![]() But those moments are rare and occur too late in the story. When characters express themselves in extended dialogue, everything goes up a gear. Turned down, he shrugs, “Well, I’m goin a warsh everthing I can reach.”īut where the dialogue of story and screenplay were filled out with respectively, authorial voice and close-ups allowing everyone to read the emotions, this stage version leaves the stranded actors nothing with which to replace either device. ![]() Robinson’s script uses snatches of salty, clipped dialogue exchanges from the story, as when Ennis talks about having shot a coyote: “Balls on him size o’ apples,” Ennis says before offering Jack hot water to clean himself. Being told how to feel precludes feeling. Making the painful subtext and the action’s emotional effect so overt actually closes down individual responses to the characters’ plight. But evocative though the music of the easeful four-piece band (especially Greg Miller’s harmonica-playing) is, the songwriting is unmemorable as it tips over from initially atmospheric into generic.īoth that and the near-permanent presence of watchful, almost older Ennis silently emoting at the edge of the scenes has the opposite effect to that intended. The live, accompanying soundtrack of 13 songs, soulfully sung not by the actors but by Scots singer Eddi Reader, is there to create the mood so vividly captured by the film’s cinematography. That’s precisely what happens as everything proceeds with unvarying rhythm through the story’s staging posts, from the hiring of the two young men, tactiturn Ennis (Hedges) and talkative Jack (Faist), through the beginning and flowering of their secret relationship, to their marriages and the tragic conclusion. The pedal steel guitar sets the scene, but its title and chorus “Don’t Let the Years Get You Down” is an immediately worrying indication that the production will be telling as well as showing. From his bedside radio, we hear the first of Dan Gillespie Sells’ original country songs welling up. Borrowing the story’s introductory paragraphs, Robinson provides a cliched framing device, showing the older version of Ennis (Paul Hickey) waking up besieged by difficult memories. Staged in-the-round in London’s 602-seat Soho Place theater, Ashley Robinson’s notably sparse adaptation of Proulx’s story confuses literary with literal. Sticking so doggedly to the original, the production fails to find anything approaching a satisfying theatrical form. But despite a live soundtrack of bluegrass and country songs, the production only proves you can have too much fidelity. Above all, the sincerity underpinning director Jonathan Butterell’s premiere of a stage version is never in doubt. But let's not forget, there's still plenty of scope for creativity in flat design – just look at Burger King's sizzling rebrand from this year.Canny casting of Mike Faist (“West Side Story”) and Lucas Hedges (“Manchester by the Sea”) and abundant efforts to honor Annie Proulx’s short story “ Brokeback Mountain,” immortalized in Ang Lee’s screen version, are all in place. But with retro throwbacks like that iOS 4 comeback doing the rounds, it's clear that nostalgia is the order of the day right now – maybe Yelp is simply ahead of the curve here. Of course, that doesn't mean users have to love it – and there are clearly plenty who, at first glance, don't. This style is unconventional and a bold splash for a digital landscape filled with flat design." In short, Yelp knew what it was doing. This glossy, embossed and rich visual language is a new style we’re excited to introduce where the texture of our app icons feel tactile and vibrantly fresh. "While flat UI is the industry standard, our team saw an opportunity to create a visually distinct and unique 3D style - specifically for Yelp. That's like, so deep (Image credit: Yelp)īut Yelp's deeper dive into the rebrand on Medium is a little more illuminating.
0 Comments
Leave a Reply. |