Latest news with #ElviraMadigan
Sydney Morning Herald
28-06-2025
- Entertainment
- Sydney Morning Herald
Billboard blues: Now who's a clever cockie?
The RSL and Willoughby Council are being a bit precious in objecting to an advertising billboard near a Garden of Remembrance (' RSL 'powerless' to stop huge billboard near war memorial ', June 22). I think most of us are smart enough to work out that the two represent different issues and don't interfere with each other. The RSL might be better to contemplate its treatment of Indigenous and National Service ex-servicemen after World War II and Vietnam and advertise an apology. Ian Adair, Hunters Hill On my commute route, the vandal cockatoos are streets ahead when it comes to protesting against large advertising billboards. Gangs of them chew away at footbridge eyesores with wire-crunching beaks until they've rendered them unreadable. Go the cockies! Meredith Williams, Baulkham Hills When homeowners aren't free to paint their houses in the colours they like while garish hoardings pepper the bridges, public transport hubs and roads, all designed to be noticed and read, viz: cause drivers to be distracted, it's a bit rum. Andrew Cohen, Glebe Pioneering SBS television In 1980, I had been Director of the Sydney Film Festival for 14 years when I was approached by Bruce Gyngell, the first CEO of SBS television, which was due to be launched later that year (' SBS turns big five-O ', June 22). Bruce asked me to program the feature films for the new network – quite a task as it was planned to screen one every day. I agreed on two conditions: one, that the films be presented in the correct aspect ratio – 'letter-boxed' for wide screen films – and two, that no film be censored. I was in Europe when the network started to operate – the first film screened was Elvira Madigan from Sweden. When I returned, Bruce expressed satisfaction with my selections but asked me if I would introduce the 'movie of the week' in the style of Bill Collins, who was very popular on commercial television at the time. I had never appeared on television before – the first film I 'hosted', in January 1981, was The Lacemaker, in which Isabelle Huppert appeared in a nude scene, setting the tone for the 'sexy' movies that long, Cinema Classics was introduced, where I introduced seasons of films by great directors, like Akira Kurosawa and Francois Truffaut. My 'hostings' were produced by Margaret Pomeranz, and, during this period, we devised The Movie Show, which first went to air in 1986. Eighteen years later, a new management – with apparently no commitment to feature films – caused us to jump ship to the ABC where we presented At the Movies for ten years. David Stratton, Leura The Spit Spat Before the 2007 NSW State Election the then transport minister, Eric Roozendaal, promised to widen The Spit Bridge (' Work to start on road choke point in city's north ', June 22). However, six weeks after being returned to power, Labor premier Morris Iemma announced that the proposal had been scrapped. The promise to fix a section of Mona Vale Road with construction to start in 2028 will be welcomed by residents and motorists. However, for those who travel south to the city, The Spit will remain a bridge too far. Allan Gibson, Cherrybrook Call out for mental health I applaud the Herald' s view agitating for the restitution of mental health services gutted by the mass resignation of NSW public hospital psychiatrists (' Months later, still no solution for state's mental health crisis ', June 22). A patient's 'psychological well-being' is a vital organ that requires resuscitation to a healthier hue when our mindscape turns 'beyond blue', requiring an urgent complete in-person mental health specialist response. As a 30-year hospital doctor, I have no qualms about hefty call-ins and after-hours on-duty rates for complete access to the specialists that unclog blocked cerebral and coronary arteries in strokes and massive heart attacks. My long tenure has regrettably yet to witness that rare event of a specialist psychiatrist being made to be present on-site or being called in after hours. If you want a 25 per cent pay rise like the critical care specialists, you need to be always willing and able. Joseph Ting, Carina (Qld)
New York Times
15-05-2025
- Entertainment
- New York Times
‘The Kiss' Review: A Romance Without Love?
This movie begins as many conventional period romances set in Mitteleuropa do: at a formal event in the 1910s, as an ambitious young military man, Anton, asks a daughter of nobility, Edith, to dance. She is willing, but a complication becomes clear as she attempts to rise from her chair: She wears braces on her lower legs, which are paralyzed. She totters forward, and there is a fair amount of embarrassment to go around, but Anton, seeking through Edith a path to the favor of the nobility, is not deterred. 'The Kiss,' the latest picture from the prolific Danish director Bille August, is adapted from 'Beware of Pity,' the sole novel the Austrian writer Stefan Zweig published in his lifetime. Its narrative is persistently discomfiting, but August often tells it in a way that emphasizes the picturesque; if you weren't paying attention to the postures of its characters, you could possibly mistake it for something genuinely romantic like 'Elvira Madigan.' Anton is played by Esben Smed, who's clearly trying to tamp down his character's essential callowness, while Clara Rosager shows purposeful restraint in her work as the smitten and hopeful Edith. The picture moves at a stately pace that one supposes was considered period-appropriate but feels merely logy at times. August and his co-screenwriter, Greg Latter, juggle Zweig's chronology a bit and try to compound his ironies. Then they take a whack at ameliorating those ironies in the movie's coda, as if they themselves are taking pity on the viewer. As executed, it feels like waffling. This director's filmography has long been bumpy — he came out of the gate with 'Pelle the Conqueror,' which won the Palme d'Or at Cannes in 1988, took another Palme in 1992 with 'The Best Intentions' (working from a script by Ingmar Bergman), and took a notable wrong turn with 'Smilla's Sense of Snow' (1997). And despite the best efforts of the cast and technical crew here, 'The Kiss' winds up in the land of 'meh.'
