h . ARTS The Michigan Daily Tuesday, October 13,1992 Page 5 I A clumsy collage of jumbled conversations by Jon Altshul "Why Does Herr R. Run Amok" is about as glitzy as that home movie your grandparents made during their trip to Disney World. Interminable, incoherent, and disturbingly boring, Rainer Fassbinder's third film, re- leased in 1969, succeeds only as a realistic middle-class cross-section of German life. "Herr R." is a cynical, bitter pic- ture that casually pokes fun at the unnerving monotony of the working class. The dialogue is natural and unrehearsed, giving the ensemble a relaxed and lifelike medium in Why Does Herr R. Run Amok? Directed and written by Rainer Werner Fassbinder and Michael Fengler; with Kurt Raab and Lilith Ungerer which to work. In fact, this film is so true-to-life that the characters' names are the same as the actors who portray them. Nevertheless, the film has more than enough pitfalls to detract from its simplistic charm. Perhaps the most disturbing is Fassbinder's come-as-you-are, hand-held shooting style. The camera seems to rest on the cameraman's shoulder. It bobs up and down like a buoy and pans with the dizzying effect of a glass- bottom boat. Unfortunately, the cinematography does not perpetuate the "realism" motif, but instead, only distracts the viewer. The story is simply told: Mr. Raab is a mild-mannered, unsocial architect, as dull old charcoal, ob- sessed with promotion and seem- ingly little else. His perpetual silence is not so much a reflection of intro- version as it is of sheer inept bore- dom. He is awkwardly compli- mented by his attractive wife, who resents occupying herself with any diversions except banal correspon- dences with stale friends. From there, "Herr. R " is nothing more than a clumsy collage of jumbled conversations that teeter on unnerving small-talk. The film is not held together by a coherent plot or sequence of events, but instead by an underlying theme of contempt for a conventional existence. "Herr R." rambles on for 85 min- utes without establishing anything tangible. There are no symbols to look for, no characters to become attached to, and no peripheral em- bellishments to decorate the mood. Essentially, "Herr R. " is as aestheti- cally rotten as a bag of pork rinds. Yet Fassbinder seems to be one step ahead of his uncharming char- acters; as the audience's tolerance wanes, the director reveals a power- ful - though eerily nonchalant - quirk in Mr. Raab's psyche. Hidden behind a unnerving facade of nor- mality, "Herr R." climaxes with a delightfully original finale. Fassbinder proves once again that he is still a step too esoteric for American tastes. Cluttered and di, rectionless, "Why Does Herr R. Runl Amok" ends on a strong note, but sputters for too long beforehand to capture the imagination. Enjoy it if you can, but it might do your pa- tience a favor to sit this one out. WHY DOES HERR R. RUN AMOK? plays tonight at 5:20 at the Michigan Theater. UAC Announces a coed Lonesome Larry It seenas female folk singers are all over A2 these days. The Four Bitchin' Babes put on a sweet show last week, k.d. lang will be here Friday, and Michelle Shocked is due next Wednesday. What happened to the guys? If you really feel the spirit of affirmative action, then see James McMurtry at the Ark at 8 p.m. tonight. The son of author Larry McMurtry ("Lonesome Dove"), his material is often similar to his father's, with Texas settings and dark scenarios. Call 761-1451. Ducks' on ice a winer 4 on 4 sand Volleyball tournament on North Campus Oct. 18, Sunday! i; For more info, call the UAC office at 763-1107 by Michelle Phillip At first glance, Disney's latest re- lease may seem like a contrived re- hash of every "Bad News Bears" movie you've ever seen. And, well,. it is. But don't let that stop you from enjoying this surprisingly cute and amusing comedy from the kings of animation. Emilio Estevez stars as Gordon Bombay, a hotshot Minneapolis lawyer with a Vince Lombardi-like The Mighty Ducks Directed by Stephen Herek; written by Steven Brill; with Emilio Estevez attitude towards winning. Gordon's "win at all costs" mentality stems from a loss he caused his hockey team when he was a kid. When Gor- don is arrested for drunk driving, a judge hands him a thousand hours of community service, coaching pee- wee hockey. Gordon's team, the Ducks, are a little set of bad-asses with an ax to grind. These kids are looking for a responsible and dependable adult, and it seems like Gordon may not be able to fit the bill. Gordon wants to *casually dust off the team, but the Ducks have other things in mind. On his first day of coaching, Gordon, dressed in a three-piece suit, arrives in a limo. The kids promptly retort, "No drug dealers are allowed." After this first meeting, "The Mighty Ducks" evolves tidily into a feel-good movie that shows the tri- umph of the human spirit. Gordon starts off as a cocky S.O.B. who is softened by these kids and the kids change from mini-adults with major attitude to adorable puck-slapping tykes. Gordon eventually learns that winning isn't everything and he can forgive himself about his loss. Since "Ducks" is a sports film, it works best when it stays on the ice. The hockey sequences are action- packed, well constructed and com- plete with the requisite sight-gags as the team learns the basics of hockey. However, "Ducks" can be te- dious because it focuses so much on Gordon and his "tortured" past, and not enough on the kids or Gordon's interaction with them. It seems as if Estevez is trying too hard to be the despicable, reluctant father figure. The kids act reasonably well, but they do come off as a little stereo- typical. Even the team's makeup is trite. 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