Shakespeare is my jam, which is why I particularly like summer with its Shakespeare Festivals popping up in every district park and on every street corner. I also just finished a class, which knocked me on my ass, filled my head with iambic pentameter, and turned a lot of my bardic understanding upside down. Isn’t that just like a comedy?
There’s nothing like a good lusty Elizabethan comedy – boy falls in love with girl at first sight, girl dresses up as a man, twins get mistaken for each other, bears and donkeys gambol in the forests, and they all get married in the end. Eighteen of Shakespeare’s 38 plays had the comedy label slapped on them by the playwright’s buddies who helpfully subdivided his plays the early folios. We all learned about those divisions in school: comedies end in marriages and no (usually) deaths; tragedies center around a protagonist whose flaw causes mayhem and his own death; and histories were about the kings.
Yet comedies aren’t so easy to categorize. In fact, the last five chronologically are often recategorized by modern scholars as “romances” because they contained tragic elements. But, then, there are the three middle comedies, written before the romances, which have also been called “problem plays.” They are problematic indeed.
I had the opportunity to watch both the 1963 Cleopatra and 2019 Godzilla, King of the Monsters this month and found myself loving them both. They share eerie parallels. Both are expensive movies, which also were wildly popular despite getting horrid reviews. Both reflect on the past and are engrossing films, even if you bring no prior knowledge to the viewing. But both really pay off if you know the history outside the story and let that backstory clothe your experience, almost like an extra dimension. Trashy pinnacles of cinema; perfect for summer watching.
History shows again and again How nature points out the folly of men…
Blue Oyster cult
The 26th Most Expensive Movie Ever Made
By the time Cleopatra premiered in 1963, the film had overspent its $5 million budget by somewhere between $20 and $39 million. The lavish Roman epics that were popularized in the 1950s were driving up costs, but films like Ben Hur, which were costly and well-received, paved the way for Cleo. Variety puts the ultimate cost of the 1963 Fox epic at $44 million, so even before it came to the screen, it was rumored to be a disaster. Cleopatra was a huge box office success, the highest-grossing film of the year at $57 million, but was considered to have lost money. As you watch the scene where Cleopatra enters Rome on a giant barge, flanked by hundreds of costumed dancers, you can’t help but hear *ca-ching* with every painted golden trumpet.
Salomo, stop playing that [Bach]! You sound like a sewing machine!
CCH Pounder in the movie Bagdad Cafe
Does Bach sound like a sewing machine? Does The Art of the Fugue sound like it was dictated by a blind man? Was Bach so good at counterpoint because he heard arguments in his head all the time, given that he was apparently always arguing with somebody? Does the emotional content reflected in St. Matthew’s Passion or the Prelude from the Cello Suite in D Minor denote the kappelmeister’s relationship to his faith or the fact that half his children died before reaching adulthood?
Sunday was Bach’s 334th birthday. In 1685, when he was born, Louis the Fourteenth was dominating Europe, William & Mary were wresting the crown away from the Stuarts in England, and Protestants were fleeing to the colonies to exchange war and religious persecution for malaria. Music at the time was focused primarily on the rise of the new public art form known as opera. Bach had no interest in opera. Luckily for us.
The Industriousness of Bach
Perhaps he would be surprised to know that all these years later his influence has lasted so long and extended to so many different styles. He wrote over 1000 musical compositions. While many argue that Mozart’s 600 works are more impressive because Mozart only lived to age 32, the precocious Amadeus also started composing ate age five. Bach didn’t really get going until he was in his mid-30s, plus he had a few other things going on, between being court musician here and choir-master there. And then there were all the children.
Time is fleeting
Madness takes its toll
So listen closely
Not for very much longer
I’m going to lose control
Quick–what’s the next line?
Forty-two years ago, I saw the legendary Canadian actor Brian Bedford play three roles at the Stratford Canadian Shakespearean festival in repertory: Angelo in Measure for Measure, Malvolio in Twelfth Night, and Richard III. The breadth of his performances changed my idea of what actors could do.
Forty years ago, as a freshman in college at Berkeley, I watched a science-fiction movie about a transvestite where people shouted at the screen and threw toast and rice. It changed my idea about how a movie can connect with an audience.
Who would have thought that, getting old, we would wax nostalgic about doing the time warp?
The subconsciousness is a strange device. It’s our human CPU, running subroutines in the background. When we shut down for the night, it keeps running, energetically trying to solve all the world’s problems. How the universe was formed. Whether there is life on other planets. What x equals. Why cruelty exists.
A Thousand Suns… Some Not So Splendid
Last Thursday, I sat mesmerized during San Francisco’s American Conservatory Theater production of A Thousand Splendid Suns. This play, based on the best-selling novel by Khalid Hosseini, is the story of women enduring the Afghanistan Civil Wars and the rise of the Taliban in the late 1990s. I choose the word enduring carefully because it is the core verb that women in the play use to express what must be done. Afghanistan under the severity of the Taliban interpretation of Sharia Law was as perilous a place for women as any; endure is what they must.
Learn this now and learn it well, my daughter: Like a compass needle that points north, a man’s accusing finger always finds a woman. Always. You remember that, Mariam….There is only one, only one skill a woman like you and me needs in life, and they don’t teach it in school . . . Only one skill. And it’s this: tahamul. Endure . . . It’s our lot in life, Mariam. Women like us. We endure. It’s all we have.
–Nana in A Thousand Splendid Suns
I don’t know if Hosseini read his Faulkner.
–Last line of The Sound and the Fury