Fosse, yes, but he may not have succeeded with the simpler more delicate moments, the spiritual dimension of their love.
I thought one of the things Kushner articulated well was the idea that, with love, one sees the essence of the person, not what they appear, not what divides; the best of human nature finds the best of human nature; and we see we are all one family.
Because WSS is a tightrope act between realism of content and expressionism of style, every attempt to do it will wobble in places ... but it doesn't make it any less of an astonishing work of art.
I think the use of Cool in this film worked in the new way, dramatically - the need for tony to stop the fight and certainly stop any chance of killing. I loved the way, too, the gun represented a larger dimension of the film, a reflection on the Cold War ("mutually assured destruction") - which seems to have been a part of the thinking in the original creation of the piece, and the era. |
