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New Indian Express
12-07-2025
- Entertainment
- New Indian Express
On Francis Ford Coppola's operas, chamber pieces and Trump's Godfather resemblances
Francis Ford Coppola. Music is integral to the Godfather director's films. Rarely ornamental, it sets the scene, drives and influences the narrative. The iconic use of music in the flawed and ultimately unsatisfying Apocalypse Now, especially The Door's The End synchronised to the sound of helicopter rotor blades and Wagner's Ride of the Valkyries during the helicopter assault scene, shapes the visual spectacle. But it goes deeper. Just like composers often work in different formats, Coppola created introspective chamber music pieces (The Conversation) or extroverted grand operas (The Godfather and Godfather Part II ). The Conversation, made in 1974, is ostensibly a thriller. Set almost entirely indoors in claustrophobic shots, the film has an oppressive atmosphere and relentless tension. The central character Harry Caul (played by the late Gene Hackman in one of his finest performances) is a surveillance expert for hire. It opens at San Francisco's Union Square when we follow a man (Frederick Forrest) and woman (Cindy Williams). We make out snippets of conversation, jazz and singing. What we are hearing is Caul and his associates' remote recording of a private conversation. The plot revolves around the tape which was commissioned by the Director (Robert Duvall) as evidence of what may be an incriminating liaison between the man and the woman who could possibly be his wife. The recording turns out to be a trap designed by someone, we are never clear whom, to lure the Director to a hotel room where he is to be assassinated. The Conversation revels in ambiguities. Caul, the consummate professional, finds himself tricked into revealing confidences by a competitor planting a cheap pen with a built-in listening device on him. He is successful but is a failure in his personal relationships and his employee (John Cazale). Intruding into other private lives, he has none of his own. It culminates in a memorable final scene. Caul suspects that he is now under surveillance, the person who bugged other people is now being listened to. He dismantles his entire apartment, including breaking apart a figurine of the Virgin Mary, to locate any concealed listening devices. The closing has Caul sitting in the wrecked premises playing his saxophone as the camera pans back and forth furtively The film was intended by Coppola as a showcase for the talents of Walter Murch, his brilliant long time sound and film editor. Fittingly, the audio elements, sometimes simple but at others multi layered, are central throughout. When Caul goes to see the Director who hired him and is met by the man's assistant (Harrison Ford), he refuses to hand the tapes over. Hurrying out of the office building, he notices that the man and woman he recorded work for the same company. At this point, the soundtrack becomes a melange of noises which is suddenly drowned out by the sounds of a tape recorder running dramatically transitioning to Caul listening to the recordings in an effort to establish its content. The Godfather and Godfather Part II, released in 1972 and 1974 but best thought of as one continuous film, operate on a grander scale. They are operatic melodramas carried by superb performances (Marlon Brando, Al Pacino, Robert de Niro, James Caan, Robert Duvall, Diane Keaton, Talia Shire, John Cazale and others) and the cinematography. As to the later, Gordon Willis crafted the first film in stately browns and church-like solemnity but in Part II alternated interior darkness with light filled outdoor scenes recreating Lake Tahoe, Havana and Sicily. Like all opera, the plot is trite although individual set pieces are often dazzling. There are unforgettable scenes in The Godfather – the opening at Sonny's wedding, the making of "an offer that you can't refuse" to a Hollywood producer, the various meetings of Mafia bosses, the shooting of Don Corleone, the revenge killing of the Mafioso and policeman protecting them and, of course, the climactic murders of other family bosses against the background of a church baptism. It ends with a long shot of Michael Corleone effortlessly taking over from his father. Godfather Part II is illuminated by the sequences of the young Don Corleone in New York, the Senate Investigation sequence, the attempted assassination of Michael Corleone and the prolonged shots of him alone in crushing solitude. Befitting its operatic framing, the films are ultimately tragedies concerned about human fallibility. It explores the characters' embrace of a pervasive evil, which is frequently justified as necessity. Michael Corleone is meant to be separate from the family's nefarious business but finds himself unable to escape it. There is the absence of opportunities for immigrants which encourages a life of crime. Both films are haunted by weakness, portrayed by Fredo's failures, and the long-suffering women excluded from the predominately male world. Nino Rota's music scores are powerful and nostalgic. Their repetitive themes, like the Godfather Waltz, accentuate the visuals beautifully. Ultimately, great films are universal. They resonate and inform different epochs. The Conversation and The Godfather films are especially relevant to our times. In The Conversation, Coppola shows a fascination with security technology and its use in the same way that Michelangelo Antonioni did in his 1966 film Blow Up. Today, far more pernicious camera and audio surveillance is found across many countries not just authoritarian states, as Edward Snowden's disclosures revealed. In the film, Coppola shies away from the obvious issues around spying on people, focusing on the ambiguity of the information and how we understand its relevance. The recording from the surveillance is never quite what it seems. It appears for much of the film to be sought for one purpose but plot twists undermine this rationale replacing it with a more complex and sinister reason. The emphasis, consistent with the work's intimate chamber piece quality, is on individual moral and ethical responsibilities. Caul's absorption with the technology is evident at the start of the film: "I don't care what they're talking about, all I want is a nice flat recording." This quest for technical excellence avoids confronting the real purpose of spying. His assistant dismisses the content as "what a stupid conversation!" When Caul finally deciphers the words, playing the recording over and over, a chilling phrase emerges: "He'd kill us if he got the chance." Caul's concern comes from Catholic guilt about an earlier job he carried out where the three subjects were later murdered. When the recording's import become clearer, he is too late to prevent events from taking their course. The Godfather films serve as an allegory for American capitalism providing an interesting metaphor for the current US President and his administration. The Corleone family believes in the Darwinian survival of the strongest and most adaptable to circumstances. There is an equation of crime and business. In The Godfather, the meeting between Don Corleone, his son and consigliori with Sollozo to discuss entering into drug trafficking resembles a corporate board meeting considering a new investment. There is a moment in The Godfather Part II, when Hyman Roth tells Michael Corleone that they are "bigger than US Steel". The corrupting effect of absolute power underscores the Godfather films. The Corleone and other families ruthlessly pursue and eliminate enemies, real and perceived. They dominate by violence and fear. They equate money and authority. Family values cover the brutal nihilism that lies at its core. Its principles, such as Omerta so central to the second film, are hollow. Given that there isn't much to redeem any character, the films are morally ambiguous in the same way as Bernardo Bertolucci's 1970 The Conformist. Director Nicholas Roeg complained that he found the Godfather films a "doom-laden, black nasty thing". Writing in the Financial Times, columnist Gideon Rachman openly compared President Trump's approach to politics and diplomacy to that of Don Corleone. Like a movie mob boss, President Trump alternates between menace and magnanimity. He employs fear and threats as a tactic for shaking down nations, businesses, educational institutions and legal firms. The language is telling. The President and Vice President have repeatedly stated that other nations, seen as competing crime families, have to show "respect". During the 2024 election campaign in remarks made at his golf course in Bedminster, New Jersey, President Trump specifically referred to the "Biden crime family". The relentless pursuit of opponents and the disregard for the rule of law parallel that of the Corleones. Erratic and escalating demand for payment in return for "protection", such as the mineral deal with Ukraine, is difficult to differentiate from blackmail. The President's son urged countries targeted with tariffs to quickly buy off his father, writing at @realDonaldTrump : "I wouldn't want to be the last country that tries to negotiate a trade deal … The first to negotiate will win — the last will absolutely lose." He added: "I have seen this movie my entire life." The similarity of President Trump and his entourage's approach to The Godfather is striking. The Conversation, the chamber music offering, and The Godfather and Godfather Part II, the operas, represent the highpoint of Francis Ford Coppola's films. As with any significant and enduring work, the line between life and art is never clear. Jointly published with Feuilleton is historically a part of an European newspaper or magazine devoted to material designed to entertain the general reader. Extraneus, in Latin 'an outsider', is a former financier and author. A reasonable club cricketer, he took up a career in money markets because he wasn't good enough to be a professional cricketer, needed to make a living and no one offered him a job as a cricket commentator or allowed him to pursue his other passions.
FACT
20-06-2025
- Entertainment
- FACT
Soul sensation Teddy Swims announces first-ever Dubai show
The global phenomenon will take to the stage in Dubai this autumn. Grammy-nominated singer Teddy Swims will perform live in Dubai on 22 November at Coca-Cola Arena as part of his I've Tried Everything But Therapy Tour. If you'd like to see the hitmaker, here's how to get hold of tickets. The multi-platinum star will be joined by his band, Freak Freely, performing fan favourites and genre-blending tracks like The Door' and Bad Dreams. He will also perform his record-breaking hit Lose Control, the longest-charting Billboard Hot 100 hit in history and the track that placed him in Spotify's Billions Club. His first two albums, I've Tried Everything But Therapy (Part 1) and I've Tried Everything But Therapy (Part 2), established him as one of the industry's most respected, soulful, and multi-talented artists. On 27 June, Swims will release I've Tried Everything But Therapy (Complete Edition), featuring his latest single God Went Crazy. He will also release recent collaborations with BigXthaPlug and Raiche – just one week before embarking on his international tour. The tour will span the United States, New Zealand, Australia, and the UAE. Swims said: 'Last time I came to the UAE, I had the best time – taking in the most beautiful views with the most beautiful people this Earth has to offer! I love you and I can't wait to get together and celebrate live music!' Thomas Ovesen, CEO of All Things Live Middle East, said: 'Teddy Swims is one of the most exciting voices in music today, and we're thrilled to be bringing him to Dubai for the very first time. His energy, soul, and connection with fans make his live shows unforgettable – and we're proud to give audiences here the chance to experience that magic at Coca-Cola Arena this November.' Standing ticketholders will have access to the official fan party and the chance to win signed merchandise. Pre-sale registration opens on Friday, 20 June at 8am, followed by a 24-hour pre-sale starting Monday, 23 June at 10am. Registration for the pre-sale is open now. General tickets go on sale on Tuesday, 24 June at 10am. GO: Visit for more information.
Time Out Dubai
20-06-2025
- Entertainment
- Time Out Dubai
Teddy Swims in Dubai: Ticket details, date and more
One of the biggest stars of the modern music scene is set to perform in Dubai for the first time later this year. Teddy Swims, a GRAMMY-nominated, multi-platinum global sensation, will take to the stage at the Coca-Cola Arena in November. With a versatile style and unique voice that blends R&B, soul, hip-hop, and contemporary pop, Teddy Swims is heading on an international tour that makes a one-night-only stop in the UAE. The show, presented by All Things Live Middle East and supported by Dubai Calendar, will be held on Saturday November 22. Tickets will go on general sale at 10am on Tuesday June 24, but fans can bag the best seat in the house 24 hours earlier in the pre-sale from 10am on Monday June 23. Expect hits like the longest-charting Hot 100 hit in history Lose Control as well as The Door, Bad Dreams and songs from his upcoming I've Tried Everything But Therapy (Complete Edition) album. Although it's Teddy Swims' first time performing in Dubai, he's no stranger to the UAE having previously performed at the 2024 Abu Dhabi Grand Prix Yasalam After-Race Concerts. In the capital, he shared billing with South Korean DJ Peggy Gou, but this time he'll headline in his own right. Speaking ahead of the announcement of his Dubai date on the I've Tried Everything But Therapy Tour, Teddy Swims shared his excitement at returning to the UAE. He said: 'Last time I came to the UAE, I had the funnest time – taking in the most beautiful views with the most beautiful people this Earth has to offer.' 'I love you and I can't wait to get together and celebrate live music.' Thomas Ovesen, CEO of All Things Live Middle East, described what fans can expect when Teddy Swims arrives in November. He said: 'Teddy Swims is one of the most exciting voices in music today, and we're thrilled to be bringing him to Dubai for the very first time. 'His energy, soul, and connection with fans make his live shows unforgettable – and we're proud to give audiences here the chance to experience that magic at Coca-Cola Arena this November.' Teddy Swims Dubai tickets Tickets for the show start from Dhs295, while regular standing is priced at Dhs455 and fan pit standing is Dhs695. And if you snag a standing ticket, then you stand a chance of winning some exclusive signed merch from Teddy Swims himself. There will be two signed posters up for grabs, while one lucky fan could even walk away with a signed guitar. These prizes are part of the official 'fan party' experience and are only available to fan pits and regular standing ticket holders. The exclusive pre-show celebration includes early entry to the venue along with live entertainment from local artists, happy hour offers on food and drinks, and early access to merchandise. Those with fan pit tickets will enjoy double entry into the prize draw and stand a greater chance of winning some exclusive merch. From Dhs295. Sat Nov 22. Coca-Cola Arena, City Walk. You might also like… All the best concerts and gigs coming to Dubai next month and beyond There's a show for every taste Heading to a big gig? Here's where to eat and drink near the Coca-Cola Arena Your ultimate concert guide Where to watch live music in Dubai Soak up some melodies in bars and clubs across the city
Arab News
13-06-2025
- Entertainment
- Arab News
Where We Are Going Today: ‘The Door' restaurant in Riyadh
The Door restaurant in Riyadh has a cozy atmosphere that enhances the overall dining experience for food lovers. We started with the lemon garlic pasta, which was bursting with flavor. A beef burger, topped with caramelized onion, was delicious, but the large serving may be too much for some. Fried cauliflower with sauce is also a standout dish. We also tried the duck pate, which was elegantly served on a wooden spoon, and garnished with pistachios and raspberry preserves — a true treat. Scallops and an accompanying sauce were also good, and the smoked baba ghanouj was particularly memorable. The glazed shrimp was soft and perfectly cooked, although some may find the sauce a bit overpowering. However, the mushroom steak that I ordered medium-well arrived well done, and the chicken skewers we tried were not very impressive. Pricing is reasonable. We spent only SR109 (roughly $29) for two. Service is excellent, with meals arriving within minutes, and the staff are friendly and attentive. The Door is a small venue with limited seating, so booking is essential. The casual and relaxed ambiance makes it an ideal spot to enjoy a good meal.
Hamilton Spectator
02-06-2025
- Entertainment
- Hamilton Spectator
Muskoka's most unlikely art canvas? Bear-proof garbage bins turned into fundraising masterpieces
Are Muskoka's bear-proof garbage bins doomed to stay rusty, green, and overlooked at the ends of driveways? Not if artist Kimberly Rideout has anything to say about it. She's transforming these everyday 'eyesores' into creative works of art — and using her talent to support a cause close to her heart. By creating custom artwork on bear bins and donating $100 from each commissioned piece, Rideout is raising funds for renovations at The Door Youth Centre in Huntsville , a place where teens find safety, connection, and community. 'My hope is to elevate philanthropy all around the community, in any way I can,' Rideout said. With a degree in art and art history from McMaster University, and more than 30 years of experience painting murals, she has contributed to many local causes. She's donated murals to Andy's House, the Pines Long-Term Care Home , and the Alzheimer Society Of Muskoka. When she learned about The Door's need for renovations, she knew she could offer help. 'It's a wonderful cause and it's a much-needed renovation,' Rideout said. Marcy Hill, the community director of The Door, explained the centre's mission: to provide all kids with a safe place where they can belong and feel welcomed. 'Marcy Hill is just a phenomenal catalyst for the youth in Huntsville, and she is honestly just so inspiring,' Rideout said. 'You can't be in her presence and not be compelled to do something to help.' Hill expressed her gratitude for donors and community participants like Rideout, whose contributions are essential to keeping the centre operational. 'Absolutely every donation counts,' Hill said. 'Every single cent … keeps our doors open.' The art commissions and donations are part of a broader effort to renovate and expand The Door's basement space. 'The amount of space we have in the basement would allow us to double what we do,' Hill said. 'We need to get this done.' Youth at The Door are becoming involved in the renovation processes, helping contractors and gaining valuable skills. The Door also engages kids in volunteer work to help them earn community service hours for school or restorative purposes. 'A lot of people have opinions about the kids,' Hill said. 'They see them out on the streets, but I keep saying to everyone, 'They're only out there because there's nowhere else to be.' You may see them under a bridge and hanging out by the river and up to no good because … they're teenagers. But give them a space — and they fill it.' This is exactly the purpose The Door serves. Up to 150 youth receive a free lunch at the centre every Wednesday and Friday. On Thursday and Friday nights, about 40 kids return for dinner, followed by social activities like playing pool and Just Dance sessions. It's a place where young people can connect and be themselves, Hill said. One of the challenges rural youth face is distance and transportation to extracurricular activities, sports, and social events. 'Our kids are getting stuck left in a basement on a video game, or are disconnected,' Hill said. In a world where so much communication happens online, Hill said many youth are missing out on real, face-to-face connection. At The Door, they have the chance to build genuine friendships, feel seen and heard, and know there's always someone they can turn to. If more serious challenges arise — mental health, addiction, or other issues — staff and volunteers are connected with local support services to guide youth to the right resources. Funding for The Door mainly comes from the community through monthly donations, one-time gifts, and fundraising events. The renovation project is estimated to cost $175,000, with just over $40,000 raised so far. To get involved or donate, contact Marcy Hill at 705-380-6015 . For bear bin art commissions, reach out to Kimberly Rideout at 647-898-9278 . Megan Hederson is a Local Journalism Initiative reporter covering Huntsville and Lake of Bays for . The Local Journalism Initiative is funded by the Government of Canada. Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .
