Author's Posts

Fugitive Pieces Presents Composite of a Life

Susan Cohen — Mon, 05 May 2008 00:43:09 -0500

Entourage Pros Put Bros Before 'Work'

Susan Cohen — Thu, 12 Apr 2007 23:00:00 -0500

Like a permanent houseguest, it seems HBO's hit show Entourage isn't going anywhere. The show, whose season normally runs on Sunday evenings during the summer, has resumed its third season in time to take the coveted spot following The Sopranos, which is in its final season. The combination of these two programs not only creates a powerful night of cable television, but also appears to be HBO's attempt to bring more attention to a show that holds a great deal of promise for the network. This emphasis on its future demonstrates how far the series has come from its humble beginnings. When the series first started, Entourage was about low-level celebrity and its challenges. The early episodes focused on how Vincent Chase (Adrian Grenier), an aspiring actor from Queens, looked to achieve his big break in the film industry with the support of his friends and agent. From the start, the series emphasized the over-the-top Hollywood lifestyle, but the first season was driven more by the struggles of a young talented actor than by the perks of fame. In fact, the entire season had a very basic plotline that served as an introduction to the characters and to the overarching goal of the series, which was to build a megastar. It was not until midway through the second season that Entourage had its breakthrough moment. It demonstrated that it was not a one-dimensional show, as it seemed to be in the previous season, but instead was a series that could handle several interweaving plotlines. In becoming more complex, the show also allowed Vince's best friend/manager Eric (Kevin Connolly) and his agent Ari Gold (Jeremy Piven) to take on more central roles in the show. The repositioning of these two characters was critical to Entourage's success because the series began to emphasize not only the importance of the celebrity, but also the people who make him. This focus on the inner workings of the industry as well as the insight into the head of a celebrity is what makes Entourage so entertaining. The developments that took place during the second and third seasons really solidified the fact that HBO had a hit show on its hands. This was clear to viewers as the show gained an increasingly more mature tone. This is not to say Vince stopped making impulsive celebrity decisions, but the structure and pacing of the show became more consistent. What is really interesting about Entourage is that the success of the series occurred simultaneously with Vince's transformation from a mid-level actor into a star. As a result, the series has the same trajectory as its characters-they keep getting bigger and better. Based on this pattern, the second half of the third season of Entourage seems to be making the statement that the series is ready to carry the weight of the network. The new half of the season, which began on April 8, illustrated how far Entourage has come. The first episode was able to continually transition back and forth between business and pleasure by focusing both on Vince's pressing need to find a new role and his over-the-top birthday party on the Queen Mary. Throughout the episode, it becomes clear that the driving force of the season, at least initially, is Ari's desire to win back Vince, both as a friend and a client. After being fired in the final episode of the first half of the third season, Ari cannot stand to watch Vince jeopardize his career with his new agent, Amanda. In fact, for the first time in the series, viewers see Ari Gold as an emotional man as he demonstrates how badly he wants to be back in Vince's life. Ari gives Vince the script to Medellin, a film that Vince lost the role in but still dreams of starring in. Vince's struggle to resist Ari's advances will be familiar to anyone who has ever tried to move on after a long-term relationship with a significant other. As with all of the best plots in Entourage, the dilemma involves the finer points of balancing work with friendship, a balance that is extremely hard to find in a business so driven by personality. The open-ended conclusion of the episode makes it clear that this half of the season, like Vince, is going to keep getting better.

Conan O'Brien Brainchild Fumbles Onto NBC's Radar

Susan Cohen — Wed, 21 Mar 2007 23:00:00 -0500

Is America ready for a cute and cuddly private investigator? After years of watching crime shows dedicated to the tough guy saving the day, the television tides are turning as the everyday man finally gets his chance to be the hero. The new guy on the block is none other then the titular main character in NBC's new comedy Andy Barker, P.I. The show, created by Conan O'Brien, focuses on Andy Barker (Andy Richter), an average Joe accountant who is happily married to his wife Jenny (Clea Lewis) and is looking forward to working in his new office at Fair Oaks Plaza. Life soon changes for Andy after he is accidentally mistaken for the private investigator Lew Staziak (Harvey Presnell). This misidentification by Nadia, a Russian woman looking for her husband, instantly transforms Andy from a simple CPA looking to put peoples' finances in order to an investigator on the hunt for a missing anti-crime politician. Although inexperienced and a bit naive, Andy successfully completes his first mission with a little help from two of his Fair Oaks Plaza neighbors, Simon (Tony Hale) who runs the video store and Wally (Marshall Manesh) the immigrant owner of a local kebab restaurant, as well as some guidance from the real Lew Staziak. Andy Barker and his crime-fighting/number-crunching abilities show promise for NBC, a network that has been slowly finding its way back in comedy since the conclusion of Friends. What allows Andy and the show to stand out from other attempts by the network is that the show is emotionally genuine. In fact, it is 100 percent wholesome, as there is no foul language or extreme violence. The entire show is dedicated to being upbeat, providing lovable characters and offering its audience simple comedy. The best evidence for the lighthearted tone of the show comes from the writing, which is a continual progression of corny, yet extremely funny lines. The first of these comes from Jenny who sends Andy off on his first day of work with the adorable line: "You are an accountant Andy Barker, you go where the numbers take you." Andy later tops this line when he equates his new profession to the "feeling that I get when I hit the equal sign on the calculator and the number on the calculator is the same number that's on the worksheet." The worst offender, but sure to crack a smile on many viewers' faces comes from Simon who says to a customer "Hey sunshine, looking to buy or rent?" Although these lines are corny, they demonstrate a break from the usual television programming. This break is a movement away from the offensive humor and overly dramatic shows that dominate today's television and a return to the simpler humor and less complicated plot lines that dominated television in the '90s. NBC is aware that audiences are craving the equivalent of comfort food in television. Andy Barker, P.I. successfully embodies this spirit as it offers easily detected humor, a plotline that is extremely easy to follow and most importantly, it is fun to watch. In fact, Andy Barker has a shot at being America's next lovable, quotable character. His chances for reaching this status are also helped by the fact that the pilot, as well as several episodes that have not yet aired, is available on both nbc.com and on iTunes. The only obstacle for Andy Barker, P.I. will be the need to overcome poor ratings that may result from its time-slot of Thursdays at 9:30, which pits it against the second half of Grey's Anatomy. If NBC was smart, it would move Andy Barker, P.I. to another night to give this show a fair chance at having a television future.

Can a Man Love His Lady Like the Red Sox?

Susan Cohen — Thu, 14 Apr 2005 23:00:00 -0500

As a member of a passionate Yankee family, I was initially uncertain about whether or not I would be able to sit through Fever Pitch—the new Farrelly brothers movie about the Boston Red Sox. But after seeing a preview with one of my favorite Saturday Night Live veterans, Jimmy Fallon, I decided that I could try to put aside my team loyalties.

It quickly became clear that no matter what team gets your heart racing, there is something special about this movie. Fever Pitch is not just a story about the Red Sox. It is about having a passion, and believing in something both in the good times and the bad. Although it is a romantic comedy, it has deep undercurrents that explore serious issues. And it is in the midst of these explorations that humor continually surfaces, allowing for an emotionally intelligent film that nonetheless sticks to its light-hearted genre.

The film’s protagonist, Ben (Jimmy Fallon), is a die-hard Red Sox fan, which is immediately apparent from an apartment decorated entirely in Red Sox paraphernalia.

But when he is not a full-time fan, he is a ninth grade geometry teacher. He meets Lindsay (Drew Barrymore), a financial consultant, when he takes his top students to visit her at work for a career-day field trip. After some encouragement from his students that includes the line “glance to the pants,” he gets the courage to ask her out—without the kids. The relationship soon takes off, but only because it is the off-season.

The pairing of Fallon with Barrymore is an excellent one. It is clear that both have matured as actors, especially Barrymore, resulting in well-developed characters. But just as the relationship becomes serious, season tickets arrive, unleashing the beast.

Ben then turns down a trip to visit Lindsay’s family because it coincides with spring training. It is at this moment that Ben shows a hint of his love for the game and the fever that will overtake him in the summer. The scene shifts gears, quickly returning to comedy, when Ben gets down on one knee, prompting Lindsay to believe he will propose—only to see Ben whip out tickets to opening day, the ultimate diamond ring for any baseball fan.

As soon as the season starts, the push and pull of the game, and of love, begins. For the first time, Ben has a dilemma, as true love approaches the intensity of his infatuation with the Red Sox. But this particular problem can be viewed as representative of a conflict so many relationships face: having to balance your past with the present, as well as with realistic hopes for the future.

Ultimately, Fever Pitch teaches us that whether we keep track of wins and losses for the Yankees or the Red Sox, the important thing in life is maintaining a passion that always includes loved ones.

Know the Name

Susan Cohen — Wed, 06 Apr 2005 23:00:00 -0500

Too often, the most talented actors and actresses struggle and wait for recognition that never comes. have to struggle and wait for their recognition. But for Anna May Wong, a silent film star whose accomplishments have long gone unrecognized, the time to shine is finally here.Anna May Wong is the subject of China Doll, a play by Elizabeth Wong currently being put on by the Pan Asian Repertory Theatre. Directed by Tisa Chang, BC ’63, the play tells the life story of Wong (Rosanne Ma), a Chinese actress who fought against the currents in both society and Hollywood. Born in 1905 as Wong Liu Tsong, she aspired to fame at a time where the odds were against her as an Asian actress. Adopting her glamorous screen name and fighting the stereotypes that stood in her way, Anna May Wong proved that she had both the talent and the drive to succeed. But the play is not only Anna May’s story; it also introduces the stories of other people who played important roles in the actress’s life. There is her father (Jackson Ning), caught between his disappointment at his daughter’s unorthodox ways and his wish to see Anna succeed, and her supportive mother (Ruth Zhang). There are her two love interests, the film legend Gary Cooper (Michael Scott) who will not marry her nor be seen in public with her, and Douglas Fairbanks (Jamie Cummings) who is less concerned with conventional opinion. There is her makeup artist Max (Peter Von Berg), who teaches her tricks of the trade and stands beside her throughout her career.The play opens with an eccentric Anna May Wong who has not had a part in years. She is lonely, and enjoys the company of Irving Thalberg (Robert Wedig), the student with whom she boards. For the first time in a long time she is excited. She has a part and is planning on making her return in the film production of Flower Drum Song. Though her part is small—a single sentence—she is proud to have been asked to participate in the first all-Asian cast of a film, since she has spent years watching American and European actors become Asian alongside her, often stealing parts from her. One scene in particular illustrates this, in which she educates an inept American actress on how to play an Asian. Beneath the overt humor of the scene—she shows this girl how she should kill herself—it shows the shocking truth of what Wong had to face: an industry that brought her ever closer to fame without ever letting her actually taste it.China Doll incorporates the films she worked on into the script, showing Anna May Wong shooting her first big role as a slave girl in The Thief of Baghdad. She is portrayed as a blossoming actress in this role: the audience sees an awkward teenager, willing to show skin to land the part, but at the same time unsure of how to put on her costume and nervously hoping to kiss her director. The play quickly progresses, showing how this teenager becomes a star, and how that star becomes a lonely middle-aged woman.China Doll enjoys an intimate production at the West End Theatre on the second floor of the Church of St. Paul and St. Andrew. The small space suits the story and takes the audience quickly into the life of this remarkable woman. The play’s intimacy is also expressed by a small stage with few props; frequently they must be imagined in the actors’ hands. This simplicity allows the focus to remain on the actors and the parts they play, especially in the case of Ma who does an excellent job of portraying Wong. This atmosphere allows the audience to observe the different stages of her life, fluidly moving between different times. The splendid production and skilled performances finally give Wong the recognition she never had.

Chanukah Saved!

Susan Cohen — Thu, 18 Nov 2004 23:00:00 -0600

The Hebrew Hammer is geared toward an audience that knows their Jewish ABCs. It is a comical reward for people who attended Hebrew school two hours a day, three days a week for six years. The movie, which originally aired on Comedy Central, is an action-comedy spoof of Jewish religion and culture. Writer-director Jonathan Kesselman uses classic stereotypes to create a humorous story about Mordechai Jefferson Carver (Adam Goldberg), better known as “The Hebrew Hammer.”

Our titular hero, whose office door reads “Certified Circumcised Dick,” is called to duty by the Jewish Justice League when Santa Claus is murdered by his evil son, Damian Claus (Andy Dick), who then sets out to rid the world of Chanukah. With the help of Esther (Judy Greer) and the head of the Kwanzaa Liberation Front, Mohammed (Mario Van Peebles), Hammer is on a mission to save the holiday.

The film covers all its bases as a religious action-comedy, featuring a traditional Shabbat dinner with a Jewish mother, exciting comic fight sequences, and even Hammer in a sex scene. Within the genre’s framework, Kesselman has plenty of opportunities to include hysterical moments. In one scene, talking dirty to a woman means suggesting that she move to Long Island and send her kids to Stanford. And Hammer delivers great one-liners, like the nonsensical but bound-to-be-classic “I like my women like I like my matzo—unleavened.”

However, even though some will appreciate the references to Manischewitz, the comedy is inconsistent. Hammer’s premise is full of potential, but its execution falls short. The violence can be over-the-top at times and, as the movie progresses, the constant stereotyping becomes a bit excessive and offensive. But even with these problems, the DVD is a fun holiday rental.