Gossip Central

The Jonathan Larson Project: His Words, His Music Downtown

A new musical revue, The Jonathan Larson Project, at the Orpheum Theater on Second Avenue is proof of a simple fact: there’s never enough Jonathan Larson. Sure, opening night was a fan fest, with many having sampled the work the writer/ composer left behind after his truly untimely death on the eve of his Rent’s downtown debut. Now assembled for its own entertaining evening, conceived by Jennifer Ashley Tepper, his compositions remind us all of his awesome talent.

“Not a word has been changed,” says the program. His lyrics remain topical, whimsical, pure joy. A standout was Lauren Marcus’ hilarious romp around the stage, hose in hand for “Hosing the Furniture.” Larson had contributed the song for a 1989 revue about the 1939 World’s Fair, imagining the future. According to the notes, Larson knew Stephen Sondheim would be there at the premiere. Working hard, he won the Stephen Sondheim Award. The number comes close to a forgotten American musical genre, the art song. Silly and fun, it hearkens back to an era, to a lyric like Paul Bowles’ “the best part of a picnic are the napkins.”

Larson’s “Casual Sex, Pizza, and Beer” had been written on “a junky spinet piano with missing keys that he found on the street and rolled into his first apartment.” In performance, the ensemble featuring Adam Chanler-Berat, Taylor Iman Jones, Andy Mientus, Jason Tam, and Marcus makes the song a youthful, raucous anthem. Echoes of Rent abound. Bittersweet hints of the show’s various permutations, making it to Broadway and beyond were noted, all limned in the hit 2021 movie, "Tick Tick . . . Boom" with Andrew Garfield as Larson.

Adrien Brody at the Oscars: Don’t Let Hate Go Unchecked

Hollywood sent a message at this year’s Oscars. Winning Best Actor for his role in THE BRUTALIST, his second for this prize, Adrien Brody hoped for a healthier, happier, more inclusive world: “Don’t let hate go unchecked.” That’s not a small ask. From his first win for THE PIANIST in 2002, the actor whose mother, the superb Village Voice photographer Sylvia Plachy emigrated from Hungary in the mid-sixties, the actor with a war-torn look has played parts hewing close to this background. He has even said he could hear his grandfather, as he created the accent for this role, reminding everyone of America’s highest ideals even as his partner, Georgina Chapman had to remind him to thank his mother.

The Palestinian/ Israeli team that made Best Documentary winner NO OTHER LAND, showed how their collaboration as filmmakers cut through the senseless political practices in a town in the West Bank, policies that brought violence and horror to communities in Israel and Gaza. The filmmakers asserted that our government’s current response is not helping to bring peace.

Zoe Saldana was the first American-born Oscar winner whose history goes back to the Dominican Republic. Honored with many awards on her way up to the Best Supporting Actress Oscar for her role in EMILIA PEREZ, Saldana’s win could not have been easy for her co-star Karla Sofia Gascon, shunned for hate-speech, racist comments made online. For sure, that hurt the Netflix movie’s chances for Best Picture.

White Lotus in Rajasthan: Tyger, Tyger Burning Bright

The fictive White Lotus resort in Thailand, the locus of Mike White’s mega HBO series in its third season, has nothing on the Six Senses wellness retreats in India. Seeing the staff line up to greet guests arriving by boat in episode one recalled entrée into the extraordinarily fabulously fashioned Six Senses Fort Barwara in Rajasthan—modeled after Marrakech’s La Mamounia. On a recent trip, we were treated to a cascade of bright red rose petals on a recent visit, by a staff lining up for this awesome welcome.

True, the tiger safari is a great lure. Tourists often book multiple excursions in a given day a year in advance, just in case Charger, the alpha male, feels like a stroll in this nearby preserved habitat also occupied by crocodiles, monkeys, mongooses, and spotted deer, the favored delectable dinner for tigers. Snagging a last-minute reservation, we careened around road curves in our open-air jeep, assigned to the park’s Zone 4, hoping to catch a glimpse. Not only did Charger make the scene, so too did one of his lady friends and their three cubs. We had won the safari lottery.

But just in case, the consolation prize was none too shabby: hanging in a resort featuring prana yoga, sound meditation, classes in pottery and herbal cures—plus pool, sauna, steam, and massage. If this fort had been home to kings, we were next in line.

Climbing up the 720 steps to a white hilltop temple, we encountered a wedding party. Young boys asked to take selfies with us, and the women wrapped in festive red, green, blue saris pulled us into dance. Rose petals may be a metaphor for a valentine’s love, or for the kind of connection that has no price.

Grand Central Terminal: Always in Vogue

A fashion crowd crammed into the Campbell Bar at Grand Central station this week, to celebrate Consuelo Vanderbilt Costin, covergirl of Vogue Magazine. For most of us, the issue was unreadable, in Czech, but that didn’t matter. Air kissing is universal, after all. So is the greeting, “You look great.” That applied to everyone in the room but mostly to the men in brocade jackets. And to socialite Jean Shafiroff clad in a blue straight skirt suit and booties. She usually wears a wide skirt ball gown. But with impending snow, no room for flare.

The highlight of the evening was a grand tour of the inner Grand Central station. Terminal architect Mark Saulnier led the way through the catacombs past David Rockwell chairs, so often the seat of the homeless, they are now hidden away. Looking down at the main floor, people scurrying looked like ants, and we could appreciate the central information booth had a glass top. Saulnier pointed out the a secret echo chamber outside the iconic Oyster Bar, and how the marble in front of the original ticket windows sagged with use. Sometimes when it rains, pools form, he said. All detail was remarkable, even the inner staircases with wrought iron acorns. A move is underway to restore some peeling paint, the price tag astronomical, but worth it.

Adrien Brody at the 90th New York Film Critics Circle Dinner: Sitting Shiva

The New York Film Critics Circle celebrated its 90^th year this week, at TAO Downtown. Member Rex Reed celebrated his 50^th year with the group. Many spoke of the fires in LA. Adrien Brody, reflecting on TAO’s décor with its giant statue mistaken for Buddha, pointed out, that’s Shiva the destroyer before becoming emotional, and that’s before the girls were swooning in the bathroom: Robert Pattison had shown up for Brady Corbet’s Best Picture presentation for THE BRUTALIST.

As celebrations go, this one was cerebral, not raucous which had some attendees concerned. And then there were the outliers: Claire Danes was wildly animated as she introduced Kieran Culkin for his Best Supporting Actor award, the real pain in A REAL PAIN. They had starred together in IGBY GOES DOWN as naughty teens but now, she pointed out, they each have kids. “Only you can be you,” she said gesticulating madly. To wit he got up to say, “You are so kind, I wish I had been listening.”

Jim Jarmusch presented Best Screenplay to Sean Baker for ANORA who liked the snow falling in the last scene so much he proclaimed, “Hats off to the falling snow.” But you cannot admire the deftly constructed screenplay without admiring the sex. Fawned Jarmusch, “I loved the sex in the film: transactional, silly, showing the variety of what that is. He had heard that Baker demonstrated some scenes coupling with his wife. And Sean Baker fawned back, noting that when he finished film school at NYU he only wanted to be Jim Jarmusch. “I used screen grabs from NIGHT ON EARTH. All that matters is heart, COFFEE AND CIGARETTES.”

L. A. Fires and Benjamin Netanyahu in The Bibi Files: How High the Flames?

At a recent post-screening Q&A, MSNBC's Lawrence O’Donnell stopped short in his questions for The Bibi Files producer Alex Gibney and director Alexis Bloom, to take a call from his daughter, excusing himself by explaining that she was in the evacuation area of Los Angeles, trying to discern which art to rescue from the fires raging there. Huh? What fire? The wildfires were just starting as big news. Meantime, the documentary, featuring a key interview with Benjamin Netanyahu, had reached its own heat with the realization that the Israeli prime minister had actually allowed funding Hamas through Qatar. To stay in power, to avert jail for corruption, he saw his chance to fuel chaos. Wanting to keep his enemies closer, as he boasted to his interrogators in the secret footage shown in the film, he would control the violence, allowing Hamas to set the fires as he contained the height of the flames.

October 7 was a direct result. The Bibi Files reveals much through interviews conducted by police in Netanyahu’s office with a map of the Middle East in the background. Investigated for extravagant gifts of champagne, cigars, and jewelry, the prime minister maintains he is the victim of a witch hunt. He had learned from visiting world leaders during his many terms in office, life in Israel, even at the top, is an austere business.

Michael Moore: Pennebaker Career Achievement Award at Hamptons DocFest: Unleashed and Undeterred

Even Covid could not keep Michael Moore back. Of course, everyone at Hamptons DocFest was disappointed the irascible filmmaker could not make the scene for his Pennebaker Career Achievement Award—named for D. A. Pennebaker and presented by Chris Hegedus--, but show up he did, larger than life on Zoom. “Now everyone can see I really have hair,” he said, with a head shake. Usually tamed under a baseball cap, his ample head of hair was making a rare, tousled appearance. Hamptons DocFest would be screening his now classic ROGER & ME, his 1989 confrontational view of GM outsourcing their production from his hometown Flint, Michigan. All a young Moore wanted was to take CEO Roger Smith on a roadtrip around Flint to show him the impact of his business decision. His thwarted attempts are satiric, a sad laugh at his America—and ours-- on the decline. How timely!

The festival, well underway in Sag Harbor, had screened UNION the day before, a look at Amazon and the ongoing protests of workers, underpaid and overworked. Fulfillment indeed! Now on the Oscar docs shortlist for Best Documentary, the film makes you want to say, I thought slavery was ended in America. Think again. Think of the history of unions in America, democracy writ large. Where are you, Jeff Bezos? Attention must be paid!

Between DOCNYC and Hamptons Doc Fest with the inevitable overlap of non-fiction films, truly stellar work emerged: BLUE ROAD: The Edna O’Brien Story opened DOCNYC. Sinead O’Shea’s doc illuminates the transgressive sexual boldness of the Irish writer. Jill Campbell’s BEYOND THE GAZE: Jule Campbell’s Swimsuit Issue, an inside glimpse into the woman who made the Sports Illustrated’s most financially successful and most anticipated magazine of the year.

RaMell Ross’ The Nickel Boys: Re-Viewing Racial Injustice

Harrowing tales of black boys and men during the Jim Crow era are the meat and potatoes of Pulitzer Prize winning author Colson Whitehead’s fiction. When filmmaker RaMell Ross, who made the acclaimed 2018 documentary “Hale County, This Morning, This Evening,” was given an advanced reading copy of Whitehead’s The Nickel Boys, he was working on an exhibition in New Orleans on the history of the American South and its imprint on the Black soul. His installation and the novel, about two boys in a barbaric reform school serving time for arbitrary crimes—essentially because they were Black and vulnerable-- seemed to put the filmmaker on a thematic path toward his exploration of Black identity.

The result is an edgy film, arty in the best sense. Innovative, the movie takes a novelistic approach to visual storytelling. About a real-life reform school, the fictive Nickel Academy, is grim --and even grimmer for its Black population. Punishment, perhaps a turn on a torture device meted out by Spencer (Hamish Linklater) may also extend to murder and burial in an unmarked grave. Given the disquieting details, as viewer, you may find yourself looking up at a face, the sky, the branches of an orange tree, the interior of a dorm or cafeteria from an unexpected angle, and wonder, how did they get that shot?

At the premiere screening, on the New York Film Festival’s opening night, Ross spoke about not wanting to overburden the actors with concepts but to have them experience each other. He fitted the actors with camera rigs literally strapped on. In more traditional filming, you always assume the camera is there. With the rig on, actors have always to be more aware. Daveed Diggs spoke about wearing the heavy rig all day for fear of losing perspective. Fred Hechinger observed that actors and cameramen seemed to exchange roles in the filmmaking. The result is as close as I’ve ever seen to a novel-to-film adaptation that translates technique as well as story. Already nominated for top awards, RaMell Ross and “The Nickel Boys” are high on the lists predicting Best Director/ Best Film Oscar nods.

Sebastian Stan, Timothee Chalamet, Adrien Brody: Among Leading Men at the Gotham Awards 2024

Old Hollywood likes their leading men handsome and debonair—think Cary Grant, Rock Hudson—but with this year’s Gotham selection of A DIFFERENT MAN for the top prize, Best Feature, a new look grabs at your attention. You have to love an awards season that starts with a celebration of –well, difference. A hit at the New Director/ New Films series, the film stars a unique protagonist, a man not without his charms, but no traditional heart throb; with a face a Cubist portraitist would love, he becomes all the rage. The film choice is a reminder that no matter how smart, suave, and elegant this start to the awards season, the Gothams still keep a discerning eye on indies.

That said, the biggest stars were in the room, eh, the cavernous Cipriani Wall Street, mainly as presenters, a great show of support; the stars know this is the night for great food and fun. A-listers: Jake Gyllenhaal, Rachel Brosnahan, Aubrey Plaza, Jessica Chastain, and Oscar Isaac were among the presenters, some nominated for their performances: Nicole Kidman, Demi Moore, Saoirse Ronan, among them, but these did not take home the prize. Gender mixed, the Gothams gave Coleman Domingo Outstanding Lead Performance and Clarence Maclin Outstanding Supporting Performance for their respective roles in SING SING.

Highlights for me included James Mangold and Timothee Chalamet accepting the Visionary Award for A COMPLETE UNKNOWN, the new Bob Dylan movie. Chalamet does not imitate Dylan so much as make the songs his own. Elle Fanning cheered her director and co-star on. She made her Broadway debut this year in Appropriate and said she enjoyed the challenges of theater, especially working with Sarah Paulson. We first met “Timmy” at the Hamptons International Film Festival. He was in a group of “Rising Stars.” I think his star has risen.

Hollywood Film Mavens Robert Zemeckis, Tom Hanks, and Doug Liman Praise Gaucho Gaucho: Reinventing Documentary

Documentary filmmakers Gregory Kershaw and Michael Dweck had a shoutout of praise for their 2022 film, THE TRUFFLE HUNTERS --from Robert Zemeckis and Tom Hanks. These veteran filmmakers, the FORREST GUMP team, are not the only fans. For their latest doc, GAUCHO GAUCHO, about Argentinian cowboys, making the rounds of film festivals to great acclaim, director/ producer Doug Liman, another fan known for popular films such as EDGE OF TOMORROW, starring Tom Cruise, hosted a private screening of excerpts in his downtown Manhattan apartment, followed by a Q&A with Michael Dweck. On the face of it, the filmmakers could not be more different. The evening became a master class in film art.

Shot in black & white, GAUCHO GAUCHO, takes place in a hilly landscape, featuring a community close to nature, far from our tech world. In one clip, a still mound moves. A horse rises from rest, a man on top of it—all in one long take. The filmmakers knew this “horse whisperer” often slept on his animal, and simply filmed it—like a Warholian meditation. The Hollywood filmmakers appreciate how challenging such a one-shot scene can be. No tricks, cut-aways, or B-roll--just the camera recording what takes place, taking its time. The audience at Liman’s comprised of documentary filmmakers all know that even non-fiction filmmaking relies on crafting. Without the customary “script,” Kershaw and Dweck get as close to the real moment as one can get with thrilling results.

Prior to their recent screening at DOCNYC, I had a chance to speak to them on Zoom. Onto the next project, they were filming in Burgundy, in France’s wine country, yet another off the grid community—their specialty. While the doc team were honored to be lauded by Zemeckis and Hanks, and to meet Liman and be friends, as they said, they work on a smaller canvas. “We have the luxury of time to create the film we want to make,” said Dweck.