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Hilary Hahn at 26 is one of the finest internationally known classical musicians.  She was named “America’s Best” young classical musician by Time magazine in 2001.  She began studying the violin one month before her 4th birthday.  At age 10 she was admitted to Philadelphia’s Curtis Institute of Music and made her debut with the Baltimore Symphony Orchestra a year and a half later.

Here she is backed up by the Los Angeles Chamber Orchestra under the direction of Jeffrey Kahane.  LACO is in its 37th season and is nationally and internationally acclaimed for music-making of the highest artistic caliber.

Of course, Johann Sebastian Bach is one of the best-known and best-loved composers ever (ah! Bach!)  The dramatic and emotional force of his music inspired Wagner to call his work “the most stupendous miracle in all music.”

This recording consists of four of his lesser-known but excellent concertos.  Performed by the smaller chamber orchestra, the more intimate sound is perfectly suited to the music.  The opening number, Concerto for violin, strings and continuo in E major, begins with a light-hearted, lyrical movement with the intricate combinations and patterns Bach is know for.  After a slower, more soulful interlude the more buoyant, cheerful music returns.

The second piece, in my opinion, is one of the most gorgeous pieces of music ever written.  Concerto for 2 violins, strings and continuo in D minor begins with a lively passage by the orchestra before the two violins start their duet.  This is a perky “question and answer” tune with interweaving themes, dueling violins if you will, flowing into a fast-paced game of tag.  The second movement is smooth and lush, the music ascending and descending in an undulating pattern.  It reaches peaks and valleys before softly coming to an end.  I once saw a ballet choreographed to this piece of music.  At one point, the dancers, holding hands, wove smoothly under each others arms into an intricate knot and then unwound just as gracefully without breaking apart.  It defined the music perfectly.  The third movement returns to the playful dueling in earnest with the whole orchestra getting into the act.

The last two pieces include the Concerto in A minor for violin, strings and continuo, a beautiful, lyrical piece in which Hahn’s artistry really stands out, and the Concerto in C minor for oboe, violin, strings and continuo which has an exciting ending.

It’s a perfect cd for relaxing and interesting listening.

Review by Donna

The Man on the Train (L Homme du Train) could be Lecontes most significant film since Ridicule, a picture which gained him critical acclaim and international recognition, not to mention a few awards. Although The Man on the Train may not carry the erudite, cultured weightiness of his period pieces, such as Ridicule or The Widow of Saint-Pierre, it retains the same witty social commentary, thoughtful and thorough character development, and technical brilliance of these earlier works; which is slightly surprising, considering it is essentially a buddy moviean existential, intellectual, French buddy movie, but a buddy movie nonetheless.

In summarizing The Man on the Train, one hesitates to reveal too many details. The small discoveries in this film are so integral to the overall experience. It is a basic odd-couple premise but with unique twists and artistic flare. It is the story of two men, one a retired poetry teacher, Manesquier (Jean Rochefort), the other a middle-aged thief, Milan (Johnny Hallyday). They meet on a train bound for a sleepy French village. One man is simply returning home; the other has plans to rob the bank. The only hotel in town is closed, so with no place to stay, Milan accepts Manesquiers offer of lodging. Over the week that follows, the two form a strange and reluctant friendship. As their secrets are gradually revealed, the two men begin to envy each other and wonder what life would be like to be in the shoes of the man on the train. An osmosis of personality occurs as Milan and Manesquier begin to act out the others lives, exercising their regret and exploring the life that could have been.

The performances by Rochefort and Hallyday are awe-inspiring. They have an unbelievable chemistry that enhances the script, making the story come alive. Seldom have I experienced a film that was so satisfying and so inspiring that I wanted to recommend it to complete strangers. The Man on the Train is such a film.

French with English subtitles. Rated R for some language and brief violence.

Reviewed by Maggie

Not long after our hero arrives, he discovers that the town has been taken over by its new inhabitants, the newly freed inmates of the town’s insane asylum. These local looneys have taken on the identities, occupations, and social standings of the fleeing villagers and have dubbed Private Plumpick their long lost king, the “King of Hearts”. With no hope of disarming the bomb, Plumpick tries to escort his lunatic friends out of town. But, with no concept of war or the dangers of it, the new villagers refuse to leave and breakout into an exuberant celebration of their King’s coronation. Plumpick then has no choice but to attempt to disarm the explosives in order to save his loyal “subjects”.

This 1966 comedy is perhaps the best known work of Philippe de Broca, as it was a huge success when it was released in America in the late 60s. King of Hearts is undeniably an anti-war film, but it never feels like one. It never panders to its audience with clichéd anti-war sentiments of peace and love. Nor does tit demonstrate the horror of war through intense displays of violence. Instead it demonstrates the ugliness of war by showing how beautiful the absence of war is. Through the actions and attitudes of the insane who do not participate nor even recognize war we see how insane war truly is.

In addition to being a charming and enjoyable film with a pertinent message, King of Hearts is an example of superior film making. The cast is talented and charismatic. The costumes and sets are creative, colorful, and seemingly magical. The film quality is dazzling: lyrical photography, splendid use of saturated, contrasting colors. Every shot looks like an oil painting. It is a shame movies do not look like this anymore. Upon one viewing, it becomes obvious why this film is considered a classic; but unlike some classics, this film becomes more wonderful, more magical, more relevant every time I see it.

1966, France
French, German, and English with English subtitles
Color
Not Rated

Reviewed by Maggie

I’m glad I did.

What the Bleep Do We Know is a documentary that uses a blend of quantum physics, psychology and spirituality to explore the connections between everything and, well, everything. Fourteen scientists, doctors, clergy, and mystics are interviewed, all with extraordinarily impressive and a few surprising credentials. However, in a departure from traditional documentary filmmaking style, the filmmakers do not introduce their interview subjects until the end of the film. A remarkably wise decision on their part, as it allows the audience to hear all of interviewees’ opinions and ideas on quantum physics, spirituality, self, and choice without being biased by the origin of the thought. It’s nearly impossible to dismiss one subject as a mystic and credit another as a scientist, or vice versa, as their views seem surprisingly similar as they are presented in this film. The line between spiritual enlightenment and scientific inquiry begins to disappear as the two fields strive to understand the same phenomena.

The interviews are tied together by a fictive narrative of a woman named Amanda, played by Marlee Matlin, who strives to overcome the stress, turmoil, and unhappiness in her life. As she goes through her day she is confronted/greeted by a number of “guides” and other external influences that cause her to reexamine her view of the world and understand how her own mind shapes the world in which she lives. Amanda’s story serves as a visual aid for the concepts that the fourteen interviewees are discussing.

These narrative segments are entertaining, for the most part, if not entirely necessary.

Although the production quality is good, there are some style elements that are distracting: backgrounds and animation that, though well produced, are just a tad on the tacky side. Nonetheless, this does not significantly detract from the overall enjoyment of the film.

After the reviews I had read, I fully expected this film to be a bunch of new age hooey. After the first time I watched it, I wasn’t sure what I had seen, so I watched it again. After the second time, I thought I liked it, which scared me…so I watched it again. After the third time, I was sure I liked it, and didn’t care what that meant. Maybe my nihilistic edges had been softened a bit. Maybe I needed it. I wouldn’t say the film made me believe, but it definitely made me think about believing.

Reviewed by Maggie

Not only does this setup work brilliantly for the story’s plot, but it also demonstrates Veber’s comedic genius. A lesser comedy would have gone for the obvious gag of a straight man acting offensively foppish. However, rather than laughter at the expense of the outcast, Veber makes an uncomfortable and overcompensating society the butt of his joke. The primary target of ridicule is Félix (Depardieu), a homophobic Lummox who has always hated François, but now must hide his contempt for fear of losing his own job. The result is an overload of false affection with hilarious consequences.

Le Placard is as clever as it is charming. It takes a fresh and affectionate approach to sensitive subject matter that often suffers a stale and clichéd presentation. The acting is splendid, particularly Depardieu who give one of the funniest and most genuine performances of his career. Most of all, Le Placard, is a perfect example of Veber’s ability to take a ridiculously off-the-wall situation and not only make it seem plausible but milk it for every possible laugh without being cheap or over-the-top.

France, 2001 Rated R: for a scene of sexuality

Reviewed by Maggie

Kamakawiwo’ole was considered to be one of the most popular musicians in Hawaii. His career started in the mid-70s when he formed the group the Makaha Sons of Ni’ihau with his older brother Skippy, Louis “Moon” Kauakahi, Sam Gray, and Jerome Koko. The band focused on traditional Hawaiian music and released numerous records, but suffered a blow when Israel’s brother Skippy died of a heart-attack in 1982. But nonetheless, the group trudged on.

Israel Kamakawiwo’ole decided to record his first solo album Ka ‘Ano’i in 1990 and quickly released two records with the Makha Sons in 1991 and 1992: Makaha Bash 3 and Ho ‘oluana.  Israel’s struggling weight problem unfortunately ended his career too suddenly much like his brother’s and was, therefore, able to create only three more solo albums (Facing Future, E Ala E, and N Dis Life) before he died at the age of 38.

Alone in IZ World is a posthumous compilation of some of Kamakawiwo’ole’s unplugged performances and previously unreleased songs. With his angelic voice and virtuoso ukulele techniques, Israel performs a variety of traditional Hawaiian songs and standard covers on this album. His rendition of Mona Lisa is enchanting while Twinkle, Twinkle Little Star is so original it is almost unrecognizable. My favorite on the album, however, is his simple arrangement of Somewhere Over the Rainbow which utilizes only his ukulele and his voice.  Many of the traditional Hawaiian pieces on this album, such as Panini Puakea, La Elima, and Opae E, are quite soothing and fun to listen to. The stunning purity of his voice not only shines through on these songs, but envelopes the entire collection and creates a surreal peacefulness that I will welcomingly greet after a long day’s work. I highly recommend this album, so check it out today.

Reviewed by Kelli

U2 with their “post-punk experimentalism” burst onto the music scene in the 1980s, which at the time consisted mainly of synthesized pop and heavy metal.  Their guitarist known as The Edge gave the band’s music its characteristic sound with his heavily processed, echoed guitars.  This unconventional style was countered by drummer Larry Mullen Jr. and bassist Adam Clayton with their hard-rocking rhythms.  But front man Bono was the voice of political reason and had a knack for expressing the band’s ideas and emotions in such a grandiose way.

In the 1990s, U2 decided to reinvent their sound and create altogether a new identity.  In 1991, the evolution was complete with the release of Achtung Baby, an album completely inspired by David Bowie’s avant-garde explorations of the late 70s and the thriving rave and Madchester club scenes of the early 1990s.  This album ventured into the world of electronics and utilized the mix of industrial guitars, feedback, altered vocals, and rhythmic beats.  These elements produced layers of effects throughout the music, most notable being the crashing and swirling guitar riffs on many of the songs.  Bono, too, traded in the political anger and anthems for more introspective lyrics by exploring the darker side of life, such as bleeding hearts and desperate loneliness.  Despite some of the lyrics being a downer, the music itself is very inviting.

Fans and critics welcomed Achtung Baby; it debuted at number one around the world and generated Top Ten hits with Mysterious Ways and One.  Do make sure you listen to Even Better than the Real Thing, Until the End of the World, and The Fly.  It is arguably one of their best albums and started a new chapter in their musical careers.  So go checkout Achtung Baby today.

Reviewed by Kelli

Also known as Corridors of Evil, Carnival of Souls was Harvey’s only feature film. Released in 1962, Carnival of Souls was filmed on a budget of less than $30, 000, and shot on location in Lawrence, Kansas and Salt Lake City, Utah.  To give the film its due credit, Carnival of Souls is much more than a zombie picture. It is a moody and artful psychological thriller, which tells the story of a woman disturbed by the tragic death of her friends. She tries to escape the haunting visions of her past, but her journey is plagued by chilling encounters with both the living and dead.

Some elements of the film might seem tedious to a modern audience. The dialogue is dated and the acting is stiff at times. A few of the plot devices are old hat to the post M. Night Shyamalan audience, but bear in mind, at the time of its release, Carnival of Souls was completely original. Independent films were scarce, and rarely as experimental as this. Moreover, unlike the cold war-inspired, alien invasion fear-fests of the time, Carnival of Souls delves into the human psyche. It explores terror on a personal level, examining the anxiety of self-doubt and the fear of mortality. What Carnival of Souls may lack in subtlety or sophistication, it makes up for in atmosphere. The black and white photography is stunning and is complimented by some spectacular locations and art direction; particularly the scenes filmed at Saltair, an abandoned amusement park in Salt Lake City, which was Harvey’s inspiration for making the film. The ambiance of the film is further enhanced by an eerily disjointed score consisting entirely of moody and seemingly improvisational pipe organ music.

The Criterion Collection DVD for Carnival of Souls offers a number of exciting bonus features, including commentary, interviews, and the director’s cut of the film. It also contains a short documentary, The Movie That Wouldn’t Die, produced by KTWU in Topeka. It discusses the making of Carnival of Souls as well as its impact on the horror genre, and offers perspective regarding film’s relevance to Kansas film history and filmmaking in general.

Carnival of Souls has enjoyed a strong cult following for decades, including numerous revivals, celebrations, and festivals. It is now regarded by filmmakers and film historians as a work of great significance to the history of independent films and the horror film genre. Herk Harvey said that his goal for Carnival of Souls was to achieve the look of a Bergman film with the feeling of a Cocteau. A fairly lofty ambition for a zombie movie, but he succeeded. It is truly a splendid picture, in addition to being a whole lot of spooky fun.

Oh, did I mention it’s full of zombies?

Director: Herk Harvey
Writer: John Clifford
Running time: 84 min (director’s cut)
Not Rated

Reviewed by Maggie

Once Upon a Time in the Midlands is a comedy, though it is difficult to subscribe the film to one particular genre. It is part romance, part drama, part heist/action film, and, most intriguingly, part western.  There are no cowboys on horseback, no shootouts, no desert landscapes, yet the theme of the western is undeniably present.  Meadows pays homage to the films of Sergio Leone, both in the film’s title and with the film’s “spaghetti western” style score. The story follows the traditional western premise of bad guy rolling into town and disrupting the lives of the heroes and town folk. The western theme is accentuated by the cinematography, employing high-angle wide shots to simulate the broad landscapes in the American West, and using tightly edited two-shots to make the confrontations between the main characters feel more like a western showdown. One of the films secondary characters, Charlie, is the “Midlands singing cowboy,” played by Ricky Tomlinson, (who also wrote a few of the original country-western songs for his character).

The mock-western style works as a clever narrative tool for a story that is already appealing, and is carried out by a superb ensemble cast. It is the story of a typical love triangle. Shirley (Shirley Henderson) must choose between the two men she loves: her adoring, devoted, yet dull boyfriend, Dek (Rhys Ifans) and her ex, Jimmy (Robert Carlyle), a down-and-out small time thief. Dek proposes to Shirley on a daytime tabloid television chat show and is refused. The televised rejection is witnessed by Jimmy, who sees this as an opportunity to rekindle his romance Shirley and reunite with his daughter, while simultaneously avoiding the crew of bandits he has double-crossed.  The characters are very well developed, and although they are each deeply flawed in their own way, they are sympathetic and loveable. As the story unfolds, a new love triangle is formed, and the audience finds themselves having as difficult of a time as Shirley choosing between the nice-but-dim Dek and the sexy-but-sleazy Jimmy. The film keeps us guessing until the very end when good guy and bad guy finally have their showdown.

This film is rated R for language.

Reviewed by Maggie