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“Y’know, back then, I was the headliner,” Harold Meyerowitz (Dustin Hoffman) insists, to no one in particular. His old pal R.J. (Judd Hirsch) is the subject of a big retrospective show at the Museum of Modern Art, and Harold is feeling as though his work – and that’s how it’s always referenced, by himself and his family, “the work” – isn’t being properly appreciated. He isn’t getting a MoMA retrospective; hell, the college where he taught for decades is only offering him prominent placement in a faculty showcase. “Group show, no,” he announces. “That’s essentially an insult!”
One of the most painful yet undeniable truths captured by The Meyerowitz Stories (New and Selected) , the new film by Noah Baumbach, is the specific experience of being an also-ran, an almost-famous, how that breeds a particular kind of personal and professional resentment, resulting in both a general unpleasantness and an overall dislike for pretty much everything that anyone else creates. We met a father like that in Baumbach’s quietly masterful The Squid and the Whale , and Harold Meyerowitz shares some of that characters qualities (most notably, casual, unprompted critiques like “I find Maugham to be skillful without being an artist”). But if Baumbach is returning to that film’s preoccupations, he’s also approaching them from a more mature perspective, suggesting a way to get past the kind of paralyzing anger our bad parents can create. The new film about getting older, about coming to terms with who these people are, and figuring out how to be your own person anyway.
As suggested by the title, Baumbach breaks his narrative into a series of short stories, some of them focused on individual members of this extended, dysfunctional family. There is Danny (Adam Sandler), whom we first meet as he’s trying to find a parking spot in Manhattan, which is about as savvy an example of “characterization through action” as I can imagine; he’s a man in transition, sending his daughter Eliza (Grace Van Patten) off to college, an event that he and his wife were waiting for before ending their marriage. So he has both empty nest and newly single syndromes happening, a fusion that doesn’t exactly create a personality of confidence and strength.
His sister Jean (Elizabeth Marvel) first appears with the line “I made cookies, but I stepped in dog shit,” and rarely has an introduction been more apt. She’s a wallflower, though as we find out more about her, it seems not entirely by her choosing. “You guys will never understand what it’s like to be me in this family,” she says late in the film, and by the point she says it, we nod in agreement, like family members ourselves.
Their half-brother Matthew (Ben Stiller) was always his father’s favorite, not just to Danny’s chagrin, but Matthew’s: “I got your focus,” he tells Harold, “which fucked me up in a whole other way.” In sharp contrast to his half-brother, Matthew is perceived as a success: he’s wealthy, has his own business, works with celebrities, has a wife and small child, and (most importantly) lives far, far away, in Los Angeles. He only makes it into town occasionally, and only for business; in perhaps the film’s finest and funniest extended sequence, he tries to squeeze in a quick lunch with his father, and it turns into a series of perceived slights, mild irritations, and changing locations. The son is chagrined. The father is oblivious.
A masterpiece of Gothic architecture, is the very symbol of Venice
The Royal Palace, the neoclassical rooms and Antonio Canova, the History of Venice and the Picture-gallery
Among precious historical furnishings, it houses important works of the XVIII century Venice
The International Gallery of Modern art houses masterpieces such as works by Medardo Rosso, Rodin, Kandinsky, Klee...
Housed in Murano, the museum hosts the most extensive historical collection of Murano glasses
An evocative and engaging layout for discover the secrets of nature and living beings
Museum of Textiles and Costumes with the itineraries dedicated to perfume
Visit the gothic Palazzo Pesaro degli Orfei located in Campo San Beneto and transformed by Mariano Fortuny into his private studio
Housed in Burano, the museum exhibits rare and valuable specimens of Venetian lace, from the 16th to the 20th century
It’s the house where Carlo Goldoni was born and It contains a small museum dedicated to him, and a library of theatrical studies
For over 500 years it has marked the life, the history and the continual passage of time of Venice
Visit the website of Civic Museums of Venice
Palazzo Fortuny 13 May – 26 November 2017
Opening times: 10 am –6 pm (last entranceat 5 pm)
Closed on Tuesday
Palazzo Fortuny 13 May– 26 November 2017
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To coincide with the 2017 Venice Art Biennale, the Fondazione Musei Civici diVenezia and the Axel May Vervoordt Foundation will present their sixth,and final, exhibition: . Curated by Axel Vervoordt and Daniela Ferretti,Director of the Palazzo Fortuny, and co-curated by Dario Dalla Lana, DavideDaninos and Anne-Sophie Dusselier, the exhibition will explore how intuitionhas, in some form, shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to theconcept of intuition, dreams, telepathy, paranormal fantasy, meditation, creativepower, hypnosis and inspiration. will be the last in a highly-acclaimed series at the Palazzo Fortuny cocuratedby Axel Vervoordt and Daniela Ferretti, which include Artempo (2007), Infinitum(2009), (2011), Tàpies. Lo Sguardo dell’artista (2013) and Proportio (2015). Intuition is the ability to acquire knowledge without proof, evidence, or consciousreasoning: a feeling that guides a person to act in a certain way without fullyunderstanding why.
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Co-produced withAxel May Vervoordt Foundation
Curated byDaniela Ferretti e AxelVervoordt Co-curated by Dario Dalla Lana, Davide Daninos and Anne-Sophie Dusselier
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