Yellow Face (2024) (Broadway)

We came for Daniel Dae Kim and was pleasantly surprised when Ryan Eggold from The Blacklist and New Amsterdam came on stage. I thought he looked familiar but I couldn't quite place him. I thought he might've just been a generic looking white guy they cast. Alas he was but a famous one at that. Funnily, he plays a macho white guy pretending to be Asian. The plot is hilarious with some genuine laughs. It cleverly blurs the line between reality and fiction, drawing from David Henry Hwang's own life. I love that meta plot. David and his father are two of the main characters. Francis Jue reprises his role as the father from the Off-Broadway run in 2007. Some 15 years later, Jue is older, perhaps a more convincing elderly Chinese father. I thought he was excellent. I saw Jue play Hwang himself in Soft Power a few years ago. I think time has probably served this play well. The thorny topics the play tackles are more germane now than ever in a post-Crazy Rich Asians, post-#OscarsSoWhite, post-Shang-Chi, post-Hamilton world. The play does need a lot of background context on Hwang's life. The small cast of seven feature actors who play multiple parts without regard to race or gender, while commenting hilariously on race-conscious casting. They recite lines from real (or we're at least led to believe they're real) articles to place us in context. It's a bit of a cheap conceit but it works. We enjoyed this very much! Lastly, the curtain call was super short. The small cast took their bows and they were off the stage in probably a minute, definitely no more than two. And it's not because the audience wasn't applauding. They were just really brief.
 

Ripley (2024)

The Steven Zaillian miniseries adaptation of The Talented Mr. Ripley is stunning. Shot in crisp black and white, it looks unlike anything else Netflix has ever made. Cinematography Robert Elswit deserves his Emmy for this. He has an Oscar for There Will Be Blood, and was nominated for another black-and-white project Good Night, and Good Luck. Zaillian also won an Emmy for directing. He does an incredible job at building suspense. The interesting shots and the mise-en-scene say so much without words. And the production design (and location scouting) is phenomenal. From episode 1 in 1960s New York to Roma and Atrani and Napoli and Palermo and Venezia, we are completely transported.  Those palazzi are to die for. The old American Express travel offices take you to a past when international travel was limited to the wealthy--who knew all the random services they used to offer!

I like the Anthony Minghella adaptation, but this is arguably better, perhaps with the lone exception of Dickie and Marge. I don't think Johnny Flynn nor Dakota Fanning are very compelling. They don't ooze the pretty boy allure of Jude Law. Andrew Scott makes the Ripley character his own. His Italian is very passable. I watched the first 6 episodes without subtitles, not realizing that there should've been subtitles. I thought I was supposed to be in Ripley's head not understanding the language, but as his Italian got a lot better, the subtitles still weren't appearing. I actually understood probably 75% of the Italian anyways; I at least got the gist of it. It wasn't until episode 6, which is almost entirely in Italian, that started to get more complex for my skill level. The real standout for me is Maurizio Lombardi, who plays Inspector Ravini. His Italian-accented English is so good. And his Italian is spoken so clearly, I could follow everything he was saying.

I think this version sort of de-emphasizes the themes of homosexuality and class and race. And I don't mind that. This is just a totally different standalone adaptation. It's slow, dragging out for 8 episodes whereas the movie runs just over 2 hours. It luxuriates in its slowness, building suspense and allowing all the consequences to unfold. It's funny at times, though subtle. And though it went over my head a little at first, I liked the Caravaggio analogy. His signature chiaroscuro is a clear inspiration for the look of the show.