In A Dangerous Method Viggo Mortensen subdues his own preternatural good looks to play Sigmund Freud.  It’s a remarkably humanizing performance.  The actor takes this starchy historical figure and portrays him as a pompous, self-satisfied buffoon.  In the movie Freud wears a slightly pained expression, as if being such a great thinker hurts.  And he’s irritated each time he has to speak because it requires him to remove the cigar from his mouth.  To facilitate the transformation the actor has been given a trim beard, dark contact lenses, and a prosthetic nose.

What is it with the prosthetic noses in movies?  When Nicole Kidman donned a prosthetic nose to play Virgina Woolf in The Hours it offended me deeply.  Woolf is a personal hero I’ve always thought her beautiful, not in a Miss America kind of way, but in an misty, aristocratic, pre-modern kind of way.  She was a highly intelligent, highly privileged, and highly sensitive Englishwoman, and that’s exactly what she looked like.  Do people really think her nose was an important part of her character, and that giving Nicole Kidman a prosthetic made her more like Virgina Woolf?  In photos from the movie Kidman doesn’t look like Woolf at all – she just looks not-Nicole-Kidman.  Even harder to bear is that Kidman feels the prosthetic liberated her, as if being conventionally attractive is an affliction.  Does the nose help Viggo Mortensen look like Sigmund Freud?  Not very much.  He could have done without it.  You get the sense that the Freud nose is just a part of his costume, and that he loves it as much as he loves his Freud suit, cane and cigar.

I saw U2 twice, once in high school when they were touring for “The Unforgettable Fire,” and then again a few years ago at Madison Square Garden, when they were touring for “How to Dismantle an Atomic Bomb."  In between I did not pay attention.  Then last weekend, while out with high school friends at an Irish bar, I spotted a U2 poster on the wall and it sent me back, reeling, wanting to fill in the missing years.

Between "Fire” and “Bomb” U2 were practicing astounding stagecraft.  Looking at clips from the 1997 “Pop Mart” tour, I barely recognize the band or the boys.  They arrived on stage in a lemon-shaped disco ball and performed beneath a giant LED curtain, framed by a single Golden Arch.  And they wore costumes designed for them by the most fevered and irreverent of the Antwerp Six, Walter Van Beirendonck.  It’s a bit like the avant-garde schtick Lady Gaga is doing now.  The CD they were touring for, “Pop,” isn’t great, but the costumes are undeniably super-great.  Edge is dressed as a space cowboy, Bono as a prizefighter, a cartoon superhero, and the Unabomber, and Larry, who seems less enthusiastic about the whole business, in embellished black tees.  But it’s Adam whom the outre costumes serve best.  He’s dressed in flashified work uniforms: a dotted orange Hazmat jumper, camouflage suits, hard hats, and face masks.  I can’t believe I missed the spectacle of it all.