Gossip Central

Steven Spielberg’s West Side Story: Get Ready to Rumble

You will not have to ask, do we need yet another adaptation of this classic? With Leonard Bernstein’s music and Stephen Sondheim’s lyrics firmly implanted in your head, a memory of the 1961 Jerome Robbins’ choreography and Arthur Laurents’ book, prepare to be delightfully shocked at how much this new version of West Side Story feels new. Maybe it’s Tony Kushner’s masterful script that takes us first into an image of urban renewal, the ‘hood, a battleground for the Sharks and Jets, being right here in Hell’s Kitchen cum Lincoln Center (shot on a lot in Paterson, New Jersey), and the wisdom we bring knowing the future: everything must change.

But come back to that era: to the cars and shops declaring poverty, ethnicity, the warehouses, crumbling buildings—the boys styled like mid-century heroes, a bit of Marlon Brando and Jack Kerouac. Enter the sweet-faced Polack Tony for Anton (Ansel Elgort) and the Latina ingenue Maria (newcomer Rachel Zegler). Justin Peck updates the original choreography without upsetting Robbins’ vision. And then there’s Rita Moreno, the Oscar-awarded Anita in 1961, now near 90 and getting ready to be celebrated at the Museum of the Moving Image. A widow, perhaps an oracle to the young, as Valentina, Moreno bridges past and present: Spielberg has her singing “Somewhere,” and your heart aches.

Gotham Awards: The Film Season’s Coolest Kick Off

At the annual New York City event at Cipriani Wall Street, bestowing serious awards and spreading unexpected intimacy, Maggie Gyllenhaal swept the Gotham Awards in her directorial debut for The Lost Daughter. Her adaptation of Elena Ferrante’s short story won Best Screenplay and Best Feature; and, ç1 shared the award for Outstanding Lead Performance with Frankie Faison, star of The Killing of Kenneth. Traditionally the start of the award season for films, the Gothams prides itself on indie selections, and still manages to honor major stars.

Kristen Stewart introduced by Julianne Moore and Pablo Larrain who directed her in Spencer, his take on Diana, managed to keep it real deploying an occasional if authentic “f” word. As Moore, asked, “Who is cooler than Kristen Stewart? Well maybe Ethan Hawke who shared a prize for Outstanding Performance in a New Series for his work on The Good Lord Bird with Thuso Mbedu of The Underground Railroad, and then was right back onstage to introduce Peter Dinklage. “He contains multitudes,” Hawke quoted Walt Whitman, praising Dinklage’s acting chops. Bonding in praise of John Malkovitch, actor to actor, well, they should know.

Faith Salie Off the Air: Approval Junkie at the Minetta Lane Theater

That voice. I’d know it anywhere, and so would you if you’ve been attuned to NPR. You could say I’m a junkie for talk radio, and “Wait Wait Don’t Tell Me” is a particular addiction. A news quiz cum comedy revue, the show has gotten me from here to there, as I drive in traffic along Montauk Highway. One star, Faith Salie, has taken her story on the road, so to speak, landing at the Minetta Lane Theater with “Approval Junkie.” A monologue (co-written with Amanda Watkins) about career, marriage—she’s especially funny about her ex, “wasband,” as she dubs him, nurturing mom and dad, disparaging career coach—who while encouraging she cut bangs, basically says without saying it, she has a face for the radio.

The Lehman Trilogy on Broadway: American’s Magical Music Box

The epic length evolution of three brothers from Bavaria becoming Americans, immigrants in the 19th century coming by boat, would be one kind of story, maybe a sequel to “Fiddler,” picking up when the family leaves the shtetl. That this is the Lehman family, who go from textile merchants in the south to the Lehman Brothers—yes, those Lehman Brothers— bankers at the heart of the giant financial debacle of 2008,--spins this saga: the dream that arcs and declines to dust. This awesome dramatic work, The Lehman Trilogy by Italian playwright and novelist Stefano Massini, a pre-pandemic hit at the Park Avenue Armory, is now neatly performed in a rotating crystal cube—"a magical music box”-- at the Nederlander Theater, lauded and playing to packed houses every night—to masked, vaxxed, avid theatergoers. It’s still a hot show.

The trilogy may rival Angels in America as a large and unique variation of the dream. Under Sam Mendes’s fine direction, the British actors are the main event. Simon Russell Beale, the eldest brother, Haim becomes Henry upon reaching these shores. An alpha male, the actor dissolves effortlessly into the girl he will marry, illustrating just how split-second, unexpected and witty the actors’ performances are, and how the principal cast of three occupy a world. As the middle brother Mendel now Emmanuel, Adrian Lester, so evocative when he starred in Red Velvet is a distinguished presence and Adam Godley, —the tall third brother Mayer nicknamed Spud—his angles, physicality, amaze. Each—likable in this context-- becomes a wife, a son in this portrait of capitalist success, despite their casual disregard of slavery, the poor, how they and their children step on their way up. Well, that’s American too, through a European lens.

JR’s Spontaneous Poetics: Paper and Glue

JR, French  graffiti artist and Agnes Varda collaborator on Faces, Places is infectious. His virus, a matchless enthusiasm for the creation of art, is impossible to describe: his energy is a force. Burroughs/Gysin had their Third Mind, Ouevres Croissees in French, a roadmap to artistic creation through collaboration, and JR inherits their spirit along with Varda’s. In his new documentary, Paper and Glue, he takes us to the US/Mexican wall, a California prison, the banlieu of Paris, favela of Rio, places we would never think to want to see. Infusing them with his je ne sais quoi, voila, they become the only places that matter, sites with superstars among the disenfranchised, the movie’s inscription from Varda: “If we opened people up, we’d find landscape.

His pal Bradley Cooper introduced the nomadic JR at the MoMA premiere this week, hosted by MSNBC whose filmmaking arm funded the film. Cooper, a bona fide movie star in awe, seemed happy to just to be in JR’s posse, a growing populace of fans and volunteers helping to build his outrageous installations. At the wall—yes that wall—someone even jokes about who is going to pay for it--JR erected a structure to paste a giant-sized photo of a small Mexican boy, waiting for the authorities to shut him down. Instead, they arrived and shared tacos. That’s just what you want to do with the irresistible JR. “Kevin,” a prison inmate sporting a swastika tattoo on his cheek, calls collect and JR picks up wherever he is. He sends Kevin a signed copy of Art Spiegelman’s Maus. Now, the prison system provides a tattoo removing system.

Freda Payne at The Cutting Room: What Love Could Be –And Is

An apt locale for a book party for a famed pop singer, the Cutting Room filled with well - wishers for Freda Payne’s memoir, Band of Gold, last week. Co-writer Mark Bego flew in from Tucson, wearing the most outstanding jacket, a print of black & white with sparks of bold color. Yes, it was rock n’roll --without the music. And Payne, resplendent in red, greeted everyone with a kiss and hug. Of course, I knew Freda Payne’s most famous pop tune, “Band of Gold,” grew up with its sound in my ears, her great voice on the proto-feminist lyrics: Left on her wedding night, she laments, all that’s left is a band of gold—and memories of what “love could be.” It did seem like a turning point in 1970. For Freda Payne, a jazz vocalist of note, this was a breakout, flying high on the pop charts.

Up next for her is a new release, “Freda Payne: Let There Be Love,” featuring duets with Dee Dee Bridgewater, Kenny Lattimore, Kurt Elling. With Johnny Mathis, her rendition of the Gershwins’ “They Can’t Take That Way From Me” is an inspiration. She is set to perform at Birdland on November 22.

Last Night in Soho Hits a Nerve

Hard to put a finger on what makes Edgar Wright’s latest movie, Last Night in Soho, so deeply affecting. Is it the fascination with Anya Taylor-Joy’s indelible performance? So good at grabbing the eye in The Queen’s Gambit, Taylor-Joy is mainly a phantom in this coming-of-age horror movie set in a sinister London in the ‘60’s when everyone was swinging until they were not. Called Sandie, she haunts Eloise’s fantasies of a time gone by, when her mother came to the big city from the countryside to some tragic end. At the beginning, Wright lures you in: you think Eloise (the lovely Thomasin McKenzie) is a stand-in for Audrey Hepburn, twirling about in a frilly frock, mirrors galore in her bedroom, focused on fashion. Ingenue comes to London to learn her craft and is instead caught up in the horrors of exploitative men—such as Matt Smith, sporting a devilish seductiveness in a James Dean hair swoosh-- who steal their dreams.

Odessa Young, Olivia Colman, Penelope Cruz at the Hamptons International Film Festival If It’s Not One Thing, It’s Your Mother

Australian actress Odessa Young exhibits poise beyond her years. At 23, the star of Mothering Sunday, screened at the recent Hamptons International Film Festival, commanded a leather sofa at the Maidstone Inn in East Hampton, ready to promote her film. With her was her co-star Josh O’Connor, Emmy winner for his role as Prince Charles in The Crown. The two are a hot item in the movie, flirting, making love, unselfconsciously intimate, unclothed, under Eve Husson’s fine direction. The nudity, beside the point, was never mentioned. The actors instead raged on about who had the closer friendship with the elder star each adored, Colin Firth. Young was certain she was the one. O’Connor wisely let that rest.

The “mothering” of the title has to do with a day off, a family time in fact kept for their trysts. Young’s character, an orphan working as the well-to-do family’s housekeeper, has no family obligation, and as the bereaved mother (Olivia Colman in a small but memorable role) tells her; therefore, she would not, she says, experience loss; the opposite is true.

Pedro Almodovar’s Parallel Mothers Closes The New York Film Festival: Penelope Cruz is Spain’s Sophia Loren

Pedro Almodovar’s Parallel Mothers Closes The New York Film Festival: Penelope Cruz is Spain’s Sophia Loren loves women. He also loves actors. He could not have been more passionate introducing the stars of his new movie, Parallel Mothers, closing night of the New York Film Festival: Penelope Cruz and Milena Smit. Beautiful women, one older, the other younger, they play women who bond in a maternity ward, each birthing a daughter, and if you know this Spanish auteur’s oeuvre, the event occasions the usual high stakes emotional melodrama for which he famously directs the women to pull back the tears.

For this film, he folds their stories into a historical memory, a time when Fascists came door to door in the Spanish countryside arresting men, shooting them, their fates tied together with barbed wire in mass graves. Having been told of this horrific event by her grandmother, Cruz’s Janis (named for Janis Joplin) seeks to unearth this site in her village so that the men—fathers, brothers, uncles-- can be properly mourned and remembered.

The First Wave Opens the Hamptons International Film Festival

The opening night film is tough, warned a programmer at the HIFF, the beloved festival in person after the pandemic shutdown last year. It’s Matthew Heineman, I said, knowing that this documentary filmmaker embedded with Mexico’s cartels in his film, Cartel Land; of course it is tough. If you can insinuate yourself with murderous drug traffickers, might the hospital wards overwhelmed by Covid be a good subject. But here’s the unexpected: The First Wave covers a tough subject with enormous heart.

Ahmed, a police officer, overweight, and diabetic oozes pus on a hospital bed. A nurse, Kelly, knows he’s a family guy with young kids; she’s determined to help him make it through. He does not look so good, going in and out of ventilators. Not a good sign. We check in on him as he strains to have face time calls with his wife, Alexis, and their children. Other families come into view: one is a woman who just gave birth now fighting for her life. You know these stories and hundreds like them.