aItefircttmtuiattilld 'Phenomenal Woman' reads tonight Poet Maya Angelou, who has written everything from President Clinton's inaugural poem to verse for the film "Poetic Justice," speaks at 7 o'clock tonight at Eastern Michigan's Pease Auditorium. Call 487- 1221 for ticket information. ; i Diabolical 'y Christopher Corbett Daily Arts Writer "Put it in your mouth, swallow it," -the husband says to his frump of a wife. -He's talking about the cold plateful of .mushy eggs before her in the cafeteria of the boys' school that they own and operate. We are supposed to hate this guy and -think he deserves to be murdered. But the cafeteria scene is as heartless as we REVIEW Diabolique Directed by Jeremiah Chachilt; with Sharon Stone and Isabelle Adjani At Briarwood and Showcase see him treat his wife. Well, he did say it kind ofmean ... but what the hell?! As his wife Mia (Isabelle Adjani) might say, "He made me eat eggs, the unfeel- ing beast ... Let's off him." "Diabolique," a remake of the 1955 French thriller (based on the novel "Celle Qui N'Etait Plus" by Pierre Boileau), gets egg on its face. Director Jeremiah Chechik ("Benny and Joon") I direction nuns film needs to look up the word "subtle" and try to apply it to his film. . How bad does it get? We have every detail of the story shouted out to us right before it happens. When the car pulls up to the driveway of the house, we hear, "This is our alibi." When Mia hands the glass of bourbon to her beastly hus- band, we hear, "It's so cloudy" (while Mia glares at him, her eyes so wide you wonder how they're staying in herhead). When Mia commits the crime, we hear, "I'm SURE he's dead." OK! Yes, Mr. Director, why spell just one thing out for us when you can ruin it all! Sharon Stone, though, as the cold- blooded co-killer, becomes perhaps the best part of"Diabolique." She, with her throaty voice and chiseled features, makes you wanna shoop. She keeps her clothes on here, but holds on to every bit of the devilish, playful, threatening quality she had in "Basic Instinct." Her sneers and calculating, slow- moving, peeled eyes - enormous on the screen -make us believe her later, when she kicks the body over the ledge into the slimy pool and more or less says, "Bastard ... He made you eat those cold eggs." Chechik had the bleak film noir feel down pat with "Diabolique." Shadows - from the house, the grounds and even the husband himself - seem to suffocate the two women. Mia often appears like a rag doll lying on her bed, with her husband towering over her, his torso and arm blacking out most of the frame. The film, with all its glossiness, looks great. Too bad the movie diabolically sinks like the body wrapped in plastic. Where are these girls from? Don't they kill people over there? When you kill your husband, what do you do? Do you sleep all night after you kill him and then transport him out to the car in a bamboo crate in the middle of the afternoon? Do you pull over, talk to the state trooper and give him a nice, long look at your face when your co-conspira- tor (with a corpse in her car) gets in a pile- up ahead of you? Do you leave the crate sticking out of the trunk of your hatch- back and cruise around? It's as if they are saying, "You can't see this huge damn thing sticking out, can you?" We actually would love to see the police catch Mia because she's so dumb. Take the way Sharon Stone wants to kill the husband: She holds his head underwater in the bathtub and tells Mia to "Get the water bottle." Mia wheels in a huge jug of water, which they place on his chest to hold him down. Death by Evian? Some- Hey kids, smoking won't make you sexy like Sharon Stone. She is already sexy. You may be hopeless. 'Summit' masters show amazing versatility By Craig Stuntz Daily Arts Writer In the eagerly awaited sequel to last year's Guitar Summit, the University Mu- :sical Society brought four of the world's -mostaccomplishedguitariststo Rackham Auditorium this past Saturday. Each per- former brought his own style and tech- REVIEW Guitar Summit II Rackham Auditorium March 23, 1996 nique to the concert, demonstrating the versatility of the instrument. The evening began with Detroit native Kenny Burrell, a master jazz musician who was Duke Ellington's favorite guitar improviser, and who has played with John Coltrane, Oscar Peterson, Benny Goodman and other jazz legends. Beginning with an acoustic steel- string guitar and later switching to a semi-acoustic electric, Burrell's set was a steady progression from the folksy sound of early jazz to the persistent cry ofelectric blues. As he performed songs ranging from Duke Ellington's "Black and Tan Fantasy" to a medley of early blues influences, Burrell projected an air of utter sincerity and dedication to his music. Hot Tuna and Jefferson Airplane co- founder Jorma Kaukonen, performing on a steel-string guitar with a pickup, gave the audience a small sampling of his repertoire, which he estimates at more than 700 songs. Specializing in bluegrass and old-time country blues, Kaukonen's trademark is his crisp fin- ger-picking style. Saturday's performance included the Jefferson Airplane signature instrumen- tal, "Embryonic Journey." The only non- original piece he performed was a blues adaptation of a Pete Seger and the Weav- ers song. Whereas Burrell's blues were soulful, with ajaunty rhythm, Kaukonen's were lively and almost upbeat. Classical guitarist Manuel Barrueco's repertoire spans from the Baroque to 20th century Spanish music-and then some. Introducing one song early in his set, he said that it "will sound like it was written by Bach or Handel or Scarlatti, but in fact it's 'Lucy in the Sky with Diamonds."' He also played three un- titled songs by Chick Corea, which, even though written for children, sound nothing like Raffi. Barrueco concluded his set with Isaac Albeniz's "Asturias," which, despite having been conceived for the piano, is now a standard part of the classical guitar repertoire. In comparison to John Williams, who performed the same piece during his appearance at Rackham in February, Barrueco was more dy- namic with his use of tempo, but less so with volume. Classical guitarist Manuel Barrueco was a delegate at the "Summit." Stanley Jordan gave what was for him a technically very restrained per- formance - which is to say that he only played one electric guitar at a time, and he didn't use his guitar syn- thesizer. But even this was enough to utterly astonish the audience. Jordan plays by tapping the strings against the fretboard with both hands. With twice as many fingers to pluck with, and a gift for improvisation, he sounds like two or three very talented guitarists in perfect artistic sync. Jordan is always captivating to watch, as he gets very physically involved with his music. Saturday's performance in- cluded a 10-minute-plus improvisation around "Eleanor Rigby," which sounds less and less like the Beatles every time he plays it.