So Mel Gibson has been persecuted all the way to the bank.
My friends had one question for me after I saw Mel Gibson's The Passion of the Christ: Is it anti-Semitic?
Solo theatrical performances are like ads. Everyone claims to hate them but nevertheless finds the good ones irresistible. A good ad acts like a tonic, making a new idea easy to swallow.
Since Miles Davis died on September 28, 1991, the merchandising machine has been in overdrive, pushing repackaged classics (Kind of Blue, Sketches of Spain), niche compilations and
Mel Gibson's movie is a blood libel against the Jewish people.
From the moment when Mel Gibson began promoting The Passion of the Christ--was it only ten years ago?--he has insisted that his goal was to be true to the Gospel text.
The story of American popular music contains several moments when a career that has gone south is dramatically resurrected before an awed and grateful public.
Bernardo Bertolucci has long fed off a cinephilia he appears to despise.
The name Shakespeare in Britain is rather like the names Ford, Disney and Rockefeller in the United States. He is less an individual than an institution, less an artist than an apparatus.
Apparently to McNamara's mortification, Errol Morris, whose film The Fog of War I discussed in my last column here, passes over his subject's thirteen-year stint running the World Bank, wh