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Arts

The Setonian
Arts

Defiance' gives a different perspective on the Holocaust

January 25

    Most viewers go into a Holocaust-themed film expecting to see a group of Jews sent complacently into ghettos or death camps, where they survive trials of the body and soul only to triumph in spirit over their oppressors. Now, as the many Holocaust-themed films of the past year have shown, viewers can also appreciate stories about the Nazi with the heart of gold — the Germans who were trapped into joining the radical party but really were disgusted by (or ignorant of) the atrocities Hitler and his government were committing.     "Defiance" (2008) breaks both of these paradigms. The film is about Jews, but they are a far cry from those typically shown in cinema. While most Jews across Europe ignored the rumors about the German Final Solution, the three Bielski brothers (played by Daniel Craig, Liev Schreiber and Jamie Bell) escaped into the Belarusian forest and helped hundreds of other Jews to do the same. The brothers sought vengeance against the German Nazis and the local officers who slaughtered their family and friends. Yet, as the eldest Bielski is quick to point out, the group's true revenge is merely surviving.     The most rewarding aspect of "Defiance" is the catharsis it provides for the viewer. In most other Holocaust stories, hindsight makes us exceedingly frustrated. Why do the Jews do nothing? Why don't they fight back? The Bielskis are the Jews we wish existed in all the stories, in all the cities and all the camps. The brothers' fear of the Nazis and faith in God propelled them to do something. Their story is almost a fairytale, but the kicker is that it is true.     Jewish resistance is obviously not the first aspect of the Holocaust that comes to mind for American audiences. However, there was significant armed resistance against the Nazis across occupied Poland and the Soviet Union. The Bielski Otriad, or partisan detachment, was one of the most venerable elements of the Jewish resistance. While they did act with force on many occasions, their legacy was an emphasis on community. By cultivating a safe haven within the forests, more than 1,200 Jews survived the war.     In spite of its historical themes, "Defiance" is an action movie. From Edward Zwick, the director of such defining war movies as "Glory" (1989) and "The Last Samurai" (2003), the film is a technical beauty. The special effects, sound mixing and general blocking of the battle scenes are exquisite. Zwick does not gloss over the sacrifices of war; the characters get dirty, go hungry and get killed. These hardships bring a semblance of reality to an otherwise hard-to-believe story.     The tense action sequences also work to even out the pacing of the film, which tends to drag during the disappointing character-driven segments. The viewer roots for the Bielski clan, but he isn't emotionally attached or interested in the film's characters. Tuvia (Craig) is the de facto leader, literally riding around on his white horse as the group's savior. Asael (Bell) is his deputy, which the viewer realizes only after the character is finally given personality halfway through the film.     The final brother, Zus (Schreiber), is arguably the only one with any depth. He is not an unrelenting beacon of hope, as Tuvia seems to be, but is instead bitter and pragmatic about the situation and the chances of survival. Zus competes with his brothers for power and makes no apologies for his belief that war is the time for offense, not defense.     Serving as a counterpoint to the fighters are the intellectual Jews, the so-called malbushim. These characters offer an interesting perspective on the differences between violent partisans like the Bielskis and the non-resistant Jews that are more commonly discussed in the pages of history.     In "Defiance," the only thing that separates the two groups is the resources each possesses. Many Jews had enough social capital or financial clout to doubt that the Nazis could seriously threaten them. On the other hand, the Bielskis were poor, uneducated farmers, armed only with the knowledge of the forest. Neither group was more passive or active than the other. The intellectuals believed their ability to be diplomatic would ensure survival, while partisans trusted in their survival instincts.     While the brothers' story of resistance is not wholly unique, it is exciting in the face of more common historical narratives that tell of Jews being shipped off to Auschwitz and Treblinka. The Bielskis fought back in the only way they knew how, and for their bravery, generations are proud.

The Setonian
Arts

New MFA exhibit links Boston with Kyoto

January 22

     Long considered one of Japan's preeminent cities in terms of cultural heritage, Kyoto is home to some of Japan's most celebrated temples, gardens and works of art. While the works in "Celebrating Kyoto: Modern Arts from Boston's Sister City" are modern and perhaps not what Kyoto is best known for, they skillfully demonstrate the ability of contemporary artists to reinterpret elements of the past in an innovative way.     "Celebrating Kyoto: Modern Arts from Boston's Sister City" runs until Aug. 9 at the Museum of Fine Arts, Boston (MFA). The exhibit is laid out in a quietly elegant room that recalls Japanese décor and features ceramics, stoneware, textiles and prints from the famed city. While many of these pieces are decidedly contemporary, they "are bound together by an active engagement with history and tradition rather than a blind reverence for it," as stated by the text at the entrance to the exhibition.     The introduction to the exhibition further explains that Boston and Kyoto became sister cities in 1959, and this show is meant to celebrate the anniversary of the two cities' affiliation. The idea of sister cities came about during the Eisenhower administration as a way for cities in different countries to share their culture, ideas and technology. It is fitting that Boston and Kyoto should share this relationship because of the immense cultural significance each city holds within its respective country.     While the pieces in this exhibition reference the historic themes of Kyoto, most of the allusions are decidedly subtle. However, through their clean lines and graceful simplicity, it is possible to see a great deal of Japanese artistic and cultural history through the works in the exhibition.     One piece in particular, a porcelain sculpture by artist Fukami Sueharu entitled "Seascape" (2007), pulls nicely on these historic themes. The turquoise porcelain sculpture depicts, with sharp lines and a relatively simple shape, a modern take on Japan's fascination with the sea that is manifest in its artistic legacy. The piece is enhanced by its location in a glass case in the middle of the gallery because it takes on increased depth when it is viewed from multiple angles.     Another piece that reinterprets ideas from the past in a new way is the stone carving "Footprints of the Buddha" (1979) by Kondo Yutaka. In early Buddhist art, the Buddha was rarely depicted, so artists used images such as footprints to represent his sacred presence. The footprints were traditionally decorated with markings, for which Yutaka has substituted words including the names of cities and countries (such as Tokyo, Osaka and Finland) "that … [he] favored," according to the sculpture's label.     Sakurai Yasuko's "Vertical Flower" (2007), located across the gallery from "Seascape," is another standout piece. The sculpture's dramatic, multi-pronged rim is reminiscent of Japanese architecture while still showing the artist's ability to incorporate another culture into her works. As the label indicates, Yasuko had "an artist's residency in the French porcelain-producing region of Limoges from 1999 to 2001 [that] transformed her artistic vision."     Finally, the woodblock prints by Matsubara Naoko, including "Old North Church in Boston" (1967), and "Boston Public Library" (1960s), fit nicely into the exhibition because they demonstrate, perhaps most obviously, the link between Kyoto and Boston. Naoko's woodblock prints are not overly colorful, but they interpret, with an interesting style, the pointed light fixtures of the Boston Public Library and the spire of The Old North Church to present expressive images of these celebrated landmarks.     The artists whose pieces comprise "Celebrating Kyoto: Modern Arts from Boston's Sister City," are clearly rooted in traditional Japanese art. They have reinterpreted classic themes in inventive, if overly sensational ways in their works. In this excellent exhibition, it is interesting to observe these Kyoto artists bringing the legacy of Japanese art into the modern age.

The Setonian
Arts

Quirky 'New Century' successfully mixes comedy and sorrow

January 22

    Playwright Paul Rudnick's latest work opens at a meeting of the Massapequa chapter of the P.L.G.B.T.Q.C.C.C & O, or the Parents of Lesbians, Gays, Bisexuals, the Transgendered, the Questioning, the Curious, the Creatively Concerned and Others. For the next two hours, the audience sits through a play that can only be called an "experience."     "The New Century" is a collection of four hilarious gay-centric short plays set in post-Sept. 11 America. The first three plays use extended monologues and sparse dialogue to introduce the audience to the work's main characters: the self-labeled most loving, accepting mother of all time, the über-flamboyant host of a late night public-access television show named "Too Gay" and a rotund Mid-western mother of an AIDS victim who spends her spare time making sock monkeys and crocheted tissue box covers. The fourth and final play links all of the characters' stories, bringing them together in the maternity ward of a New York hospital.     "Pride and Joy," the first short play, is the story of Helene Nadler (played by Paula Plum). She is a middle-aged Jewish mother of a lesbian, a transvestite and a gay scatologist with a leather fetish. Although Nadler's situation is tough, she combats it with an acerbic wit. For instance, when Nadler's oldest daughter comes out to her, Nadler is not really surprised and tells her that with her Amish-boy haircut, "Helen Keller would know you were a lesbian."     Yet Nadler still comes across as a loving and caring mother. Plum does a wonderful job of interspersing Rudnick's cutting one-liners with moments of tenderness and compassion. Nadler's jokes would sound homophobic coming from most people, but Plum is able to turn them into a tribute to the character's love for her children.     The second play, "Mr. Charles, Currently of Palm Beach," is set at a 4 a.m. public access television show hosted by the flamboyant Mr. Charles (Robert Saoud), who was kicked out of New York for being "too gay." This is the funniest and most entertaining short play, from Mr. Charles asking, "When an English person comes out is anyone really surprised? Did anyone say, ‘Oh no, not Ian McKellen?,'" to his guide on how to identify a gay man in the audience ("He's saving his playbill and he's awake"). This story also has the most to say.     Mr. Charles is a product of his anger at the kind of political correctness that demands that gay men hide their sexuality if they want to be seen as equal citizens. Although Mr. Charles can, at times, be a little heavy-handed, such as when he says, "We can hold jobs, go to church and raise children, just like everyone else," he is an eccentric, lovable character, and Saoud is a pleasure to watch in the role.     The third and most poignant of the vignettes, "Crafty," features Barbara Ellen Diggs (Kerry Dowling), a Midwesterner who spends her time making crafts that others might just label as junk. Although the character initially comes off as a stale and cliché representation of a Midwesterner, annoyance turns to sympathy when the audience finds out that she has lost a son to AIDS. Barbara Ellen's dialogue about her son's death exemplifies Rudnick's ability to interweave the comic with the sad.     The final play, "The New Century," is the most disappointing of the show. When Rudnick unites the characters in the hospital ward of a New York hospital, it feels a bit contrived. Furthermore, his attempt to explain post-Sept. 11 America with an analogy to Century 21, a New York discount store and the origin of the play's title, feels a little  too forced.     Despite the shortcomings of the final play, as a whole, "The New Century" is a fun, uproarious show and a great way to spend two hours.

The Setonian
Arts

Thrilling Omnimax film 'Roving Mars' provides an out-of-this-world experience

January 20

Some say that size doesn't matter. But when it comes to movie screens, bigger is certainly better, and it doesn't get much bigger than Omnimax. At the Mugar Omni Theater at the Museum of Science, Boston, New England's only Omnimax Theater, IMAX-format film is projected onto a 180-degree, five-story-tall screen, presenting something much more than a movie. "Roving Mars" (2006), which details the recent Mars rover expeditions, recently opened at the Mugar Omni Theater and is as close to a trip to Mars as anyone outside of NASA could hope for.

The Setonian
Arts

Derek Trucks Band sticks to formula in 'Already Free'

January 20

Derek Trucks has accomplished a lot in his 29 years. At age 11, he began sitting in on Allman Brothers Band (ABB) concerts as a replacement for the late, great Duane Allman, and industry publications such as Rolling Stone Magazine have long lauded him as one of the greatest younger-generation guitarists in the world. In addition to his work with ABB, Trucks has led the Derek Trucks Band (DTB), whose much-hyped sixth studio album, "Already Free," was released on Jan. 13. With their latest disc, Derek Trucks Band has not broken any new ground, but it's given listeners a solid continuation of the blues-rock sound that first made them famous fifteen years ago.

The Setonian
Arts

My Bloody Valentine 3-D' is a cheesy, but entertaining, thrill ride

January 20

The horror genre, despite its established place in American popular culture, has long confounded film critics. What qualifies as a horror film and what constitutes a good horror film have been up for debate for a long time. It is a safe bet to say that a "horror" movie must include a supernatural element, sex (whether graphic or subtle), a couple of screaming women and scenes that make viewers cringe and/or jump. Films that do not fit these specifications are generally "thrillers" of some sort. Keeping this in mind, "My Bloody Valentine 3-D" surprisingly succeeds as a little bit of both genres, with visually pleasing special effects and free, stylish glasses to boot.

The Setonian
Arts

Chekhov's 'The Seagull' transformed at A.R.T.

January 15

                Konstantin, the angst-ridden artist in Anton Chekhov's play "The Seagull," says, "We have to show life not the way it is, or the way it should be, but the way it is in dreams." János Szász, director of the American Repertory Theatre's (A.R.T.) production of "The Seagull" presents an interpretation that is exactly that: a nightmarish descent into the beating heart of real life.     Chekhov's tragicomedy paints a rich and tumultuous portrait of society that astonished audiences when it was first produced in 1896, and Szász's rock-infused production makes the play's return to the stage as beautiful and haunting as ever.     The play opens on a dank, smoke-filled, subterranean stage with ghost-like characters dressed as punk rockers and moody goths. Brilliant, ostentatious chandeliers hang from the ceiling, and the set's juxtaposition of sparkle and smoke parallel the good and bad each character exhibits. There are no villains and no heroes. The A.R.T.'s production demonstrates that every character is flawed with an irresistible authenticity.     "The Seagull," Chekhov's most recognizable play, is about regular life turned upside down by passion. As the play opens, Konstantin (played by Mickey Solis) awaits the first performance of the drama he has written for his beloved Nina (Molly Ward). He also hopes to impress his mother, a famous but aging actress who is accompanied by her lover, the prominent writer Boris Trigorin (Brain Dykstra). When Konstantin's mother ridicules his play, he storms off in a rage. At that moment, Trigorin notices Nina and is sexually fascinated by her.     A disastrous affair follows, with a dark humor that Szász charges with a profound use of phallic imagery. What Chekhov had left unsaid in his play rises to the surface of this violently disillusioning — and slightly disturbing — production.     Lighting in the production plays a major role. The actors seem to be surrounded by darkness throughout the show, and Konstantin uses a flashlight to control the gazes of other characters, paralyzing them into a moth-like fixation.     Water plays an equally important and symbolic role, yet, like the characters, it is never clearly positive or negative. Chekhov's play takes place by a lake, but in Szász's version a giant ankle-deep puddle spreads across the stage, which the actors splash through in rubber rain boots. In the second act, water rains down and soaks the actors, but it fails to purify or free them. The overall effect is hysterically depressing — tragedy and comedy combined.     Chekhov did not like to designate main and secondary characters in his plays, and "The Seagull" is no exception. Each character's personality has an equally strong presence on stage, and the high quality of the acting aids the playwright's intent. The play stops short of being melodramatic, however, since the actors' anguish is both heart-wrenchingly real and, at times, self-mocking. Quite frequently the actors transition from an ordinary reality into a mechanical trance that comes across as both captivating and absurd. The production presents stock characters taken from melodrama and makes them infinitely more complex.     Szász's interpretation is poetic and harsh, a fitting tribute to what some have hailed as Chekhov's masterpiece, and the answer to Konstantin's passionate cry: "… new forms! We need new forms, and if we can't have them, then we're better off with no theater at all."     Szász successfully accepts Konstantin's challenge to old forms, expanding the boundaries of what theater can be. His violent, cinematic concept specifically strikes a chord with young viewers. The music of Guns N' Roses punctuates Szász's futuristic dream world, creating a departure from the text while keeping in line with Chekhov's vision.      "The Seagull" is showing at the A.R.T.'s Loeb Drama Center in Cambridge until February 1st. For a full performance schedule, log on to the A.R.T. website at amrep.org. Student tickets are $25 advance purchase and $15 on the day of performance.

The Setonian
Arts

Photos from MFA's permanent collection 'figure' into new exhibit

January 15

    Photography is compelling because everyone can relate to the essence of its images. It can forever capture and preserve some of the world's most dramatic events and can also be modified to produce works of extreme complexity and depth. However, it can also depict everyday forms with great elegance. Indeed, it is some of the simplest photographs that are the most gripping because they transform the ordinary into the extraordinary.     In "Photographic Figures," which runs until May 10 at the Museum of Fine Arts (MFA), Boston, many of the works are basic depictions of the human body. While this sounds potentially mundane, the methods employed by the artists make these everyday subjects very compelling. Hands, feet, legs, eyes, etc. are transformed into windows to the soul that, in their simplicity, are both approachable and gripping.     The theme of simplicity links nearly all of the works in the gallery and makes the exhibition an appropriate inauguration for The Herb Ritts Gallery, which will henceforth be devoted solely to photography. As part of the MFA's Building Project, large parts of the museum are being reorganized to display as much of its extensive collection as possible. However, because the campaign is being completed in phases, visitors can already enjoy this new gallery even during major construction.     Diana O'Donnell, public relations coordinator for the MFA, said that most of the pieces in this exhibition are from the museum's permanent collection. And, as the text at the entrance to the exhibition states, "The Museum of Fine Arts, Boston, was one of the first museums in the world to acquire photographs as works of art." According to O'Donnell, the museum's collection has since grown into one of considerable influence, and in this gallery, which is located directly beyond the reception desk at the West Wing Entrance, works will be rotated several times a year as a perpetual celebration of the collection.     In "Photographic Figures," most pieces in the first room of the exhibit keep with the theme of simplicity. In this space, the photographs are arranged in groups depicting faces, eyes, legs and hands. One of the pieces, "Eye" (1930) is particularly characteristic of this simple style. In this photograph, the artist, Theo Ballmer, depicts an eye and eyebrow at close range. However, in its minimalism and excellent manipulation of lighting, the piece is quietly compelling. From this simple, everyday image it is possible to learn a great deal about the person depicted as well as the artist.     Another piece, "Agnes Macphail" (1934), also fits nicely into this theme. The portrait, depicting the first woman elected to the Canadian Parliament, is a simple profile that is enhanced by "veiling it with a sheath of elegant black lace," according to the wall text. The piece is not sensational, but is very absorbing because it demonstrates photographer Yousuf Karsh's ability to transform the simple into the spectacular.     Many of the photographs in the second room are grouped in a similar way to those in the first, but there are several outliers that demonstrate simplicity of form in other ways. This room also highlights the fashion photography background of many of the artists whose works are shown.     "Back, Paris" (1938) pulls on the theme of simplicity from the first room but merges it with the sense of glamour and sophistication associated with fashion photography. Another piece in this room, "Classic Back" (1984), joins simplicity with the ideals of classical painting. Indeed, as the text next to the photograph suggests, "Michael Spano [the artist] evokes … the style of the nineteenth-century French painter Ingres."     "Photographic Figures" is an excellent introduction to the MFA's extensive photography collection. In their ability to transform the mundane into compelling pieces of great elegance, the works in this exhibition are an exciting preview of the many photographs that will occupy the walls of The Herb Ritts Gallery for years to come.

The Setonian
Arts

Aronofsky's 'Wrestler' is honest and clear(ly ridiculous)

January 15

There was once a time not so long ago when professional wrestling was hugely popular. Since then, however, The Rock has hung up his apron, Hulkmania was cured, and panda bears were proven tougher than men in tights when, in 2000, the World Wildlife Federation sued the World Wrestling Federation for use of the WWF acronym and won. Darren Aronofsky's new film, "The Wrestler," does not try to relive wrestling's glory days, but rather helps the audience understand what drives this peculiar breed of men to do what they do.

The Setonian
Arts

Mix of surprises and disappointments hit music scene in 2008

January 13

The year 2008 saw the election of a new president, a financial meltdown and even the conviction of O.J. Simpson. The music world also saw its share of that ever-present political buzzword, "change." The Daily will attempt to sum up the 2008 calendar year in the music scene, from the good to the bad to the ugly, and offer up a list of notable future releases and performances to check out in 2009.

The Setonian
Arts

Gran Torino' holds its own with Eastwood at the helm

January 13

Clint Eastwood has been a major force in the entertainment industry for over 53 years as both an actor and a director. As a result of his acting work in such classics as "Dirty Harry" (1971) and his successful forays into directing, exemplified by the more recent thriller "Mystic River" (2003), Eastwood's latest offerings have been constantly surrounded by Hollywood buzz. After a short hiatus, the prolific actor has returned to the screen once more to provide audiences with a stellar performance in "Gran Torino."

The Setonian
Arts

Frost/Nixon' examines two misunderstood men through the lens of historical drama

December 7

Historical drama is a difficult genre. Such a film needs the proper balance of entertainment value and historical accuracy on top of all the qualities that made a quality film: good directing, strong acting and an intelligent script. Director Ron Howard is frequently guilty of exaggerating history and twisting the truth in some of his other films such as "Apollo 13" (1995) and "A Beautiful Mind" (2001). But in his latest historical drama "Frost/Nixon," Howard sticks to the facts and presents an intriguing story, all the while struggling to match the renowned quality of his earlier works.

The Setonian
Arts

Two SMFA students exhibit thesis projects

December 7

The MFA Thesis Exhibition in the Tufts University Art Gallery is currently hosting the works of Daniel Phillips and Eugene Scott Finney, two graduate students pursuing a Masters in Fine Arts degree through a combined degree program with Tufts and the School of the Museum of Fine Arts, Boston (SMFA).

The Setonian
Arts

Grant Beighley | Pants Optional

December 7

This edition of Pants Optional is going to be a little different. Since I'm feeling rather uninhibited at the moment, this week's column is a rejected music review that I wrote the morning after a raging social event while severely under-slept, and I think it just may be some of the best work I've ever done. So enjoy the 'fail-column' that was my review of Britney Spears' "Circus" (2008):

The Setonian
Arts

Aronofsky looks over a wrestler's shoulder for his latest endeavour

December 4

Director Darren Aronofsky recently sat down with the Daily to talk about his upcoming film, "The Wrestler," starring Mickey Rourke and Marissa Tomei (interviewed for yesterday's Weekender section). The film follows the life of ex-pro wrestler Randy "the Ram" Robinson, who now makes his living by performing at amateur events. In the interview, Aronofsky spoke about his background, explained his innovative techniques and defended his incorporation of clichés.

The Setonian
Arts

Aurelia's Oratorio' provides surreal, innovative cirque

December 4

The stage is open, framed by faded but elegant red velvet curtains draped haphazardly in a mix of patterns and folds. The curtains, which like many other normally inanimate objects on the stage, have life and character in "Aurelia's Oratorio," a predominantly wordless theatrical performance by Aurélia Thierrée.

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