Gregory G. H. Rihn's Journal|
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Wednesday, May 13th, 2015
|Avengers: Age of Ultron
On Saturday, May 9th, we went to see Avengers: Age of Ultron. We enjoyed this next installment of the ongoing Marvel Movieverse saga, but not quite as much as the initial Avengers film.
Part of this may have been due to the character interaction, which, while actually realistic, isn’t quite as much fun. In the time since the end of the last film, the Avengers have shaken down into more or less of a team, with Captain America (Chris Evans) as defacto team leader. Things are on more of a businesslike footing, with both less banter and less arguing between the team members. What character interaction we do get is good, with a poignant relationship developing between Black Widow (Scarlett Johannsen) and Bruce Banner (Mark Ruffalo), and our view into the abnormally (for superheroes) normal home life of Hawkeye/Clint Barton(Jeremy Renner).
The plot picks up shortly after the end of the last film. Thor (Chris Hemsworth) intends to take the “Scepter of Loki” back to Asgard, but yields to Tony Stark’s desire to examine it before it leaves Earth. Stark discovers that the device harbors an intricate matrix capable of supporting an artificial intelligence more complex than his “Jarvis” program, and decides to investigate its usefulness for his “Ultron” program—a projected automated defense network capable of defending the Earth from alien invasions.
Of course, things go wrong. In classic “Frankenstein” fashion, “Ultron” (voice of James Spader) achieves consciousness while Stark (Robert Downey, Jr.) is away, and freely interprets its mission as being to defend the planet Earth against all dangers—including humans, and especially the particularly dangerous Avengers. Ultron, as interpreted in this script, is a fascinating creation, partaking not only of Frankenstein’s creature, but also other classics of science-fiction, such as the destructively over-protective robots of Jack Williamson’s “With Folded Hands,” and the Terminator movies’ “Skynet.”(Evidently, the Terminator films didn’t exist in the Marvel Universe--.) Ultron’s sometimes existential musings also reminded me of Heath Ledger’s “Joker”—thus proving that Stark has created perhaps the worst monster ever—a nigh-indestructible killer robot with Tony Stark’s sense of humor.
Quickly making himself multi-bodied, Ultron multi-tasks—trying to access nuclear launch codes, destroying the Avengers, building himself an upgraded “synthezoid” body, and coming up with a grandiose plan to render humanity extinct when he’s denied access to the nukes. Ultron recruits Hydra’s modified humans, Pietro and Wanda Maximoff (Aaron Taylor-Johnson and Elizabeth Olsen), who have good reason to hate Tony Stark and want revenge on him and his.
While it’s a generally entertaining plot, there are some pointless diversions. The long battle between Hulk and the optimistically named “Hulk-Buster” Iron Man is needless, except insofar as it allows the script to hint that Stark’s judgment is bad and perhaps getting worse, and allowed the special-effects crew an extended exercise. When Hulk goes on a rampage due to Scarlet Witch’s mind-control, instead of leading him out of town, which could have been easily done at the expense of a few tossed cars, Stark activates “Veronica,” his Hulk-emergency system, and proceeds to engage in a battle that destroys approximately half of downtown Cape Town (or whatever African city that was supposed to have been). This misjudgment is scarcely commented upon, and I sorely missed having Rodgers give Stark a little after-action review.
The overarching plot will continue, with Thor having tumbled that something is going on with the Infinity Gems (as we loyal viewers have known),and Thanos (Josh Brolin) making another cameo appearance at the end.
Among other positive points, I really liked the characterizations and visualizations of new characters Quicksilver, Scarlet Witch, and Vision (Paul Bettany, heretofore the voice of “Jarvis”, in the synthetic flesh). We both particularly liked the Witch’s new costume, briefly glimpsed at the end, which is much better looking than any of her comic-book versions.
I guess the best way to take this series is as we took the comic books it is born from—they can’t all be great, but each one builds upon the next with good writers. In a lot of ways, this installment of Avengers is a “middle book” of trilogy, one in which complications are added, but few things ultimately resolved. I do look forward to further installments.This entry was originally posted at http://sinister-sigils.dreamwidth.org/272881.html. Please comment there using OpenID.
|Florentine Opera, “The Elixir of Love”
On Sunday, May 10th, we enjoyed a charming and beautifully sung production of Gaetano Donizetti’s “The Elixir of Love” (L’elisir d’amore).
The libretto, by Felice Romani, is sweet, funny, and foolish. Poor, honest, and unsophisticated farm boy Nemorino (Rolando Sanz) loves Adina (Diana McVey), who, besides being beautiful, owns her own vineyard, reads a lot of books, and, at the beginning of the opera, is committed to her own freedom and intent on not marrying. Things don’t look good for Nemorino’s suit, so, when patent-medicine dealer Doctor Dulcamera (Musa Ngqungwana) comes to town, Nemorino asks him if he can provide a love potion like the one he has overheard Adina speak of, in the story of Tristan and Isolde.
Dulcamera, following the tried and true rule of never giving sucker an even break, sells Nemorino an unaltered bottle of wine for the lordly sum of one dollar, but cautions it will take overnight to work (by which time Dulcamera figures he will be gone--).
Meanwhile, Adina, having reconsidered her priorities, agrees to marry the hunky Sergeant Belcore (Corey McKern). Initially, Nemorino is not dismayed thinking the potion will change her mind before the wedding, but complications ensue when the date is moved up due to Belcore getting new orders. Nemorino attempts to delay the wedding, as does Adina, who is havingthird thoughts.
Desperate, Nemorino enlists in the army with Belcore in order to get money for a second bottle of “potion” in an attempt to speed results. Dulcamera happily sells him another bottle, and then is astonished to see him swarmed by the local unattached women, who, unbeknownst to the men, have heard a rumor that Nemorino has inherited a fortune.
Witnessing this from a distance, jealousy flares up in Adina, causing her to admit that she loves Nemorino. She buys out Nemorino’s enlistment, and confesses her love to him. Belcore shrugs off being jilted, saying there are thousands of other women he can get. Amid general happiness, Dulcamera takes the opportunity to tout the efficacy of his potions.
The Florentine’s new production was updated to the 1930’sand transplanted to California’s Napa Valley, which is quite believable. The simple setting was done in bright watercolor shades. Costumes were pretty and period-appropriate, including Adina’s fashionable pantsuits. All of the performers sang and acted masterfully, including the members of the Florentine Opera Chorus, who were in excellent voice. We were especially pleased with the handing of the opera’s trademark “A Furtive Tear” aria, (“Una furtiva lagrima”),which Mr. Sanz presented simply, sweetly, and in a contemplative fashion appropriate to the story, instead of making it a tenor showoff piece, which is commonly done.
Maestro Joseph Resigno was at the podium, and evoked Donizetti’s music from the Milwaukee Symphony Orchestra flawlessly to our ears. This was a thoroughly lovely afternoon at the opera.This entry was originally posted at http://sinister-sigils.dreamwidth.org/273141.html. Please comment there using OpenID.