119th Annual
LOST page 81
Orpheus Chamber Orchestra
Royal Concertgeboutu
Richard Goode, piano
Riccardo Chailly, conductor
WEDNESDAY, FEBRUARY 11, 8
WEDNESDAY, NOVEMBER
Chicago Symphony Orchestra
19, 8
PM
PROGRAM:
Handel Concerto Grosso in A Minor,
Op. 6, No. 4
Mozart
Piano Concerto No. 9
in E-flat Major, K. 271
A new work by Elizabeth Brown
Mozart Piano Concerto No. 24 in
C Minor, K. 491
Mahler
Totenfeier (Death's Fire)
Bruckner Symphony No. 9 in D Minor
PEPPER, HANOITON & SCHEETZ
Christoph Eschenbach,
Russian National Orchestra
Mikhail Pletnev, conductor
Gil Shaham, violin
TUESDAY, MARCH 24, 8 PM
PROGRAM
conductor and piano
THURSDAY, SEPTEMBER
PM
PROGRAM
25, 8
PM
Zubin Mehta, conductor
SATURDAY, JANUARY 10, 8
PROGRAM:
Berlioz
Roman Carnival Overture
Mozart Piano Concerto No. 23 in
A Major, K. 488
Tchaikovsky
Symphony No. 6 in B Minor,
Op. 74 ("Pathetique")
Sponsored by Forest Health Services
PM
PROGRAM:
A new work by an Israeli composer
R. Strauss Till Eulenspiegels Lustige
Streiche, Op. 28
Beethoven Symphony No. 3 in E-flat
Major, Op. 55 ("Eroica")
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
St. Paul Chamber Orchestra
Hugh Wolff, conductor
Emanuel Ax, piano
Dale Warland Singers
FRIDAY, FEBRUARY 6, 8 PM
Tanu Kaljuste, conductor
9, 8 PM
THURSDAY, OCTOBER
PROGRAM
PROGRAM:
Ave Verum Corpus, K. 618
Litanie Lauretanae in
D Major, K. 195
Trisagion
Litany
Kernis
Mozart
Part
Haydn
Too Hot Toccata
Piano Concerto No. 22
in E-flat Major, K. 482
Berlin Mass
Symphony No. 104 in D Major
Kabalevsky Overture from Colas
Breugnon, Op. 24
Kabalevsky Violin Concerto in
C Major, Op. 48
Prokofiev Symphony No. 5 in
B Major, Op. 100
Eugeny Kissin, piano
MONDAY, APRIL
13, 8
PM
OPARKE-mns
PHARMACEUTICAL
RESEARCH
The MET Orchestra
Sir Georg Solti, conductor
1, 8:30 PM
FRIDAY, MAY
PROGRAM
Mahler Symphony No. 5
Warren Jones, piano
8, 8
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going through the motions just to
reach the end.
ometimes it seems filmmak-
What made Trainspotting so
ers forget that for a dark corn-. affecting and funny was its insane
edy to succeed, it should be menagerie of characters, each
not only mean-spirited and lively and memorable in his own
surly, but also, funny.
way. Twin Town is populated, in-
Twin Town, billed as the Welsh stead, with indistinct characters
equivalent of last year's
weighted down with
Trainspotting, has the
strange habits and hob-
MOVIES
dark and depressing part
bies. Unfortunately,
down just fine. It's the hu-
weird does not constitute in-
mor that gives it trouble.
teresting. When harm comes to
Two brothers, Julian and Je- the Lewis family, it's difficult to
remy Lewis (real-life brothers Llyr care; all we know of the family is
Evans and Rhys Ifans), are the that the daughter sleeps around
resident delinquents of Swansea, and the father likes to make mod-
Wales, careening through the el submarines. I was more wor-
streets in stolen cars and ingest- ried about the Lewis dog than I
ing and inhaling every drug they was about the Lewis family.
can get their hands on, from mod-
Most unforgivable is the boring
el-making glue to prescription nature of our anti-heroes, the
drugs bought from the elderly cou- twins. The two brothers rarely
ple down the lane.
speak and when they do, it's ado-
Known as "the twins," the two lescent gibberish. More than any-
brothers are relatively harmless thing, they resemble an insidious
until the day their father, Fatty, and treacherously blank-faced
takes a tumble off a ladder while version of Beavis and Butt-head
fixing a roof for Bryn Cartwright, — they grin, drink, smoke pot,
one of the wealthiest men in town. steal stuff and grin some more.
When Cartwright refuses to give Who cares?
Fatty compensation for his fall,
Writer and director Kevin
the twins devise a method of re- Allen seems to believe that the
venge involving the Cartwright wacky cast of colorful characters
family poodle.
he's tried to create should be
Naturally, Cartwright retali- enough to have us rolling in the
ates, and soon events take a mur- aisles and shaking our heads at
derous turn. This should have the crazy, mixed up world of
been the point where things turn 'Swansea, Wales. Somebody
darkly comic, providing us with should tell him that humor helps
insight into the absurd nature of when making a comedy.
revenge. Instead, the movie stops
1/2
dead in its tracks and limps home,
S
of the University of Michigan
Burton Memorial Tower
Ann Arbor, MI 48109-1270
T- E
to
— Richard Halprin
Rated R
PM
313.164.2538
®k
'Twin Town'
Man Hagegard, baritone
SATURDAY, NOVEMBER
ture capitalist discovered how to
re-create dinosaurs from DNA
fragments. He then placed the ge-
netically engineered dinosaurs in
a theme park in Costa Rica, but
as you may recall, things went
awry.
The Lost World begins in the af-
termath of the disaster of Juras-
sic Park, as Dr. Hammond
(Richard Attenborough), corpo-
rate profiteers and the Costa Ri-
can government conspire to keep
a lid on the catastrophe while
ne'er-do-wells surreptitiou sly work
on a fresh angle to exploit the new-
ly revived dinosaurs.
Jeff Goldblum reprises his role
as the scientist with a conscience,
Dr. Ian Malcom, teamed this time
with Sara Harding (Juliana
Moore), his girlfriend and fellow
researcher, as part of a group sent
to Isla Sorno to film a dinosaur
documentary.
Once on the island, the film
crew butts heads with a legion of
mercenaries charged with cap-
turing raptors and other ancient
carnivores and bringing them to
San Diego for display. Before long
the raptors get quite ornery,
wreaking havoc on everyone in
sight, including those individuals
seated in the theater.
Like its predecessor, The Lost
World boasts awesome special ef-
fects and terrifyingly realistic di-
nosaurs. But beyond the magic,
Jurassic Park raised some signif-
icant questions about scientific
ethics and corporate greed, enter-
taining on an intellectual level as
well as a more guttural level.
The Lost World, on the other
hand, has a greater sense of hu-
mor, but a lesser sense of honor
and, without an actual agenda or
plot, it fails to engage meaning-
fully.
Certainly, it's still fun to watch
those dinosaurs run amok, but the
thrill just isn't the same the sec-
ond time around. If the moral of
Jurassic Park is that science
should leave the past alone, then
the moral of The Lost World may
be that the same should apply to
filmmaking.
It's A Free
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7
— Liz Lent