ARTS
The Michigan Daily
Tuesday, December 8,1992
Page 5
WH WHA [WHERE WHEN~1I i '~i
Dark comedy is Sellers best Chance
Howards never-End
Last year, the Merchant /
Ivory team, known for their
classic film "A Room with a
View," proved that lightning can
strike twice with "Mr. and Mrs.
Bridge." This year, the streak
continues with "Howards End."
Many are calling this their
masterpiece, but if you ask us,
nothing can equal the literate and
romantic ecstasies of "A Room
with a View." Still, no other film
this year can compare to Anthony
Hopkins when he says, "The poor
are there and one feels sorry for
them, but there it is," or watching
the great Vanessa Redgrave
wander like a ghost from another
age (which she represents) in the
gardens of Howards End, or the
sheer visual splendor of a field of
violets ... We're serious about
this. See it at the Michigan
Theater tonight at 9:30, or
Wednesday and Thursday at 7
p.m. Call 668-8397.
Culture shots
We know, we know, you've
been meaning to get to a Univer-
sity Symphony Orchestra concert
all semester, so have we. So
here's your chance at a double
shot of culture, right in your own
backyard. The University's
Chamber Choir and members of
the University Symphony
Orchestra will perform Haydn's
"Mass in Time of War" tonight at
8 p.m. in Hill Auditorium, under
the direction of Theo Morrison,
with soloists Christine Clark,
Lisa Hintz-Johnson, Robert
Bracey, and a certain baritone
who shall remain nameless.
(Okay, we give, it's Timothy
Jones.) Also, Donald Schleicher.
conducts the University Sym-
phony Orchestra and the Univer-
sity Philharmonia Orchestra in
two Brahms works, "Variations
on a Theme by Haydn" and
"Hungarian Dance No 5." As
always, you can get in the door
for the low, low price of just
showing up. Call 7634726.
Dino-might?
However, as our favorite
cartoon character Calvin would
undoubtedly say (as well as his
trusty tiger Hobbes), dinosaurs
are where it's at, and we're set
on getting every last one of you
into the Ruthven Exhibit Muse-
ums (or the Natural Science
Museum, or the Dinosaur Place,
or whatever they're calling it
these days - that building at
1109 Geddes, call 763-6085 if
you get lost, too). After all,
"Death of the Dinosaurs," as
depressing as it may sound, must
be exciting - whoever doesn't
like dinosaurs might as well, um,
drop off the face of the earth -
and you, too, can see it at
Ruthven. Learn all about the
history of evolution up to the
dinosaurs, and why scientists
think they, um, dropped off the
face of the earth.
Incunabula
Speaking of old stuff, the
Rare Books Room (on the 7th
floor of the Graduate Library)
has dusted off its collection of
old Bibles for the incredibly
long-titled annual exhibit,
"Papyri to King James: The
Christmas Story Seen through
the Evolution of the English
Bible." We've seen it, we like it,
and they're open 10 to 12 a.m.
and 1 to 5 p.m. Monday through
Friday and 10 to 12 a.m. on
Saturday. Call 764-9377.
by John R. Rybock
Extraordinary? Marvelous? Won-
derful? "Roget's Thesaurus" was no
help in finding the right word to
describe Peter Sellers in the 1979
film "Being There."
Sellers played many roles in his
lifetime, sometimes several in the
same film. But he never embodied a
character as thoroughly as he did in
"Being There." His simple, child-
like Chance the Gardener rivals
Dustin Hoffman's Raymond in
"Rain Man."
Chance (as in "a game of...") the
Gardener has worked for the Old
Man as long as he can remember.
During that whole time, Chance
lives a secluded life, never leaving
the house, except for the garden,
with only TV to keep him company.
He is simple, knowing only garden-
ing and what he sees on TV; nothing
else seems to register with him,
other than-food.
When the Old Man dies, Chance
is forced out onto the street. He
wanders through Washington, D.C.,
not knowing what to do or where to
go. By accident, Eve Rand (Shirley
MacLaine) bumps into him. Through
a misunderstanding, she begins
calling him Chauncey Gardener. Eve
takes Chance, or rather Chauncey,
back to her home, where her ex-
tremely rich and powerful husband
is dying.
What follows is what one would
call a "dark comedy," though this is
Being There
Directed by Hal Allenby; written by
Jerzy Kosinski; with Peter Sellers,
Shirley MacLaine and Melvyn Douglas
not the best term for it. Since heonly
knows gardening, that is all
Chauncey talks about. However, the
outside world misinterprets his in-
nocuous comments as elaborate,
pithy metaphors.
Social commentary on the need
for simplicity? Maybe, but don't let
a message ruin enjoyment of a fine
film. The story was originally a
novel by Jerzy Kosinski, who later
adapted it for the screen. Legend has
it that he received a letter from
"Chance the Gardener," along with a
phone number. He called the num-
ber, and Peter Sellers answered. If
this is true, and not just P.R. hype, it
is a credit to Peter Sellers, who has a
complete grasp on Chance, and lets
the character completely envelop
him.
Shirley MacLaine gives a notable
performance, but the best supporting
role has to go Melvyn Douglas
("The Candidate"), as rich-guy
Benjamin Rand. Benjamin, who has
counseled presidents, is facing death
due to anemia. Chauncey's honesty
and simplicity perk up Benjamin,
and Douglas does an excellent job of
not only giving us his character at
the moment, but also giving us a
sense of a young Mr. Rand.
The film isn't perfect. It does
tend to run a bit on the long side.
Additionally, the ending is a bit dis-
turbing. The filmmakers choose not
to go for a conventional ending that
wraps up all loose ends, but the film
ends up feeling unfinished. The au-
dience is left wanting to see much
more, but is also left feeling that a
sequel would not be able to recap-
ture the same feeling of innocence.
The direction the story seems to be
going in at the end of the movie
seems completely inappropriate for
Chauncey's character.
And who decided on bloopers to
accompany the final credits? The
device is completely out of sync
with the tone of the film.
But for all its faults, "Being
There" is a lovely film which should
be seen (of course, as with any de-
cent film, it should be seen on the
screen). For Peter Sellers fans, this is
not "The Pink Panther." But if you
are a Sellers fan, this film should en-
hance your admiration.
BEING THERE plays at the
Michigan Theater tonight at 7 p.m.
and Wednesday at 9:40 p.m. Call
668-8397.
A
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The Farm
Love See No Colour
Sire
On the surface, the Farm has that
characteristic U.K. sound - a
propulsive rhythm section, the ex-
traordinary do-all keyboards, and a
male vocalist of distinctive British
enunciation and articulation. But fur-
ther scrutiny of "Love See No
Colour" proves that there is much
more to this band than club expo-
sure.
"Love See No Colour" contains a
handful of songs, notably "Suzy-
Boo," with lyrics that demonstrate
the amazing political and social con-
sciousness of the Farm, as well as
their critical insight of the world's
surroundings. But the Farm doesn't
preach or point any fingers. They
just tell it like it is.
Danceability. Deep lyrical mean-
ings. What else could you ask for?
Perhaps catchy sing-along choruses
and an occasional love song will
convince you.
"Hard Times" and "Mind" are
about the agony of relationships, yet
both of these tunes are upbeat and
rather light-hearted. In contrast, the
title track, "Love See No Colour,"
with its blend of innovative key-
boarding and expressive lyrics, cre-
ates an emotional presentation of re-
lationships.
- Jayne Wawrzyniak
Bon Jovi
Keep The Faith
Polygram Records
With a tinge of high school-hood
nostalgia, Bon Jovi has released
their first LP since their 1988 re-
lease, "New Jersey." The parting of
ways after touring for "New Jersey"
was perhaps a prescient decision as
the popularity of glam-metal, main-
streamed back with Bon Jovi's
"Slippery When Wet," began to
slide with the emergence of pop-in-
dustrial bands like Nirvana and Pearl
Jam.
This is what The Farm looks like. Their new album "Love See No Colour" is good. Now that you know that, we just
want to say be sure to see "Howards End" this week at the Michigan Theater.
Despite the new hairdos and the
pumped biceps, the boys in the band
sound the same as always. In fact,
"I'll Sleep When I'm Dead" is prac-
tically "Bad Medicine" with new
lyrics. Nearly every song on the al-
bum can be aligned with another
from one of their previous releases
in similar fashion.
This time around, Jon is less over
dramatic in his screaming and
Richie has become more subtle in
his soloing, but on the whole, the
music hasn't matured as much as the
image.
- Kim Yaged
Sade
Love Deluxe
Epic
In the current sea of music that
champions a stilted juvenile mental-
ity, here comes a breath of decidedly
adult fresh air. And "Love Deluxe"
is an "adult" album in every sense of
the word.
Four years after the release of her
underrated "Stronger Than Pride",
Sade's latest is a meticulously
crafted and seamless album, awash
in images of heart-wrenching loss.
Devoid of the upbeat, urban
cocktail jazz she pioneered on
"Diamond Life," (which has been
co-opted by the likes of Swing Out
Sister and Basia) this is Sade's qui-
etest release to date. Lush pianos,
rumbling acoustic basslines, and
sparse snatches of guitar and sax
embellish Miss Adu's gorgeous
voice. Deeper than ever, her husky
croon is comparable to a '90s Billie
Holliday.
The Holliday comparison also
comes up in the lyrics of "Love
Deluxe." Through unrequited love,
("No Ordinary Love") and the
hopelessness of unemployment
("Feel No Pain"), Sade emerges as a
beacon of light, encouraging perse-
verance and strength in face of these
perils.
"Pearls" is a solemn prayer that
parallels the pain of a Somalian
woman's struggle to survive with
the hurt and shame of "brand new
shoes." The cries of "Hallelujah"
amidst the sad swirl of cellos are
chilling.
From the urgent optimism of
"Cherish The Day," to the ravages
of regret on "Like A Tattoo," "Love
Deluxe" is a moody, deliberate work
of art that's quite nearly perfect.
-- Scott Sterling
What more could we possibly desire than another pleasant viewing of-
Anthony Hopkins in the wonderful Forster adaptation, "Howards End"?
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