Crimes and Misdemeanors Crimes and Misdemeanors
An indispensable work of art, especially at this moment in our history, Errol Morris's new documentary declares its theme before you even step into the theater. The Fog of ...
Dec 24, 2003 / Books & the Arts / Stuart Klawans
What Are They Reading? What Are They Reading?
"People try to be so fussy and particular when they look at politics," observes Zillah, a character in Tony Kushner's 1987 play, A Bright Room Called Day, "but what I think an un...
Dec 22, 2003 / Books & the Arts / William Johnson
Rebel Without a Cause Rebel Without a Cause
By the time that Jeanne Moreau cut the cake for his twenty-fifth birthday on the set of Elevator to the Gallows, Louis Malle had already been joint winner of an Oscar for his wor...
Dec 18, 2003 / Books & the Arts / Richard Vinen
Go East, Young Man! Go East, Young Man!
In one of his sunnier moods, Jean-Luc Godard might have tacked onto The Last Samurai the subtitle une étrange aventure de Tom Cruise.
Dec 11, 2003 / Books & the Arts / Stuart Klawans
Scully’s Way Scully’s Way
Generations of Yale students share stories about special moments in Vincent Scully's courses on art and architecture.
Dec 11, 2003 / Books & the Arts / Thomas Bender
The Abstract Impressionist The Abstract Impressionist
I have always marveled at the way in which Abstract Expressionism was able to transform a disparate group of painters, none of whom had shown any particular promise of artistic g...
Dec 11, 2003 / Books & the Arts / Arthur C. Danto
Second Comings Second Comings
To the fleet of symbolic vehicles currently cruising the screen--their number includes the "Pussy Wagon" that Uma Thurman (in Kill Bill) coldly claims as her own--we may now add ...
Nov 26, 2003 / Books & the Arts / Stuart Klawans
The Century of the ‘Son of a Bitch’ The Century of the ‘Son of a Bitch’
Errol Morris: After you left the Johnson Administration, why didn't you speak out against the Vietnam War?
Nov 26, 2003 / Books & the Arts / Eric Alterman
Ears Wide Open Ears Wide Open
It's a cliché to say that an artist draws his power from his contradictions, but the lives of the great composers provide easy grist for the mill.
Nov 20, 2003 / Books & the Arts / Russell Platt