The Eclipse at Tribeca Film Festival/ Lou Reed at Blender Theater

Playwright Conor McPherson’s horror film tucked into a love story, “The Eclipse,” had its first screening before an audience on Friday afternoon. The newly refurbished (by Milton Glaser) Visual Arts Theater in Chelsea was packed with admirers of the Irishman’s work, most recently “The Seafarer” on Broadway featuring Ciaran Hinds as a visitor with a suspiciously sulfurous whiff. In “The Eclipse,” part of this year’s Tribeca Film Festival, Hinds plays a widower volunteering at a writers’ conference in his hometown, Cobh, on the Irish coast. As Michael Farr he has visions from the beyond, boxes with a famous and full-of-himself author played by Aidan Quinn, and has a tender romance with a novelist he chauffeurs about town. Haunted by repressed emotions, he is a grown man who cries. McPherson clearly loves the supernatural, deploying blood-dripping ghosts to great effect in this surprisingly shlock-less, deeply satisfying movie. The director and stars were present for a Q & A. Fellow filmmaker/ playwright John Patrick Shanley (he wrote the stage play, movie script and directed the excellent “Doubt”) asked McPherson about this preoccupation. “We’re all part of the universe so why wouldn’t we see ghosts?” was the reply. Others remarked at McPherson’s peaceful way of dealing with death, and with grief. Liam Neeson chatted with the filmmakers as the audience left. Let’s hope he too found solace in viewing this fine film, which as yet has no distribution. Not for long.

Still charmed by this movie’s sweet music mixed with bits of the macabre, I was whisked away east on 23rd Street in a ric-taxi festooned with Delta Airline logo from a company called Bicytaxi, a perk of the Tribeca Festival making me feel, they think of everything. My destination was the Blender Theater in Gramercy Park for Lou Reed’s experimental, heavily electrified, ear-splitting hour-long riff with the young musicians Sarth Calhoun and Ulrich Krieger—and veteran John Zorn. As people filed out, overcome by the noise, others stayed on somehow sated by the vibrations. Warhol acolyte Brigid Berlin was among the latter, as was I. After years of being a big fan, after the 2008 Tribeca Film Festival’s celebration of Julian Schnabel’s concert documentary of Lou Reed’s romantic work called “Berlin,” I remain awed by this artist’s riskier side.

Regina Weinreich

Graphic Design: Salpeter Ventura

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