The Wedding Palace...Christine Yoo comedy hilarious! Cross-over market in the cards!

One of the highlights of the Los Angeles Asian Pacific Film Festival this year was a comedy feature – The Wedding Palace – which resonated with audiences from start to finish.

When the flick – directed by Christine Yoo - first sputtered to life on the wide-screen in the plush environs of the DGA on Sunset Boulevard in Hollywood, the rapt audience immediately settled in for a madcap night of zany comedy.

In the opening scenes, as the upbeat fast-paced story unfolded on the wide-screen, filmgoers learned that Jason (the lead character) was an advertising executive pining for love.

Aren't we all?

But, the handsome bachelor’s yearning to get hitched to the woman of his dreams is constantly thwarted by overzealous matchmaking parents, bent on pairing their handsome charismatic son with a suitable bride from a good family with a financially secure bakground.

Such is the Asian American tradition!

“You’ll learn to love each other over time,” his parents wisely counseled him about the ways of the world, when he voiced his disapproval over the young lady chosen by his parents to be betrothed to.

When an unsuitable bride sashays into the picture (from his family's point of view) and captures Jason heart, his conniving mother's plots to nix what appears to be an ominous union arising from an ancient curse on the family.

Oh yes, the young Lothario's parents are a superstitious lot!

The delightful love story– sparked with quite a bit of funny dialogue (and hilarious sight gags sprinkled in for good measure) - is vastly entertaining,

And, true to Hollywood filmmaking, ends happily.

But, not before a bumpy turn-of-events threatens to prevent Jason from finding true love.

At an informative Q &  A after the screening, Ms. Yoo noted that the film was a labor of love, and several years in the making.

Yoo is a petite pretty Asian American (refreshingly shy and down-to-earth) who was raised in the heartland of America.

Understandably, the first-time director's project has a lot of appeal for the Asian-American community.
..
However, because comedy is universal - as is the subject of love - filmgoers in the mainstream of American will find this well-crafted flick appealing, too.

“I was striving for a frothy dream-like quality in keeping with the theme,” the stylish beauty (with a bbeautiful flower headdress weaved into her lustrous locks) underscored in so many words when I quizzed her at the DGA about the cinematography which was outstanding.

Yoo achieved that goal in spades.

Although there were a couple of awkward amateurish moments onscreen – delivered up by a couple of hams in the cast – for the post part "The  Wedding Palace" cruised along without a hitch.

Until the young couple - through thick-and-thin - finally gets hitched, of course!

In spite of the fact the comedy is solid bill-of-fare, the director has yet to land a distribution deal.

I expect that technicality will pan out in the near future - at which point - Ms. Yoo's funny flick will be in a theatre near you soon!

Catch it if you can.

http://www.thetattler.biz



Sundance Film Festival...Robert Redford to screen flicks across pond in London! A gamble?

 



In a bid to spread the good word about the wonders of celluloid and Independent film (now a major U.S. export overseas) and its ability to touch and inspire the human spirit, officials at Robert Redford's "Sundance Film Festival" announced ambitious plans to launch a version of the Utah-based fest overseas in the heart of London.

The much-ballyhooed cultural reach is slated for an ceremonious unveiling next year (to run April 26th thru the 29th).

In addition to an eclectic string of thought-provoking insightful movies, Redford's "baby" is known for, there will be a stimulating calendar of events that range from live stage performances, to industry panels on a myriad of filmmaker topics, and insightful one-on-one interviews with high-profile celebs on the independent film landscape.

"It is our mutual goal to provide the U.K. with the very best in current American Independent Cinema, to introduce the artists responsible for it, and in essence help build a picture of our country that is broadly reflective of the diversity of voices not always seen in our cultural exports," the respected actor underscored in a press release in recent days.

Will there be as keen an interest in Sundance "picks" (which usually set filmmaking trends) across the big pond as there is on these shores?

News at 11!

http://www.thetattler.biz



From heartthrob to respected film director!

Source Code...Hitchcockian-style thriller! Jake Gyllenhaal excels!

 





This weekend, film buffs - and fans of actor Jake Gyllenhaal - will be scooting off to the local cinema to catch the sexy hunk's latest flick "Source Code".

If fans are anxious to feast on the stud's muscled bod once again - after getting an eyeful of his pumped flesh in one of  his last features with Anne Hathaway - they'll be SOL.

Uh-huh!

The star who broke into the International spotlight portraying a gay cowboy in Ang Lee's "Brokeback Mountain" - opposite Heath Ledger - may disappoint in that regard.

But, if movie-goers are intrigued by the idea of a thought-provoking cerebral thriller (prone to play havoc with the preconceived notions about fate, reality, and illusion), then this Hitchcockian-style mystery (mind-bender!) is worth the price of admission.

The plot moves along at a fast clip (without much fat), the cinematography is superb, and the special effects entertaining.

Jake, and his talented cast of supporting players, are at the top of their game here.

For the most part, the stylish well-crafted studio project has been garnering pretty positive reviews.

With one exception, however.

Critics tend to whine that the plot is a little convoluted, difficult to fathom - and, that the ending - is ambiguous.

Did those popcorn-loving movie reviewers stroll into the wrong theatre by accident?

In my mind's eye, the screenwriter struck the right balance, and delivered up a tight taut celluloid gem.

And, achieved the unthinkable, in the process.

Indeed, the studio turned out a feature that explored not only new territory, but managed to do so without losing any commercial appeal for a wide demographic around the country sure to snap up tickets over the next few weeks.

My only criticism?

It was not necessary to "tack" on the last two scenes - and thus - spoon feed the audience to "ensure" all the loose strings were tied up in a neat and tidy package.

With an intelligent offering like this, it was not necessary to treat the ticket-holders like they were stupid, in my estimation.

We got it! 

To go into details would only spoil it for 'ya.

'Til next time at the Movies!

http://www.thetattler.biz



May the Source Code bewitch you!

San Francisco Chamber Orchestra...standing ovation for composer Donald Sosin! Stavinski-inspired program wows!



Composer Donald Sosin garners standing ovation!



Last night, fans of the San Francisco Chamber Orchestra, jumped up spontaneously and gave a much-deserved thunderous round of applause - a standing ovation, actually - for up-and-coming music composer Donald Sosin.

"Bravo," they cried out from their seats in the packed house at the Herbst Theatre in downtown San Francisco.

The music-lovers were responding to a remarkable "World Premiere" performance of a composition that Mr. Sosin scored for a lesser-known Harold Lloyd flick - "Now or Never" - which screened as part of an unusual program which was ultimately a departure for the well-respected local music organization.

In fact, the dapper Artistic Director  - Benjamin Simon (clad in a stylish fashion ensemble consisting of red socks, navy slacks, patterned vest, and bow tie, sans jacket) - noted that the offering was a bit of a milestone.

"This is the first program in my nine seasons as music director that has no string players in it! As a violist, I'm entering dangerous and unfamiliar territory."

But, the end result was terrific, none-the-less.

If anything, the night's stellar program was in keeping with the mission of the company.

The San Francisco Chamber Orchestra is dedicated to the proposition that classical music not be boring, stuffy, expensive (last night's concert was gratis) or only for those with advanced degrees.

The evening's program attempted to accomplish that feat by virtue of a handful of powerful - and at times poignant pieces - that were uplifting with spirited nods to the works of Giovanni Gabrieli (Canzona per Sonare $4), Igor Stravinsky (Octet for Wind Instruments), Cindy Cox (Canon), and Donald Sosin (score for Harold Lloyd 1921 Silent Feature).

The concert was titled - "Now or Never" - and was inspired by a Stravinsky Octet.

The novel composition - by the somewhat-eccentric Stravinsky - singles out the unique sound variations of the clarinet, bassoon, trumpet, and trombone respectively.

In the notes, it was revealed that Stravinsky sought to discern the clarity of the timbre and texture - with the ultimate aim - of distancing himself from what he referred to as "emotionalism".

Apparently, Stravinsky instructed his musicians "not to interpret", but rather, to let the music speak for itself.

In a second "World Premiere" composition - Cindy Cox elaborated on that theme (and then some) in a musical composition that tended to be experimental in nature and not unlike an abstract painting in many respects.

For instance, Ms. Cox focused on the "colors" and the exquisite "tonal possibilities".

Ms. Cox appears to derive her musical language from - acoustics, innovations in technology, harmonic resonance, and poetic allusion - according to reviewers.

"Cox writes music that demonstrates an extremely refined and imaginative sense of instrumental color and texture. This is well-wrought, imaginative, and not easily classifiable music," asserted Robert Carl in Fanfare.

When I first approached Ms. Cox in the lobby, I was immediately struck by her warmth, and twinkling eyes!

To my ear, her music would lend itself well to the medium of film.

"Have you ever composed any scores for features," I quizzed.

The articulate soft-spoken woman was quick on-the-uptake.

"No. They tell me - "Opera" - but I would like to work in film."

Judging by the quality of the piece performed last night at the Herbst Theatre, I am predicting there will definitely be an assignment or two on the horizon for the talented artist, in that burgeoning musical market.

Donald Sosin's composition for the Harold Lloyd film score first took a bow in August (2010) after the culmination of a public performance at the Stephen Sondheim Center for the Performing Arts in Fairfield, Iowa.

The balance of the score was written at home in his studio.

"I sang ideas into my computer while driving and scribbled on scraps of paper, and gradually, the style and different themes of the score took shape."

The evening ended up being a tad synchronistic, too.

Before the concert on Saturday night, I took in an exhibition of a collection of art works by Miro, Chagall, and Alexander Calder at the Weinstein Gallery at Union Square.

Later, in the opulent environs of the Herbst Theatre, the in-house artist - Peggy Gyulia - noted that three paintings on display on stage were inspired by three of Stravinsky's contemporaries.

You've got it: Chagall, Miro, and Calder.

Uh-huh!

Shivers ran up and down my spine.

Once again, fate was whispering to me.

I was once-again on the path where the invisible hand of God was guiding me.

Amen!

Performances

*Members Reception
  (February 19th)
  St. Mark's Episcopal Church
  Palo Alto
*First Congressional Church
  (February 20th)
  Berkeley
*Empress Theatre
  (February 21st) 
  Vallejo

INFO:

WWW.SFCHAMBERORCHESTRA.COM
http://www.thetattler.biz



Scene from Harold Lloyd flick!

Composer Cindy Cox