Film

Short Cuts - Forgotten Gems: Mrs. Soffel (1984)

Generally, when I think of Diane Keaton, I think of a "modern woman". Leave it to 1984's Mrs. Soffel to ship the performer off to the turn of the century, take away her usual contemporary manners and tics, and in the process show off an important and unique side of her capabilities as an actress, talents that extend far beyond the ability to make people laugh.

Over the course of her fascinating film career, Keaton has garnered Oscar nominations in each of the decades since the 1970s. She also has one win for Woody Allen's Annie Hall (1977), a role that made her an American icon. She has exemplified the ideal of a woman living in contemporary society: funny, brainy and naturally sexy (she's even a L'oreal spokes-model now, at age 60!). In each of these roles, her innate likeability comes across easily, and her particular charms seem to be tailored to fit current times. For me, Keaton is reminiscent of Katharine Hepburn, down to the offbeat manner in which she dresses. Her icon status, her technical skill, and her ability to get consistently interesting work for over four decades makes the comparison even clearer.

At the dawn of the '80s, Keaton scored with one of her best roles, yet oddly it wasn't in the more celebrated yin of Reds or the yang of the for-then very raw divorce drama Shoot the Moon. It the follow-up to these critical successes, Mrs. Soffel, which showcased her most nuanced performance to date; free of all of the modern conventions that had peppered her other work.

Keaton manages a complete immersion into time and character. The sets, costumes and cinematography all conspire to paint a very grim, foggy portrait of Pittsburgh during 1900. Director Gillian Armstrong gets the technical stuff down without being overly showy, and she conveys a really nice sense of era through her color choices. Using washed out blues, grays and other subdued, fuzzy tones, she filters the film through this particular prism, creating an appropriate backdrop for a film set in a prison. Keaton plays a warden's wife in this true-life tale, a woman who wants to help two convicted killers (Mel Gibson and Matthew Modine) escape death row by utilizing the guise of teaching them the bible.

She falls under Gibson's romantic spell and throws away everything she has to join the fleeing criminals. Keaton is breathtaking, moving easily from frail to hot-and-bothered, from naive to furious all within a matter of scenes (a tricky high-wire act for a performer that is so often associated with wacky physical comedies). It is such unexpected turn that the "Diane Keaton" everyone knows so well just vanishes as Mrs. Soffel is finally freed of her repressed existence. In truth, Keaton is again playing a liberated woman, someone ahead of her time in every way. This time, however, she is able to effortlessly separate herself from her far more famous off-screen persona.

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

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TV

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

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The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

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If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

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Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

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