Grief, Regrets and Salvation Collide in Aronofsky’s Bleak, Stagey ‘The Whale’

Grief, Regrets and Salvation Collide in Aronofsky’s Bleak, Stagey ‘The Whale’


By Lynn Venhaus
Brendan Fraser is heartbreaking and haunting as a morbidly obese recluse with mental and physical health problems in the difficult-to-watch “The Whale.”

He’s a reclusive English teacher who has an opportunity to reconnect with his estranged teenage daughter (Sadie Sink).

As Charlie, he is attracting year-end awards attention, and deservedly so. It’s a stunning, brave performance from Fraser, possibly his best. He depicts this bruised man as a gentle soul whose tragic flaw was caring too much in a disingenuous environment.

Now 54, he has been acting for three decades. Deemed a heartthrob in his 20s after such films as “George of the Jungle” and “The Mummy,” his varied career has included comedies (“Airheads,” “Encino Man”), dramas (“Gods and Monsters,” “Crash”), TV (“The Affair” and “Trust”), and voice-over animation work (King of the Hill,” “The Simpsons”). Most recently, he’s been playing Cliff Steele on the HBOMax series “Doom Patrol.”

While wearing prosthetics to make him look like a 600-lb. man, Fraser allows us to see the hurting human being inside. Charlie is dying and can’t stop eating himself to death – it’s a choice.

Shots of his girth, his inability to move without assistance, and a trapped, confined, lethargic existence where he shuns easier mobility are painful and sad.

The remarkable transformation was crafted by makeup artist Adrien Morot, who was Oscar nominated for “Barney’s Version,” and has worked on the 2019 “Pet Sematary” reboot and “X-Men: Days of Future Past,” among his credits.

“The Whale” is a bleak adaptation of a play by Samuel D. Hunter on how a character gets into his current predicament because of loss, guilt, and love. The amount of self-loathing makes it painful to witness, but Fraser is never not authentic.

Confined to a run-down two-bedroom home that reflects how frozen in time the lead character is, Charlie has not been able to get past his lover’s suicide years earlier. He has shut himself off from society, hidden away in a grief cocoon of his own making.

A learned man, as reflected by crammed bookshelves, with an academic career – he teaches online English classes, he offers to write his estranged daughter’s high school assignments. He is desperate to reconnect with her, and it becomes a shot at redemption.  

Sadie Sink

As played by Sadie Sink, Ellie is a sullen, snarling, and angry teen who lashes out at everyone, especially her father, whom she blames for many of his failings, and hers. Her dad left when she was 8 years old, because he had fallen in love with one of his students.

The plot connects more dots, because nurse Liz, in a tough-love performance from Hong Chau, has a history with Charlie.

She does not indulge in his solitary imprisonment, but at the same time, tries to be realistic about his death march.

The playwright obviously has an axe to grind about evangelicals and their quest for salvation. The religious ties are revealed slowly, but Thomas, a missionary from “New Life Ministries,” looking very similar to a Mormon, attempts a conversion. He’s adroitly played by Ty Simpkins, now grown-up, most known for being the older brother in “Jurassic World” and a kid in “Iron Man 3.”

He is not as innocent as he seems, but seems unfairly targeted by Ellie, who can’t hide her disdain — but the mocking is cruel.

The backstories get sorted out, but no encounter is a random one. Samantha Morton has another outstanding cameo (she is brilliant as an informant in “She Said”) as Charlie’s bitter ex-wife. The resentment is no longer simmering, it’s a full-on rolling boil.

A lot of yelling is directed at Charlie, and between mother and daughter, so the confrontations are blunt and in-your-face. You begin to understand why Charlie wants to be left alone. Why deal with the messiness of humanity?

The playwright, who wrote the film adaptation, set the play in Mormon country in Idaho, and belabors the point repeatedly. 

The theme doesn’t vary that much from director Darren Aronofsky’s familiar darker and often nihilistic films (“Requiem for a Dream,” “Black Swan,” “Mother!”).

Brendan Fraser

You can see its stage roots showing, and the author clumsily connects Herman Melville’s “Moby Dick” obsession to the situation facing Charlie, while the evangelical ties are also heavy-handed.

Even though glimmers of hope emerge, when Charlie says: “Who would want me to be part of their life?,” it’s a gut-punch.

There are two gasp-worthy scenes – an eat-your-feelings binge that’s horrifying and a devastating reveal to students, that one must summon empathy and compassion or check out.

So much of the distressing story has a “too little, too late” tinge to it, adding to the feelings of regret and recrimination that permeate the space.

Because of the script’s complexities, you know that the ending won’t be a sweet, sappy resolution. Yet, the way it concludes is still unexpected.

Overall, “The Whale” is an unsettling and uneven work, marked by good performances that deserved better material.

“The Whale” is a 2022 drama directed by Darren Aronofsky and starring Brenda Fraser, Sadie Sink, Hong Chau and Ty Simpkins. It’s rated R for some language, some drug use and sexual content and has a 1 hour, 57 minutes runtime. It opened in select theaters Dec. 21. Lynn’s Grade: C.

Hong Chau in “The Whale”

Indulgent, Vulgar ‘Babylon’ Focuses On Sleazy ‘Show’ and Callous ‘Biz’

Indulgent, Vulgar ‘Babylon’ Focuses On Sleazy ‘Show’ and Callous ‘Biz’

By Lynn Venhaus

Loud, vulgar, and hollow, “Babylon” is an excessive look at nascent Hollywood without much to say and even less to feel despite its 189-minutes run time.

The drama traces the rise and fall of multiple characters during the silent-to-talking pictures era in early Hollywood, focusing on uninhibited decadence and depravity.

Meant to both celebrate Tinsel Town as a dream factory and to pull back the curtain on a morally bankrupt culture, “Babylon” is a cumbersome mess from writer-director Damien Chazelle, who has crafted pretty images – and some disgusting things that you can’t unsee — in a story without heart or soul.

Chazelle, the youngest Best Director in Oscar history for “La la Land,” when he was 32, has tackled a behind-the-scenes look at aspiring hopefuls in the industry before. But while that opus had characters you cared about and was sprinkled with pixie dust, the five storylines in this frenzied panorama are callous caricatures of ambition and downward spirals.

Brad Pitt appears to be on automatic pilot as hard-drinking matinee idol Jack Conrad, a suave player with a trail of ex-wives. Margot Robbie is dialed up to 11 as coarse New Jersey-born Nellie La Roy, a combative, self-destructive starlet. Newcomer Diego Calva stands out as dreamer Manny Torres, who becomes useful as a studio ‘fixer’ but is unfinished as a character. Jovan Adepo is gut-wrenching as Sidney Powell, a black bandleader facing demeaning requests – in a too-brief storyline. And Jean Smart has one showy scene as Elinor St. John, a powerful gossip columnist modeled after Hedda Hopper and Louella Parsons, but otherwise her performance is perfunctory.

Tobey Maguire

That results in a very busy scenario, with a sprawling cast. Tobey Maguire has an unsettling cameo as a degenerate who thrives on sleaze. And blink and you’ll miss Olivia Wilde as one of Jack’s wives, Katherine Waterston as one of his soon-to-be ex’s, Max Minghella as Irving Thalberg and Chloe Fineman as Marion Davies.

The opening 30-minutes are a shocking display of debauchery – those squeamish about bodily fluids, you are warned — and it gets worse from there, but is there anything new to say in concentrating on bizarre grotesqueness and cocaine-fueled party guests?

If you are familiar with Kenneth Anger’s tawdry tattletale, “Hollywood Babylon,” published in 1959 but so controversial that it was unavailable 1965-1975, and its follow-up in 1984, then you’ve read about the headline-grabbing bad behavior of fame-seekers in that era.

The film begins in 1926, then depicts how the change to talkies affected the business. In perhaps the best scene, the problems in the transition wreak havoc on a set with La Roy the ingenue. Frustration leads to more belligerent actions and escalating tirades, and a casualty happens that’s treated so cavalierly, it’s just hard to wrap your head around the attitudes.

The film’s assorted narcissists, posers, and hangers-on — people who may have sold their souls and are drawn, like moths to a flame, to the star-making machinery – eventually burn out or fade away. But Chazelle cheats us with an unsatisfactory wrap-up of their fates in a puzzling finale.

A stunning presence on screen, Robbie demands attention as someone who craves the spotlight but loses her luster when she has too many walks on the wild side. She has played complicated women before – Tonya Harding in “I, Tonya” and Harley Quinn in “Suicide Squad” and “Birds of Prey,” but it’s hard to muster sympathy for such an unlikable character as vainglorious Nellie.

Take away the outrageous examples of living out loud and the gross-outs (projectile vomit, bone-crunching rat-eating, kinky sex acts and funhouse freaks), “Babylon” is hard to figure out the endgame. Why should we care?

Technically, the artisan work is first-rate. Justin Hurwitz’s jazzy propulsive score captures the hedonistic time while cinematographer Linus Sandgren goes big on a grandiose scale, as does production designer Florencia Martin. The man-made opulence contrasts with the undeveloped Southern California hillsides that the cinema pioneers used for their sandboxes and playgrounds.

Above all, disappointment rests with Chazelle, who needed to get out of his own way – and pick a lane. You can’t have it both ways. He demonstrated such a flair for imaginative storytelling in “Whiplash,” “La la Land,” and “First Man,” that “Babylon” made me angry. He took the joy out of make-believe, which is his point, I suppose, but made it repulsive.

We need the magic of movies as an escape from cruel everyday realities, to engage us with flights of fancy. “Babylon” collapses from the weight of its ambition, a nihilistic abyss. It’s a colossal waste of time, talent, and money.

“Babylon” is a 2022 drama written and directed by Damien Chazelle and starring Brad Pitt, Margot Robbie, Diego Calva and Jean Smart. It is rated R for strong and crude sexual content, graphic nudity, bloody violence, drug use, and pervasive language and the runtime is 3 hours, 9 minutes. It opened in theaters Dec. 23. Lynn’s Grade: D.

Margot Robbie plays Nellie LaRoy and Diego Calva plays Manny Torres in Babylon from Paramount Pictures.

Stylish and Spellbinding ‘Glass Onion’ Mystery Delivers Clever Whodunit

Stylish and Spellbinding ‘Glass Onion’ Mystery Delivers Clever Whodunit

By Lynn Venhaus

One of the most entertaining films of the year, “Glass Onion: A Knives Out Mystery” is a spellbinding and stylish whodunit that satisfies from start to finish.

Southern detective Benoit Blanc (Daniel Craig) travels to Greece to peel back the layers of a mystery involving a new cast of colorful suspects.

Names will be dropped, drinks will be spilt, airs will be deflated, and secrets divulged in a saucy blend of clever comedy and a tough-to-crack mystery from the fertile mind of writer-director Rian Johnson.

Johnson, who helmed the first “Knives Out” in 2019, has kicked this one up a notch. The original’s time-honored chamber formula of a rich old patriarch’s demise that revealed his family’s fissures set in an old-timey mansion was one of the most critically acclaimed and popular hits that year.

Johnson goes bigger in this sequel, and it’s better than the first. He weaves an impressive yarn that’s thoroughly plausible, aided by a tight ensemble that’s at the top of their game.

The location is luxe, a private island in Greece that’s the home of tech billionaire Miles Bron, deftly played by Edward Norton. He has invited his college friends who knew him when – and each of them owes their careers, and their well-heeled lives, to him. They get together every year, and this time, it’s for an elaborate murder mystery game where he will be the victim.

Glass Onion: A Knives Out Mystery (2022). (L-R) Kate Hudson as Birdie, Leslie Odom Jr. as Lionel, Kathryn Hahn as Claire, Edward Norton as Myles, Jessica Henwick as Peg, Madelyn Cline as Whiskey and Dave Bautista as Duke. Cr. Courtesy of Netflix © 2022.

Come to find out, these folks do have reasons to be on the enemy list – and for them to each have a motive to dispense him, too. There to throw a wrench into the proceedings is Benoit Blanc – “the world’s greatest detective” – who has inexplicably landed an invitation.

Now playing the sharp Southern sleuth for the second time, Daniel Craig is as smooth as a craft cocktail at a swanky soiree. He oozes smarts and charm, carrying the film with much authority. It’s a terrific performance, much more lived-in than the first time we met him.

Miles’ estate is as ostentatious as possible, and the guests live large. The pre-fame buddies are an assorted box of chocolates with surprises inside. Kate Hudson hasn’t been this good in a while as flaky conniver Birdie Jay, a former supermodel now lifestyle influencer whose assistant Peg, well-played by Jessica Henwick, prevents her cancellation multiple times.

Beefy Dave Bautista, Drax the Destroyer in “The Guardians of the Galaxy” franchise, is a lunkhead wild card here. He’s a social media star, a men’s rights advocate who is always packing heat. He also has a sassy hot girlfriend, “Whiskey,” played by Madelyn Cline.

Mixing business with politics is steely Kathryn Hahn as a Connecticut governor now running for the Senate, Claire Debella.

Closest to Miles’ inner circle is sharp-dressed scientist Lionel Toussaint, Leslie Odom Jr. as more of a silent observer here. He’s responsible for making Miles’ tech ideas work.

GLASS ONION: A KNIVES OUT MYSTERY (2022) Janelle Monáe as Andi. Cr: John Wilson/NETFLIX

Along comes Andi Brand, a never-better Janelle Monae, whom everyone is shocked to see there. She was Miles’ former business partner who was shut out in a messy corporate break-up. She is moving in mysterious ways, raising more questions than answers.

The plot thickens in such a beguiling way, with interesting twists, and a parade of fun cameos keeps the film breezy.

Johnson, Oscar nominated for original screenplay for the first one, is a frontrunner in this year’s awards season, only this time, it’s for adapted screenplay. He demonstrates a flair for piecing intricate puzzles together and a firm grasp of building vivid characters.

The film is meticulously crafted in other ways. Jenny Eagan’s costume designs pop and are playful – especially Birdie’s dazzling rainbow gown and Benoit’s seersucker swim set. Rick Heinrichs’ production design is a marvel of glass, artsy-fartsy nouveau riche bric-a-brac, and luxury resort accoutrements. And Nathan Johnson’s music score captures the shifting moods perfectly.

The whodunit may be set in a remote location, but it’s not cut off from the world, and Johnson’s jabs at the 1% and vapid celebrity culture land with fine precision.

A nice touch is Johnson’s homage to Angela Lansbury, who played widowed mystery writer and amateur detective Jessica Fletcher on “Murder, She Wrote” for 12 seasons, and legendary composer Stephen Sondheim, who penned the 1973 mystery film “The Last of Sheila” with Anthony Perkins, and was known for his obsession with games and puzzles. They show up in cameos, and the film is dedicated to the two. Touche.

“Glass Onion” is a fun romp, surely setting up another sequel. In the meantime, Johnson has given us something to savor, a bright spot in an already dreary winter.

“Glass Onion: A Knives Out Mystery” is a 2022 mystery comedy-drama written and directed by Rian Johnson. It stars Daniel Craig, Edward Norton, Janelle Monae, Kate Hudson, Dave Bautista, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick and Madelyn Cline. Rated PG-13 for strong language, some violence, sexual material and drug content, it runs 2 hours, 19 minutes. It began streaming on Netflix Dec. 23. Lynn’s Grade: A.

Bloated ‘Avatar: The Way of Water’ Is Shiny But Dull Spectacle

Bloated ‘Avatar: The Way of Water’ Is Shiny But Dull Spectacle

By Lynn Venhaus

Looks 10, story 3. Regardless of its visual splendor from state-of-the-art effects, “Avatar: The Way of Water” is a bloated, confusing mess of a story.

Cinematographer extraordinaire Russell Christopher, who did “Titanic” and “Ant-Man,” and a team of hundreds of animators. motion-capture artists and graphics wizards make this sci-fi world fantastical, but a pedestrian plot can’t muster enough excitement to sit through 192 minutes of a curiously uninvolving scenario.

In a fierce battle to protect their home, the Na’vi must face a familiar threat on the extrasolar moon Pandora. Big bad military = evil territorial bullies, noble blue people = at one with nature.

With some nods to his previous mega-hits “Titanic,” “Aliens” and “The Terminator” franchise, director James Cameron has built a stunning panorama of flora, fauna, and water, lots of water. He’s also showing off in 3D and high-definition rate.

For all his excess, the man knows how to corral a team to create magic. However, his self-indulgences hamper smooth sailing in storytelling. He could have trimmed the film by half, and it would be far more engrossing with less repetition. (Four editors!).

A tribal plot involving family and loss offers nothing new – and five people came up with this unremarkable story that seems to have recycled some familiar “Lion King” beats (Come on! “Circle of Life”? Really?).

The monotonous video-game like screenplay, by Cameron and the husband-and-wife team of Rick Jaffa and Amanda Silver, whose work includes “Jurassic World” and the “Planet of the Apes” reboots, has this smug self-important air, and lacks even a smidgeon of wit.

Even superhero movies in the Marvel Cinematic Universe have some chuckles, and I’ve seen cartoons that are far more entertaining. Why so serious?

While we weren’t exactly waiting for a sequel to the highest grossing film of all time, it’s been a long time in coming – 11 years. Since 2009, technology has created even more worlds of wonder, and real-world problems of climate change and political colonialism have been added for relevance.

“King of the World” Cameron has planned three more sequels, with principal photography already completed for “Avatar 3,” which may happen in 2024, and others expected in 2026 and 2028. Whether it will be a global phenomenon like the first remains to be seen, but if they are as insipid and interminable as this one, don’t bother.

With the wow factor, this sequel seems headed to only earn Academy Awards nominations in the technical fields. The original won Oscars for art direction, cinematography, and visual effects out of nine nominations. The intricate makeup and hair work is also award worthy.

If you can’t remember much of the first one, here’s the condensed version: It’s the 22nd century and humans are colonizing Pandora, a moon in the Alpha Centauri star system, because they want to mine unobtanium, a valuable mineral. That threatens a local tribe’s existence – the Na’vi is a humanoid species.

Here, an avatar is a genetically engineered Na’vi body operated from a human brain in a remote location, which interacts with the natives.  

Is this making your head hurt? Second one recaps how protagonist Jake Sully (Sam Worthington) fell in love with a Na’vi woman Neytiri (Zoe Saldana), and converted to that culture. They went on to live a blissful sparkly life and have four children – two boys and two girls.

Because he crossed the line, from being one of the military ‘sky people’ to a sympathetic outsider, his former Marine commander, Miles Quaritch (Stephen Lang), seeks revenge, but the motivation is murky. With a target on his back, Sully has endangered the Na’vi, and the Metkayina clan leader, Tonowari (Cliff Curtis), is not too happy about this turn of events. And neither is his snarling pregnant wife, Ronal (Kate Winslet). (Before you think, Kate Winslet is in this? It’s merely a voice-over).

Yet, an army of mighty warriors are ready to double-down, riding on some primordial-looking sea creatures. Only Quaritch has brought a force that look like the Na’vi. Good luck figuring out who are the good and bad guys, for it’s not always clear.

Clan leader Tonowari

The kids get in all sorts of scrapes, but telling them apart is tough, too, especially the two sons—Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton). Kiri is the offspring of Sigourney Weaver, and they are her guardian. The youngest daughter named Tuk is designed to be the cute little charmer (Trinity Jo-Li Bliss). And then there is Miles, aka Spider (Jack Champion), a human who was left behind, and is like an adopted son.

Lots o’ macho posturing, women fretting, outsiders vs. natural-born, and kids being scolded for putting themselves in harm’s way. For three hours and 12 minutes, no intermission.

It is only epic is scope, not in any captivating way, for the imagination seems to have stopped at the art direction. Pretty pictures of ethereal thingamajigs floating in the water, and creatures plugging into energy sources that light them up for some reason are dazzling, so are the skies full of stars, and wavy tendrils that wrap themselves around various shapes, with different results.

Things blow up in spectacular fashion and gigantic whale-shark-looking hybrids, feared for their viciousness and sheer magnitude, wreak major havoc. The battle scenes, with Down Under-accented enemies, are well-executed – wait, did I just see New Zealand comic treasure Jemaine Clement?

With the avatars and Na’vi appearing so similar in looks and expressions, performances fail to register. The characters are one-note without much depth. Outstanding actress Edie Falco is wasted as a general and I’m not sure who ace character actress CCH Pounder plays.

New age-y dialogue is cringe-worthy, sounds like something from blacklight posters in the ‘70s. “The way of water connects all things. Before your birth, and after your death,” one son says. Whatever that means.

For all its posturing as an event film, “Avatar: The Way of Water” is unnecessary. It’s a gussied-up mash-up of ahead-of-his-time genius Jules Verne’s “Twenty Thousand Leagues Under the Sea” and “Journey to the Center of the Earth.” And I would like four hours of my life back.

Kiri, under water

“Avatar: The Way of Water” is a 2022 action fantasy film directed by James Cameron and starring Sam Worthington, Zoe Saldana, Stephen Lang, Sigourney Weaver, Cliff Curtis, Kate Winslet, CCH Pounder, Jack Champion, Britain Dalton, and Jamie Flatters. It is rated PG-13 for sequences of strong violence and intense action, partial nudity and some strong language and runtime is 192 minutes. It opens in theaters Dec. 16. Lynn’s Grade: C-.

St Louis Film Critics Association Announce 2022 Awards Nominations

St Louis Film Critics Association Announce 2022 Awards Nominations

‘The Banshees of Inisherin’ leads with 11 nominations, followed by ‘Everything Everywhere All at Once’ with 10; ‘Women Talking’ and ‘The Fabelmans’ earn 8 each

Special Merit recognition to Jafar Panahi, Ashley Judd and David Bowie

The St. Louis Film Critics Association have announced nominations for its annual awards, to be presented on Dec. 18.

In addition to determining nominations in 23 categories, the regional critics’ group recognized three people for special merit: imprisoned Iranian director Jafar Panahi, whistleblower actress Ashley Judd and posthumously, influential musician-actor David Bowie.

“The Banshees of Inisherin,” Martin McDonagh’s dark comedy about two lifelong friends at an impasse, was nominated for film, director, actor, supporting actor and actress, ensemble cast, original screenplay, cinematography, editing, music score and production design.

The multiverse mind-bender, “Everything Everywhere All at Once,” garnered nominations for film, directors, actress, supporting actor, ensemble, original screenplay, editing, visual effects, comedy, and action film.

Two dramas, “Women Talking” and “The Fabelmans,” were recognized with eight nominations apiece, while the “Elvis” biopic had seven, and sequels “Top Gun: Maverick” and “Glass Onion: A Knives Out Mystery” earned six.

See below for a complete list of nominations.

Regarding the Special Merit nods, SLFCA President Jim Tudor said the group wanted to recognize filmmaker Jafar Panahi, who was sentenced to six years in prison by the Iranian government for inquiring about the arrests of his fellow filmmakers Mohammad Rasoulof and Mostafa Al-Ahmad.

The international film community has denounced his imprisonment as unjust. His latest work, “No Bears,” was shown at the Venice Film Festival and New York Film Festival this fall.

The SLFCA statements on the three Special Merits:

Jafar Panahi

“In recognition of the courage of imprisoned Iranian director Jafar Panahi and all those film professionals confronting political oppression in the pursuit of free speech, human rights, and artistic expression.”

Ashley Judd

“We recognize Ashley Judd for the bravery and courage she demonstrated in portraying herself in ‘She Said.’”

David Bowie

“After nominating the experimental documentary “Moonage Daydream,” we want to also honor the expansive and continuing cinematic presence of singer-songwriter and actor David Bowie, whose life and music continues to permeate and enrich the cinema landscape.”

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region.

For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2022 calendar year – including those film that were given awards-qualifying runs in 2021 but were not available to all SLFCA members until 2022. Films slated for release in early in 2023 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.

For more information, visit the site: www.stlfilmcritics.com

The complete list of nominations are as follows:

She Said

BEST FILM

The Banshees of Inisherin
Elvis
Everything Everywhere All at Once
She Said
Women Talking

BEST DIRECTOR

The Daniels (Daniel Kwan & Daniel Scheinert) – Everything Everywhere All at Once
Baz Luhrmann – Elvis
Martin McDonagh – The Banshees of Inisherin
Sarah Polley – Women Talking
Steven Spielberg – The Fabelmans

BEST ACTOR

Austin Butler – Elvis
Daniel Craig – Glass Onion: A Knives Out Mystery
Colin Farrell – The Banshees of Inisherin
Brendan Fraser – The Whale
Paul Mescal – Aftersun

BEST ACTRESS

Cate Blanchett – Tár
Danielle Deadwyler – Till
Mia Goth – Pearl
Emma Thompson – Good Luck to You, Leo Grande
Michelle Williams – The Fabelmans
Michelle Yeoh – Everything Everywhere All at Once

BEST SUPPORTING ACTOR

Andre Braugher – She Said
Brendan Gleeson – The Banshees of Inisherin
Judd Hirsch – The Fabelmans
Ke Huy Quan – Everything Everywhere All at Once
Ben Whishaw – Women Talking

BEST SUPPORTING ACTRESS

Angela Bassett – Black Panther: Wakanda Forever
Kerry Condon – The Banshees of Inisherin
Claire Foy – Women Talking

Janelle Monae – Glass Onion: A Knives Out Mystery
Carey Mulligan – She Said

Glass Onion

BEST ENSEMBLE CAST

The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
Glass Onion: A Knives Out Mystery
Women Talking

BEST ADAPTED SCREENPLAY

Glass Onion: A Knives Out Mystery – Rian Johnson; based on characters created by him

Guillermo del Toro’s Pinocchio – Guillermo del Toro and Patrick McHale; Guillermo del Toro and Matthew Robbins (story); based on the novel by Carlo Collodi

She Said – Rebecca Lenkiewicz; based on the book She Said by Jodi Cantor and Megan Twohey, and on the New York Times investigation by Jodi Kantor, Megan Twohey, and Rebecca Corbett

White Noise – Noah Baumbach; based on the novel by Don DeLillo

Women Talking – Sarah Polley and Miriam Toews; based on the novel by Miriam Toews

BEST ORIGINAL SCREENPLAY

The Banshees of Inisherin – Martin McDonagh
Decision to Leave – Park Chan-wook and Gong Seo-kyeong
Everything Everywhere All at Once – The Daniels (Daniel Kwan & Daniel Scheinert)
The Fabelmans – Steven Spielberg & Tony Kushner
The Menu – Seth Reiss & Will Tracy
Tár – Todd Field

The Menu


BEST EDITING

The Banshees of Inisherin – Mikkel E.G. Nielsen
Elvis – Jonathan Redmond and Matt Villa
Everywhere Everywhere All at Once – Paul Rogers
Tár – Monika Willi
Top Gun: Maverick – Eddie Hamilton

BEST CINEMATOGRAPHY

The Banshees of Inisherin – Ben Davis
The Batman – Greig Fraser
Nope – Hoyte Van Hoytema
Top Gun: Maverick – Claudio Miranda
Women Talking – Luck Montpellier

BEST PRODUCTION DESIGN

Avatar: The Way of Water – Dylan Cole and Ben Procter
The Banshees of Inisherin – Mark Tinldesley
Black Panther: Wakanda Forever – Hannah Beachler
Elvis – Catherine Martin and Karen Murphy
Glass Onion: A Knives Out Mystery – Rick Heinrichs

BEST COSTUME DESIGN

Black Panther: Wakanda Forever – Ruth E. Carter
Elvis – Catherine Martin
The Fabelmans – Mark Bridges
Mrs. Harris Goes to Paris – Jenny Beavan
The Woman King – Gersha Phillips

BEST VISUAL EFFECTS

Avatar: The Way of Water – Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett

Everything Everywhere All at Once – Zak Stoltz (Visual Effects Supervisor); Ethan Feldbau and Benjamin Brewer (Visual Effects Lead Artists); Jeff Desom (Visual Effects Artist)

Nope – Guillaume Rocheron (Visual Effects Supervisor); Jeremy Robert (Visual Effets Supervisor); Sreejith Venugopalan (DFX Supervisor); Scott R. Risher (Special Effects Coordinator)

RRR – V. Srinivas Mohan (VFX Supervisor)

Top Gun: Maverick – Ryan Tudhope (Visual Effects Supevisor); Scott R. Fisher (Special Effects Coordinator); Seth Hill (Visual Effects Supervisor) Bryan Litton (Visual Effects Supervisor)

Babylon

BEST MUSIC SCORE

Babylon – Justin Hurwitz
The Banshees of Inisherin – Carter Burwell
The Batman – Michael Giacchino
The Fabelmans – John Williams
Women Talking – Hildur Guðnadóttir

BEST SOUNDTRACK

Black Panther: Wakanda Forever
Elvis
Moonage Daydream
Top Gun: Maverick
Weird: The Al Yankovic Story

BEST ACTION FILM

Avatar: The Way of Water
Everything Everywhere All at Once
RRR
Top Gun: Maverick
The Woman King

BEST COMEDY FILM

Everything Everywhere All at Once
Glass Onion: A Knives Out Mystery
Jackass Forever
The Unbearable Weight of Massive Talent
Weird: The Al Yankovic Story

BEST HORROR FILM

Men
Nope
Pearl
Scream
X

Guillermo del Toro’s Pinocchio

BEST ANIMATED FILM

Apollo 10 ½: A Space Age Childhood
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Turning Red
Wendell and Wild

BEST DOCUMENTARY FILM

All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Sr.

BEST INTERNATIONAL FILM

All Quiet on the Western Front
Close
Decision to Leave
Happening
RRR

BEST SCENE

The Fabelmans – Sam meets one of his idols on the studio lot.
Marcel the Shell with Shoes On – Marcel on 60 Minutes.
Nope – A tragic day on the set of Gordy’s Home.
RRR – Piggyback prison escape.
Tár – Lydia bullies a Julliard student.
Top Gun: Maverick – Iceman visits with Maverick.

RRR

‘Women Talking,’ ‘The Sex Lives of College Girls’ Receive SOFEE Honor

‘Women Talking,’ ‘The Sex Lives of College Girls’ Receive SOFEE Honor

The Critics Choice Association (CCA) Women’s Committee is pleased to announce “Women Talking” (United Artists Releasing) and “The Sex Lives of College Girls” (HBO Max) will receive the Seal of Female Empowerment in Entertainment. Called the “SOFEE,” the Seal recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories.

“Women Talking” focuses on a group of Mennonite women who gather to determine what action to take after rampant sexual abuse is condoned by the male leaders of the community. Written, directed, and produced by Sarah Polley from the novel by Miriam Toews, the drama explores the themes of sisterhood, autonomy, and justice through the eyes of women who have lived their entire lives inside a closed, conservative, rural community.

“I am so thrilled our film has been included amongst the incredible films receiving this honor, and so grateful for this initiative to encourage more films that tell women’s stories,” wrote Polley in a letter to the CCA membership. “Sometimes, when embarking on a project like this one, it’s easy to feel lost and unsure. Especially when you are telling a story about a community that has never been told. You must break and remake yourself in the process of finding your true voice. Thank you for creating this seal which helps a lot of us who have been lost to feel seen.”

The Sex Lives of College Girls

“The Sex Lives of College Girls” is a female-led scripted comedy series following four very different freshman girls at a prestigious college in Vermont. Led by a diverse cast that stars Pauline Chalamet, Amrit Kaur, Alyah Chanelle Scott, and Reneé Rapp, these young women juggle their educational aspirations with their newfound freedom and burgeoning sex lives. Created and written by Mindy Kaling and Justin Noble, and with a majority of female writers and directors, the series showcases young women  navigating the beginning of adulthood through diverse, relatable and witty stories. 

“With diverse female representation behind and in front of the camera, ‘The Sex Lives of College Girls’ is the perfect example of what we are looking for when awarding the SOFEE,” said Tara McNamara, Chair of the CCA Women’s Committee. “Women write and produce the series, and their point of view shines through in the sometimes relatable, always hilarious stories that may bring back cringey memories for many women. The show’s sex positive message is reflected differently for each of the four main characters, allowing women from all walks of life to see elements of their own journeys represented on-screen.”

Both “Women Talking” and “The Sex Lives of College Girls” received perfect scores in the numerical formula that is used to determine if new titles, nominated by CCA Women’s Committee members, are eligible for a SOFEE. Qualifying projects will have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test. To be considered, new film and television releases must possess an artistic and storytelling value and exceptionality, and score at least 7 out of a possible 10 points in the SOFEE rubric, which can be found at CriticsChoice.com. There are no limits or quotas governing the number of SOFEE seals the CCA may grant.

The Seal of Female Empowerment in Entertainment is issued by the CCA Women’s Committee. Members include Tara McNamara (Chair), Hillary Atkin, Semira Ben-Amor, Christina Birro, Lauren Bradshaw, Jamie Broadnax, TJ Callahan, Natasha Gargiulo, Toni Gonzales, Teri Hart, Laura Hurley, Susan Kamyab, Louisa Moore, Gayl Murphy, Mary Murphy, Patricia Puentes, Christina Radish, Amanda Salas, Rachel Smith, Sammi Turano, and Lynn Venhaus, as well as CCA board member Paulette Cohn.

WOMEN TALKING (2022) Rooney Mara, Claire Foy, and Jessie Buckley CR: Michael Gibson/United Artists Releasing

About the Critics Choice Association (CCA)

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

‘The Christians’ Offers Outstanding Acting in Thought-Provoking Play

‘The Christians’ Offers Outstanding Acting in Thought-Provoking Play

By Lynn Venhaus
Playwright Lucas Hnath doesn’t ever flinch, and neither does his lead character, Pastor Paul in “The Christians,” an examination of faith and influence in a 21st century megachurch.

In an innovative move, the West End Players Guild is presenting this thought-provoking drama in the Union Avenue Christian Church, not their usual stage in the basement.

It’s just one of director Ellie Schwetye’s smart moves, and the setting adds an authenticity for this examination of faith and doctrine.

It’s not a typical megachurch plot, where there is often reason to deride piety. The characters are sincere, which makes it more powerful.

Pastor Paul has discarded his church’s traditional fundamentalist Christianity in favor of a more inclusive and universal Christianity. When he announces to his congregation that he has come to doubt a core belief – well, this does not go over well.

He thinks other religions have valid points. Oh, the horror. This rocks everyone to their core. Chaos will ensue.

Ten years ago, his church was a modest storefront, but now it houses thousands, with all sorts of amenities. It’s paid for, and all seems to be going well. How does one man unite a church – and then, suddenly, divide it? Can internal politics tear down things built up with love?

As Pastor Paul, Joel Moses digs deep, showing us his pain over his flock’s revulsion, and how those closest to him turn on him. He’s aghast, for while he expected this sermon to be controversial, the reaction stuns him. Their foundation – and relationships – will crumble before our very eyes.

As this unsettling drama unfolds, the cast is pitch-perfect, making sure each character is not black-or-white, but many shades of grey. Each has a crisis of faith, and this creates thought-provoking content. And interesting confrontations as they all seem at different crossroads.

Joseph Garner is impressive as the associate pastor Joshua, who must stay true to his values. Rachel Hanks is strong as Pastor Paul’s faithful wife Elizabeth — but begins to doubt so much about their relationship and work. And then loyal parishioner Jenny, played by a fiery Chrissie Watkins, must speak her truth. Michael Byrd has a small role as Elder Jay.

Hnath, a favorite of West End Players Guild, first produced “The Christians” at the Humana Festival of New American Plays in Louisville, Ky., in 2014. It premiered off-Broadway at Playwrights Horizons in 2015, and then had its Chicago premiere at Steppenwholf Theatre Company in 2016. He is the son of a minister.

Among its accolades – “The Christians” was nominated for two 2016 Drama Desk Awards, for Outstanding Play and Outstanding Actor in a Play, and then nominated for the 2016 Lortel Award for Outstanding Play and Outstanding Lead Actor in a Play. It won the 2016 Outer Critics Circle Award as Outstanding New Off-Broadway Play

This production is a St. Louis premiere, and is one of the strongest dramas of the year.

West End Players Guild presents Lucas Hnath’s The Christians Dec. 2-11 at Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org.

Photos by John Lamb

Oh What Fun A Wild and Weird Cult Musical Can Be This Time of Year

Oh What Fun A Wild and Weird Cult Musical Can Be This Time of Year

By Lynn Venhaus

A little bit of horror and a lot of hilarity ensues in the madcap cult musical “Ride the Cyclone: The Musical,” now playing in a festive amusement park-like atmosphere at the Tower Grove Abbey.

For those unfamiliar with this musical comedy by Jacob Richmond and Brooke Maxwell, six peppy performers portray teenagers from a Canadian parochial school chamber choir whose lives are cut short in a freak accident aboard a roller coaster.

And that’s not the only thing freaky in this zany production that has a distinct viewpoint about the universal mysteries of life, death, and the afterlife – mostly funny, but sometimes sad, and surprisingly touching.

After they wind up in Limbo, a mechanical fortune teller, The Amazing Karnak, offers the dead kids a chance to return to life – but only one will be selected in this strange game of survivor. So, each tells their stories of living in Uranium City, Saskatchewan, and of their experiences at St. Cassian High School.

Five are kooky variations of John Hughes-like characters while the sixth, Jane Doe, was decapitated in the calamity and her body wasn’t claimed. Dawn Schmid plays the mysterious and ethereal outlier, showcasing her elegant voice in the opening number “Dream of Life” and later, “The Ballad of Jane Doe,” in which she talks about not knowing her identity.

The other five try to set themselves apart, and they accomplish that. This is a merry band of accomplished performers who make each character their own.

Photo by John Lamb

Eileen Engel, channeling Reese Witherspoon’s Tracy Flick character in “Election,” is the classic annoying over-achiever who is so certain she should be spared – and is snide in her comments to others, her entitlement front and center. Her name Ocean O’Connell Rosenberg. Seriously. Her catch phrase is “Democracy rocks!”

Her number, “What the World Needs,” brings out her personality traits and she leads the ensemble on “Every Story’s Got a Lesson.”

Riley Dunn may be having the most fun on stage as a very angry adopted young man, Mischa Bachinski, from the Ukraine. He’s an aspiring rapper, so of course, he must show off in “This Song is Awesome” and then display his softer side when recalling his internet girlfriend “Talia.”

In death, Stephen Henley’s earnest Ricky Potts, mute with a degenerative disease — catch phrase “Level Up!” — apparently has a new lease on life, as he is no longer disabled, and thrives with his discovered abilities. Part mensch, and pure team player with an overactive imagination, he sure has fun in his fantasies with “Space Age Bachelor Man.”

Grace Langford is eager-to-please Constance Blackwood, who is upset that she’s always labeled “nice,” has a love-hate relationship with her hometown and has a secret to later share. (And it’s a doozy). She belts out “Jawbreaker” and then after she changes her mind, “Sugarcloud.”

Mike Hodges has done double-duty as choreography and performer, and he gets to be outrageous as a gay kid in a small town who has never encountered anyone in his tribe. His saucy “Noel’s Lament” is the bawdiest number.

 “The Other Side” is a spirited introduction.

The choreography is a delightful mix of “High School Musical,” “Cabaret,” “La Cage aux Folles,” even shades of “Cats,” and contemporary music videos.

The kids take a break from their “Look at Me!”attitudes to sing the tender “The New Birthday Song” to Jane Doe.

Engel also does double duty, as costume designer, with looks that run the gamut from the drab Catholic school jumpers to Hodges’ more risqué outfits

A well-known local actor voices Karnak, and his narration is superb. The program doesn’t reveal who he is, so I’ll keep that quiet until we’re allowed to share, no spoiler from me.

The musical was first performed in 2008, but did not have its American premiere, in Chicago, until 2015, and then mounted off-Broadway the next year.

It has developed a cult following, somewhat like “The Rocky Horror Show,” and audience members came from several different states, whooping it up, their enthusiasm contagious.

This is a fast-paced show – 90 minutes without an intermission. While it flows smoothly, a tremendous amount of difficulty is apparent because of the level of stage craft, but it’s all handled with aplomb.

Photo by John Lamb

Director Justin Been has cleverly staged the intricate movements, with timing a crucial element, and skillfully coordinated the moving parts – as there are many cues for sound, lights, and special effects. Many video projections are used, too, snapshots from their lives.

Longtime tech creative Tyler Duenow has masterfully taken the lighting design to new heights — a terrific mix of spooky, strange and status quo, while sound designer Jacob Baxley’s crisp work is noteworthy too.

Scenic designer Josh Smith has appointed the small space well, with the Karnak a creepy standout (not confined to a glass case like in “Big.”)

The witty script leans towards the sarcastic, with some laugh-out-loud observations, Been, along with his cast, has enlivened the show with up-to-date references (script allows it)

The band is onstage and appears to be having fun. Led by music director Leah Schultz, who also plays piano and recorder, musicians include Michaela Kuba on bass and cello, Adam Rugo on guitar and Joe Winters on percussion.

A macabre and mirthful show might not evoke the spirit of Christmas, but it sure spread joy to the world in Tower Grove Abbey – a cheering audience, exuberant cast and top-of-their game creative team made it a pleasant holiday-time diversion.

Stray Dog Theatre presents “Ride the Cyclone: The Musical” Thursdays through Saturdays December 1-17, with additional performances on Sunday, Dec. 11, and Wednesday, Dec. 14, both at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. This show contains mature language, smoke effects, strobing lights, and sudden loud noises. Masks are not required but encouraged. For more information or for tickets, visit www.straydogtheatre.org.

Photo by John Lamb

Pieces of Magic Spun as Inner Peace Memoir in Original ‘Forget-Me-Not’

Pieces of Magic Spun as Inner Peace Memoir in Original ‘Forget-Me-Not’

By Lynn Venhaus

A fascinating piece that combines intricate magic feats with intimate storytelling, “Forget Me Not” is an uncommon presentation.

Illusionist Kyle Marlett engages with an original and autobiographical one-man show that is much more than sleight of hand magic tricks and stunning visuals. As nifty as those inspired bits are, they are part of a bigger picture.

This is not your flashy extravaganza with pulsating music and fancy lighting that you often see as show biz spectacles — nor is it lacking artistry. Quite the contrary. It’s a one-of-a-kind rumination on learning, living, and leaving a mark, done with tender care.

This ambitious production appears to be a solo enterprise, but it’s not, for he has an accomplished cohort. Gunnar Sizemore, an actor who has appeared as Micah in the TV series “Nashville,” is Marlett’s co-creator. He is a director and voice actor, too, known for voicing Bao in the TV series “Kung Fu Panda: The Paws of Destiny,” among others.

The unusual set design – walls of boxes, some opening for effect, was co-designed with Patrick Huber. Several boxes hang from the ceiling, and are timed to drop as part of the show.

Kyle Marlett “Forget-Me-Not”

The subdued atmosphere includes low lighting and smoky effects, and the sound is soft. Huber was the lighting designer, too, and Marlett designed the sound.

Wearing his heart on his sleeve, Marlett shares his life story in a measured tone, with striking visual flourishes along the journey – such as recounting the times he and his brother shared giant bowls of cereal after school.

He has been estranged from that brother because of drugs. His brother’s woes and his father’s alcoholism didn’t make for a happy childhood, and he grew up escaping into his own fantasy world.

Magic enthralled him from the get-go and determined his path. His story’s unique, yet familiar, and that’s the endgame goal here – to engage people in a memorable way.

It’s doubtful that you’ve seen anything like it before. I know I haven’t.

Marlett has more than 1.5 million followers online and has been on such television shows as “The Tonight Show,” “Penn and Teller’s Fool Us,” and “RuPaul’s Drag Race.” He has also produced magic for movies and streaming series. A few years ago, he appeared at The Gaslight Theatre “in a very different show,” he told me.

Now, this show’s purpose is to focus on more meaningful connections. You know, the heavy stuff – Why are we here? What happens after we’re gone – who will tell our stories? What impact can we have? The clock is ticking, so how do we go about being remembered?

Marlett respectfully asked the audience for their thoughts, and to share some details, while he incorporated magic into the structure. Without razzle-dazzle, they were quite impressive – and the audience reacted warmly.

 This is a departure from the customary fare at St. Louis Actors’ Studio but follows that theme of connection that’s been ever-present in our post-pandemic (well, post-vaccine) world.

The feeling of a shared experience, like live theater represents, remains.

The St. Louis Actors’ Studio presents “Forget Me Not,” Dec. 3-18, Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. in The Gaslight Theatre. It is 75 minutes without an intermission. Box office 314-458-2978 or www.ticketmaster, or one-hour before each show. For more information, visit www.stlas.org or contact help@stlas.org.

Daryl Hall’s Invigorated On Solo Tour

Daryl Hall’s Invigorated On Solo Tour

Hall will be in concert with Special Guest Todd Rundgren on Thursday, Dec. 1, at 7:30 p.m. at Stifel Theatre in St. Louis

By Lynn Venhaus

A soul survivor spanning 50 years in the music business, Daryl Hall still gets excited talking about performing live.

You can hear the enthusiasm about his latest venture in his voice during a recent phone interview. He embarked on the BeforeAfter Tour April 1 in Chicago, his first solo tour in more than a decade, and it’s been extended twice, launching again on Nov. 19, and wrapping up this week.

He will appear in concert on Thursday, Dec. 1, at Stifel Theatre in St. Louis, along with his special guest — old friend and fellow Philadelphian, Todd Rundgren.

Tickets are available for the show that starts at 7:30 p.m.: https://www.ticketmaster.com/daryl-hall-and-the-daryls-house-st-louis-missouri-12-01-2022/event/06005D2F8AF11B70

The last show for this year is Dec. 3 in Evansville, Ind.

“We are so happy because it’s been beyond our expectations,” he said from his home in Connecticut. “People are loving the show. It’s a big departure for me being out on my own and starting this new thing.”

Before After

Hall has released his first-ever solo retrospective, “Before After,” which features 30 selections from his five solo albums, from “Sacred Songs” in 1980 through “Laughing Down Crying” in 2011. In addition, the collection features six never-released performances from “Live from Daryl’s House,” his acclaimed web and television series.

The two-disc album, from Legacy Recordings, a division of Sony Music Entertainment, can be purchased here: https://legacyrecordings.lnk.to/BeforeAfterPR

The current Daryl’s House Band accompanies Hall and Rundgren, and includes guitarist Shane Theriot, bassist Klyde Jones, saxophonist Charlie DeChant, keyboardist Elliott Lewis, drummer Brian Dunne and percussionist/singer Porter Carroll.

“I have the best band in the world,” he exclaimed. “They travel with me all the time. Their experience shows on stage.”

Two new episodes of “Live from Daryl’s House” have been recorded and he said they’re getting ready to do a third, so stay tuned.

Todd on Live From Daryl’s House

Hall, 76, and Rundgren, 74, continue to thrive on the music paths they started as teenagers.

Both singer-songwriters and multi-faceted musicians, they have produced and arranged recordings for much of their Hall of Fame careers.

For this tour’s setlist, Rundgren starts off with an individual set, followed by an intermission, then by Hall. Then, they come together for the grand finale.

During the pre-vaccine part of the pandemic, when the world shutdown, so did he.

“I didn’t write a song. I hardly left the house. I slowed down,” Hall said.

But working on the retrospective and mapping out a tour was the impetus he needed to get back to doing what he loves to do.

Why take to the road after having such a long illustrious career?

“I am a working musician,” he said. “I live to work. I also have these guys (the band) to take care of. It is hard to challenge just yourself. This tour is a labor of love. I enjoy the work.”

Hall was thrilled to play at Carnegie Hall in New York City and Ryman Auditorium in Nashville for the first time.

Grateful to be connecting again with live music, he’s as invigorated as the fans.

“People are ready to go out and have a good time, relax. We’ve tapped into that need for human connection after the past couple of years,” he said.

That Philly Soul

Bonded by their Philly roots and simpatico relationship, Hall and Rundgren are a match that fans have responded to, described as a ‘dream team.’

Todd, Oates, Hall in 1974 (see info below)

“We grew up 20 miles from each other in Chester County (southeast Pennsylvania, part of Philadelphia metro area, Hall in Pottstown and Rundgren in Upper Darby),” he said. “We were aware of each other, but we didn’t meet until we both had moved to New York City at the same time.”

Where they met still makes him smile.

“We met at a showing of the movie ‘Fantasia,’ which is just so perfect, and we talked about how we should record together,” he said.

That led to Rundgren producing Hall & Oates’ third album, “War Babies,” in 1974.

“We continued to work together. He’s a real kindred spirit,” he said. “Todd’s music is so soulful, eclectic. He’s a maverick. We literally come from the same place. We were made to work together.”

Fans already know how good the blue-eyed soul pair sound together, for they’ve created magic both at Daryl’s home studio and at Todd’s place in Hawaii.

Their music has been flavored with the Sound of Philadelphia – noted for its funk and rhythm and blues fusion with pop, with a jazzy melodic structure, often including horns and strings in the instrumental arrangements. Philly soul can be heard in such acts as The Spinners, O’Jays, Delfonics and Stylistics.

“It was a very big influence in my music. You can’t help but have pride in the Philly Sound, it’s still a major influence in the world,” he said.

As the best-selling duo of all-time with John Oates, Hall had six no. 1 hits in the 1970s and 1980s. Hall & Oates’ accessible pop has stood the test of time – and you can hear their greatest hits used in current commercial campaigns.

Inducted into the Rock and Roll Hall of Fame with Oates in 2014, they team up from time to time, including several concerts this past year.

Hall, whose mom was a vocal teacher and choir director, said he can’t remember a time when he wasn’t singing. While in college at Temple University, he recorded his first song with a group he formed, The Temptones. He was 18, and he’s been recording ever since.

In the early days of Hall & Oates, they didn’t break through with major success until “Sara Smile,” was released as a single in 1975.

“That song is very significant to me,” he said. “It was very exciting to hear it on the radio. It was an indescribable feeling.”

(“Sara Smile” was about his girlfriend at the time, Sara Allen, who contributed to some of Hall & Oates’ most popular songs – “You Make My Dreams,” “Maneater,” “Private Eyes” and “I Can’t Go for That” among them. They were in a long-term relationship for about 30 years, breaking up in 2001).

Live from Daryl’s House

Just as Hall & Oates had their many successes during the early days of MTV, embracing music videos as a promotional tool, Hall has managed to reinvent himself in the digital age through his award-winning series.

He launched LFDH as a free monthly show on the internet in 2007 and played music with friends. He wanted it to have a relaxed vibe of hanging out and having a good time jamming. It also ran on television, including Viacom’s Palladia channel.

“It’s been phenomenal. It was an idea whose time had come. Nobody was watching the internet then. How times have changed since then,” he said.

Fans new and old responded to his collaborations with the latest generation of musicians as well as his contemporaries – and a variety of genres. He’s played with Neon Trees, Jason Mraz, Smokey Robinson, The Spinners, Tommy Shaw, Kenny Loggins, Joe Walsh, and The Goo Goo Dolls.

Winner of a Webby Award for best variety series and O Music Award from MTV for best performance series, LFDH has recorded 82 episodes, some of which are archived on his website, while others are available on YouTube.com

For many years, he recorded the show in the 18th century home he rehabbed in New York’s Hudson Valley, in Millerton, but then moved to Connecticut. For a new place starting with the 66th episode, he renovated the former Towne Crier nightclub in Pawling, N.Y., into a restaurant-and-live-music venue, which opened in 2014. It is currently open for business and offering live entertainment.

https://www.livefromdarylshouse.com/welcome.html

For more on the artists:

John Oates, Daryl Hall

Hall & Oates

They met in 1970 while students at Temple University, and recorded their first album, “Whole Oats,” in 1972. A year later, “Abandoned Luncheonette” followed, featuring the hit “She’s Gone.”

With the release of “Sara Smile” from what’s known as “The Silver Album” in 1976, they became superstars. In 1987, the Recording Industry Association of America declared they were the best-selling musical duo of all-time and have maintained that record.

Hall would be a part of “We Are the World” and the duo was on the stage during Live Aid in Philadelphia in 1985. They also backed up Tina Turner and Mick Jagger.

As for his description of St. Louis legend Turner, Hall said: “She’s great. She’s very gracious and kind,” he said, noting that the first record he bought at age 12 was Turner’s.

Todd Rundgren

Todd Rundgren

Rundgren began playing guitar as a teenager and formed the psychedelic garage rock quartet Nazz in 1967, releasing three albums between 1968 and 1971. He re-recorded his hit song, “Hello It’s Me” as a solo artist. He released “Runt,” his first solo album, in 1970, and learned how to produce an album himself.

A production deal led him to projects with Janis Joplin, the Band, Patti Smith, and others. He also produced albums for the New York Dolls, Grand Funk Railroad, Meat Loaf and Daryl Hall & John Oates.

For his 2-disc masterpiece, “Something/Anything?” in 1972, he sang all the vocal parts and played all the instruments on three of the four sides. He has released 25 solo albums and 10 with Utopia. His latest, “Space Force,” was released on Oct. 14.

His music video for ‘Time Heals” was the eighth one played when MTV launched on Aug. 1, 1981.

He is genuinely regarded as an innovative and resourceful singer, songwriter, musician, sound engineer and record producer. A multimedia artist, he is considered a pioneer in the fields of electronic music, progressive rock, music videos, computer software, and Internet music delivery. By the mid-90s, he was experimenting with interactive CD-ROM and new video technology.

He was inducted into the Rock ‘n Roll Hall of Fame in 2021, although he refused to attend the ceremony.

He has toured with Ringo Starr and the All-Star Band, the new Cars and recently appeared on the Celebrating David Bowie tribute tour in October and November.

Photos: Todd Rundgren, on his 26th birthday, on June 22, 1974, was in concert at the Wollman Rink in Central Park, and Daryl Hall and John Oates were part of his ‘chorus.’ He was producing their “War Babies” album then. (Photo posted on YouTube, with audio, from the 1974 concert: https://youtu.be/ls0Yje9-woI)

“