A View from the Bridge

• Published in: The Arthur Miller journal 2015-10, Vol.10 (2), p.183-186
• Main Author: Abbotson, Susan C. W.
• Format: Article
• Language: English
• Subjects: Elliott, Emun; Gambon, Michael; LaPaglia, Anthony
• ISSN: 1558-8831; 2333-3154
• DOI: 10.5325/arthmillj.10.2.0183

Christopher Bigsby's review featured in The Arthur Miller journal (9.1-2 [2014] 139-42) offers a clear-sighted response to the stage production, so this comes as an addendum to that, as I wondered if in some ways this filmed version might be simpler to read, given the director's ability to better focus the audience's attention through deliberate angles and close-ups. Totally minimalist with predominantly monotone shades, utterly stylized, and with generous cuts (though none that felt that anything important was missing), what made this production so stunning was the absolutely vibrant acting from all those involved-while placed on a virtually bare stage, with audience on three sides, a single doorway to the rear, and benches enclosing the performance area, these were the most real Carbones and relatives that I have met since witnessing the 1987 Michael Gambon production (though I admittedly missed Anthony LaPaglia's performance in 1997). Van Hove's angles and framing inform us precisely as to what we should be paying attention and are filled with beautiful moments that stick in the memory-the backs of Eddie and Beatrice sitting side by side, slumped in their inability to fully articulate their feelings to each other until too late; Michael Gold's Alfieri and Eddie standing shoulder to shoulder as Alfieri removes his jacket and tie, and angles himself to slowly become a mirrored image of Eddie to underscore his vicarious connection (placing his shoes in full sight is part of this, as we see Alfieri gradually spiral into the heart of this tragedy and fully join the other players with their bare feet and simple clothing); or the wonderfully excruciating "family" scene where they talk about fishing in Africa, painting oranges, and Rodolpho's dress making.