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Page 8
Monday,
March 20. 1995
i
'Love' says
By Joshua Rich
Daily Arts Writer
Billed as a realistic comedy that
explores the meaning of family, love
and divorce in the 1990s, "Bye Bye,
Love" manages to fall far short of
expectations. Instead, it is an exag-
gerated, stupid and occasionally of-
fensive account of the lives of three
single fathers enjoying custody of
their children for one weekend.
One might expect more from cre-
ators Gary David Goldberg, Brad Hall
and director Sam Weisman - all
producers of the critical television
success "Brooklyn Bridge," as well
as Goldberg's baby, "Family Ties."
These men fail to recreate in "Bye
Bye, Love" what was so successful in
their previous experience on TV.
While we are presented with aplethora
of troubled characters the movie nei-
ther engages us in their respective
struggles, nor allows us to realisti-
cally relate their problems to ourown.
Dave (Matthew Modine), Donny
(Paul Reiser) and Vic (Randy Quaid)
are three divorced best friends who
deal every weekend with the re-
sponsibility of parenthood. Hence,
the movie focuses on one such 48-
hour period in which each man and
his offspring try to cope with family
life under daddy's roof. As one
might imagine, the fast-paced and
'Bye Bye' to
frequently chaotic nature of the lives
of these men leads the plot into
many a silly situation. This occurs
despite the tragic and depressing
predicaments in which all of the
film's personalities live.
Dave suffers with three young
children, a beautiful girlfriend and a
confusing attraction to any woman he
meets. Donny has communication
problems with his teenage daughter
Bye Bye, Love
Directed by
Sam Weisman
with Paul Reiser, Matthew
Modine and Randy Quaid
At Brianwood and Showcase
while he misses living with his ex-
wife. And Vic attempts to protect his
raucous nest while holding a pessi-
mistic and cynical view on love and
marriage. As all of this occurs, the
raspy voice of Rob Reiner is con-
stantly heard barking obnoxious com-
mentary on divorce over the fictional
KGAB radio, 550 AM.
What results is a movie more
reminiscent of a silly Three Stooges
skit than an intellectual drama study-
amusement
ing the state of marriage and di-
vorce in this decade. If the creators
wanted to make "Bye Bye, Love" a
funny comedy, then they had to be
more inventive than showing us the
same "father-has-trouble-taking-
care-of-his-kids-whom-he-doesn't-
know-well-while-he-would-rather-
drink-a-beer-or-have-sex" shenani-
gans over and over again. We have
seen it all before.
Furthermore, the moviereally runs
like a 105-minute commercial for
McDonald's. Based upon a true cur-
rent situation, the central focus of this
movie is the local Mickey-Dee's
where all the people gather for some
food, folks and child exchanging (...
er, fun). The fathers sit around and
whine about their sorry lives while
their children frolic about and their
respective love interests, past and
present, gather to watch the show. We
are even given the irrelevant pleasure
of meeting some of the smiling res-
taurant staff who certainly have prob-
lems of their own.
Saving the picture from com-
plete disgrace is comedian-of-the-
moment Reiser. He instills in this
role the natural blend of humor and
introspection that has made him a
hit as a performer of both comedy
(on TV's "Mad About You") and
drama (in "Aliens") in the past. Also
Though 'Bye Bye Love' Is not such a good movie, it's a great song. The Everly Brothers rockl They ROCKiU!
strong are a cast of TV veterans, led
by "Saturday Night Live"'s Janeane
Garofalo as Vic's date-from-hell,
the late Ed Flanders ("St. Else-
where") in his role as the 70 year-
old McDonald's clerk, and the strik-
ingly beautiful Amy Brenneman,
fresh off her run on "NYPD Blue,"
as the ex-wife of one of the guys and
love interest of another.
This strong presence of televi-
sion personalities indicates just what
"Bye Bye, Love" ultimately be-
comes. Though it tries to amuse and
interest us in the lives of three di-
vorced men, this film works more
like a superficial sitcom desperately
in need of a laugh track. We are
occasionally interested by the com-
edy contained within the film and
even less intrigued by the charac-
ters it presents to us. And after less
than 30 minutes we are ready to flip
the channel.
'Eternal'
Indian beauty
and tradition
combine in
'Ramani'
By Kimberly Braton
for the Daily
A total of 13 dancers, both male
and female, younger and older, per-
formed on the Power Center stage
this past weekend and a rather sub-
stantial audience came to experience
the classical Indian dance form. The
Dances of India Troupe provedto be
energetic and elegant as they brought
the oldest and purest dance tradition
- Bharatha Natya - to life.
The performance began with an
introduction by an announcer who
offered to "set the scene" so that the
audience could "fully understand the
emotional quality" of the dance. Her
offer was quite generous as she ex-
hausted the meaning behind the move-
ment and left very little for the audi-
once members to absorb or interpret
qn their own. I felt more like I was in
a Cultural Anthropology lecture than
watching a dance concert and was
able to comprehend the idea of "The
Eternal Woman" by the clear expla-
nation provided in the program. This
rather lengthy introduction was only
further sustained by a musical inter-
lude that played as the curtains were
drawn. The music, written and com-
posed in India for this performance,
was aprimary highlight ofthe evening,
but the audience seemed to grow un-
easy as it waited a considerable
amount of time for the dancers to
arrive on stage.
For the first act, a soft peach hue
was cast down on the stage and
complemented the beautifully painted
backdrop that depicted a rural India
setting. The dance conveyed the idea
'Bronze' celebrates elegance of all colors
M.Y.S.T.I.C.'s fashion show was a rousing success
The Dances of India Troupe perform timeless dances with elegance.
of woman as a nurturer and mother,
teaching her son cultural and moral
traditions, and Malini portrayed this
role with conviction. The other fe-
male dancers were pleasant to watch,
dressed in brilliant costumes and au-
thentic jewelry that the announcer
explained would transform them into
-Malln Sriama
Ramani - The
Eternal Woman
Power Center for the
Performing Arts
March 18, 1995
Brides of the Gods. Their movement
was rather understated and quite lit-
eral in their gestures and facial mime.
The male dancers were more vis-
ceral, correlating to the roles of men
and women in Indian society, and
this physicality was exciting to watch.
All of the dancers wore anklets of
jingle bells which enhanced the in-
teresting feet patterns and gave a
very satisfying rhythmic quality to
the music.
The announcer returned between
acts to once again add too many de-
tails. This time, however, she was not
alone. The crew was visible on stage,
and, in fact, there were times when a
dim spot made them more obvious.
These technical faux pas gave the
elegant show its awkward moments
in transition. The second act con-
tained much more abstract choreog-
raphy, and the costumes were even
more elaborate than before. The role
of the woman portrayed in this sec-
tion was one of power and strength.
Accordingly, the female dancers be-
came more physically active, using
more body parts and complex rhythms
to emphasize the dance's meaning.
The final act depicted a heartwarm-
ing tale of true love and the woman's
role as lover and companion. The
young princess defies custom and
marries the man who she wishes, in-
stead of the man who she is arranged
to wed. The vitality of the movement
in this section was the most memo-
rable of the evening, as the dancers
facial expressions, graceful move-
ments and intricate rhythm patterns
created an eye-pleasing effect. Watch-
ing the entire group perform together
was very exciting, as were the "sculp-
turesque" poses that concluded the
piece.
By Eugene Bowen
Daily Arts Writer
Mark Broomfield, coordinator of
the Bronze Elegance Fashion Show,
promised to make this year's show
the best in recent times. Following
in the footsteps of 16 previous fash-
ion shows, Broomfield and his cache
of models and behind-the-scenes
workers had their work cut out for
them. But in the end, the 17th an-
nual Bronze Elegance Fashion
Show, sponsored by M.Y.S.T.I.C.
(Minority Youth Striving to Incor-
Bronze
Elegance
Michigan Union Ballroom
March 18, 1995
porate Cohesiveness), the
multicultural organization of Alice
Lloyd Hall, proved itself to be one
of the most innovative and energiz-
ing fashion shows this campus has
ever seen.
Emceed by University graduate
student Kyra Gaunt, this year's fash-
ion show featured the implementa-
tion of a variety of different con-
cepts, including a runway for the
nine male and 12 female models and
a greater emphasis on dance. It also
allowed for a few surprises to slip
through at any unexpected moment.
The show began with seven beau-
tiful, Black females varying in
shades from golden honey to the
bark of the mighty oak modeling
lingerie that showed enough to make
the men in the audience of some 350
sweat, while managing to leave
enough hidden to save the imagina-
tion.
The models also took us back to
the days of our parents - the days
of disco, bell- bottoms and afros.
Afro-wig wearing model
Sophina Brown drew applause from
the audience for the disco-style
dancing segment she presented,
which included every freaky move
under the sun and a few even the sun
doesn't know about. Indian models
Purva Patel and Sumana Setty
looked stunning as well in their psy-
chedelic-colored clothing.
The "Strictly Business" segment
of the evening featured a variety of
female models dressed to impress.
These were women who could take
care of themselves and pay their
own way. These were women with
style, grace, class and - if a man
treated them the wrong way - atti-
tude.
Nayquan Jenkins, Taiwo
Okusanya and Harry Davis, the three
male models who followed the
women, looked stunning in their
three-piece suits. And, from the look
on their faces, one could tell that
they were more than willing to wait
patiently in the hope that one of the
women who proceeded them would
invite them to dinner--the woman's
treat, of course.
But the time for women was far
from over as the next line of female
models came out to Whitney
Houston's "I'm Every Woman." The
power which flowed from them -
dressed in a variety of clothes re-
flecting the variety of hues and
ethnicities which graced the run-
way - was nothing less than the
raw power of woman. There was a
strength that only women could pos-
sess.
It was also a beautiful thought to
include Black clothing in the outfits
of every woman who walked out
during that segment, a fitting tribute
from the sustainers of the world to
the founding mothers - oh, and
fathers - of all mankind. Equally
fitting was the segment's final
model; she modeled a splendid garb
from mother Africa.
But, the men would not be ig-
nored. In the next segment, male
models worked all they had, and
then some, to the tune of Salt-N-
Pepa's "Whatta Man." By the end
of this portion of the fashion show,
these men had more than adequately
satisfied the. needs of all the true-
blooded, spirited women looking for
like-minded individuals of the op-
posite sex.
The ethnic segment, the second-
to-last presentation of the evening,
was perhaps the most breathtaking.
It began with a presentation of three
a tribute to the rich traditions of
India.
From there, a variety of ethnic
clothing was presented. African
(Ghana, Zimbabwe, South Africa,
Nigeria) and Asian (China, Japan,
Taiwan) tastes were brought out in
all their beauty, attesting to the ex
quisite beauty of ethnic garb.
A very beautiful segment was
presented by models Sophina Brown
and Jason Cummings featuring a
"love lost/love regained" kissing
scene that showcased humor, sad-
ness and, of course, slamming out-
fits.
Perhaps nothing was a shocking
as the night's finale. Broomfield,
who hadn't made an appearance
throughout the show, appeared
decked out in bellbottoms, a tight t
shirt and an amazingly large afro
wig. He began a routine of highly
effeminate movements and gyra
tions which led to much cheering
and good-natured laughing.
Oftentimes when referring to thi
contributions of different peoples
to the arena of fashion and music
the homosexual community -
whose members are widely consid
ered the founders of the disco phe
nomenon of the 1970s - tends to be
overlooked, oftentimes purpose
fully. It was refreshing for#
Broomfield to bring this group of
people to the forefront with this
final performance. He deserves
much praise for his inventiveness
and daring.
Getting lost in the modeling was
a commonplace occurance. More
than once, this production seemed
to be the equivalent of a fashion
show in Paris featuring the world's
best-known models rather than the
product of a mostly novice model.
ing group at the Michigan Union
Ballroom. The choreography was
clean and superb, and every move-
ment of each model was fluid and
easy.
The combination of elegance and
modeling maturity with down-to-
earth attitudes and dancing gave this
year's fashion show a feel of real-
ity. These were real people with real-
lives modeling for us; we could iden
tify with them.
This year's Bronze. Elegance
Fashion Show was a marvelous suc-
cess and a strong reminder of the
across-the-board influence many
different ethnicities have had in the'
world of fashion and music. The sea
of colored faces which graced the
runway, as well as the ocean of
colors in they audience they poured
into, beautifully exemplified the
night's purpose. It was not just a
fashion show; it was a tribute to the
I
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