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September 24, 1992 - Image 15

Resource type:
The Michigan Daily, 1992-09-24

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The Michigan Daily - Weekend etc. - September 24, 1992- Page 5

I wmmmmmm


Noble 'Sarafina!'
collapses into cliches

by Aaron Hamburger
It is very difficult to make a chal-
lenging, intelligent movie about
South Africa. There have been many
noble attempts by acclaimed direc-
tors like Richard Attenborough
("Cry Freedom"), Euzhan Palcy ("A
Dry White Season"), and Chris
Menges ("A World Apart"). Unfor-
tunately, these attempts, though they
each had their own strengths, ulti-


Directed by Darrell James Roodt;
written by William Nicholson and
Mbongeni Ngema; with Whoopi
Goldberg and Leleti Khumalo.
mately failed due to their self-righ-
teous nobility (and perhaps because
their stories centered around white,
rather than Black, resistance to
For the first hour or so, when
"Sarafina" concentrates on the per-
-sonal story of the title character's
growing up under apartheid, the
movie succeeds. Unfortunately,
"Sarafina" eventually collapses into
cliched rhetoric that we've seen be-
fore and has little to do with the
much more interesting and affect-
ing part of the movie which deals
with Samfina (Leleti Khumalo) as
W G( d
Whoopi Goldberg (left) discusses s


an individual, rather than as the stock
character of Noble Sufferer.
Sarafina (Leleti Khumalo) is a
young girl growing up in the Black
township of Soweto. Like most teen-
age girls, she has a favorite teacher
(Whoopi Goldberg) and has a crush
on a young man (Mbongeni Ngema).
Unlike most teenage girls, however,
Sarafina must stay out of trouble with
the police, fend off the advances of
the local town boss, and every week
must travel to the white section of
town where her mother works as a
maid for a prosperous family. Prob-
lems arise when Goldberg attempts to
teach her students a sense of pride in
themselves and their history. Her ar-
rest leads to heightened tensions and
eventually riots and even murder.
The movie is based on the interna-
tional hit musical which received five
Tony nominations on Broadway. In-
deed, "Sarafina" begins right off with
afantasy Hollywoodproductionnum-
ber, complete with chorus line, danc-
ing, and theme song. The film fre-
quently moves back and forth be-
tween advancing the plot and pauses
where characters suddenly burst into
song and dance. These transitions
should not work, but they do, due to
the strength of the buoyant musical
score and the exuberant Leleti
Khumalo, in her film debut.

Khumalo's appealing performance
forms an emotional center which
ties the film together and even helps
"Sarafina" over some of its many
rough spots.
The interaction between
Khumalo and Goldberg is one of the
best parts of the movie. The actors
shine, and you can tell that they
genuinely like each other. Unfortu-
nately, Goldberg disappears half-
way into the movie, and in rushes
the self-righteous South African
movie cliches that seem to be requi-
site to apartheid films these days.
Although it is important to know
about these events, our minds have
become numb to images of riot-torn
township streets in South Africa. I
would have rather seen the film spend
more time detailing the life of
Sarafina and her relationship with
Goldberg, and then end with the
truly heartbreaking image of
Goldberg attempting to salute her
students as the police hustle her into
the back of their van. This subtle
image has more power than ten riot
Though "Sarafina" is not a total
failure, like its predecessors, the
film's nobility eventually under-
mines its strengths.
SARAFINA is playing at Showcase
and Ann Arbor 1 & 2.

Hear Rostropovich
for only $9!
Hear Sweet Honey In The Rock
for only $6!
See the Shanghai Acrobats
and Dance Theatre for only $7!
50% Off
Student Ticket Sale
Saturday, September 26
8:30 a.m. to noon
Hill Auditorium
Saturday, September 26
8:30 a.m. to noon
Hill Auditorium
Take 50% off the price of selected tickets to
concerts including recitals by violinist Midori
and cellist Mstislav Rostropovich, the Royal
Philharmonic with Vladimir Ashkenazy, the
Guarneri and Tokyo String Quartets, the
Chicago Symphony Winds, Sweet Honey In
The Rock, Les Grand Ballets Canadiens, New
York City Opera National Company,
Mummenschanz, Mark Morris Dance
Group, and 28 more performances!
" Valid Student I.D. required
" Limit 2 tickets per event -but choose as many
events as you wish!
" Avoid Rush Ticket Sellouts
" At least 50 tickets available for each event
" Visa, MasterCard, checks, and cash accepted
" First come, first served


schoolwork with Sarafina (Leleti Khumalo). I

Chelsean Cows on their way

by Nima Hodaei
The Holy Cows are one of this
area's best, and oftentimes, most ne-
glected bands. Composing a sound
that could be compared to that of the
e t
Minneapolis rockers (The Replace-
ments, Soul Asylum, and even traces
of Husker Du), the Cows do it bigger
and better than most bands since. The
Chelsea-based group's latest release

"Get Along," throws them into a spot-
light they rightfully deserve.
The Cows combine ingenuity, fun,
and gusto into one package. Not un-
like The Replacements (especially on
later albums), the Cows perform a
gamut of tunes, from slow country-
like ballads such as "We Never
Waltz," to fast-paced tunes like the
Pretenders' cover of "The Wait." The
Cows are passionate yet not exces-
sively so. Decorations and other flow-
ery arrangements to their music are
left at the door. Vocalist Michael
Feeney sings straight ahead vocals in
a gritty and husky style, with a hint of
Westerberg, that comes across as re-

markably personable. While charg-
ing through a tune like"Thank God
It's Wednesday," he still manages to
slow down the tempo and belt out the
strong ballad, "Space."
John Popovich's guitar playing is
worthy of anything this side of the
'Mats based on pure adrenaline alone.
His energy and emotion in concert are
still present (though to a lesser de-
gree) on this album. Whilemany bands
attempt to hide their influences, the
Cows are loud and clear about it.
They remain true to the music they
grew up listening to, without idoliz-
ing it to the point that it becomes
See Cows, Page 6

Hindu Students Council

Emerson String Quartet
David Shifrin, clarinet
Saturday, September 26, 8 p.m.
Rackham Auditorium
Midori, violinist
Thursday, October 8, 8p.m.
Hill Auditorium
Made possible by a request from William
R. Kinney
Keith Brion and His New Sousa Band
Saturday, October 10, 8 p.m.
Hill Auditorium
Presented in association with Ford Motor
Company Fund
Les Grands Ballets Canadiens, Coppelia
Saturday, October 17, 8 p.m.
Sunday, October 18, 3 p.m.
Power Center
Shanghai Acrobats and Dance Theater
Thursday, October 22, 7 p.m.
Friday, October 23,8 p.m.
Power Center
Frankfurt Radio Orchestra
Dmitri Kitaenko, conductor
Cho Liang Lin, violinist
Sunday, October 25, 4 p.m.
Hill Auditorium
Marcel Marceau, mime
Friday, October 30, 7 p.m.
Power Center
American Indian Dance Theater
Saturday, October 31, 8 p.m.
Power Center
Kirov Orchestra of St. Petersburg
Valery Gergiev, conductor
Vladimir Feltsman, pianist
Sunday, November 1, 4 p.m.
Hill Auditorium
Wednesday, November 11, 8 p.m.
Rackham Auditorium
Sergio and Odair Assad, guitarists
Saturday, November 14, 8 p.m.
Rackham Auditorium
Royal Philharmonic
Vladimir Ashkenazy, conductor
Monday, November 16, 8 p.m.
Hill Auditorium
Presented in association
with Jacobson Stores Inc.
Arditti String Quartet
Ursula Oppens, pianist
Saturday, November 21, 8 p.m.
Rackham Auditorium
Handel's Messiah
Saturday, December 5, 8 p.m.
Sunday, December 6, 2 p.m.
Hill Auditorium

Sweet Honey In The Rock
Friday, J anu ary 8, 8 p.m.
Hill Auditorium
Sign Language Interpreted
Mstislav Rostropovich, cellist
Sunday, January 10, 4 p.m.
Hill Auditorium
Presented in association with Parke-Davis
Research, Warner Lambert Company
Tokyo String Quartet
Thursday, January 14, 8 p.m.
Rackham Auditorium
Urban Bush Women
Saturday, January 16, 8 p.m.
Sunday, January 17, 3 p.m.
Power Center
Little AngelsChildren's Folk Ballet of Korea
Sunday, January 24, 4 p.m.
Power Center
Presented in association with Regency Travel
Vienna Chamber Orchestra
Philippe Entremont, conductor and pianist
Thursday, January 28, 8 p.m.
Hill Auditorium
.Krasnayarsk Siberian Dance Company
Monday, February 1,8 p.m.
Hill Auditorium
Hqracio Gutierrez, pianist
Saturday, February 6, 8 p.m.
Hill Auditorium
Andre Previn Trio
Saturday, February 13, 8 p.m.
Hill Auditorium
Presented in association
with Edward Surovell CoJRealtors
Leipzig Chamber Orchestra
Sunday, February 14, 5 p.m.
Rackham Auditorium
Mummenschanz Mask and Mime Troupe
Wednesday, February 17, 8 p.m.
Thursday , February 18, 7 p.m.
Power Center
Skitch Henderson and the New York Pops
Tuesday, March 2, 8 p.m.
Hill Auditorium
Presented in association with Ervin Industries
New York City Opera National Company
Bizet's Carmen
Thursday, March 4, 8 p.m.
Friday, March 5, 8 p.m.
Saturday, March 6, 8 p.m.
Power Center
Presented in association
with Great Lakes Bancorp

Endellion String Quartet
Sunday, March 7, 4 p.m.
Rackham Auditorium
Orchestra of St. Luke's
Roger Norrington, conductor
Arleen Auger, soprano
Sunday, March 14, 4 p.m.
Hill Auditorium
Mark Morris Dance Group
Saturday, March 20, 8 p.m.
Sunday, March 21,3 p.m.
Power Center
Chicago Symphony Winds
Sunday, April 4, 4 p.m.
Rackham Auditorium
Cecilia Bartoli, mezzo-soprano
Saturday, April 10, 8 p.m.
Hill Auditorium
Vermeer String Quartet
Sunday, April 18, 4 p.m.
Rackham Auditorium
Guarneri String Quartet
Sunday, April 25, 4 p.m.
Rackham Auditorium
Presented in association with Curtin
& Alf and Michigan National Bank
The King's Singers
Sunday, May 2, 4 p.m.
Hill Auditorium
Detroit Symphony Orchestra
David Zinman, conductor
Soloists TBA
The University Choral Union
Sunday, May 9, 4 p.m.
Hill Auditorium
Presented in association
with the Handleman Company
University Musical Society
of The University of Michigan
(313) 764-2538
Burton Memorial Tower,
Ann Arbor, Ml 48109-1270
Underwritten by

a i

The N'~aioal

Forum Providing Opportunities *o Learn Abourt
Hindcu Heritc,!e andci C uhfWr'e



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