Courtesy of artawake.org

The large crowds of college students walking in downtown Rochester on Saturday evening made passing cars slow down and look with wonder. A UR bus pulled up beside what appeared to be an abandoned mall and dropped off another slew of students. On the storefront windows of the building, “Art Awake” was written in large, rainbow colored letters. Every time the door opened, loud rock music emitted from the space. Welcome to Art Awake 2013, the most interesting and entertaining event to hit downtown Rochester since the Fringe Festival.

Upon entering the building, visitors were hit with a wave of sound and color. White walls were erected in a looping formation throughout the room. Some of the displayed art was fairly “typical” and included landscape paintings, black-and-white photographs, and portraits. The other art pieces explored new mediums of art. A large, orange elephant painting on plywood board caught everyone’s eye. Next to it hung a cascade of black and white,  cut-out faces nailed to another piece of board. All the faces had various expressions and were of varying sizes.

If one stopped to read the descriptions under three of the photos, they discovered a whole new meaning. The attached booklets depicted various cases and experience of rape as described by the people in the photographs.

The art itself was impressive and created by local artists. Many of these artists were UR students and a piece of art instantly became even more impressive when one found out it was student-made. There is incredible talent in UR’s art department, but the general public sometimes forgets. Art Awake is a great chance to remind everyone.

The music at the event was quite varied. From 6-7:30 in the evening, the music ranged from rock band to folk style instrumental, then to new music with voice, violin, and toy piano. The music was a nice compliment to the artwork but sometimes made it a little hard to discuss the art with the people nearby.

As with any art event, new art should be created at the same time as old art is displayed. The Art Awake staff set up a short, white column in the middle of the room. Participants were invited to step forward with their cup of paint and add to the masterpiece. No one had any idea what would happen to it, but it turned out beautiful. Past issues of City magazine covered a few tables along with a few pairs of scissors, glue, and double-sided tape. There were no real instructions as to what to do with all of this, but that was the beauty of the project. Young and old alike sat at the tables and created hats, paper cranes, and garlands. Some of the less artistically inclined busied themselves with cutting out interesting words in the paper. People walked around the event proudly wearing their dorky, newspaper bowties and donning their ridiculous pointy hats. At least they were enjoying themselves.

No event would be complete without food and drink. Free samples of hummus, tabole, and marinated vegetables were served during the evening. There was just enough in the cups to taste and entice one to track down the restaurant for more. There was a vacant bar, which was probably much more popular later in the evening.

Overall, it was a memorable evening, and I’m glad I brought friends along with me. Making hats and paper cranes from newspaper is infinitely more fun with a group of people. It’s also nice to have someone along with whom to discuss the most interesting pieces of art as you explore. The organizing team for Art Awake, a sub group of Urban Explorers, has worked for months to pull of the event, and it seemed to be successful. This is the sixth year of the event. The group hopes that the event will grow as years go on; who knows what next year will bring.

Sanguinetti is a member of the class of 2015.

Mike Pascutoi / Contributing Photographer

One of UR’s best qualities is the opportunity to further your interests with the bevy of clubs and scheduled events regularly occurring around campus. However, despite a considerable degree of interest from the music community, barbershop singing has not developed as a club or organization on campus.

However, several students on campus have continued to pursue their passion of barbershop, attempting to create a niche for a musical style that is predominantly viewed as being too outdated for modern audiences.

Sophomore Kedar Shashidhar, a barbershop aficionado, is among them. Shashidhar, along with senior Ben McCormack and junior Matthew DeMartino, recently joined Brad Babiak of Jamestown Community College to form a barbershop quartet called “After the Rain.” Since its inception in February, the group has rapidly developed as a group and has begun competing. Barbershop, a style of unaccompanied vocal performance originating in the late 1800s, traditionally limits the size of a group to four members and is an arduous, complicated style of music. Its zenith as a performance style, though, was in the 1920, and has since then faded except for a small, rapidly aging group of adherents.

That’s not to say that barbershop is unknown to modern culture; barbershop has been referenced on several major television comedy series including “The Simpsons,”“Arrested Development,” and “Scrubs.”The music themess are found in pop songs from the boy-band era. Most recently, the YellowJackets performed a barbershop number, “Goodbye, My Coney Island Baby” in their spring show.

As one of the steadily increasing number of collegiate barbershop quartets, After the Rain has found unusually rapid success. At its first competition on April 12, After the Rain performed with two other collegiate groups at the Senecaland regional in Geneva. Performing “Hello My Baby” and “From the First Hello to the Last Goodbye,” it outperformed their competition the compeditors and placed first. Their victory helped qualify them for an international competition hosted by the Barbershop Harmony Society, where they will be competing against dozens of other highly skilled singers as the 13th-seeded team.

When asked about sharing their interest in barbershop with the UR community, Shashidhar and McCormack both were incredibly open with the idea.

McCormack voiced skepticism though. “Most people who have an interest in barbershop are usually already performing music on-campus,”

McCormack said, “It would be hard for a coherent group to form if all the people interested are already in an a cappella group.”

Shashidhar is more enthusiastic about the prospect of such an idea working due to the challenge and enjoyment it brings, commenting that, “barbershop is the black belt of a cappella singing. When done right, four-part harmonies can be super effective.”

He went on to state that although barbershop groups are independent of groups from other schools, it was conceivable for a group to form like that on-campus.

After the Rain will be competing in the Barbershop Harmony Society’s international final in early July. As they continues to rehearse, one can only hope that this fledgling subgenre of music continues to thrive, at least for those who are willing to put in the work to not only learn the style of music, but to find others interested in singing with them.

Pascutoi is a member of the class of 2015.

Courtesy of clashmusic.com

Daft Punk is back. Gearing up for their newest album, the French electronic duo released their newest single last Friday, April 19. The track, titled “Get Lucky,” times in at just over four minutes long. The album version will reportedly  be around two minutes longer. Pharrell Williams, a member of N.E.R.D., provides leading vocals backed by singer-songwriter/guitarist/producer Nile Rogers, who has produced numerous number-one hits.

The song will no doubt be on the top of summer playlists worldwide. The song represents a new direction for Daft Punk, one that is no doubt controversial among hardcore fans. The song has elements of funk and new-wave disco that evokes nostalgia in the best way possible. The song represents a new start, one that will hopefully be backed up by the band’s full-length LP, “Random Access Memories,” which is set to be released next month. The list of collaborations on the album are an orgy of who’s who in modern music, including Panda Bear (from Animal Collective) and Julian Casablancas (from The Strokes).

Schaffer is a member of the class of 2016.

Eric Semmel / Contributing photographer

Last Saturday night, the Strong Jugglers performed their 18th Annual Spring Show,“A Strong Suspicion: The Case of the Missing Juggler” in the May Room.

The show was murder mystery themed and literally started off with a bang, showing an unlucky fellow getting murdered. The club used well known detective characters, such as Sherlock Holmes and Watson, Velma and Shaggy from “Scooby-Doo,” and Ms. Scarlet and Professor Plum from “Clue” to help solve this riveting mystery.

Throughout the performance, the audience followed the characters as they searched for clues. The night’s routine involved club juggling, ball juggling, a unicycle solo, a club juggling duet, a ring juggling solo, an acrobatic solo, and other smaller routines. Through it all, the audience remained engrossed by the central storyline.

The Strong Jugglers wanted to make sure the audience was involved in their performance. Three audience members were  each given an envelope when they first entered the room. During the show, the three lucky participants were called onto the stage to read aloud the clues within the envelopes as well as  to act them out.

The performance also included a stretch break in the middle. The audience was encouraged to stand up after sitting on the ground so long, which was a welcome relief. They were then asked to interrogate the suspects in the murder. This added another interactive element to the show and helped keep the audience comfortable through the performance.

At the end of the show, there was a confusing twist. No one had actually gotten murdered at the beginning, though the butler had revealed a random person as the murderer. The Strong Jugglers laughed as the audience slowly figured it out. On cue, the alumni who were sitting in the front row of the audience yelled, “Encore! Encore!” The Strong Jugglers did what they were told: they juggled for the audience one last time in crazy formations on the stage. To top it all off, the jugglers showed off their dance skills with moves to the Scooby-Doo themed dance.

The show last Saturday night was just a glimpse of what the Strong Jugglers is all about. The group also performs during orientation, Meliora Weekend, at Bohr’s Head dinner during the fall semester, in addition to their big spring performance every year.

“Juggling is a really good de-stressor, it really relaxes me; It’s a good study break,” said current president of the club Stephanie Milner. She went on to describe the Strong Jugglers as a “great group of people. They are a really fun and inclusive group who are always willing to teach you new things.”

There are thirty-five members in the club, and about twenty-one of them performed in this years spring show. Performing is definitely not a requirement of membership to the club, but anyone that is available for rehearsals and performances are welcome. The club receives many new members each year, and their numbers have grown significantly in recent years.

The individual members of the Strong Jugglers all choreograph their own routines, and anyone wanting to choreograph a solo or duet is entitled to do so. Often, the group pairs experienced choreographers with the newer routine writers to try to give them more experience so once the experienced writers graduate, the club will still have writers to choreograph new routines.

One does not necessarily need any experience in order to join. Anyone can join, and the club is always eager for new members. If you are interested in joining the Strong Jugglers, and are willing to learn something new, give it a try! There is absolutely nothing to lose.

Komar is a member of the class of 2016.

Justin Stimac / Contributing Photographer

Off Broadway On Campus (OBOC) performed their spring concert, “Live from Studio OBOC: A Musical Theatre Revue,” last Friday. The performance included numbers from musicals such as “The Lion King,” “Annie Get Your Gun,” “Chicago,” “Les Misérables,” “Next to Normal,” and several others.

For those who don’t know what OBOC is, it’s the University’s only musical theater group, making it  one of a kind. One unique aspect of OBOC is that in every show,  it allows anyone to perform in select pieces with no audition required. Moreover, all numbers are original student- directed skits written by OBOC members. The pit orchestra is composed entirely of student musicians. Originally founded in 1997 by David LaPrairie, the group was created in 1998. Just one year later, OBOC became recognized by the Students’ Association, causing more fans to fill the audience.

As it was OBOC’s spring show, this was the last chance for seniors Sophie Esquier, Trevor Filer, Erika Howard, Jon Yang, Caitlin Lischer, Mike Moll, and Jarred Lentine to perform. In their swan song, “Twenty Something,”  the seniors performed with great enthusiasm and heart.

With the seniors leaving, the spring show meant that the freshmen and new members of OBOC would need to perform on par with older members as they will need to carry the weight of performing next year. Needless to say, the freshmen came out strong, with outstanding performances from freshmen Christian Freitas, Sam Schick, Mariah Roberts, and the other freshmen.

The atmosphere of the show was simply brilliant. OBOC was definitely ready to put on a show, and the audience was thrilled. The choreography, the lights, and the performances were packaged so well together with a mixture of both light and dark scenes. Their performance of “Reefer Madness,” featuring sophomore Kyle Critelli, was most certainly a crowd pleaser, and it had me wanting more.

OBOC’s performance of “Just Another Day” from “Next to Normal” was also one of my favorites. Featuring a family of four, the performance was exceptional, enabling the audience to  feel the drama and witness the dedication of the performers.

When asked what she thought of the show, OBOC member and freshman Bethany Lennox replied, “With it being my first semester in OBOC, being part of such a large show that really came together at the end was a great experience, and I look forward to taking part in it again.”

That said, I think that OBOC is definitely a group to be on the lookout for next year, and their fall show next year will be something you don’t want to miss.

With a remarkable spring performance behind them,  OBOC will continue to improve and live up to the University’s motto, Meliora.

Stimac is a member of the class of 2016.

Courtesy of Caitlin Farmer

Senior Caitlin Farmer presented her graphic novel “Zero Tolerence” this past week at the Art and Music Library in Rush Rhees Library. In an exclusive interview, Farmer told CT about her art, inspiration, and plans for the future.

What is your major? Did you come to UR for the studio art program?

I didn’t come to UR for the art program, but I kind of fell into it. I took a print making class, and it changed everything. I loved the mix of mechanical machines with the art. I am also a creative writing major.

Tell me about the gallery opening Friday. How did it go, how many people attended? Did you give a speech?

There weren’t a ton of people there, but it went well. I didn’t have to give a speech. My classmates all stopped by to see it.

Can you describe your work for those who didn’t get to see it? 

It really explores the issues of race and bullying in schools, two topics we don’t really like to talk about. It doesn’t confront them explicitly, but tells a story. I went to an inner city school in Rochester, School without Walls. There were a lot of issues with bullying and sexual harassment, but they were so frequent that not much could be done about it. I had friends who were sexually assaulted and they reported it to the highest officials, but nothing was really done about it.

The message of my work is that it is necessary to stand up for yourself because there will be times when no one else can do it for you. [My work] is also a commentary on the reform of education by eliminating suspensions and expulsions while still touting zero tolerance policies.

Which art teacher has been most influential to you?

A lot of professors have helped me with this project, especially Rachael Hetzel and Stephen Schottenfeld.

Is there an artist who has inspired you or that you would like to study under one day?

I was inspired by the colorful artwork of “Watchmen” and the intimate narrative style of “Persepolis.”

What is the story of your work?

The story is about a girl in high school — she intentionally doesn’t have a name. She struggles to stand up for herself, not knowing how. She is visited by the ghost of her grandmother who kind of leads her along the way.

Why did you choose this medium of art? 

I took a comic book class and really fell in love with the style. Since I’m a double major in studio art and creative writing, everyone has always encouraged me to mix the two worlds together. I wanted the style of the comic to echo a teenage girl’s diary.

What do you hope to do after college? Do you want to pursue this professionally? 

I am going into art therapy at Nazareth college.

Why do you think studio arts is an important part of UR? Do you think a lot of students don’t know about it?

A lot of people don’t know it’s a major or that they can take classes,  but I know my art has helped me focus in other subjects as well.

Sanguinetti is a member of the class of 2015. 

Courtesy of criterion.com

Recently, the Dryden Theatre at the George Eastman House gave Rochester one of the more remarkable movie experiences in recent memory. On Friday, April 5, the Dryden showed a restored print of the revered Hollywood epic, “Ben-Hur.” The following night, the Dryden welcomed award-winning director James Ivory, who spoke about his distinguished career and screened his classic film, “Jefferson in Paris.” It is safe to say that the Dryden, having been closed for renovations during the winter, is back in action. The old seats, which were not particularly comfortable, have been replaced with superior (and well-cushioned) new chairs. The faded, decades-old drapes that once haunted the theater walls are gone, and rich, dark blue tapestries hang in their place. Finally, the sound and projection systems are as crisp as ever, proving that you don’t need to see an IMAX movie to have an immersive cinematic experience. The films screened last weekend could not have been more different from each other. “Ben-Hur,” the most spectacular of all the old sword-and-sandals pictures, is a highly stylized adventure film. It is a four-hour extravaganza with overture, intermission, and entr’acte, much like an opera. Additionally, “Ben-Hur” is an exercise in the power of pure narrative it is the thrilling story of one Jewish merchant, Judah Ben-Hur (played powerfully by Charlton Heston), as he suffers imprisonment at the hands of the Romans and eventually gets his revenge.

Conversely, “Jefferson in Paris” avoids one central plot in favor of a series of anecdotes about Thomas Jefferson’s time in France, especially his relationship with his slave, Sally Hemings. “Jefferson” was shot with documentary-style realism and is as naturalistic as “Ben-Hur” is stylized. Nonetheless, the two films share some thematic similarities. Both films are about families experiencing eras of great historical change, and both films focus heavily on travel. James Ivory’s Q&A session after the “Jefferson” screening also involved much discussion of travel, which included his trips to India, China, and France for filming. As such, the weekend’s programming at the Dryden felt like a unique blend of travelogue and history lesson.

Of the two films shown last weekend, “Ben-Hur” was the more satisfying cinematic experience. When seen on home video, “Ben-Hur” is enjoyable but somewhat diminished. You can pause it and walk away whenever you like, and the film’s religious themes seem corny. But on the big screen, “Ben-Hur” is overwhelming and, like an opera, larger than life. Since the image is so big, the emotions, the colorful cinematography, and the story also become grander. The religious themes are still dated, but the actors are so earnest, so towering in their performances that this Biblical epic no longer seems hackneyed. Rather, it becomes the cinematic equivalent of great religious art.

“Jefferson in Paris” was certainly enjoyable. Unlike most films about the American and French revolutions, “Jefferson” emphasizes the culture of the era rather than the politics. Nick Nolte gives a surprisingly graceful and intelligent performance as Jefferson, showing how the statesman grew from being reserved to much more emotionally honest during his time in Paris. However, Jefferson also leaves Paris more conservative than when he arrived. He denies his daughter the opportunity to follow her heart and remain in France, and he commits to a manipulative relationship with an underage slave.

This sense of ambiguity in Jefferson as both a sympathetic and repulsive figure is thought provoking. Unfortunately, the film covers so much historical ground that it feels unfocused. In the end, you’ve learned much about slavery, the French Revolution, French culture, and the limits of American radicalism, but you’re not sure what the central theme is supposed to be. “Jefferson” was therefore much less fun to watch than “Ben-Hur.”

And what of Ivory’s presentation? Ivory was utterly charming, displaying a dry sense of humor and a real interest in accurately conveying a little-known era of American history. He acknowledged the immense controversy surrounding the release of his film, which was the first to dramatize the Jefferson-Hemings relationship.

“The things we show Jefferson saying and doing -— [some] people have never forgiven us for it,” Ivory remarked. He also conveyed his personal enthusiasm for classic films — he was in the audience for part of the “Ben-Hur” screening and praised his three favorite contemporary directors: Martin Scorsese, Woody Allen, and Wes Anderson.

Interestingly, Ivory didn’t take any particular seat of honor while his film was shown — this master filmmaker sat in the back row of the orchestra section, as both a sign of his solidarity with ordinary moviegoers and a testament to the superior theatergoing experience provided by the Dryden.

Gorman is a member of the class of 2014.

Courtesy of sa.rochester.edu

“Bea”, a play written by Mick Gordon, was performed by UR’s  student theater group, The Opposite of People (TOOP), at the Drama House from April 11 to the 14.

The play is about the journey of three characters and their decision to follow through with assisted suicide. It kept the audience engaged every moment of its 105-minute running time, strictly light-hearted in its demeanor, but possessing dark undertones that reflect the story’s serious themes.

Beatrice James, better known as Bea (played by freshman Emma Guilfoyle), is a twenty-something who has been confined to her bed for the past eight years.

The play cleverly kept audiences unaware of her disorder until the end to avoid labeling. Although she is physically imprisoned by paralysis, make no mistake, her inner self is vibrant and vivacious.

She loves dancing to the music of life and has created her own “daring definition of life,” believing firmly in happiness and freedom. Guilfoyle, full of versatility, delivered a strong, very vocal performance.

Bea has a caregiver, Raymond or “Not Gay Ray” (played by sophomore Devin Goodman), who helps her with her daily tasks. He is sentimental, and the dynamo of Bea’s life, brightening up her days with his incessant chattering. Goodman portrayed the character flawlessly and was the major source of humor in the play. His rendition of the scene from “A Streetcar named Desire” was delightfully charismatic, despite the fact that his character’s personality contradicted Stanley Kowalski’s which was  famously alpha male.

Ray’s jolly nature was balanced by Mrs. Katherine James (played by freshman Halle Burns), Bea’s mother and a judge by profession. She likes to be in control and is a stickler for rules. She loves her daughter to pieces and is torn by Bea’s decision to die.

Strengthened by  the task of caring for her daughter all by herself after her husband ran away, she has difficulties accepting that her daughter wants her to over-sedate her. Burns’ sober expressions and sharp dialogue were the highlight of her performance.

The costumes were designed thoughtfully by Nina Datlof to remain consistent  with the characters’ personalities as they change over the course of the play. Ray’s costumes were semi-casual, while Bea dressed in brightly-colored dresses. At the start of the play, Katherine’s strict personality demanded a suit, but towards the end, her costumes became more casual as she assumed the role of a mother.

Interestingly, the play revolved around only a single bedroom. In designing the only set in the play, freshman Christina Amaral and Key Scholar Elizabeth Riedman did an impressive job manifesting a cozy bedroom onto the stage. The window seat made the set seem more real, while the rugs and cushions added color. The earrings, dresses, and shoes were a thoughtful addition and a reminder of Bea’s past; they further highlight her present, paralyzed state. The lighting was good except on the few occasions in which it became too bright for both the audience and the actors. Additionally, the sounds employed were effective in conveying the emotions and tones of the scenes. The music brought Bea’s exuberant spirit to life with popular tunes like “Scream & Shout.”

One of the most memorable quotes from the play was, “The more angry I got, the more she laughed…The more I laughed, the more she laughed,” because the play ended with Mrs. James crying while Bea laughed as she died of over-sedation. The harder Mrs. James cried, the harder Bea laughed. However, the best quote was when Mrs. James expressed her grief, saying that there are words “widow” and “orphan” to describe someone losing a spouse or both parents. But there is no word to describe a parent who loses a child. “Even language knows it isn’t meant to happen.”

Despite a lively and entertaining performance, the show did have some notable faults. The transition from Bea’s inner self to her physical self wasn’t smooth every time. Sometimes, the background sound effects weren’t loud or clear enough to convey the subtle nuances and tones of the scenes. Mishaps are not a new concept to the world of theater, and “Bea” is no different. During the show’s last run, the dress rack fell down as Ray went to get a book from his bag. But these little things did not take too much away from the show itself.

Overall, “Bea” was engaging and touching. As the end drew nearer, many sniffles and even sobs could be heard from audience members as they braced themselves for Bea’s “big day,” watching her as she lay in the comfort of her mother’s arms telling her how much she loved her.

The play was very well received and had good attendance every day of its run. The vivid characters carved a place for themselves in the audiences’ heart. The actors enabled audiences to explore the boundaries of empathy. The director, senior Melissa Martin, did a great job orchestrating the play, bringing out the best in the characters as well as the settings. Cleverly written, creatively directed, and splendidly performed, “Bea” was yet another ingenious TOOP production.

Varma is a member of the class of 2016. 

Theater enthusiasts have always believed that powerful, dramatic performances open doors to discussions about sensitive issues such as racism and violence. “Bang Bang You’re Dead,” a play by William Mastrosimone, aims to do just that, telling the story of a vulnerable high school boy who is led to violence as a result of bullying and preexisting, mental disturbances.

The show, which will open tonight, April 18 at 8 p.m. in Hubbell Auditorium, was written in 1999 and is strongly based on the school shooting in Springfield, Ore. On May 20, 1998, Kip Kinkel shot both of his parents. He then proceeded to his high school where he shot 27 students and wounded many others.

“Bang Bang” has been performed over 20,000 times since its publication and is available for free online. It is a one-act play lasting only about 45 minutes, but its subject matter often has a powerful impact on audiences. It has spurred discussions across the US and now will hit even closer to home with the recent violence in the news. According to Mastrosimone, the play is “accessible to older students. It requires no set, no lights, no costumes.”

Jonathan Grima ’11 plays Josh, the protagonist of the play.

“It’s kind of cool the way the show is shaped,” senior and The Opposite of People (TOOP) member Kelsey Burritt said. “It starts with Josh in prison. We reenact what happens to him inside his head.”

Grima had wanted to perform the show for a long time, but according to Burritt, the shootings at Sandy Hook Elementary School brought the idea to reality.

“Theater is a great instrument to bring people together,” Burritt said. “This play in particular would be a powerful tool to unite our campus and help us all think about the recent tragedies.”

She believes that this play can even be related to the recent bombing in Boston. “We didn’t want to narrow what we’re talking about to school shootings,” Burritt said. “We want to talk about violence in general, about the way we respond to it and prevent it, and how we think about teenage depression and mental health.”

Because of the show’s controversial content, TOOP has organized a panel discussion to follow the show. Representatives from student groups and professors alike have all been invited to participate.

Panelists will answer some questions posed by the cast and then open up the floor for questions from the audience.

The organizers of the event have tried to approach the issue with an open mind, even though it is easy to make quick conclusions about the issue of school violence.

“We don’t want to take a stance,” Burritt said. “We just want to present the story as a tactful narrative and provoke discussion amongst everyone.”

This is obviously a difficult issue to talk about. Students have all seen photos of the young, innocent children murdered at Sandy Hook and the man who killed them. It’s hard to understand how such violence could occur and even harder to see the story from the shooter’s perspective.

But this show attempts to do just that. It presents the story through the eyes of Josh, the shooter, and tries to bring the audience to a place of understanding. He experienced baleful bullying, which escalated into an unbelievably violent response. Bullying is an issue that many students can identify with.

“The experience of bullying or being bullied is one of the most relatable strands of the show,” Burritt said. “We often relate bullying with childish issues, but it’s definitely an issue in college. These things happen. I’m hoping people come forward and share stories and experiences [in the discussion.]”

Students have already come forward and showed their support for the show.

“The response has been overwhelmingly positive,” Burritt said. “People agree that this is something we should talk about and discuss. It’s a dark issue, and people are intrigued and interested in the topic.”

Sanguinetti is a member of 

the class of 2015.

Alex Kurland / Staff Illustrator

It’s safe to say my love of movies began with “two thumbs up.”  It was everywhere. It peppered TV spots and movie posters. It floated next to Jim Carey on the DVD case of “Bruce Almighty.”  It flashed sleek and shiny beneath Tom Cruise on the poster of “Minority Report” and blazoned greatness in the night with the coming of “Batman Begins.”  From the very beginning, I knew the trademarked phrase signified some level of excellence and, using my adolescent deductive abilities, would try to pinpoint the exact quality that made these movies deserving of that special label. In a way, “two thumbs up” was what prompted me to start looking at movies in a critical way.

Before long, I discovered the mind behind the phrase: Roger Ebert, a portly, bespectacled fellow who worked wonders with his words. He is perhaps most well known for his talk show with the late Gene Siskel, but I discovered Ebert through his blog, rogerebert.com, an immense collection of reviews spanning four decades and over 10,000 films. That amounts to over 200 movies per year, a staggering sum that testifies to the man’s devotion and passion for the movies.
But I cared little for statistics. I was drawn in by the sincerity and intelligence of Ebert’s prose, a style that strips away all academic pretenses and simply states what he saw and felt. Every word counts and every sentence feels purposeful. Witty moments abound, matched only by moments of insight. Through it all, Ebert remains level-headed except when faced with films he detests (see his review for Rob Reiner’s “North”).

If anything, though, his famous tirade against Reiner’s flop of a film illustrates Ebert’s utterly intimate take on cinema. In the most remarkable way, his writing evokes movie love at its most personal, a level of emotional truth that is often lost in the translation from heart to paper. Reading his reviews, you know exactly how he felt about a particular movie and why he felt that way, and if the verdict is the full four stars, his writing makes you want to watch the movie immediately, regardless of if you’ve seen it or not.
Consider Ebert’s review of “2001: A Space Odyssey,” part of his “Great Movies” collection and a film that has repeatedly ranked among his all-time favorites. “Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape,” Ebert wrote. This one sentence conveys the effect Kubrick’s film had on him, and we sense exactly what he meant. And though the line is short, it’s powerfully evocative — if a movie can produce that effect in a person, it’s probably worth checking out.

In these instances of cinematic rapture, Ebert became less a figure of purported intellectual authority than a witness to a miracle, eager to share his joy. Where most critics seek to assert their analytical prowess, Ebert deliberately sat in the audience with us. His reviews feel like a conversation between him and the reader, side by side among the plush, stadium seats of a movie theater (or even better, a movie palace.) He is assured but never condescending. He will admit when he doesn’t know something, a move that is often seen as a sign of weakness in the field of criticism. With Ebert, it shows both humility and strength of character.

But Ebert was not audience only to the movies.  He was, as written in his review of 2012’s “Amour,” a “member of humankind’s eternal audience,” and one of the most vocal ones at that. Through all his reviews and blog posts runs one unifying thread: a compassion for humanity and a joy for life. He was moved by the universal sadness of “Tokyo Story.”  His heart broke for Jake LaMotta’s searing, emotional wounds in “Raging Bull,” but it soared in response to the films of Rahman Bahrani, which capture the vibrant textures of America’s unsung lives in intimate detail. His favorite film of the last decade was “Synecdoche, New York,” which, according to Ebert, is about “nothing less than human life and how it works.”

Another, perhaps even better reference point for human living is Ebert himself. Born June 18, 1942 in Urbana, Ill., Ebert began his journalism career when he was just 15 years old, covering Urbana High School sports for the News Gazette. In 1961, he published one of his first reviews, writing about “La Dolce Vita,” a film that he will treasure for the rest of his life. In 1967, he officially became a film critic for the Chicago Sun-Times, where he proceeded to influence an entire generation of moviegoers and reviewers, becoming the first critic ever to win the Pulitzer Prize. He even tried his hand at screenwriting — Ebert’s pride was “Beyond the Valley of the Dolls,” a schlock melodrama which he co-wrote with director Russ Meyer.

In 1982, Ebert began his famous partnership with Gene Siskel, together trademarking the “thumbs up/thumbs down” style of reviewing. Ten years later, he married Charlie “Chaz” Hammelsmith, who would become a major source of strength for him after he was diagnosed with cancer in 2002. He grappled with the disease for over 10 years, doggedly continuing to review films almost the entire time. When he died last Thursday, April 4, it marked the end of a battle well-fought and a life well-lived.  Ebert had become a hero and mentor for us all, inspiring us with his writing, wisdom, and unwavering strength in suffering.

Rest in peace Roger Ebert, and as you wrote in your final blog post, “I will see you at the movies.”

Jeng is a member of the class of 2016.