The Michigan Daily-Weekend etc. -January 21,1993- Page 3 Meditating in Kenna's garden by Charlotte Garry Climbing the University Museum of Art's stairs to the second floor, one's eye is immediately caught by a haunt- ing photograph of a gray foreboding cloud. This image, "Dark Cloud, Cerene Abbas, Dorset, England," is part of the exhibition "The Cultivated Image: Garden Photographs by Michael Kenna." Through this evoca- tive display, British photographer Michael Kenna presents a very in- triguing and unique portrait of the re- lationship between nature and man. Most of Kenna's prints juxtapose the natural with the human. Whether this juxtaposition is created through the portrait of an object of nature, such as a tree, perfectly cultivated and trimmed to conform to man's vision, or through the portrait of man-made objects within nature, the comparison is very disquieting. Kenna seems to be highlighting the precarious and fragile ties that we, as people, form with the natural world. "Conical Hedges, Versailles, France" is an image that seems to confront directly the ideal of harmony between nature and humankind. In this print, the pyramid-shaped hedges float in a heaven-like atmosphere. Kenna's prolonged exposures and in- ventive use of light produce a misty gray-white which languidly frames the dark bushes. The intensely shaped hedges therefore appear to puncture an otherwise peaceful environment. The extreme trimming of these bushes un- dercuts the wild and free aspect of the natural environment, and leaves the viewer with a feeling of discord. Although a physical representation of man is absent from this photograph, the hand of the human still echoes in the contrived forms of the hedges. As Bill Hennessey, curator of the exhibi- tion phrased it, Kenna pictures "man as present, but not present." Since graduating from the London College of Printing, where he special- ized in photography, Michael Kenna has hosted over 60 solo exhibitions and additionally has been apartof over 110 group exhibitions. His work is also featured in a number of public collections at renowned museums, in- cluding the Art Institute of Chicago and the BibliothequeNationale in Paris. In the garden photographs of the Uni- versity Museum, Kenna makes use of his European origin by employing his- toric sites such as Bowood, Rousham, Vaux-le-Vicomte, and Versailles to examine the beauty of nature within man's gardens and parks. One such print is "Fountain of Flora, Versailles France." This print uses a lengthened depth of field, in conjunc- tion with a delicate balance, to lure the viewer into the image. The eye is drawn inward from the dark, majestic trees framing the print, to the shadowy, gray trees of the background. Furthermore, the branches pattern into a triangular configuration which houses at its base a marble statue of a reclining figure. This figure, which appears at peace, is nonetheless disquieting through its virtual engulfment by the overshad- owing trees. Thus, Kenna suggests a somewhat uneasy unity between na- ture and the human. Unlike other landscape photogra- phers who portray nature in a purely aesthetic light, Kenna's photographs convey a specific comment on nature. Specifically, the viewer is asked to meditate on his or her relation with the natural world. This meditation, Bill Hennessey speculates, along with the mysterious atmosphere and brilliant composition of Kenna's work, is what makes this contemporary photogra- pher so appealing. THE CULTIVATED IMAGE: GARDEN PHOTOGRAPHS BY MICHAEL KENNA can be seen at the University Museum ofArt through February 28, 1993. In addition, the University Museum of Art is presenting a concert of English music designed to comple- ment the Kenna exhibition on tonight at 7 p.m. Tickets are $12, $7 students and are available at the University Museum Gift Shop or by phone at 747-052. An example of Michael Kenna's intriguing, fantastic, wonderful photos. Burton's genius:' Returns' (Note: P. O. V. is a technical film term which stands for a point-of view- shot. This is when the shotis taken from ihe point-of-view of a particular actor in . a film.) Critics generally agree that 1992 was a pretty dull year for big studio ;filmmaking, which means business as ;usual in Los Angeles. This may have to do with Hollywood's penchant for ,blockbusters, or huge summer hits like "Lethal Weapon 3" and "Aliens." This explains why talented serious filmmak- ers like John Sayles and James Ivory are .forced out on the fringe when it comes ,to financial backing. Though their films 'may be the most accomplished, they show little promise of breaking the hun- dred-million dollar mark, the definition of a runaway hit. This is what makes "Batman Re- turns," the biggest blockbuster of them all (the top grosser of 1992) such agreat joke. It's a blockbuster that satirizes blockbusters. It's director Tim Burton laughing at the very idea of Thn Burton getting eighty million dollars to make a movie. "Batman Returns" is set up around the following premise: what would happen if all the losers and geeks forced out on the fringe, traditionally shut out of power positions, suddenly took over the world? That's what happens in "Batman Returns," a modernist answer to the question above. The result is beautiful chaos, something on theorderofapaint- ing by Hieromonyus Bosch or Salvador In the "real world" plot of "Batman Returns," Warner Brothers gives direc- tor Tim Burton, that demented freak behind the truly original and artistic "Frankenweenie," "Beetlejuice," and "Edward Scissorhands," license to run wild with his imagination, by bringing him back once again to helm a summer blockbuster. However, instead of a tra- ditional shoot-'em-up, good-guy-bad- guy superhero action flick, Burton pro- duces a dark, brooding maze of a film whose hero is difficult to discern. Is it that computer geek Batman (Michael Keaton), with the personality of a block of wood? Or how about Catwoman (Michelle Pfeiffer), a viciously lonely secretary who couldn't get a date to watch Saturday Night Live? And then there's the Penguin (Danny DeVito), a disgusting half-human half-monster who has lost his parents. Can you imagine the studio head's reaction? "We're stuck with this su- perhero movie about a bunch of losers! There's never been anything like this ever!" Precisely. Bucking the trend of obvious, cli- ched plots common to most summer movies, Burton chooses to opt for no consistent plot whatsoever, in the con- ventional sense of the word. Burton's intentional disdain for aplot that makes straightforward narrative sense is evi- dent when Selina Kyle, Catwoman's alter ego, gets pushed off the top of a skyscraper to her death and is revived by troop of wild cats who lick her wounds. We get a series of thrill-o- minute set pieces and memorable mo- ments, like when Catwoman intro- duces herself to Batman and Penguin with a soft "Meow" (at which point a department store blows up behind her). Instead of spending his eighty mil- lion on big guns and hot butts (see "Lethal Weapon" series), Burton uses his loot to give us startling, hypnotic images of Penguin floating down a sewer canal on a giant rubber-ducky, Catwoman with her "A Clockwork Orange"-like snarl, brandishing her whip on whoever gets in her way, and circus freaks pelting innocent people with machine gun fire. It's an unconventional movie alright, yet the style suits the story, which features a set of unconventional superheros who while battling with one another, asone wouldexpectin the blockbuster genre, unexpectedly battle with their souls. Batman, a lonely mil- lionaire, tormented by having to keep his true identity a secret, wants a cos- mic connection with another human being. Catwoman would also like a little attention, as well as to have her voice heard for a change. And the Many people find this movie bor- ing. This may have to do with the fact that audiences went into the movie expecting typical summer film fare, waited for the plot to kick in and were disappointed when it never did. The plot, however inconsistent and hard to follow as it may be, is beside the point. What makes "Batman Returns" excit- ing is the way Tun Burton manages to surprise you with his style, careening wildy between "this is just ajoke" and dead seriousness. When you thinkhe's just joking, as in Selina Kyle's pathetic attempt to participate in Schrek's (Christopher Walken) meeting at the beginning of the film, Burton sud- denly pulls a straight bit, showing Selina's very real and bitter loneliness when she comes home from work that evening. Pfeiffer matches Burton ev- ery step of the way, blending the real- ism of her performance in "Frankie and Johnny" with the campy vamping of Madonna's turn in "Dick Tracy." If"Batman Returns" only had Pfeiffer as Catwoman it would be enough. How- ever the film features breathtaking image after image, incredible set design, and a lush score by Danny Elfman (and a darn good song by Siouxie and the Banshees). If imitation is the sincerest form of flattery, then Burton is one of Hollywood's most admired directors. Sacred cow Francis Ford Coppola re- cently, without success, tried to imitate Burton'smix ofhumor,pathos, and weird- ness (evident in many of Burton's films before "Batman Returns") with "Bram Stoker's Dracula." Even Scorsese tries to mix high camp with high seriousness in "Cape Fear." But where Burton manages to mix contrasting moods into an origi- nal, offbeat tone that envelopes his films, Scorsese just goes over the top, If you didn't like "Batman Returns," too bad, there's sure to be another entry in the Bat-series. After all, Burton winds up his film in true blockbuster fashion, a very quick shot of Catwoman which reads: Sequel Forthcoming. I by John R. Rybock The verdict on the film "Chaplin" appears to be in. While the movie itself is weak overall, Robert Downey Jr. captures Chaplin perfectly. But why make amovie about "TheLittle Tramp?" The answer lies in the mastery of one of Charlie Chaplin's greatest films, "The Great Dictator." spoofing one of this century's most infamous leaders, Adolph Hitler. From his ridiculous mock-German rantings to the equally ridiculous translation, Chaplin's writing and performance are outstanding. Hynkel is so maniacal and power-hungry that it is comical until you remember that Hynkel is based on a true dictator. However, it is through his portrayal of the Jewish barber that Charlie Chaplin shines. There is the seemingly requisite humor, such as a shave and haircut timed to the music on the radio. How- ever, beyond the trademark cane and waddle, Chaplin is able to show a great depth of emotion. All the tragedy de- serving of a character in a Nazi Ger- many-esque country is there. Chaplin not only hits your funny bone, but also tugs on your heart strings. On the side of the Ghetto Jews is Shultz, ahigh ranking officer in Hynkel's army. Shultz owes his life to the barber, who guided him to safety in the First World War. Reginald Gardiner's por- trayal of Shultz gives us a man who has devoted his life to Tomania, only to realize that the current ruler will bring nothing but harm to the nation. Paulette Goddard, as Hannah, is fine: while going along for the ride as the always-required love interest for the hero. But the non-Chaplin performance that truly shines is Jack Oakie as Napaloni, the leader of nearby Bacteria. Oakie's performance as a dictator at odds with Hynkel, over who gets to invade a shared neighbor, is a classic spoof of Mussolini, ranking right up there with, well ... Chaplin's Hynkel. The ending brings "The Speech" on how everyone should get along peace- fully. It is a common type of ending, but Chaplinpulls itoff well. Chaplin'swords and delivery leaves one in a cheery mood, believing there is hope for both the world and this nation. Corny? Yes, Effective? Also a resounding "yes." "The Great Dictator" is a very ap: propriate piece to remember a great career by. Not only does Chaplin make use of many genres - comedy, melo- drama, political message films - but he uses them extremely well, and in balance with each other. It brings a whole new meaning to the quote "I laughed. Icried. Itbecameapart of me., THE GREAT DICTATOR is availabl6 at Liberty Street Video. Robert Downey Jr. makes a very convincing Chaplin. What's next, Jean-Claude Van Damme actually acts? Miss the movie, catch the vleo ._ . s __ _ I In this 1940 film, which Chaplin both wrote and directed, Chaplin shows almost his entire range. Though it is certainly not the first anti-war film to come out of Hollywood, it is one of the 'best, and most biting satires. Here Chaplin takes on dual roles as both a Jewish barber in Tomania, and also as that fictional nation's fascist dictator, Hynkel. As H ynkel, Chaplin is dead-on in Pfeiffer a WRITE FOR FINE ARTS The Daily needs writers to review art exhibits, classical music and dance. Stop by 420 Maynard, or call 763-0379 for info. C Hey Wolverines! 250 I I 1 1 i IN A GAME OF LIFE AND DEATH, ONE WRONG MOVE COULD BE HIS LAST. i Y CHRISTO PHLR DIANE LAMBERT LANE TOM DANII L COME CLEAN r OFF I. I III(IiIllllillVlllllllilif{411{III 111111111i1{lIIllllllli1111@ 41i 1 I