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Inevitably, by recasting Petra von Kant as a version of Rainer Werner Fassbinder himself, François Ozon has rendered the film self-consciously cinematic.
Read MoreNothing of value, it seems, was out of the reach of J. Pierpont Morgan’s acquisitive grasp.
Read MoreWhenever there is a choice to be made between meaning and melody, the translator tends to opt for the latter.
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“Since the late ‘60s I’ve been up and down the Northeast corridor, and Boston’s always one of our favorite stops.”
Read MoreIrving Berlin fans will be pleased to see such items as the complete Jerome Kern letter, (written in 1925!) in which Kern writes: “Irving Berlin has no place in American music. HE IS AMERICAN MUSIC.”
Read MoreThe documentary was originally screened at South by Southwest in 2010 while Levon Helm was still alive, but with his death from cancer in 2012, the film now serves as a heartfelt tribute to a true American original.
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Janet Malcolm never brings up the possibility that her powers of memory have dramatically diminished in old age. If that were the case, such an admission would’ve strengthened the book, giving it context. It would have humanized it, too.
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Nothing detracts from the essentials here – three fine players in creative conversation.
Read MoreArts Fuse critics select the best in film, theater, dance, music, visual arts, and author events for the coming week.
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Arts Commentary: With Friends Like These — The New York Times Explains Why Criticism Matters
The important question the NYTBR Editors fail to ask is whether the traditional definition and values of literary criticism will survive in an age of ebooks and iPads. Is there a primal appetite for criticism? (Edith Wharton says there is, and I believe her.) How will the Internet shape our innate desire to compare, judge,…
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