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Olarte-Hayes also manages to capture Britten’s pastoral disquiet especially well, given the disadvantage of a reduced dynamic palette. In terms of both music and plot, the defining idiosyncrasy and greatest challenge of Britten’s work is the sense of a rural world that has just disappeared from real life—grimy and intolerant, yet somehow possessed of some endearing ignorance that we no longer have. The orchestra warmly articulates the meandering melodic lines, but shades them with a well-measured anxiety that elegantly propels the emotional dynamic of the opera...
...things, including mountain climbing. In the Alps there remains the stubbornly unconquered Eiger Nordvand (or North Face), the “last problem of the Alps.” The Eiger’s other nicknames include Ogre, or more pertinently, the Death Wall. Inexorably drawn to face their greatest challenge yet. The film’s intrepid heroes are the sprightly, fearless Andi Hinterstoisser (Florian Lukas), and his climbing companion, the brooding Toni Kurz (Benno Furrmann). For this duo, to conquer the Eiger’s North Face is to conquer the world. They are cheered on by Luise...
...lacks a measure of technical freedom due to the airborne nature of the lift, he still manages to capture the protagonists’ plight from a multitude of angles, which makes the movie constantly engaging on a visual level. Green’s imaginative directing is one of the greatest strengths of the film and is the main reason why it works...
...clear that water is the central natural resource that is going to have the greatest global impact in the next century,” Schwartz said...
...lamenting the fact that Clay’s name doesn’t draw a crowd. If anything, I was pleasantly surprised to learn that the “World’s Greatest Athlete” would have time to chat the day before the meet. And as I quickly learned, Clay is much more than even that title suggests...