Latest news with #NotesonaScandal
Tom's Guide
22-07-2025
- Entertainment
- Tom's Guide
You won't believe the twists in this psychological thriller starring Cate Blanchett — and you can stream it now on Hulu
Last we saw Cate Blanchett onscreen, she was — spoiler alert! — popping up in a surprise cameo in the final episode of Netflix's "Squid Game," as a Los Angeles recruiter for an American version of the deadly games. It's just the latest role in the actor's incredibly varied and vibrant filmography, which has spanned spy thrillers ("Black Bag"), horror comedies ("Rumors") and psychological dramas ("Tár") in recent years. That surprise "Squid Game" appearance had us thinking about the Aussie star's previous roles, one of the most memorable being her turn as a tempted teacher in the 2006 Richard Eyre-directed "Notes on a Scandal." Blanchett's performance as a woman embroiled in a scandalous affair is tremendous, is made even better by scene mate Judi Dench's darkly brilliant turn as a lonely veteran educator who becomes besotted by Blanchett's character, until she uncovers the fellow teacher's illicit affair with an underage student. "Notes on a Scandal" is currently available to stream on Hulu — here's why you should add it to your watch list. Get both Disney Plus and Hulu in one bundle, one of the best streaming deals around. The arrival of willowy, charismatic new art teacher Sheba Hart (Cate Blanchett) ruffles more than a few feather brushes at St. George's comprehensive school in London — the statuesque blonde looks a whole lot like Cate Blanchett, so all the intrigue is certainly understandable. And one of her many secret admirers is veteran history teacher Barbara Covett (Judi Dench), who has grown bitter and lonely in her spinster existence. Barbara strikes up a friendship with Sheba and thrills over their close bond. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. That is, until she discovers that Sheba is having a secret affair with one of her teenage students (Andrew Simpson), despite him being very much underage and Sheba being married to the much older Richard (played by Bill Nighy). As Barbara becomes the keeper of Sheba's explosive secret, the relationship between the women turns dark and territorial. "Notes on a Scandal" is a true tour-de-force two-hander between two of the industry's finest and most skilled performers. Both Dench and Blanchett rightfully earned Oscar nominations for their performances (for Best Actress and Best Supporting Actress, respectively) in the thriller with Patrick Marber's sharply adapted screenplay and Philip Glass's original score also recognized by the Academy. With "unshowy authority," the filmmaker "gets the best out of Dench and Blanchett and, with great shrewdness, elicits from these two actors all the little tensions and exasperations — as well as the genuine tenderness — in their tragically fraught relationship," writes Peter Bradshaw for The Guardian. Richard Eye's film feels like a pulpy throwback to the kind of smart erotic thrillers that dominated the 1990s. "Sexy, aspirational and post-politically correct, 'Notes on a Scandal' could turn out to be the 'Fatal Attraction' of the noughties," Carina Chocano surmised for the Los Angeles Times. And for The Times, James Christopher sums up the darkly delicious "Notes on a Scandal" most simply, calling it "a potent and evil pleasure". Watch "Notes on a Scandal" on Hulu now
Hindustan Times
05-07-2025
- Hindustan Times
Review: Society Girl by Saba Imtiaz and Tooba Masood-Khan
In October 1970, Mustafa Zaidi, a high-ranking former bureaucrat and famous poet was found dead in his bedroom in Karachi. Shahnaz Gul, a beautiful young socialite lay unconscious on the floor. She was 26, he had been 40. Both were married with two children each, and had been having a very public affair. Scene of the crime: Karachi. Pakistan in the 1970s. (Marka/Universal Images Group via) At the time, Karachi was an exuberant city with a thriving nightlife, 'a bevy of eligible men, and more glamourous women than anyone could count.' Socialites dressed in sarees with short sleeveless blouses. There were parties, nightclubs hosting belly dancers and cabarets, and a whole lot of drinking. The Zaidi-Gul scandal shocked Pakistani society. It revealed the uninhibited excesses and the sordid underbelly of Karachi elite culture. 352pp, ₹595; Roli Books Zaidi had been 'an enforcer of the country's power structures' at a time when the 'Pakistani civil services were people who would not kowtow to politicians.' He was friends with the greatest Urdu poets of the time: Faiz Ahmad Faiz, Josh Malihabadi, Naseer Turabi. He had also published six collections of poetry (some of his most iconic poems were quite brazenly about Gul). Ordinary people could recite his verses from memory. Gul, with 'alabaster-like skin, perfect features, wavy hair,' was 'a woman whose beauty was so legendary that even 50 years after they had seen her, men could describe her skin, the way she blushed, the contours of her body...' The press couldn't get enough of the case. Reporters camped outside Gul's house following her and her husband's every move. Mainstream newspapers wrote about Zaidi and Gul's 'love sessions,' his stamina in bed, 'sex instruments' found in his so scandalous that 'newspapers were banned from the houses of 'respectable' families.' Meanwhile, Pakistan was imploding. The Zaidi-Gul story 'withstood war, the breakup of Pakistan, and a regime change,' write Pakistani journalists Saba Imtiaz and Tooba Masood-Khan in their meticulously researched, politically astute and very, very juicy book Society Girl: A Tale of Sex, Lies and Scandal, based on their popular 2022 podcast Notes on a Scandal. The scandal is so sensational, it wouldn't have needed much of a storyteller to tell it well. Imtiaz and Masood-Khan have built the narrative adeptly with thoroughness and sensitivity — and suspense. Intrigue starts from the epigraph, which consists of an impassioned, kind of feverish, verse from one of Zaidi's poems ('Countless were saved by the raging waves / But I, drowned by a longing met / Tell me. Do you see my blood on anyone? / The entire city has washed itself clean') followed by a stark statement from Gul during her trial in court in the case: My behaviour towards the deceased was never warm hence there was no question of it becoming cold. Throughout the book, this mind-boggling case is pieced together by juxtaposing the differing often outlandish accounts from newspaper archives, police and forensic reports, court documents, fresh interviews with people who remember. Small details are big hooks — and all of it is analysed. They go back to the roots of the story, the characters, Pakistan, and the changing times. They make sense of Zaidi's mental and emotional fragility as well as his history of obsessive love by looking at his unwilling move to Pakistan a few years after Partition. In Allahabad, Zaidi had been a rising poet, known as Tegh Allahabadi (his first collection of poetry was prefaced by Firaq Gorakhpuri). He was also madly in love with a girl on campus — Saroj Bala Saran, a great beauty, who would go on to become a judge at the Allahabad High Court. After he attempted suicide (for the second time), his brother took him to Lahore where Zaidi spent years mooning over Saran. How much did Partition and the involuntary move to Pakistan impact him? Zaidi, so vividly remembered in memory and the public domain, jumps off the page in colour. The darker his actions, the more complex and sympathetic a figure he becomes. 'Every year on Mustafa's death anniversary, the same images do the rounds... People forward long posts on Facebook, offering the same narrative, adding in new, unverifiable, fantastical details each time,' He's still remembered as a hero — the love struck troubled poet and altogether brilliant man, while 'Shahnaz has now been reduced to a stereotype of a femme fatale, and no one has ever attempted to show her treatment at the hands of the press and the state.' This is a modern retelling and the idea is to vindicate Gul, or at least present her side of the story. She's on the cover but is harder to profile. Much of her life is conjecture, she was remembered differently by different people, so Imtiaz and Masood-Khan show the many possibilities of who she was — and focus on what happened to her, what she had to endure, how she was seen, how she was spoken about. Co-author Saba Imtiaz (Courtesy Roli Books) After Zaidi's death, his demise, the affair, the evils of Karachi high society, even some kind of international smuggling ring was pinned on her. She was accused of tipping him over, for using and discarding him, of murder. Revenge porn was found in his house, but it only became more fodder to further shame Gul. The hundreds of copies of a vicious and sleazy pamphlet, with topless photos of Gul, calling her the 'Christine Keeler of Karachi' — a reference to the 1963 Profumo scandal in UK, which brought down the government when it was discovered that Christine Keeler, a young woman who had an affair with John Profumo, the British war secretary, was also involved with a Russian official — led the crime branch to investigate angles of 'smuggling, spying and sex.' Imtiaz's 2014 novel, Karachi, You're Killing Me!, a crime-comedy about a young reporter in Karachi looking for love, was adapted into the Sonakshi Sinha starrer Noor (2017) set in Mumbai. Society Girl is a naturally, gloriously cinematic book — true crime, love, obsession, sex, a period drama set in the lives of the rich and the beautiful. It also has an eerie resemblance to the Sushant Singh Rajput suicide case, the blaming, shaming and arrest of his girlfriend Rhea Chakraborty and the nasty press coverage all while the pandemic enveloped the country and migrants walked hundreds of kilometers back home during lockdown. Society Girl shows how the Zaidi-Gul case underscored the chasm between East and West Pakistan. It may even have contributed as one of the final nails in the coffin of the relationship between the two parts of the country — it was a way to distract people from the political crisis unfolding. Imtiaz and Masood-Khan zoom out of the case to show the panorama of Pakistani polity and society in which it unfolded. Co-author Tooba Masood-Khan (Courtesy Roli Books) When Zaidi and Gul met in 1969, they write, Pakistan was on the cusp of change, revolution was in the air, and there was a sense of hope amongst its people. Anti-regime protests had brought down the decade-long regime of Ayub Khan. He was replaced by Yahya Khan — but it looked like military dictatorship was going to end, and the country was going to emerge as a democracy. Pakistan was going into its first election based on universal adult franchise. The charismatic Zulfikar Ali Bhutto had formed a new political party. Sheikh Mujibur Rahman had emerged as a public hero in East Pakistan where also gaining momentum was the vision for a classless state and autonomy from the ruling elite of West Pakistan. Over a week after Gul's arrest, the deadly Cyclone Bhola hit the islands on the coastline of East Pakistan, killing more than 200,000 people. West Pakistan's media covered it as a minor event while devoting reams of newsprint to Zaidi-Gul — the book quotes a politician who then said, 'that the newspapers of West Pakistan were too busy in getting Shahnaz Gul's measurements – they didn't have a lot of space for East Pakistan.' Later, as the country went into the landmark election, the press continued to find ingenuous ways to keep the case coverage on its front pages — reporting that Gul ate home made food for the first time on the day and that she did not cast her vote on jail. While campaigning, Bhutto had even used the narrative linking Gul with the excesses of Pakistani leadership (especially Yahya Khan) and declared that he would not allow Gul to leave the country and, to a cheering crowd in election rally, that he would punish her for her crimes. That year, as Karachi prepared for New Year's eve, the wild most important night in the high society calendar, , Imtiaz and Masood-Khan write, 'It would perhaps be the last New Year's that Karachi spent so hedonistically. In later years, New Year's would bring bad news — war, the independence of Bangladesh and the breakup of Pakistan, the news that tens of thousands of soldiers were prisoners-of-war in India, the fact that the state had taken over several key industries in a campaign of nationalization, sounding a death knell to the wealth and prestige of many of the country's richest families. The nightlife, too, would eventually die out when Bhutto barred the sale of alcohol to Muslims. Soon, all that would be left of the elite's glory days would be their memories and legacy Sind Club memberships. But that night, as the drinks flowed, no one could imagine the nightmare on the horizon.' Saudamini Jain is an independent journalist. She lives in New Delhi.
BBC News
15-04-2025
- Entertainment
- BBC News
The stars who turned their back on Hollywood (and some who returned)
Actress Cate Blanchett has said she wants to quit acting to do other things, joining a long line of big Hollywood stars who gave up the red carpets for a different 55-year-old is seen as one of the most talented and bankable actresses in film, but she has indicated several times in recent years that she's keen to break away from the big screen."My family roll their eyes every time I say it, but I mean it. I am serious about giving up acting," she told the Radio Times in a new interview. "[There are] a lot of things I want to do with my life."Speaking about her experience of being a celebrity she added: "When you go on a talk show, or even here now, and then you see soundbites of things you've said, pulled out and italicised, they sound really loud. I'm not that person."I make more sense in motion - it's been a long time to remotely get comfortable with the idea of being photographed."Her remarks echoed comments she made to BBC Radio 4's This Natural Life last year, when she said she "absolutely loved" acting, but also said it would be "brilliant" to give it up and spoke about her passion for nature and is best known for appearing in films such as Tár, Notes on a Scandal and Elizabeth: The Golden Age, and won Oscars for her performances in Blue Jasmine and The wouldn't be the first successful actor to switch careers slightly later in life. Here are 10 other actors who retired from acting (including a few who came back): 1. Cameron Diaz The US actress was one of Hollywood's biggest stars in the 90s and 00s, having made her debut at the age of 21 opposite Jim Carey in The Mask more than 30 years finding fame for her goofy performances in romcoms such as My Best Friend's wedding, and comedies including There's Something About Mary, Diaz went on to prove her dramatic acting chops in movies like Being John Malkovich and Martin Scorsese's Gangs of New she took a hiatus from Hollywood following her turn as Ms Hannigan in 2014's remake of the musical Annie, confirming her "retirement" in 2018. "I was free to be [like] 'I'm a mum, I'm a wife, I'm living my life' - it was so lovely."She said the decade she spent in retirement from acting was "the best 10 years" of her life. But she was eventually persuaded to return to screens earlier this year for spy thriller Back in Action with actor Jamie Foxx. 2. Daniel Day-Lewis The Oscar-winning star, considered one of his generation's finest actors, apparently retired in 2017, but it wasn't the first time he had stepped away from the who holds both British and Irish citizenship, has won an incredible three best actor Academy Awards for roles in My Left Foot, There Will Be Blood and for leaving long stretches between roles, in the 1990s Day-Lewis went into what he called "semi-retirement" and became a shoemaker's apprentice in Florence, was coaxed back to acting by Martin Scorsese and his offer of the role in Gangs of New York.A statement issued through the star's agent in 2017, when he was aged 60, said he "will no longer be working as an actor".Again, however, that proved not to be permanent. Day-Lewis is soon to star in Anemone, the debut feature film from his son Ronan Day-Lewis. Daniel and Ronan co-wrote the script which "explores the intricate relationships between fathers, sons and brothers, and the dynamics of familial bonds".Whether it's a one-off due to the family connection or the start of a big return to film remains to be seen. 3. Jack Nicholson Nicholson is one of only three actors (including Day-Lewis, above) to have won three Academy Awards for acting. Two of Nicholson's were for best actor (One Flew Over the Cuckoo's Nest and As Good As It Gets) and another for best supporting actor (Terms of Endearment).The legendary star's other famous roles include Easy Rider, The Shining, The Departed, A Few Good Men, Batman and The he's never formally announced he is quitting or retiring, he previously said his retreat from the spotlight was brought on by a desire to not "be out there anymore".His last film role was in 2010 romcom How Do You just last week, that film's director James L Brooks told Hollywood Reporter: "I wouldn't be surprised to see Jack work again. I mean, it's been a hunk of time but I don't know. Maybe it could be the right thing. He's reading scripts all the time, I think." 4. Greta Garbo Legendary Swedish screen siren Greta Garbo declared in 1941 at the ripe old age of 36 that she would be taking a "temporary" retirement. It proved to be permanent. The Camille and Queen Christina star never appeared on film the reluctant celebrity, the reclusive actress never played the Hollywood game, refusing interviews and avoiding film premieres and other public enigmatic star, whose famous line "I want to be alone" from Grand Hotel mirrored her desire in real life as well as on screen, only succeeded in increasing her mystique by stepping away from the of the few silent movie stars to transition successfully to the "talkies", Garbo moved away from Hollywood to New York, where she lived until her death in 1990 at the age of 84. 5. Sean Connery Synonymous with James Bond, the late Scottish star first found fame through modelling and body-building before landing a few small theatre and TV made his film debut in No Road Back in 1957, but playing Secret Service agent 007 in Dr No a few years later gave him his big breakthrough. He went on to star in five further Bond movies including From Russia with Love and appeared in numerous other films over his long career, including Alfred Hitchcock's Marnie, The Man Who Would Be King opposite Sir Michael Caine, The Untouchables (for which he won an Oscar) and The Hunt for Red October. But he would forever be wedded to 007. In 2005, however, he said he was "fed up with the idiots" adding there was an "ever-widening gap between people who know how to make movies and the people who greenlight the movies."That declaration came a couple of years after he starred in The League of Extraordinary Gentlemen, which many concluded was one of the main reasons for his poorly received comic book caper was to be his final screen appearance. 6. Rick Moranis Kids of the 80s and 90s: You know. This guy was a huge star back in the day, the comedy backbone of popular films such as Ghostbusters, Honey I Shrunk The Kids and the musical Little Shop of Horrors (Suddenly, Seymour anyone?).But then he just seemed to disappear off the face of the earth. So what happened?He began to cut back on work after his wife died of cancer in 1991 to concentrate on raising his children, with his final big screen outing being the 1997 sequel Honey, We Shrunk Ourselves."I'm a single parent, and I just found that it was too difficult to manage raising my kids and doing the travelling involved in making movies," he told USA Today in 2005."So I took a little bit of a break. And the little bit of a break turned into a longer break, and then I found that I really didn't miss it."He did continue to do voiceover work, however, and Moranis was set to make a comeback in a Honey I Shrunk the Kids reboot, which sadly fell through. 7. Gene Hackman We sadly lost this acting legend earlier this year, along with his second wife Betsy Arakawa, but the star hadn't been seen on screen for years after retiring from the profession on the advice of his heart doctor - opting for a quiet life in New Mexico. Hackman shot to fame in Bonnie and Clyde at the end of the 60s and was rarely out of work - in films like The French Connection, Mississippi Burning and chose to bow out from acting in the political satire Welcome to Mooseport in his decision, he told Reuters that he didn't want to risk going out on a sour note."The business for me is very stressful. The compromises that you have to make in films are just part of the beast," he said, "and it had gotten to a point where I just didn't feel like I wanted to do it any more." 8. Bridget Fonda Fonda, from the famous family dynasty, is another star who quit at the height of her fame. Starring in 80s and 90s hits such as Scandal (about the Profumo Affair), Cameron Crowe's Singles, The Godfather Part III and Single White Female (everyone wanted to copy that elfin crop, not just Jennifer Jason Leigh). And then... never formally retired, she just seemed to retreat. Her last big screen appearance was in The Whole Shebang in asked in 2023 by a reporter if she would return to acting at some point, she replied: "I don't think so, it's too nice being a civilian." Fair enough!Fonda's aunt Jane also quit acting in 1990 for several years, explaining later in Vogue that "she wasn't having fun anymore". But she later came out of retirement for the romcom movie Monster-in-Law. "It was just a gut feeling of, Why the hell not? It'd been 15 years, and I wanted to act again." 9. Shelley Duvall Another star we sadly lost in the last year, Shelley Duval was best known for her roles in film like The Shining, Annie Hall and step back from the spotlight wasn't just her choice. Movie roles began to drop off in the 90s and then she decided to move back to Texas after her brother was diagnosed with cancer.A year before her death, she told People magazine: "It's the longest sabbatical I ever took but it was for really important reasons - to get in touch with my family again."Duvall did return to acting in horror movie, 2023's The Forest Hills. "Acting again - it's so much fun. It enriches your life," she told People."[Jessica Tandy] won an Oscar when she was 80. I can still win," she joked. Sadly, she didn't get the chance. 10. Ke Huy Quan Who could forget 2024 award season's most charming star, Oscar winner and Everything, Everywhere All At Once actor Ke Huy Quan?He first found fame as a child actor in the 80s when he landed the role of Short Round in Steven Spielberg's Indiana Jones and The Temple of Doom, before taking another starring role in childhood adventure hit The Goonies. A couple of TV roles followed but then the work largely dried up, and he settled for working behind the scenes as a stunt co-ordinator and assistant director."It's always difficult to make the transition from a child actor to an adult actor," he told the Telegraph. "But when you're Asian, then it's 100 times more difficult."He reluctantly gave up - only due to lack of opportunity - and it took years before he took a punt on inventive, off-the wall movie Everything, Everywhere, All At Once, where his role as Waymond Wang won him an Oscar and made him a Hollywood darling once reporting by Steven McIntosh
Telegraph
14-02-2025
- Entertainment
- Telegraph
I admire Philip Glass, but sometimes I detest his music
Philip Glass is one of a small handful of living composers who you would call a household name. He's so well-known that he can be satirised on The Simpsons and Family Guy. Glass has collaborated with everyone, from David Bowie to Ravi Shankar and Doris Lessing, he's composed well-known film scores, including The Hours and Notes on a Scandal, and his more than 30 operas have made him visible in a way that mere concert composers can never achieve. Yet he is also hated – at least by hard-line classical music lovers. For them being an enthusiast for Glass isn't like preferring Hollywood rom-coms to Swedish profundity. It's not a lapse of taste; it's simply incomprehensible. Those interminable arpeggios and scales and limp melodies aren't just vacuous, they're strangely inept. They ape the gestures of well-known classical composers but without any understanding of the grammar that underlies them. In that sense, Glass is actually worse than Ludovico Einaudi, another composer many classical devotees love to hate. Einaudi's music is merely empty, whereas Glass's seems actually wrong. And what makes it worse is that that wrongness is everywhere. Glass's repetitions, ponderous and manically excited by turns, have become the lingua franca of film music and TV commercial sound-tracks. Much of the time I agree with the Glass-haters. Sitting through his interminable 5 th Symphony was probably the worst concert experience of my life. The first time I heard the tremulous, orange-on-pink sound of Glass's own ensemble playing his Music in Twelve Parts I felt it would take the enamel off my teeth. And yet the strange thing is that, at the very moment I was wincing at that sound, something else kept me listening. Yes, there were moments in the following three hours when I wanted to scream. But there was also an ecstatic, otherworldly, innocent quality which I have found nowhere else – except perhaps in the music of that other 'father of minimalism' Steve Reich. I must admit to a personal bias here. I can't claim to know Glass, now 80, but have interviewed him several times and found him both likeable and admirable. There's none of that prickliness that often clings to creative people who had to endure ridicule and poverty for years, as Glass certainly did. He had to work more-or-less full time for 24 years at various 'blue-collar' jobs – steel-worker, plumber, taxi-driver – before he could live off his earnings as a musician. But as Glass says in his memoirs, he was too curious about life to resent this as 'wasted time'. On the contrary, he seems to have relished working as a plumber, and devotes pages to explaining exactly how you make an S-bend. He just loves discovering how things work, and there's a similar wide-eyed curiosity – but in reverse – in his composing method, particularly in his early hard-line minimalist period of the late 1960s and 1970s. Often he seems to be asking himself: what will happen if I set up this pattern and change it in this particular way? Pieces like Music with Changing Parts and that immense Music in Twelve Parts, and even Glass's first opera Einstein on the Beach are like burnished interlocking mechanisms, with all the parts fitting together perfectly and humming away in obedience to some arithmetical process of addition or subtraction. I don't think Glass would be offended if I describe them as a sort of musical plumbing. Naïve openness and 'wonder at the world' are at the root of his creative persona, as they are for many contemporary composers who've reinvented the musical language. Another example is Harrison Birtwistle, who like Glass stripped music down to its essentials – a note, an interval, a rhythm – before subjecting them to an ordering logic. In both composers these simple things were completely stripped of music's history. But unlike Birtwistle, Glass deliberately re-engaged with history from the mid-1970s onwards. Despite his enthusiasm for post-bebop jazz and Indian music, what he really wants is a lived connection to classical music's past. As he put it in his memoirs, 'lineage is everything'. And so instead of abstract patterns varied by adding one beat here, or subtracting one there, we find in his later music patterns that now bear familiar names: arpeggio, scale, sequences, all joined together with familiar tonal harmonies. And yet – to repeat – these things are fashioned and joined together in ways that seem methodical yet perverse, as if a computer had been maliciously programmed to write tonal music using the wrong rules. The miracle is that sometimes that apparently mechanical churning yields something that seems actually inspired. I have room to mention only a few examples. There's a mood of stately gravity Glass often strikes, which can be ponderous but in the first movement of the 3 rd Symphony is actually moving. There's a delightful rapturous innocence in the opening movement of Passages, the orchestral work he co-composed with the great sitarist who taught him so much, Ravi Shankar. There are entrancing things in the scores he composed for three films by Jean Cocteau. The La Belle et la Bête overture has a haunting anxiety, combined with disconcerting glittery harmonies. Often Glass's orchestral palette is dull but in Le Domaine de la Bête from the same film he summons extraordinary colours. If I had to name just one piece of Glass to take to a desert island, it would be the Vow scene from the 1980 opera Satyagraha, inspired by the life of Mahatma Gandhi. The same irresistibly striding bass, festooned with those orange-and-pink arpeggios is repeated over and over, each time accreting more choral voices. One feels that familiar disbelief—surely he isn't going to repeat that pattern again?—but eventually a magnificence emerges. So am I among the Glass-haters? I would say 'Yes, but'. I've learned that each new piece might just have something extraordinary, where the wonkiness becomes inspired and moving. And the best of the early pieces have a manic energy that can induce an ecstatic feeling of leaving one's body. Voltaire once described the good bits in Shakespeare as 'pearls hidden in a dung-heap'; much the same could be said of Philip Glass.
