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February 03, 1993 - Image 5

Resource type:
The Michigan Daily, 1993-02-03

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Audrey: not just a fair lady, she could act too

Young Turks
The Turkish Student Association
begins its film series tomorrow with
its showing of Omer Kavur's "Secret
Face."This 1991 film proved to be the
toast of the international film festival
circuit, culling awards from the Inter-
national Festival of New Cinema in
Montreal and the Mediterranean Film
Festival. "SecretFace" centers around
a young photographer who is hired by
a mysterious woman to take random
photos of interesting faces. A story of
unrequited love and deep obsession
ensues. Kavur's direction revolves
around his provocative use of classic
story-telling and haunting imagery.
This enigmatic film will be shown in
Turkish, with English subtitles, at the
Michigan Theater tonight at 7:20 pm.
For more information, call 665-6085.
Pastorized Ludwig
The free music just never stops.
Tonight at Hill the Campus Orchestra
and Campus ChamberOrchestra, con-
ducted by Ricardo Averbach and
David Tang will give a joint concert.
Highlights include Beethoven's oh-.
so-lovely Symphony No. 6
("Pastorale"). Kickoff is 8 p.m; call

by Aaron Hamburger losopher turned high fashion model is a Holly gets "the reds," a deep undefin-
In the past week there's been a veri- gem. Actors like Sharon Stone get able longing. This is expressed most
table plethora of Audrey Hepburn praised all the time for being aware of beautifully in the scene where Hepburn
retrospectives reminiscing about the their sex appeal and using it, but sits at the window singing her off-key
actor's"luminous, waifish, regal, grace- Hepburn's an original; she makes her- version of Henry Mancini's "Moon
ful" attributes. More attention has been self appealing by remaining unaware of River."
paid to Hepburn's screen persona than her sex appeal and letting it lie just Hepburn's darkest role had to beher
the quality and the uniqueness of each beneath the surface. turn as the naive young woman who
of her remarkable performances. DirectorStanleyDonen worked with regrets her decision to become a nun in
If you want to get to know Audrey Hepburn once more in "Charade," Fred Zinnemann'shaunting "TheNun's
Hepburn, there's no better place to start Donen's pretty good imitation ofAlfred Story." The film chronicles Hepburn's
than her screen debut as a princess who Hitchcock. Hepburn, who's usually re- attempts to conform to the nun's habit
just wants to have fun in "Roman Holi- ferred to as a goody-goody, plays a as a novice, her stint as a missionary in
day." Most critics talk about Hepburn's world-weary sophisticated lady who Africa, and her decision at the end on
free-spirited good cheer, but they ne- suddenly finds herself involved in a whether or not she ought to leave the
glect the fact that Hepburn keeps a tight murder plot. Along for the ride in this church. It's hard to imagine a more
rein on her performance throughout the swank, stylish mystery is the king of earnest performance than this one.
movie. Hepburn plays it straight as the savoir-faire himself, Cary Grant, per- Hepburn makes idealism palatable by
sheltered young woman who's more haps the perfect match for Hepburn's showing its difficulties as well as its
than a little scared at venturing out into classy nonchalance. glories. Who can forget the evocatively
the world, so when she does let her hair In a slightly more serious bent, quietfinalscene where Hepburn merely
down at the end of the movie, it's all the Hepburn was at the top of her form as walks down the street away from the
more memorable a moment. Holly Golightly in "Breakfast at camera?Zinnemann arrived at the deci-
The same transformation from Tiffany's," Blake Edwards's finest di- sion not to score thescene at all when he
dowdiness toglamour occurs, toamuch rectorial effort. As the vivacious back- couldn't choose between a triumphant
more entertaining effect, in "Funny woods girl who transformedherself into or downbeat tone to the music.
Face," in which the Waifish One teams a high society socialite by learning to Savor Hepburn, not just for her ad-
up with Fred Astaire. Director Stanley speak French, Hepburn revealed the mittedly winning persona, but for her
Donen'sode tohigh fashion is probably layers of deep melancholy beneath wide range and deep talent. She was
one of Hepburn's most fluffy movies, Holly's gregarious veneer. Though the more than a fashion plate or a"swan,''as
but Hepburn's self-mocking perfor- movie is often deliriously comic, the one article called her. Hepburn was one
manceasabookish "emphaticalist"phi- scenes that stand out are the ones when of the acting greats.
I just want to hear a world beat

Audrey Hepburn wearing a Cecil Beaton hat in "My Fair Lady."

Boom! Pow! Zowie! Holy Cow!
Goodman's' Matinee is a bit

by Michael Thompson
BOOM! Terror flies through the
theater on an Atomo-vision sled!
Screams, panic, popcorn tossed this
way and that. And in the midst of it
all...a kiss?
Joe Dante must have had a ball
when he directed "Matinee." This film
has it all - monsters, bullies, hippies,
amessage, a wild director and the first
love. That's a lot of baggage for one
flight, but once Dante gets off the
ground he soars.
Directed by Joe Dante; written by
Charlie Haas; with John Goodman,
Cathy Moriarty and Simon Fenton.
The story takes place during the
Cuban missile crisis. ForGene Loomis
(Simon Fenton) the world is about to
end, he hasn't got a date and "Mant"is
coming to town. Not only that, but the
director, Lawrence Woolsey, is going
to be there to toast the opening. Wow!
For such a sprawling plot, "Mati-
nee" manages to remain pleasantly
simple as itcharts the thoroughly tested
waters of the coming-of-age story. But
it does manage to remain interesting
and slip through the leash of predict-
The key to the film is the perfor-
mance by John Goodman. He is hilari-
ous as a B-movie director out to make
money and have fun. This is what
Goodman is great at - character act-
ing (see "Barton Fink"). It's difficult to
tell if Goodman really had toactatall,

he seems to be having such a good
time. For all the conning he is doing he
never seems like a bad guy. He really
is giving the people what they want.
And boy do they love it.
Cathy Moriarty ("Raging Bull")
also has fun Woolsey's cynical girl-
friend/lead actress. She is like no nurse
you've ever seen. And Simon Fenton
comes across gracefully as the new kid
in town who loves monster movies
and misses his dad.
Dante is smart in that he shares
what Woolsey is giving his audience.
The movie within the movie, "Mant,"
is so funny that if released on its own
it would probably rake in the bucks.
Especially if they could find a way to
include Rumble Rama.
"Matinee" seems to have some-
thing for everyone. That tired cliche is
apain to read, but it happens to be true.
For the children in the audience there
is the coming-of-age story and an ex-
citing, albeit contrived, climax. For
the adults there are the memories of
both old B-movies movies and the
terror of the Cuban Missile Crisis. And
even for the film theorists there are
references to the techniques of the past
and the wave of the future.
Many of the little touches help this
film stay in the air. A wisp of wind, the
movie posters and a finger on an ear.
The terrific cameos of Dick Miller
("Gremlins") and John Sayles ("City
of Hope") don't hurt at all. Also, the
two hippie parents trying to come to a
conclusion about anything is perfectly
poignant here.

There is some turbulence towa


the end when the message of the film
hits a little too hard, but the landing is
fine. Even the sappy resolution works
I've used the word "fun" a lot, but
that's what the movie is. This is Joe
Dante's "Citizen Kane." He brilliantly
plays homage to the movies he so
obviously grew up on (look at "Grem-
lins," for example of Dante's emula-
tion of these movies). Dante loves the
movies and with "Matinee" he helps
us love them too.
MATINEE is playing at Showcase.

by Jen Slajus
It'll be asensual affair. But you'll be
expected to get beyond the tone of skin,
texture of hair, color of a cultural cos-
tume and into the rhythm of the blood.
Feel the kinetic core that we all share.
This weekend the visions of the Uni-
versity Dance Company mingle with
the muses of the School of Music to
celebrate world movement: the second
annual "Dance to the World Beat." The
Power Center is sure to energize.
"The scope and scale of this year's
show isimpressive," said Peter Sparling,
chair of the University Dance Depart-
ment. That's partly due to the number of
performers this season; there are a wal-
loping 60 members in the Company,
which is a professional training ground
for dance majors. It's also because of
the, ahem, ground that will be covered.
"The program is essentially a kalei-
doscope of (dance) styles presented in
rapid succession," Sparling said. "New
Age Vaudeville," he labeled it.
Major works include pieces choreo-
graphed by Dance professors Jessica
Fogel, and Sparling. Fogel's "Dance for
Eighteen" voyages through the Jewish
heritage on a linearly-devised aural
plane: selected klezmermusic -that's
East European traditional pop - to
Benny Goodman and into a specially
commissioned contemporary score.
Sparling's "Modern Life" warns of too
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Big savings on color printing
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much, or militantly forced, rhythm.
Biza Sompa and his own local com-
pany perform a Congolese dance.
Graduate student Gina Bunts choreo-
graphed a hybriddance form composed
of traditional Korean and Indonesian
styles with a boost of Modern. Plus -
breathe! - transitional interludes be-
tween these larger works reveal glimpses
of Celtic hoofin', fresh hip-hop and
Cajun stomp.
As if that weren't enough soda to
spit, the hot New York-based choreog-
rapher Ann Carlson offers her contro-
versial work, "Flag." And there's a sur-
prise finale! (What more can they do?

Afternoon dances of underwateraphids?
Plutonian body bending?)
"We want to do more than entertain:
to provoke thought, as well as create
something of unusual beauty," assured
Professor Sparling professorially.
This must be the most dizzying cel-
ebration of the University's creative
beat, at least since Sweet Honey in the
Rock'sconcert. Are you ready to move?
be performed Thursday through
Saturday at 8p.m. and Sunday at 2
p.m. at the Power Center. Tickets are
$14, $10, and $6 with student ID.
Call 764-0450.

In Jb IJfirt~ci grn L


Pre-Season Volleyball Officials


Wait a minute, Nanci Griffith


Begins: Thursday 2/4
7:00 p.m

by Andrew J Cahn
For those of you who attended the
Ann Arbor Folk Festival last Saturday,
you witnessed five and a half hours of
great performances that concluded with
Nanci Griffith'spathetic attempttomake
me understand it. Before her song, "One
Blade Shy of a Sharp Edge," a tune
about people who are not quite as smart
as they think they are, she said she used
to dedicate the song to Dan Quayle. He
is no longer in office, however, so she

said "Tonight I dedicate this to Andrew
Cahn, because he just doesn't get it."
Maybe I could understand what it is
if I slammed her in an article, but since
I gave her new record apositive review,
her comment has left me more con-
fused. What was she trying to prove by
attacking a harmless college student
who has actively supported folk music
in articles for the Daily for three years?
Think back to other recent onstage
personal assaults by female singers.

Sinead O'Connor slammed the Pope,
Madonna nailed Joey Buttofucco and
Nanci Griffith preached the evils of of a
guy who has only been drinking legally
for three months and is still supported
by his parents. I hope her next record
features asong aboutme and how Imust
be stopped before I write more good
I have written her a letter, asking her
to explain her actions. We will keep you

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