urj £9ohyOaf Guild House reading Check out one of Ann Arbor's premier cultural attractions this evening. The Guild House Writers Series will feature harpist and poet Laurel Federbush and performance artist Steve Marsh doing a very special reading. Now that the World Series is over, you have no excuse but to enrich your mind. So head on over there. The reading starts at 8:30 p.m. at 802 Monroe St. Call 913-4574 for more information. Monday .October 28, 1996 5A Epic 'Michael Collins' revi Director Neil Jordan brings forgotten tale to life olutionizes Irish film genre By Jon Petilnski. liaily Film Editor About 75 years ago, one dedicated Irish man's movement r peace paved the way for a free Irish Republic, indepen- nt of British rule. Known as a controversial figure and glossed over or even ignored by many history books, this man's tale finally unfolds in Neil Jordan's true-to-history epic film, "Michael Collins." Starring Liam Neeson in the title role, the film opens in 1916 with the Easter Uprising, when Irish revolutionaries, including Collins, Eamon De Valera (Alan Rickman) and Harry Boland (Aidan Quinn) surrendered after a six- R E day standoff against British forces. rom the first minutes of the film, the ei Mi amera sweeps over the remnants of the battle scene, and we are invited to immediately digest the conflict. Best friends Collins and Boland are impris- oned; upon their release, they emerge as the new leaders of the Irish independence movement. Impassioned and devoted to his cause and aided with infor- mation from Ned Broy (Stephen Rea), Collins organizes a secret force - the Irish Volunteers - to wreak havoc on the British army and police on a previously unmarked scale. While Boland and De Valera are in America rousing support, ey miss Collins-led attacks on the British, the British Black T'nd Tans' retaliation, and Collins' budding romance with Kitty Kiernan (Julia Roberts), the young woman his best friend left behind. Collins, who eventually brings Britain to her knees, is sent by De Valera to negotiate a treaty for Ireland's freedom. Upon his return, however, his heightened popularity plummets (the treaty still requires an oath of allegiance to the British crown). Dissatisfied, the people blame Collins, who will continue to stand by his quest for peace - even at the price of his good friends, a brewing civil war and his own tragic downfall. Clocking in at more than two hours, "Michael Collins" art- fully merges both the romantic and political aspirations of Collins. In one intimate scene, the camera lets us watch him and Kitty on a bed in a dark room, with only an outline of a rose between them. We listen intently to their hushed voices, marking the first signs of their love. 1 In seconds the camera jolts out of their perfect moment, flashing us scenes of shooting, blood and terrified faces. This juxtaposition of both intimate, horrifying and ultimately pow- erful scenes contributes to the overall balance of the film. Jordan ("The Crying Game") makes sure that Michael Collins is real for us. We do not just see him fighting all the time; instead we also get to see the personal motivations and desires that both humanize him and drive his quest. Neeson shines bright in his role as Collins. From the first moment, his passion and purpose are glaringly evident, because Neeson makes them believable for his audience. Whether Collins is ral- VI E W lying, fighting, loving, spending time with friends, or confronting conflict chael Collins and enemies, Neeson manages to pull off all his scenes (and his accent) with grace and ease. At Showcase In strong supporting roles, both Quinn (Boland) and Rickman (De Valera) give high-quality performances (despite Quinn's unconvincing accent), as first Collins' friends and then the leaders of the civil war against him. Moreover, both remind the audience of the rifts in the relationships in Collins' life - political with De Valera, and social with Boland. The actors' convincing performances magnify the tension between these once same-side forces. Roberts' portrayal of Kitty, however, certainly leaves a dif- ferent taste in viewers' mouths - a bad one. Not only does her accent move through a progression from bad Irish to Southern to no longer identifiable, she puts an over dramatic damper on an otherwise appropriate and emotional ending to the film. Luckily, real footage of Collins' funeral and a nos- talgic song by Sinead O'Connor almost allow us to forget Roberts' lacking performance. In the end, Jordan's long-awaited "Michael Collins" suc- ceeds on multiple levels. Ultimately the film forces us to absorb not just the story of an Irish nationalist and his brutal battles, but also of the complications - both personal and professional - thwarting him and the consequences of his actions. Endearing performances (minus the accents), a fast- moving, uncomplicated script and the cinematography all breathe life into a tale - with all its elements of romance, courage and purpose - that was just waiting to be told. Liam Neeson (above and left, center), Julia Roberts and Aldan Quinn star in director Neil Jordan's Irish historical epic "Michael CollIns" Tharpl dancers frolic at Power Center show By Stephanie Glickman Daily Arts Writer Sexy, vibrant and under 22. For a modern dance company, Tharp! dancers are young - very young. Choreographer Twyla Tharp has always selected her company members with a certain physical "look" in mind. Tharp!, her newest company, which presented her three most recent numbers at Power Center this weekend, is no exception. A revolutionary of postmod- em dance, Tharp, whether she intended to be or not, is now a R E superstar. She has set pieces not only for her own companies, but also for dancers from the likes of the Martha Graham Company or the Joffrey Ballet. More than 100 dances are manifestations of her creative genius for the past 30 years. The work of any prolific artist evolves over the years, reflecting changes in motivation and intent. Tharp is no exception and nothing proves this more than Tharp!, whose look is flashy, sophisticated and hip. Tharp's early desires to make meaningful dances and experiment with movement have evolved into dances filled with glamour, theatrical,'spectacle and sex appeal. This continues with Tharp!, a dance com- pany much more concerned with style than content. With her 13 Tharp! dancers, she spices up and E1 refreshes the look of dance. Unlike their balletic coun- terpoints, modern dance companies are often com- prised of more mature dancers. Tharp. however, has abandoned this notion and found technically very strong, but still uncultivated dancers. The youngest dancer is a mere 16 years old. "66," set to '50s bachelor pad music and comprised of different vignettes of travelers down the classic American highway, is neither angst-ridden nor particu- larly deep. A theatrical romp down memory lane - complete V I E W with two larger-than-life tires that interact with the dancers - Tharp! the spirited and lively "66" Power Center induces laughter. (Sometimes, we forget that modern dance is Oct. 24 a& 25. 1996 allowed to amuse us). Tharp injects her quirks into the Broadway-esque choreography, making movement that has the potential to be flat and unoriginal more than just trite show-biz behavior. It's a musical with a modern twist. Some call this a sellout, an affront to theoretical principals of modern dance, but Tharp has never been one to follow rules. Why should she start now? "Sweet Fields," which is set to American religious choral music, radiates simplicity. The profound mood is created by an empty, dark stage with dancers clad only in white performing richly textured, sinuous movements. The theme of community underlies the curry, breathy choreography. often danced in lines reminiscent of folk dance formations. Within the trah- quillity and modesty of "Sweet Fields" the dancers are sexy. White pants hug the men's shapely muscular legs. The women wear tight white shorts and tiny tops with sheer, flowing jackets nearly slipping off (heir shoulders as they curve their way through space. This sex appeal is even more striking in the, final piece, "Heroes." The dance is sexist in its sexuality. Three topless men, wearing only silver pants, which later become only black shorts, display their physiques in a reoccurring diagonal theme. They stand side 'by side. hands on hips, torsos thrust forward while a female. equally sexy and tightly dressed, continuously tries to penetrate their self-made wall by lunging. her entire body at their chests. The women's choreography is all legs. They kick and leap, except for when they are buffeted about by men. The men engage in boots'of complicated partnering among themselves. The piece *s busy, complicated and overtly sexual. The divisiori between the sexes continues throughout, showin Tharp's affinity for choreographing for male dancers. Not only a choreographer with an eye for partnorhg and manipulating large groups of dancers, Tharp.is a business woman. Tharp! is out there and ready to be consumed by audiences lured in by the Tharp name and the Tharp look. It is dance entertainment at'its flashiest. Give Tharp! a script and nothing would sep- arate its concert from Broadway. he Twyla Tharp dancers performed at Power Center this weekend. I. READ M A G A Z I N E Find special election coverage inside this week's edition SILENCE: CAN U STAND IT? SOMETIMES THE HARDEST THING TO DO IS NOTHING AT ALL. At Canterbury House, we start each day with silent meditation and prayer. Join us...if you think you can stand it! Tuesday - Friday, 9:15 - 9:45 A.M. CANTERBURY HOUSE 721 East Huron Street The big blue house one block east of State St. 665-0606 The Rev. Matthew Lawrence, Chaplain JOIN THE MOST PROMISING PROFESSION OF THE 21 ST CENTURY6 Prospective Teacher Education Meeting Thursday, November 7, 1996 6:00 p.m. Whitney Auditorium Room 1309 School of Education Building Call 764-7563 for more information. I'. Don't Panic! If you think you're pregnant.., call us-we listen, we care. PROBLEM PREGNANCY HELP 769-7283 Any time, any day, 24 hours Fully confidential. Serving Students since 1970. HAPPY .HOU NO- R MON-FRI 9:00-:30DAM 9:30 P-INIGHT tnflfn A I1 RI LI Lwc ~*~2PCHERS WITH COSTUME CONTEST AT 10:30 PM (PREJUDGING AT 10 PM) Wi ~. fle2l4gLO $5 OFF Full Set Tip Overlay ~b4inLII $8 OFF Manicure & Pedicure I 1 ...r