Spike Lee in the house... ne Right Thing and catch the Spike Le joint of the same name tonight at the Michigan League. 8 pm. Free. ARTS WEDNESDAY JANUARY 10, 2001 5. michigandaily.com /arts Visual splendor and enchanting plotline make 'Chocolat' a delectable treat By Jim Schiff Daily Fine/Performing Arts Editor Sometimes, appearances can be deceiving. But in the winningly delightful "Chocolat," the' rich con- fections you see are probably even better than they look. Director Lasse Hallstr6m of "The Cider House Rules" scores yet again with this surprising- ly funny and warmhearted adaptation of Joanne Harris' novel of the same name. From the get-go, the film reads like a storybook fable, set in one of those quaint French provincial courtesy of Miramax in a scene from "A Hard Day's Night," John Lennon tries to "snort coke" as a distinguished Englishman looks on in utter revulsion. John, you out-up! 'Hard Day's Night' still a rock 'n' roll iot Chocolat Grade: B+ At Showcase %1',~, towns with an array of colorful characters. When the unmar- ried Vianne Rocher (Juliette Binoche) and her young daughter, Anouk (Victoire Thivisol) journey into town one snowy afternoon, the small population is immediately both suspicious and enchanted by the pair. Vianne decides to rent an abandoned patisserie from grouchy old landlady Amande Voizin (Judi Dench). In an exhilarating sequence, she transforms the drab building into a decadent chocolate shop, chocolates. Her two most loyal friends are Voizin and Josephine (Lena Olin), the mentally unstable, beaten wife of an abusive cafe owner (Peter Stormare). Vianne serves up a cup of cocoa and she trades life stories with her customers, learning that they aren't as one-dimensional as they seem. Like in "The Cider House Rules," Hallstrom's deft understanding of the human condition creates some tender moments among the characters. Considering the seriousness of the subject matter, the film is often quite humorous. It's hilarious to watch Molina's embittered mayor resist the tempta- tions of the shop and O'Conor's priest is downright hysterical. In one of the film's funniest scenes, he sings to Elvis's "Hound Dog" while tending to the graveyard, only to explain to the mayor, "I have a weakness for American music." The magical pow- ers of Vianne's chocolates also create some comical situations for a loveless couple. And while many of the other characters are embittered, they have a method of self-mockery that maintains the light- hearted feel of "Chocolat. Most of the film's weaknesses stem from the loopholes in the plot. Rouk (Johnny Depp), a trav- eling boatman, enters so late in the film that the story line can't accompany the full weight of his arrival. We also never know why Vianne travels from town to town without ever seeming to settle down, and the mayor's personal frustrations are never fully explained. The incredible cast disguises these weaknesses, however, and the radiant Binoche carries the film to a satisfying conclusion. Binoche, an Oscar winner for "The English Patient," comes off as sexy, yet wholesome, and delivers even the corniest of lines quite convincingly. Dench and Olin are equally fine, and both may see more Oscar nods for their touch- ing portrayals. Even Matrix-babe Carrie-Anne Moss delivers as Dench's cold, controlling daughter. But the film belongs to Molina, who wonderfully brings to life a likable, humorous villain. Besides, the film is so gorgeous you're likely to By Chris Kula Daily Arts Writer ou know, if the whole greatest-pop- ular-music-group-of-the-20th-Century gig }hadn't worked out for them, the Beatles could have made a fine living as a comedy team. "A Hard Day's Night," the group's 1964: feature film debut; does a first- A Hard Day's Night Grade: A- The Michigan Theater through Thursday rate job of cele- brating the witty charm that was so integral to the band's mass appeal in its mop-top era. And much 'like the sugary pop hits that the Beatles pro- duced during that timie period, the "Hard Day's Night" film is 0 timeless in terms of pure entertainment. The musical movie documents a fic- titious day in the hectic life of the Fab Four at the height of Beatlemania. Director Richard Lester adeptly fol- lows John, Paul, George and Ringo as they fend off rabid fans, cavort around London and generally get themselves into various degrees of trouble. There's *ly a moment lacking action, as the fim moves froin one zany episode to the next faster than you can say Sir George Martin. The situations in which the Beatles are placed are completely uncomplicat- ed, yet entirely enjoyable in their sim- plicity. Seeing the foursome romp around a soccer field while acting like Ritalin-deprived schoolchildren is priceless, because it captures the kind of fresh-faced enthusiasm that lessened as the Beatles' recording career pro- gressed (although imagining an Abbey Road-era John Lennon playing leapfrog with a bearded Paul McCartney might have even greater comic value). Despite the film's fairly silly vignettes, the script by Alun Owen is actually quite clever. The dialogue is sharp and snappy, and it gives the Beatles ample opportunities to show off their droll group chemistry. John possesses natural comic timing, while George has the best dead-pan this side of "The Daily Show." And Ringo? Well, Ringo's the drummer, and for most bands, that's a punch line in itself. Yes, the Beatles could have been big- ger than "Monty Python's, Flying Circus" if they'd have stuck with com- edy, but as musicians they [had to settle just with being bigger than Jesus. The music in "A Hard Day's Night" com- prises the album of the same name, and includes such hpwmony-laden classics as "Can't Buy Me Love," "A Hard Day's Night," "And I Love 11cr" and "She Loves You." The music -early Beatles at its best - is the real heart of the film, and "A Hard Day's Night" serves it well. But of course, even a film about paint dry- ing would seem simply smashing if it had a Lennon/McCartney score. Between these delightful musical numbers and the large doses of absur- dist humor, seeing the Beatles on the big screen is far from a hard day's night - it's a real pleasure. e just in time for Lent. One of the characteristics of the town is its some- what icy conservatism, which is reinforced by its mayor, Comte de Raynaud (Alfred Molina). The Sunday masses are gloomy and scripted by the mayor, yet recited by the bumbling young priest, portrayed by Hugh O'Conor. Crushed by his own feelings of inadequacy, Raynaud tries to suppress the self-indulgence that Vianne advocates through her shop. Hallstrdm devotes the most screen time to the shop, and we're all the better for it. Most of the town's citizens warm up to Vianne eventually, trad- ing in their Lenten vows for a taste of the rich Mind-reading ability lets Mel Gibson in on 'What Women Want' Courtesy of Miramra Johnny Depp wants a piece in "Chocolat." even look past the acting and take in the visual splendor of the French countryside and thosc delectable desserts. So go ahead, indulge yoursel¢. and feast your eyes on one of the season's biggcs treats. By Wilhelmina Mauritz Daily Arts Writer Mel Gibson was born to play Nick Marshall, the 'lead character in "What Women Want." Nick is a male chauvinist ad executive before a Co ertesy of Paramount Pictures Helen Hunt looks too hot for her man- eating image in "What Women Want." J What Women Want Grade: B At Showcase - s he realizes that he gift. freak accident involving a bathtub and a hairdryer gives him the ability to hear what women are thinking. At first Nick sees his new- found ability as a curse, but after a chat with his therapist (an amusing cameo by Bette Midler) has been given a Great character chemistry m akes Jack & Jill' a must-see combination of machismo combined with a sweet sincerity. Not many serious male actors today would actually agree to wax their legs, paint their fingernails a bright red and wear control top pantyhose, but Gibson does all three while still maintaining his style, grace and, need I mention, his masculinity. There is also a great sequence of scenes involving Nick coming into * work and marching his way through the lobby of people via his office. The first scene occurs before Nick has the mind reading ability, the sec- ond the morning he gets it and the third once he has really begun to understand and appreciate women for who they are and who they want to be. These three scenes are won- derful and Gibson does a perfect job at using them to show his transfor- mation. Speaking of transformations, the relationship Nick has with his daughter at the start of the movie is a bit lacking to say the very least. Nick is too involved in his own life and, not surprisingly, his daughter has nothing but contempt for him. Once he realizes how she feels about him as a father, he does everything he can to try and change her feelings including dress shopping for prom and a loving heart-to-heart chat with her in the girl's restroom. The one main flaw in "What Women Want" was Helen Hunt. Nov I have loved Helen Hunt since "Th Princess Quarterback" (a cheesy T movie that was made long befor, "Mad About You) so my complaint have nothing to do with her person. ally. Aside from the fact that Gibsor and Hunt had absolutely no chem. istry together, I do not believe that Hunt was the right woman for this movie. Hunt is a beautiful 'actress. She is what I like to call a "natural beauty." But, in "What Women Want" they were trying to make het into an ultra-glamorous gal with long blonde hair, short mini-skirts and stiletto heels while still trying t maintain the image that she was a tough man-eating businesswoman, It just did not work. The idea of being able to get inside the minds of others will always be a fascinating topic and "What Women Want" works well with the idea of 'what if,' even including a poignant sub-plot about a young office clerk that is thinking about killing herself. At times I wished that they would use Nick's ability a little more since I wanted to hear the mind of every woman that he passed. I also liked the idea that the best woman for Nick, after he can read women's mind, is one that always speaks her mind (even if it is Helen Hunt). By Melissa Gollob Daily Arts Writer Tonight on the WB, "Jack & Jill" returns for its sophomore season with 13 c*ecutive episodes replacing "Felicity" which vacated its timeslot after its winter finale last month. This hour drama will try and repeat last sea- son's success by presenting both the humorous and heartbreaking sides of Nick soon realizes that he doesn't know women as well as he thought he did (nor do a lot of them like him as much as he thought they did) and so Nick uses his mind reading abili- ties to improve many of his relation- ships with the women in his life, one of these being his own daughter. He also uses his talent to try and get the job that he lost to a woman, Darcy, played by Helen Hunt. Gibson gives Nick the perfect Jack & Jill 0 The W B Tonight at 9 "~ dating after col- lege. Six friends continue their quest for love and money while negotiating the pressures of adult- hood. It's love in the big city and they demonstrate well how compli- cated dating in your twenties can be. "Jack & Jill" begins in the midst Spiritual choral music of Moses Hogan Singers looks to be a hit Courtesy of The WB Ivan Sergei and Amanda Peet star as Jack and Jill (although not necessarily In that order) in the similarly-named WB dating drama, which begins its second season tonight. By Rosemary Metz Daily Arts Writer The bleak and icy grip of a mid-January evening will be warmed and melted when the Moses Hogan Chorale oP cqueline "Jack" Barrett (Amanda P~, "The Whole Nine Yards") and Davtd "Jill" Jillefsky's (Ivan Sergei, "The Opposite of Sex") relationship as it turns into a serious commitment. It has been a year since Jacqueline left her cheating fiance at the alter and moved to New York City. Her attraction to her Pressly, "Can't Hardly Wait")' She has lived in L.A. for the past four months acting in a movie. She returns to her apologetic boyfriend Barto (Justin Kirk, "Love! Valor! Compassion!") as he attempts to win her back after he slept with someone else before she left for her job. Barto's persistent nature leads him to open his heart to Audrey even though her signals insist their relationship is relief. Elisa also finds herself in trouble when she switches tables and sits next to a single guy, who after one dance wants her to meet his parents. The insight the characters give each other about the opposite sex throughout the episode offers opportunities to laugh at the stu- pidity of the characters trying to figures each other out. The show basically balances out its bad points with its good ones. It turns fromv comlicall to serious suiddenly, which makes its UMS H ogan Sijngers St. Francis of Assisi Tonight at 8 debut on Wednesday at 8 p.m. in St. Francis of Assisi Catholic Church. Based in New Orleans, the Chorale has performed in distant, far-flung venues, such as the famed Sydney Opera House in Australia, and the John F. Kennedy Center. In 1996, the Chorale was one of two American choirs invited to sing at the World Choral Symposium. The Chorale thus became the first African American choir to appear in the Symposiums ten-year history. agents for the African American community. From the horrors of the Middle Passage, even before the first slave stepped upon colonial American soil, music and song the drums and chants of Africa, were integral to the expe- rience. Spirituals lifted up the slaves soul during the arduous days of plantation life. Song became a part of escape to freedom, often encoding within words, north- ern routes and freedom, such as "Follow the Drinking Gourd." Work songs, some sung on the chain gangs, are all a part of the rich fabric of African American choral music. During their Ann Arbor appearance, some of those spirituals will be reprised. The program includes "Swing Low, Sweet Chariot,' "Wade inthe Water" and "Every Time 1 Feel the Spirit." Two soloists will be featured dur- ing the program. Marietta Simpson, a mezzo-soprano, has sung under the baton of Kurt Masur, Sir Simon Rattle and Charles Dutoit, performing with the Orchestras of I