issue 21 // volume 42

Render unto Caesar

> The changing times of cinema

Jerrison Oracion Senior Columnist

OOOO

I the 1950s, the landscape of cinema was rapidly changing. Televisions were becoming a part of people’s lives, the major film studios were making big epics and musical productions, and everybody was worried about the atomic bomb. Joel and

Ethan Coen’s latest film, Hail Caesar!, explores those changes. When one of Capital Pictures’ biggest stars, Baird Whitlock (George Clooney), is kidnapped by an organization called The Future, studio head Eddie Mannix (Josh Brolin) tries to rescue him. Along the way, Eddie helps solve the problems of the studio’s other top stars, including Deanna Moran (Scarlett Johansson),

who is having a child, and western film star Hobie Doyle (Alden Ehrenreich), who is starring in his first period piece directed by Laurence Laurentz (Ralph Fiennes). The film explores the capitalistic star system of the 1950s film industry, as well as the film production clichés of the time. There are many jokes involving stunt doubles, elaborate musical

Arts at One: French Melodies

> Local artists present classical French music

Adam Tatelman Arts Editor

Ithough France’s contributions to the evolution of modern film and music are many and varied, I must admit that I am fairly illiterate when it comes to French culture. I rarely have a chance to see music performed live, so this week’s Arts at One offering, Café Terrace at Night, was anew and affecting experience for me. The performance was organized by local soloist and music teacher Melanie Adams, piano instructor and church pianist Rita Attrot, piano teacher Alyssa Stoffberg, and tenor Clinton Bradley Stoffberg. Though he was not in attendance, local illustrator Isaiah Karesa provided additional visual artwork, recently presented in his debut exhibit

at the RAW artists showcase in downtown Vancouver.

The musical selection was largely taken from the mid-to- late 1800's, including works from iconic French composers like Maurice Ravel, Gabriel Faure, and Henri Duparc. Most of these were popular love songs and the upbeat party music of the

Clinton Stoffberg via postmoderncamerata.com

time, though many of Claude Debussy’s pieces were more solemn, such as his mythological dedication “The Tomb of the Naiads.” This created an effective

thematic contrast with the more bombastic like “The Tresses,” and kept each next piece interesting. Most were solo vocals accompanied by piano.

numbers, and Gene Kelly-styled dance numbers—including a humourous scene where Burt Gurney (Channing Tatum) does a dance number as a sailor.

As is common with the Coen brothers’ films, most of the actors had worked with them previously. While the film’s plot primarily focused on Eddie, Baird, and Hobie, the rest of the actors could have had a little more screen time. For example, a government

Considering the size of the Muir theatre, the vocalists’ skills should be commended. Although I did not understand the French lyrics, their vocal clarity carried the meaning quite effortlessly despite the large space they had to fill. “Claire de Lune,” my personal favorite, was a purely instrumental piano piece, played to hypnotic effect. The performers also told a little of the history surrounding the songs and their composers, making Arts at One an educational experience as well. Some of the most interesting anecdotes involved Debussy’s “Three Songs of Bilitis,” which were based on characters in ancient Greek myth, as well as the tragedy of Henri Duparc, who destroyed most of his work ina fit of depression, leaving little to survive in posterity. Having somewhat expanded my knowledge of France’s musical

arts // no. 9

Image via www.shockya.com

agent named Joseph Silverman Jonah Hill) only appears in one scene. There were a few other surprise cameos in the film, such as Frances McDormand

as an editor at Capital Pictures, and Oscar Isaacs as one of the members of The Future.

Hail Caesar! is an intriguing look back at the golden age of cinema, and well worth your time if you enjoy period pieces or the filmography of the Coen brothers.

history, I can confidently say

that | enjoyed my afternoon with

Arts at One. The artists were

all professional-level, and their

performances clearly impressed

the music students in attendance

as much as they impressed me.

Their eclectic selection and

effective use of the space created

a compelling presentation, and

I would most certainly attend

again in the future, if only

to see what musical style the

department will explore next. Although Arts at One

is presented mainly for the

benefit of Douglas College’s

music program students,

the performances are open

to the public for free. If you

are interested in musical

performance of any kind,

catch next week’s Arts at One:

Inavolatura in the Laura C.

Muir Theatre on Thursday,

February 25 at 1:00p.m.