April 2024 – Behind the Proscenium

April 29, 2024April 29, 2024

Challengers [REVEW]

CHALLENGERS – Reviewed by Kyrle Lendhoffer

In “Challengers,” Director Luca Guadagnino merges the luminous talents of Zendaya, Mike Faist, and Josh O’Connor to navigate the labyrinth of human relationships with the finesse of a master artisan. Guadagnino delves deep into the recesses of the human psyche, uncovering the raw, primal impulses that propel his characters through the tangled thickets of desire and ambition.

Zendaya’s portrayal embodies an enigmatic allure, reminiscent of D.H. Lawrence’s heroines, oscillating between vulnerability and ferocity. Her character, with a magnetic pull akin to nature’s forces, draws Faist and O’Connor into a whirlwind of passion and uncertainty.

Faist, in his role, channels a familiar archetypal male figure: brooding, conflicted, and driven by a primal urge for dominance. His chemistry with Zendaya crackles with intensity, laying bare the volatile dynamics of power and submission.

O’Connor, in contrast, embodies a delicate balance between strength and fragility, echoing English Victorian novelist Anthony Trollope’s exploration of masculinity in flux. His character serves as a counterpoint to Faist, caught in the gravitational pull of Zendaya’s character, navigating the treacherous currents of love and ambition.

Guadagnino’s direction infuses every frame with a palpable sense of longing and desperation. Through his lens, the stark beauty of the natural world becomes a mirror to the inner turmoil of his characters, reflecting the primal instincts that drive them inexorably towards their fates.

“Challengers” is a cinematic symphony, orchestrated with the precision and depth of a D.H. Lawrence novel. It is a testament to the enduring power of desire and the human spirit, rendered with haunting beauty and unflinching honesty.

Kyrle Lendhoffer – Behind The Proscenium

April 15, 2024

Civil War [REVIEW]

Civil War [REVIEW]

In the blood-soaked annals of cinematic history, Alex Garland’s “Civil War” stands as a tempestuous testament to the primal impulses that lurk beneath the veneer of civilization.

Produced under the aegis of A24, the vanguard of contemporary independent cinema, and helmed by the visionary auteur Garland, this tour de force plunges the viewer into the chasm of human conflict with an unflinching gaze that resonates long after the credits roll.

Set against the backdrop of a nation in the throes of ideological warfare, “Civil War” is a harrowing odyssey that navigates the treacherous terrain of love, loyalty, and betrayal. At its heart are the enigmatic figures of Kirsten Dunst and Jesse Plemons, whose performances are as haunting as they are hauntingly authentic. As a couple torn asunder by the inexorable tide of discord, their portrayal transcends mere acting, evoking a raw intensity that sears the soul.

Garland’s directorial prowess is on full display, weaving a tapestry of tension and turmoil that ensnares the audience from the opening frame. With a keen eye for detail and a mastery of atmosphere, he conjures a world teetering on the brink of collapse, where every whisper carries the weight of impending doom. Through his lens, the battlefield becomes a crucible of the human condition, where the boundaries between friend and foe blur into insignificance.

But perhaps the true genius of “Civil War” lies in its refusal to provide easy answers or moral platitudes. Instead, Garland confronts the viewer with uncomfortable truths and existential quandaries, forcing us to confront the darkness that lurks within us all. In this fractured landscape, there are no heroes or villains, only flawed individuals grappling with the chaos of existence.

In the tradition of Norman Mailer’s unyielding exploration of the human psyche, “Civil War” stands as a towering achievement of modern cinema. With its searing performances, masterful direction, and uncompromising vision, it dares to ask the question: in a world torn apart by strife, what does it mean to be human? And in doing so, it leaves an indelible mark on the soul, a testament to the enduring power of art to illuminate the darkest recesses of the human experience.

Kyrle Lendhoffer, Behind The Proscenium

April 5, 2024April 5, 2024

Eugene O’Neill’s Bikini Beach [NEW YORKER RETRO REVIEW – April 1954] –

Eugene O’Neill’s Bikini Beach (1954) – A Cinematic Anomaly [NEW YORKER by A. Waldhorn]

Eugene O’Neill’s Bikini Beach, the latest offering from Manka Bros. Studios, is a perplexing amalgamation of highbrow drama and lowbrow entertainment.

Directed by the enigmatic Gerald Von Loven, this film dives headfirst into uncharted waters, attempting to fuse the serious themes of O’Neill’s renowned plays with the frivolity of a beachside romp. The result is a cinematic oddity that leaves viewers questioning its intentions and ultimate message.

Set against the backdrop of a picturesque beach resort, the film follows the lives of a group of young vacationers as they navigate love, lust, and existential angst. The characters, thinly veiled caricatures of O’Neill’s iconic figures, engage in melodramatic dialogue that often feels out of place amidst the sun-soaked scenery and carefree atmosphere.

At its core, Bikini Beach strives to explore weighty themes such as the human condition, the nature of desire, and the quest for meaning in a seemingly indifferent universe. However, these profound ideas are frequently overshadowed by juvenile humor, gratuitous beach scenes, and musical interludes that serve little narrative purpose.

The cast, led by the charismatic but miscast William “Billy” Hammerstein as the tortured protagonist, delivers performances that range from wooden to over-the-top. Despite their efforts, the actors struggle to breathe life into characters that feel more like archetypes than fully realized individuals.

Visually, Bikini Beach is a feast for the eyes, with vibrant Technicolor cinematography capturing the beauty of its seaside setting. However, the film’s aesthetic pleasures are often undercut by its jarring tonal shifts and disjointed narrative structure.

One cannot help but wonder what Eugene O’Neill, known for his introspective and deeply psychological dramas, would make of this unconventional adaptation of his work. While the film’s ambition is commendable, its execution leaves much to be desired.

In conclusion, Eugene O’Neill’s Bikini Beach is a curious experiment that falls short of its lofty aspirations. Despite moments of genuine insight and occasional flashes of brilliance, the film ultimately fails to reconcile its conflicting elements, resulting in a disjointed and unsatisfying cinematic experience.

A. Waldhorn – The New Yorker

April 5, 2024

Road House (Prime Video) [REVIEW]

ROAD HOUSE (PRIME VIDEO) – [REVIEW]

Starring: Jake Gyllenhaal

Director: Doug Liman

Okay, so I watch this remake on Amazon Prime.

First, let me say, it is like hot sauna on a cold winter night. You know, makes you sweat, but in a good way, like you’re alive.

This movie, it’s like if you took a big truck, filled it with mud, and then put some fireworks on top.

Boom!

That’s ‘Roadhouse’ for you. It’s all about this guy, tough as nails, walks into this small town, and suddenly, everything is on fire. And I mean that literally and figuratively.

The action, oh boy, it’s like watching a pack of angry bears fighting in the woods. You don’t know who’s gonna come out alive, but you can’t look away. The fight scenes are like a beautiful dance of destruction, choreographed by the gods of chaos.

Now, the story, well, it’s not exactly Shakespeare, but who needs fancy words when you got fists flying and motorcycles roaring? It’s about honor, revenge, and kicking butt. And let me tell you, they do a lot of butt-kicking in this movie.

The characters, they’re like something out of a wild west saloon. You got your heroes, your villains, and everything in between. And let me tell you, Patrick Swayze, rest his soul, he’s the heart and soul of this movie. His charisma could light up a whole town. And Jake Gyllenhaal is OK Joe as well.

Overall, ‘Roadhouse’ is like a shot of whiskey on a rough day – it burns, but it’s oh so satisfying.

So, if you’re looking for a wild ride with plenty of action and a sprinkle of old-school charm, then grab your popcorn and buckle up, because ‘Roadhouse’ is one hell of a ride.

Kimmo Mustonenen – Behind The Proscenium

April 5, 2024April 5, 2024

Beyoncé – Cowboy Carter [ALBUM REVIEW]

Good day. Behind the Proscenium is more of a theater and movie review website – but when Beyoncé does anything, and especially, when she puts out such a massive world-changing album, I felt I had to weigh in. So here is my review… [Kyrle Lendhoffer]

In Beyoncé’s latest auditory canvas, ‘Cowboy Carter,’ we witness the collision of disparate worlds, each painted with strokes of defiance and discord. Through the fractured lens of German Expressionism, Beyoncé plunges the listener into a phantasmagoric realm where the boundaries between reality and illusion blur, and the human psyche is laid bare.

The album unfolds like a fever dream, a kaleidoscopic odyssey through the desolate landscapes of the American West, where figures clad in cowboy attire roam amidst the shadows of towering mesas and barren plains. Beyoncé’s voice, at once haunting and ethereal, echoes through the empty expanse, weaving a tapestry of melancholy and yearning.

Yet, beneath the surface veneer of cowboy mythology lies a seething undercurrent of existential dread and societal decay. In tracks such as “American Anthem” and “Desert Eagle,” Beyoncé confronts the specter of mortality with raw intensity, her vocals reverberating like the anguished cries of lost souls adrift in the wilderness of the human condition.

The sonic palette of ‘Cowboy Carter’ is equally evocative, characterized by discordant melodies and dissonant harmonies that evoke the fractured psyche of the modern era. Industrial beats collide with mournful strings, creating a cacophony of sound that mirrors the tumultuous landscape of the soul.

In its thematic exploration, ‘Cowboy Carter’ delves into the existential abyss, grappling with the fundamental questions of existence and identity. Beyoncé confronts the oppressive forces of patriarchy and colonialism with unflinching resolve, challenging the hegemonic narratives that have long defined the American frontier.

Ultimately, ‘Cowboy Carter’ stands as a testament to Beyoncé’s artistic vision and uncompromising spirit. It is a haunting meditation on the human condition, rendered with the visceral intensity of a fevered dream.

Through her bold experimentation and avant-garde sensibilities, Beyoncé pushes the boundaries of popular music, inviting listeners to confront their own inner demons and embrace the ineffable beauty of the unknown.

Just kidding.

Kyrle Lendhoffer – Behind The Proscenium

April 4, 2024April 4, 2024

The First Omen [REVIEW]

THE FIRST OMEN [REVIEW]

Say, pals, gather ’round and lend an ear to the tale of “The First Omen.” A flick that’s got more twists and turns than a back alley in the Bronx.

Directed by none other than that cinematic maestro, Arkasha Stevenson, this picture takes you on a rollercoaster ride through the dark alleys of fate, where the lines between good and evil are as blurry as a speakeasy’s moonshine.

In the heart of the big city, where the neon lights flicker like stars in a cloudy sky, we find ourselves in the midst of a gripping narrative. The story centers around one Jimmy Malone, a regular joe with a heart as big as the Ritz and a shadow that stretches further than Broadway. Played to perfection by the incomparable Johnny “Two-Fingers” Callahan, Malone is a man haunted by his own past, grappling with the demons that lurk in the depths of his soul.

But fear not, dear reader, for Malone is not alone in his struggle against the forces of darkness. Enter Sister Mary Catherine, portrayed with equal parts grit and grace by the luminous Ruby “Red” O’Malley. A dame of the cloth with a penchant for punching above her weight class, Sister Mary Catherine is the yin to Malone’s yang, the light in his darkest hour.

Together, they embark on a journey that will take them to the very edge of sanity and back again. From the smoke-filled backrooms of the city’s underworld to the hallowed halls of the cathedral, they confront a series of trials and tribulations that would make even the most hardened gangster think twice.

But what sets “The First Omen” apart from your run-of-the-mill morality tale is its keen sense of style and panache. Stevenson’s direction is as sharp as a switchblade, weaving a tapestry of intrigue and suspense that keeps you on the edge of your seat from start to finish. And let’s not forget the impeccable costume design by the legendary Vinnie “The Needle” De Luca, which transports you straight to the heyday of the Roaring Twenties with its impeccable attention to detail.

In the end, “The First Omen” is more than just a movie; it’s an experience. A journey into the heart of darkness, where the only thing standing between salvation and damnation is the strength of one’s own convictions. So if you’re looking for a film that’ll leave you spellbound from the opening credits to the final fade-out, look no further than “The First Omen.”

Trust me, it’s the bee’s knees.

Kimmo Mustonenen – Behind The Proscenium