note that to make the musical work, it would have to wear its heart on its sleeve as openly. It needed to find its own simple style, though; it needed to be a little awkward in itself.

It is important to mention Enda Walsh went back home and gave it a go. The cast grew from two to 12; smaller stories spun around the central one; a time line of five days made the whole thing more delicate and transient; an inarticulate, hesitant language appeared – even some comedy.

The author writes that two months later in New York, with a full cast in the Ripley-Grier rehearsal space, the form of the piece began to show itself more.

It is necessary to emphasize that they opened on Broadway in the Jacobs theatre a year ago, 15 months after the first read-through of Carney's screenplay. The production went on to win eight Tony awards, and is still sold out a year later.

It’s important to note that in January this year, the West End cast gathered in London for rehearsal. Making theatre is all about the individuals and what they make of the words and, in this case, the songs, too – each ensemble has its own different swagger.

The article draws a conclusion that "Once" premiered this side of the Atlantic at the Dublin's Gaiety theatre two weeks ago. For a country that doesn't do musicals, it can certainly do christenings. In strong voice, it now comes to London, where it will take up a residency in the grubbier end of the West End, in the beautiful jewel that is the Phoenix theatre.

As for me, I think that it's a very interesting histrionics, which expresses all human feelings and emotions. I  think it's really worth seeing!  

  

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The article published on the website of the newspaper "The Guardian" on March 12, 2013 is headlined "Mies Julie" by Maddy Costa. The article reports about South African playwright-director Yael Farber has taken the bones of August Strindberg's 1888 play, in which an aristocratic woman has sex with a manservant, and stitched on new muscle, a new nervous system, new skin.
It is important to note that 27 April 2012 – Freedom Day – and the black staff on a farm in the Karoo are celebrating the anniversary of the end of apartheid. John, Mies Julie father's favourite servant, polishes his master's boots, and eyes her warily. The woman entices him and the man finally reciprocates, theirs is the coupling of wild animals, violent enough to kill.
It's an interesting fact that Farber's caustic story is the extent to which Julie and John feel impelled to re-enact the brutality of the generations that came before them: with awful inevitability, they return to the epithets of the old world, reducing him to a "grovelling kaffir boy", and her to a thieving Boer.
The article draws a conclusion that a hit at the Edinburgh festival last year, Farber's acutely intelligent production lives up to expectations. The sound – designed by brothers Daniel and Matthew Pencer, performed live by Mark Fransman, Brydon Bolton and a mesmerising Xhosa musician, Tandiwe Nofirst Lungisa – is particularly brilliant, making the air pulse with anger and threat. Bongile Mantsai's John is sinewy with conflicting emotion; as Julie, Hilda Cronje seethes.
As for me, I think that it's a very interesting histrionics, which expresses all human feelings and emotions. I  think it's really worth to look!