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D. A. Pennebaker was inventive, dogged, and had the ability to win people’s trust.
The late Albert Maysles once said: “I don’t see, frankly, trying to make a film to create better understanding. Our motivations for making films aren’t intellectual ones.”
I cite the repertoire only to give you a sense of the breadth of the material Jason Moran and Fred Hersch built on. The glory of the evening was the complete integration of the two pianists’ musical thought.
Rather than a triumphant return to form from one of horror’s greatest visionaries, Dark Glasses plays like a faded Xerox copy of director Dario Argento’s past hits.
An Arts Fuse regular feature: the arts on stamps of the world.
The questions at stake are good ones and not asked very often in contemporary plays: why do some win and others lose in America? And what are the responsibilities of the haves and the have-nots?
The most compelling reason to see this film is Annette Bening’s performance as Gloria Grahame — it’s perfect.
The Boston Artists Ensemble found the tenderness and understated grace of Robert Schumann’s Piano Trio No. 2.
By Debra Cash Blame Alicia Alonso for reinforcing her own senseless Cuban embargo. The famed (and literally blind) dramatic ballerina who is the fountainhead of Cuban ballet and an official Friend of Fidel seems to have felt that although she made her own performing career in the United States the Cuban “dance drain” of ballet…
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