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09 September 2004
Presented by John Wilson
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OPEN WATER
Nearly three decades after the release of Jaws, a new film, Open Water, promises to do for diving schools what Jaws did for beach resorts. Open Water is based on the true story of a couple who were left behind in the middle of an ocean whilst on a scuba diving trip. Unlike Jaws however, the film was shot entirely using real sharks. Antonia Quirke, author of the book `Jaws', reviews the film.
Open Water is at cinemas nationwide, certificate 15
VENICE FILM FESTIVAL
The Venice Film Festival draws to a close with the premiere of Shark Tale, an animated feature voiced by stars including Robert de Niro and Will Smith, and the announcement of the Golden Lion award on Saturday. Film critic Jason Solomans has been watching films in Venice all week, and tells John Wilson about the runners and riders.
The Golden Lion Award at the Venice Film Festival is presented on Saturday 11 September.
BELONGING
In a bold move ITV's schedule includes a new one-off drama, Belonging, starring Brenda Blethyn and Anna Massey, which tackles the subject of caring for elderly relatives. Does the drama do justice to a little-explored social phenonmenon? Front Row gives its verdict.
Belonging is on ITV on Sunday at 9pm
ACTORS PLAYING MUSICAL INSTRUMENTS
This week there are two new stage productions – of Amadeus and Sweeney Todd – in which actors have had to learn to play musical instruments. Front Row investigates the ways that actors cope with the demands of this musical multiskilling, with the help of actors Emily Watson and Hugh Quarshie.
Amadeus is at the Derby Playhouse until 25 September and Sweeney Todd runs at the Trafalgar Studios in London until 09 October
CONDUCTORS
The flags will be waved as usual on Saturday evening to mark the Last Night Of the Proms. The concert is the Last Night of both the proms and of the conductor Leonard Slatkin’s contract with the BBC Symphony Orchestra. His departure coincides with a spate of other conductor vacancies - the search is on for a new conductor at the Royal Liverpool Philharmonic and the Welsh National Opera. John Wilson finds out from music critic Norman Lebrecht why the trio of vacancies is not just coincidence.
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