The original BEDAZZLED (1967) stars Dudley Moore as a short-order cook desperately in love with waitress Eleanor Bron to the point he sells his soul to Satan (Peter Cook, Moore’s colleague in Beyond the Fringe) in return for seven wishes he can use to make her his. Moore’s Stanley makes a much better schlub than Brendan Fraser in the remake, and Peter Cook’s Satan is just awesome — no Miltonian grandeur here, as he himself admits his role in God’s design forces him to engage in petty, spiteful stunts, and he’s blithely willing to stab Stanley in the back. I also like that Bron is quite average-looking, which it makes it feel more like love than just looks. Then again, Stanley’s comfortable with having his dream girl mindwiped and personality changed with the multiple wishes, which is creepier than I found it first run; there’s also an amazingly gratuitous rape joke mid movie. I still like the film a lot, but YMMV. “What rotten sins I’ve got working for me — I suppose it’s the wages.”
Reading David Cannadine’s Ornamentalism prompted me to watch ISLAND IN THE SUN (1957) in which the island colony’s British administrators and white planter ruling class struggle to adapt to a black majority that wants a seat at the table (it’s interesting that even with the Empire in decline, the issue is representation in the island parliament rather than independence). The politics, however, takes a back seat to the colorful Caribbean settings and the soap opera plots, most of which involve race mingling: Can salesclerk Dorothy Dandridge and a white author forge a lasting love? Will black activist Harry Belafonte succumb to wealthy Joan Fontaine? Can planter’s kids Joan Collins and James Mason deal with learning they’re Tragic Mulattoes? I have an odd fondness for this kind of 1950s soaper, but I wouldn’t say it was any good — and I could have done without Mason’s casual spousal rape (which is promptly forgotten about as it’s no big deal). Michael Rennie plays a womanizing veteran. “Have you ever heard of a book called Crime and Punishment?”
I didn’t realize MANIFEST wrapped up its season with sixteen episodes or I’d have reviewed it sooner. The premise is that Flight 828 disappeared five years ago, then miraculously showed up, with no awareness of the time gap. What happened? What are the mysterious “callings” guiding them to help others? Can they pick up their lives when everyone they knew has moved on? And what is the government’s interest in 828?
This works best dealing with the personal drama (the cast is good) and the mystery, less well on the government conspiracy and not at all on the crazy “Xers” who want to kill them all as muties or witches or something. While the payoff may not be worth it, I do hope the show returns. “Right, why wouldn’t I look for them using a crayon drawing?”
Playmakers Theatre did a spectacular job staging Bertold Brecht’s LIFE OF GALILEO and the cast was certainly solid. Unfortunately the play has nothing to say about freedom of thought or Religion vs. Reason that I haven’t heard a hundred times before, and I know how Galileo’s struggle with the church turns out so this really did nothing for us. “To hell with the pearl — I want a healthy oyster!”
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