Joe's View

With Joe Meyers, entertainment writer

Archive for July, 2011

‘Eyes Wide Open’: a thriller powered by personal tragedy

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In his new novel, “Eyes Wide Open” (William Morrow) Andrew Gross takes a break from his sensational Ty Hauck series to give us a stand-alone thriller that has unusual emotional weight.

It isn’t easy to turn a domestic tragedy into a high velocity page-turner, but Gross uses the suicide of a disturbed young man as the starting point for a book that is both more moving and more exciting than anything he has written to date (and that’s saying something, in his case).

The author has already demonstrated the ability to use a real crime as the trigger for fiction that never feels like exploitation — “Reckless” jumped off from a situation similar to the notorious Cheshire home invasion/homicide but without any of the tacky obviousness of “Law & Order.”

“Eyes Wide Open” began in a double danger zone for a writer — Gross went through the tragedy of losing a nephew to suicide two years ago and he also had a close encounter with Charles Manson as a child — but he has taken those two elements and refashioned them into a harrowing story that works its own terrible magic on a reader.

Gross’ protagonist Jay Erlich is a very successful Westchester surgeon — happily married and the father of two children — who has spent years bailing out his older brother Charlie who became a victim of the 1960s and ’70s.

An aspiring singer-songwriter whose career never took off, Charlie married a fellow ex-flower child and they raised a son Evan who inherited their substance abuse problems — and emotional illness — and who has been in and out of various psychiatric facilities and treatment centers when the book begins.

Charlie and his family have been on public assistance for years and dependent on the kindness of Jay for keeping a roof over their heads and to avoid being completely swallowed up by mounting debts.

When Jay gets the call telling him that Evan has been found dead at the bottom of a cliff on the California coast — and pretty obviously jumped to his death — the younger brother flies west to comfort his brother and his wife.

This is the sort of family mess that can’t be handled with a hug and a discreet check, however, especially when Jay starts to suspect that his nephew might have been murdered.

Gross begins the book with a horrifying prologue in which a happy middle-aged woman is inexplicably murdered, so we know there will be more than family drama in “Eyes Wide Open.” But it takes about 100 pages to begin to see how the crime at the very start of the book might tie in with Evan’s death and Charlie’s brief relationship with a Manson-style hippie psychopath 40 years ago.

It is to the author’s credit — and an illustration of his great gifts as a writer and storyteller — that the strictly personal drama of Jay and Charlie grips and moves us before the thriller elements kick into high gear.

What’s a good film actress to do in the age of ‘Transformers’?

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The other night I watched the 1966 comedy-drama “Morgan!” (below) starring Vanessa Redgrave and David Warner and was inspired by my enjoyment of that oldie to pull out a copy of another Redgrave film released the same year, “Blow Up” (above).

The double-feature made me think about the way young actresses broke into movies and sustained careers 45 years ago versus the situation in 2011.

The hot young actresses of today get more PR attention than was ever dreamed of by the stars of the 1960s and 1970s, but they face an uphill battle with the screen roles their fame and talent might bring them.

In 1966, Redgrave got considerable play in magazines like Vogue and Life for her striking good looks, but she was also celebrated for the very impressive films she appeared in that year — the sharp Karel Reisz marital comedy-drama “Morgan!” and the surreal fashion world drama “Blow Up” by Italian master filmmaker Michelangelo Antonioni.

At the end of that year Redgrave had a striking cameo as Anne Boleyn in Fred Zinnemann’s “A Man for All Seasons.”

Redgrave was 29 in 1966 and had already spent a decade studying her craft and appearing in plays when moviemakers came calling. In other words, she lived a little bit and brought some life experience to her film roles.

These days, the hot young actresses tend to be in their late teens or early 20s and generally get in the Hollywood door based on their good looks and have to learn on the job.

Sadly, by the time someone like Scarlett Johansson or Selma Blair starts moving into their late 20s, and are presumably ready to play more mature roles, they have a whole pack of Emma Stones nipping at their heels.

These young actresses often cite key 1970s and 1980s stars like Diane Keaton and Sissy Spacek as role models, but Keaton was 31 when she broke through in “Annie Hall” and Sissy Spacek was 30 when “Coal Miner’s Daughter” put her on the map.

In the 1980s, mainstream Hollywood actresses such as Jessica Lange and Sigourney Weaver and Anjelica Huston were already in their 30s when they played one meaty, mature role after another in big-budget films on the order of “Gorillas in the Mist,” “Music Box” and “Prizzi’s Honor.”

These days, the equivalent movies are made on a shoestring and don’t get nearly as much attention as the female-driven dramas of 30 years ago. This is why a fine film actress like Maria Bello is doing an NBC drama this fall.

If the equivalent of Meryl Streep arrived in Hollywood today — she was an unconventionally attractive Yale School of Drama graduate pushing 30 when movie people sat up and took notice of her in “The Deer Hunter” (above) — she wouldn’t be able to find a series of highly touted studio films like “Kramer vs. Kramer,” “The French Lieutenant’s Woman” and “Silkwood” to establish her as a star and powerhouse actress.

Let’s hope there’s some sort of turnaround on the horizon because New York and Los Angeles is full of fantastic women in their lates 20s and early 30s who could give the Redgrave of 1966 and the Streep of 1978 a run for their money.

Emma Stone in VF: the return of the bathing suit competition

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The surface style of the movie star profiles in the glossy magazines has changed fairly radically in the last few years.

In an apparent attempt to keep up with reality television and the new fake intimacy of social networks, reporters are giving the illusion of being closer than ever to their interview subjects.

I wrote in this space last week about the sad trend in GQ this year involving female writers telling us that they got drunk and went out on quasi-dates with Channing Tatum and Chris Evans in what I guess was their attempt to cut through the usual Hollywood interview BS.

In both of those cases, the writers appeared to be too naive to realize that they were being played by handsome young men.

Tatum and Evans used flirting to deflect any serious questions about climbing the Hollywood ladder while also coming off as macho and sexy in the eyes of the starstruck reporters.

The current issue of Vanity Fair plays a different game.

Cover girl Emma Stone is presented — by a female writer — as something of an iconoclast in the course of a night out together.

The piece opens with the writer going with Stone to a New York performance of the hit environmental theater piece “Sleep No More” — establishing the street cred of an actress who first broke through in the Judd Apatow comedy “Superbad” and who will be appearing in next month’s movie version of the book club favorite “The Help.” (Next year Stone will be seen as the female lead in the “Spider-Man” reboot.)

The really peculiar thing about the Vanity Fair piece is that the text is contradicted by the cover and the photo lay-out.

Stone tells profiler Alexandra Wolfe that she doesn’t want to play the Hollywood media game of having to peddle her flesh in order to get movie roles and public recognition.

“Her female idols are actresses who never made a career out of mere sex appeal,” Wolfe writes.

“She aspires to be Diane Keaton — ‘One of the most covered-up actresses of all time,’ Stone said — and loves Marion Cotillard: ‘She’s so sexy, and she’s covered up!’…most of the actors she says she looks up to are either deceased or pre-digital…”

Wolfe and Stone never explain, however, why the actress is unclothed in the three Patrick Demarchelier pictures that are wrapped around the text, not to mention the very un-Diane Keaton bikini she sports on the cover.

At ‘summer camp’ with Jeffrey Deaver, Ken Follett and company

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It was so much fun — and so informative — to hang out at the Grand Hyatt in Manhattan over the weekend during the annual ThrillerFest gathering.

Sponsored by the International Thriller Writers organization, the event drew more than 800 writers, agents, publishing industry people, aspiring novelists and fans.

Novelist Jon Land — who is one of the founders of ITW — told me he viewed the annual conference as “summer camp for thriller writers.”

ThrillerFest is only in its sixth year, but has already become a strong rival of the long-established international mystery writers gathering, Bouchercon.

Bouchercon — named after the pioneering New York Times mystery reviewer Anthony Boucher — is a wonderful event but can suffer from the fact that it moves from city to city each year with a new organizing committee running it.

I’ve enjoyed the half dozen or so Bouchercons that I’ve attended but writer friends have complained that some of the gatherings have been very poorly run.

ThrillerFest is put together by the same group every year in the same location so it has gotten bigger and better each year. And clearly, having it in New York City has proven to be a major selling point for both the writers and the fans.

The four-day event is neatly divided, with the first two days consisting of seminars for aspiring writers and opportunities to meet with agents who handle thrillers and mysteries.

The last two days consist of wonderful panels that deal with both the aesthetics and the business of thrillers.

One of the best panels I attended, “How Fast Can a Novel Run: The Art of Pacing,” featured four of the top-selling writers in the genre, Jeffrey Deaver (above), James Rollins (below), Joseph Finder and John Sandford.

Deaver stressed the narrative velocity necessary to keeping a reader happily turning pages right up to the end of a story. He quoted Mickey Spillane: “Nobody ever read a book to get to the middle.”

Earlier the same day, Ken Follett (right) entertained a packed ballroom with tales of the writing and publishing of his hugely successful novels, from espionage thrillers such as the classic “Eye of the Needle” to his recent historical blockbusters “The Pillars of the Earth” and “World Without End.”

Follett told the crowd that many of the thriller genre “rules” were made to be broken. In “Eye of the Needle,” for instance, he spends the first third of the book establishing the “villain” before we ever meet the heroine in an isolated coastal cottage during World War II.

The book hinges on that woman preventing a Nazi spy from getting news of the D-Day invasion plans across the English channel. He talked about the challenge of creating suspense for readers who knew the spy couldn’t possibly be successful. The writer said he was encouraged by the success of Frederick Forsyth’s “The Day of the Jackal” several years earlier which told the story of an attempted assassination of French president Charles DeGaulle.

Follett said that an older friend who was helping him with research into England in the 1940s — and who was reading the book for accuracy as it was written — asked him at one point, “Do we win the war?”

The British writer took exception to those pundits who say attention spans have declined since he started publishing in the 1970s, noting he has gotten more popular as his books have gotten longer (“The Pillars of the Earth” and “World Without End” each run around 1,000 pages).

Follett said you cannot set an arbitrary length for a good story well told.

ThrillerFest included a terrific hour long session with R.L Stine — who has sold more than 400 million young adult and children’s books — as well as a fascinating panel with true-crime master Joe McGinniss of “Fatal Vision” and “Blind Faith” fame.

The seventh ThrillerFest has already been set for next July 11 to 14 at the Grand Hyatt and if you are a fan of this genre you should definitely put it on your 2012 calendar (registration is already open at www.thrillerfest.com)

Dead designer draws King Tut-sized crowds in New York

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The Alexander McQueen show at the Metropolitan Musuem — “Savage Beauty” — is a scene as well as an art exhibit.

Set up in one of the mammoth museum’s smaller, non-blockbuster exhibit galleries, the show has turned into one of the runaway hits of the New York summer.

The crowds are so huge at this non-ticketed event that an impromptu line has been set up that snakes through many galleries — the waiting time is generally more than an hour.

On Sunday, the line experience was almost as much fun as the show, with young Manhattan (and probably Brooklyn and Queens) fashionistas chattering all around me.

I’ve never seen so many wannabe Anna Wintours in one place (and many of them were men).

The show is very beautifully displayed and well worth waiting for. It isn’t always easy to make dresses and accessories exiting (when they’re not being worn by women) but the lighting and the sound in the gallery turns each piece of apparel into a work of art.

Because of all the Wintour-types in the gallery, it was also one of the best-smelling spaces I’ve ever visited — I don’t know much about perfume but the apparently high-end scents certainly added to the experience.

Like a lot of other people, I had read more than a few feature stories on McQueen — especially in the immediate aftermath of his suicide last year at age 40 — but I didn’t understand what all of the talk about his “genius” meant until I walked through the Met gallery space which felt like being in the middle of a Peter Greenaway film.

The show has been generating lots of extra income for the museum, with a higher-than-average number of patrons picking up the expensive catalog and the other trinkets in the shop set up at the end of the exhibit. (Surprisingly, the Met is only offering one rather drab-looking T-shirt — they could have made a fortune if they did a whole line of McQueen-inspired shirts).

Members get to walk right into the exhibit without waiting, so I bet more than a few visitors from out of town have signed up in the lobby, missing the great scene on line.

Randy Kennedy also reported on the New York Times arts blog that the Met has added special Monday hours for the show — the museum is ordinarily closed on that day — to those people who are willing to pay $50 just to see “Savage Beauty.”

(The Alexander McQueen show is set to run through Aug. 7. For information on the show and the special Monday tickets go to www.metmuseum.org/alexandermcqueen)

‘Unnatural Acts’: secret witchhunt at Harvard 90 years ago

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The new collectively developed play “Unnatural Acts” is set to close at the Classic Stage Company on July 24, but I have a hunch this powerful drama about sex, friendship and betrayal will have a long afterlife.

The show might not get the commercial transfer in New York City that it deserves, but it will be produced by regional, community and college theater companies for many years to come.

“Unnatural Acts” is based on documents released only a few years ago dealing with a secret Harvard University witchhunt directed at gay students and faculty in 1920, but the play could be dealing with any group of people who turn against each other in order to survive an estabishment crackdown.

The show by the members of a troupe that calls itself Plastic Theatre could be set in a corporation or a government body or on the block where you live.

It’s about the fear of nonconformity and the insidious manner in which institutions rout out dissidents of all sorts.

Unlike such docudramas as “The Laramie Project” or “The Exonerated” which were culled straight from transcripts, the creators of “Unnatural Acts” used non-fiction material to work up a real drama with the well-drawn characters and suspense that you would find in a made-up story.

The material gains tremendous immediacy from being staged in the very intimate confines of the Classic Stage Company on East 13th St. With the audience sitting close and on three sides of the action, theatergoers get the uneasy feeling of being plunged into the middle of a terrible situation.

The first act is more or less devoted to a group of Harvard students who have been gaining a reputation for decadence and have been experimenting with gay sex privately. One of the students is the son of a powerful politician — who knows he really doesn’t need to graduate to succeed — but the rest are rather earnest young academics.

The trigger for the crisis is the apparant suicide death of one member of the clique who left behind some incriminating letters. Harvard begins an investigation — in which none of the accused have any legal rights — and we watch in horror as the circle of friends is smashed.

The direction by Tony Speciale and the desigin by Walt Spangler (set), Andrew Lauer (costumes) and Justin Townsend (lighting) fit together perfectly.

The cast forms a true ensemble that should simply be listed alphabetically: Jess Burkle, Joe Curnette, Frank De Julio, Roe Hartrampf, Roderick Hill, Max Jenkins, Brad Koed, Jerry Marsini, Devin Norik, Will Rogers, and Nick Westrate.

While I doubt that “Unnatural Acts” will disappear from the theater scene after it closes at CSC, you should try to see the quite remarkable original cast before they disperse.

‘Buried Secrets’: corruption and kidnapping in Boston thriller

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Joseph Finder has just delivered his second book on private intelligence operative Nick Heller — “Buried Secrets” (St. Martin’s Press) — and it’s a powerhouse thriller that puts its hooks into you in chapter one and never lets go.

Heller is a marvelous creation, a former government agent who has set up his own business in Boston with a brilliant black female computer genius — Dorothy — who keeps her private life to herself but in Finder’s hands becomes a juicy fully rounded character despite her mysteriousness.

Finder draws on his own background in espionage but uses it in the Heller books to probe corporate skullduggery as well as conspiracies that have international political elements.

“Buried Secrets” opens with two underage Boston girls fake IDing their way into a hip hotel bar. Within minutes an attractive foreign guy — 10 years older than the girls — is at their table and zeroing in on the younger and less adventurous girl, Alexa.

A few pages later, Alexa has been drugged and is abducted by “Lorenzo.” She winds up in a nightmare scenario worthy of Edgar Allen Poe — buried alive while her abductors negotiate with Alexa’s father, billionare hedge fund manager Matthew Marcus.

It turns out that Marcus employed Nick’s mom for many years — after Heller senior was sent to the slammer for crooked business practices — and the business titan asks Nick to find his daughter without bringing the police in.

The kidnapping is not a simple ransom-exchange transaction but is tied in with Marcus’ business. As “Buried Secrets” progresses the motivation for the snatching of Alexa becomes more sinister and appears to have frightening political implications.

Alexa’s keeper is a horrifying creation — a monster-for-hire who even scares his enormously wealthy Russian handlers.

Finder has written a number of top notch stand-alone thrillers — including a personal favorite, “Company Man” — but I can’t wait for the third Nick Heller adventure.

‘The Illusion’: a Tony Kushner ‘Twilight Zone’ episode

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The Signature Theatre picked the perfect play to end its life in the snug little Peter Norton Space on far West 42nd St.

“The Illusion” by Tony Kushner is about the magic of theater — how it can almost replace “reality” for some of us — and director Michael Mayer and his top notch ensemble pull off one theatrical coup after another in a tiny venue that could fit into the lobby of most Broadway houses.

The Signature isn’t shutting down. It’s merely moving across the street to a brand new three stage facility — designed by Frank Gehry — that will allow it to put on more shows as it is able to spread out a bit.

The Peter Norton Space is on the ground floor of a rather characterless apartment building a few block east of the Hudson River, but it has served as the frame for some of the most beautiful and memorable New York stage productions of the past decade, including the recent epics “Angels in America” and “The Orphans Home Cycle.”

“Angels” kicked off the current season which has been devoted to the work of Tony Kushner (Signature has carved out a unique niche for itself in the New York theater world by devoting full seasons to the plays of a single writer).

“The Illusion” doesn’t have the scope of Kushner’s two-part, six-hour epic on AIDS and modern American history, but it examines romance, family life and the power of theater through a funny and scary tale of the supernatural. Kushner’s play is a loose adaptation of Pierre Corneille’s “L’Illusion Comique” which premiered in Paris in 1636.

The play opens with a wealthy, elderly gentleman (David Margulies) visiting the rural witch/sorceress Alcandre (Lois Smith, above) in the hope that she can reconnect him with the son he banished many years earlier.

Alcandre is too mysterious and elusive to grant such a simple request. Instead, she offers the man the chance to watch scenes from his son’s life since he was banished.

We see the desperate young man (Finn Wittrock, left) go from destitute longing for a rich girl (Amanda Quaid, left) to becoming the aide to a wealthy man and then a military attache of some sort.

The father watches in frustration and terror as the son is buffeted about by life and he remains of the sidelines — with Alcandre — unable to intervene.

Like the father, we are disoriented when the characters’ names change with each new vignette while their personalities and essential relationships remain the same. The confusion is sorted out in a finale that has the why-didn’t-I-think-of-that kick of one of those great twist endings on Rod Serling’s “The Twilight Zone.”

The play entrances us, and tricks us, the same way that Alcandre and her illusions keep the David Margulies character off-balance.

(“The Illusion” is running through July 17. For ticket information, go to www.signaturetheatre.org)

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