In 1991, American Playhouse, a PBS produced series presented A Marriage: Georgia O’Keeffe and Alfred Stieglitz. The production starred Jane Alexander as O’Keeffe and Christopher Plummer as Stieglitz. There are few, if any, artistic couples who loom as significant in the history of culture and art as Stieglitz and O’Keeffe. Alfred Stieglitz did not consider himself just a photographer, but an artist and through his galleries and his highbrow magazine, Camera Work he almost single-handedly made photography a recognized art form. Additionally, he was a pioneer in introducing the Modern Art movement to America. Continue reading
Georgia O’Keeffe, a pioneer of the modern art movement and one of the most famous American female artists, captured through her abstract depictions of large flowers, animal skulls and the landscape of the Southwest, the power, the emotional pull and perception of abstraction in art. O’Keeffe was unique; she followed no artistic school or thought. Her vision of form and design all came from within her own spirit. Continue reading
This is the first in a series of monthly posts that will highlight my favorite comedies of each decade. Key word here is favorite and not necessarily the best. Comedy is a highly subjective category. While many film lovers see Billy Wilder’s Some Like it Hot to be one of the best comedies, there are folks, well informed film lovers, who disagree.
I myself believe many of our modern day comedies rely too much on trashy jokes and not enough on sophisticated humor. A fart joke gets the laugh. Why bother with intelligent humor. Now, I have nothing against low-brow or bathroom humor, but how many times do we have to see Will Farrell take off his shirt, pants, or more (Old School, Blades of Glory, Talledega Nights, Anchorman, Step Brothers, Daddy’s Home)? Today’s audiences also have an intolerance for the buildup to the joke. Attention spans have diminished over the years. Television is partially to blame for this; the jokes have to come quick to get them all in a twenty minutes time frame. Laurel and Hardy would never survive in today cinema world. It’s not that there are not good comedies today. The Big Sick is one of my favorite films of 2017, and Judd Apatow has a pretty good record. However, overall they are far and in between. Continue reading
By 1992, Joe Pesci had been around for thirty years beginning with a small role in the 1961 film, Hey, Let’s Twist, a showcase for the then chart-topping rock and roll group, Joey Dee and the Starliters (Peppermint Twist). Pesci began getting some attention in the mid-1980’s with films like Easy Money and Once Upon a Time in America. But it was not until 1989 with Lethal Weapon 2 and 1990 with the double whammy of Home Alone and Goodfellas that Pesci became a name on everyone’s lips. Riding this success, Pesci had a series of important roles over the next few years. In 1992 alone, he appeared in Home Alone 2: Lost in New York, Lethal Weapon 3 and My Cousin Vinny. That same year he also had the lead role in the little-known film, The Public Eye. Continue reading