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Creative control over unfinished work is usually given to the artist’s family or friends—as is the case with Kubrick, whose son-in-law, Philip Hobbs, is pursuing the production of “Lunatic.” Though such people seem more likely than others to know the author’s wishes, too frequently they don’t seem to care. Allowing the director’s relatives to make decisions about the cast and crew is a crapshoot in terms of quality. Shared genes do not endow one with any sort...
...Lunatic” as a period piece endows it with a very different meaning than it would have had as a contemporary film in 1956. To place the resurrected “Lunatic” in the same category as, for example, a Tarantino film—whose director intentionally sets certain films in the past as a means of exploring certain generic tropes—indicates a troubling lack of comprehension of Kubrick’s place in cinematic history. Such a choice should serve as an ominous harbinger for anyone concerned with the integrity of the director?...
...innocence and dark violence is powerfully established. This startling contrast underscores the drama of the entire production. Directed by Ilinca Radulian ’11, and playing at the Loeb Experimental Theater until April 24, “The Pillowman” is a dark and comedic theatrical experience whose character-driven plot comes to life with the skillfully nuanced acting of a four-person cast. Accented by glimmers of dark humor, creative props, and an unusual set, “The Pillowman” creates a haunting world of philosophical and psychological complexity...
...means the only paradox “The Pirates of Penzance” presents; in fact, Gilbert and Sullivan seem to have delighted in irony. The plot rests on an absurdity built into the contract of Pirate Apprentice Frederic (Benjamin J. Nelson ’11), whose nurse signed him up to serve as a pirate not for 21 years but for 21 birthdays—an unfortunate choice of terms considering that Frederic was born on February 29, which means that at age 21 he’s had only five birthdays...
...that vilifies writers like these, it goes without saying that defenders of plagiarists are few and far between. Few, for instance, would dare defend a writer like Kaavya Viswanathan ’08, whose novel—“How Opal Mehta Got Kissed, Got Wild, and Got a Life”—borrows more than just a few words from several previously published books. Few, that is, except for David Shields, who, in “Reality Hunger,” maintains that Viswanathan must be considered an artist precisely because?...