ARTS TeMcia DaTusay* I , Febrary1 ,3 agS Ferrara's able work is not just trash by Michael Thompson _ With just about every up-and-coming filmmaker being compared to either Woody Allen or Martin Scorsese, it's no surprise that New York is the place to be. Even the seemingly tame-hearted Hal Hartley has his characters move and manipulate in Long Island. So why should Abel Ferrarabe any different? Iknow what you're thinking, Abel who? Wasn't Abel the one that got axed by his brother in the Bible? Well, yes, but this is a different Abel and he's not even close to being dead or gone. Ferrara is probably best known right now for his controversial film "Bad Lieutenant." Although vir- tually no one in Michigan has seen this film because its NC-17 rating makes distribution so tough, the movie has won a lot of critical praise. It stars Harvey Keitel of "Reservoir Dogs" fame as a very nasty New York cop. But "Bad Lieutenant" isn't the only film Ferrara has made. He's been around since the early eighties and he's got some quality, some trash and some quality trash under his belt. An earlier Ferrara film is a little gem called "Ms. 45." This quaint story involves a young woman who gets raped twice in the same hour and then goes on a killing spree. Ferrara borrows heavily from "Taxi Driver" and a few other films, but the movie never seems like a rip-off. The central character is in so much pain throughout the film that we sit and stare at her with sympathy and terror. Ferrara conveys what she is, a survivor with a gun and a willingness to use it. Ferrara is not without the ability to exploit, however. "Fear City" and "Cat Chaser" are films best left unwatched and probably even unreleased. The shameless nudity in both of these films makes one wonder where the angry smart director of "Ms. 45" went. But then again Ferrara has more than one good movie behind him. "China Girl" is a clever modern- ization of "Romeo and Juliet." The script balances themes of racism, love, interracial romance and general hate without bogging the viewer down in a quagmire of guilt. The film is no masterpiece, but it has its moments.' Ferrara seems to enjoy complicated characters. He's interested in the idea of good people doing bad or questionable things, such as in "Ms. 45." "Crime Story," the pilot for the short-lived but critically-acclaimed TV show, continues this theme Good actors, or rather lack of them, seem to be Ferrara's big hang-up of the past. with its central character Mike Turello, probably the angriest cop in the world. One of his lines has him warn a criminal, "If anything happens to those people I'm going to find what you love and kill it. Your mother, your father, your dog. Whatever it is, , it's dead." Happy stuff, huh? Even in Ferrara's "King of New York," the main character is a good-hearted drug dealer who just wants tobuildahospital. This vastly underrated film was saved by Ferrara and actor Christopher Walken, who managed to make something memorable from the depths of a tired and weak formula (after all, how many more films can there be about confused, somewhat good gangsters?). Ferrara's slick direc- tion is complimented by Walken's chilling perfor- mance as a man with seemingly good intentions, but who is never trustworthy. Ferrara knows how to use good actors. He lets Zoe Tarmerlis' face tell the entire story in "Ms. 45." She doesn't speak one word throughout the film. In "King of New York," Ferrara pulls a tremendous performance out of Larry Fishburne; he plays the antithesis of his "Boyz in the Hood" character. Good actors, or rather lack of them, seem to be Ferrara's big hang-upof the past. With a castas weak as this (Tom Berenger, Melanie Griffith and Billy Dee Williams), "Fear City" couldn't have been good if Quentin Tarantino directed and wrote it. But now Ferrara has Harvey Keitel. "Bad Lieu- tenant" is supposedly Keitel's penultimate perfor- mance. Ferrara co-wrote this film with "Ms. 45" screenwriter Zoe Lund. The film features vicious crimes, vicious characters and the hope for redemp- tion. Whoa, this is Abel Ferrara right, not Scorsese? Keitel will also be in Ferrara's new film "Snake Eyes." But it's not like that's ever going to be released here, either. So who exactly is Abel Ferrara? Is he an un- known art film director? Does he just make trash films? Or has he just got the same first name as the guy who got killed in the Bible? Although he's made six movies, it's almost too early to tell who Ferrara is. However, now that he has a real actor riding around with him, along with some critical clout, maybe we'll be able to figure out the scope of Ferrara's talents. But probably only on video. So be original andrentaFerrarafilm tonight. You might like it or you might hate it, but I guarantee that it will stick with you for days afterward. Lara Flynn Boyle and Timothy Hutton whisper sweet nothings. D iap ointin'Temp is worst t ype of fihn by Chris Lepley _ "The Temp," a new thriller set in the "corporate jungle," is the most disap- pointing film of the year, surpassing even the Madonna debacle "Body of Evidence." It's hard to be disappointed if your expectations aren't high to begin with, and though "The Temp" isn't on many The Temp Directed by Tom Holland; written by Kevin Falls; with Timothy Hutton, Lara Flynn Boyle and Faye Dunaway. people's "must-see" list, the first two- thirds of the 'film are well-acted and tension-filled. Intrigue upon intrigue builds up to what is not only a disap- pointing climax, but an almost indeci- pherable one as well. Timothy Hutton, sporting perhaps thebesthaircutofhiscareer since "Taps," stars as PeterDerns, amarketing execu- tive for a baked goods company called "Mrs. Appleby's." Peter's secretary, Lance, has to rush off to help his wife deliver a baby, and a temporary is as- signed. Enter Kris Bolin (Lara Flynn Boyle, last seen in "Wayne's World" and "Where the Day Takes You"), a competent, smartand very sexy woman who knows how to kiss ass to get what she wants. Dwight Schultz, of "Star Trek: The Next Generation" and "The A-Team" fame, is the corporations vice-president and residentrealist/neurotic, and Steven Weber (from "Wings"- the TV show, not the first film to ever win a Best Picture Oscar) plays Brad Montroe, Peter's best friend and toughest com- petitor. Surprisingly, "The Temp" almost shapes up to be the most honest and direct film about women's roles in cor- porate America made in recent years (especially in comparison to fluff like "Working Girl" - Lara Flynn Boyle is no Melanie Griffith, thank God). Kris wears a wedding ring to fend off unwel- come advances, most noticeably from disgusting slimeball Jack Hartsell (Oliver Platt of "Flatliners") and inves- tigates other job options while she's working for Peter, knowing that her position is only temporary. Lance, thankfully for the plot, is an idiot who can't operate a simple office paper shredder without losing various pieces of his anatomy. Exit Lance, re- enterKris. People start dying, but there's really nothing suspicious about their deaths. Peter tries to point the finger at Kris, who is promoted because of one untimely demise, but just ends up look- ing like an idiot. Of course Peter, who has been dumped by his wife, is in therapy for paranoia, so Kris looks squeaky clean next to him. Faye Dunaway is Charlene Towne, the president of Mrs. Appleby's. Charlene is hard as nails, and very simi- lar to Dunaway's character in "Net- work," which won her a Best Actress Oscar. Her performance in "The Temp" is incredible and completely wasted by the contrived ending. In addition, "The Temp" follows another disturbing trend in recent films: the "women-who-masturbate-must-be- evil-killers" paradigm, last seen in "Body of Evidence." The question is, are all sexually aware women possible serial killers? Is it the masturbation it- self which causes them to become kill- ers, or is masturbation just something only criminally insane women do? "The Temp" is two-thirds great act- ing, great suspense and a few grotesque special-effects. Unfortunately, the other one-third of the recipe is pure unadul- terated garbage. As a whole, the film is like biting into an especially delicious cookie and finding a big hunk of glass inside. THE TEMP is playing at Briaiwood- and Showcase. Iron City Houserockers Pumping Iron & Sweating Steel: The Best of Iron City Houserockers Rhino Records Joe Grushecky and the Houserockers End of the Century Razor & Tie Chances are you've never heard of Joe Grushecky. His band, Iron City Houserockers, never made it much far- ther than their home state of Pennsylva- nia while they recorded during the late 70s and early 80s. This is quite a shame, because over the course of four albums they produced some the finest, hardest rock and roll of their era. All of their albums have been out of print for years, but thankfully Rhino Records has as- sembled "Pumping Iron & Sweating Steel," an excellent 18-song collection that gives this forgotten band their due. Grushecky and the Houserockers hail from the blue-collar world of Pittsburgh's steel factories and banged out blue-collar music - straight ahead, three-chord rock and roll. None of the Houserockers were anything approach- ing virtuosos, and Grushecky's voice was extremely limited - flat and edgy with a one and a half octave range. Although they were essentially a bar band, Iron City Houserockers injected their music with the same venom that fueled punk rock. Grushecky was also gifted with songwriting skills that eclipsed other bands of his genre. His tales of the working class were full of the hopelessnessof blue-collar life, from nights in the bars todays in the factories; this is despair masquerading as good- time music. With their second album, "Have A Good Time (But Get Out Alive)" (1980), the Iron City Houserockers's sound tightened into a driving, muscular roar. Considering the strength of the six songs from "Have A Good Tune" included here, it's hard to believe the album didn't sell. These are the songs that form the heart of the compilation; the rage of "Have A Good Time (But Get Out Alive)" and "B londie," and the melancholiaof"Rock Ola" and "Old Man Bar" equal the songs Bruce Springsteen, Tom Petty and Bob Seger had out at the same time. Yet fame and fortune eluded the, band. As the cover photo illustrates, Iron City Houserockers did not fit into None of the Houserockers were anything approaching virtuosos, and Grushecky's voice was extremely limited - flat and edgy ... the fashion conscious early 80s. Twenty- one days after the release of their fourth album, MCA Records dropped the band and they slipped away from public memory. "Pumping Iron & Sweating Steel" should help Iron City Houserockersearn the respectthey never got when they were recording. Grushecky quitrecording in the mid- 80s, only to return a few years later; his latest album, "End of the Century," was released in the fall of 1992. On End of the Century" Grushecky's music is no longer burning with anger. Seemingly accepting the fact that he will never be a star, Grushecky has begun to write sadder songs that are smaller in scope; the title track and "Bad Dream" speak more directly and clearly to arecession plagued audience than anything on Springsteen's new albums. Hopefully, someone will hear him this time. -Tom Erlewine The Memphis Horns Flame Out Lucky Seven Throughout their career the Mem- phis Horns (Wayne Jackson and An- drew Love) have graced some of the finest soul/R&B singles of their era. Jackson and Love have played on ev- erything from Otis Redding's "Try A Little Tenderness" to Peter Gabriel's "Sledgehammer"; in short, these guys helped write the book on how to play soul. An all-instrumental effort by the duo naturally stirs up hopes of a sizzling Memphis soul / funk / R&B session - songs that cook like the classic Stax / Volt instrumentals of the '60s ("Green Onions," "Last Night," "Soul Finger" and countless others), singles that the Memphis Horns themselves played on. None of the excitement of those records appears on Flame Out. Instead of Mem- phis grit, Jackson and Love churn out smooth, lazy grooves - music for an evening at an upscale urban restaurant, not for dancing. The original composi- tions fall flat, often sounding like some- one neglected to write a melody and the covers ("Let's Stay Together," "These Arms of Mine," "Gee Whiz") can't hope to match the originals. As a matter of fact, it's a good idea to stick with those old Stax / Volt records. -Tom Erlewine Eyehategod In the Name of Suffering Century Media I don't think you'll be seeing these boys at church. Despite the fact that the lyrics on this album are completely unintelligible, the ample scattering of the f-word makes Eyehategod's feel- ings perfectly clear. (As if their name left anly doubt.) "In the Name of Suffering" is one incredibly long, unimpressive guitar solo and singular drum pattern, divided only by such moronic titles as "Man is Too Ignorant to Exist" and "Hit a Girl." Very nice. "Godsong" offers the only variety in terms of music, but it's impossible to listen to the whole thing through, due to its unsettling, malicious lyrics. "I'm God and I've killed everybody ... the public's a bunch of assholes." No, I'll tell you who the assholes are. Lyrical content aside, the singer's voice is a torture all its own. When he doesn't sound like he's in the middle of puking, which is generally the case, he sounds like a toilet flushing. Now there's an idea. Flush this album like the shit it is. -Kristen Knudsen KEYSTONE PROPERTIES, INC. 1' Write the Daily The Daily encourages its readers to voice their opinions. All letters should be 300 words or less. Op-ed pieces should not exceed 3,000 characters. Include your name and year in school. Send all submission to The Michigan Daily, 420 Maynard, Ann Arbor, Mich. 48109. The editors reserve the right to edit all submissions for space and style. 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