Mendelssohn: Violin Concerto; Shostakovich: Violin Concerto No. 1
Average Customer Review:
Audio CD (05 November, 2002)
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Editorial Review

Though at first glance these two concertos seem an odd coupling, Hilary Hahn offers convincing reasons for pairing them in her scholarly but rather chatty program notes. For the listener, the most important one is her avowed love and affinity for the music, which speak through every note of her performance. At 22, Hahn has developed from an arresting teenage prodigy into a formidable violinist. Her technique is equal to all challenges and so effortless that one forgets about it. Her tone has the directness and intensity of a laser beam and the unblemished purity of fine-spun crystal. This carries over into her style: clear and straightforward, without fuss, external effects, or exaggeration--there is hardly a slide on the whole record. If her playing is rather cool, it's also noble and emotionally so genuine that she can make a popular warhorse like the Mendelssohn sound fresh and new. She takes few rhythmic liberties, but freely changes tempo for mood and expression: the second theme of the first movement is much slower than the rest. The Shostakovich, too, sounds new and different. A repertory staple of all great Russian violinists, it is usually played with a lush tone and unbridled emotionality. Hahn captures the work's bleak, lamentatious despair, the obsessiveness and sardonic irony, but her playing has the sort of fire that burns ice-blue rather than red-hot. It projects a sense of restraint, of pent-up tension and excitement that finally burst out in the cadenza. It is a riveting performance. The orchestra is very good, but often too loud in the Mendelssohn. --Edith Eisler ... Read more

Reviews (18)

A young virtuoso makes a gritty piece her own
About two years ago I first heard Hilary Hahn do the Shostakovich live -- and liked it so much that I heard her perform it again a few weeks later.For someone so young, she really has an incredible measure of what the work is about.(Let's hope when she is older she will record it again.)Aside from her (apparently) note-perfect reading, she plays it a bit cool with her interpretation, which some have felt as an indicator that she is a bit young for this difficult work.I don't quite agree: her seeming reticence only emphasizes the more sorrowful passages in the piece, and this work is chock-full of those.

Hahn blazes through the final pages with amazing energy, and at times it seems that Marek Janowski and the Oslo Philharmonic will be hard pressed to keep up with her -- but they do, winningly.The Mendelssohn is also engaging, if as some have noted, the coupling of these two concerti might seem a bit odd.(I confess that as a piece I prefer the Shostakovich.)Never mind.Here conducted by the excellent Hugh Wolff, Hahn brings out the poetry and melodic invention that makes this work so enormously popular.And it could be argued that its relative sweetness makes a nice contrast to the violence of the Shostakovich.

Sony's sound is very good -- no complaints.Hahn is rapidly mowing down staples of the violin repertoire and proving she is one of the best violinists around.If you like these pieces, here is a great opportunity to hear for yourself.

Something Old Is Now Something New
Is there really any need to go on, once more, about Hilary Hahn's increbible tone, technical mastery, and emotional depth? Yes! This recording is amazing and if you love the Mendelssohn and don't have this CD, buy it. The third movement is sheer excitement as Hilary plays it at a tempo and with a joy that other players either just don't, won't or simply are not capable of. And yet for all of this, Hilary Hahn pulls this off with her usual grace and humility. She is not showing off, she is simply that good. Not since Heifetz was recording on vinyl has anything been this good. This is a musician who is truly special. The Shostakovich is a great find and if you don't already know the piece this is a great introduction. Thank you Ms. Hahn!

Another triumph for Hilary Hahn.
A great CD.

To me, the first movement of the Mendelssohn violin concerto is one of the most perfectly structured pieces of music that has ever been written: then couple that with the haunting "Russian" theme and you have music that is both emotionally moving and gratifying. It just gets into your subconscious and affects your inner being.

Hahn's playing was absolutely wonderful: her notes crisp and clean; the interpretation flawless.

The lost of one star (actually ½ star, if it was available) was because of my concern with the audio volume of the orchestra; I found the principal violin occasionally (not often, but enough to be noticeable) drowned out by orchestra. At times the orchestra sounded almost blaring; just enough of a stigma to make this less than an absolutely perfect recording.

The other offering on this disc is a work by Shostakovich; a piece I'm not particularly familiar with, nor as pleasing to my ear as the Mendelssohn. The work is technically difficult but Hahn plays it with style and polish.

All in all, a CD with 2 violin concertos that is worthy of adding to your classical collection. ... Read more

Asin: B00006LWQH
Subjects:  1. Classical    2. Concerto    3. Orchestral & Symphonic   

Nine - The Musical (2003 Broadway Revival Cast)
Average Customer Review:
Audio CD (17 June, 2003)
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Editorial Review

This version of Maury Yeston's Nine is so finely wrought that it deservedly won the 2003 Tony for Best Revival. While not a blockbuster, the original 1982 production, staged by Tommy Tune, was a nice success and allowed Raul Julia to make a splash as the only man in an otherwise entirely feminine cast. Inspired by Fellini's film 8 1/2,Nine succeeds in creating a strong male lead while parcelling out great songs to several different women. The mere fact that Antonio Banderas doesn't get eaten alive by the power cast around him (Chita Rivera, Mary Stuart Masterson, Jane Krakowski, and Laura Benanti) testifies to his charisma; even better, his singing is surprisingly confident ("Only with You" is downright sweet). And leave it to the Broadway pros to shine like diamonds: Listen, in particular, as Jane Krakowski steals the show with her sassy delivery of "A Call from the Vatican." You may need a cold shower after that one. --Elisabeth Vincentelli ... Read more

Reviews (38)

A stellar version of "Nine"
This revival recording of "Nine" is superb.I actually prefer it to the original Broadway recording and the London concert version (which are both fine). Maury Yeston's music and lyrics are among the best for any modern musical, and the cast here is ideal.

The performances are exemplary, from Antonio Banderas as womanizing film director Guido Contini and Mary Stuart Masterson as his long-suffering wife Luisa, to Laura Benanti, Jane Krakowski, and the rest.Their singing easily matches or surpasses the previous casts, and their acting on the whole is stronger.They just feel more assured to me.Banderas also sounds more feasibly Italian than previous Guidos, which is useful in terms of the character. For their part, the women put on fake accents, which has the potential to be a distraction, but here didn't bother me at all.

Highlights from the score and this album include Banderas's charismatic rendition of "Guido's Song," Krakowski's sexy "A Call from the Vatican," Benanti's almost impossibly-beautiful version of "Unusual Way," and Masterson's bitter and expertly acted "Be On Your Own." The orchestra here is smaller than previous versions, but this doesn't detract in any significant way. The strength of the music and the performances comes through just fine.

I love this!
I loved this recording. Antonio Banderas isn't too good, but the rest of the cast sounds great to me. the music is beautiful and it all fits well in my range (random tidbit.) I would definitely reccommend buying this.

This is not NINE
Nine is a beautiful show... one of the most amazing shows I've ever had the pleasure of seeing. I did not see the revival, and this recording does not in anyway make me wish I had. Antonio's performance is extremely flat. It all seems so calculated and rehearsed, which is not at all Guido's character. Guido Contini is charming, smooth, and a con-artist in many ways. Antonio missed that completely. I saw his performance on the Tony Awards show, and it made me want to cry. There was none of the character I loved so much there.

The other performances were, for the most part, ok to good. None surpassingly great, except Chita Rivera, who, sadly, does not have enough to do to save the show.

Get the original! ... Read more

Asin: B00008Z1NB
Subjects:  1. Cast Recordings    2. Music Theater    3. Musicals    4. Musicals & Cast Recordings    5. Pop    6. Show Tunes   

Songs of Jason Robert Brown
Average Customer Review:
Audio CD (04 March, 2003)
list price: $17.98 -- our price: $17.98
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Editorial Review

Is it premature for composer-lyricist Jason Robert Brown, after only three recorded shows, to be the subject of a songs-of collection? Not at all when you consider that a strong singer, some new material, and a fresh look at old material make Lauren Kennedy's solo debut a significant addition to Brown's catalog. Kennedy created the role of Catherine in The Last 5 Years (a conflict prevented her from continuing it in New York), so three of those songs are included here, plus three from Songs for a New World, and one from Parade. New arrangements and even some new lyrics make everything sound as fresh as the four never-before-recorded songs (two written for this album). Kennedy is a joy to listen to, singing with beauty, power, and heart, and Brown leads the band from the piano (as one would expect), and even holds up the vocal end of the stirring duet "I'd Give It All for You." Notes by singer and songwriter and full lyrics make Songs by Jason Robert Brown a first-rate package all around (but including "Stars and the Moon" would have made it just about perfect!). --David Horiuchi ... Read more

Reviews (31)

JRB Music for a JRB Audience
If you're a fan of this composer's music (as I am) it'll be a refreshing change to hear stuff from as far back as Songs for A New World performed in a new light. Lauren Kennedy's voice, though not really multi-dimensional, is immediately and consistently satisfying to listen to, so certainly an excellent instrument for JRB's equally appealing music.

Maybe the piano is too loud in the mix - I don't really have an opinion on it. I guess if it is, then he's always loud in the mix on any of his shows, but he's a great pianist so I don't mind hearing him.

An aside: The composer's singing voice is servicable, but not up to par with everything else going on during the two tracks we hear him. With rare exception, I've never thought that composers were the best executors or performers of their own work (Brown's piano capacity being one of those rare exceptions). He actually goes so far as to apologize for singing in the liner notes, and says that it was a favor to Lauren's mom. But it's a small criticism in light of the good work on the rest of the disc.

On the whole, Lauren gives this music the performance that I wish I could have heard the first time around on the original recordings. Her voice is very well-shaded and balanced, but always light and bright. Her purity of tone is well-suited to this music laden with pedal tones and add-9 chords, and though the sound has gone in more of a guitar direction than I care for, it's an excellent album that really "takes you there" in execution.

Give it a listen. It's good stuff.

Upon Closer Inspection...
I recieved this CD for Christmas last year, listened to it once, and promptly went back to my "The Last 5 Years" CD.It didn't really grab me at the time.I recently put it back in the car CD player on my way to work and fell in love with it.This last year I have gotten to know JRB's music better and really appreciate the way he can capture emotion in his music.He doesn't indicate or hit you over the head with it, but expresses it simply.Although Ms. Kennedy is not my favorite singer, she conveys the emotions of JRB's songs as they were meant.I believe this is particularly true in "Letting You Go" & "If I Told You Now" where she can capture the devastation of loss and the pain of constant self-doubt respectively without over-emoting.Simple and beautiful... that sums up this CD.

Still Worth Buying
Besides having the ugliest CD design I've seen in a while, this disc suffers from an unprofessional mix.Namely, the piano is way too loud to allow the listener to enjoy any of the music.Nonetheless, the vocal performances seem right on target with JRB's songs - emotional kiddie-coasters.I was impressed by his performance in "I'd Give it All For You."His interpretation gives clout to the idea that composers have a distinct advantage when performing their own songs. ... Read more

Asin: B00008BL6G
Subjects:  1. Pop    2. Pop Vocals   

Verdi - La Traviata / Gheorghiu, Lopardo, Nucci, Covent Garden, Solti
Average Customer Review:
Audio CD (19 September, 1995)
list price: $33.98 -- our price: $33.98
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Reviews (31)

Gheorghiu is the definitive Violetta of our time!
I was so amazed when I first listened to this recording that I decided to buy the DVD, too. Surely it's one of the best recording that have been released in the last years and I doubt you can find a better digital version of La Traviata. If you don't care too much for the sound, we can find even greater advantages in listening to this recording: it was this live performance that led Angela Gheorghiu to the international operatic world, and here she's aided by a great cast under the direction of one of the greatest conductors of the 20th century, Sir Georg Solti.
Frank Lopardo is in very good shape. His voice is sometimes a bit nasal, but he has a quite big and dramatic voice as well as an excellent vocal technique. Besides, Lopardo's interpretation of Alfredo is convincing and involving: he's one of the few tenors that can sing this role while truly interpreting it. Thus, we have a much more than acceptable Alfredo. Leo Nucci is here a few years past his prime, but he's in real good voice, though in the higher parts his voice tends to have a little more vibrato than we're used to. He also delivers a mature characterization of Giorgio Germont. The minor parts are sung by equally good singers, so that we have a very balanced recording of La Traviata.
The real star of this La Traviata is the young Angela Gheorghiu. She's not a simple good soprano of our days, but surely she will be praised in the future as one of the greatest artists of our time. Her voice is rich, creamy and expressive, along with her remarkable pianissimi, vocal colours and melifluous tone. She has the right vocal technique to sing effortlessly the difficult aria "Sempre libera" (please don't expect to hear a new Sutherland!!). I really don't care if Gheorghiu doesn't fit the high E flat in the end of that aria, since Violetta is a much more complex role. What really matters is her expressiveness, the sense of drama. Gheorghiu is the best actress in the operatic scenery nowadays and a very creative artist. Her Violetta is the most dramatic and deeply involved since Maria Callas almost fifty years ago!
Sir Georg Solti was then conducting La Traviata for the first time, but we feel like he has conducted it all his life. His conducting is mature and passionated. It really seems that Solti got to understand what Verdi intended when he composed this music.
A popular opera like La Traviata has so many legendary recordings that it's almost impossible to declare what are the definitive one. So, I prefer to talk about the definitive ones, and it's certainly one of thoses, because it represents an important moment of the opera world: the rising of one of the greatest sopranos of our days and the first and probably last time one of the greatest conductors of the 20th century conducted La Traviata.
Buy this thrilling recording and enjoy one of the most moving operas ever composed!

One of the best opera recordings ever
To me, this is one of the best opera recordings ever made. I rank it together with Klemperer's EMI Fidelio, also one of the best recordings ever made.

Gheorghiu is incredible, Solti is even more incredible
Solti is amazing in this recording. Gheorghiu is the most moving Violetta I have heard. Highly recommended. ... Read more

Asin: B00000427V
Sales Rank: 40467
Subjects:  1. Classical    2. Opera    3. Opera / Operetta / Oratorio   

Living Room
Average Customer Review:
Audio CD (21 November, 2000)
list price: $18.98
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Editorial Review

Whereas Paris Combo's self-titled debut leaned heavily on cabaret chic, Living Room sees them broadening their palette considerably, the sign of a band with more experience and a strong sense of adventure. So while sensuous limpid chanson remains their home turf, they also venture into the tortuous turns of "L'Avenir Uncertain du Titanic" and the North African-inflected "Mobil'homme." Potzi's guitar work is dazzling, influenced by Django Reinhardt, while the shadow of the legendary Hot Club of France--with its swing and subtlety--looms over the entire repertoire. Apart from being an excellent pianist, David Lewis has matured into a trumpet player of taste, adding gorgeous Miles Davis muted touches that veer songs into pure jazz while vocalist Belle du Berry imprints her personality everywhere. Living Room sees Paris Combo moving well beyond their origins, a band that continues to impress by growing by leaps and bounds. --Chris Nickson ... Read more

Reviews (18)

Totally good!
This wonderful album should be considered by all kinds of music lovers - from Classical music lovers to Jazz buffs to those who have started to become a little bored with Pop/Rock music!
Paris Combo, on this album, features wonderful and stylish vocals [from Belle, the sing/songwriter], very attractive and never bland instrumental accompaniments and the songs themselves are full of style and characer.

Along with the self-titled "Paris Combo" album, this is clearly my favourite so far! However, ALL of the Paris Combo albums are excellent and I enjoy hearing them at any time of the day or night.

I am a fan.

Fun at a party or alone
I really enjoy this CD for a fun loungy sound when I'm not in the mood for mainstream music. I would say if you like Pink Martini, you could well like this one.

Living Room
Adult music!That's what Paris Combo is.It's music for adults.It's sophisticated, it's refined, it has history, it has mystery.It's good, it's interesting.there's absolutely nothing juvenile about it and that's why I like it!Although I would love it if it had a good, strong base beat that made it easy to dance to. ... Read more

Asin: B0000523KU
Subjects:  1. Avant-Garde    2. Cabaret    3. Classic Jazz    4. France    5. French Pop    6. Int'l & World Music    7. Pop   

Immortal Beloved
Director: Bernard Rose
Average Customer Review:
DVD (28 August, 2001)
list price: $19.94 -- our price: $15.95
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Editorial Review

This sumptuous and moving 1994 film written and directed by Bernard Rose (Candyman) investigates the artistic and romantic passions of one of the greatest composers of all time. Featuring a superb performance by Gary Oldman (Sid and Nancy) as Ludwig van Beethoven, Immortal Beloved is full of uncommonly vivid, rich imagery as it charts the tumultuous life of the deaf child prodigy and his rise to the height of musical achievement. Along the way, he attempts to play mentor to his nephew, attend to his many passionate romances--the most stable one was with a countess (Isabella Rossellini)--and fight bouts of depression and madness that ruled his life and his art. The film is framed around a "Rosebud"-type letter found after the composer's death that makes up the crux of the story. Jeroen Krabbé (The Fugitive), playing Beethoven's lifelong friend, attempts to discover who Beethoven's muse really was, becoming as driven as his friend in discovering the unlikely identity of the composer's "immortal beloved." Through this we gain an insight into the nature of obsession, romance, and the heights and sacrifices of artistic achievement. The film exhibits some extraordinary sound design, and the finale features a magical encapsulation of Beethoven's life and loves set to his "Ode to Joy." As an exciting and passionate journey, Immortal Beloved is its own masterpiece. --Robert Lane ... Read more

Features

• Color
• Closed-captioned
• Dolby
• Widescreen

Reviews (113)

Oldman Film-Always A Good Idea
This film has everything I love in it.Beautiful music, beautiful costuming, beautiful locations, beautiful performances, a wonderful screenwriter and director.No one can really complain about the few inaccuracies and yes flaws in this film surely.It amazes me how there can be so many people disappointed in this regard.If you need absolute accuracy, watch a documentary or read a history book.I love films based on real people and events, and I don't mind that there are things "made up" in these films.After all, no one was "there" to repeat dialogue word for word.There must be a lot of fill-in material and you just hope you'll be lucky enough to have someone like Gary Oldman chosen to play the starring role.If you do, you cannot go wrong.You must enjoy period pieces as well as classical music however to enjoy this film.

The most brilliant movie masterpice of the century.
IMMORTAL BELOVED is a brilliant masterpiece directed by BERNARD ROSE. The best script I've seen. The most majestic words are used on this one. A true story, I hate most sci-fi movies. Incredible mind-blowing performances I've ever seen. GARY OLMAN is one of my favorite actors I've seen act. I love this movie and I watched this one over nine times. You can't get enough of it and everytime you watch this one, you learn something new. I think my favorite movie ever. Great one. If you like the most descent true-story drama movies, BUY, do not rent it, buy this one and watch it. You will not regret the special and incredible performances that contains this film. BUY this one along with AMADEUS, another masterpiece.

Terrible film--buy the soundtrack instead
I don't really care how accurate it is biographically; I wanted to be entertained with a good story. This isn't it. It wanders all over the place. The premise is ripped off from Citizen Kane (detectivey-person must talk to surviving loved ones to find out a Big Secret about the Big Man), and it takes forever, goes off down a million side roads that are never resolved or resolved with a big thud. This Beethoven isn't a likable guy--unlike the film character of Amadeus, who was a spoiled brat but still kind of fun and sympathetic, Beethoven is a self-centered, sadistic monster, plain and simple. A single redeeming quality in him--or anyone--would have carried this film a long way. The Ode to Joy at the end is very well done, and the only reason I bumped this film up to 2 stars. ... Read more

Asin: B00000K3TN
Subjects:  1. Feature Film-drama   

The Anniversary Party
Director: Jennifer Jason Leigh, Alan Cumming
Average Customer Review:
DVD (15 January, 2002)
list price: $24.98 -- our price: $22.48
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Editorial Review

It's easy to be skeptical when a couple of well-connected actors throw a script together, start shooting their fabulous friends with digital cameras, and call it a movie. But Jennifer Jason Leigh and Alan Cumming, who bonded in Cabaret on Broadway, have crafted a rough little gem in The Anniversary Party. Influenced by Who's Afraid of Virginia Woolf? and The Player, it's a devastating portrait of a fragile marriage and a perceptive look at life in Hollywood. The characters are based--to an eerie degree--on their Hollywood counterparts: Kevin Kline and Phoebe Cates are a Shakespeare-quoting actor and his retired actress wife; Gwyneth Paltrow is a rising young starlet; etc. Leigh is an actress on the way down, and Cumming, a best-selling author and up-and-coming director, is the sexually ambiguous husband with whom she has recently reconciled. The titular party is to celebrate their sixth anniversary, and revelations about the characters accumulate as the evening progresses from a tense session of charades to an ecstasy-pill-fueled blowout by the pool. The screenplay combines brittle humor with melodrama and consists of more talk than action (as in the Dogme films that inspired it), but the proceedings are rarely less than compelling even if the characters, for the most part, aren't exactly the most likable bunch. As a result, Jennifer Beals ends up stealing the show from the bigger names in the cast simply by emerging as the most genuinely human character--the one who actually showed up to honor her friends' commitment rather than to advance her career. --Kathleen C. Fennessy ... Read more

Features

• Color
• Closed-captioned

Reviews (63)

So Boring, So Dumb
What was the point of this film? There is no lesson learned, no story to tell, no entertainment factor even associated with it. I guess it was an excuse for Jennifer Jason Leigh and Alan Cumming to try to prove that they have no imagination and get their Hollywood buddies together for 2 hours of nonsense.

"slice of life"?
I've seen the phrase "slice of life" used many times to describe this movie, which makes me wonder - whose life is this a slice of? Certainly not mine, and not most people's. The Anniversary Party is a slice of the lives of a group of people who are extremely vain, self-absorbed, jaded and rich beyond most people's wildest fits of imagination. Worse, there isn't much of a hint that the filmmakers were aware that most people, or at least most people who are fun to be around, don't act the way these characters do.

Good films can be made about Hollywood - in "Mulholland Drive" it's kind of a dream world, both in the sense that it's hazy and ambiguous and in the sense that one of its characters dreams of being a bigger part of it; in "State and Main," the self-absorption of many of the characters is offered for our amusement. "The Anniversary Party" is presented as if most viewers will be sympathetic with the characters, but I can't imagine them elicting much sympathy from anyone who isn't also a bored rich prick. If this is truly a "slice of life" for the Hollywood set, it is no wonder that so many films produced in Hollywood are so cynical and shallow.

does anybody know?
Does anybody know the soundtrack well enough to say who does the song at the outset of the ecstasy party - sung in a foreign language, with rather an operatic sound? Many thanks if you can help with any info. ... Read more

Asin: B00005TPLW
Subjects:  1. Feature Film-drama   

All About Eve (Special Edition)
Director: Joseph L. Mankiewicz
Average Customer Review:
DVD (02 March, 2004)
list price: $14.98 -- our price: $11.24
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Editorial Review

Showered with Oscars, this wonderfully bitchy (and witty) comedy written and directed by Joseph L. Mankiewicz concerns an aging theater star (Bette Davis) whose life is being supplanted by a wolf-in-sheep's-clothing ingenue (Anne Baxter) whom she helped. This is a film for a viewer to take in like a box of chocolates, packed with scene-for-scene delights that make the entire story even better than it really is. The film also gives deviously talented actors such as George Sanders and Thelma Ritter a chance to speak dazzling lines; Davis bites into her role and never lets go. A classic from Mankiewicz, a legendary screenwriter and the brilliant director of A Letter to Three Wives, The Barefoot Contessa, and Sleuth. --Tom Keogh ... Read more

Features

• Black & White

Reviews (160)

BETTE WAS ROBBED OF THAT OSCAR I TELL YOU WHAT!!!
This movie showed that Bette Davis was still a force to be reckonned with! She was Margo Channing and she so deserved the Academy Award far more than Judy Holiday for Born Yesterday!!!

WItty, Bitchy Classic
All About Eve is a GREAT film.The dialogue leaps off of the screen zinger after zinger and never lets up.

Davis is brilliant here - one of the best female perfomances ever.Margo Channing is a force to be reckoned with!Baxter is appropriately cunning as the ingenue, Sander is delciously snarky and Thelma Ritter continues to display her status as a national movie treasure.

A fun, witty, wicked and bumpy ride.They do not make them better than this.

Definitely a great 20th Century Fox film!
There's even a reference to Zanuck (Daryl not Richard obviously) by Merrill as the latter talks of going to Hollywood. Ultra-screenlegend Marilyn Monroe is in this film too of course and the film is prophetic by talking about how far her character will go in the biz! I was expecting some fighting (even a catfight) and none surprisingly ever shows. The film is not predictable at all. A winner! ... Read more

Asin: B00006RCO1
Subjects:  1. Feature Film-drama   

Frida
Director: Julie Taymor
Average Customer Review:
DVD (28 December, 2003)
list price: $19.99 -- our price: $14.99
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Editorial Review

Salma Hayek makes up for many bad movies with her fierceperformance in this sumptuous film. Hayek plays the Mexican surrealistpainter Frida Kahlo, whose tempestuous life with her unfaithfulhusband, muralist Diego Rivera (Alfred Molina), drives the story ofFrida. Maverick director Julie Taymor (Titus, theBroadway stage production of The Lion King) pulls out a wealthof gorgeous visuals to capture everything from the horrific busaccident that damaged Kahlo's spine to her and Rivera's trip to NewYork City, where Rivera's political leanings ruptured a commission fromthe Rockefeller family. Though the script spends too much time tellingus how great Frida's painting is (rather than trusting in the power ofthe images themselves), Taymor's dynamic energy and Kahlo's forcefulpersonality give Frida genuine emotional impact. The superb castincludes Roger Rees, Valeria Golino, Ashley Judd, Geoffrey Rush,Antonio Banderas, and Edward Norton. --Bret Fetzer ... Read more

Features

• Color
• Closed-captioned
• Widescreen
• Dolby

Reviews (152)

Art's canvas in a movie
If visual arts warm your spirit and your soul is stirred by people who know how to express passion this movie is for you. I felt so WASP when I watched this movie. The music, the honesty of her life, the color... all were astonishing. I especially loved how Frida's works of art were presented. Truly inventive.

Visually Stunning
(...)

When Frida was released into theatres I had absolutely no desire to see it. I'm neither a fan of Salma Hayek, biopics in general, and biopics about artists especially. Add to that my zero knowledge about the artist Frida herself and the movies fate was sealed into never being seen by the likes of me. However, my general lack of new movies here in France and being able to borrow it from a friend for free helped me to reconsider watching it. When I realized it was directed by Julie Taymor who also directed a marvelously beautiful version of Titus then I was actually excited by it (almost).

Like Titus, Frida is an amazingly visual movie. Taymor, who is known mainly for her Broadway adaptation of the Lion King, has an artists eye for visual flair. She has found away to take something as static as a painting and made it alive. Throughout the film she recreates several of Frida's works and makes them a part of the action. It's impossible to explain on paper (or cycberspace) but what she creates is something pure magic.

I can't say how accurately Frida is portrayed in this movie. The picture we get is of a rather flawed woman who lived with a great deal of suffering. Her suffering comes in both physical ways (stemming from an accident early in life) and emotionally (from a cheating husband and her own mistakes). Yet it is this suffering that creates such remarkable art. Taymor manages to create an interesting and moving story within her excellent images.

Both Salma Hayek and Alfred Molina pull out excellent performances. I was especially impressed with Molina portraying the very flawed and yet sympathetic Diega. I had pretty much written this actor after playing Doc Oc in the highly overrated Spiderman 2. But here he shows a real sensitivity to his character. Don't be fooled by the billing of this film. The cover of the DVD would have you believe that Ed Norton, Antonio Banderas, Ashley Judd and Geoffrey Rush all star in it. In fact, with the exception of Geoffrey Rush, all of them have more or less cameos in the picture. Rush is in the movie a bit more, but I wouldn't call even that a starring role.

(...)

Salma Hayek's Dream Came True!
I have seen Frida five times at the cinemas, and got the DVD as a gift. I must say that this is by far the most visually stunning, inspirational, and emotionally impacting film I have ever seen. Before this movie came out, I went the Vancouver Art Gallery to see some of Frida Kahlo's paintings and saw the documentary of her life. I was very fascinated by several of paintings, but I didn't get to see The Two Fridas or the paintinngs with the monkeys. I was moved to tears by the documentary of her life, and I instantly became a fan. I then bought the novel based on her life, and read it before the movie came out. I was dying to see the movie.

This beautiful biopic is directed by the Julie Taymor, whose film Titus was an equally visual feast. It's a dream come true for the Oscar nominated Salma Hayek, who had spent more that seven years trying to get this movie made. It was a good thing that Madonna and Jennifer Lopez didn't get to do it, because they wouldn't be suitable to play Frida. Salma Hayek gave the performance of her career, and she actually hadn't done anything great before this movie, except for In The Times Of The Butterflies, which also costarred Mia Maestro who played her sister in both movies. Even though Salma lost the award to the overrated Nicole Kidman(The Hours), Frida still won two out of the six nominations. The music composed by Elliot Goldenthal trully capture the spirit of Frida and Mexico. Some of the songs are sung by Lila Downs, and Chavela Vargas. Burn It Blue heard at the end of the film is so beatiful. I even bought the soundtrack. Salma Hayek had more than fifty costumes here, designed by Julie Weiss on a shoestring budget. She made Hayek looked stunningly beautiful and striking, especially the photo shoot for the Paris Vogue cover, and the scene when she steps into her painting The Two Fridas.

This movie chronicles the life and times of Frida and Diego Rivera(played by the underrated Alfred Molina), a womanizing fellow artist, mentor, and husband. Frida had endured a great deal of physical, emotional, and spiritual pain, and she survived, because she was strong and self-absorbing, and she transcend her life's most unforgetable moments onto the cavas in the form of surrealism that's autobiographical. From the bus accident that left her crippled for life to her stormy marriage to Rivera, to miscarriage, to international stardom, to heartaches of failed marriage and distant from her parents, to betrayed by her sister....and then there's the self-destructive behaviours(alcohol addiction and promiscuous sex with men and women). Life without Diego was meaningless to her at times. She intensionally had an affair with Leon Trotsky(a Russian Communist in exile played Geoffrey Rush) to provoke or repay Diego for his infidelity. She still loved him even when they were separated for a period of time, leaving her financially and physically devastated, that's when she painted her best work including The Two Fridas, which was one of the high points in the film. The reconcilation and remarriage of Frida and Diego was a heartfelt experience.

The supporting cast are all superb. Alfred Molina was overlooked by the Oscar, he should've been nominated for best supporting actor, even though he doesn't look a whole lot like the actual Diego Rivera. I thought Valeria Golino was very good too. She played Diego's ex-wife, and she stole scene in this movie. Mia Maestro was great as Christina Kahlo, she was seduced by Diego to bed when she posed for his paintings. The affair broke Frida's heart. I also enjoyed Patricia Reyes Spindola's portrayal of Mrs. Kahlo. She was always negative about the choices Frida made in love and career. As for the big-star cameros which including Antonio Banderas(David Siqueiros), Ashley Judd(Tina Modotti), and Salma's ex-boyfriend Edward Norton(Nelson Rockefeller) who co-wrote the screenplay, I loved Judd's performance the most. Her sexy "lesbian" dance number with Salma Hayek was quite a treat.

Salma Hayek gave a mesmerizing and multi-layered performance, and she was in every scene. She trully transformed herself in all aspects of character and showed the world that she's not just a bombshell, but a great actress to be taken seriously. I cried during several scenes including the scene when she got dumped by her first boyfriend(Alejandro/Diego Luna). I was also moved a great deal by the miscarriage, and the scene when she was devastated and started to cut her hair and got very drunk. The most powerful scene was when she was drinking and crying while listening to an old lady(Chavela Vargas) sang a ballad to her, and she went home and stepped into her painting(The Two Fridas).The music, cinematography, acting, art direction, editing, and direction all worked together to achieve a very memorable experience. The special features has some very good materials included, and I really enjoyed the interviews on Julie Taymor, Salma Hayek, and the singers and composers.

I loved this movie and worship Frida. I admired her life's work as an artist, and her endurance of pain and struggles, and ultimately her relentless passion for love and creativity. I also collected the soundtrack, the Frida screenplay with photos of many of the scenes from the film, the postcard book, and a wall fabric drape painted with Frida and the Monkeys.

This movie is definitely a must-see for artist, art lover, fashion lover, music and cultural fans, and of course all Salma Hayek fans too!

... Read more

Asin: B00005JLPK
Subjects:  1. Feature Film-drama   

Glengarry Glen Ross
Director: James Foley
Average Customer Review:
DVD (17 February, 2004)
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Editorial Review

Like moths to a flame, great actors gravitate to the singular genius of playwright-screenwriter David Mamet, who updated his Pulitzer Prize-winning play for this all-star screen adaptation. The material is not inherently cinematic, so the movie's greatest asset is Mamet's peerless dialogue and the assembly of a once-in-a-lifetime cast led by Al Pacino, Jack Lemmon, and Alec Baldwin (the last in a role Mamet created especially for the film). Often regarded as a critique of the Reagan administration's impact on the American economy, the play and film focus on a competitive group of real estate salesmen who've gone from feast to famine in a market gone cold. When an executive "motivator" (Alec Baldwin) demands a sales contest among the agents in the cramped office, the stakes are critically high: any agent who fails to meet his quota of sales "leads" (i.e., potential buyers) will lose his job. This intense ultimatum is a boon for the office superstar (Pacino), but a once-successful salesman (Lemmon) now finds himself clinging nervously to faded glory. Political and personal rivalries erupt under pressure when the other agents (Alan Arkin, Ed Harris) suspect the office manager (Kevin Spacey) of foul play. This cauldron of anxiety, tension, and sheer desperation provides fertile soil for Mamet's scathingly rich dialogue, which is like rocket fuel for some of the greatest actors of our time. Pacino won an Oscar nomination for his volatile performance, but it's Lemmon who's the standout, doing some of the best work of his distinguished career. Director James Foley shapes Mamet's play into a stylish, intensely focused film that will stand for decades as a testament to its brilliant writer and cast. --Jeff Shannon ... Read more

Features

• Color
• Closed-captioned
• Widescreen
• Box set
• Dolby
• DTS Surround Sound

Reviews (210)

Excellent acting and script, cussing is poetry
The other day I was discussing salespeople with a friend and we determined that nobody likes being sold anything. Coincidental, then, that I saw Glengarry Glen Ross that night, as the film seems to support our hypothesis, but it adds another dimension to it: the salespeople themselves may not necessarily even like selling anything. In fact, the men in this movie are selling for survival; if they don't sell, they don't eat.

Near the beginning of the film, a man from the downtown office (Alec Baldwin) offers encouragement to three salesmen who aren't meeting their quotas by way of verbal abuse. First prize is a brand new Cadillac, second prize is a set of steak knives, and third prize is the door: you're fired. The men are selling real estate, using the weak leads handed down to them from above. There is Shelley Levene (Jack Lemmon), nicknamed The Machine for his past sales record, who has hit a wall in his career and can't seem to close any more sales. He desperately needs to keep his job to pay medical bills for his wife. Dave Moss (Ed Harris) is fed up with all of the bureaucracy, and doesn't feel people should be treated this way--and they shouldn't. George Aaronow (Alan Arkin) isn't the sharpest tool in the drawer, and tends to be swayed by his colleagues.

All three of these men are jealous of the only guy making any sales lately, Ricky Roma (Al Pacino). Dave is convinced that the rest of them would be doing just as well if they were getting the good leads that he is, but according to their by-the-book company-pleasing manager John Williamson (Kevin Spacey), only closers are worthy of the good leads--the Glengarry leads. Dave comes up with a plan to break into the office, steal the leads, and sell them to the competitor across the street, and tries to convince George to do the dirty work, and as a reward, he can take a cut of the pay and have a job with the competitor. We don't see the actual robbery, though--only the aftermath--and it's not clear who exactly did what. Everyone's got their motives, but who had the guts to do it?

Glengarry Glen Ross was written by David Mamet based on his stage play of the same name, and it must have been an actor's paradise. There are no special effects, hardly any sets at all, and some fantastic dialogue, which flows with the cadence that only Mamet can produce. Nobody else can write profanity with such poetry. Director James Foley doesn't intrude on his actors, which is the perfect way to deal with this talk-heavy picture. The acting is excellent all around, especially by screen legend Jack Lemmon, though nobody is overshadowed by anybody else.

The only fault I found with the film was the abrupt ending, but to go into any more detail would be a crime against anybody who hasn't seen the film. The subject matter is fascinating, as most of us have only seen salesmen when they're being phonies. Here they are given personalities, and are struggling with not only their jobs, but with their lives, and they live in such a sheltered world that they can't even see the opportunities that might be available outside of this bubble. It's a really foolish idea to steal from the place you have to go to every day, but if you don't know any better, it makes perfect sense.

2nd prize: a set of steak knives.3rd prize: your fired!
"The man from downtown" comes and informs the sales staff "we're adding something special to this month's sales promotion.First prize, a cadillac convertable.Second prize is a set of steak knives.Third prize is you're fired!
The pressure is on--how far would _you_ go to preserve your job?

This movie is based on a play which is a riviting, penetrating study of the Male psychie as expressed in the workplace.Men are front and center--they are working, drinking, schmoozing--and selling. The part women figure in this play only by the impact they have on the men--the sick daughter, the wife who answered the wrong sales ad. Your manhood is directly proportional to your sales volume, so A.B.C. --Always Be Closing!

How ironic then is the line Al Pacino delivers towards the end of the movie: "We're not living in a world of men.We're living in a world of clock-watchers and office holders."

This is one of those movies you can watch over and over, savoring the dialog and marveling over the excellent performances.

Great flick - awesome performances
Okay, as others have said, this is a great flick, and a stunning cast.But I'm not sure there's any such thing as an "actor's movie" as others have said - these guys would be sitting around with nothing to do if not for Mamet's trademark staccato dialogue.

Speaking of which, IMDB notes that the word f*ck and its derivatives are uttered 138 times in the course of this movie... so much, in fact, that during filming the actors referred to the movie as "Death of a F*cking Salesman."

Jack Lemmon was a great actor who tended to get a little over the top at the end of the film - and he doesn't disappoint here, if that's what you're looking for.And Pacino LIVES over the top - this is another one of those films where he treats his performance as if it's a great big freakin' joke, just between him and his audience.But for my money, the standout performance in this film is Kevin Spacey's.His performance is as tightly controlled- perhaps claustrophobic is a better word - in this as in "American Beauty."

Folks who like this movie should check out two of Mamet's best:The Spanish Prisoner and The Winslow Boy (an early 20th century play Mamet adapted for the screen, and directed). ... Read more

Asin: B00005JKG9
Subjects:  1. Feature Film-drama   

The Real Thing
by Tom Stoppard
Average Customer Review:
Paperback (17 April, 2000)
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Reviews (2)

Simply superb
This play is very funny in places, very moving in places, very absorbing in places -- all of it in an apparently seamless whole of the high Stoppardian quality. How does the man do it? How does one write adissertation on the art of writing using a cricket bat as a teaching aid?To quote another recent Stoppard's work: "It's a mystery!..."

The usual Stoppard brilliance.
As what is considered a turning point in Stoppard's ability to write romance, The Real Thing includes the usual ingenius commentary on life and art this time woven through a love story.Thus, the play can be enjoyedfor the usual Stoppardian elevated language and fascinating explanations ofquality art as well as its touching yet clever romantic plot.Moreover, itis this plot that sets it apart from Stoppard's earlier work.Thecharacters in The Real Thing make up complex relationships and displayemotions that add another facet to Stoppard's masterful control of thelanguage.Dialogue seemlessly drifts between discussions of language todiscussions of life, all the while maintaining the level of quality forwhich Stoppard is famous.It is a wonderful play demonstrating wit,intelligence, cleverness, and overall entertainment in a variety ofways.

As Ros. and Guil. used Hamlet and Travesties used the Importance ofBeing Ernest, The Real Thing contains certain references to 'Tis Pity She'sa Whore that make that Jacobean tragedy a helpful piece of backgroundreading. ... Read more

Isbn: 0571125298
Sales Rank: 277042
Subjects:  1. English, Irish, Scottish, Welsh    2. Performing Arts    3. Plays    4. Plays / Drama    5. Theater - Playwriting    6. Drama / General   

La Bete and Wrong Mountain: Two Plays by David Hirson
by David Hirson
Average Customer Review:
Paperback (10 May, 2001)
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Reviews (4)

Spellbinding, Revolutionary Pieces of Theater
It is well nigh impossible to think of a playwright in the past twenty years who has sent greater shockwaves through the American theater than David Hirson.La Bete and Wrong Mountain were unlike anything Broadway had ever seen.And, for one brief shining moment, each made Broadway seem important again.

Part of what made these plays so exciting in the theater was the way in which they polarized audiences.I know people who were variously outraged, scandalized or confounded by them. ...
For my money, La Bete and Wrong Mountain were not only wonderfully entertaining, thought-provoking plays.They were the kind of audacious, category-defying miracles of theater that come along once, maybe twice, in a generation.And they were made doubly miraculous by their appearance on Broadway, a showbiz mecca that long ago ceased to be cutting-edge!(That they managed to survive even briefly in such an unhospitable environment is a miracle in itself!)

Normally, reading plays is not the greatest of pleasures.Having just finished this book, I can say unreservedly that La Bete and Wrong Mountain read like fantastic novels!They are both, after all, plays of language, and it is thrilling to luxuriate in Mr. Hirson's wordplay at one's own pace. There is also a remarkable preface by the author.

With this book, many people will have the opportunity to discover two gloriously unique works which are well on their way to assuming landmark status in the American theater. I envy them that discovery!

The Controversy Continues!
When I read the two wildly divided opinions to Mr. Hirson's plays on this site, I was reminded of the critical response to Wrong Mountain.Some hailed it as magnificent, others dismissed it as dross.Which is exactly the kind of reaction that trailblazing works of art have always elicited: extremes of delight and revulsion.
I thought Wrong Mountain was a very great play. (I did not see La Bete.)That it managed only a short run on tourist-trap Broadway says more about Broadway, ultimately, than about the play. (Waiting for Godot, after all, was a failure on the Great White Way; Cats was a huge success!)
I am looking forward to reading La Bete to see if it maintains the same dizzyingly high standard as Wrong Mountain.Whether it does or not, Wrong Mountain is, in my opinion, an indispensable work of dramatic literature.And, like all major works, it is bound to remain extremely controversial.For Wrong Mountain alone, I give this book the highest rating.

The first reviewer is, in my opinion, horribly misguided.
I had planned to be kind and forgo a review of this book, but after reading the first review, I couldn't let such laughably inane comments stand. The reviewer was 'priviledged' to see 'Wrong Mountain?' The play that was booted off Broadway after about a month, and was rightly savaged by the critics as a wordy, pretentious and ultimately bloated work? Please. The story was barely entertaining (only the presence of excellent actors allowed to be minimally watchable) and the writing was bland, unoriginal and superfluous. The play 'rededined' the form? Redefined bad writing, perhaps, but nothing more.

Move on to truly original works. Move past this writer who, in my opinion, drives people away from the theater with talky, self-absorbed trivialities. ... Read more

Isbn: 0802138217
Sales Rank: 725185
Subjects:  1. Actors    2. American    3. Drama    4. Plays    5. Plays / Drama    6. Playwriting    7. Street entertainers    8. Theater   

Complete Stories
by Dorothy Parker Colleen Breese Regina Barreca
Average Customer Review:
Paperback (01 January, 2003)
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Reviews (8)

Biting wit abounds.
Dorothy Parker was a great writer and a great social observant who now gives us a clear window into the past. Her wit is biting and at it's best in this collection, favourite reads are for the individual to decide, however, for me, as well as cheering me up with her razor sharp observation and almost cruel wit. Parker also saddens me for her wit must have been based on the cynacism of one who viewed her life as overindulged and wasted by circumstance, as a wealthy woman and as a woman in her time. Reading her is alawys like laughing with a red hot tear in your eye, for her work is as much an insight into her soul as it is to her lifetime and lifestyle.

Darker than expected, but witty
Perhaps because it doesn't include some of Dorothy Parker's well-known, light-hearted poetry or journalism, this collection of short stories was darker than I expected. Some of what are considered Parker's classic short stories - such as "Big Blonde" and "A Telephone Call" - impressed me less than several other stories. "Mr. Durant," for example, is a story about abortion published in 1924 that gets around the censors of that day by not using the A word at all. Incredibly well done. In this book, at least, Parker's wit excels in the closing section of "sketches" rather than stories. "Our Tuesday Club" is an assemblage of character descriptions, rather than a narrative, and I regard it as a wonderful example of Parker's wit. Despite their age, most of the stories in this collection hold up well.

Men never make passes at girls reading Dorothy Parker
Dorothy Parker is one of the great women writers of the twentieth century. Though her life was marred by alcoholism and rather poor choices, her biting, insightful stories are a window into the twenties and women in general. I read her stories whenever I've had a rough day and need a giggle. ... Read more

Isbn: 0142437212
Sales Rank: 29880
Subjects:  1. 20th Century American Novel And Short Story    2. Fiction    3. Literary    4. Literature - Classics / Criticism    5. Literature: Classics    6. Short Stories (single author)   

Indivisible by Four: A String Quartet in Pursuit of Harmony
by Arnold Steinhardt
Average Customer Review:
Paperback (01 June, 2000)
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Editorial Review

Chamber-music lovers will rejoice in this story of the formation, nurturing, and maturing of the Guarneri String Quartet. First violinist Arnold Steinhardt has written a delightful memoir that radiates the love of music and sense of mutual respect and affection that have kept the Guarneri's players together since the ensemble was founded in 1964. How a famous, extremely busy musician learned to write so well is a mystery, but Steinhardt's style is as engaging and captivating as his playing. After sketching his own and his colleagues' pre-quartet careers, he describes how they choose and rehearse their repertoire and how they resolve their inevitable disagreements--and he even throws light on the inexplicable magic that happens in performance. Steinhardt recounts the pleasures and hardships of traveling and the group's partnership with illustrious guests (notably pianist Artur Rubinstein); he tells musical and personal anecdotes, wryly poking fun at himself and others, but never saying a malicious or derogatory word about anyone. Most remarkably, his discussions of a score are illuminating without becoming too technical. Steinhardt describes the emotional impact of music with a strikingly felicitous, often poetic touch, yet his characterizations resonate with his own experience and avoid the overblown or extravagant. Though it helps to know the music he feels so strongly about, this is a book anyone can enjoy. --Edith Eisler ... Read more

Reviews (17)

Bravo, Arnold Steinhardt!
This wonderfully humorous and true-to-the-art book is sweet music to anyone who loves chamber music. Steinhardt gets it so right throughout this delightful book, I, like many of the other reviewers was disappointed when I reached the last page - I wanted it to keep on going...

Steinhardt hits a universal chord that will resonate particularly well with those "insiders" who have performed chamber music at any level.While reading it, I found myself digging into my CDs and listening to the piece the author was describing.The unique commentary accompanied by the performance brought me a new appreciation for the string quartet genre.

Insightful and touching
I wish this book would have had twice as many pages, at the least. I found it utterly impossible to put down, raced through it in barely two days, and now feel bereft for having reached the end. Fortunately, the Guarneri's themselves are still going strong, though cellist David Soyer made way a few years ago for his pupil Peter Wiley. This book deals with the(many) years before that change took place. Arnold Steinhardt is as engrossing a storyteller as he is a violinist, and addresses the multitude of issues, both musical and personal, connected with string quartet playing without ever being boring, pompous, or academic. On the contrary, his lively, often humorous style of writing and the uncompromisingly personal tone he adopts prove perfect vehicles for an in-depth look at the daunting challenges involved in playing the quartet repertoire, but are also highly endearing. By the end you feel you truly got to know these players; an additional reason why the extensive description concluding the book, of a 90's performance of Schubert's Death & The Maiden, interspersed with Steinhardt's musings on the eventual finiteness even of the long-lived Guarneri Quartet, is extremely moving. The focus on such well-known repertoire, by the way, (Beethoven's op. 59/3 and the Cavatina from op. 130 are other Steinhardt favourites) are typical of the accessibility of the book and its laudable lack of snobbery.
Before these final pages, the author offers anything from concert-tour anecdotes, string quartet gags and quartet psychology to insights into the rehearsal process, repertoire choice, musical history, the peculiarities of amateurs, as well as thoughts on the relative merits of recorded and "live" performances. Deftly drafted portraits of musical giants like, say, Georg Szell or Arthur Rubinstein add further interest; the brief appearance of Jacqueline Du Pré as a "pale milkmaid in a flowerprint dress" who then incongruously attacks her cello with animal-like abandon I found quite unforgettable.
In all, I would strongly recommend this book to anyone interested in chamber music; but it will be a special treat for those with some experience in quartet-playing (if only by pointing out that string quartet repertoire is hard even for players of Guarneri-stature...).

GREAT book about chamber music
This book is required reading in the chamber music literature class I teach at a university. Steinhardt's writing is charming and easy to read, and he gives a fascinating look into what it's like to work with the same 3 men in such close quarters for 30+ years. If you have ever enjoyed a chamber music concert, or played chamber music yourself it is a must read. My students who play in rock bands also have found it a very valuable book, since a band is a similar animal to the string quartet. ... Read more

Isbn: 0374527008
Subjects:  1. Biography / Autobiography    2. Composers & Musicians - Classical Instrumentalists    3. General    4. Genres & Styles - Chamber    5. Music   

This Side Of Paradise
by F. Scott Fitzgerald James L. W. West
Average Customer Review:
Paperback (14 July, 1998)
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Editorial Review

Fitzgerald's first novel, reprinted in the handsome Everyman's Library series of literary classic, uses numerous formal experiments to tell the story of Amory Blaine, as he grows up during the crazy years following the First World War. It also contains a new introduction by Craig Raine that describes critical and popular reception of the book when it came out in 1920. ... Read more

Reviews (81)

A Life Lesson Experienced Vicariously
I never knew much about Fitzgerald or his work until I read This Side of Paradise. The beginning at first consisted of boring details; however, it did help for later in the story as Amory Blaine grew. The book centers around Amory Blaine, a smart, handsome, and egotistical young teen who thinks too highly of himself. I read with much enthusiasm and an idea of where the book might lead. As I predicted, Amory Blaine headed in the wrong direction in life and education. This substantiates the fact that Amory, from an early age, focused more on petty things than on the important things. He never had much guidance during his childhood until he met Monisgnor Darcy who turned out to be the most influential person on his life. Amory traveled through life with neither much guidance nor any love. He was exposed to the high class of American society which only clouded his mind, impeding on his development and realization of who he is and where he belongs. This, unfortunately, carried over into his college and adult years which eventually brought him to his demise. This turnout of events came to be what described the very stereotypical teen in America today. The lesson from this book is that one must focus on what is more important and live for the self, not impress or transcend others. In the end, it doesn't matter what parties you have attended or what social group you belonged to. This Side of Paradise came to be one of the most influential and provocative books I've read in the last year and has broaden my views on life and its' problems. This book will come to be very helpful for teens approaching their adulthood.

Where the wise can find no comfort
F. S. Fitzgerald used a Rupert Brooke verse and an Oscar Wilde line as the epigraph of his first published novel "This Side of Paradise". The verse says that in this side of paradise, the wise can find little comfort. In his novel, he'll try expose how the wise ones feel lonely and lost in this side of paradise.

The `wise one' is Amory Blaine, a wealthy young man who goes to Princeton and discoveries that life is a little different from what he was told. Before that, he has a wonderful and extravagant life with his mother Beatrice. She loves her only son that for some readers it can be a little disturbing. By the way, by using such names (Amory from `amor' [love]) and Beatrice (Dante's muse), Fitzgerald shows what he is talking about here. He wants to explore the European tradition of love (found and lost) and the importance of love in the life of the protagonist in his growing process.

The story is told by an outside narrator who is always adding things from Amory's point of view -- this third person narrator even knows the character's thoughts. Less than making the thread of the story, Fitzgerald prefers to draw sketches of Amory's life. In this fashion, the novel is more a character study of Amory, telling the most important moments that would help the reader to understand the character's quest to find this place in the world.

Much of what Fitzgerald used to create "This Side of Paradise" and its characters comes from his own experience. Many critics have found much of the author in Amory Blaine. This technique of semi-autobiographical novel was often used by Fitzgerald throughout his career -- and it was largely criticized.

But "This other side of paradise" found more acclamation and was his most commercially successful novel. In this book, Fitzgerald was able to capture a period of American history virtually like no one else, and gave a candid portrait of a new youth culture. Not only was he able to described the glamour of the period, but he also made critical commentaries on its flaws.

This side of greatness
I normally stick with a current bestseller, such as "Life of Pi" or Jackson McCrae's "Children's Corner," but instead wanted to do some scholarly reading and picked TSOP instead.Not a bad choice, indeed. F. Scott Fitzgerald has once again perfectly captured an entire generation in this book, yet did so in such a way that people can still relate today. Everyone can relate to Amory Blaine's plight of finding who you are amidst a generation that is lost and determined to do nothing substantial. Furthermore, Amory's incessant dissatisfaction with himself is something else we all can relate to. The reader is told that with Amory, "it was always the becoming he dreamed of, never the being." Amory always wanted to do things but never took the time to appreciate what he was. This Side of Paradise is a must read for anyone who wants to explore their own life, and how they are living it. ... Read more

Isbn: 0684843781
Subjects:  1. Children of the rich    2. Classics    3. College students    4. Fiction    5. Literature - Classics / Criticism    6. Literature: Classics    7. Veterans    8. World War, 1914-1918    9. Fiction / General