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4K, 3D, 2D Movies, Culture-Live in Hd, Opera, Ballet & Theatre

Léirmheas Black 47

Níl aon dabht ach go raibh 1847 an bhliain is measa i stair na hÉireann agus faoi dheireadh, 170 bliain ina dhiaidh sin, rinneadh an chéad scannán faoin Gorta Mór. Cuireadh Black 47 amach i bpictiúrlanna in Éirinn an tseachtain seo. Bhí sé stiúrtha ag Lance Daly agus tá aisteoirí iontacha sa scannán freisin idir na haisteoirí idirnáisiúnta agus na hÉireannaigh.

Bhí Martin Feeney (James Frecheville) ag troid leis an arm na Breataine in Afganastáin agus nuair a thánaig sé ar ais go dtí Conamara, bhí gach mac máthar imithe (fuair siad bás den ocras nó bhog said go Meiriceá), a chlann san áireamh. Thug Feeney faoi deara gur bhain roinnt daoine Éireannacha tairbhe as an nGorta mar bhí said ag obair leis na Briotanaigh. Sa scannán, tá sé ag iarraidh díoltas a bhaint amach ach ag an am céanna tá sé ag iarraidh pionós a sheachaint mar thréigh sé an arm.

Is rud an-tábhachtach í an Ghaeilge sa scannán mar úsaidtear an Ghaeilge chun idirdhealú a dhéanamh idir na daoine a bhí ag fulaingt agus na daoine a bhí ag baint tairbhe as an nGorta. Ina theannta sin, is léir go ndearna siad a lán taighde mar go raibh go leor fíricí stairiúla ann. Ach ó am go chéile, tá sé soiléir nach raibh buiséad an-mhór acu go háirithe sna radhairc trodaireachta. Ach é sin ráite, is é an chéad scannán faoin Gorta Mór, bhí an aisteoireacht thar barr agus bhí an cineamatagrafaíocht an-éifeachtach.

 

Tamara Ní Shíocháin

Ráta: 4/5Book Now

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Shakespeare’s “The Merry Wives of Windsor” PREVIEW

NT LIVE, Wed, Sept 12 @ 7pm.

Ablaze with energy … a delight”; (The Independent): “Giggles galore”; (The Times)

“The Merry Wives”, while it’s never acclaimed by Professors, is one of its authors most popular and most performed plays. It’s also one of the most often filmed (in varying adaptations) of his plays. It’s Shakespeare having some fun and its knockabout comedy has made it ever-loved. There are many ways to acquire money, and Falstaff hits upon a very neat device – in straitened times, he decides to seduce the wives of two wealthy husbands as his means of succour.

In his two King Henry 4th plays, William Shakespeare created Falstaff, one of the greatest comic creations in all drama – a character who, it has been maintained, is more alive than many real life people could ever be. The fat knight is a “lovable rogue”, an indefatigable source of endless wit, mischief and good humour in adversity. Mistress Quickly’s description of his death (in “Henry the Fifth”) is one of the most beautiful and poignant in all literature. For many of us, Orson Welles’ black and white film based, “Chimes at Midnight”, based on the rascally, fat old knight, is one of the glories of the cinematic art.

Legend has it that Queen Elizabeth 1, having seen the King Henry 4th plays and having delighted in the ageing knight’s antics, asked Shakespeare to write a comedy around his further exploits – if true, she must have been a mere Princess at the time because all the evidence suggests that the earlier plays were written between 1596 and 1598 and “The Merry Wives” in the years before the turn of the century; and, of course, she didn’t accede to the throne till 1603.We know that she saw the play performed, in 1597.

This hilarious comedy, its author’s only domestic comedy, is the most laugh-out-loud of all his plays – Shakespeare having some fun, in this case at Falstaff’s expense. He had promised something along these lines in the prologue at the end of “King Henry the Fourth: Part Two” but omitted the fat reprobate in the succeeding play. But it must be said that the Falstaff in “Merry Wives” is only a pale shadow of his previous selves.

In the play, convinced that no woman could resist his charms, woos two prosperous married women, Mistresses Ford and Page, and sends them identical letters. They ‘compare notes’ and decide to arrange separate assignations with him so as to humiliate him. Ford, on learning of Falstaff’s attempted adultery with Mistress Ford, goes to him in disguise and pretends that he seeks a liaison with the same woman (his wife). Falstaff tells him of his own plans to meet her. It all ends badly for the would-be seducer and he makes his escape in a laundry basket, later to be dumped ignominiously in the Thames. There are also many episodes around the many suitors trying to win Miss Anne Page and it all amounts to Shakespeare’s happiest play.

But “all’s well that ends well’ and at the end all, including the put-upon hero, are happy. All is forgiven. It has all been a sport. From the famed RSC, it should leave us clutching our sides in laughter. A great author, a marvellous play, a world-famous company and all Live at SGC – what more could any theatre-lover ask for!

[Fogra: My favourite Puccini opera, “La Boheme”, recorded at one of the world’s most spectacular venues, Sydney Harbour, is being screened at SGC on Thurs, Sept 13th at 7pm. It should be a great event for opera lovers.]      (Jim Ryan).

 

Learmhais Christopher Robin

Bhí cliú agus cáil ar Winnie the Pooh ar fud an domhain agus cuimhníonn a lán daoine Christopher Robin mar an páiste a d’imir leis an mbéar sa “Hundred Acre Wood”. Bhí an scannán stiúrtha ag Marc Forster agus scríofa ag Alex Ross Perry ón scéal a bhí scríofa ag Greg Brooker agus Mark Steven Johnson. Ach, tá an scannán seo difriúil mar is é an chéad uair atá na carachtair cáiliúil sa scannán “live-action” ar an scáileán mór. Is iad Ewan McGregor agus Hayley Atwell na príomhaisteoirí agus guthaigh Jim Cummings agus Brad Garrett na príomhcharachtair.Sa scannán feicimid Christopher Robin agus é fásta suas. Is léir gur chaill sé a shamhlaíocht ach nuair a bhuail sé le Winnie the Pooh gan choinne, athríonn é sin. Chaill Pooh a chairde (Tigger, Eeyore, Piglet, Owl, Rabbit, Kanga agus Roo) agus téigh sé ar ais go dtí an “Hundred Acre Wood” le Christopher Robin chun iad a fháil. Nuair a bhíonn siad go léir le chéile arís, téann said go Londain agus taispeánann siad na rudaí atá tábhachtach sa saol do Christopher.Is léamh áilinn ar an gclasaic é an scannán seo, gan dabht. Rud amháin nár mhaith liom ná go raibh an chuid is mó den am scáileáin ag baint le Christopher Robin, Pooh agus Tigger. Bheadh sé go deas chun níos mó faoi na charactair eile a fheiceáíl ach é sin ráite, tá na trí charactar sin go hiontach agus mar sin, ní raibh sé go leor chun é a mhilleadh. Is scannán iontach é do theaghlaigh, gan dabht ar bith.

Ráta 4.5/5

Tamara Ní Shíocháin

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Learmhais Skyscraper

Beidh an réalta scannán Dwayne Johnson ag filleadh ar ais go dtí pictiúrlanna sa scannán Skyscraper. Is scannán gníomhach ó Mheiriceá é Skyscraper atá scríofa agus stiúrtha ag Rawson Marshall ThurberIt. Ina theannta sin, is iad Dwayne Johnson, Chin Han, Roland Møller, Noah Taylor, Byron Mann, Pablo Schreiber, agus Hannah Quinlivan na príomhaisteoirí sa scannán seo.Ba gníomhaire FBI é Will Sawyer (Johnson) ach anois is measúnóir slándála é san ilstórach spéire is airde ar domhan. Mar gheall ar sin, cónaíonn sé san ilstórach spéire sin. Dar le daoine eile, tá an foirgneamh i gceist an-sábháilte agus ní bheadh aon duine ábalta briseadh isteach ach ar an ndrochuair níl Will cinnte. Nuair a tharlaíonn ionsaí sceimhlitheoireachta, tá clann Sawyer i bponc mar tá siad gafa ar an 96ú hurlár agus tá an foirgneamh trí thine. Tá rudaí níos measa arís nuair a chuirtear an milleán ar Sawyer as an ionsaí.Ina theannta sin, ní raibh Neeve Campbell ar an scáileán mór ó 2011 nuair a chríocnaigh na scannáin “Scream” agus tá sí ar ais anois. Tá a lán gnéithe neamhréadúla sa scannán ach is scannán maith é ar aon nós. Tá Skyscraper ar cheann de na cúpla scannán amach i mbliana nach dtáinig sé as scannán eile, seó teilifíse nó cluiche físeáin agus is fiú é a fheiceáil mar gheall ar sin, gan dabht.

Rátáil 3/5

Tamara Ní ShíocháinBook Now

 

Learmhais Adrift

Mí Meán Fómhair, 1983 thosaigh Tami agus a fiancé Richard turas mór fada 4,000 míle ó Tahiti go San Diego. Leath bhealach tríd an tAigéan Ciúin buaileann siad le hairicín Raymond, stoirm thrópaiceach a bhí ar an mbealach ar feadh cúpla seachtain. Tá an bheirt acu gortaithe agus chuaigh Richard thar bord le linn an stoirm. Creideann Tami go bhfeiceann sí Richard ar snámh ar rafta, úsáideann sí gach unsa fuinneamh atá inti é a tharraingt chun bháid. Le linn an tubaiste seo, is minic a thagann athchuimhní chuig Tami maidir le scéal grá an lánúin.Taispeánn sé seo don  lucht féachána conas a bhuail an bheirt acu le chéile agus an ceiliúir pósta. Is brise deas é seo de radhairc an bád ag imeacht le sruth. Mar gníomh baothdhána, athraíonn Tami cúrsa an bháid i dtreo Haváí. Seans mór é seo mar má theipeann uirthi Haváí a shroicheadh níl aon mórthír eile ar an gcúrsa sin. Tá a lán brú ar Tami, tá uirthi an bia a roinnt amach go ciallmhar. 41 lá ina dhiaidh tagann an éacht dhochreidthe seo chun críche. Is scéal é seo ní amháin faoin aistear go sábháilteacht ach faoin scéal grá agus an guth taobh istigh duit faoi a bhfuil ag impí duit gan géilleadh. Tá neart ionann ar fad atá thar cionn an rud a féidir leat samhlú.

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Jurassic World: Fallen Kingdom Review

It’s hard to believe but we are now five movies into the Jurassic franchise with this the sequel to the 2015 Jurassic World.  Directed by J. A. Bayona who must take a lot of credit for a visually spectacular movie that starts off fast and just keeps going with lots of high octane action throughout.The plot continues on from the events of the precious movie where the humans have closed the park and left the dinosaurs to their own devices. When the Volcano on the island begins to erupt, the fate of the dinosaurs is at risk. Will the human race stand by and watch as the dinosaurs face extinction for a second time?The plot to this one is not very complicated which will leave many feeling like this was a weak effort in some ways as it seems to be fresh out of new ideas. The movie does have a huge fan base that will eat it up as we certainly get what we expected with this one. That’s not saying it’s a bad movie thought as it does have a lot of pluses which more than make up for everything else. The special effects look amazing as usual which is all the more impressive considering it was not all CGI used. Jurassic World Fallen Kingdom is the second part in the Jurassic World trilogy so expect to see our prehistoric friend’s back for another instalment in the near future.

3.5/5

Bill Tubbritt

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“MACBETH” Live from RSC, Stratford-upon-Avon

Wed April 11th @ 7.15pm

A production of “Macbeth” from Stratford is something to look forward to eagerly. The story of an essentially good man who, we are not sure why, turns to monstrous deeds, is endlessly fascinating.  The play is one of the most popular of all tragedies; it’s one of the most often filmed and most frequently staged of all its author’s plays.

“Macbeth” was always a joy to teach; a rivetting, fast-moving and easy-to-follow story with no subplots, enough action and violence to satisfy even the most bloodthirsty – and two of the most intriguing and repellent charters in all drama. Then, there are the mysterious witches and, above all, some of the greatest poetry ever set down. It’s also one of the shortest of all Shakespeare’s plays

The events of “Macbeth” move swiftly and unrelentingly from the meeting of “brave Macbeth”, the heroic, loyal defender of his king, to a conclusion of tragedy, cruelty and disloyalty. We are witnesses to the physical and moral destruction of somebody who is admired and trusted, brought low by the promptings of a ruthlessly ambitious wife; or, perhaps, by the evil promptings of the witches; or are these external agents merely catalysts that release hidden evil lurking within his psyche. Directors undertaking this play have come up with a myriad interpretations as to why such evil is released during the play.

How does Macbeth descend in a short period of from a loyal subject of King Duncan to being a regicide. It’s true that the witches first plant the seed in his mind but he is abhorred by the very thought of it. We soon encounter one of the greatest monsters in all literature, his wife, Lady Macbeth.

As the play opens, Macbeth is returning in triumph with his fellow soldier, Banquo, having defeated a rebellion against his King and country. On the heath, they are confronted by three witches (although they never refer to themselves as such, rather as the ‘weird sisters’ – from the Old English meaning ‘fate’ or destiny) who tell him that he “shalt be king hereafter”. He is horrified at the very thought of what the fulfilling of the prophecy might entail but is strangely engaged by it. He writes an ambiguous letter to his wife; she thinks him “too full of the milk of human kindness to catch the nearest way (i.e. act ruthlessly)”. She prays to the spirits to make her an inhuman monster free of all human feelings. Almost immediately she is bent on a murderous course and goads him, with taunts of unmanliness, into killing their guest, the King.

This evil act only leads to further atrocities. Ironically, while he revels in evil, she is destroyed by it. It has been said that the Macbeths are the perfect example of a couple who as a couple are capable of depraved deeds of which neither, acting alone, would be capable. The actress, Harriet Walter, says; – “None of it would have happened if either had been acting alone”.

At SGC Dungarvan we can enjoy some of the greatest creations of the human mind, and “Macbeth”, Live from the Bard’s home town, is a must see for lovers of great drama.

By Jim Ryan

Verdi’s “Macbeth” from Covent Garden: Royal Opera House

Wed April 4th@ 7.15pm.

Opera and theatre lovers are in for a special treat in early April – Verdi’s “Macbeth” from Covent Garden, followed a week later from RSC, Stratford-upon-Avon, by the great drama on which it was based, Shakespeare’s ‘Scottish play’; a play whose name many in the theatre will never speak because of their fears that to do so is to invite ill-luck. Verdi and Shakespeare are giants of the theatre and the former was a great admirer of the bard’s plays – he composed two other operas based on Shakespeare’s plays, “Falstaff” and “Otello”, and for much of his life grappled without success with an opera based on that tumultuous drama, “King Lear”.

“Macbeth”, broadly the same as in Shakespeare’s play, premiered in the Teatro della Pergola, Florence, on March 14th, 1847, the composer’s tenth opera. Although it wasn’t a great success originally, it was soon being performed throughout Italy and then all over Europe and is performed regularly all over the world ever since. I was performed in Dublin in 1869, with the legendary Pauline Viardot as the heroine. When Verdi was planning the opera, he wrote to his librettist, Francesco Maria Piave:- “This tragedy is one of the greatest creations of man”. He continued to revise it for many years after its first performance. It’s interesting to note that at the time of the opera’s composition the play had not been performed in Italy and was best known there as a ballet.

The role of Macbeth is a typical Verdi baritone role – his major aria, ‘Pieta, rispetto, amore’, which comes near the end of the opera, is a lament for his decline into evil. The role of Lady Macbeth (the theatrical couple are immortalised for me in the nineteen-seventies TV recording made by Judi Dench and Ian McKellan) is extremely difficult to cast. Verdi asked for a soprano voice that is dark and even ugly – she must ‘snarl’ her way through much of the opera and her voice must be flexible and of enormous range; the one and only Maria Callas was possessed of all the requirements. Matthew Boyden writes of the relatively primitive recording of a 1952 La Scala, Milan performance: “Despite the poor recorded sound, this set comes close to dramatic perfection”.

In composing “Macbeth”, Verdi tried to capture the power, the despair and the ferocity of one of the most intense and unrelenting plays ever written. He focused mainly on the three great entities in the play, Macbeth, Lady Macbeth and the witches. Due to the difficulty in filling the main female role, it’s not too often we get the opportunity to see this great opera. It should provide a thrilling evening at the SGC. With the great Anna Netrebko (whom I saw on stage in a number of roles) as Lady Macbeth and Antonio Pappano conducting, it should provide a thrilling evening of opera at the SGC. (Jim Ryan),

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Learmhais Tomb Raider

Gnáth-scannán aicsin taitneamhach go leor é an leagan nua de Tomb Raider. Déanann sé cúis ó thaobh radharcanna cruthaíocha, ach ná bígí ag lorg aon chruthaíochta ó thaobh scéil de.

An bealach is fearr chun cur síos a dhéanamh ar an laoch so ná, b’fhéidir, “an leagan baininscneach de Indiana Jones”. Feictear na clichés céanna i saol Lara Croft ó thaobh cultúracha iargúlta, cairdeas idirnáisiúnta cé is moite de na clichés sin, agus fiú amháin an t-amlíne céanna le Indiana Jones and the Last Crusade (1989) – tagann an príomhcharachtar ar a (h)athair (a bhí ar iarraidh) i lár misin chun oibiacht a bhfuil cumhacht ornádúrtha aici a aimsiú. Gheofaí a rá gur cóip iomlán de phlot Spielberg atá sa scannán so, scéal a bhí suimiúil sna 80idí ach nach bhfuil mórán gliondar ann san ath-dhéanamh.

Cé go raibh an dá scannán (Tomb Raider 2001 agus an leagan is déanaí) bunaithe ar shraith cluichí ríomhaire le scéalta eachtraíochta éagsúla, agus cé go bhfuil láthair agus oibiacht osnádúrtha difriúil ar an scannán seo i gcomparáid leis an gcéad scannán i 2001, feictear dom go bhfuil an bunscéal céanna athráite ann, agus do chuir sé sin mearbhall orm. Nár fearr aidhm agus fadhb éagsúil a thabhairt do Lara an lae inniu, in áit an scéil céanna? Táim cinnte go bhfuil níos mó sa chúlra ag an sraith cluichí sin ná athair Lara a aimsiú agus a bheith idir dhá chomhairle ó thaobh a shaol a shábháil – arís agus arís.

D’ainneoin easpa cruthaíochta, caithfidh mé dhá rud a mholadh sa scannán so: an stiúrthóireacht agus an ghrianghrafadóireacht – tá aicsean le feiscint ó thús go deireadh, rud a chuireann cluiche i gcuimhne dúinn gan stró, ach gan a bheith iomarcach ó thaobh cleasanna dochreidte de. Gheofaí níos mó ábhair a aimsiú do na “Mythbusters” i scannáin Indiana Jones nó James Bond. Maith siad! Tá an t-aicsean agus na radharcanna troda inchreidte don chuid is mó, ach fós an-spéisiúil. Tá na radharcanna go léir go hálainn, ag cruthú atmaisféir draíochtúil i ngach uile cuid den scannán. Ar iomlán, molaím an scannán so dóibh siúd atá ag lorg siamsaíochta simplí agus radharcanna spéisiúla. Níl an scannán so domhain in aon chor, ach seans gur fearr mar atá.

By Natália Uí Fhaoláin

3/5

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