Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.
A dramatization, in modern theatrical style, of the life and thought of the Viennese-born, Cambridge-educated philosopher Ludwig Wittgenstein, whose principal more
A dramatization, in modern theatrical style, of the life and thought of the Viennese-born, Cambridge-educated philosopher Ludwig Wittgenstein, whose principal interest was the nature and limits of language. A series of sketches depict the unfolding of his life from boyhood, through the era of the first World War, to his eventual Cambridge professorship and association with Bertrand Russell and John Maynard Keynes. The emphasis in these sketches is on the exposition of the ideas of Wittgenstein, a homosexual, and an intuitive, moody, proud, and perfectionistic thinker generally regarded as a genius. close
A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and more
A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters. close