Ufit £kIit Mg
A Marvin Gaye for the '90s
Fuzzy-afro R&B balladeer Maxwell is out to make the ladies swoon at
9 p.m. tomorrow at Pontiac's Mill St. Entry (downstairs from the
Sanctum). Come watch him work the old school like a '90s Marvin
Gaye. Call (810) 333-2362 for more details.
Friday
October 11, 1996
'Ducks 3': Disney shoots ... it scores!
Third installment of popular kids' hockey series surprises with poignancy
By Prashant Tamaskar
Daily Arts Writer
Given the success of the first two "Mighty Ducks"
movies, whose legacy includes a professional hock-
ey franchise, Disney's decision to crank out a third
installment was inevitable. After all, the company's
policy has always been: If you do something that
people like, make sure to do it again (such as, the
creation of Disney World and
the other continental variants as
a result of the success of RE
California's Disneyland). Yet, O D3:
what separates Disney from its 4.
competitors is the consistent
quality of its productions,
which is strikingly evident in At B
the surprisingly good "D3: The
Mighty Ducks."
Fresh off of winning the Junior Goodwill Games,
the Mighty Ducks accept athletic scholarships to
attend Eden Hall Academy, a prestigious private
school, whose hockey teams have won the last 20 state
championships. However, their old coach, Gordan
Bombay (Emilio Estevez), does not follow them to
Eden Hall. He has received a job offer that he can't
pass up, leaving the freshmen Ducks in the hands of
Coach Orion, an ex-NHL player.
The first-year hockey players are told that they are
now Warriors (Eden Hall's nickname), and not quack-
ers. Following from this, Coach Orion tries to alter
their flash-and-dash style of hockey to a more disci-
plined defensive-minded approach, which is more
suitable for the higher level of competition. But the
team's resistance to the change produces disastrous
results.
Moreover, the
EVIEW
The Mighty
Ducks
riarwood and Showcase
freshmen are struggling socially at
haughty Eden Hall. Being of a
lower socioeconomic status
,than the most of their class-
mates, the Ducks do not adapt
well to their environment where
they are constantly being bul-
lied by the elite of the school,
the varsity hockey team. The
first-year students' refusal to
Having the Ducks realize that their way of doing
things isn't always the most effective, is a risky, but
ultimately successful decision by the filmmakers, who
to their credit, are willing to deviate from the formula
that has made this series so popular.
The main characters of the movie grow up before
our very eyes, with hockey being the manifestation of
their maturation. They begin to realize the truth of the
cliche: The way they play the game is more important
than winning or losing. And, in learning this, the
Ducks are refreshingly portrayed as uneven, confused
adolescents, and not the lovable Ducks from the earli-
er movies.
Interestingly enough, the most glaring weakness of
"D3" is the comedy, which features the typical array
of physical and practical jokes. The humor, however,
serves its purpose more in helping define the Ducks'
personalities than simply as a means to amuse the
audience.
"D3" does an excellent job of dealing with issues
that may affect the film's target audience, who have, in
a manner of speaking, grown up with the Ducks.
Although the use of sports as a metaphor for life may
be a bit trite, the wonderfully choreographed hockey
scenes manage to keep the audience focused on the
central themes. I have to admit that I'm glad this
movie was made - at least as long as there's no
"Mighty Ducks 4."
turn the other cheek simply exacerbates the situation.
Unfortunately for the Ducks, losing hockey games
leads to the possibility that their scholarships will be
rescinded. Faced with these circumstances, the pro-
tagonists are left to choose between maturing as play-
ers and people or letting foolish pride negatively affect
their future.
It should be obvious from the synopsis that "D3"
can best be described as a coming-of-age movie. The
sincerity with which the film handles the growing
pains of the young adolescents is truly commendable.
Emilio Estevez
has made another
"Mighty Ducks"
flick. He's pic-
tured above with
some of his new
buddies.
Modern folk wonder
Larkin hits the Ark
Under new direction,
Cleveland Orchestra
returns to Ann Arbor.
By Mark Feldman
For the Daily
A woman and her acoustic guitar,
taking on the world - it's such a com-
mon practice these days that the mean-
ing of it has been all but lost. Back
when our parents were in college it was
a simple choice: Joan Baez was politi-
cal, Joni Mitchell was personal, Judy
Collins was spiri-
tual and Melanie
was comic relief. P
In between gen-
erations, theP
choice was even
simpler: There
was no choice.
Sure, the occa-
sional Roche crawled out from the
crack above the disco ball, but for the
most part we were 100 percent plugged.
But now, of course, things aren't so
simple. Like most extremely small
genres in contemporary music, the
woman-and-her-guitar genre offers
more choices today than one could
ever hope to listen to in a lifetime. And
Patty Larkin offers merely as many
choices on her five studio albums,
from 1985's naive-but-beautiful "Step
Into the Light" to last year's sophisti-
cated, heavily produced "Strangers'
World." On record, she effortlessly
slides back and forth through styles
reminiscent of each of the previously-
mentioned godmothers of modern
a
folk-pop, always intelligent and tune-
ful but lacking a singular vision. Like
pizza or Whoopi Goldberg movies,
even when this type of music is bad it's
still good. But in Patty Larkin's case,
her studio recordings often sound just
a little bit too polished or stale, as if
she were feeling stifled by the imper-
sonal electronic equipment piled
around here and
were longing for
EVIEW an animate audi-
ence to sing to.
tty Larkin Which she is.
When she per-
At the Ark. forms, the con-
Tomorrow at 8 p.m. cert itself
becomes Larkin's
singular vision; she doesn't make ded-
ication, tell tedious personal stories or
beg us for sympathy. Unlike most of
her contemporaries, she recognizes
that she is first and foremost an enter-
tainer. She plays off of her audience
like a stand-up comic, keeping them
on the edge of their seats with every
chord and every word, whether the
song she sings is supposed to be funny
or serious.
She has even written songs specifi-
cally for performance - once in the
Boston area she sang "The Hub," a
timelessly hilarious ode to all the towns
in Eastern Massachusetts with similar
names. She'll make fun of almost any-
thing, from the pop icons we all love to
By Emily Lambert
Daily Arts Writer
Fans of classical music know what it
takes to earn an encore. Faced with
enough clapping and whistling, even
the most exhausted artists return to the
concert stage for one last go-round.
But the encore on this year's
University Musical Society orchestral
program comes first, not last. This
weekend the Cleveland Orchestra, one
of the best in the land, returns for its
second extended visit in Ann Arbor in
as many years. The 1996 affair includes
everything from concerts to classes to a
private lunch with conductor Christoph
von Dohninyi.
When Ann Arbor hosted the orches-
tra for three days
in February 1995,
the weekend had \ PF
its unexpected
twists. The
concert discussions, master classes and
forums are all on the roster.
Tonight's guest soloist, Olaf Baer,
began a master class marathon yester-
day as he taught an afternoon class for
voice students. The educational events
held will number 25 by Sunday's epd.
Today's rehearsal of the University
Symphony Orchestra will be led
Cleveland's assistant conductor, Ja,
Ling. And tonight's performance in, Hill
Auditorium will be under the baton on
Christoph von Dohnanyi, the sixth
Music Director in the history of, the
Cleveland Orchestra.
Dohnanyi is the latest in a line of
Patty Larkin plays at the Ark this weekend.
hate to multi-disc changers (I remember
her saying "I have an acoustic CD play-
er" as part of an amusing anti-con-
sumer-convenience rant). After two
hours or so of great music, unpreten-
tious and unoffensive fun, and the
biggest hair-to-height ratio of any
singer in recent memory, she has the
audience begging.
What it all comes down to is that any-
one can enjoy a Patty Larkin show,
regardless of how much of her music
one has actually heard. Somehow, after
hearing her perform one of her songs,
one is able to feel like one has known
the song for years. Her 1990 live album,
"In the Square," is testimony to her uni-
versal appeal, and if you miss her at the
Ark tomorrow night you will be miss-
ing an opportunity to enjoy music for its
own sake, without any $25 T-shirts,
reunion tours, elaborate light shows or
traffic jams. This doesn't have to be the
type of music that only people over 35
listen to - why should you let them
have all the fun?
such legendary
Szell and Pierre
REVIEW
Cleveland
Orchestra
tomorrow at Hill, 8 p.m.
, 4 p.m. Student tix $10.
conductors as GCorge
Boulez. Assistanti:on-
ductor ,when
Lorin MaazelI
for the Vienna
State Opera,
Dohnanyi has
directed the
group since
1984.
Creative pro-
scheduled soloist,
pianist Emanuel
Ax, was caught
Tonight and
Sunday at Rackham
__________________________________________________________________________________________ 'I
Intern and Study
in Washington, D.C.,
or Another
World Capital
Visit Our Representative in the Michigan Union!
Michigan Room Crowfoot Room
1 to 5 p.m. 12 to 4 p.m.
Monday, Oct. 14 Tuesday, Oct. 15
INTERN with a government, business, organization, or
interest group.
DISCUSS issues with leaders and policymakers during
classroom and on-site seminars.
EARN a full semester of university credit.
GAIN a competitive edge after graduation, with a
resume that shows experience in a world capital.
Washington Semester Program areas:
* Ameican Politics Economic Policy Foreign Policy
I ttrn ir D] Piicnac 2. Tr'.A-.airip " t rr I ~nnal ironmpnt R&
in a New York
blizzard and had to cancel a morning
master class at the School of Music.
Meanwhile, piano professor Anton Nei
spent the day practicing the Brahms D
Minor Concerto, preparing to solo with
the orchestra if Ax could not make it to
Ann Arbor. Ax finally arrived around
3:30.
That night, the symphony graced Hill
Auditorium with the second of two
nights of top-notch music-making.
Sunday showcased a smaller group of
orchestra members in a chamber set-
ting. And between concerts, orchestra
musicians led 18 classes at the School
of Music.
Overall, the 1995 residency was a
resounding success. And the 1996 event
packs even more happenings into one
weekend. Pre-concert lectures, post
gramming is one forte of Dohninyi's,
and Ann Arbor heard a samplein 1995.
The Friday evening concert began with
a solo for the 12th second violin player
in Alfred Schnittke's "(K)
Sommernacht-straum." The same pro-
gram paralleled the seemingly diver-
gent composers Schoenberg and
Brahms.
This weekend's programming fea-
tures well-known favorites along with
lesser heard works. Schubert songs and
Debussy's "La Mer" follow "Canzone
per Orchestre" by Bernard Rands. On
Saturday, the group will play music "
Wagiier, Tchaikovsky and Vict
Herbert. Principal cellist Stephen
Geber is the evening's soloist.
The weekend rounds out, as before,
with a Sunday performance of chamber
music. Sandwiched between a Brahms
sextet and Stravinski's octet is "Suite
for Alto Trombone and String Quartet"
by the living composer Corrado
Saglietti.
For ticket availability and a complete
schedule of public events, contact@$
UMS Box Office at 764-2538. Student
rush tickets can be purchased today at
the Michigan Union.
I I
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