Word: hoffmanã
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Based on E.T.A. Hoffman??s book “Der Sandmann,” the classical ballet “Coppélia” was first choreographed by Arthur St. Léon to the music of Léo Delibes. It is one of the greatest comic classical ballets in history, telling the whimsical tale of the easily fooled Frantz, his love Swanilda, and their encounters with old Dr. Coppélius, the town toy-maker and magician. Though Frantz originally pesters Dr. Coppélius, he is lured by the beauty of the scheming...
...film rushes on to the next bloodbath. When Agent Hoffman, Jigsaw’s protege, [SPOILER OR NO?] goes to the audio lab responsible for decrypting a recording which will ultimately incriminate him, the lab technician delivers the following description of un-scrambling audio over a close-up of Hoffman??s face: “We’ll turn his algorithm upside-down and hear what he sounds like...
...definitive version and so will deliberately stray. He is fundamentally concerned with honest communication, and he beautifully distills the small revelations from the events of his particular life. To read “Curriculum Vitae” is to briefly shadow the patterns of a remarkable mind. When Hoffman??s Japanese teacher eventually commits suicide, he next recalls a woman from the Association of Soldiers’ Mothers who drowned while crossing the Jordan. By specifying that fish devoured them both, he illuminates the link between them. Mortality does not leave Hoffmann’s mind for long...
...standard of Christmas tunes—and its precious characters. Thankfully, Mikko Nissinen, artistic director of Boston Ballet, has not ventured into the common practice, as of late, of creating some innovative, delirious hallucinogen with no ties to the original, beautiful children’s tale that was E.T.A. Hoffman??s “The Nutcracker and the King of Mice.” In his production, which runs at the Boston Opera House through Dec. 28, Nissinen sticks, for the most part, to the tried and true formula, and the few innovations he does risk add charm...
Screenwriter Robert Benton looks a little like Warren Beatty and talks a little like Dustin Hoffman??which is fitting, since both have worked for him. Benton has a whole constellation of stars to his name, but he left them all behind for his talk with New York Times book critic Janet Maslin at Kirkland House on Monday. Benton is wise in the ways of Hollywood as the martyred-then-hallowed screenwriter of “Bonnie and Clyde” and the beatified and Academy Award-winning writer-director of “Kramer vs. Kramer...