ARTS 'Murder' an open-and-shut case By PRASHANT TAMASKAR The Courtroom Drama. An in- tense, psychological experience or a hell date with Wapner? While "Murder in the First", the latest from director Marc Rocco is based on a fascinating true story, in recycling such an old technique the producers have failed to develop anything sub- stantial or engaging. Kevin Bacon is Henry Young, a convict at the Alcatraz prison in the San Francisco Bay. An unsuccess- ful escape attempt places him in solitary confinement for an indefi- nite amount of time. There he is punished physically and mentally. Upon his release three years later, Young immediately kills the man who told the guards about his plan to escape. He is put on trial for murder. His attorney, James Stamphill (Christian Slater) is a re- cent law school graduate who has never tried a case. The rest of the movie centers on the relationship between Stamphill and Young, and the trial itself. Although the characters are rather predictable and one-dimensional, there are a few excellent performances in the movie. Bacon is brilliant as the W HMurder in theFIrst Directed by Marc Rocco with Christian Slater and Kevin Bacon man who was put in jail for the federal offense of stealing five dollars from a post office. Slater's character is your typical young hot shot Harvard graduate who is trying to escape from the shadow of his successful older brother. He plays the part well, but that doesn't really make up for the lack of creativity in the role. And of course, this film would not be com- plete without the malicious warden who enjoys abusing his power. This time it is played by Gary Oldman, who thankfully is fairly restrained as Warden Glenn. However, the movie never displays the other side of this man, focusing only on his cruelty. This story about how the jail sys- tem turned a man into a killer is really quite remarkable. To its credit, it also raises an important issue: Are we fully responsible for our actions? Stamphill uses the argument that Young was only the weapon, and that Alcatraz was the true murderer. However, "Murder in the First" should be lauded simply for being daring enough to bring up this issue, especially at a time when conservatism is extremely popular. But being daring is not enough. And even though the production does have its moments, such as the use of mock news reels, these moments are few and far between. Besides the aforementioned characterizations, Stamphill has trouble communicat- ing with his client. But when they do, a strong bond forms. Christian Slater and Kevin Bacon play grown-up in the thrilling new coutroom drama "Murder in the First." The one-sided plot and unorigi- nal characters end up spoiling this movie. However, for "Murder in the ---7 First," this is truly unfortunate, con- sidering the fact that because of its remarkable story line, this film could have been outstanding. MurdnTinthe irsUis laing~at Briarwood and Showcase. 'Immortal' By SCOTT PLAGENHOEF Borrowing heavily from "Citizen Kane" and rather little from the purported actualeventsofLudwigVanBeethoveen's life, "Immortal Beloved"isapoignant tale of an artist struggling to create despite an increasing handicap hidden amongstavat of speculation upon the source of his unnamed affection. If the filmis to be believed, when the lovely, lovely Ludwig van finally suc- cumbedtodeath in the early 19thCentury he willed his estateto amysterious woman whom he titled his, "immortal beloved." Historians acknowledge that the immortal beloved letter existed, but deny that it was a will; instead claiming it was nothing more than an unsent mash note. Yet if the fact that a near-biography has historical inaccuracy at its base can be ignored, "Immortal Beloved" is a worthwhile effort. The narrative of the film is told in a flashback-detective style highly remi- niscent of "Citizen Kane." Just as a reporter attempting to decipher the meaning of "Rosebud," Charles Foster Kane's final word, this film is struc- tured around Beethoven's secretary at- tempting to unlock the mystery of who a tantalizing illusion his immortal beloved was, his increasing deafness yet struggles to Gary Oldman's portrayal of ignoreit,todeny it,andtocreate amidstthe Beethoven is a remarkably low-key tri- increasing loss. Beethoven's leaning into the piano in an attempt to amplify the "Moonlight Sonata" may never have hap- pened; he may not have even been deaf at Immortal the time of its conception, butitmakes for poignant cinema. Beloved Yet amidst Oldman's portrayal is Directed by Bernard Rose that underlying fact amidst the supposi- tions: Writer-DirectorBernard Rosejust with Gary Oldman and simply didn't care to get the facts Isabella Rossellini straight. Rose didn't care about the skeletal umph, particularly for an actor who too events of Beethoven's life, only the dra- often (particularly in his more recent matic connotations raised by his loss of films) revels in over dramatic rantings hearing andhis unrequited love. The sepa- and overt displays of machismo. Yet ration of the specific events of the man's Oldman's Beethoven is sensitive and life from the more abstract human emo- vulnerable; haunted both by his unspo- tions of loss and frustration he felt didn't ken love for an unknown woman (al- need to occur. An otherwise engaging though the film pretends to be able to dramaisthemfore,likeRogerMaris'home- unlock the mystery) and his growing run record, rendered an asterisk. Despite deafness. its triumphs it is somehow unfairly tainted. Beethoven's loss of hearing - the The enjoyment of the film is almost un- source of his ability to create - provides avoidable; the appreciation of this film thefilm'smosttouchingmoments. Again, can, and should be had, but must sadly be as in the pining for his character's love, it done at the expense of reality. An older-but-better Tom Jones remains the king By BEN EWY melange of bar flies, Detroit club kids, of shaking hands with people from the Tom Jones has entered the world overaged Don Juans, geriatric crowd and he even took time out to sign of the hyper-cool. Jones has bridged boogiers and jet-set trend setters. Jones a vinyl copy of his first album. He was a musical generation gap and the was somehow able to please all of the dressed immaculately and changed his audience he attracts is equal parts outfit with each set. Jones also per- adult and teenager. His show at the - formed a small striptease by first taking State Theater Friday night proved off his sport coat and then slowly unbut- the type of wide appeal Tom Jones toning his shirt throughout his sets much has which is due to his ability to to the crowds delight. switch musical genres with flawless ,!State Theater Jones also showed why he has panache. January13, 1995 earned his way into the sex symbol The audience was an ecclectic club. His gyrations and hip thrusts demographics and still have a won- would have made Elvis blush. Jones derful time himself. The air was filled sauntered his way across the stage with a combination of marijuana, like a tiger in heat and had problems Designer Imposters perfumes and raw keeping his hands off of his member. sexual tension. Jones coyly teased the audience into a The music was both campy and frenzy and his final bow was appro- classic. His covers for the night cov- priately enough with his derriere to ered a wide range of generations and the crowd. Jones was too much for artists, everything from Yaz to the many of the women who littered the Black Crowes to Sam and Dave. More stage with a storm of panties while than a cover-artist, all of the songs Jones, unaffected, crooned his way that Jones sang were refracted through through "What's New Pussycat." his soulful, gravelly voice, An evening of pure entertainment, He was the consummate gentle- Jones proved that you don't need to man, taking a bow after each song stop partying when you hit thirty. and complimenting the crowd. Jones Hats off to Jones for letting us all has always been conscious of treating know that there's nothing wrong with Tom Jones wants to rock your world his audience well and he made a point being more than a little bit tacky. is Oldm success. an's restraint which makes this a Beethoven is obviously aware of IMMORTAL BELOVED is playing at Showcase. Beatnik spiders, hippie elves, Bilbo ii By ROBERT YOON Die-hard fans of J.R.R. Tolkien's "The Hobbit" may bristle at all of the beatnik spi- ders, the hippie elves and the other creative dalliances that pepper the Ann Arbor Young Actors Guild's (YAG) stage adaptation of the fa- mous fantasy tome, but I have a feeling that the ol' Tolk-meister himself would have given the pro- duction two trollish thumbs up, assuming (of course) that trolls have thumbs. Tolkien wrote "The Hobbit" in 1937 as a gift to his children, so it is quite fitting that YAG's "Hobbit," which premiered Friday at the Per- formance Network, was written and developed primarily by people too young to see a PG-13 movie without an accompanying adult. The script was a collaborative effort by direc- tor Joanna Woodcock, 16-year-old assistant director Andrea Grieb, and 40 YAG performers, ranging in age from eight to 13. "The Hobbit" is a memory play as told by Bilbo Baggins (Kim Jacobson), the lead hobbit / narra- tor. Perched on a rock and dressed like either Bartles or Jaymes, he remembers when he was recruited by the wizard Gandalf (Nathan Power) to join an expedition to smite the evil dragon Smaug. Along the way, young Bilbo (Philip Pappas) and his dwarf comrades encountered a variety colorful foes, including three hunger-crazed cowboy trolls and a gang of leather-jacketed, ban- danna-coifed goblins. The entire cast shouldered their acting duties quite well, but the run- away performance of the evening easily was that of Nathan Power. Sporting a subtle pony-tail and a head. Talk about erudite literary ref- erences. The final battle scene looked eerily like a fraternity party gone wrong, with throngs of boisterous, flannel-clad, backwards-baseball- cap-wearing dwarves trashing some- one else's property. Despite an errant wig and a loud buzzing noise through part of Act Two, YAG cleverly and resource- fully recreated Bilbo's world using drag: highlights from the music, lighting and several inven- of the Performance Network's cyni tive props. One prop, however, clumsily designed stage. The that should have been left home - Network's trademark pole, firmly all, Gandalf's "wand," an ordinary bi- planted in the middle of the room Gen cycle reflector which Power used so as to obscure the view of every THE repeatedly to blind the audience (on single audience member, was dis- 29 a purpose, I think, but I don't have guised as a tree. This wins my (418 proof). award for Best Use of a Crummy are Set designers Charlie Grieb, Building. p.m. Ron Pisoni, and Patrick Powers Well-done as it is, "The Hobbit" 7:36 deserve kudos for their cavernous probably is better suited for younger Tick creations, which made clever use audiences than for the brooding and Call 'Hobbit' ical '90s college scene. But 's the way it should be. After Tolkien didn't write this for eration X. EHofBrT7Jiays January26 at the Performance Network 8 W. Washington). Showtimes Thursday and Friday at 7:30 Saturday at 2:30 p.m. and 0 p.m., and Sunday at 2:30 p.m. ets are $6 adults, $4 hobbits. 663-0681. The Hobbit The Performance Network January 20, 1995 Hari Krishna-esque tunic, Power was quite at ease playing the aged wizard Gandalf. Jacobson and Pappas also logged solid perfor- mances as Bilbo, although young Bilbo was played by a male and adult Bilbo by a female. Perhaps they explain this in the sequel, "Hobbit II: The Crying Game." Without a rigid script to follow, the actors got to add an elementary school playground spin to the pro- duction. In one scene, Bilbo won a riddle contest by asking, "What do you call Batman and Robin after they've been run over?" (Flatman and Ribbon). Later, he saves his dwarf friends by luring away their arachnid captors with a barrage of "Your Mama" insults: "Your mama is so stupid, she (insert disparaging remark here)." But the laughs didn't stop there! In a scene that may be too intense for younger audiences, the cowboy trolls systematically bludgeoned each dwarf with a stuffed sheep. 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