Media Matters

     This past week saw the reappearance of Sherlock Homes on PBS' Masterpiece Anthology Series. It was just the thing to bolster viewers' moods after surviving three months of winter. Of course, Sherlock Holmes is good any time and place, providing you are willing to take on the program's diverse challenges: its intricate production elements, idiosyncratic characters, plot surprises, ambiguous themes and odd questions about Sherlock that begin to emerge as the series progresses. And oh, yes, the surrealistic touches that make all the challenges just plain complicated. The last TV version staring Jeremy Brett ( 1984 - 1994 ) was entertaining and fun to watch, while maintaining its suspenseful aspects, but it wasn't complicated. We didn't wonder what something meant long after the episode was over.       That is not the case with the current version staring Benedict Cumberbatch ( The actor's unusual name suggests the series's complexity,)  The complicat

     Last week's blog characterized the Academy Awards  and not too kindly at that. Missing was a critique of the nominated actors which is now about to be modified with an analysis  of Willem Dafoe's film, AT ETERNITY'S GATE by director Julian Schnabel. Dafoe seemed like a likely candidate to play Vincent van Gogh, at least on a physical level with the actor's natural skin coloring and our perception of his demeanor. Yet Dafoe's personality, as expressed by his diverse movie roles, also suited what we think of van Gogh: his talent, passion, provocative nature and risk-taking. Other aspects of van Gogh's character we can not compare with Dafoe's, naturally, unless we know him well. We can only assume what some of those comparisons are based on his films.      Foremost, both van Gogh and Dafoe's characters are not afraid to engage in amazing journeys, to fail if necessary ( although this was extremely difficult for the painter), to express themselve