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January 11, 2000 - Image 5

Resource type:
Text
Publication:
The Michigan Daily, 2000-01-11

Disclaimer: Computer generated plain text may have errors. Read more about this.


The Ann Arbor District Library hosts a snowflake workshop.
at's right. Snowflakes. So come, have fun and learn with
Thomas Clark how to replicate that white stuff that seems to be
absent this winter. 7 p.m.

ftMdftmggu
LlTS

A review of the "Friday" sequel, "Next Friday," the latest
Ice Cube opus minus funnyman Chris Tucker.
Tuesday
January 11, 2000

4

5

Problems hamper
'The Hurricane'

Kubrick series
plays at Michigan

Laura Flyer
Daily Arts Writer
Conceivably, director Norman
Jewison could have pulled it off.
*nd he almost did, in his latest film,
"The Hurricane." Denzel
Washington undoubtedly is an actor
with plenty of talent. But why have
Denzel do all of the work? Jewison's
problem is that what could have been
small glitches that needed small
tweaking actually were small glitch-
es that were somehow magnified,
which would require a lot of tweak-
0g.
Consisting of a number of flash-
backs, "The Hurricane" begins in
the middle, at the peak of mid-
dleweight boxer Rubin "Hurricane"
Carter's (Washington) career in
1963. Three

The
Hurricane
At Showcase

years later,
Carter is wrong-
ly accused and
arrested for a
triple murder in
his hometown of
Paterson, New
Jersey. This isn't
the first time the
boxer has been
incarcerated -
all his life he's
been hounded
by a Paterson
police lieutenant

guardians who, having read Carter's
autobiography which he wrote in
jail, are inspired by his story. They
make it their mission to find the
missing holes in the unsuccessful
handful of trials and appeals aiming
for Carter's release.
As actors, they should have filled
in their own missing holes. The trio
were just that - a trio. They didn't
seem to have individuality at all -
except maybe Lisa (Deborah Kara
Unger) who led the pack. With the
combination of Terry's (John
Hannah) near-neurotic glances and
silly smiles, Sam's (Liev Schreiber)
stupefied looks, and Lisa's chain-
smoking and depressive countenance
the three emerged as a bizarre bunch.
When they adopted Lesra and educa-
tionally-nurtured him according to
their homely style of living, they
acted like zombies.
"The Hurricane" is unconvincing
in other respects. First of all, while
Rubin's preaching was inspiring and
heart-felt, fate and destiny issues
were too often forced into scenes,
cheapening the idea of Rubin's pas-
sion. Lesra's discovery of "The 16th
Round," Rubin's story written from
his jail cell, at a used book sale
begins the entourage of fate mumbo-
jumbo. Standing by a cart of books,
Lesra eyes his prize from afar, but
look out, here comes an elderly man
about to snatch his destined book.
Thank goodness, the stranger throws
the book down with uninterested
nonchalance. Staring at the cover,
Lesra is transfixed on the image, as
though it is his calling to read the 25-
cent book, even though he has no
idea who the famous boxer on the
cover is.
Destiny works its way towards a
face-to-face encounter between
Rubin and Lesra. Jewison won't stop
focusing on these two angelic beings
who are somehow meant for a father-
son relationship. After all, Rubin and
Lesra (a.k.a. Lazarus) have biblical

Coursety of Universai Pictures
The much-talented Denzel Washington plays the boxer Rubin "Hurricane" Carter in
the biopic by Norman Jewison.

By Aaron With
Daily Arts Writer
"Heeeeeeeere's Johnny!" Well, here's
Stanley, at any rate.
In conjunction with the Film and
Video program and its "Major
Directors" course, the Michigan Theater
will begin a weekly series of Stanley
Kubrick's 12 feature films tonight with
"The Killing"
Though the film is in fact the direc-
tor's third, it appears first due to the
unavailability of his rookie effort "Fear
and Desire." Film and Video Prof. Peter
Bauland decided to show "Killer's Kiss"
- a 67-minute work that comes second
chronologically in the Kubrick cannon
- at the end of his Kubrick course to
emphasize the thematic and visual
importance of the short piece, as well as
to allow students to observe the direc-
tor's "thumbprint" on his films, even in
his early days.
Bauland appreciates the tireless work
of the recently-deceased director. In fact,
Kubrick's passing was a large reason to
create a course devoted solely to him -
not simply a course including his films
and works by other directors.
"I've taught Kubrick before, but I've
never taught him in a whole course.
Usually I teach him in conjunction with
Orson Welles,"said Bauland. In the past,
Bauland would show "half-a-dozen"
Kubrick films in one term.
"He just died. It's time to have a retro-
spective," Bauland said.
As the films are shown at the Michigan
Theater, all are welcome to attend - not
solely students enrolled in the course.
Working closely with Prof. Bauland is
Russell Collins, the executive director of
the Michigan Theater. Collins looks for-
ward to enriching the campus and local
communities with the great films.
"There's a curatorial and pedagogical
connection to what's going on" when
films are shown to students, Collins said,
adding that students tend to bring in their
friends and significant others to watch
the films.
One of the most significant facets of
the screenings is the fact that all of the
works will be shown in their glorious 35

Kubrick Cinema
The Killing
1956 Jan. 11
Paths of Glory
1957 Jan. 18
Spartacus
1960 . Jan. 25'
Lolita
1962 Feb. 1
Dr. Strangelove or: Howl
Learned to Stop Worrying
and Love the Bomb
1964 Feb. 8
2001: A Space Odyssey
1968 Feb. 15
Barry Lyndon
1975 Feb. 22
A Clockwork Orange
1971 Mar. 7
The Shining
'1980. Mar..21
Full Metal Jacket
1987 Mar. 28
Eyes Wide Shut
s1999 s Apr. 4
Killer's Kiss
1955 Apr. 11
All films begin at 7 p.m.
mm formats - true to the original
Kubrick cuts.
"Kubrick's career is completed, and
the studios are re-issuing prints of his
films,' Collins said. "It's a serendipitous
sequence of events"
"Some of the films are more esoteric
and don't draw as well," Bauland said.
That said, it is a given that titles such
as "2001: A Space Odyssey," "A
Clockwork Orange," "The Shining"
and "Dr. Strangelove or: How I
Learned to Stop Worrying and Love
the Bomb" will draw large audiences.
The opportunity to see the com-
plete works of one of the greatest
American directors is rare. The
advantages of seeing them in a true
movie theater instead of a television
set are many. Try to catch one, orAll.
You just might learn something - or
at least be entertained for a couple'of
hours by a true artist.
- Daily Arts Writer Erin PodolSky
contributed to this report.

Dan Hedaya) who makes it his life-
ng goal to keep Carter behind
bars. His motivation mostly stems
from racial prejudices, but it didn't
make things any more settling for
the cop that "Hurricane" turns into a
celebrity. Carter spends 19 years of
his life in prison serving time for a
crime he did not commit, when jus-
tice finally comes to terms with his-
tory's racial prejudices and police
force corruption.
Another huge chunk of the film
eals with Carter's saviors - teenag-
er Lesra Martin (Vicellous Reon
Shannon) and his three Canadian

connotations, as "Hurricane"
describes to Lesra. Together they
mean, "son who has risen from the
dead." A little too exaggerated and
intense for their haphazard joining.
Furthermore, Carter must have
received plenty of fan mail from peo-
ple over the years - his story was a
best seller when it was published, as
shown by a shot of his books lined up
against a store window. Therefore it
is not clear as to why Lesra's letter
had such a strong effect on him,
other than the fact that Lesra is
inspired by him. The emotional side
that emerges from "Hurricane"
Carter's tough exterior makes sense;
it's the unbelievability of his meant-
to-be relationship with the adoles-
cent that turns his bouts of sappiness
to hints of wimpiness.
"The Hurricane" is also befud-
dling once Lesra and his trio take
over the trial to help Rubin. Surely in
rare situations lawyers would over-

look seemingly unimportant evi-
dence that turns itself around and
proves innocence. Or they would fail
to dig deep enough, which would
make Lisa, Terry, Sam and Lesra's
new role in the case conceivable.
After all, they moved to New Jersey
to be closer to "Hurricane" and
expend all their energies on research
for the case. But all they do is talk to
all the key witnesses and go through
their files - something the lawyers
would probably have done. Their
efforts looked lame and unnecessari-
ly mocked the lawyers, which one
wouldn't think would be Jewison's
intent of portrayal.
Denzel is very close to saving the
film. He has a keen ability in dis-
playing a range of emotions with an
aura of ease. But Jewison should
have evened out the responsibility,
allowing other parts of the film to
shine instead of placing the burden
on one man to hide the weak spots.

I _______________________________________al

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Wednesday
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I

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