Page 8 - The Michigan Daily -- Tuesday, October 23, 1990 This' is not a 'gangster film' 0 Miller's Crossing dir. Joel Coen l by Tony Silber The label "gangster film" does in- justice to this crime saga. Miller's Crossing emerges as an incredibly innovative addition to that genre, so different from the norm, so bold and spellbinding that it calls attention to the restrictions of classification. The clue should have been that the Co- ens, Joel and Ethan, who gave us Raising Arizona are certainly no prisoners of conventionality, but this seemed quite an undertaking, even for them. The gangster/crime saga genre has evolved in amazing ways since The Godfather (1972) and that film is now correctly viewed as the epit- ome of excellence in that storyline. Once Upon a Time in America (1984) and GoodFellas (1990) have taken gangsters to newer and more ingenious levels of filmmaking, but Miller's Crossing, for loss of better words, is something completely new. This film is an extraordinarily penetrating character study of Tom (Gabriel Byrne), the calculating Irish gangster who knows "all the an- gles." Serving as the brain trust for the city crime boss, Leo (Albert Finney), he is an advisor whose words are to be considered seriously. The plot focuses on the conflict between Leo and Italian crime boss Caspar (Jon Polito) involving Bernie Bernbaum, the Jewish double-dealer who pulls a fast one on Caspar. When Leo refuses to kill Bernie for his Italian rival, a gang war ensues with Tom caught uncomfortably in the middle of the battle. But Miller's Crossing is not an action film; it's not even close. There is no abundance of gangland killings, shootouts, car chases or stereotypical hit men. Instead, the Coens give us a cinematic feast of rich characters in perplexing, con- frontational situations without falling into the habit of making the story more sensational than the players. In one scene, when Caspar's son whines about something, Caspar whacks the fat boy with a left cross, turns to Tom and says, "You gotta be firm with kids." The nameless city in Miller's Crossing becomes a gang-war zone where the Irish faction under Leo fights the Italians under Caspar. Tom, believing Leo has made an er- ror in letting Bernie live, switches over to Caspar's camp. The two are further alienated after Leo discovers Tom has had an affair with his fi- ancde, Verna (Marcia Gay Harden), the "tough dame" who holds her own with the roughest of scum she en- counters. When Tom joins with Caspar, he must prove his loyalty by killing Bernie. The boss advises, "Always put one in the brain." The two are driven out to a dirt road in the woods called Miller's Crossing where the gangster Tom must face the reality of using a gun for the first time in his life. The ensuing scene is noth- ing short of extraordinary. But ex- traordinary performances are not unique in this film, they are the rule. Much credit goes to the Coens, however, whose sharp-tongued, lightning-quick, verbally lethal screenplay gives these actors such diverse personas. All of the action of Miller's Crossing, though, is of secondary importance because this film be- longs to Tom. Departing from the traditional view of the gangster with the long overcoat, dipped hat, myste- rious dweller of the dark, Tom is a psychological warrior. His weapons are words, surely as deadly a force as a Colt 45. He plays Leo against While standing in the rain, Verna (Marcia Gay Harden) expresses her love for Tom (Gabriel Byrne) but fears that he may have killed her brother in Joel and Ethan Coen's innovative addition to the gangster film genre, Miller's Crossing. 0 Caspar, Caspar against Leo, Verna against Leo, and Bernie against Cas- par. Tom is a double-crossing double agent with mixed loyalties, always calm in the heat of the war surround- ing him. But for those expecting a '30s gore fest, Miller's Crossing will not suffice. This is a completely new kind of gangster film, one where the immensely talented play- ers utilize the resources of a tantaliz- ing script to create a wonderful movie. There are enough twists, turns, and collisions in this story to keep the film-lover captivated well after the final scene. MILLER'S CROSSING is showing at Briarwood. RECORDS Continued from page 7 "Respect Mother Earth and her giv- ing ways/ or trade away our chil- dren's days" ("Look at Mother Na- ture on the run/ in the 20th Century" (live version of "After the Gold Rush")). "Love and only love/ will break it down" (can you say "Only Love Can Break Your Heart"? I thought you could). Nor will the soothing combina- tion of distorted rhythm guitar, hyp- notically plodding bass and drums, and gently sustained lead guitar notes sound anything but familiar. The two 10 minute-plus songs bring to mind "Like A Hurricane" and should provide an even better vehicle for power quartet jamming on stage than they do on album. Of course some people could slag this as just another "old spud" cash- ing in on rehashes of greatest hits, but something intangible suggests to me that Neil had a good time making this record, and as long as he enjoys himself I hope he keeps mak- ing any kind of records he wants. -Brian Jarvinen AVALON Continued from page 7 memories and blowing them up into glory days and grand statements that go beyond credibility. But the film's best scene recalls some of Diner's lack of pretension. With no relation to Avalon's story, we see the six-year-old Michael be- ing attacked by a swarm of bees. Shown from Michael's point of view, we feel the terror that he feels and are able to relate to that kind of traumatic childhood experience. Small, everyday dramas like these are all but lost in Avalon's preten- sions. Though the basic idea is flawed, the execution is expert. Oscar nomi- nees in music (Randy Newman), production design (Norman Reynolds), cinematography (Allen Daviau) and other technical fields join Levinson in creating the warm beauty of 1914 and the authentic feel of the '50s. The ensemble cast is convincing as well, including Armin Mueller- Stahl (Music Box) as the old grand- father, Sam. His son Jules, played by Aidan Quinn (The Handmaid's Tale), is a fine actor who desperately needs a good starring role. AVALON is showing at Briarwood and Showcase NTH E SPOTLIGHT Writers and poets, take note: 1941 University graduate and Hop- wood winner Charles Miller will be in the Michigan Union Pendleton Room today at 4 p.m. to speak on Hopwood winners and losers. Though he has never held a salaried0 job, Miller has been published in the New York Times, the'Michigan Quarterly Review, and "many little rags." His latest book, Auden: An American Friendship, is an inti- mate memoir on poet and life-long friend, W.H. Audon. f OPEN WIDE ! U SHAKESPEARE Continued from page 7 beehive and cat glasses, not a look adopted by many Shakespearean heroines. The constant flurry of color is a delight to watch. All of this comes to a logical, western genre conclusion. The happy couple walks into the sunset. I was waiting for "Happy Trails" to sing out from the chorus. The Two Gentlemen of Verona is a technicolor production. Romeo and Juliet in comparison, seemed black and white. The set and cos- tumes were shades of grey and al- though the acting is nearly flawless, I couldn't help thinking about the great time I'd had the night before under the "big top" of The Two Gents.. Maybe if I had seen Romeo and Juliet first I would have appre- ciated it more. Its like watching The Wizard of Oz. The Emerald City is so exciting and green, and it's al- ways a pity to have to go back to black and white Kansas and the com- fort of Auntie Em. It's For You! Free Mouthguard Clinic Saturday, October 8:30 - 2:30 PM 27, 1990 Need the hot news fast? Find it in the Daily. Studies 764-0147 Assistant Director's Training Program Elizabeth Stanley visits to talk about the Assistant Director's Training Program (sponsored by the Director's Guild of America and the Alliance of Motion Picture and Television Producers). The program offers paid apprenticeships in actual film and television productions to college graduates. All are welcome...please join us. Wednesday, October 24 4:00 - 6:00 pm Aigell Hall Auditorium D Thinking About Majoring In Engli sh? Join us any Tuesday this Fall, 3:30 to 4:30, in the 7th Floor Lounge of Haven Hall I The Students and faclty of TheUnvestyofMicigan School of Denistrywllhost Mouthguard Day A Custom made mouthguard will be fabicated free of charge (occasionally a mouthguard cannot be made because of indivdual mouth shapes. Everyone will be screened, and advised as to whether or not one can be fabricated for them) Al ages are welcome Parkg Is available I the Fletcher St. parking lot. The Unversity of Michigan School of Dentistry North Unt~ersity Ave. Ann Arbor. MichIoan 48104 Phone# 764-1516 Located on the corner of N. University and Fletcher St. Puic may enter thiolj1 the mah entrance offNorthUrd versity, or the entrance off Fletcher St. We've got your number in the University of Michigan Student Telephone Directory. FREE OF CHARGE (TO STUDENTS ONLY- Must show student I.D.) Coming soon- watch the Daily for distribution dates I - - - Corner of State St. and North University Corner of South University and East University The Diag N. Campus Commons Bus Stop Front of the Union VUn versily Direcbories® AETNA, COM VING. University of Michigan Information Session/Career Fair Expo 0.1 Actuarial Reception/ Information Session October 23, 1990 Michigan Union 4-6:00pm Reception/ Information Session October 23, 1990 Michigan Union 6-8:00pm Career Expo October 25, 1990 * Actuaries * Claims Representatives * Employee Benefits Representatives * Connections Associates * Interns " Underwriters - Commercial Division 110