The Two Popes: An unconventional buddy film

The Two Popes, director Fernando Meirelles’ (City of God) intimate story about one of the most dramatic transitions of power within the Catholic Church in the last 2,000 years, stars Jonathan Pryce as Cardinal Jorge Bergoglio and Academy Award-winning Anthony Hopkins as Pope Benedict XVI. It’s a biographical drama written by Anthony McCarten (The Theory of Everything), based on his 2017 play The Pope, and inspired by true ecclesiastical events.

The film debuted at the Telluride Film Festival last August and was also screened at the Toronto International Film Festival in September. It’s scheduled for a limited U.S. release on November 27 and opens in the U.K. on November 29. Digital screening on Netflix begins December 20. Bryce Dessner of the band The National scored the soundtrack for the film.

Behind Vatican walls, this 125-minute film in English with a variety of subtitles (Latin, Spanish, Italian, French, Portuguese and German) portrays two very different men caught up in a struggle between tradition and progress, between guilt and forgiveness – and how each confront their past in order that they may find a common theological ground amidst political turmoil in the Catholic Church in which to forge a future for more than a billion worldwide followers.

We learn of the popular Argentinian Cardinal Bergoglio, a lover of both international football and tango – the future Pope Francis – who requests permission from Pope Benedict in 2012 to retire, doubting his ability to remain a “salesman” for Catholic values. This is happening at a time when the introspective Pope Benedict is facing scandal and self-doubt. So, he summons the man who is his harshest critic – and future successor – to come to Rome “to reveal a secret that would shake the foundations of the Catholic Church.”

While the film is historic fiction and focuses on a series of serious conversations about human understanding and fallibility – and through flashbacks, we learn much about Bergoglio’s Jesuit background and how he became a beloved figure in Argentina – there are moments of humor and surprise, none better than two popes sharing a pizza and a Fanta inside the Vatican while debating the future direction of the Catholic Church. Topical social and cultural subjects such as homosexuality, abortion, divorce, sexual abuse among priests, climate change and economic inequality are discussed – sometimes heatedly – between the two pontiffs.

Looking back, it didn’t bother me that much of what we see in this relevant film – the conversations between Benedict and Francis – is purely speculative and may not have actually happened, such as one the two share in a helicopter ride together.

Pope Benedict: “What is that plant?”
Cardinal Bergoglio: ”It’s oregano. Your gardener gave it to me.”
Pope Benedict: ”You’re very popular”
Cardinal Bergoglio: ”I just try to be myself.”
Pope Benedict: ”When I try to be myself, people don’t like me very much.”

Sure, Benedict was portrayed in the film as physically ailing and tired – “I cannot play this role anymore” – unable “to hear the voice of God.” While he is shown having a cordial relationship with the younger, more energetic and thoughtful bishop throughout the film, did he really pick Cardinal Bergoglio to be his chosen successor? Probably not. However, the friendship that is forged between the two seems genuine and both Hopkins and Pryce give tremendous acting performances in their respective roles. The visual direction (think Saint Peter’s Basilica and Square) is so very beautiful and stunning, especially the staging of the papal conclaves inside the Sistine Chapel that take place in the selection of both Pope Benedict and Pope Francis.

“Being Pope, you must remember you are not God,” Hopkins reminds Pryce. “You are only human.”

As one film critic recently suggested, “Like us, our spiritual leaders can be haunted by doubt and questions of belief. But it’s our humanity and differences that bring everybody together, sometimes over a World Cup match and beer.”

Credits: Cover photo – Courtesy Netflix. Videos – Courtesy YouTube.

“Stop Making Sense”: Same as it ever was ...

David Byrne once said that the goal of the Talking Heads’ 1984 documentary film Stop Making Sense was “to show how a concert gets made” even as it’s taking place. With an eye toward going to see the famous Talking Heads frontman star in David Byrne’s American Utopia on Broadway next month, I re-watched the 35-year-old, Stop Making Sense in its 88-minute entirety earlier this week. I’m happy to say that not only did this seminal movie directed by Jonathan Demme seem so quaint, but it perfectly captured the band’s enormous and joyous energy and multicultural sound.

For the uninitiated, the Talking Heads were a 1980s American rock band band that evolved from East Coast new wave and avant-garde to a funk and world music sensibility as their sound gained popularity and their clean-cut image became a part of our aural and visual comfort zone. As one critic once suggested, the Talking Heads sound “dissolved barriers between disco and rock, conceptual art and dance pop.” They were one of the most popular bands when I was a university student in the Upper Midwest and many of their songs were indeed staples on my college radio show’s playlists back in the day.

At the beginning of Stop Making Sense, from the moment Byrne walks out onto a bare Pantages Theater stage in Los Angeles wearing a grey suit and white docksider sneakers – slinging an acoustic guitar over his shoulder and toting a boombox – and says “Hi. I got a tape I want to play,” everything comes to life as he launches into a solo version of “Psycho Killer.” Then, song by song, the concert builds as additional members of the Talking Heads – bassist Tina Weymouth, drummer Chris Franz and guitarist/keyboardist Jerry Harrison – come out on stage, one at a time. Later, they are joined in the mix by guitarist Alex Weir, percussionist Steven Scales, keyboardist Bernie Worrell, and vocalists Ednah Holt and Lynn Mabry, all who contribute to the excitement of watching this great music documentary unfold and build to a delightful crescendo. Through it all, Byrne’s wide-eyed enthusiasm and his staccato-like dance moves – his appreciation for live performance art – are nothing short of memorable.

Stop Making Sense is a groundbreaking concert film that not only is packed with 16 of the Talking Heads’ most memorable songs (their excellent cover of Al Green’s “Take Me to the River,” “Life During Wartime,” “Heaven,” and “Burning Down the House” among many), but thanks to the wall-to-wall sound, wonderful cinematography and Byrne’s quirky and bodaciously-boxy “Big Suit,” it adds up to one of the best rock movies ever filmed.

I remember seeing Stop Making Sense for the first time shortly after it was released in the fall of 1984 in a downtown Minneapolis movie theater. Mind you, this was long before the internet and social media came along. However, if either had existed like today, no doubt I would have taken to Facebook or Twitter to share positive thoughts about Stop Making Sense and my word-of-mouth excitement. It’s still a timely reminder of music that sounds so good.

An afternoon of wine and words with Jancis Robinson

The British wine writer and critic Jancis Robinson has been described by Decanter magazine as “the most respected wine critic and journalist in the world.” She writes daily for her website, jancisrobinson.com, pens a weekly column for the Financial Times of London as well as a bi-monthly syndicated wine column.

Among the many wine-related subjects Robinson has explored and written about recently include: “Why is wine so expensive?” She explains: “Inflation is a worldwide phenomenon and it applies from the bottom to the top of the scale.”

Robinson is perhaps best known for her critically acclaimed wine reference books, including The Oxford Companion to Wine, and The World Atlas of Wine, which she co-wrote with Hugh Johnson. This fall, it published its 8th edition (and first since 2013). Although it weighs a ton, it’s an invaluable reference tool and a great companion read. One thing worth noting is The World Atlas of Wine is renowned for its superlative cartography. The 8th edition has – count ‘em – 230 “unique detailed” maps of the world’s wine landscape, “including specially created soil maps, helping readers to understand the link between the wines and their source.”

A New York Times review of The World Atlas of Wine stated: “The atlas is so good in so many ways, with concise sections on the history of wine, how it’s grown and made, climate change and how to store and serve wine. But the maps are the thing, along with the brilliant descriptions of terrain and terroir. A great way to learn about wine is to open bottles and read this book.”

Recently, I enjoyed a rainy, NFL-free Sunday afternoon at a Smithsonian Associates wine event in Washington, D.C., “Jancis Robinson and the Newest World Atlas of Wine.” It was time well spent – and that was before sampling the tasting menu!

Throughout Robinson’s 90-minute conversation with Washington Post wine columnist Dave McIntyre, I learned about wine’s newest regions and listened as Robinson discussed several oenology-related topics such as the recent changes in the global winescapes. She also spoke on the accelerating effects of climate change that’s forcing the wine industry to take decisive measures in which to counter or adapt to the shifts.

Later, Robinson led a tasting of selected 21st century wines from Uruguay (Albariño Bouza 2017), Cyprus (Tsiakkas Xinisteri 2018), Israel (Flam Classico 2017 and Sphera First Page 2018) and Virginia (Cabernet Franc Riserva 2014, Ramiisol). The local red from Virginia was enjoying its first public tasting and among wine drinkers attending, it proved to be a popular favorite.

Credits: Photos by Michael Dickens, © 2019.

On Tennis: ‘A Very Special Night’ for Ashleigh Barty Capped a Very Special Season

Ashleigh Barty made a bit of Tennis history Sunday evening at the Shiseido WTA Finals Shenzhen in southeastern China. The top-seeded Barty beat defending champion Elina Svitolina, 6-4, 6-3, before an enthusiastic, sold-out crowd inside Shenzhen Bay Tennis Centre and seen by a worldwide TV audience in the millions. At the end, she lifted the Billie Jean King Trophy and finished the year-end World No. 1.

For her achievement, Barty won more money – $4.42 million – than any male or female professional ever has in a single tennis tournament. And, the affable, 23-year old Aussie did so with a breathtaking performance that lasted a business-like one hour and 27 minutes to cap a most spectacular season.

“Bizarre, if I’m being complete honest. It feels like it’s been a year that just hasn’t stopped. It’s been a year of incredible ups and downs,” said Barty, who finished the WTA Finals 2-1 in her group (defeating Belinda Bencic and Petra Kvitova while losing only to Kiki Bertens) before toppling No. 2 seed Karolina Pliskova in the semifinals en route to reaching Sunday’s final. “ I think more ups than downs. To cap it off with a very, very special night tonight in Shenzhen is really cool.”

With her triumph, Barty becomes the first Australian since Evonne Goolagong Cawley in 1974 and 1976 to capture the WTA Finals title and only the fifth player to win the tournament in her debut. The Queenslander has single-handily put Australian women’s tennis back on the map.

Against Svitolina, whom she came into the final with an 0-5 win-loss record in career head-to-heads, Barty took advantage of most – if not all – of her opportunities. She won close to 50 percent of her return points, broke Svitolina four times in eight tries – including three in the 10th game, finally hitting a forehand return winner on her third opportunity to win the opening set. The second set was characterized by five service breaks in the first eight games, which gave Barty a chance to serve for the match at 5-3. She closed it out at love.

On a night in which Svitolina managed to place only 55 percent of her first serves in play, the Ukrainian managed just two service aces after hitting a career-high 16 against Bencic a day earlier in the semifinals. “I missed just little bit of my chances and that’s what made the difference,” Svitolina said during her press conference.

As both players awaited the start of the awards ceremony, it was very evident from their facial expressions who had won and who came up short. Barty sat quietly and patiently, grinning from ear to ear, while Svitolina bore a look of total disappointment and fidgeted with her smartphone.

“For me, each time I stop on court I want to win. There is no other way. I want to win, doesn’t matter what tournament it is,” Svitolina recently told the WTA Insider. “Since I’ve been on the WTA Tour, I’ve won a title every year. I got a little bit spoiled, maybe.”

Although she will finish the year ranked No. 6 in the world, Svitolina did not win any WTA titles despite reaching the semifinals of both Wimbledon and the US Open as well as at Doha, Dubai and Indian Wells.

When Barty was asked during her final Shenzhen press conference to describe her breakthrough win against Svitolina, she said: “Tonight it felt like it was a lot more clear, a lot more concise from my end. I took my opportunities when I got them. (The forehand) was a side that I wanted to try to get into tonight. I think it was important for me to move forward, then to try to bring Elina in a few times as well, which worked really well.”

Barty was equally effective against Svitolina on the slow court, whether drawing her in toward the net with her deceptive drop shots and backhand slice – or from deeper back ripping forehand winners from the baseline.

Hall of Famer Lindsay Davenport, who won the 1999 WTA Finals title and commented on the final for Tennis Channel in the U.S., said: “Barty stayed so composed throughout the entire match. There were parts of the match where her game, her forehand, left her – her biggest shot.

“You never saw any reaction from Barty. She just kept her head down and kept going to work – especially down the stretch. She was the more solid player and it was Svitolina who cracked.”

Barty reflected positively on her success, saying: “To come through a week like this, you have to beat the best of the best. It takes me back to some memories in Miami where I felt I did that for the first time, beating back-to-back Top 10 players, having that really consistent week. I’ve grown and developed so much since that fortnight in Miami. To be able to bounce back after the disappointment after my match with Kiki was really important.”

Looking back, Barty finished the season with the most wins on tour (56), the most Top 10 wins (12) and tied with Pliskova for the most titles won on tour (4). She won titles on every surface. Of the nine biggest titles in women’s tennis, Barty won three of them – Roland Garros (Grand Slam), the Miami Open (Premier Mandatory) and the WTA Finals. She became the first Australian woman ranked No. 1 since Goolagong Cawley in 1976.

Also, Barty became the first player in the 44-year history of the WTA rankings to become year-end World No. 1 after finishing the previous season outside the Top 10. She rose from a 2018 year-end ranking of No. 15 to finish 2019 at No. 1 by playing in just 15 tournaments. Not bad for someone who was ranked No. 315 at the end of 2016 after taking a gap year to leave tennis for professional cricket.

“To be able to call myself the year-end world No. 1 singles player is one of the proudest moments of my career,” said Barty, as quoted by the WTA Tour website. She gave props to her coach, Craig Tyzzer, who has guided her since her return to tennis and leads her support team that includes her mental coach, Ben Crowe. “This achievement is truly a team effort, and I would not be receiving this honor  or had the best season of my life without the people around me who have supported me on this incredible journey.”

With little time to celebrate, it’s back to Australia for Barty, where she will anchor Team Australia in the Fed Cup finals against France this weekend in Perth.

“There’s one more very important week to cap off what would be the most perfect year,” said Barty. “This Fed Cup final is something I’ve been looking forward to for a long time.

“Playing for your country, for myself to play in front of my friends and family, representing Australia, wearing the green and gold. There’s absolutely nothing better.”

Credits: A version of this story originally appeared in Tennis-TourTalk.com. Photo: Courtesy of Ashleigh Barty Twitter page. Videos: Courtesy of YouTube and WTA Tour.