Martin McDonagh’s Three Billboards Outside Ebbing, Missouri proves just a little too problematic, despite Frances McDormand’s excellent work
“All this anger, man, it just begets greater anger”
The backlash against Three Billboards Outside Ebbing, Missouri doesn’t seem to have got in the way of its award-winning chances. But upon watching it for myself and enjoying it for the most part, equally I couldn’t escape the sense of how problematic it is in the way in tackles – or rather doesn’t tackle – class and race in the rural US.
For every statement from Martin McDonagh about the ‘deliberately messy and difficult’ nature of his film, there’s a refusal to explore the real ramifications of the behaviour contained therein, particularly the racist criminality of cop Dixon who is never really called to account for what he does. And in today’s world, in today’s America, that really isn’t good enough. Continue reading “Oscar Week Film Review: Three Billboards Outside Ebbing, Missouri”
“Actors can never get enough love”
The Landor Theatre in Clapham scored a major success with the Ahrens and Flaherty musical Ragtime last year and subsequently have begun to explore some of the lesser performed shows from their repertoire. February saw their first piece Lucky Stiff getting an airing and now it is the turn of their most recent collaboration from 2007, The Glorious Ones, in its European premiere.
We follow a theatre group in Renaissance Italy as they ply their trade in commedia dell’Arte, enacting their ‘improvised’ scenes with their stock characters – from whom they are not so distinct any more – and so through these, we find out about their loves and lives as actors on the road. Flaminio Scala founded the troupe and is a master at the broad, bawdy comedy, but finds that tastes are changing as its crudeness is eschewed for a turn towards scripted theatre and younger players challenge his leading man status and struggles to deal with the change. Continue reading “Review: The Glorious Ones, Landor”