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David Denby’s “The Wolf of Wall Street” Takes a Wolf to the Pound

In response to David Denby’s 1991‑word review of The Wolf of Wall Street on New Yorker 

http://www.newyorker.com/online/blogs/culture/2013/12/wolf-of-wall-street-review.html

By ,

The next time you pass a newsstand (today’s dinosaur) or electronically come across the logo for David Denby’s The Wolf of Wall Street examine that top-hatted gent, no doubt known as a Knickerbocker in his day.

That day, and that city of American cities, was the very heart of the (then) popular performing ‘art’ of burlesque, complete with pantomimic energy, loud music and otherwise low camp excess in all cardinal (and not so holy) directions.

While no mere snob as that logo might at first blush impart, Denby meets the work as he finds it and, in the process, renders a public service rarely seen so clearly.

Though no tutorial on the spectrum of performing modes and their variations, Denby’s Wolf expounds upon the travesty as such a variation on the burlesque as such an exaggeration of the truth  as to become gross caricature more than instructive exemplar.  

And, so, Denby shows in dramatic strokes of insight precisely how and why this rendition of a real rather ordinary person and those who pack in with him are more akin to rabid canines, with eponymous teeth awash in hunger’s saliva, than canny wolves.

Denby’s Wolf sees clearly through a glass (house) darkly how an ‘art’ far more ancient than film---pornography---may find its way into a mainstream of any realm of seeming legitimacy disguised as performing art.  

As he points out, even one whose name is not Art may likely feel somewhat soiled by the witnessing of this Wolf in cheap’s clothing.  

    

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