Spoilers herein.
Regular readers of my comments will know how rare it is that care about an actor, but how redheads have been used fascinates me. And Alicia Witt so captured "Dune" and "Leibestraum" that I had to sit up and remark out loud to strangers.
So I have been interested in her work. Some of it has been just showing up, some has actually used her as an icon because of Dune.
This (and arguably "Mona Lisa") is the only place she has been called upon to act. She shows the degree of commitment and controlled abandon that marks the great ones. I was impressed with what she did here. She must have really given some bad readings to have not gotten parts after this. Or possibly there is another reason.
At any rate, this is good. The story is structured in a clever way as well, though not particularly novel. We have a (magazine) documentary embedded in a (film) documentary. The "reality" is in flashback, and the intelligent core of the predecessor play deals with constructed reality. The director is lost. He doesn't quite know how to create and exploit the nesting of stories. And he lets Alicia get away with too much jumping and not enough internal focus. The game-parlor collage is trite.
Ted's Evaluation -- 2 of 4: Has some interesting elements.
Regular readers of my comments will know how rare it is that care about an actor, but how redheads have been used fascinates me. And Alicia Witt so captured "Dune" and "Leibestraum" that I had to sit up and remark out loud to strangers.
So I have been interested in her work. Some of it has been just showing up, some has actually used her as an icon because of Dune.
This (and arguably "Mona Lisa") is the only place she has been called upon to act. She shows the degree of commitment and controlled abandon that marks the great ones. I was impressed with what she did here. She must have really given some bad readings to have not gotten parts after this. Or possibly there is another reason.
At any rate, this is good. The story is structured in a clever way as well, though not particularly novel. We have a (magazine) documentary embedded in a (film) documentary. The "reality" is in flashback, and the intelligent core of the predecessor play deals with constructed reality. The director is lost. He doesn't quite know how to create and exploit the nesting of stories. And he lets Alicia get away with too much jumping and not enough internal focus. The game-parlor collage is trite.
Ted's Evaluation -- 2 of 4: Has some interesting elements.