Note: The Human Stain contains a significant secret about one of the characters. This review discusses it. There s no way we can contain the secret, and we re not even trying to, the film s producer, Tom Rosenberg, told me at the Toronto Film Festival. It s out there already with the Philip Roth novel. And this isn t a movie like The Crying Game, which is really about its secret. That s because the secret belongs to the character, not the movie. It is one he has lived with all of his adult life. Coleman Silk is a professor of classics at a university whose stature he has enhanced. One day he notes that two students have not attended class. What are they, spooks? he asks his students. Because they are African Americans, his wisecrack is interpreted as a racist remark, and he is called before a faculty tribunal. Rather than defend himself, he resigns in a rage. His rage is fueled by his secret: He is an African American himself.
Pouvoirs du roman
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Unexpectedly spotting a place you know and love on screen is one of life s little pleasures. And living in Melbourne – or, indeed, Victoria – you get to experience it surprisingly often.
For 35 years a little cul-de-sac in Vermont South has been beamed into living rooms around the world (Pin Oak Court doubling as Ramsay Street in
Neighbours). But it s not just Melbourne playing Melbourne: as fans of the Nicolas Cage movies
Ghost Rider and
Hunters,
The Leftovers and
Preacher can attest, our city, and indeed our state, does a pretty fine job of pretending to be somewhere else too.
For the Nicolas Cage film Knowing, parts of central Melbourne become a disaster zone.
Last modified on Sun 13 Dec 2020 09.31 EST
An anxious university student meets her professor about her grades. It takes place in his room and ends up in a college complaint for his allegedly inappropriate behaviour. He believes he has done no wrong. She feels violated and seeks redress.
David Mametâs combative two-hander might have reflected the issues and anxieties of the day at its premiere in 1992, but it is startling to see this revival following Harvey Weinsteinâs watershed rape conviction. Could Mamet have written a #MeToo play long before #MeToo became a movement?
Not quite, though this brutal and brilliant production, directed by Lucy Bailey, gains new resonance in the light of all that has come to pass and perhaps says things now that Mamet did not mean it to say. There have been many recent powerful stories about sexual abuse and consent, from Cat Person to I May Destroy You. Maybe it is within the framework of these dramas that we hear current issues buzzing b