Edmond has ratings and 21 reviews. Branden said: normally hate Mamet, but i actually surprised myself by liking this one. like literally out of nowhe. The first single-volume edition of this stunning early Mamet playYou know how much of our life we’re alive, you and me? Nothing. Two. Edmond: A play [David Mamet] on *FREE* shipping on qualifying offers. Fiction.
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I can certainly understand the mainstream hesitations. I would like to say that we have come a long way in interracial understanding in the quarter-century since the racially charged Edmond made its first explosive statement on the stage. The point is that the justly dreaded and despised N-word is brandished not by a self-confident African-American rap artist, but by a bigoted white middle-class character who is ,amet titular protagonist of Edmond. Before he can get into the elevator, however, edmod is handed a slip of paper by the receptionist, who informs him that the time for a meeting the next morning has been changed.
When he gets home, his wife tells him angrily that the maid broke the lamp in their bedroom.
He is thus captured ammet medias res, at the very peak of his midlife crisis—almost as if he were a character on a stage, as, indeed, he originally was. We next see him drop in at a bar, where he is soon engaged in conversation by a stranger watching a basketball game on television played by another Mamet regular, Joe Mantegna.
Edmond by David Mamet
The stranger freely uses the N-word to refer mock-admiringly to most of the players and the way they do what they want without any of the guilt or inhibitions that afflict us white men. Edmond nods in agreement and begins to expound on his own frustrations.
With a lightning diagnosis, the stranger fdmond that it all comes down to sex, and he then hands Edmond a card from a nightclub where women are available for a price.
As Edmond descends into the neon-lit expressionistic hell of the sex industry, he haggles grotesquely over the prices demanded of him by a edmonv of impossibly good-looking harlots and their violent pimps. By this time, Edmond has shown himself to be clearly a jerk and a loser, to whom any member of a Mamet audience in either a legitimate theater or an art-film venue can feel comfortably superior.
The movie is minimally interesting because of its resolutely anti-Aristotelian method of dragging the audience to a forced contemplation of a emdond life punished in full and then some.
Edmond (film) – Wikipedia
Yet I must say that, in the end, Mr. Mamet certainly managed to even the score between Edmond and his African-American nemeses. You deserve the right to disbelieve it for yourself. It suddenly occurs to me that I completely forgot an early scene that Edmond shares with a fortuneteller Frances Baywho confirms for him—and for us—what his facial expressions have already told us: It occurs to me in retrospect that the fortuneteller may have seen enough of Mr.
Edmond is the ultimate Macy vehicle ad absurdum. Except for bits by Mr. Macy is the whole show. The mamwt of Edmond is that too much of Mr. Macy is much edomnd than the modal equilibrium of movies can bear. One begins to wonder if the human race has any future at all. In these days, particularly, Edmond is the antithesis of escapism.
As the late Leo Durocher once remarked, when asked about his trading policy with the moribund New York Giants baseball team he had inherited: Much to my surprise, Water turned out to be not an addled piece of agitprop, as I had feared, but quite possibly the best picture of the year thus far, with no fewer than three of the most luminous female performances I have ever seen onscreen.
The institutional horror and spiritual grandeur of the film creep up on you slowly, like the inexorable currents of the Ganges. Before we know the names of any of the characters, we evmond being conducted on a mysterious river-borne funeral procession with a dead man prominently displayed on one of the boats.
A father asks his 8-year-old daughter if she remembers getting married.
Mr. Mamet and Mr. Macy Make Misery in Edmond
With a smile of incomprehension, she shakes her head. The father tells her that her husband has died and that she is now a widow. She still has no idea what this means.
By traditional Hindu law, she will be a widow for the rest of her life—unless she chooses to die instead by being immolated with her deceased husband on the funeral pyre. There is no third way. The reason Kalyani is allowed to keep her hair unshaved is that she earns precious income for the ashram as a prostitute.
Almost every evening, she is placed by Madhumati in the custody of the eunuch procurer Gulabi Raghuvir Yadav and taken in a small boat to a wealthy Brahmin on the other side of the Ganges. Though the impish Chuyia serves as a younger sister to the lonely Kalyani, Chuyia receives most of her maternal care from the warm-hearted, middle-aged Shakuntala Seema Biswas.
By using the wide-eyed newcomer Chuyia as her point-of-view character, Ms. Mehta is able to control the pace of her narrative and demonstrate how much of the barbarous imprisonment of the widows until a sterile old age is self-imposed. When a liberal, genuinely benign male presence arrives on the scene, in the person of a handsome young Brahmin law-school graduate named Narayan John Abrahamthe plot thickens.
The story takes place in the India ofat a time when Mohandas K.
Gandhi has just been released from a British prison and is seen touring the country by train to lead the movement for independence from colonial rule. But her feeling of shame drives her to drown herself in the Ganges, after which the film races to a wildly melodramatic climax that manages to be both horrifying and mqmet at the same time.
But just when the viewer has settled into a warm inner glow over the passion and artistry displayed by Ms. Mehta has become such a controversial figure in Indian society that Water edond to be shot in Sri Lanka after the Indian sets for Water were destroyed by religious fanatics.
Her courage is our blessing. The Museum of the Moving Image 35th Avenue at 36th Street in Astoria, Queenscontinues its rousingly romantic retrospective of the works of Frank Borzage with seven must-see attractions.
Sunday, July 23, 4: Saturday, July 29, 2 p. Gaynor and Farrell star again in an even steamier love vehicle than 7th Heaven. Gaynor won the first Best Actress Oscar for a sdmond of performances, in F.
Saturday, July 29, 4: Little Edmonx, What Now?
Margaret Sullavan and Douglass Montgomery play a struggling couple in the economic and political chaos of Weimar Germany on the verge of the Nazi takeover. A Farewell to Arms Less laconic and stoical than the Hemingway novel, with Helen Hayes in her most emotional performance ever and Gary Cooper less repressed than usual. Marlene Dietrich and Gary Cooper star. The film was produced by Ernst Lubitsch and directed by Borzage with something less than the famed Lubitsch sparkle—though the beefed-up Production Code may have been to blame.
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