St. Louis Symphony Orchestra Celebrates the Holidays with a Range of Concerts Nov. 24-Dec. 31

St. Louis Symphony Orchestra Celebrates the Holidays with a Range of Concerts Nov. 24-Dec. 31

On Thanksgiving weekend, SLSO strings perform Antonio Vivaldi’s The Four Seasons and Astor Piazzolla’s The Four Seasons of Buenos Aires at three locations throughout the region, featuring Concertmaster David Halen and Associate Concertmaster Erin Schreiber 

On December 1, conductor David Danzmayr leads the orchestra in Ludwig van Beethoven’s Symphony No. 2, along with Jessie Montgomery’s Strum and Ralph Vaughan Williams’ Oboe Concerto featuring SLSO Principal Oboist Jelena Dirks

The second of five Live at The Sheldon concerts, curated by SLSO violinist Angie Smart and SLSO cellist Bjorn Ranheim, features SLSO strings players in music by Jessie Montgomery, Christian Quiñones, and Franz Schubert, plus the world premiere of a new work by University of Missouri student Harry González, December 6

On December 8, Kevin McBeth leads the SLSO and the SLSO IN UNISON Chorus in the annual Gospel Christmas concert, featuring baritone Wintley Phipps

The SLSO performs the scores to two films while the movies play on the Stifel Theatre big screen: Home Alone (December 9-10) and Back to the Future (December 28-29)

On December 12-17, the SLSO performs its traditional Mercy Holiday Celebration with a selection of holiday tunes, led by Stuart Malina and featuring vocalist Scarlett Strallen in her SLSO debut, in St. Charles and downtown St. Louis

The surprise-filled New Year’s Eve Celebration rings in 2024 with conductor Norman Huynh and vocalist Jimmie Herrod in his SLSO debut

The St. Louis Symphony Orchestra has announced details of its holiday concerts—a wide range of symphonic concerts performed across six venues throughout the region. Concerts include classical favorites, chamber music, films with scores performed live, and concerts that celebrate the holiday season. Two vocalists will make their SLSO debuts: musical theater veteran Scarlett Strallen and America’s Got Talent finalist Jimmie Herrod.

Tickets are on sale now and may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. A broadcast of the December 1 classical concert will be aired on December 2 on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, and online. Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each classical concert.

While the expansion and renovation of Powell Hall continues, the SLSO will perform holiday concerts at several venues throughout the region: St. Joseph Catholic Church Cottleville (November 24), Manchester United Methodist Church in Manchester (November 25), The Sheldon in Grand Center (November 26 and December 6), the Touhill Performing Arts Center at the University of Missouri–St. Louis (December 1), Stifel Theatre in downtown St. Louis (December 8-10, 16-17, 28-29, 31), and the J. Scheidegger Center for Performing Arts at Lindenwood University (December 12-13). Shuttle service will be available for concerts at the Touhill at UMSL and Stifel Theatre starting at $15 per seat. There will be two shuttle pick-up locations for performances at Stifel Theatre: Plaza Frontenac and St. Louis Community College–Forest Park. Shuttles for performances at the Touhill Performing Arts Center at UMSL will depart from Plaza Frontenac, and free parking is available on the UMSL campus.

The Eight Seasons of Vivaldi and Piazzolla 

Friday, November 24, 7:30pm 
St. Joseph Catholic Church Cottleville 
1355 Motherhead Road, Cottleville, MO 63304 

Saturday, November 25, 7:30pm 
Manchester United Methodist Church 
129 Woods Mill Road, Manchester, MO 63011 

Sunday, November 26, 3:00pm 
The Sheldon 
3648 Washington Ave, St. Louis, MO 63108   

David Halen, violin 
Erin Schreiber, violin 

Antonio Vivaldi                                      The Four Seasons 

Astor Piazzolla (arr. Desyatnikov) The Four Seasons of Buenos Aires 

The SLSO brings the melodies of the changing seasons to life in three performances on Thanksgiving weekend. The timeless charm of Antonio Vivaldi’s The Four Seasons transports listeners to the northern Italian countryside, brilliantly contrasting with the passionate soundscape of Argentina in Astor Piazzolla’s The Four Season of Buenos Aires. From Vivaldi’s iconic Spring to Piazzolla’s intense Winter, the SLSO’s own gifted violinists, Concertmaster David Halen and Associate Concertmaster Erin Schreiber, weave a seasonal musical tapestry.  Tickets for general admission are $30.

David Danzmayr

Beethoven’s Second Symphony

Friday, December 1, 10:30am CST*
Friday, December 1, 7:30pm CST
Touhill Performing Arts Center at the University of Missouri–St. Louis 
1 Touhill Circle, St. Louis, Missouri, 63121 

David Danzmayr, conductor
Jelena Dirks, oboe

Jessie Montgomery                             Strum

Ralph Vaughan Williams                   Oboe Concerto (First SLSO performances)

Ludwig van Beethoven                      Symphony No. 2

Presented by the Thomas A. Kooyumjian Family Foundation.

*Refreshments courtesy of Kaldi’s Coffee and Eddie’s Southtown Donuts.

Conductor David Danzmayr returns to the SLSO for two concerts on December 1 that pair the familiar with the new. Danzmayr pushes Ludwig van Beethoven’s Second Symphony close to the edge, revealing the magic behind one of the composer’s lesser-known symphonies. SLSO Principal Oboist Jelena Dirks’ goal is to sing through her instrument. She has every opportunity in the songful, break-your-heart musical world of Ralph Vaughan Williams’ Oboe Concerto, performed by the SLSO for the first time in these concerts. Strum by Jessie Montgomery, the in-demand American composer of this moment, salutes American folk music.   

St. Louis Symphony Orchestra: Live at The Sheldon
Wednesday, December 6, 7:30pm CST  
The Sheldon Concert Hall
3648 Washington Ave., St. Louis, Missouri, 63108

Angie Smart, curator and violin

Bjorn Ranheim, curator and cello

Andrea Jarrett, violin

Shannon Farrell Williams, viola

Aleck Belcher, double bass
   
Jessie Montgomery                             Strum

Harry González                                     New Work (World premiere)

Christian Quiñones                               Pasemisí, Pasemisá

Franz Schubert                                       String Quintet in C major

Curated by Angie Smart (SLSO violin) and Bjorn Ranheim (SLSO cello).

The performance of Harry González’s work is presented in partnership with the Mizzou New Music Initiative.

Sponsored by the Sinquefield Charitable Foundation.

The second in a five-concert chamber series in partnership with the SLSO’s Grand Center neighbor, The Sheldon, celebrates the virtuosity of SLSO string players on December 6. Curated and led by violinist Angie Smart and cellist Bjorn Ranheim, a quintet of SLSO string players performs a rich array of music by Jessie Montgomery and Christian Quiñones, as well as Franz Schubert’s Quintet in C major. In a unique partnership with the Mizzou New Music Initiative at the University of Missouri, the musicians also give the world premiere of new music by Harry González, a student composer. The St. Louis American called this new series “the hottest ticket in town.”

A Gospel Christmas

Friday, December 8, 7:30pm CST
Stifel Theatre
1400 Market Street, St. Louis, Missouri, 63103

Kevin McBeth, conductor

Wintley Phipps, vocals

St. Louis Symphony IN UNISON Chorus | Kevin McBeth, director

Leroy Anderson                                                    A Christmas Festival

Jeffrey Ames (orch. Dunsmoor)                     A Festive Praise

Traditional                                                              “Walk Together Children”

Traditional (arr. Wilberg)                                  “The Virgin Mary Had a Baby Boy”

Traditional (arr. Lawrence)                               “O Come, O Come, Emmanuel”

G.F. Handel (arr. Warren/Jackson/Kibble/Hey/Chinn) “Hallelujah” from Handel’s Messiah: A Soulful Celebration

Traditional (arr. Smith)                                      “Go Tell It On the Mountain”

Traditional (arr. Stoddart/Turner)                                 “Here’s One”

Alfred Burt (arr. Smith)                                     “Some Children See Him”

Jill Jackson (arr. Clydesdale)                            “Let There Be Peace On Earth”

Traditional (arr. Davis)                                       Deck the Halls

Brandon A. Boyd (orch. Joubert)                   “Sign Me Up”

Traditional (arr. Johnson/Davis)                    “Children, Go Where I Send Thee”

Franz Gruber (arr. Tyzik)                                   “Silent Night”

Cliff Duren                                                              Star of Wonder Medley

Traditional (arr. Clydesdale)                            “Kum Ba Yah”

Adolph-Charles Adam (arr. Smith)                                “O Holy Night”

Traditional (arr. Keveren)                                 “Amazing Grace”

Supported by Bayer Fund.

The SLSO IN UNISON Chorus returns for a beloved tradition on December 8, the Gospel Christmas concert with the SLSO, led by Chorus Director Kevin McBeth at Stifel Theatre. Joining the IN UNISON Chorus is baritone Wintley Phipps, whose silky-smooth voice highlights the soulful stylings of holiday music. Supported by Bayer Fund since 1994, the IN UNISON Chorus performs and preserves music from the African diaspora. 

Jason Seber

Home Alone in Concert

Saturday, December 9, 7:00pm CST
Sunday, December 10, 2:00pm CST
Stifel Theatre
1400 Market Street, St. Louis, Missouri, 63103

Jason Seber, conductor

Webster University Chorale | Trent Patterson, director

John Williams                                        Home Alone

Back by popular demand, the SLSO performs John Williams’ iconic score to Home Alone live to the hilarious and heartwarming holiday classic at Stifel Theatre on December 9-10. When the McCallisters leave for vacation, they forgot one thing: Kevin! Discover an experience the whole family can share. Limited tickets are available for this holiday favorite.

Mercy Holiday Celebration

Tuesday, December 12, 7:30pm CST
Wednesday, December 13, 7:30pm CST
J. Scheidegger Center for the Arts at Lindenwood University
2300 W. Clay St., St. Charles, Missouri, 63301

Saturday, December 16, 2:00pm & 7:30pm CST
Sunday, December 17, 2:00pm CST
Stifel Theatre
1400 Market Street, St. Louis, Missouri, 63103

Stuart Malina, conductor

Scarlett Strallen, vocals (SLSO debut)

Cally Banham, English horn

Samuel Coleridge-Taylor (arr. Baynes)        Christmas Overture

George Wyle (arr. Clydesdale)                        “It’s the Most Wonderful Time of the Year”

James Pierpont (arr. Waldin)                          “Jingle Bells”

Pyotr Ilyich Tchaikovsky (arr. Ellington/Strayhorn; orch. Tyzik) Selection from The Nutcracker Suite

Irving Berlin (arr. Maness)                                               “White Christmas”

Richard Rodgers (arr. Bennett)                       “My Favorite Things” from The Sound of Music

Adolphe Adam (arr. Clydesdale)                    “O Holy Night”

Various (arr. Stephenson)                                                 A Charleston Christmas

Traditional (arr. Tyzik)                                        Chanukah Suite

Tom Lehrer (arr. Malina)                                   “Chanukah in Santa Monica”

J. Fred Coots (arr. Holcombe)                         “Santa Claus in Coming to Town”

Sergei Prokofiev                                                   “Troika” from Lieutenant Kijé Suite

Leroy Anderson                                                    Sleigh Ride

Felix Bernard (arr. Harper; orch. Blank)      “Winter Wonderland”

Various (arr. Waldin)                                          “The Christmas Song/Have Yourself A Merry Little Christmas”

Various (arr. Stephenson)                                 A Holly and Jolly Sing-Along!

Presented by Mercy.

The SLSO and conductor Stuart Malina bring the music of the holiday season to the stage at Stifel Theatre and Lindenwood University in St. Charles for a cherished holiday tradition—the Mercy Holiday Celebration. Full of favorite carols and sounds of the season, this year the orchestra will be joined by special guests, Broadway and West End veteran vocalist Scarlett Strallen and SLSO English horn player Cally Banham. Even Santa makes time for these festive concerts December 12-13 (Lindenwood) and December 16-17 (three concert at Stifel Theatre)! 

Back to the Future in Concert

Thursday, December 28, 7:00pm CST
Friday, December 29, 7:00pm CST
Stifel Theatre
1400 Market Street, St. Louis, Missouri, 63103

Norman Huynh, conductor

Alan Silvestri                                          Back to the Future

Recharge your flux capacitor…and get ready to celebrate the unforgettable 1985 classic, Back to the Future, with the SLSO performing Alan Silvestri’s score live as the film plays on Stifel Theatre’s big screen on December 28-29. Back to the Future topped the box office chart, spawned two wildly successful sequels, and stamped an enduring imprint on pop culture. Join Marty McFly (Michael J. Fox), Doc Brown (Christopher Lloyd), and a time traveling DeLorean for the adventure of a lifetime.

Jimmie Herrod

New Year’s Eve Celebration

Sunday, December 31, 7:30pm CST
Stifel Theatre
1400 Market Street, St. Louis, Missouri, 63103

Norman Huynh, conductor

Jimmie Herrod, vocals (SLSO debut)

Repertoire announced from the stage.

Send 2023 off in style at the SLSO’s annual bash—the New Year’s Eve Celebration concert. Frequent guest conductor Norman Huynh leads this musical party filled with surprises. Although the repertoire is a secret, it’s sure to be a fun-filled evening with the SLSO and guest vocalist Jimmie Herrod, a Pink Martini and America’s Got Talent alumnus. This one-night-only concert takes place at the stylish Stifel Theatre on December 31.

About the St. Louis Symphony Orchestra

Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 144th year with the 2023/2024 season and its fifth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music. 

The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org. 

Jelena Dirks, oboe

About the University of Missouri–St. Louis Touhill Performing Arts Center

Designed by the renowned architectural firm I.M. Pei, Cobb, Freed and Partners, the Blanche M. Touhill Performing Arts Center is a landmark performance facility on the campus of the University of Missouri-St. Louis (UMSL). The Center hosts an average of 120 events, 200 performances, and 90,000 visitors per year.

The Touhill staff manages several collaborative relationships and programs that, along with campus and community partners, bring together a diverse season of dance, theatre, music, festivals, and special events.

About Stifel Theatre

Stifel Theatre is a historic, 3,100 seat theatre in the heart of downtown St. Louis. Originally opened in 1934, Stifel Theatre’s stage has welcomed some of entertainment’s greatest performers and was the primary venue for the St. Louis Symphony Orchestra from 1934-1968. Following a $78.7 million restoration, this historical gem has been restored to its original splendor and undergone state-of-the-art upgrades.

Stifel Theatre plays host to a wide variety of events, including concerts, comedies, theatricals, family shows, holiday productions, and more.

Norman Huynh, conductor

Harrison Ford Delivers in Uneven ‘Indiana Jones 5’ Finale

Harrison Ford Delivers in Uneven ‘Indiana Jones 5’ Finale

By Alex McPherson

With Harrison Ford lending emotional grandeur to an otherwise middling adventure, director James Mangold’s “Indiana Jones and the Dial of Destiny” provides an acceptable finale for the iconic character.

Indy’s latest outing begins in the mid-1940s, with the end of World War II in sight, as a heavily de-aged Indy (always looking “off”) and his trusty academic pal Basil Shaw (Toby Jones) attempt to recover stolen artifacts from Nazis. After Indy escapes capture due a conveniently deployed airplane bomb and KOs plenty of the monstrous chaps, he races onto a train (after a dimly lit, CGI-reliant car/motorcycle chase) containing the Lance of Longinus — a blade supposedly containing traces of the blood of Christ — and an also-captured Basil. 

Among the evildoers is Nazi physicist Jürgen Voller (Mads Mikkelson), a nefarious soul aboard the train who’s in possession of one half of the Antikythera — a dial created by Archimedes that supposedly allows for time travel should both halves be combined. Bloodlessly bombastic violence ensues, concluding with a battle atop the train that results in Voller thwacking his head on a pole and Indy and Basil jumping into a lake below, Antikythera in hand.

Flash forward to 1969, and our titular hero is in dire straits. Grumbling around his messy New York City apartment after having recently separated from his wife, Marion (Karen Allen), and with his son, Mutt (Shia LaBeouf) out of the picture, Jones is a shell of his former self, lacking purpose and direction as he prepares to retire from teaching archaeology at Hunter College. The Apollo 11 astronauts have just returned home, and society is looking to the future, rather than the past that Jones has devoted his life to. He’s become a curmudgeon, lacking the adventurous spirit he once had, both due to his age and regrets that torment his psyche.

Fortunately, or unfortunately, he soon runs into Basil’s daughter, Helena (Phoebe Waller-Bridge), who’s after the Antikythera and wants to continue Basil’s life’s work of finding the missing half (or so she initially claims: she’s a hardcore capitalist eager to make a buck). After tricking Indy, she runs off with the artifact, while also being pursued by the returning Voller and his cronies, including Shaunette Renée Wilson as a crooked CIA agent and Boyd Holbrook as a take-no-prisoners killer. 

Thus begins a globe-trotting romp from New York to Tangiers to Athens to Sicily, as Indy, Helena, and Helena’s youthful sidekick Teddy (Ethann Isidore) attempt to find the remaining half of the Antikythera before the Nazis get their hands on it and change the war’s outcome. Indy’s back for another go around, just like old times, with plenty of returning faces and fantastical shenanigans at play.

Indeed, “Dial of Destiny,” the franchise’s first installment without Steven Spielberg at the helm, leans hard into nostalgia at the expense of dramatic punch — although copious literal punches are thrown. Mangold’s film (at nearly 2.5 hours) is a strange beast: at once comforting in its embrace of old-fashioned thrills, but averse to taking any real risks with Indy himself. Ford’s soulful performance is still able to overcome the screenplay’s frustrating lack of focus, buoying what is otherwise a slightly-above-average experience featuring lackluster set-pieces and formulaic plotting.

A de-aged Harrison Ford as Indiana Jones.

With his iconic whip, fedora, and witty remarks, Ford continues to excel in the role — conveying a wide range of emotions with lived-in gravitas. His portrayal deserves a stronger film to support it; we can see his sadness, guilt, and mournful reflection in pivotal scenes, along with his mischievous, daring old self bubbling back to the surface. Most everything between Indy’s scenes of introspection is fairly by-the-numbers — with little that stands out beyond a ludicrous conclusion, which, without spoiling anything, goes down a zany rabbit hole. It remains great to see Ford back in the saddle nevertheless.

While “Dial of Destiny” attempts to recapture the old-school thrill and “feel” of the series’ previous installments (complete with cameos, visual motifs, and eels taking the place of snakes), Mangold’s approach robs time from developing Indy as a character. Mangold’s reliance on nostalgia may well be the point, but reminding viewers (and Indy himself) of the series’ former glory shifts focus from the here-and-now: the antics in search of the dial (which could, theoretically, permit Indy to rectify wrongs in his own sad life) resort to familiar tropes and payoffs, neglecting to innovate on tradition to tell a consequential story about Indy’s place in the world today.

The film seemingly emphasizes the importance of not living in the past, but using remembrance as a means of personal growth. This might be meaningful to Indy, but the plot stemming from that idea is a workmanlike imitation on what’s come before — far from bad, but not making a lasting impact. 

Waller-Bridge, at least, shines as a brash, sarcastic, independent woman whose allegiances are often in question. She’s after the dial not only in the hopes of one day selling it for a boatload of cash, but also by a sense of wanting to continue her father’s lifelong work; the need to explore passed down from one generation to the next. By the end, her arc is a bit muddled, given her internal tug-of-war between cynicism and earnestness, but she’s still a worthy companion, and holds her own in the copious CGI-laden action sequences. Mikkelson’s Voller doesn’t stand out as particularly interesting, at no fault of the performance: he’s just a standard, franchise-typical baddie, accompanied by likewise generically sadistic goons.   

Speaking of action, the 80-year-old Ford obviously can’t do much stunt work nowadays, requiring computer wizardry to do the heavy lifting. It’s too bad the majority of sequences are so cartoonishly over-the-top and confusingly framed. Despite all the carnage on display (including during the intro, a horse chase through an NYC parade, and a frantic tuk-tuk pursuit through a Tangiers market), they’re often weightless, chaotic, and lacking the rhythm that Spielberg’s direction lent them, barring some amusing visual gags that remain a series staple. Yet again, “Dial of Destiny” tries to live in the past, altering reality to present scenarios that would likely have worked better in the animation medium altogether.

It’s a testament to Mangold’s competency and Indy’s sheer likability that “Dial of Destiny” is still an enjoyable watch regardless of issues. John Williams’ score delivers the goods (as always), and Mangold’s stylistic tributes to Spielberg give the film energy even when the story comes up short. Combined with Ford’s exceptional performance and fan service callbacks, “Dial of Destiny” is worth watching, if not something that significantly adds to the adventurer’s legacy.

“”Indiana Jones and the Dial of Destiny” is a 2023 action-adventure directed by James Mangold and starring Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelson, Karen Allen, Antonio Banderas and Boyd Holbrook. It is Rated PG-13 for sequences of violence and action, language and smoking and runs 2 hours, 34 minutes. It opens in theaters June 30. Alex’s Grade: B-.

  

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Gabriel LaBelle as Sammy Fabelman

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B