It is commonly assumed, and regularly taught, that the key difference between playwriting and screenwriting is that the former tells the bulk of its story with words (it is dialogue-driven), while the latter relies more heavily on images (it is camera-driven).
This collection ranges from the merengue of Dominican superstar Reynold to the earthy Hungarian folk of Marta Sebestyen (knit with Arabic textures on “Bethlehem, Bethlehem”). The Cox Family’s dawn-in-Appalachia rendition of “Go Tell It on the Mountain” is a highlight. Other tracks sample holiday pieces from Sweden, Italy and Africa.
Martin Ritt’s 1972 adaptation of the beloved children’s novel by William H. Armstrong is one of the most powerful family films ever made. It is set in Depression-era Louisiana, where a proud father (Paul Winfield) poaches game to feed his wife (Cicely Tyson) and children and winds up on a chain gang.
A movie about a family of Irish cops—that sounds like one you’ve seen before. But Pride and Glory contains a few unfamiliar notes, and it rings truer than most movies about corruption in the police ranks.
Mark Bustos, a stylist at an upscale salon in Manhattan, gives free haircuts to homeless people every Sunday, his only day off from work. He started the practice during a trip two years ago to the Philippines. The response was so enthusiastic that he decided to make the same offer in New York. Many of the people whose hair he cuts are very thankful. He especially remembers the man who, after seeing what he looked like with his new haircut, asked, “Do you know anyone that’s hiring?” (The Week, August 29).