The Ithacan: "The Invention of Lying" Review

Ricky Gervais is a funny guy. I've really enjoyed his appearances presenting at the Emmys the past few years, this year (I totally did not notice his jacket was green when first watching the show — spiffy!) and last year. He's even hilarious going off the cuff with Elmo.

However, I didn't enjoy his latest film as much. It's not necessarily his fault in the acting department, but he could have done a better job as a writer.

Predictable comedy hinders film

By Anne Gould Northgraves Staff Writer | October 8, 2009

Imagine a world without lies of any kind. People are always honest — at times brutally so. For those who subscribe to an “honesty is the best policy” point of view, a truthful world may sound ideal. However, such a straightforward existence also entails no fiction, so movies within this world merely consist of readers reciting history lessons, and there’s no deeper meaning behind a characters’ actions. Everything is exposed directly on the surface, which makes for amusing circumstances but no real emotional connections.

This world is exactly what is depicted in the new film “The Invention of Lying.” The premise is mildly entertaining, but the movie is unable to balance the amusing frankness of the characters and the deeper emotional resonance of protagonist Mark Bellison’s (Ricky Gervais) problem of being the first and only person capable of lying. Moments of humor and grief that strike true do not complement each other or add to the cohesive structure of the plot.

Gervais, the British comedian responsible for television favorite “The Office,” brings the best of his self-deprecating humor to the film as its co-director and co-writer. There are plenty of laughs, especially in the first half of the film, at the expense of Gervais’ “fat, snub-nosed” physique. Anna (Jennifer Garner), the object of Bellison’s affection, is particularly hilarious in her upbeat, earnest and cutting honesty toward Mark, by directly telling him he is not in her league.

There are a number of cameo appearances, from quirky television staples Tina Fey, as Mark’s disparaging secretary, and Jeffrey Tambor, as his diffident boss, to Academy Award nominees Philip Seymour Hoffman and Edward Norton as a clueless bartender and a skittish police officer, respectively. The actors clearly enjoy the opportunity to be callously honest in a role, and their joy is palpable.

In addition, there are some genuinely poignant moments. When Mark invents the idea of a happy eternity after death so his dying mother will not be afraid, Gervais gives a glimpse of his convincing emotional range. The moment in the film could be interpreted as an indictment of the artificiality of organized religion.

Despite the quality of the awkward interactions between the truth-tellers and Mark, as well as the emotional depth of Mark’s relationship with his mother, the overall story has several major problems. The most glaring issue is the lack of a proper backstory for the relationships of the film. Other than Anna’s attractiveness and sweetness, no reasons are given to explain why Mark is so enamored with her, nor is there an explanation of how the two met and ended up on a date together.

Similarly, throughout the film Mark confides in Greg (comedian Louis C.K.), who is assumed to be Mark’s good friend. However, the film never explains how or why they are so close — Mark simply walks into a bar disturbed by his newfound ability to lie and begins talking familiarly with Greg.

The climax of the film is rather anticlimactic and predictable, with Mark merely getting the courage to directly confront Anna about his feelings. Had Mark and Anna truly grown as characters, the film would be a much more solid piece overall.

Gervais and his writing and directing partner, Matthew Robinson, have a great deal to learn before moving from remotely successful comedies to unified and meaningful works of fiction.

“The Invention of Lying” was written and directed by Ricky Gervais and Matthew Robinson.

The Ithacan: "The Informant!" Review

First review of the semester. This was a decent film, and I give it a better review than I actually felt about the film, because from an objective point of view it was very good, it just did not tickle my particular funny bone.

Damon fills out role as informant

By Anne Gould Northgraves Staff Writer | September 24, 2009

Describing “The Informant!” is as complex as the plot. And just as each character in the film has a different view of the complications and events, every viewer is going to have a different opinion on the movie’s merits ­— which is part of its charm.

The plot appears simple at first: Mark Whitacre (Matt Damon), a pudgy executive at a corn processing company, becomes an FBI informant when he learns of a global corn-lysine price-fixing scheme. But Mark is a compulsive liar with delusions of grandeur. Unable to untangle his own lies, Mark eventually finds himself on trial for criminal activities. While Kurt Eichenwald’s book treats this as a thrilling tale of corporate espionage, director Steven Soderbergh takes a much different view. Imagine drawing from Soderbergh’s own body of work: The winks and nods of humor from the “Ocean’s” series combined with the serious corporate fraud of “Erin Brockovich,” but concerning corn by-products instead of pollution.

“The Informant!,” based on the nonfiction book of the same name (minus the exclamation point), exposes the absurdity of the situation to the audience even as the characters are dead serious about the multiple frauds going on. And the types of fraud differ greatly: corporate espionage, price-fixing, embezzlement and lying to the FBI, to name a few. But the many twists could potentially confuse the audience. Even someone who enjoys the general tone of the film will have a difficult time keeping track of the truth beneath the lies, in part because more lies are always being revealed.

Under the convoluted twists of deception and fabrication is an aura of absurdity created by Mark’s deceit. Soderbergh, also the cinematographer on the film, puts a yellow-orange tint on most of the movie — mirroring Mark’s excited personality and colorful inner dialogue. The tone and bright background age the feel of the film, giving it a more authentic ’90s vibe.

Even more than the overall color palette, the music of “The Informant!” is vital to establishing the mischievous tones in each scene. Prolific composer Marvin Hamlisch, the mind behind Broadway’s “A Chorus Line,” penned the upbeat score and garners widespread laughs from the entire audience. It was made to contrast scenes of great ruin and success on the part of Damon and the other actors.

Though the entire ensemble excels in the subtlety required to make the situations real, the film belongs to the inspired performance by Damon. He is hardly recognizable, having gained roughly 30 pounds for the role and hiding under a bad wig and an unfortunate moustache. These physical changes help effectively establish Mark’s cluelessness, from checking on his secret-recording equipment during a meeting to wanting to remain the president of a company he is trying to take down. Wardrobe aside, the biggest insight into Mark’s, and Damon’s, greatest triumph in the film is the off-topic, stream-of-consciousness narration he provides.

Almost never pertinent to the subject discussed during the scene, Mark’s disconnected thought process provides both humor and a window into his world, where in the end everything has a purpose.

“The Informant!’s” complex structure and combative stories make it a difficult film to gain interest in. However, with a basic understanding of the plot, an open mind to let the story develop and a sense of humor, “The Informant!” definitely deserves to be seen.

“The Informant!” was written by Scott Z. Burns and directed by Steven Soderbergh.

The Ithacan: Resident ducks make a splash

With a new semester back at Ithaca comes a new group of The Ithacan articles! This first piece was not something I proposed — my editor Michelle had the story, and I volunteered to cover it. It was a bit of a difficult write, because obviously I couldn't talk to my subjects, other than getting a "quack quack," and it was a bit hard to find an angle on. My initial write up was scratched, rightfully so, because it didn't have a cohesive tone or subject. My second draft was a lot better, and after a final tweak to the lead, or "lede," it was done. And I actually got article of the week for the whole paper, which was nice!

Resident ducks make a splash

Two domesticated ducks make their mark on campus as friendly, personable celebrities

By Anne Gould Northgraves Staff Writer | September 17, 2009

Frank and Whiskey spend most of their mornings making their way from the Public Safety pond to the Roy H. Park School of Communications among groups of students and faculty. The journey is long for their little, webbed feet, but the rewards are plentiful as the bold pair approaches people, begging for breakfast.
With their human-friendly behavior, these two mallard ducks have gained a great deal of notoriety in a short amount of time.
Junior cinema and photography student Kristyne Fetsic, who began seeing the ducks this semester, said she already has an affinity for them.
“I’ve seen them outside just this year,” Fetsic said. “I call them Frank and Whiskey.”
Her name for the ducks would be more fitting if the two were male, but the lack of color on their heads and their overall muted coloring indicates that the two are, in fact, females.
Kit Straley, junior biology major, is especially interested in ducks and said she was shocked by the ducks’ interest in humans.
“One of the first days we were back … we were going to stop at Park, and they were just sitting outside,” Straley said. “I’ve always really liked ducks. I got really excited, and I slowly approached them, and then they just both stood up and ran over to us, which was a big surprise.”
This is the first semester these particular ducks have been seen by students. However, a pair of equally friendly ducklings were noticed this summer by junior psychology major Jacqueline Baum.
“I was here over the summer, and there were two baby ducks that were following everybody around,” Baum said. “We tried to leave them alone, and they kept following us around, so we had to wait ‘til they fell asleep, and then we ran away. We didn’t want to disrupt nature.”
Baum said she believes they are the same ducks because they make identical sounds and one of the ducklings had deformed wings, a trait shared with one of the Park School ducks.
“I assume they were the same ducks because they sound the same; they don’t really quack so well,” Baum said. “There’s one who has a wing stuck up in the back.”
In Straley’s close interaction with the ducks, she has observed the same deformity in the wings of one of the birds.
“Its wings were almost turned inside-out,” Straley said. “They fold out and up and stuck up like little spikes on its back, instead of [lying] down flat.”
Animal ecologist and assistant professor of biology Leann Kanda also observed the ducks and believes the malformation — and subsequently their inability to flee from humans — led students to start feeding one of the ducks. When the other noticed, it began begging for food as well.
“Since [the duck] couldn’t fly away when danger was approaching … basically it was stuck there,” Kanda says. “It started getting lots of attention. It started getting lots of food. And so its sibling said, ‘Hey, food.’”
To some it is very tempting to feed these cute animals. However, doing so is not in the ducks’ best interest. Straley said feeding bread to the ducks is not healthy.
“It’s bad for them,” she said. “Just like if you only ate bread.”
Sergeant Ronald Hart of Patrol and Security Services said he has responded to several complaints that the ducks, while not dangerous, are a bother.
“They don’t bite,” he said. “They can’t harm you. They’re more of a nuisance. We’ve had calls from people who’ve gone in [the building], and the ducks have walked in the building behind them.”
Kanda said the ducks’ comfort around people is more understandable given that they live on a college campus.
“Birds on campuses, [which are] very human-dominated landscapes, are always much more domesticated,” Kanda said. “They get used to humans being around that aren’t hurting them.”
Another reason not to feed the ducks is the hope that they might return to normal habits and participate in this fall’s migration. Straley said she noticed the deformed duck’s wings have been improving.
“Over time its [wings have] been sticking out a little bit less,” Straley said. “ I still can tell which one’s which because they act very different. But in terms of their wings, they now look exactly the same.”
This is positive news for all those who have become attached to the birds.
Straley said the ducks are becoming quite famous, starring in parts of several student projects.
“I took pictures of them for intermediate photography, and someone else used them for a CP class for a film called ‘Duck Films,’” Straley said. “They’re like celebrities.”
“I like them,” Baum said. “They’re kind of like the Park mascots now.”

The Ithacan: "Australia" Review

Now, this review I wrote right after Thanksgiving break brought up a lot of dissenting opinions among my friends. Australia was directed by Baz Luhrmann, whose few films are incredibly polarizing. There are those that L. O. V. E. the sumptuous splendor and tragedy of Moulin Rouge, though many others find it too frenzied. And William Shakespeare's Romeo + Juliet can be seen as the freshest take on any of Shakespeare's plays or a needless adulteration of a classic. 

I, for one, love his work. And though Australia has it's flaws, it was aiming to be a sweeping, romantic and joyous epic of a previous age. Which it succeeded at. Perhaps the reason the film did not do well is a testament to how much films have changed, and how the public's general expectations have been streamlined. For more, just see below. 

Epic Aussie film breaks genre boundaries

By Anne Gould Northgraves Staff Writer | December 4th, 2008

Expectant moviegoers have been anticipating the release of “Australia” for months, and the large-scale, romantic and exotic epic did not let them down. It is epic with a capital “E.”

The film is anything but genre-specific. With the cattle driving and beautifully shot desert scenery in most of the movie, it is part Western. The passionate relationship between Nicole Kidman’s stuffy Brit Lady Ashley and Hugh Jackman’s gruff Aussie Drover is classic romance fodder, and moments of physical and verbal humor create flashes of comedy.

 The social prejudices and Japanese Invasion of 1930s northern Australia add historical perspective. A large portion of the story revolves around the appalling racist policies of ruling whites against Aborigines and mixed-race children, providing social commentary.

“Australia” is reported to be the largest and most expensive film made in the titular country, costing upward of $150 million. Aussie director and co-writer Baz Luhrmann — best known for tragic romance spectacles “Moulin Rouge” (2001) and “Romeo + Juliet” (1996) — did not appear to be the ideal person to tackle “Australia.” But his experience crafting genre-bending films that fit bygone times was vital to making “Australia” work.

As in “Moulin Rouge,” the story starts off with a few too many characters and plot points presented all at once. Understanding all the information is admittedly difficult at first because of thick Australian accents. Also there are moments when quick editing, panning shots and physical humor akin to the style of “Moulin Rouge” and “Romeo + Juliet” are out of place. But overall the film flows well, and the audience can become truly invested in the story and the characters’ journeys. Luhrmann’s experience directing dance and action spectacles allows him to craft dramatic sequences in the expansive setting.

The writers also deserve a great deal of credit for the success of “Australia.” If not handled delicately, the story could have been predictable and unable to hold the viewer’s interest for the film’s 165 minutes. But “Australia” deftly handles the required plot points. While Kidman’s and Jackman’s characters progress through an archetypal relationship, from their initial loathing to being united to achieve a common goal to love, it is wholly believable. Though romantic films usually have an uplifting ending, given Luhrmann’s predilection for tragic endings, the conclusion does not feel forced or predictable.

The final piece of the epic puzzle that makes “Australia” a successfully grand picture is the actors’ skills. Though Kidman is Australian, she convincingly portrays a stuck-up British aristocrat. Her character is more than a caricature — Lady Ashley has good reasoning and motivation for her actions. Jackman is multidimensional as Drover, with his own motivations and convincing character arc. His emotional performance toward the end of the film when Drover comes to a startling realization is particularly moving. But while David Wenham is convincing as the evil Neil Fletcher, a far cry from his martyr-like role in “The Lord of the Rings,” Fletcher remains a one-note character and could have benefited from more development.

“Australia” reaches for epic proportions and hits the mark. Luhrmann transcends his customary style while keeping the film entertaining and surprising. The result is a film that recalls the grand spectacle of features like “Ben-Hur” in setting and story, while focusing on individual characters’ struggle through the landscape.

 

“Australia” was written by Baz Luhrmann, Stuart Beattie, Ronald Harwood and Richard Flanagan, and directed by Luhrmann. It received three and a half out of four stars.

The Ithacan: "The Wild Party" Review

Seeing as I haven't posted one of my Ithacan pieces for a while, I thought I'd do that. This was my review of IC's production of "The Wild Party." I didn't like the show a ton, but since I couldn't critique the play itself, according to my editors, I had to respond to the cast and crew's work. Which was pretty good, so this became a much more positive article than I had intended. 

Cast energy boosts an already ‘Wild Party’

By Anne Gould Northgraves Staff Writer | November 13th, 2008

Ithaca College Theater’s performance of “The Wild Party,” based on the off-Broadway musical by Andrew Lippa, truly lives up to its name. At Friday’s show, cast members threw energy into every number, and superb choreography carried some of the numbers that felt out of place.

A deep and dark (though periodically hard to follow) story underlies the frothy front of the musical, molding an enjoyable show into one that effectively sends a message about morality.

The opening number begins with lines from the 1928 poem by Joseph Moncure March on which the musical is based, “Queenie was a blonde and her age stood still / And she danced twice a day in vaudeville.” This vague yet affecting statement sets the tone for the next two hours. The musical numbers shift between vaudevillian acts of energy and ecstasy in “What a Party” and more introspective pieces like “Maybe I Like it This Way.”

The ensemble is perfectly tuned into the kind of energy required of each number, packing each piece with either emotional or physical energy. There are occasions, particularly during the first act, when numbers centering on ancillary characters — such as the lesbian Madame True, played by junior Emily Brazee — interrupt the central narrative. Though expertly performed and entertaining, the songs seem a bit out of place. The numbers in the second act take on a darker tone and focus on the central story of volatile and intertwined relationships between the unhappily married Burrs (junior Eric Morris) and Queenie (senior Meredith Beck), and new couple Black (junior Michael Haller) and Kate (senior Catherine Lena Stephani).

Impeccable acting compensates for some fine points of the story that do not hold up. While it is understandable that the abused Queenie seeks revenge upon Burrs, why she hesitates taking up with the immediately smitten Black is not clear. More mysterious is why Queenie’s old friend Kate — the antithesis of Queenie in every aspect, right down to their color palettes, with Queenie dressed in white and Kate in black — goes after Burrs. Since these relationships set the show’s ultimately tragic events into motion, additional explanation would have been more fitting.  

But the actors perform admirably with the given material, recalling the atmosphere and mannerisms of 1920s characters. Beck is all wide-eyed faux waif with a gleam of malicious plotting behind her virginal exterior, her voice warbling like a real vaudeville showgirl. Morris fully transforms into the unlikable, violent Burrs, personifying the nadir of male chauvinism. Yet it is Stephani that is particularly impressive as Kate. She infuses her character’s every movement with the frenzied energy of a middle-aged woman trying to hold onto her youth and her desires without thinking of the possible consequences. Her liveliness makes each of her featured moments high points of “The Wild Party.”

The two-tiered set brings the cast’s energetic performances to life. Candles placed throughout Burrs and Queenie’s loft provide soft, low lighting — perfect for the show’s serious moments. The use of the orchestra pit for the bathroom, where a key point of the plot takes place, effectively highlights the importance of the events that transpire there.

Transformative acting and use of the performance space come together under the skilled direction of Norm Johnson, associate professor of theater arts. His solid guidance ensures the difficult subject matter of “The Wild Party” doesn’t lose its poignancy.

 “The Wild Party” is showing tomorrow at 8 p.m. and Saturday at 2 and 8 p.m. in Hoerner Theatre. Tickets can be purchased at the ticket office in the lobby of Dillingham Center.

The Ithacan: "The Secret Life of Bees" Review

I went all by my lonesome to see The Secret Life of Bees and review it. Though pretty cliche, it was still very heartwarming. Sometimes you need a film like that, and in that case I highly recommend Bees. Plus, Paul Bettany is pretty unrecognizable. I don't know why that fascinated me so, but it did. I mean, he convincingly portrayed a self-flagellating albino monk. 

Coming-of-age film is sugarcoated yet believable

By Anne Gould Northgraves Contributing Writer | October 30th, 2008

Touching acting balances clichéd dialogue in the recent film version of the best-selling novel, “The Secret Life of Bees,” so much so that it reminds viewers of the true damage that can occur while growing up under trying circumstances. The film follows a young girl searching for the truth about her mother as she seeks out answers in the places she least expected.
The film’s multilayered story line is evidence of the film’s history as a novel. The startling revelation in the first few minutes — that young southerner Lily Owens, portrayed by the talented and moving Dakota Fanning, accidentally killed her mother as a toddler — immediately establishes the main character’s tortured nature. It is typical for characters in emotionally charged coming-of-age films to have traumatic pasts. But Lily’s guilt and pain from the loss of her mother and the abuse of her father are presented with matter-of-fact palpability, rather than unnecessary gobs of misery traditionally used in tearjerker films to garner sympathy from the audience. 
A great deal of the credit for the appealingly unpredictable nature of the film goes to the star-studded, supremely talented cast. Jennifer Hudson is moving as Rosaleen Daise, a worker on Lily’s father’s farm, and Queen Latifah is powerful as August Boatwright, one of the women who takes Lily in when she runs away. A veteran actress at only 14 years old, Fanning’s tender performance is balanced by the stubborn strength played by Hudson, still a Hollywood newcomer. 
Oscar nominee Latifah exudes a tangible calm for most of the film, but her extreme sorrow during a horrific plot twist develops her character’s dimension. Her even delivery ensures the sentimental dialogue is easy to swallow. Fellow Oscar nominee Sophie Okonedo makes the most of her small role as the overly sensitive May Boatwright. Her character’s hysterics are understandable rather than laughable. 
The film’s true revelation is singer-songwriter Alicia Keys, in her third film role as the headstrong June Boatwright. Previously untested in dramatic fair, Keys’ June is a paradox. She treats her boyfriend Neil (Nate Parker) tenderly, yet coldly refuses to marry him. She devotedly prays with her sisters, yet does not always have faith in August’s decisions. Though the Boatwright sisters are much older in the novel, fans of the written work will not be disappointed by the quality of the performances. 
The supporting cast delivers as well. British actor Paul Bettany is particularly effective and nearly unrecognizable as Lily’s angry and abusive father, T. Ray. Though Bettany has little screen time other than periodic, irrelevant scenes that throw off the film’s pace, the character is not one-dimensional. T. Ray has his own demons and pain that shed light on his questionable actions, making his decisions justifiable. 
The film’s subtle style is like a golden layer of honey coating and sweetening the whole film. The southern locals are filmed under the guidance of writer and director Gina Prince-Bythewood and director of photography Rogier Stoffers, with strong attention to color and light. The sunlit scenes, full of colors that pop, like the Pepto-Bismol pink of the Boatwright house, appropriately showcase Lily’s increasing comfort in the Boatwright home. 
Though “The Secret Life of Bees” features the occasionally sappy dialogue and pacing issues of similar feel-good films, there is much more to the film than that. In the capable hands of a talented cast, a strong guiding story and beautiful cinematography, the film makes for a heartwarming movie-going experience. 
 
“The Secret Life of Bees” was written and directed by Gina Prince-Bythewood.

The Ithacan: A Broadway Perspective

This was the first (and so far only) online-only article I wrote. It either didn't fit in the paper or couldn't be put in because of a lack of proper artwork (aka pictures). So that was unfortunate.

A Broadway perspective

New York casting associate shares insight on breaking into the business

October 30th, 2008

Bess Fifer, a casting associate with the Telsey and Company agency in New York City, has cast films such as “Sex and the City: The Movie” and the upcoming “I Love You Phillip Morris,” starring Jim Carrey. She has also cast Broadway shows, such as “Rent” and “In the Heights.” This weekend she will be working with young actors in Ithaca during a two-day workshop at Ithaca College that will examine the latest audition methods and resume tactics. Staff writer Anne Gould Northgraves spoke with Fifer about finding her dream job and the struggles young actors face today.

Anne Gould Northgraves: What does the job of a casting associate include?

Bess Fifer: I work on everything from musicals to straight plays to commercials to film. What we do is find and audition actors for whatever we have been hired to find, go out and look for the best actor for the part, bring it to our creative team, which usually consists of a director and producer, and offer them what we have found.

AGN: What brought you into this line of work?

BF: (laughs) Actually I was working as an office manager in a commercial real estate development firm [in Anniston, Ala.]. I’d always been in the arts but was just trying to get some business experience and I ended up taking a [career] aptitude test. “Casting director” popped up on the suggestions, and I had no idea what it was. I started doing some research and it just kind of hit me… That sounded like the coolest job I had ever heard of. I ultimately made the decision to move to New York, and that’s what I’ve been trying to do since I got here [in August 2004].

AGN: Had you been involved in acting or theater in high school or college?

BF: I actually have from high school. I did a lot of theater — music theater — in college and then I got involved in it once we moved to New York. I never was a New York performer — it was never something that I ever wanted to do. I moved here to pursue casting.

AGN: What makes you excited about your job?

BF: I really love performers. It’s amazing what they do, to really put themselves out there in the rawest state possible. I love working with them, trying to get the best performance out of them. I enjoy the creative process and seeing how the work we did in the room transfers to the stage or screen.

AGN: Have you ever been upstate to Ithaca before?

BF: I have been upstate but I have never been to Ithaca before. So I’m excited about that. I love small towns and college towns in particular because they have so much life and I’m really excited to get up there and look around.

AGN: There has been a lot of press about shows closing on Broadway, such as “Hairspray” and “Legally Blonde.” What are your thoughts on that, as someone who casts Broadway shows?

BF: It’s a very precarious time for all of us, you know? It just means that it’s going to be harder, [and there will be] more competition for the students [who] are getting ready to graduate. There’s even less [work] out there. You really have to be on top of your game. And you really have to want it. There’s really a blind sense of faith you have to have in yourself in order to really be able to go out there everyday.

AGN: Do you think the rumored upcoming strike of the Screen Actors’ Guild is going to happen?

BF: I would like to say I hope a strike doesn’t happen. But at the same time there is a lot of new gray area in actors’ contracts and a lot of that has to do with the Internet coming into play in ways it never has before. An actor’s product is themselves. They deserve to know how they are being used and that’s a very important part of the discussion. I hope it works out because everyone deserves to be supported.

AGN: It’s such an interesting time for actors. What would you say is an essential piece of information or advice you could give to aspiring actors?

BF: I think it’s really important to know yourself. I feel a lot of times people waste their time trying to go for something that they’re never going to be right for. I can’t tell you how many times I’m sitting there and someone walks in with a piece of music that they would never perform. And I get it, it means something to them, and that’s important too. But at the same time you want to show somebody what you’re right for, and to come in and present yourself in a way that is not right for you can be a drawback. There are definitely times when you can go in and change people’s minds. And you should do that. But at the same time you should be very aware of what and who you are.

“Audition Intensive: Working with the Pros” will be held from 10 a.m. to 6 p.m. Saturday and Sunday at the Whalen Center for Music. Tuition is $100 for students and $150 for non-students. Space is limited. Call (607) 273-8588 ext. 440 to reserve placement.

The Ithacan: "The Women" Review

Here's another one of my pieces from this semester. It appeared in the same issue as the Raiders: The Adaptation front did, so that was an exciting week. 

Stereotypes trump the truths of ‘The Women’

Mediocrity overtook a film with Hollywood alumnae and serious potential

By Anne Gould Northgraves Contributing Writer | September 18th, 2008

It is rare enough for a high-profile Hollywood film to be directed by a woman. It is rarer still for that same film to be written by a woman. And it is unheard of for such a film to feature a cast made up entirely of women. Yet the hat trick that is “The Women,” the recently released update of a 1930s classic about four friends, does not quite deliver, given the big names involved and the time it took to return to the big screen.

Take, for example, what should have been star Meg Ryan’s triumphant return to Hollywood glory. The role of protagonist Mary Haines is a mature and complex one. Mary is a woman who has to pick up the pieces of her life after she learns of her husband’s affair and deals with a friend’s equally painful betrayal. The role has potential for real depth, and it is plain Ryan is trying to evoke real pathos with every crinkle of her brow.

But overall Ryan portrays Mary as little more than the slightly quirky and pained romantic comedy character Ryan played to death in the 1990s. Somehow Ryan’s voice has gotten higher pitched since her last stint in the spotlight, which makes even Mary’s most meaningful comments feel almost too tartly sweet to be true. Her overly voluminous hair, clearly meant to emphasize her harried state, ends up looking strikingly similar to a certain Ms. Bradshaw of “Sex and the City.”

Mary’s best friend Sylvia is an equally well-conceived character: a successful, tough-as-nails magazine editor who is also dealing with self-doubt and questions of loyalty. But what makes Sylvia a fuller character than Mary is the masterful performance by Annette Bening. She is as capable of portraying serene and supreme confidence when declaring, “This is my face. Deal with it,” as she is able to contort that face into a taut and pained mask when hiding potentially friendship-breaking secrets.

While writer and director Diane English (who wrote the ’90s sitcom “Murphy Brown”) adapted Mary and Sylvia into modern and complex enough characters, the same cannot be said for the supporting roles of Alex Fischer (Jada Pinkett Smith) and Edie Cohen (Debra Messing), a pair of purely two-dimensional characters. Though hints of personality and character keep the audience interested, hardly any screen time is devoted to the duo, making it clear Alex and Edie are mere fillers.

Pinkett Smith scowls and growls her way through the peripheral role of Alex. The character, a writer who has been coasting for six years off the success of her first novel, has the potential for incredible drama. However, Alex is merely the little slice of sass in the group, both in terms of her tell-it-like-it-is attitude and the sexual and racial diversity she brings to the group.

Messing, meanwhile, does the best she can as the perpetual, and perpetually happy, mom of the group of friends. Her radiance provides a necessary levity in the film, but Edie lacks sufficient back story and emotional connections to the other three friends. If only Edie’s complexity was revealed before the last three minutes of the film, then the hilarious and climactic final scene — the only shining

moment for both Messing and Pinkett Smith — would not have felt overloaded.

A greater disservice has been done to Mary’s nemesis, Eva Mendes’ scheming, gold-digging character, Crystal Allen. One would hope every character in a film about complex, real women would have some measure of depth. But all Crystal provides is a tired stereotype — a scheming, money-obsessed cutthroat — and nothing more.

“The Women” could have featured fewer women and still expressed the truth of the story. All the high-profile names additionally flung about in the cast — Candice Bergen, Bette Midler, Cloris Leachman and Carrie Fisher — feel more like a ploy to entice ticket-buyers than a full cast of characters.

“The Women” is a promising story with some genuinely funny and truthful moments.

Unfortunately that aspect does not completely redeem the overabundance of meaningless, two-dimensional characters.

 

“The Women” was written and directed by Diane English.

The Ithacan: A Childhood Treasure

Here is the first article I wrote this semester for The Ithacan. It's about the screening of Raiders of the Lost Ark: The Adaptation that took place this September at Cornell Cinemas along with a Q&A with the films director, Eric Zala. I spoke with him a lot for this piece, and he was very nice and accommodating with all the follow up questions I had to call and ask about. 

A Childhood Treasure

Aspiring ‘Raiders’ unveil an adventure 20 years in the making

By Anne Gould Northgraves Contributing Writer | September 18th, 2008

Indiana Jones hangs on to a speeding truck for dear life, a cloud of dust rising around him. The musical score swells, as if encouraging Indy to hold on. The hero works his way back into the vehicle, forcing out the driver while flashing his characteristic grin as he navigates through the rough terrain.

The scene’s most surprising detail is that the archaeologist is not the grown and grizzled Harrison Ford — but a young boy with fake stubble and the gleam of real determination in his eyes.

The scene’s similarity to “Raiders of the Lost Ark,” is a testament to the seven years that three young Mississippi boys — director Eric Zala, producer and star Chris Strompolos, and cinematographer Jayson Lamb — spent creating “Raiders of the Lost Ark: The Adaptation,” a shot-for-shot remake of the 1981 classic.

Cornell Cinema is the latest to host the adaptation, with a screening tomorrow and Saturday followed by a question-and-answer session with Zala.

Christopher Riley, Cornell Cinema’s managing director, said he is excited to host the film and looks forward to learning more about the film process the boys endured.

“It’s sort of like one of Indiana Jones’ treasures,” Riley said. “I am personally interested in talking to Eric about his experience as the director, trying to put all this together.”

After seeing the original “Raiders of the Lost Ark” upon its release, Zala said he and Strompolos were inspired by the film. The two boys, at 11 and 12 years old, decided to make their own adaptation of the film.

“As director, I wanted to see what a shot-by-shot remake of ‘Raiders of the Lost Ark’ with teenage actors looked like,” Zala said. “The only way to find out was to make the movie.”

While Zala, Strompolos and Lamb began filming in 1982, the film was not completed until 1989.

“It consumed our entire childhood,” Zala said.

Zala said that the gargantuan task of realistically remaking “Raiders of the Lost Ark” was only possible because of the bonds the boys shared.

“[It was] the strength of the working friendship Chris and I had, and to another extent Jayson,” Zala said. “If you’ve spent five years and you quit, you let your buddies down.”

After shooting the film, the long process of editing began. A local television station let the boys use its editing equipment during the late hours of 10 p.m. to 6 a.m.

“We lived like vampires for a summer,” Zala said.

They celebrated their finished product with a premiere in their hometown of Ocean Springs, Miss. After that, Zala only occasionally showed the film to school and work friends.

In early 2003, a copy of the adaptation got into the hands of Eli Roth, director of “Cabin Fever” and “Hostel,” by complete chance, Zala said. Roth passed along the copy to executives at DreamWorks Studios, who then showed it to Steven Spielberg.

The strong positive reaction to the adaptation brought Zala, Strompolos and Lamb’s childhood project into the spotlight. A proper premiere was organized by Tim League, a friend of Roth’s, in May 2003 at the Alamo Drafthouse Cinema in Austin, Texas.

Harry Knowles, writer for the popular Web site www.aintitcool.com,

attended the show and raved about the work of fandom. “Raiders: The Adaptation” began attracting massive attention on the Internet shortly after.

Riley said the press coverage following the Austin screening first attracted the attention of Cornell Cinema. The three men’s feat should serve as a model of success for young filmmakers.

“It is relevant especially to the film students at Ithaca College, who are trying to do things along these lines, trying to make great things out of very little,” Riley said.

In the five years since its Hollywood-backed premiere, the adaptation has been featured at more than 70 screenings across the world.

Sophomore Kristyne Fetsic, a cinema production major, is a longtime fan of the “Indy” franchise. Fetsic said she is planning to attend the  “Raiders: The Adaptation” screening at Cornell Cinema.

“They’re getting so much recognition for three guys that just decided to do this one day,” Fetsic said. “I really have a lot of respect for them.”

To Zala, showing “Raiders: The Adaptation” to film students is an especially meaningful part of the screenings.

“People seem to have taken a lot from our film,” Zala said. “We know the value of being inspired ourselves. We would like to give back a little bit, because we’re certainly grateful for all the attention we’ve received.”

Zala said the most exciting moment came when he, Strompolos and Lamb met Spielberg in February 2004.

“[It was] the most amazing thing going through these gigantic ‘Jurassic Park’ gates,” Zala said.

A 2004 Vanity Fair article about the adaptation made many producers, including Scott Rudin, producer of “No Country for Old Men” and “There Will Be Blood,” interested in making a film about Zala, Strompolos and Lamb’s personal story.

The three accepted Rudin’s offer. Zala said Daniel Clowes, writer of “Ghost World,” has written a script that has been favorably received.

The positive reception of “Raiders: The Adaptation” has led Zala and Strompolos to leave their corporate jobs and return to Mississippi, where they are working on a southern gothic adventure film set in contemporary times.

Zala said he hopes those who are inspired by his film the way he was inspired by the original “Raiders of the Lost Ark” take some important lessons with them.

“Push voices of doubt and self-doubt aside, push ahead and do it anyway,” Zala said. “Finish. Don’t take no for an answer. People don’t take you seriously when you’re young. Just keep at it.”

 

Both screenings will be held in Willard Straight Hall at 7:15 p.m. Student tickets are $4 and can be purchased both at the Willard Straight Hall ticket desk and at the door.

 For my first true newspaper article (I'm sorry, Ursuline Academy's Blazer doesn't really count), I was so happy with it.