Word: filming
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Dates: during 1980-1989
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...LIES, AND VIDEOTAPE. Next question: Can a man and a woman be lovers without having sex? In Steven Soderbergh's elegant, poignant, very funny film, the answer matters less than the interplay of four congenially tortured souls...
...these people face or evade the dour cliches of dead-end domesticity? By expressing their feelings through the poetry of pop songs. Like Dennis Potter's The Singing Detective, which also knew how potent cheap music is, Davies' film is laced with dozens of postwar tunes to counterpoint or underline the narrative. In the pub where everyone stops by "just to wet the baby's head," Eileen's pal Micky (Debi Jones) sings an effervescent Buttons and Bows, and Eileen pours her own seething frustration into a passionate rendition of I Wanna Be Around to Pick Up the Pieces...
Davies, who made the film in two parts (one shot in 1985, the other in 1987), knows too that memory shuffles chronology like a deck of dog-eared cards on a rainy afternoon. His film is arranged as a series of vignettes, in which life's everyday epiphanies crowd out the sanctified rituals of birth, marriage and death. Eileen and her husband share a meal whose chill is punctuated only by their separate smiles at a radio comedian. Mother falls asleep with memories in her ear: Dad rasping for her to come to him, her young children answering the question...
...demonstrates, the story has all the elements of a good airplane read: an energetic and engaging protagonist who transcends humble Brooklyn Jewish origins to become a symbol of his generation's promise before he is 30; war years in which he serves as a member of a dashing documentary-film unit, enabling him to meet all the right people from Cairo to London and to see just enough action to lend authenticity to The Young Lions, the epic war novel that made him famous; a middle passage in which he fritters away critical and popular esteem while pursuing the good...
...booked for major productions in Paris, Brussels, Oslo, Copenhagen, Rome, Madrid, Tokyo, Tel Aviv, Sydney, Auckland, Rio de Janeiro, Mexico City, San Juan and New Delhi. This makes Hwang the first U.S. playwright to become an international phenomenon in a generation, since the heyday of Edward Albee. Dozens of film companies have bid for the rights. Says Hwang: "I guess the play is the thinking person's Fatal Attraction, a reflection of the fear between men and women and a kind of intellectual striptease. It's also about the West's fear of how its relationship with the East...