Artist: Pt. Jasraj
Genre(s):
Classical
Discography:
Tapasya, Vol.1 Pt. Jasraj
Year:
Tracks: 7
Fashion world bids farewell to Yves Saint Laurent
"The Book of Getting Even"
by Benjamin Taylor
Steerforth, 166 pp., $23.95
Benjamin Taylor's "The Book of Getting Even" is elegant and beautifully evoked, right down to the pediatrician — "the worst, the noisiest Nixon-lover in town" — who appears only in a couple of paragraphs. Set in the 1970s, "Book" follows brilliant, odd Gabriel Geismar, a kid with — literally — two left thumbs and a passion for mathematics, as he leaves his home in the South and heads for college in Philadelphia.
Gabriel is a rabbi's son who grows up in a New Orleans household ruled by his handsome, tyrannical father, who saves all his charm for strangers. At home, his tirades are awful but also funny and cartoonish. "He'd carry on in third person, like a sports hero or gangster: 'Tell a lie to Milton Geismar? You'll wish you hadn't!' "
On Gabriel's last night before leaving for college, he determinedly loses his virginity in a dim cubicle at a gay bathhouse, with eager Clarence Rappley, cold-heartedly described as a "king-sized cracker." After their brief encounter, Gabriel stills his racing mind with a foray into mathematics: "His mind veered to numbers, clean things, the cleanest indeed anywhere in or out of the world." It is a theme — the lifelong duel between mind and body — that resonates through the novel.
At Swarthmore College in Philadelphia, Gabriel meets the eccentric, irresistible brother-sister twins, Marghie and Daniel Hundert, who both fall in love with him. This strange, powerful triangle offers him everything he lacks: Danny and Marghie's parents are literate, worldly, opera-loving Hungarian émigrés — everything Gabriel's family isn't. Their father, to Gabriel's amazement, is a Nobel laureate. Gabriel quickly incorporates himself into the family.
This section, charting Gabriel's growing intoxication with the Hunderts, is the best in the book. The time and place are captured with aching perfection. But as the story moves on — Taylor divides it into sections taking place several years apart — it begins to come off the rails, largely because of Danny's disappearance from center stage.
An effortlessly charming college kid when we first meet him, Danny abruptly becomes an angry political activist — a transformation in tune with the times, but not one that's ever satisfactorily explained or explored. Like all 1970s activists worth their salt, Danny has a manifesto — his is the titular "Book of Getting Even." Unfortunately, it's unpersuasive, like the post-college sections of the novel. And while Taylor's story ultimately doesn't completely satisfy, his considerable gifts as a writer make it worthwhile.
VANCOUVER - Some still want answers. Others just want to move on.
There were strong and conflicting emotions by family members and people affected by the Air India Flight 182 bombing following the screening Saturday of a documentary that recounts the events leading up to the biggest terrorist attack in Canadian history.
"Air India 182," directed by Sturla Gunnarsson, tells the story of what happened on June 23, 1985, when a bomb exploded on the plane off the coast of Ireland, killing all 329 people onboard.
The documentary is based on factual information from court transcripts and wiretaps and includes re-enactments and intimate interviews.
Family members recount waving one last time to their loved ones who were about to board the plane. The woman airline clerk who checked in the luggage that was carrying the bomb admits that scene frequently replays in her memory in slow motion.
After the Vancouver screening on Saturday, many people who had lost family members in the bombing praised Gunnarsson for vividly showing the pain they've experienced for the last 23 years.
However, during a question and answer session following the film, one audience member asked why the filmmakers didn't do more investigative reporting since what was screened in the film was information that was already known.
"We never saw this as an investigative film, as journalism," said Gunnarsson, who was raised in B.C.
"We felt this is one of the major moments in modern Canadian history and it's never really been embraced as a part of Canadian history."
He said the film was also a way to give the victims in the attack "a voice and a name."
"Because death through terrorism is meaningless."
Another family member in the audience spoke up during the session, saying that after 23 years, it was time for people to move forward.
But for some who have ties to the historic event, that has been incredibly hard.
Liberal MP Ujjal Dosanjh, who testified at the Air India inquiry and was in attendance at Saturday's screening, said some people are still trying to intimidate him for being critical of extremists.
The World Sikh Organization named Dosanjh in a multi-million dollar lawsuit against CBC regarding a documentary that featured an interview with him.
The lawsuit alleges the CBC documentary "Samosa Politics" by reporter Terry Milewski likened the Sikh separatist movement to terrorism and defamed members of Canada's Sikh community.
Some journalists who were at the screening and have closely followed the Air India trial said that they had also faced death threats and lawsuits.
Renee Saklikar lost her aunt and uncle in the bombing and was interviewed for the documentary, which she described as a skilled, multi-layered film that captures a major part of Canadian history.
"(The film) hopefully brings it home that sadly it's still an on-going story, it's not a closed story" she said.
"We do need to move on and we do move on...but it is psychologically implausible to just erase it."
"Air India 182" will air on CBC on June 22.
News from �The Canadian Press, 2008
LAS VEGAS - Steve Carell did not necessarily see the Maxwell Smart in himself. Everyone else did, including co-star Anne Hathaway and the studio behind the big-screen "Get Smart," which simply called Carell in and offered him the job, no questions asked.
Carell takes on the title role created by Don Adams in the 1960s TV show about a brainy but bungling spy, with Hathaway playing his supremely capable partner, Agent 99, a part originated by Barbara Feldon.
Created by Mel Brooks and Buck Henry as a comic response to James Bond and other espionage adventures, "Get Smart" has endured in syndication, in follow-up movies and a short-lived second TV series in the 1990s.
Directed by Peter Segal, the new "Get Smart" chronicles Max's rise from crackerjack analyst to field agent for U.S. spy outfit Control, paired with dubious 99 as they try to foil a plot to distribute nukes to unstable governments.
The cast includes Dwayne Johnson as a star Control agent, Alan Arkin as the Chief and bad guy Terence Stamp, who played Kryptonian supervillain Zod and made Christopher Reeve kneel before him in "Superman II."
Carell and Hathaway chatted with The Associated Press, fondly recalling Feldon and the late Adams, discussing the show's longevity and sharing a funny Zod tale.
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AP: People tend to be skeptical about TV adaptations, but when Steve was cast as Max, they kind of nodded and said, "Good choice." What do you and Don Adams have in common?
Carell: There's a bit of a physical resemblance that would be part of the equation. But aside from that, it's hard talking about him in the same breath as myself, because I don't aspire to be as good as he was. He's iconic and the way he did the character is iconic, and I don't have any pretence of trying to live up to that. If anything, I'm just trying to get an essence of what he did as opposed to any sort of imitation or channelling.
Hathaway: I thought it was perfect casting. He pays me to say this, but Steve's being very, very humble, because his take on Max is just spectacular. I think the reason Steve Carell seems to fit (glances at Carell and laughs) - I can't look at you while I'm saying this ...
Carell: I love it when you use my whole name.
Hathaway: The thing about Steve stepping into Don's shoes that makes sense is Steve's take on comedy. He can do the big, over-the-top, slightly absurd stuff really well, but he also does the real subtle moments really well. And the thing about Don Adams, he never played Maxwell Smart as a fumbling goon. He played him as a very serious man who didn't know he was in a comedy. And Steve's really good at doing that. A lot of his characters don't know that they're funny, and that's what makes him hilarious.
AP: Now the same question for Anne. What do you and Barbara Feldon have in common?
Hathaway: I appreciate this question now. It's a tough one. I'm so very different from Agent 99, and the bar that Barbara Feldon set and what Barbara Feldon's 99 meant to people, I'm never going to be able to touch that. The world was in a very different place then. We needed Agent 99. When Barbara Feldon played her, we needed to see a girl who could keep up with the boys, who was smart and who was sexy while being smart. She inspired so many women. When you look at the kind of women we aspire to be today, a lot of them are very similar to Barbara Feldon's 99. There's no way I'm going to be able to touch that kind of legacy, but I do think I have good chemistry with my co-star, so that's probably what I have in common with her.
Carell: Anne was the first person to come in and do a screen test. It was actually the first time I'd said any of the lines. And after she walked out of the room, we all looked at each other and knew it. It was almost as if everyone else could have gone home at that point, frankly. I'd seen a lot of Anne's work, but there was a sophistication to her and a slyness and sort of a coolness and a deadpan. And she is a great improviser, too. I tend to play around, especially during an audition, just to find different moments and beats, and she was not only there, following, but leading and sharing it.
Hathaway: I always tell people regarding improvising, Steve's an abstract expressionist and I finger paint. I'm a very good finger painter, but it's on a different level.
AP: Why has "Get Smart" endured so well?
Hathaway: It's sophisticated family humour. That's what the show had going for it. My parents watched it when they were kids, and then when it was on Nick at Nite in reruns, I would watch it with them when I was a kid. In addition to it just being so funny was the chemistry that Don Adams and Barbara Feldon had. You couldn't take your eyes off them. It was fun to watch them play. ... Don Adams, people don't remember that he was a fantastic actor. There's this one episode where he has to pretend he's gone bad and he has to convince 99 that he's gone bad, and he plays it so straight. It's a different Max. It's colder and harder and harsher. Don Adams was a really, really good straight actor.
Carell: Also, look at who created it. Mel Brooks and Buck Henry. In terms of having longevity, "Young Frankenstein" is still one of my favourite movies. "The Producers," obviously. His stuff just holds up. For the most part, it really does. That's a huge element, the writing staff, if you look at the people involved.
Hathaway: Steve, you're such a nice person. I'm like, "It was the actors. The actors are what endured."
AP: The movie's more an action comedy than a spy spoof. Were you trying to avoid parodying spy flicks?
Carell: When I first started talking to Pete (Segal the director) about just tonally what the movie could potentially look like, I said, "What about a comedic 'Bourne Identity?"' You take the action in that and you make it a legitimate spy movie that's funny, as opposed to taking the cliches of spy movies and turning them on their heads. If the villains are like Terence Stamp, these guys are scary and actually have some threat to them. There's some sense of jeopardy. The comedy laid on top of that might resonate more.
Hathaway: There's a great story about Terence. He was switching hotels when we were shooting in Montreal. He just went downstairs and he couldn't find a taxi. He was standing around looking for a taxi and some guy just drove up and went, "Zod?" And he goes, "Yes." And the guy goes, "What are you doing in Montreal?" "I'm making a movie. Can you give me a ride?" And the guy goes, "Absolutely." So the guy drove him to his hotel.
AP: I hope the guy didn't make him say, "Kneel before Zod."
Carell: I'm sure he's had to say it to like, cash a check.
Singer TAYLOR DAYNE has been ordered to attended a drink counselling course after pleading no contest to one charge of driving under the influence.
The Tell It To My Heart hitmaker was arrested for a DUI in Los Angeles in March (08) after she reportedly failed field sobriety tests.
On Monday (16Jun08), Dayne pleaded no contest and was sentence to two years' summary probation and ordered her to complete a Mothers Against Drunk Driving programme.