New Order
Continued from Page 7
shouldn't start," to a bunch of MTV
viewers.
But since it does have a good beat
and you can dance to it, those of us
9 5 S V V
7W7
F.IW
who prefer to just dance and leave all
that morality discussion for later
will find it prettyeasy to ignore the
lyrics and jack your whatevers. And
those of us who enjoy moping
around and pretending we're Leonard
Cohen (you know, that new, im-
dance will definitely find Techinque
exciting. It is also a reconfirmation
of New Order as a band who have
always had a strong identity, distin-
guishing them from a horde of face-
less House musicians creating face-
less music. --Greg Baise
11
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Alibi
Continued from Page 5
voiceover, which turnshisvreal life
events into his newest novel. While
Blackwood usually has his books
completely planned out, this time he
is basing it on real life, winging it
as his personal adventures continue.
His elaborations are humorously
farcical as he places himself in the
shoes of his fictional hero, Peter
Swift - while Blackwood is pour-
ing himself a glass of milk, Swift is
tossing back a shot of bourbon.
If the film is about anything in
particular, it concerns the difference
between fiction and reality. Black-
wood is caught between the two, es-
pecially because it is the former that
provides the substance for the latter.
After his wife runs off with a book
reviewer, Blackwood titled his next
novel Death of a Critic. It is easy to
see that the author is as much a
product of his writing as the reverse.
The film itself was written by
Charlie Peters, who previously
scripted Blame It On Rio. But the
biggest name behind the scenes is
that of director Bruce Beresford.
Originally from Australia, he is one
of the current crop of talented foreign
directors who have come to America
to make films. And he is also the
one to have made the transition most
successfully. In Australia, Breaker
Morant brought his name to the rest
of the world. In the U.S., Tender
Mercies garnered him an Oscar
nomination.
With Her Alibi, he turns his hand
to a full comedy, although some of
his other films were serio-comic.
This one fortunately has no seri-
ousness at all, keeping it's tone
steady. And the laughs continue to
flow.
Part of this is, of course, due to
the two stars. Selleck, whose last
film was the comedy smash Three
Men and a Baby, did comedy for
years as television's Magnum, P.I.
He easily brings his natural charm to
the screen, and his easy-going
manner works well in contrast to the
paranoia that his character develops.
His co-star, Paulina Porizkova,
has only been in one film previ-
ously, but she is a natural in front of
the camera, as one of the world's top
models. Paulina proved that she
could act, nearly upstaging Sally
Kirkland in Anna, for which Kirk-
land received a best actress nomina-
tion. And although that was a drama,
Paulina makes the change to comedy
quite easily. Cinematographer and
Oscar winner Freddie Francis was
given two of the top sex symbols of
the '80s to work with, and thanks to
him Selleck and Porizkova will carry
that title into the '90s.
Her Alibi had a lot going for it
even before production began, which
is apparent when you see the film.
As long as you willingly suspend
your disbelief, you'll have a good
time. And if you aren't able to stop
yourself from judging the film on its
(nonexistent) credibility, then you
probably put faith in political
speeches too.
Her Alibi is playing at Showcase
Cinemas and at Fox Village.
Ue *
Dtie
C~aoai~i d5
in today's society.
ment." And then he comes out with
these remarks. And I think what up-
set Jews was that when he was con-
fronted with it he denied that he'd
ever said these things, and then fi-
nally comes out... and admits that he
said them. Well, Jewish liberals and
progressives were devastated that
Jackson was mealy-mouthed about it
and didn't come out and say, "I said
it. It was a stupid thing to say. I'm
sorry. Please forgive me..." [In that
case,] the Jewish community would
have forgiven him immediately.
[Instead,] he just kept digging him-
self in deeper and deeper.
D: Why have you been called by
members of your ex-department "an
anti-Negro Negro?"
L: You would have to ask them
that. ...I have been publicly critical
of Jackson, I've been publicly criti-
cal of Black leaders, and some Blacks
unfortunately interpret criticism as
antagonism. And so therefore there
are those at U-Mass who call me "an
anti-Negro Negro" and I think that if
they interpret criticism as
condemnation then they should go
out and get new dictionaries.
D: Do you feel what they did in
forcing you out of the [Afro-Ameri-.
can studies] department shows
something about academic freedom
or abuse of academic freedom in this
country?
L: The university is supposed to
be a paradigm of diversity of opinion
and... I take very seriously that elu-
sive search for truth. If the univer-
sity cannot provide an atmosphere
where one can be free to embark on
that journey of searching for truth
without fearing being condemned
personally by his or her colleagues,
then there is no place in the society
Scholar/ author Julius Lester speaks on Black-Jewish relations
where one can be free.
D: Would you say that you are
the victim of a growing intolerance
in the Black community for any
thought that is contrary to the ma-
jority's opinion?
L: Well, I don't like the word
"victim." I am not a victim of any-
thing. Let's just say that there is an
intolerance for a diversity of opinion
within the Black community today...
I think that certainly Black stu-
dents on many campuses are afraid to
disagree with what the prevailing
political atmosphere is on the cam-
pus. ...if one goes against that, then
you're going to be ostracized.
'How come somebody
who says something
different is called
"controversial?"
D: Why don't you like being
called "controversial?"
L: How come somebody who
says something different is called
"controversial?" I don't create the
controversy; other people do. All I
do is say, "Gee, this is how this sit-
uation seems to me. This is what I
think about this." And then other
people get upset... I consider myself
to be a very thoughtful person, and I
don't enjoy the controversy. Believe
you me, I really don't. The contro-
versies are really very debilitating,
they're very depressing sometimes,
and they're no fun at all. And so I
don't like being described as
"controversial."
Paulina Poriskova trims Tom Selleck's hair, but Selleck isn't
sure if she's trying to cut him out of the picture.
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WEEKEND/FEBRUARY -I0, 1989
WEEKEND/FEBRUARY 10;1989