Ever feel out of step, critic-wise? How frequently have you seen an acclaimed movie or play that makes you regret the time lost as you suffered through it? And what about that film the critics universally slammed which has you talking about for days?
Yeah, me too. The most recent works at issue? “Il Trovatore,” the first Metropolitan Opera “Live in HD” telecast of the season, and the movie “Freeheld,” starring Julianne Moore and Ellen Page. The New York Times loved the first and hated the second; I, on the other hand, was disappointed at a certain level by the former but found a great deal to admire in the latter despite its flaws.
“Il Trovatore” starred Anna Netrebko, Yonghoon Lee, Dolora Zajick and, in his triumphal return in the midst of treatment for a brain tumor, Dmitri Hvorostovsky. Vocal riches galore to be sure, and especially amazing since Mr. Hvorostovsky never sounded better as Count di Luna, or in any other role for that matter. But here’s the thing: I’ll sometimes take fewer vocal fireworks if a singer can really act the role. I don’t wish to sound ungrateful, but there’s more to “Il Trovatore” than its voices, despite Enrico Caruso’s oft-quoted view that all you need for a successful performance is the four greatest singers in the world. Actually that should be five anyway, because without a dynamic bass as Ferrando, the opera stalls getting off the blocks (Štefan Kocán, who also plays the amusingly sinister Sparafucile in the company’s production of “Rigoletto,” filled the bill quite nicely).
The Marx Brothers’ shenanigans in “A Night at the Opera” notwithstanding (and for years after seeing it I couldn’t hear any phrase from “Il Trovatore” without bursting into uncontrollable laughter), there’s a lot of great drama to be mined here. Yes, the plot is famously absurd and there’s more action taking place off-stage than on, but performers committed to acting the roles as well singing them will make all the difference. The last time I saw “Il Trovatore” at the Met, Patricia Racette was an incredibly nuanced, vulnerable Leonora. Although the role was not a great fit for her in vocal terms, I couldn’t have asked for a better dramatic performance. In the HD telecast only Yonghoon Lee’s “Ah, sì ben mio” rose to that level of sensitivity. This was a rare event indeed—usually you can see the wheels turning in the tenor’s head while he sings this aria because he’s already gearing up for “Di quella pira.” But Mr. Lee delivered both his best singing and acting of the afternoon in that moment.
I love Anna Netrebko. Her dark sound is amazing and though this isn’t apparent in an HD telecast which tends to homogenize singers’ volume, her voice is enormous. She’s a terrific actor—a tremendous Lady MacBeth and a helplessly vulnerable Antonia in “Les Contes d’Hoffman,” among other roles— but in “Il Trovatore” she gave a diva performance. Vocally she was thrilling. Dramatically she was so “take charge” you wondered why she needed Manrico—she could have disposed of di Luna with one hand tied behind her back. Much has been made of her desperately climbing the jail gate during the “Miserere.” To me this seemed a stunt on par with her ripping open des Grieux’s cassock during the seduction scene in “Manon” several seasons ago (the audience tittered at this maneuver during the performance I saw). While I would have liked more dramatic awareness from her Leonora, her singing was extraordinary—it made me long to hear her as Tosca. She’d burn the house down.
There are still some issues with the Met HD telecasts in general. The (lack of) sound quality really grated on me this time, no doubt because the level of vocal quality in this performance was so high. And there’s still too much emphasis on close-ups, to the extent I felt very claustrophobic while watching. The set for this opera is no disaster, so why rely so heavily on the “nostril shot” camera that rides the lip of the stage?
“Il Trovatore” in HD? It left me wanting something a bit more. Maybe it’s too much to ask for perfection?
As a New Jersey resident I clearly remember following the real events behind the film “Freeheld.” To summarize: Laurel Hester, a 23-year veteran police officer in the Ocean County Prosecutor’s Office, was diagnosed with terminal lung cancer. As legally required in 2005, she formally requested the county’s governing body, the Board of Freeholders, to grant her registered domestic partner, Stacee Andree, survivor benefits via a transfer of her pension, as her heterosexual married colleagues were entitled to without question. The Board, which by law had the discretion to grant her application, said no. And subsequently said it several times. It wasn’t until a boatload of bad publicity, centered on the freeholders’ sheer mean-spiritedness, especially in view of the quality and length of Ms. Hester’s service, was brought to bear that they finally reversed their position and granted her request. She died soon after, but her pension financially enabled her partner to remain in the house they had bought together and shared for several years, thus fulfilling the ultimate purpose of her fight.
Manohla Dargis, chief movie critic of the New York Times, called “Freeheld” a “television movie of the week gone uninterestingly wrong” and went on to slam it six ways to Sunday. Surprise, surprise—I liked it. While it certainly has its faults, they’re more than compensated for.
“Freeheld,” based on the Oscar-winning documentary of the same title, features excellent performances all around, though dramatically speaking it’s really Ellen Page’s movie. As the much younger partner of the dying Laurel Hester (a very moving Julianne Moore), she’s likely to get an Oscar nomination out of this—she’s beautifully subtle in how she conveys Stacee’s emotions. Fortunately the supporting actors are on a par with the two leading ladies. Michael Shannon is simply terrific as Dane Wells, Laurel’s police partner; one of the best scenes in the film is his unexpected drop-in on the closeted Laurel, finally learning after many years of working together that she’s a lesbian. He does a tremendous job depicting Wells’ anger and disappointment—not that she’s gay, but because she didn’t trust him enough to tell him about her life. As he did on “Boardwalk Empire,” he gets maximum mileage out of that unusual face of his. Steve Carell as Steven Goldstein, head of Garden State Equality, who becomes Laurel’s chief advocate, is a welcome presence–he’s like the dash of paprika that makes a dish interesting. And Josh Charles is excellent as the freeholder who questions the resounding “no” of his fellows on the board.
Are there problems with this film? Of course. In chronological order, I found the first few minutes covering Laurel’s involvement in a drug bust and subsequent cracking of a murder case somewhat confusing—I couldn’t tell the perps from the snitch, which had some bearing on a later scene when the filmmakers want to convey Laurel’s expertise at her job. More importantly, I wish scriptwriter Ron Nyswaner, who also authored the film “Philadelphia,” had given more context to how the state, in contrast to the intransigence of Ocean County, was beginning to recognize inequality in the treatment of its gay citizens. In 2005, as shown in the film, New Jersey had legally recognized domestic partnerships, but more than that, had seen the introduction of legislation that would afford more benefits via civil unions; the bill would be enacted a few months after Laurel Hester’s death. Same-sex marriage finally became law in New Jersey via court decision in 2013, following several years of failed legislation and a veto (you expected something different?) by Governor Christie.
Ultimately I was surprised that the film placed so much emphasis on the seeming secrecy that several freeholders were collecting two and perhaps three government pensions each while denying Laurel Hester’s request. Every newspaper in New Jersey has constantly been on the issue of double-dipping for as long as I can remember; a liberal paper like the Asbury Park Press, Ocean County’s home newspaper, would have featured this hypocrisy front and center. And if they didn’t, the film should have said so.
Unlike Ms. Dargis, I would have preferred more “didactic” context rather than less, particularly since people to tend to forget the early stages of social change. But “Freeheld” is definitely worth anyone’s time on the strength of its acting and the light it shines on what constitutes true equality. In this case “good intentions” do indeed carry the day.