Robert Gottlieb
Robert Gottlieb
Robert Adams Gottliebis an American writer and editor. From 1987 to 1992 he was the editor of The New Yorker...
NationalityAmerican
ProfessionWriter
Date of Birth29 April 1931
CountryUnited States of America
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The Iron Curtain may be a thing of the past, but Mother Russia is as mysterious as ever.
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Why movie and dance critics are taking 'The Company' seriously, I can't imagine. Are they impressed by Altman's reputation and naive sincerity? By the fluid semi-documentary approach?
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'Eclipse' is overlong and overly self-conscious, but it isn't a fake or a zero; it just gets exhausting. It raises a crucial question: 'When does Concept morph into Gimmick?'
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'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.
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Paris, as always, is swarming with Americans, and these days, it's also swarming with hamburgers. Oddly, though, it's not typically the Americans who are pursuing the perfect burger on the perfect bun with the obligatory side of perfect coleslaw; the Americans are pursuing the perfect blanquette de veau.
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The first time the Kirov ballet was seen in America was on Sept. 11, 1961. The ballet was 'Swan Lake.' The ballerina was Inna Zubkovskaya. The place was the old Met, on what must have been one of the hottest nights of the year, and there was no air-conditioning.
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Who would have thought that a tap-dancing penguin would outpoint James Bond at the box office? And deserve to? Not that there's anything wrong with 'Casino Royale.' But 'Happy Feet' - written and directed by George Miller - is a complete charmer, even if, in the way of most family fare, it can't resist straying into the Inspirational.
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What really matters is that 'Black Swan' deploys and exaggerates all the cliches of earlier ballet movies, especially 'The Red Shoes,' another tale of a ballerina driven mad and suicidal.
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What 'War and Peace' is to the novel and 'Hamlet' is to the theater, Swan Lake' is to ballet - that is, the name which to many people stands for and sums up an art form.
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At a certain point, you have to face the fact that you've turned into an old fart.
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Paul Taylor's 'Offenbach Overtures' has lots of zip and charm, and its pair of dueling soldiers in red, who end up starry-eyed about each other while their disgusted seconds take up the quarrel, is nonstop funny.
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We don't know what the heck that was all about.
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'The Sleeping Beauty' is the greatest, most challenging and most vulnerable of classical ballets. Everything can go wrong with it, and all too often, everything does.
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How can educated and sophisticated viewers react so differently to a work of art? Is it just Kulture Klash? No, since most of the time there's no Klash at all. On the occasions when we disagree, it may be because we're looking for different things in dance.