Adam Sandler almost single-handedly saved, and made, The Meyerowitz Stories work, as a movie. Sandler gives one hell of a performance and fingers-all-crossed that he continues to work in this area of serious acting. Noah B is losing his edge, Adam S has gained his (I predict Noah will regain his edge once actress Greta Gerwig leaves him, as her new directing career is blossoming). I understand now why Dustin Hoffman didn't want to make this movie, as his character operates mostly as a 'device' and the family foil than a person (he turned this movie down multiple times and only agreed to act in it because his son wanted him to do it). Ben Stiller IS Ben Stiller, as usual. Grace Van Patten (Timothy Van Patten's daughter!) did prove to be as gifted an actor as her father. And finally, Judd Hirsch was as spectacular as Sandler in this movie despite only appearing in a cameo-type role similar to Winona Ryder's screen-stealing bit part as an aging ballerina alchie in that crazy movie Black Swan). In the future, if there is ever a sequel and another 'story' added to this unnecessary ensemble cast that is The Meyerowitz Stories, all Noah would need to do next time is to cast ONLY JuddHirsch and AdamSandler sitting in a room somewhere in the East Village chatting off-script, and unshaven, and he'd have a smash hit. bye. p.s.I didn't bring up Emma Thompson in the above review because I like her too much as a person and as an actress and watching her make a caricature out of herself with a goofy rendition of Cate Blanchett's drunk in Blue Jasmine mixed up in Kathy Bates' Misery wardrobe kinda hurt a lot. That said, if anyone wants to see why clothes are priced so cheap at the Salvation Army, watch this movie on NETFLIX and shop like Thompson did for her part. bye again.
'The Meyerowitz Stories' available to stream this Friday October 13th on NETFLIX (purchased by Netflix from Noah during post-production editing).
Directed by Noah Baumbach and Starring Dustin Hoffman.
p.s. Legendary film director Mike Nichols said after watching 'The Squid and the Whale' regarding to overt family matters presented using characters, story and dialogue - "This reminds me of the reason that I started making movies - revenge."
The Armenian Genocide (Armenian: Հայոց ցեղասպանություն, Hayots tseghaspanutyun), also known as the Armenian Holocaust, was the Ottoman government's systematic extermination of 1.5 million Armenians, mostly Ottoman citizens within the Ottoman Empire and its successor state, the Republic of Turkey. The starting date is conventionally held to be 24 April 1915, the day that Ottoman authorities rounded up, arrested, and deported 235 to 270 Armenian intellectuals and community leaders from Constantinople to the region of Ankara, the majority of whom were eventually murdered. The genocide was carried out during and after World War I and implemented in two phases—the wholesale killing of the able-bodied male population through massacre and subjection of army conscripts to forced labour, followed by the deportation of women, children, the elderly, and the infirm on death marches leading to the Syrian Desert. Driven forward by military escorts, the deportees were deprived of food and water and subjected to periodic robbery, rape, and massacre. Other indigenous and Christian ethnic groups, such as the Assyrians and the Ottoman Greeks, were similarly targeted for extermination by the Ottoman government in the Assyrian genocide and the Greek genocide, and their treatment is considered by some historians to be part of the same genocidal policy. Most Armenian diaspora communities around the world came into being as a direct result of the genocide. Raphael Lemkin was explicitly moved by the annihilation of Armenians to define systematic and premeditated exterminations within legal parameters and to coin the word genocide in 1943. The Armenian Genocide is acknowledged to have been one of the first modern genocides, because scholars point to the organized manner in which the killings were carried out in order to eliminate the Armenians, and it is the second most-studied case of genocide after the Holocaust. Turkey, the successor state of the Ottoman Empire, repudiates the word genocide as an accurate term for the mass killings of Armenians that began under Ottoman rule in 1915. In recent years it has been faced with repeated calls to recognize them as genocide. To date, 29 countries and 47 U.S. states have officially recognized the mass killings as genocide, as have most genocide scholars and historians. bye.
Protest at "the grave violation of rights and freedoms" seen during Sunday's ballot in Spain. Almost 900 people were hurt as Spanish police tried to prevent voting, in a referendum declared illegal by the Madrid government. Spanish Prime Minister Mariano Rajoy said the vote made a "mockery" of democracy. 90% voted for a Brexit style break. This is what democracy looks like? sad. bye.
He saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke
Advancing toward her: ‘What is it you see
From up there always—for I want to know.’
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: ‘What is it you see,’
Mounting until she cowered under him.
‘I will find out now—you must tell me, dear.’
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see,
Blind creature; and awhile he didn’t see.
But at last he murmured, ‘Oh,’ and again, ‘Oh.’
‘What is it—what?’ she said.
‘Just that I see.’
‘You don’t,’ she challenged. ‘Tell me what it is.’
‘The wonder is I didn’t see at once.
I never noticed it from here before.
I must be wonted to it—that’s the reason.
The little graveyard where my people are!
So small the window frames the whole of it.
Not so much larger than a bedroom, is it?
There are three stones of slate and one of marble,
Broad-shouldered little slabs there in the sunlight
On the sidehill. We haven’t to mind those.
But I understand: it is not the stones,
But the child’s mound—’
‘Don’t, don’t, don’t, don’t,’ she cried.
She withdrew shrinking from beneath his arm
That rested on the banister, and slid downstairs;
And turned on him with such a daunting look,
He said twice over before he knew himself:
‘Can’t a man speak of his own child he’s lost?’
‘Not you! Oh, where’s my hat? Oh, I don’t need it!
I must get out of here. I must get air.
I don’t know rightly whether any man can.’
‘Amy! Don’t go to someone else this time.
Listen to me. I won’t come down the stairs.’
He sat and fixed his chin between his fists.
‘There’s something I should like to ask you, dear.’
‘You don’t know how to ask it.’
‘Help me, then.’
Her fingers moved the latch for all reply.
‘My words are nearly always an offense.
I don’t know how to speak of anything
So as to please you. But I might be taught
I should suppose. I can’t say I see how.
A man must partly give up being a man
With women-folk. We could have some arrangement
By which I’d bind myself to keep hands off
Anything special you’re a-mind to name.
Though I don’t like such things ’twixt those that love.
Two that don’t love can’t live together without them.
But two that do can’t live together with them.’
She moved the latch a little. ‘Don’t—don’t go.
Don’t carry it to someone else this time.
Tell me about it if it’s something human.
Let me into your grief. I’m not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.
I do think, though, you overdo it a little.
What was it brought you up to think it the thing
To take your mother-loss of a first child
So inconsolably—in the face of love.
You’d think his memory might be satisfied—’
‘There you go sneering now!’
‘I’m not, I’m not!
You make me angry. I’ll come down to you.
God, what a woman! And it’s come to this,
A man can’t speak of his own child that’s dead.’
‘You can’t because you don't know how to speak.
If you had any feelings, you that dug
With your own hand—how could you?—his little grave;
I saw you from that very window there,
Making the gravel leap and leap in air,
Leap up, like that, like that, and land so lightly
And roll back down the mound beside the hole.
I thought, Who is that man? I didn’t know you.
And I crept down the stairs and up the stairs
To look again, and still your spade kept lifting.
Then you came in. I heard your rumbling voice
Out in the kitchen, and I don’t know why,
But I went near to see with my own eyes.
You could sit there with the stains on your shoes
Of the fresh earth from your own baby’s grave
And talk about your everyday concerns.
You had stood the spade up against the wall
Outside there in the entry, for I saw it.’
‘I shall laugh the worst laugh I ever laughed.
I’m cursed. God, if I don’t believe I’m cursed.’
‘I can repeat the very words you were saying:
“Three foggy mornings and one rainy day
Will rot the best birch fence a man can build.”
Think of it, talk like that at such a time!
What had how long it takes a birch to rot
To do with what was in the darkened parlor?
You couldn’t care! The nearest friends can go
With anyone to death, comes so far short
They might as well not try to go at all.
No, from the time when one is sick to death,
One is alone, and he dies more alone.
Friends make pretense of following to the grave,
But before one is in it, their minds are turned
And making the best of their way back to life
And living people, and things they understand.
But the world’s evil. I won’t have grief so
If I can change it. Oh, I won’t, I won’t!’
‘There, you have said it all and you feel better.
You won’t go now. You’re crying. Close the door.
The heart’s gone out of it: why keep it up.
Amy! There’s someone coming down the road!’
‘You—oh, you think the talk is all. I must go—
Somewhere out of this house. How can I make you—’
‘If—you—do!’ She was opening the door wider.
‘Where do you mean to go? First tell me that.
I’ll follow and bring you back by force. I will!—’ bye.
If you took French as a 2nd language in high school (which unfortunately is rare these days - not debating DACA vs public/private education here although I'd love to), avant-garde means the “vanguard” or the “advance guard” — basically the people and ideas that are ahead of their time. Usually it refers to a movement in the arts, like Dadaism, or in politics, like anarchism. Avant-garde can also be used as an adjective to describe something that's cutting-edge. Or it could mean when people privately get together in a studio space somewhere in New Yawk City to screen works made and in progress on a policy of invitation only basis. bye.
After working for British Vogue for several years, Platon was invited to NYC to work for the late John Kennedy Jr. and his political magazine, 'George.’
Shooting portraits for a range of international publications including Rolling Stone, the New York Times Magazine, Vanity Fair, Esquire, GQ and the Sunday Times Magazine, Platon developed a special relationship with Time magazine, producing over 20 covers for them. In 2007, he photographed Russian Premier Vladimir Putin for Time Magazine's Person Of The Year cover. This image was awarded 1st prize at the World Press Photo Contest.
In 2008 he signed a multi-year contract with the New Yorker. As the staff photographer, he has produced several large-scale photo essays, two of which won ASME Awards in 2009 and 2010. Platon's New Yorker portfolios have focused on themes including the U.S Military, portraits of world leaders and the Civil Rights Movement.
In 2009, Platon teamed up with Human Rights Watch to help them celebrate those who fight for equality and justice in countries suppressed by political forces. These projects have highlighted human rights defenders from Burma as well as the leaders of the Egyptian revolution. Following his coverage of Burma, Platon photographed Aung San Suu Kyi for the cover of Time - days after her release from house arrest. In 2011, Platon was honored with a Peabody Award for collaboration on the topic of Russia's Civil Society with The New Yorker magazine and Human Rights Watch.
Platon has published four book of his work: PLATON’S REPUBLIC [Phaidon Press, 2004], a retrospective of his early work; POWER [Chronicle, 2011], one hundred portraits of the world’s most powerful leaders; CHINA: THROUGH THE LOOKING GLASS [The Metropolitan Museum of Art, 2015], in collaboration with The Metropolitan Museum of Art, and SERVICE [Prestel, 2016], dedicated to the men and women in the United States Military, their physical and psychological wounds, their extraordinary valor, and the fierce emotions that surround those who serve.
Platon is a communicator and storyteller and is represented by the Washington Speakers Bureau. He has been invited to be a keynote speaker on leadership at the World Economic Forum in Davos, Chanel, Nike, Yale University, Oxford University, Wharton University, the National Portrait Gallery in London and International Center of Photography in NY. He has also appeared on a range of television media including Charlie Rose (PBS), Morning Joe (MSNBC), Fareed Zakaria's GPS (CNN) and the BBC World News.
Platon's work has been exhibited in galleries and museums both domestically and abroad. He has exhibited in New York at the Matthew Marks Gallery and the Howard Greenberg Gallery, as well as internationally at the Colette Gallery in Paris, France. The New York Historical Society has exhibited a solo show of Platon's Civil Rights photographs, which remain as part of the museum's permanent collection. Other permanent collections holding Platon's photography include The Florida Museum of Photographic Arts in Tampa, Florida and The Westlicht Museum for Photography in Vienna, Austria and the Scotland National Portrait Gallery in Edinburgh.
In 2013, Platon founded a non-profit foundation named The People's Portfolio. The foundation aspires to create a visual language that breaks barriers, expands dignity, fights discrimination, and enlists the public to support human rights around the world. He serves as the Creative Director at Large for the Center for Civil and Human Rights in Atlanta, GA.
Platon is currently on the board for Arts and Culture at the World Economic Forum and serves as a steward for the Economic Growth and Social Inclusion Initiative. bye.