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Actor Daniel Anker

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Imaginary Witness: Hollywood and the Holocaust 2004 ( 6.5)

Daniel Anker’s 90-minute documentary takes on over 60 years of a very complex subject: Hollywood’s complicated, often contradictory relationship with Nazi Germany and the Holocaust. The questions it raises go right the very nature of how film functions in our culture, and while hardly exhaustive, Anker’s film makes for a good, thought provoking starting point.

Actor Daniel Anker

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Scottsboro: An American Tragedy 2000 ( 8.2)

A look at the infamous "Scottsboro Boys" case that occurred in Alabama in 1931, in which nine young black men were arrested, tried and quickly convicted in the rape of two white women, despite overwhelming evidence that showed their accusers had falsely accused them and the fact that one of the women later admitted that no rape had in fact occurred (although both had had sexual relations with their boyfriends on the day prior to the "rape"). The case was one of the first that shined a spotlight on what many called the "legal lynchings" that occurred in the South whenever blacks were accused of crimes, especially against whites and most especially against white women.

Icebound 2012 ( 5)

The gripping true-life story of the legendary 1925 "Serum Run," in which 34 men and more than 150 dogs, rushed life-saving anti-toxin across the frozen arctic to save the children of Nome, AK from a deadly outbreak of diphtheria.

L'Elisir d'Amore 1991 ( 9.5)

John Copley’s colorful production, with designs by Beni Montresor, was created around the beloved superstar Luciano Pavarotti. As the simple, good-hearted Nemorino, he enchanted audiences with his larger-than-life personality as well as his golden voice. Enzo Dara as the quack Dr. Dulcamara provides the elixir of the title that helps Nemorino win the heart of Adina, the girl of his dreams, sung with youthful energy by Kathleen Battle.

Actor Daniel Anker

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Falstaff 1993 ( 7.5)

It is to composer and librettist Arrigo Boito and his constant pestering of the octogenarian Verdi that there remained within him one last great comedy fighting to get out that we owe this absolute miracle of an opera. Produced in 1893 as Verdi turned 80 there is much in this masterpiece that can be identified as a modernist neoclassical work. The use of short motifs instead of long arioso melodic lines, the spry and reduced orchestral textures and the lack of a single 'stand and deliver' dramatic declamatory aria all serve to make this more of a 20th century work than an example of 19th century late-Romanticism.

The Ghosts of Versailles 1992

What happened to Figaro and his friends after the events told in Rossini’s and Mozart’s operas? One possible sequel is told in John Corigliano’s “grand opera buffa” The Ghosts of Versailles—an uproariously funny and deeply moving work inspired by Beaumarchais’s third Figaro play, La Mère Coupable, and commissioned by the Met to celebrate its 100th anniversary. This telecast captures its world premiere run, conducted by James Levine. Håkan Hagegård is Beaumarchais, Figaro’s creator, who is deeply in love with Marie Antoinette (Teresa Stratas in a heart-searing performance) and determined to rewrite history and save her from the guillotine. A young Renée Fleming, at the beginning of her international career, sings the unfaithful Rosina. Gino Quilico is the wily Figaro who tries to take matters in his own hands, and Marilyn Horne stops the show as the exotic entertainer Samira.