Word: martine
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...didn't write this review last week about "The Passion of the Christ." I wrote it in 1988 about Martin Scorsese's "The Last Temptation of Christ," changing only the names and the movie title. In manner and method, the two films have much in common. In theology and box office, they're worlds apart. "Last Temptation": liberal, condemned by conservative Catholics. "Passion": conservative, condemned by liberals, agnostics and many Jews. "Last Temptation": boycotted by religious groups, defended by the major studio that released it, earned $8 million in its entire run. "Passion": boycotted by major studios (little Newmarket released...
...snorted his derision over the two earlier Jesus films that have earned the most sustained critical acclaim. Asked a year ago by TIME correspondent Jeff Israeli for an analysis Pier Paolo Pasolini's "Il Vangelo secundo Matteo," (The Gospel According to St. Matthew) he faked a big yawn. Of Martin's Scorsese's "Last Temptation," he said, "You've got Harvey Keitel as Judas saying" - and here Gibson shifted into a Brooklyn accent - "Hey, you ovah dere." Maybe his was just dissing his strongest competition. He knew that these films were closest to his, in setting, rigor, power and bloodshed...
...Martin] was really interested in making the Huntington more pertinent to American theater as a whole, to the artists who lived and worked in this city and to the American playwright,” says Ilana Brownstein, the Huntington’s literary manager, whom Martin hired. “We don’t look to do experimental, directorial-vision plays, which the ART does. Our theater looks toward the playwright and the play as text: How do we mount a production that is not experimental, but reimagines...
...October and November of last year, Nathan Lane was in town rehearsing for Butley, the story of a jaded English professor. The play was directed by Martin and pronounced a success by the Globe even over the original 1971 production, which starred the legendary Alan Bates. Two years ago, Martin was so successful with the Huntington’s production of Ibsen’s Hedda Gabler that the show was taken to Broadway, where the same lead actress won a Tony. With Hedda Gabler, Martin managed to turn a familiar script into a more effective telling, not altering...
Brazilian Fernando Meirelles’ high-energy depiction of gang warfare in the titular Rio de Janeiro slum has been met with critical raves, four Oscar nominations, and comparisons to the mob pictures of Martin Scorsese. The protagonist, a young photographer named Rocket, succeeds in evading the gang lifestyle; his childhood friend fails to follow suit, instead succumbing to the temptations of crime and power. Dynamic, darkly funny and spitting electricity, City of God presents a strife-ridden world lurching towards destruction...