Tippical Terry IAdRTgSj i jMonday in Daily Arts:
U Terry Gilliam's mindblowing "Brazil" screens on campus. U Check out the slamming concert review of the band 6-
This magical vision of totalitarianism from a vibrant visual director FeetUnder.
also stars Robert De Niro. Nat. Sci., 7 p.m
October 8, 1999
p
Flamenco
band join
By Jim Schiff
For the Daily
Paco Pena and Inti-Illimani bring a
world of culture to the Michigan
Theater.
The passionate rhythms of the
Spanish flamenco join with the beau-
tiful melodies of the South American
Andes, as legendary flamenco gui-
tarist Paco Pena teams up with the
seven-member Chilean group Inti-
Illimani. Both take center stage
tonight at the Michigan Theater.
Paco Pena last
performed at the
University in
March of 1994
with other gui-
Paco Pena tarists such as
Leo Kottke, Joe
Michigan Theater Pass and Pepe
Tonight at 8 Romero. Since
f the late 1960s,
he has gathered
a considerable
following and an
impeccable rep-
utation.
Pefa, born in
Cordoba, Spain,
gave his first public appearance at
age 12, though it was his first perfor-
mance in London that garnered him
fame. He made his United States
debut in New York in 1983, where he
was also highly acclaimed. The U.S.
was equally receptive of his fantastic
talent, as Guitar Player Magazine
overs
foas to
guitarist,
for campu
awarded him the Best Flamenco
Guitarist of the Year for five consec-
utive years.
In 1970, Pefa founded the
Flamenco Company of guitar, gui-
tarists, and singers. The group
became an immediate success and
has appeared in major festivals in
Edinburgh, Amsterdam, Athens and
Hong Kong, as well as performing
regularly in London at the Royal
Festival Hall. Peia was also appoint-
ed the first Professor of Flamenco
Guitar at the Rotterdam
Conservatory in 1985.
In the past few years, he has cele-
brated the success of his shows
"Misa Flamenca" and "Flamenco,"
plus a charity concert of Sting's
Rainforest Foundation at Carnegie
Hall. In 1997, Pena was awarded the
Honour of La Cruz de Oficial de la
Orden del Merito Civil (Officer of
the Order of Merit) from the King of
Spain.
Equally accomplished is Inti-
Illimani, a group that originally unit-
ed as engineering students and now
as world-class musicians. Their
music takes roots in the indigenous
cultures of Chile, Peru, Bolivia,
Ecuador and Argentina, among other
countries. Playing more than 30
wind, string and percussion instru-
ments, Inti-Illimani's music is a
beautiful representation of these cul-
tures.
Jorge Coulon, a specialist on sev-
Chilean
s show
eral string and wind instruments, an
niember for 30 years, said the grou
learned their style "by travelin
around Latin America looking t
learn about more people-we began t
blend Mexican and Bolivian an
other types together into our mL,
language."
In turn, the group places a lar
emphasis on cultural diversity an,
toleration of all people. Inti-Illima
was exiled from their native Chil
when the Pinochet coup ouste
President Salvador Allende's Popul
Unity government.
The group set up their home ba
in Italy until they were allowed t
return in 1988. Since then, the
has preached against oppression an
social injustice, and has appeared o
Amnesty International concerts wit
Bruce Springsteen, Peter Gabriel an
Sting.
As for this evening's performanc
"It is a delight to perform wit
Paco," Coulon said. He said that th
show will be a celebration of guit
and string instruments, a large foc
of the Inti-Illimani.
The program promises to b'
exciting and beautiful show, pe
formed by some of the most acco
plished musicians in the world. "'
hope that people listen carefully afi
understand that this music coat
from another world and can find
way to be curious about other cu
tures," Coulon said.
Moily Shannon suckles a tree to practice for her first chance at sucking face in the sucky 'Superstar.'
S hannon's 'Superstar'
awns supersuck
By Erin Podolsky shoved in our faces for a full 90
DailrAnts Writer minutes of excruciatingly bad film.
Several times during "Superstar," I can't recall laughing - let alone
"Saturday Night Live" skit subject smiling - once as the film
M't'y Katherine Gallagher's (Molly unspooled before me. It's one thing
Sh4ninon) first (and, one would hope, to be exposed to five minutes of
last) trip to the multiplex, our hero- Mary's not-that-funny-to-begin-
ineistold that she shouldn't refer to with shtick after midnight. It's quite
hesel'f as a superstar because it another to have to watch, attempt to
invites the ridicule of others and ulti- believe in and root for the unre-
mately leads to demptively pathetic high schooler
such pithy who has a stronger relationship with
nomenclature as an oak tree than anything with a
- stay with me pulse.
Superstar here, folks - Other students at Mary's school
s u p e r s u c k. are, like Shannon, grossly cast past
No Stars Unfazed, Mary their age range. Granted, "Superstar"
retorts with the is a spoof, but in this age of realistic
Attc ase . Brearwood "I'm rubber, casting it is hard to stomach, even in
and Quality 1s you're glue" an already-ridiculous plot, a guy like
variation of Will Ferrell, who looks closer to 40,
"sticks and playing the hot popular guy. Harland
stones may break Williams (the seven minute abs guy
my bones but in "There's Something About Mary")
words will never shows up as a transfer student who
hurt me:" looks old enough to be Shannon's
This is the moment when you father.
should get up and walk out of the Tom Green does Tom Green (and,
theater. "Superstar" is an utterly powers that be, I beg of you: Spare
boring, mirthless affair from start to us the inevitable Tom Green movie. I
finish, a skit-to-screen effort in the don't think my poor heart could take
unsuccessful vein of "It's Pat!" in it) and Glynis Johns (best remem-
whi ch a slightly (and only slightly) bered as the mother in "Mary
less annoying on TV character is Poppins") shows up as Mary's grand-
mother. Had the cast stood stock-still
in front of the camera for the dura-
tion of the film, saying nothing, not
moving, it would have been more
amusing and entertaining than the
mess that currently exists.
The minimal semblance of plot in
"Superstar" follows Mary as she
attempts to win the heart of Sky
Corrigan (Ferrell) and enter the
school talent show to fulfil her
dreams of becoming a star. Scene
after scene unfolds, each more fin-
gernails-on-chalkboard bad than the
first, and not a single one covers new
territory after the initial conflict is
laid out.
This is one of those movies where
brain cells are sucked out of your
head never to return from the black
hole of hideously bad filmmakinv
burnany
passion
By Joshua Pederson
Daily arts ter
U
t
t
l;
a
n
y
t
l
UM School of Music Dept. of Theatre & Drama
escape f MrroD
a quirky comedy by 0lo ,ha eS5
,ieorge F. Walkera
One family's BIZARRE struggle
to hold on for dear life.
this play contains adult language and themes
October 7 - 9, 14 -16 at 8pm
October 10 & 17 at 2pm
Trueblood Theatre
Tickets are $14 * Students $7 with ID
League Ticket Office 734-764-0450
. . . . a . - .
Theres no energy, there s no The title of the Scorcese produced
urgency, there's no comedy - hell, 1991 film, "Les Amants du Pont Neuf,"
there's no script. There's nothing. loosely translated as "Lovers on the
Absolutely nothing. Bridge' camrres the resonance of ideal-
Why Paramount spent money on ized romance, of passionate embraces,
this inexcusable excuse for a movie of prolonged kisses, of picturesque,
is as big a mystery as the supposed Venetian canal settings. Even the movie
appeal of Ms. Gallagher. Send a advertisements, displayed prominently
message to Hollywood. Don't spend in the foyer of the Michigan Theater,
your money on "Superstar," and per- show a typically romantic image - a
haps studios will turn to spending grainy, beautiful
theirs on more worthy causes, like profile of the
lobotomies for executives. film's star, Juliette
Binoche.
Lovers _ _ _All of these ele-
ments, however,
The Few. the Bridge viewed before
w** watching the actu-
The Proud. At Te Michigan al film, betray the
Theater movie's indigent
The reality. The pro-
tagonists of the
Daily Arts film are indeed
lovers, but throw
film staff. away images of
the affluently ster-
You can be ile romance of
"Gone With the Wind." The film takes
one too place in Paris, but discard any
sm dyHemingway-esque visions of the City of
Lights. The setting is a bridge, but leave
behind the idyllic waterways of W. H.
Call 763-0379. Auden.
C l7 AContrary to its press, "Lovers on the
Bridge" follows a classic storyline of
love sprung up in the unlikeliest of gar-
dens. It's the story of two members of
Paris's lowest class, coming together to
create something beautiful within,
despite the squalor of the city's gross
underbelly.
The film stars a pre-"English Patient"
Juliet Binoche opposite Denis Lavant, an
actor who, despite his obvious talent,
must surely be one of the ugliest men
alive. The latter plays the role of a life-
long street urchin who knows the ins and
outs of Paris's poverty. The former plays
a character who is the embodiment of the
starving artist, but who is also relative
newcomer to the lower strata of society.
The love that grows between these two
characters draws its strength from its
positioning among the dregs of Paris.
The film's setting allows its protagonists
to explore love free from many of the
social and cultural fetters that chain
other loves to a mundane reality, render-
ing them boring and impotent.
A burning passion and a startling
devotion forms between the two lovers,
each relying on the other, physically,
mentally, and emotionally. It is this
unique love which drives the film and
which makes it worth viewing. Binoche
and Lavant play their difficult roles
admirably and believably, showing
themselves to be the film's main assets.
"Lovers on the Bridge" is able to over-
come its raw cinematography and char-
acteristically European sparseness of
dialogue by exploiting the coarse emo-
tion shared by the two main characters
within this extraordinary setting.
Unfortunately, for all its bold unique-
ness, for all its brash representations of
impoverished love, "Lovers on tI
Bridge" balks on its original intent intl
closing scenes. Its lovers, separated)t
circumstance and indecision, reunll
This, in itself, doesn't constitute a prot
lem.
However, the situation of their secor
meeting is missing the lovers' destitu
passion. Both the lovers have gottena
feet on the ground, to an ex
Therefore, the movie's conclusion lea
its audience to believe that the "Lov e
on the Bridge" survive as a coupled
because of the raw affection that4e
through the majority of the file-;
because they were both granttd-l
means to conduct a more commoaln
romance.
Its conclusion hearkens back (,0
film's posters, suggesting an o
finale in direct opposition to the liunr:
love that precedes it. Therefore, " vi
on the Bridge," instead of being a-e
erful film with a unique message,;ej
up being just one more feint at a
unified artistic creation.
This is not to say that "Loversoi
Bridge" is a useless film. As statedse
er, Binoche and Lavant turn in -ek
tional performances. Furthermorel
premise of the majority of the fil'
unique one. But its ending hind
overall quality, and whatcould ha'el4i
a strong film is rendered an adeqle
attempt at a strong film. PK
Juliette Binoche pines with her heart in "Lovers on the Bridge."
- LLC4 %2J ILN s].i V V I .IhIL'JI[I UCMC
~Student
Ashley Fo ay Discount
MaCisaac Musa Suso Tickets
SUNDAY, OCTOBER 17, 1999 9 7:30 PM
HILL AUDITORIUM * ANN ARBOR
Tickets available at the Michigan Union Ticket Office, all TicketMaster locations and the Jewel Heart Store.
Special Artist Reception tickets at Jewel Heart only. To charge b phone : 734-763 TKTS or 248-645-6666.
ttleJVight Music
Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Based on Ingmar Bergman's Smiles ofa Summer Night
Three mismatched couples are about to make some very
surprising discoveries about their true desires!
October 14 - 16 at 8pm - October 17 at 2pm-
Lydia Mendelssohn Theatre
Tickets are $18 and $14 " Students $7 with ID '
League Ticket Office 734-764-0450
UM School of Music Musical Theatre Department
I