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The audience enters the theater to the sight of a large model marquee, headlining the Temptations, as if the 1960s R group themselves are performing. Yet as the show starts, the model lifts up to reveal the group, inviting us to a view of the Temptations beyond the stage.

In the world premiere of “Ain’t Too Proud: The Life and Times of The Temptations” at the Berkeley Repertory Theatre, we’re introduced to the “Classic Five” Temptations as individuals through the eyes of Otis Williams (Derrick Baskin), the last surviving member of the beloved original lineup.

The narrative begins with Otis as a child, having just moved to Detroit, where he, through a series of comical persuasive techniques, eventually convinces Al Bryant (Jarvis B. Manning, Jr.), Melvin Franklin (Jared Joseph), Eddie Kendricks (Jeremy Pope) and Paul Williams (James Harkness) to form the first iteration of the Temptations.

The band is soon plagued by power and ego conflicts, so Al is kicked out, and the “Classic Five” lineup emerges. Otis, as founder of the group, becomes the de facto leader and recruits David Ruffin (Ephraim Sykes). In a testament to Ruffin’s lasting popularity, the audience explodes into cheers of “David!” as Otis introduces him as “our diamond in the Ruffin.”

Mimicking Ruffin’s appearance and smooth yet gruff voice, Sykes explodes onto the stage with flashy dance moves and mic tricks. He imbues Ruffin with a youthful excitement that immediately gains our affection, which endures even through Ruffin’s growing addictions and divisive antics.

A large portion of the musical is then dedicated to cycling through the trials and tribulations of the “Classic Five.” At times, “Ain’t Too Proud” feels more like a concert than a theater production, complete with announcers hyping up the crowd and Ruffin throwing handkerchiefs into the audience. Choreographer Sergio Trujillo creates dance numbers that are wholly reminiscent of classic Temptations moves,
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with additional flares that show off the talented cast.

Yet, despite all the theatrics, the musical is still grounded in narrative. The songs are embedded into the story around them David sings “I Wish It Would Rain” while grappling with a loss and “Since I Lost My Baby” accompanies scenes of the five’s faltering relationships.

Otis frequently interrupts the songs with a rhythmical narration, which drives the story forward but sometimes feels too frequent, cutting short nostalgic songs that aren’t quite done being heard.

Following the tradition of heartbreaking second acts, the latter half of the musical evolves into an exploration of the relationship and addiction issues that followed many members to their exits from the group and eventual deaths.

It’s also where Baskin shines playing Otis, trying to hold the group and his dreams together amid Paul’s alcoholism, Marvin’s health problems, Eddie’s growing antagonism and Motown Records’ control over the group. He’s not a saint though, and Dominique Morisseau writes Otis’s part to reflect that, making his character all the more engaging.

“Ain’t Too Proud” doesn’t shy away from integrating the Temptations’ story into the larger social and political movements of the time. Portraying the Detroit race riots, Martin Luther King, Jr.’s assassination and the Vietnam War, it dives into the responsibility many felt to take a stand, followed by the frustrating pushback from Motown Records culminating in a powerful line where Berry Gordy (Jahi Kearse) of Motown Records exclaims, “The music’s colorblind!” and Otis pleads, “But the world isn’t!”

It’s hard to make it through the second act without tearing up, as the fame takes a large toll on each member of the “Classic Five,” visibly changing the demeanor of those the audience has grown to love. The individual members deliver powerful exit songs as tensions between them worsen. Yet the musical is never too heavy, as it’s littered with delightful musical numbers and amusing banter.

“Ain’t Too Proud” is a fast paced journey through the ups and downs and talents and faults of the “Classic Five” members, not only cycling through their most famous songs, but giving us genuine insight into the people behind the Temptations.
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According to the Hampshire Gazette, an FAA spokesman James Peter, said: “The only aircraft that was operating in the area was a military aircraft doing practice approaches to Westover (Air Reserve Base).”

The Huffingon Post reports that officials at the Bradley International Airport in Windsor Locks, Conn., responsible for radar monitoring of western Massachusetts, said they detected nothing unusual in the sky above the Amherst Pelham area during the period the UFO was seen.

According to AP, a Westover spokesman first said they have no record of an aircraft over Amherst at the time residents reported seeing the “alien pyramid” UFO.

However, Westover chief of public affairs, Lt. Col. on the evening the UFO was reported. Air Force’s website says a C5 Galaxy cargo plane is one of the largest aircraft in the world and is used to transport up to 270,000 pounds of cargo, from equipment to troops. It has a wingspan of 222.9 feet,
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a length of 247.1 feet and a height of 65.1 feet and travels around 518 mph.

Residents are asking how anyone could have mistaken a C5 Galaxy cargo plane, one of the biggest and noisiest planes in the world for a silent, “unusually low” and slow flying pyramid UFO. While the C5 could have been mistaken for a diamond or triangular shaped object because of its wings, it is unlikely that observers would have confused the 250 feet long C5 flying low over the sky with a pyramid or diamond shaped UFO, “the size of two or three cars.”

AP concludes: “That does not jibe with a C5, which is almost 250 feet long and extremely loud.”

It is also uncertain how to explain eyewitness reports that the UFO was silent. The C5 engine is very noisy.

According to The Huffington Post, even Lt. Col. Bishop, who came up with the C5 story was puzzled. He said: “There’s just no mistaking that. It’s quite a loud sound and quite a big aircraft.”

The Examiner reports that resident Amy ware, told WWLP 22 News: “If people saw something, they saw something. But I don’t believe that an object in the sky was necessarily or was at all alien.”

Others think it may have been an alien craft. A woman who claims she saw it hovering over her car said it was too silent to be an ordinary aircraft.

The Huffington Post concludes while the Air Force may have noted the presence of a C5 over the Amherst Pelham area at the time the UFO was reported “both the Air Force and FAA aren’t trying to convince the public that the C5 was the low flying, silent,
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diamond shaped object seen in the sky on Jan. 8.”

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to a report of a fight at the Quadra Street and McKenzie Avenue shopping complex, and were informed while heading there that a weapon might have been involved.

It was determined the incident began when a loss prevention officer from London Drugs stopped a man outside the store on suspicion of shoplifting. The suspect pulled out a firearm and fled, going south on the Lochside Regional Trail.

News of what was happening prompted a brief “hold and secure” at nearby Reynolds Secondary School. The hold and secure status requires students and teachers to stay where they are.

Video surveillance images led police to identify 37 year old Michael Godolphin as the suspect. He is described as white, five foot seven and 175 pounds with a shaved head and two tear drop tattoos near his right eye.

He has a written tattoo on the back part of his neck.

Godolphin was last seen wearing black Adidas, straight leg pants with three stripes down the sides, a black T shirt, and black hoodie with white writing on the front.
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adidas returns ‘Artist as Maggid’ at Contemporary Jewish Museum considers art

An ambitious exhibit at the Contemporary Jewish Museum imagines the artist as a modern “maggid.” “Maggid” is a Hebrew word defined as “a wandering Jewish preacher whose sermons contain religious and moral instruction and words of comfort and hope.” For the exhibit, 16 local artists drew from various folktales in Howard Schwartz’s “Leaves from the Garden of Eden: One Hundred Classic Jewish Tales.” Through the conflation between artists and maggids, the way in which art is a form of storytelling becomes clear as one wanders from piece to piece.

Though each piece draws its focus from traditional folktales, each subject feels particularly prescient. From considering the role of women in religious tradition to asking what makes a good leader, the exhibit, whether intentionally or not, brings to mind contemporary discussions about the role of women in male dominated areas and probes of modern political leaders.

Julia Goodman’s “200 Year Present” is based on a folktale about a young peasant boy who became king. After his royal ascendance, he would go out to a shed for a period of time each day. Determined to find out what he did alone in the shed, the townspeople discover that the boy would spend a few hours in his peasant rags each day. There is poignancy in the reminder of the importance of humility in leaders, one that was expertly conveyed through Goodman’s use of pulped bed sheets and t shirts to as her medium. Standing in between the two sections of nine sheets, the viewer feels physically drawn into a place of contemplation.

The exhibit also involves a project entitled “Haptic Encounters,” on which Georgina Kleege, a UC Berkeley professor in the English and disability studies departments, collaborated. Kleege was interested in the appreciation of art through senses other than sight. She sought to consider the relationship between blindness and visual art by looking at “qualities such as texture, temperature, weight, resilience, and density that may not be apparent to the eyes alone.” Kleege’s observations illuminate different aspects of the exhibit that one might not otherwise notice the physical, rather than visual, realms.

Though each piece requires careful consideration and contemplation, Andy Diaz Hope and Laurel Roth Hope’s “The Woulds” is particularly mesmerizing. The Hopes’ artwork involves the use of mirrors, wood, ceramics, glass, video, motors and paint. The final product is a collection of silver painted tree trunks reflecting fragments of light light which is produced by the distortion, reflection and inversion of a number of home video clips. This stripping of submitted video clips to an extent that the original images cannot be discerned lends the art a universality rooted in sincerity. The reflected light could have contained any number of video clips and could have featured footage of any and every memory and experience. Just as the mirrors reflect the video, the piece reflects the viewer.

“The Woulds” draws from a folktale specifically about a couple trying to have children, but it seems fitting that it more generally considers themes of family and memory. This folktale also serves as inspiration for Young Suh and Katie Peterson’s “Scenes from a Forest.” This work is composed of a series of photographs featuring a family standing in a forest, spaced apart but clearly together as a unit. The connection between a landscape filled with trees and the depiction of a family tree is obvious, but the pieces also considers the complicated, diverse ways a family tree can grow. The juxtaposition of two pieces that are drastically different yet based on the same folktale is thought provoking, highlighting the way we each uniquely experience and interpret stories.

These pieces provide just a handful of examples that demonstrate the exhibit’s appeal as a whole. The meta consideration of how art tells stories gives the exhibit a sense of self awareness as to the true purpose and importance of museums in the first place.

The exhibit leaves its viewer considering what it means when the same stories visually translate differently for different artists how the same pieces of art can call to mind different stories. The exhibit manages to invoke these questions because of the sheer range of works it includes. The diversity of mediums and interpretations it presents is astounding marking “Jewish Folktales Retold: Artist as Maggid” as a crucial entry in the tradition of Jewish storytelling.

“Jewish Folktales Retold: Artist as Maggid” can be seen at the Contemporary Jewish Museum through Jan. 28, 2018.
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adidas originals uk ‘At least we didn’t pay our guys

Pitt basketball coach Kevin Stallings responded to unruly Louisville fans during the final minutes of the Panthers’ 77 51 loss Tuesday by bringing up the Cardinals’ most recent recruiting scandal.As fans continued to heckle Stallings and Pitt players, Stallings can be heard shouting, “At least we didn’t pay our guys $100,000.”Stallings’ retort was an obvious reference to Louisville’s involvement in the FBI’s wide ranging college basketball investigation, which revealed Louisville, along with Adidas, funneled $100,000 to high school prospect Brian Bowen to convince the five star recruit to sign with the program.Stallings refused to apologize for his comment, instead saying he was simply defending his players who were being harassed by unruly fans.Pittsburgh coach Kevin Stallings wasn’t having it with Louisville fans Tuesday. (Keith Srakocic/AP)”Somebody said something bad about my players. I’m going to stick up for my players,” Stallings said. “I probably said the wrong thing, but I’m not going to let people talk crap about my players. We’re down, the game is over with, you don’t need to insult kids who are out there trying to fight hard and do their best.”
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kids adidas originals ‘Peaky Blinders’ impresses in darkly thrilling 4th season

Ever since its admittedly slow first season, “Peaky Blinders” has been strongest in its serpentine storylines and powerful guest performances. Season four delivers both of these in spades.

The last season finale ended with gang leader Tommy Shelby (Cillian Murphy) trading in his family to the police with the promise that he had a plan to bail them out. Season four opens where it left off, with the aforementioned plan going into effect mere seconds before major players Polly (Helen McCrory), Arthur (Paul Anderson), John (Joe Cole) and Michael (Finn Cole) are to be hanged. Viewers probably could have guessed that season four wouldn’t have dared to take off without these characters, but their barely spared lives make for a shocking first few minutes nonetheless.

The pace of the season doesn’t let up at all, and soon the Shelbys are faced with a harsh new primary villain fresh from New York: Luca Changretta, brought to life by a mustache twirling, devious Adrien Brody, seeking revenge for the death of his father that occurred earlier in the series. Among the international gang war, mounting class tensions in the wake of the Bolshevik revolution and a family that still doesn’t quite trust him after his instrumentality in their arrests, Tommy has his hands full this season.

Murphy imbues Tommy with his usual steely competence in handling these many trials, but not without allowing the proper cracks to form in his facade after the seemingly never ending traumas that befall his family. His performance is part of what glues the season together; the camera almost captures every new wrinkle and grey hair, emphasizing the depth of Murphy’s exploration of Tommy’s flaws and weaknesses.

Murphy’s stolid presence as the leader of the Blinders gang and center of the Shelby family is buttressed by a slew of compelling guest performances. Foremost is Brody as the vengeful villain who pushes the hero away from the tenuous sense of security he finally begins to establish at the season’s start. From his slick 1920s New Yorker purr to his classic wardrobe, Brody clearly has a ball embodying the instantly recognizable archetype of a Prohibition era gangster.

Aidan Gillen also enters the cast as Aberama Gold, the leader of a mercenary group condemned even by the criminals who hire him for his brutality. Completely devoid of the quiet cunning he was known for in his famous “Game of Thrones” role, Gillen’s Gold provides a lion maned,
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wildcard counterpart to the cold, plan obsessed Tommy.

Tom Hardy rounds out the trifecta when he returns as Alfie Solomons, who is just as charming as he was in previous seasons as he peppers his meandering monologues with mixed metaphors and a healthy dose of cockney “right”s and “innit”s. One of his best scenes comes when Solomons butts heads with Changretta as their characters struggle through their respective short tempers to reach a precipitous agreement, Hardy and Brody seem locked in a scenery chewing competition.

Of course, a season providing a colorful host of characters while being so densely plotted runs the risk of allowing ridiculousness, and here, such a risk isn’t entirely avoided. At times, the character portrayals almost verge on self parody. In particular, Changretta’s introduction, where Brody has a suspicious looking fedora tipped suspiciously over half his face as he suspiciously heckles a Liverpudlian customs officer for no apparent reason might as well have had “Bad Guy Approaching” splashed across it in bold.

The writing, too, falters at times. This is especially noticeable during the communist revolution subplot, which seems more like a mere a thorn in Tommy’s side (and the backdrop for an oddly placed romance storyline) than a fair examination of an important time in history, especially in a society so steeped in a classist hierarchy.

Despite these momentary weaknesses, season four presents a strong return to form for “Peaky Blinders.” Its impeccable scene composition and neat character arcs create an atmosphere of precision reminiscent of stage productions. And for all its grandiosity, it is, to date, easily the most devourable season of a consistently entertaining show.
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childrens adidas tracksuits ‘The Greatest Showman’ offers engaging choreography

“The Greatest Showman” is a clichd, overcrowded but nevertheless competent musical. Barnum (Hugh Jackman), the co founder of the Barnum Bailey Circus, the film neglects to flesh out the problematic racial politics surrounding its subject and instead opts for a feel good, family friendly vibe.

The tendency to smooth out the jagged edges of Barnum’s personality ultimately results in a hagiography intended to function as a year end celebration of diversity and unity rather than a nuanced biopic exploring the foibles of its characters.

“The Greatest Showman” traces out Barnum’s rags to riches story, first exploring his humble origins and childhood romance with the upper class Charity (Michelle Williams). After a rushed song and dance number, we are introduced to the adult Barnum and his struggles to provide a stable livelihood for Charity and their children.

Out of nowhere, Barnum, while cobbling together a gift for his daughter’s birthday, gets the idea to open a museum full of exotic animals and stage performers. The rest of the film follows this motley crew as it popularizes the circus while grappling with Barnum’s growing selfishness.

While the central story sounds conventional, it could have been successful had the screenplay allowed moments for its individual characters to develop. Unfortunately, that is not the case, and the speed of the plot overshadows the central themes that the film is attempting to establish.

For example, nowhere is Barnum’s motivation to start the circus sketched out. How did he get the idea for the circus in the first place, and why did he believe that the circus would be popular? Offering answers to these pivotal questions is not even attempted by the film, and Barnum’s character arc is incomplete as a result.

Another flaw of Jenny Bicks and Bill Condon’s undercooked screenplay is its dismissal of the performers in Barnum’s circus who are not played by Zac Efron or Zendaya. We don’t really see how the members of the crew prepare their performances or work as a unit.

Furthermore,
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the powerful song “This Is Me” which reveals how Barnum’s circus has given the crew members a chance to embrace their uniqueness instead of being trapped by it looks like it will launch a more detailed exploration of the crew members’ individual lives and their interpersonal relationships. As it stands, though, the writing ends up being the primary flaw in the film and turns it into somewhat of a mess.

Regardless, the musical sequences are exquisitely crafted across the board. Standouts include the aforementioned “This Is Me,” “The Other Side” the Jackman and Efron barhopping team we desperately needed in our lives and the trapeze based romantic melody “Rewrite the Stars,” which focuses on the seemingly doomed attraction between Zendaya and Efron.

The latter two sequences are particularly distinguished by their impressive choreography. Efron and Zendaya’s romantic arc stands out as well it’s well balanced in terms of screen time and shines a much needed light on the prejudices facing people of color.

Ultimately, though, it’s Jackman’s charisma and the earnestness in his soft, silky baritone that make “The Greatest Showman” more than the sum of its unequal parts. It’s hard to take your eyes off Jackman as he cries, laughs, shouts, sings, dances and runs through the 105 minutes of the movie.

Perhaps the lack of subtlety in “The Greatest Showman,” as well as its willingness to present a world in which diversity is recognized as a strength rather than a hindrance, is the cinematic pain reliever we need right now. As long as the fictionalization of Barnum is taken as a fanciful dramatization rather than a concrete and objective depiction of his personality, the sugary sincerity of “The Greatest Showman” should work to its benefit.
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adidas womens ‘I was sexually assaulted’

New Jersey First Lady Tammy Murphy takes the stage to speak on the Morristown Green as thousands marched through Morristown for the Women March on New Jersey, one of hundreds of events conducted around the nation to mark the one year anniversary of the 2017 Women March on Washington, the largest single day protest in American history. January 20, 2018. Morristown, NJ. New Jersey first lady Tammy Murphy shared her MeToo story with thousands of people who attended the Women March on New Jersey on Saturday, revealing that she had been sexually assaulted in college.

stories of the Too movement have humbled the powerful and empowered the forgotten, Murphy said in her speech at the event, following her husband, Democratic Gov. Phil Murphy, who was sworn in Tuesday.

will add my voice to this growing chorus, she added, going into detail about her experience as a sophomore at the University of Virginia.

decades ago,
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as a college sophomore, I was sexually assaulted, Murphy said.

More: ‘Grab Him by the Mid terms’: Women’s marches push power of the vote

More: Trump trolls marchers by casting rallies as celebration of strong economy

between two groups of friends I had a choice of taking a longer path that was well lit or a shorter brick walkway that was slightly in the shadows. said she chose the shorter way.

I walked along the brick path I suddenly stopped because the light was coming in and then it stopped. So, I turned my head to look and was pulled into the bushes, Murphy said.

was thrown on my back. I had a man on top of me pulled my shirt up, pulled my skirt up. And I started screaming. attacker found an apple, she said, which he to put that in my mouth. I bit him as hard as I could. January 20, 2018. Morristown, NJ.

assailant never faced justice in my case, Murphy said. wasn until a future point in time and a future crime that he finally went to jail. said that the lining over the last year has been the upon thousands of women who have found their voices. today only a few have heard my story. Now you all know, Murphy said. tell this today not for me,
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but really for all of you. Surely among us is a woman who has been silent about her own story.

know the feeling of shame. I know the feeling of helplessness. I know the disappointment of justice denied. By speaking out we can find our strength and ensure our lives are not defined by our experience.

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This year, the Miller on Sports team chose to follow the younger set of runners. In the 2012 Junior River Run, there were two major youth races: boys and girls nine years old and under, and boys and girls ten through thirteen years old.

The runners ran west on Duval Street and then circled back along Duval Street to finish the mile race inside the fairgrounds just north of the starting line. The weather for the races was breezy and cool,
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but proved to be good running weather for these future Gate River Run runners. Some of these youthful runners looked like they were actually ready for the adult race.

Arlington NewsFormer First Coast football standout shot, killed in ArlingtonFire Marshal: Man charged for lighting Arlington resident on fireControversy over Christmas lights in East ArlingtonPickup truck collides with JTA bus on Arlington ExpresswayJSO: Child dies after being taken to hospital from Waterleaf Elementary School

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firefighter injured in Northside fireAnother community without running water

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black and white adidas tracksuit ‘Phantom Thread’ dazzles as psychological drama

An everlasting challenge for artists is grasping the separation between life and death.

The opening scenes of the film establish the Balenciaga inspired Reynolds as an exacting, if neurotic, man by focusing on his precise morning routine, from his close shave to his fuschia socks, which become a trademark beneath his monochrome attire.

Day Lewis expands upon this aspect of Reynolds’ wardrobe muted, with defining bursts of color and builds his entire character around it. A gently mincing voice, seemingly stolen from an Edwardian governess, punctuated with startling snarls of ferocity. A benign, foxlike smile that can slip away in a split second to reveal a volcanic flurry of petulance.

Day Lewis’ performance draws on all the strongest elements of his most recognizable roles; within Reynolds exists the inhuman obsession of Daniel Plainview (“There Will Be Blood”) masked with the quiet doggedness of his Abraham Lincoln (“Lincoln”). The effect is convincing, unsettling and altogether impressive.

Reynolds is constantly attended by his sister Cyril (Lesley Manville). She is no less obsessive than he, but Manville presents her detail orientation with metronomic logic rather than emotional acrobatics. Cyril and Reynolds have become two halves of a whole; she is his sense of calculated control, and he is her untapped creativity. High fashion requires both exact measurements and explosive novelty; their formula is what skyrocketed the House of Woodcock to its in universe glory.

The Woodcock partnership also succeeds through Cyril’s understanding of Reynolds’ inability to metabolize normally the concept of mortality after all, it was the death of their mother that precipitated this deficiency. However, any individual who can understand this facet of Reynolds’ nature threatens to upset this balance. Such an outsider swans into the picture in the form of Alma (Vicky Krieps), the latest of Reynolds’ young muses.

When Alma first enters the convoluted world that Reynolds and Cyril have woven, she tiptoes around Reynolds’ many household rules. The more she learns about Reynolds, quietly absorbing him with the focused dedication of a student, the more she begins to understand the quirks in his understanding of his own ephemerality, and the more she can bring Reynolds under her sway. Krieps’ unconventionally charming performance seizes our eyes, from her first organically clumsy appearance through her later deft psychological maneuvers.

The gorgeously tense dynamics of Alma and Reynolds’ relationship are notably represented through sound. At first, fearing Reynolds’ misophonic rage, Alma is careful even in buttering toast. After finally mastering him, in contrast, she gleefully eats and slurps with reckless abandon. The sound mixing in these scenes is gratingly effective; we, too, jump with every stroke of her knife, and we smart as she intentionally bites down on a soup spoon.

Jonny Greenwood’s score augments sound’s narrative importance, with baroque and romantic influences representing the tug between restraint and passion. As Alma expands Reynolds’ world, his stoic piano theme blooms into orchestral arrangements. When she wrests dominance from him, these swooning strings compress into jarring pizzicato until the climax, which presents an unexpectedly harmonious duet.

“Phantom Thread” is at its core a musical film, built like a piano concerto with alternating movements of gravity and humor. Reynolds is presented to us first as staunchly baroque, preferring to play without accompaniment. It is Alma who attempts to draw him into her world of romantic orchestration, and the central conflict is his unwillingness to relinquish control and establish himself as the soloist of her concerto.

The narrative turn that accompanies the final duet between their dueling instrumentations establishes “Phantom Thread” not only as a sharp psychological character study, but also as one of the most creatively illustrated romances in film.
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