As You Wish...

William Goldman's tale The Princess Bride is a whirlwind of fantastic adventure with a dash of romance and a whole lot of laughs! The film version of the story has been a childhood classic amongst my generation, though I didn't see it until later in my young adult life.

I was intrigued by the discovery that many of my guy friends include this film as part of their favorites list. How could a story titled "Princess Bride" attract the male gender? It must have been Robin Wright Penn's radiant beauty as Buttercup that captured their young hearts. Of course, I was swept away by Cary Elwes' dashing and charismatic portrayal of Westley, the masked hero dressed in black. The title is misleading because this story follows the classic hero journey of overcoming the evil villains by way of dueling and death to free the damsel in distress. It's just what boys like to see.

Recently I picked up the book version to pass the time during my long train commutes to and from downtown. I've been meaning to rewatch the film, but haven't got around to visiting my neighborhood video rental store. It just so happened my sister had a copy of the book lying around. I can only read light and engaging material on the train, otherwise I get lulled to sleep by drawn out exposition paired with the rocking of the El.

The Princess Bride is a very quick read and most definitely entertaining. Goldman keeps the generic plot interesting with quirky characters like Fezzik, the slow-witted "enemy" giant who secretly loves to rhyme, and Vizzini, the hunchback Sicilian who has every intention of becoming "the most effective criminal organization in the civilized world." The characters are crafted in a storybook manner, meaning they are simple and honest compared to the complexity that is demanded of characters today. That isn't to say that they are not interesting. The characters' backstories provide the foundation for the long-lasting relationship with the reader. Fezzik seems like a bumbling oaf who only knows of physical strength. We find out that he was forced into sport fighting at the tender age of nine! Goldman builds compassion and sympathy even for the villians of the story.

The dialogue is also a diamond in the rough. Words exchanged between characters are short and to the point, but they are crafted with the utmost care for the element of humor. When being questioned about his intelligence, the evil hunchback responds, "...but I, Vezzini the Sicilian, am, speaking with pure candor and modesty, the slickest, sleekest, sliest and wiliest fellow who has yet come down the pike."

The narration, done by Goldman, gives us witty insight into every element of the story. He incorporates sidenotes here and there about the history of things that don't necessarily further the plot or help the reader to understand any more of the story. It's included just to be funny. For the most part, the comments are clever and evoke a chuckle or two. For example, Goldman leads the reader to believe that Buttercup is about to be devoured by a swarm of blood-thirsty sharks. He interrupts the plot as the voice of his own father saying, "She does not get eaten by sharks at this time," because he felt young Goldman was getting too worked up by the excitement and danger. This method of storytelling works successfully the film version as well.

There are several occasions, however, where Goldman just doesn't know when enough is enough. Halfway through the introduction chapter, in which Goldman explains how he came to write the "Good Parts" version of the fictitious S. Morgenstern's classic tale, I lost interest. I wanted to get right into the fairy tale, so I skipped ahead. Also, he goes on for several paragraphs here and there about why he edited out the parts that described the excessiveness of the people of Florin and Guilder and other historical facts. I found myself skimming through those moments as well. He made it easy to gloss over by distinguishing the commentary in italics or parentheses.

For anyone who fell in love with the film version, I highly recommend reading the book. Its 300 some pages goes by fast, almost too fast. You'll fall in love with the characters all over again! Then watch the film again so you can swoon over Elwes or Penn, or even Andre the Giant.

Vicky Cristina Maria Elena Barcelona

In Woody Allen's Vicky Cristina Barcelona, three women share one man in this account of life, love, and art. Right. One suave Spanish man can satisfy the emotional and physical needs of three very different women. Is the female gender so caught up in old school ideas of romance that the man of every woman's dreams is the stereotypical Latin lover? According to Allen, it is.

This dramedy traces the tangled relationships of two American women and a Don Juan-esque Spanish man and his psycho ex-wife. Rebecca Hall's portrayal of Vicky is flat, but I guess her acting hits the character right on the head. How else can you play a woman whose only standard in life is to be normal? Scarlett Johannson plays the role of Cristina, a passionate young woman who is in search of her purpose in life. However, there was no passion. Johannson was just like every character she has every played: a seductress with no personality.

The only reason to watch this film, other than the beautiful Barcelona setting, is to see Penelope Cruz as a crazed, potty-mouth ex-lover. After all the hype about her performance and her Oscar win, I waited patiently for about an hour until she finally appeared in the plot. Cruz brought much needed life to the screen with her sharp Spanish wit and over-the-top outbursts.

Vicky and Cristina are disposable characters. This film would have been smarter and more entertaining without the "psuedo-intellectual" rubbish.

Art That Melts

After a long Chicago winter, who would be excited for more snow? I sure didn't think that I would be until I walked down Michigan Avenue two weeks ago. Aside from the usual trees and traffic that line Grant Park, larger-than-life size snow sculptures were causing pedestrians to do double-takes. Monsters, gorillas, and dragons were staring at me from across the street. A large sign above the sculptures read "Snow Days Chicago". It was a free five-day event to promote winter activities in Chicago. Oh how I love the surplus of Chicago's free events!

The snow sculptures were created for the competition in which teams from nearby cities and states gathered to build works of art out of the fluffy white stuff we have learned to dread. Walking through the sculptures had the same effect of walking through the skyrises. They were all impressive and towering about eight to ten feet high.

One piece that caught my attention was a little boy on top of a giant monster and it was titled "Max and the Wild Thing". Talk about bringing a story to life! The "Wild Thing" was carefully crafted with incredible detail in the texture of the monster's fur and a mischievous look on his face. It seemed though that less care was given to "Max" who stands triumphantly on the monster's head. Whereas the "Wild Thing" looked real, "Max" did not.

I was so enamored by the snow sculptures and at the same time, I was dispirited to know that they wouldn't last. It instilled in me the idea that you really have to enjoy the moment and appreciate what is in front of you, because like the snow sculptures, life can melt in an instant.

Building Peace by Peace

British writer Steve Rose poses the hopeful question, "Can architecture end a war?" in regards to the Peres Peace House in Israel. This monumental building was established to promote peace throughout Israel and between its neighbors. Designed by Italian architect Massimiliano Fuksas, the aesthetic and functional elements of the building represent much of the situation and atmosphere in that region.

Rose elaborates on the major details of the structure and paints a vivid image of the Peace House for his readers. His descriptions are poetic and precise. He describes the walls as being "flat and smooth on the outside, on the inside the concrete strata project out, giving the sides an undulating, almost natural texture." Every aspect of the design is a metaphor, according to Fuksas. Rose explains the metaphors with proper care as he relates the design elements to the past and present situations of the region. The language he uses supports the idea of peace, which is the ultimate goal for the future of Israel.

The review is lengthy, but Rose manages to make every word worth the reader's attention. He reflects on the political and social environment of Israel without getting carried away. Every thought ties into the architecture, and since the design and function of the architecture is to promote peace, Rose's article is an extension of that strive for peace. He ends his article with a quote from Fuksas saying, "We must never stop thinking peace is possible."

In Your Wildest Dreams

Dada and Surrealist Masterpieces Make US Stop by Lisa Cornwell is a review about the upcoming exhibit at the Cincinnati Art Museum. Cornwell begins her review by listing some of the more absurd pieces of the movement, such as the Mona Lisa with a mustache and goatee. She tries to shock the reader as the art once shocked the world.

Cornwell goes in depth about the history of the Dada and Surrealist movements, which is good for people who are not familiar with the works, but the review of the exhibit soon becomes a history lesson. The pace of the review slows down when it should be picking up speed and excitement to promote this "once in a lifetime" event.

Works from Pablo Picasso, Salvador Dali, Rene Magritte, and other icons of the movement symbolize everything that is "outside the box" thinking. They evoke the viewer to question reality and existence, whether you like the piece or not. Cornwell's review sparks a little bit of curiosity by providing brief descriptions of the stranger pieces, but she doesn't generate the kind of buzz that an exhibit like this one deserves. She doesn't even include the duration of the exhibit, which is only showing February 15-May17. Three months is not that much time to go see these significant works of art, especially since it is the only U.S. appearance of this collection.

Other than the art pieces themselves, she briefly describes the design of the exhibition. She says the layout of the display tries to imitate the style of the movement, "Theatrical scrims - gauzy fabric panels - encase some of the objects and create a sense of looking through a mist." Her description makes me go, "hmm", rather than, "awesome!"

I am thoroughly fascinated by Dada and Surrealism and I would definitely go see this exhibit if I can find the time this semester to make my way out to Ohio. However, Cornwell's review did not seem to express much enthusiasm for the collection and she did not influence me in any way to go see it. Maybe she was relying on the fact that the artists are well known to draw crowds to the Cincinnati Art Museum. Her title isn't all that intriguing either. After reading her review, I got the sense that it was just another assignment with a deadline.

Maybe next weekend I'll hop a train to Cincinnati to check out the exhibition. I expect to come back with a review that will make everyone want to flood the Surrealism and Beyond* showcase!

*Cornwell didn't even provide the actual title of the exhibit.

Who Wants to Be a Star?

All Smiles by Joan Acocella is a brief article that criticizes the "pop star" atmosphere that is taking over the ballet scene. The general idea of going to the ballet is viewed as arts for the privileged and the elite. The ballet is supposed to be sophisticated, classy, and highbrow. However, Acocella claims that dancers of the premier American Ballet Theatre company have been "wooing" and "flirting" with the audience for extra attention. This type of performance behavior is usually reserved for mainstream entertainment that feeds off of the energy and money of adoring fans.

Grinning, winking, and "saucy looks" degrade the performance value, according to Acocella. Her word choices clearly show her dislike for what she's been witnessing in the ballet. In the opening sentence, she throws down the word "epidemic" to describe the unwanted behaviors. They are a "problem" and they "attack". She treats the dancers as criminals when she calls out one particular dancer as the "worst offender". One thing she does to slightly lessen the blow of her article is to say that talent is not the subject of questioning. The dancers are more than qualified to be performing in such esteemed shows.

One thing to consider, that maybe Acocella hasn't, is the economy. Perhaps the American Ballet Theatre is broadening their demographic to increase revenue, and that pop star performance is what the general public likes to see. Developing a connection with the audience is a method to engage them in the performance. Feeling connected keeps them coming back for more.

Are these behaviors just cheap tricks that should be left to the likes of Miley Cyrus and light-hearted musicals? Is it really hurting the value of the piece, especially a serious one, to shoot a smile at a member of the audience?

Break It Down Underground

Making Money Foot Over Hand by David Goodman of the New York Times reveals insight on the break-dancing street performers in Manhattan. Goodman chose this group of young performers, who come from the South Bronx neighborhood, to represent the many others that follow this lifestyle. These young men take their skills to the streets because it's the best way to earn some extra money and it keeps them out of trouble. He quoted one young performer saying that he earns money by dancing instead of having to resort to "stealing and robbing". The review highlights the good intentions of the performers: the main performer, Chubbs, uses the money he earns to support his girlfriend and baby; the dancers see each other as a community that offers support and inspiration; younger dancers show respect for the veteran dancers.

Goodman also notes that not everyone who comes across these performers welcomes the entertainment. Some see them as a disturbance. The New York City Transit doesn't allow it on the subway. He spends little time discussing these "negative" points.

Goodman's audience are the people that ride the subway on a regular basis. He is trying to make commuters see that there is more to these street performers than just causing commotion and trying to "panhandle" their spare change. He includes the history of break-dancing and mentions its world-wide spread popularity as a sense of credibility for this activity. His review speaks more of the people behind the art of break-dancing than the art itself. He writes about the soul of the matter.