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  • Sunday Shortlist, from The Week
    A 'richly theatrical' ballet and an 'intelligent' romcom

     
    FILM REVIEW

    Materialists 

    'Stylish' romantic drama starring Dakota Johnson and Pedro Pascal

    "The world has got confused about what constitutes a romantic comedy," said Donald Clarke in The Irish Times. And director Celine Song's follow-up to 2023's Oscar-nominated "Past Lives" is certainly a complicated proposition. It "has the shape" of a romcom: the film stars Dakota Johnson as Lucy, a professional matchmaker who earns her living hooking up high-flying New Yorkers with suitable – and suitably wealthy – partners.

    When she meets Harry (Pedro Pascal), a handsome, tall and hugely rich financier at the wedding of one of her "matches", it seems her destiny is sealed. Yet at the same event, she bumps into her ex-boyfriend John (Chris Evans), a struggling actor working as a waiter. The scenario could have made a "cracking Doris Day flick". Except Song doesn't seem "particularly interested in generating laughs" or warmth. Instead, her screenplay is full of "sharp, often cynical observations on this society's commodification of human relations". "Materialists" is a little puzzling, but it's clever and "gorgeous", and "it has the welcome oddness of a future classic".

    "Stories that foreground the economics of romance are hardly new," said Wendy Ide in The Observer – from Jane Austen to "Sex and the City". The problem with this one is that it lacks depth. Also, it's so preoccupied with asset valuations that it "neglects to include any normal conversations".

    At its best, "Materialists" is both "a romantic cliffhanger" and a story about "complex adult realities", said Danny Leigh in the Financial Times. Yet just as it starts to feel truly promising, it slumps into a "dramatically flat" third act. And for a film about romance, there's weirdly little chemistry between the three leads. "Stylish", "funny" and "intelligent" as it is, it's a bit anticlimactic.

     
     
    THEATRE REVIEW

    Mary, Queen of Scots 

    Scottish Ballet's 'bold' take on the doomed monarch's story

    Scottish Ballet has "scored a hit" with its new "Mary, Queen of Scots", which premiered this week at the Edinburgh International Festival, said Donald Hutera in The Times. Choreographer Sophie Laplane and director James Bonas have created an "audaciously bold, assured and sometimes downright wacky" take on Scotland's doomed monarch – filtering Mary's story through the imagined memories of her cousin, rival and nemesis, Queen Elizabeth I.

    The storytelling is "episodic yet fleet", and the production is stylish and handsome – with both a "quirky sense of humour" and "emotional gravitas". A warning: the dense first act might challenge anyone who's not clear on the history. But the pay-off comes in the second act, as this "fizzing" ballet expands and deepens into "that rare thing: a work I felt I would gladly revisit even as I was watching it".

    Imagine if, just before bedtime, you were to "read a 'Horrible Histories' on the Tudors, leaf through a Vivienne Westwood catalogue and then wolf down an indecently large slab of roquefort". The resulting dream, said Mark Monahan in The Telegraph, might capture the spirit of this eccentric but "richly theatrical" and impressive new work. The first act is too long, but "there's a great deal to enjoy here for dance tyros and devotees alike" – notably the two queens' "nightmarish pas de deux", performed on a podium, while blood cascades down the set's "perfect white walls".

    Laplane's choreography shows an eclectic range of influences, said Lucy Ribchester in The Scotsman. There's "graceful courtly posturing, flat-footed earthy cèilidhs and even glimpses of tango in a sultry duet" between Mary and Darnley, her husband. Similarly, the score (by Mikael Karlsson and Michael P. Atkinson) draws variously on electro-acoustic, Scottish melodies, Elizabethan jigs and "pure musical drama". All the dancers impress, but Charlotta Öfverholm, as the older Elizabeth, most of all. She brings a "wisdom and vulnerability to her movement that is endlessly compelling to watch".

    Scottish Ballet, touring Scotland 17 September to 18 October

     
     
    BOOK OF THE WEEK

    Seduction Theory 

    by Emily Adrian 

    The American writer Emily Adrian's latest book is a smart and funny take on the "campus novel", said Lucy Scholes in the Financial Times. Simone and Ethan are a married couple in their early 40s, both working as creative writing tutors at a university in upstate New York. "She's the gem in the department's crown": beautiful, sexy, and a successful memoirist. He's still basking in the glow – "albeit now diminished" – of an "overhyped novel" he published in his 20s. While they're "still very much in love", this doesn't stop them developing other close attachments: Ethan with his secretary; Simone with one of her students, Roberta.

    On the first page, we're told that what we're reading is in fact a thesis submitted by Roberta, said Alex Peake-Tomkinson in The Spectator. But it's easy to put this "meta-literary device" to one side, as most of what follows is "so engrossing". Only in the final third, when "Roberta inserts herself into the centre of the narrative", does the action falter. Until then, the book can be read as a "juicy story" about how a married couple "press the self-destruct button".

     
     
    OBITUARY

    Jim Lovell 

    The commander of the ill-fated Apollo 13 mission

    Jim Lovell, who has died aged 97, uttered what is perhaps the second most famous phrase in space history. The US astronaut was the commander of the three-man Apollo 13 lunar mission that took off from the Kennedy Space Center in April 1970. It had been nearly a year since the first Moon landing, said Erica Wagner in The Observer, and interest in the US' space programme had waned. No major TV networks transmitted this mission's broadcast from space. But on the third day, when the crew were 200,000 miles from Earth, the flick of a switch for a routine task set off an explosion. Caused by an undetected wiring fault, the blast ruptured one of the craft's oxygen tanks, emptying its contents into space, and damaged the other, which started to leak, disabling the supply of power, water and air to the service module. "Houston, we've had a problem," said Lovell, with considerable understatement.

    He and his crew were now in mortal danger, but with the same cool head, and against all the odds, he would steer them back to safety over the next three days – a nail-biting drama that transfixed millions of people across the world. In 1995, this remarkable event was lodged yet deeper in the public imagination by the film "Apollo 13". In it, Tom Hanks delivered Lovell's famous line in the present tense, for dramatic effect, said The Times; but with oxygen escaping and the service module rapidly shutting down, there had been "no need to embellish the drama at the time".

    James Arthur Lovell Jr was born in Cleveland in 1928. His father, a salesman, was killed in a car accident when Jim was an infant; after that, he and his mother settled in Milwaukee, where he attended high school. He was intrigued by rockets as a child, and after graduating from college, he enrolled in a US Naval Academy. Having served as a navy test pilot, he was selected, in 1962, for a Nasa astronaut programme. His first space mission, Gemini 7, was in 1965. In 1968, he was on the Apollo 8 mission that was the first to orbit the Moon, and which captured the famous Earthrise photo. He had spent many hundreds of hours in space by the time he led Apollo 13; but his two crew were making their first flights.

    It was Jack Swiggart who alerted Houston to the fact that they "had a problem"; Lovell's message confirmed it. After that, Nasa rapidly assembled thousands of aerospace experts to oversee a rescue plan. This involved the men crowding into the undamaged lunar module, said The Telegraph, which had a power supply of its own, and using its engines to propel Apollo around the Moon and back to Earth. However, the module was only equipped to carry two men, for two days, said The New York Times. They turned off lights and heaters to conserve energy, enduring temperatures as low as 3C; chewed hot dogs to avoid dehydrating; and improvised – such as by using duct tape and a sock to fix an air filter. After three days, they climbed back into the command module, which was the only part of the craft able to withstand re-entry. Splashing down into the Pacific, they were met by the USS Iwo Jima. In the film, Lovell appears in a cameo role as its captain. Their safe return did much to raise spirits in an America "battered by domestic turmoil and devastated by Vietnam War casualties", and within hours, Richard Nixon had awarded Lovell the Presidential Medal of Freedom, America's highest civilian honour. He retired from Nasa three years later, and went on to work in telecommunications.

    A modest, easy-going man, he always stressed that the rescue of Apollo 13 had been a team effort. Years later, he admitted that he was disappointed that he had not achieved his dream of walking on the Moon, but added that "the mission itself, and the fact that we triumphed over certain catastrophe, does give me a deep sense of satisfaction". He was married for more than 70 years to his wife Marilyn, with whom he had four children. She died in 2023.

     

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