's 0 Hollywood dilemmas dispelled By ADAM EISENSTEIN It is, perhaps, inevitable that some Hollywood a< ors find themselves involved in politics. Or do they? Philip Kan Gotanda's satiric play "Yankee Dawg You Die" explores the Asian- American stereotypes in Hollywood and the di- PERFORMANCE REVIEW Yankee Dawg You Die Residential College Auditorium September 24, 1993 lemmas of the actors who play these roles. Al- though it focuses on only two actors, Gotanda's script deftly manages to investigate many differ- ent perspectives on what the actors should do without placing emphasis on one argument over another. Vincent Chang (Steve Sumida) has made a living out of taking some of the worst roles Hol- lywood has to offer, stereotypically speaking. By playing Japanese sergeants in World War II flicks, or telling self-deprecating jokes to crowds in Texas, he scratched his way to respectability in Hollywood, and was given the honor of being the first Asian-American nominated for an Oscar. He states his philosophy in an acceptance speech for an Asian-American acting award, saying, "I am an actor, not a writer... I am an actor, not a politician ... I have never turned down a role." This attitude is scorned by Bradley Yamashita (Tim Chang), one of the "new breed" of Asian- American actors. He has built his career without the compromises that were necessary for Vincent, and cannot conceive of ever stooping to those roles. Bradley is true to his ideals, as we see demonstrated early in the play him walk out on a director who wants him to take a photo, then giggle. "Japanese men don't giggle," he says. These men, initially cool towards each other, develop a working friendship based on a mutual actor's respect. Nevertheless, they are constantly taunting each other, with Bradley calling Vincent "a Chinese step-n-fetch it" after he re-enacts a death scene with him from a movie in which Vincent, dying, pleads with a fellow army officer to "win one for the nipper." These accusations start to get into Vincent's head, as evidenced in his dream in which he is thrown under a bright spot- light in front of a crowd and told by an unseen voice (Hollywood) that "all we want you to do is fuck yourself." This shakes up Vincent consider- ably and makes him reevaluate his philosophy. Likewise for Bradley, after reading for a soap- opera role in which he was told to affect an accent, he queries, "Could I actually do that?" Vincent comforts him, explaining that when everyone expects you to do it, "it is so easy to slip into being the ching-chong Chinaman." Each actor ends up influencing the other enough for us to see subtle changes in their perspectives. This delicate process is well handled by director Simon Ha, who, even with scaled down resources because of the new venue, presents the audience with strong visual images and clearly defined perspectives for each scene. Gotanda's use of short vignettes is great in that its many small points add up to a big statement, but it is often at the expense of less audience involvement with the characters. The play hits you more on an intellec- tual level than emotional level, and is occasion- ally a bit heavy-handed in its approach (as in the Godzilla sequence ending Act I). This is normal for a satire; however, the play was most effective when, in Act II, it let the scenes run a little longer and delved more into the personal problems un- derlying each of the actors' lives. Steve Sumida, a University English professor, showed that although he had not acted in while, he had not forgotten how to do it right. He was quite effective in bringing out the emotional as well as the satiric elements in the play. Tim Chang's Bradley Yamashita was not quite as refined, but this is hardly surprising, considering that this is his first role as an actor. Despite a slight lack of smoothness needed for Bradley, Chang did well enough to get his points across clearly. Simon Ha and the actors reward the audience with a play that is an intellectual treat. "Yankee Dawg You Die" returned to the RC Auditorium last weekend. Macauley is back but he's hardly good By SCOTT PLAGENHOEF Macaulay Culkin smoking a ciga- rette? Macaulay Culkin saying, "Don't fuck with me?" This could be Macaulay Caulkin's funniest movie since "Home Alone." Hell, it could be The Good Son Directed by Joseph Ruben; written by Ian McEwen; with Macaulay Culkin and Elijah Wood. funnier. However, the film is not a comedy but a psychological thriller. Unfortunately, any psychology the film might possess never escapes the scope of its 12-year old protagonist, Mark (Elijah Wood). Following thedeath of his mother, Mark is sent to live with his aunt and uncle for two weeks so his father can fly to Tokyo and seal up a business deal which will insure thathe'll "never have to leave Mark again." Amongst the cousins who Mark goes to live with is Henry (Macaulay Culkin), another 12-year old, whom Mark quickly begins to suspect is evil. Ostensibly, the filmmakers wanted to indicate by inculcating an unex- plainable evil in a young boy, particu- larly the prince of fabricated cute, that evil is inherent in all of us. However, unlike other films with a childhood vision, such as "The Last Emperor," "To Kill a Mockingbird" or "Big," the film never separates itself from the intelligence of the young characters. The film's ideas about death - particularly the death of family mem- bers - and evil are presented from 12-year old minds and might affect, frighten or even interest a 12-year old. However, for an audience that is of legal age, the film is a recycled, un- imaginative, and typical retelling of the same so-called thrillers which Hollywood has created over the past few years. This time around instead of acop, office tempnanny or new room- mate who slowly becomes more and more evil, the villain is a young boy. Culkin, who does deserve some credit for attempting to broaden his range and appeal, does not deliver. The fault may lie with director Joseph Ruben ("Sleeping with the Enemy"). His attempt to create a character who simply embodies evil instead creates a flat caricature. Everything Henry does is evil, or at best atypical for a 12-year old boy. Henry's disconcert for the evil he creates does not come across as cold-bloodedness or malice but, due to Culkin's matter-of-fact approach to playing the role, as sim- The film's ideas about death ... and evil are presented from 12-year old minds and might affect, frighten or even interest a 12-year old. However, for an audience that is of legal age, the film is a recycled, unimaginative, and typical retelling of the same so-called thrillers which Hollywood has created over the past few years. ply dull. Culkin isn't even the best child actor on the screen. Elijah Wood ("Ra- dio Flyer," "Forever Young") shows an actor than his more heralded and well-paid co-star. Wood's wide-eyed innocence is an effective foil to Culkin's Henry, no matter how dull. The range and energy of Wood can- not, however, save the film. Ruben, a veteran of many recent thrillers, does not escape cliche in his direction. Ruben's use of low-angle shots to provide the feel of viewing the film through the eyes of a child only reinforces the idea that only a child would be frightened by this pic- ture. Ruben sinks as low as using slow-motion to accentuate a few of Henry's evildoings. Ruben is simply attempting to masquerade the disabil- ity of the characters and the screen- play to create suspense by employing these cheap tactics. "The Good Son" is an example of Hollywood simply reworking old for- mulas with marketable stars. The film's saving grace is watching the fighter of wet bandits being cast against type. A 12-year old barking at a dog is campy enough, but Macaulay Culkin doing it is worth at least a dollar show. THE GOODSON is playing at Singer spurs memories ofsilk By MELISSA ROSE BERNARDO You always remember your first time. Whether it be your first date, your first love or your first silk shirt, it is a memory you will carry with you the rest of your life. On a dreary *Saturday evening, while others were party- hopping, breaking fasts and curled up with chemistry books, I went to my first jazz concert. I was quite unsure of what to C R Rexpect from Betty Carter. I remem- Betty Carter ber listening to my grandmother's Hill Auditorium Ella Fitzgerald records, and I September 25, 1993 couldn't forget how my mom used Septmber25. 993to croon along to Lena Homne. But that wasn't jazz in the '90s. Carter and her trio (piano, bass and drums) were a pleasant surprise. Carter's particular vocal style did not appeal to me. It sounded as if she was singing through a yawn. However, the woman scats as if she were talking. And she has this remarkable way of "physical izing" her music. The music comes from her body - her shoulders, her hips, her torso - and the mouth is merely the vehicle for the emissions that consist of her vocals. More impressive was Carter's accompaniment, or her "young baby dolls," as she called them - Cyrus Chestnut (pianist), ChristopherThomas (bassist) and Alvester Caroll Garnett (drummer). Before Carter's appear- ance, the trio did a 30-minute set, which was basically a chance for them to show off their tremendous musical talents. Many passages prompted the audience to burst into applause mid-music, after especially fast and furious runs. (Gasp! Could you imagine a theater audience exploding with applause after a chorus of "Don't Cry For Me Argentina"?) Carter sang: "Music for the sake of music / Satisfies my hunger ... / Pacifies my soul." The words of her songs are very simple, and she renders them in an indescribably unique way (the aforementioned yawn technique), but her music is what sticks. She was very interactive with her musicians, and with the audience, bending to them (and us) benevolently and giving her music to us. What I realized is that she was talking to us with her scatting - that her music is a form of communication, just as discourse is ours. What I experienced that night is hard to explain in precise musical terminology - it was more of a feeling. And I know that years from now I will be able to close my eyes and hear the brilliant cascade of the Steinway pianot the lulling hum of the hefty double bass and the gentle throbbing of the resonant drums, coursing through my veins and "pacifying my soul." Write for the Daily much greater ability and potential as Showcase. Macauley Culkin is back in "The Good Son." But don't expect to see his typically cute kid image. Take a hint from this photo. Models for Fall Fashion Mass Write the Daily Letters to the Editor 420 Maynard 48109 I' Gothic Pictures needs students for crew positions for upcoming 16 mm movie. MEiSS. MEETING: INTHEARMYl NURSES AREN'T JUST IN DEMAND. THEY'RE IN COMMAND. Arne. ntrp xln ic wan-, ic . r-in Cuwth ,vour leve'l of extnerience. As r