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7A

THURSDAY
JANUARY 4, 2001


SEE ANY GOOD MOVIES OVER BREAK?

DAILY ARTS DID.

Van Sant scores high marks
again with 'Finding Forrester'

"*Jim Schiff
ly hne/lerlbrming
Some movies tr
from their opening
through violence

(Sean ('onnerv), a former novelist

Finding
Forrester
Grade: A-
At Showcase

t
t
i
i
t
t
l
c
i

(Sean Connery), a former novelist
Arts Editor who gained notoriety through one
great novel in the early I1950s..
-Y to hook you in Known as "The Window" to a group
sequences, often of African-American teenagers,
, death-defying Forrester is a virtual recluse in his
stunts, or explo- stuffy apartment, only learning of
sions. Others take the outside world by an occasional
their time in set- glance at the harsh streets below.
ting the tone, eas- Like Forrester, Jamal Wallace
ing the viewer (newcomer Rob Brown) is trapped,
into the setting though less in a physical sense.
and characters. Afraid to showcase his writing and
Gus Van Sant's academic abilities, Jamal instead
" F i n d i n g takes to the basketball court for peer
Forrester" is an approval and self-confidence. A
example of the remarkably high standardized test
latter, and in its score turns his life upside-down,
first thirty min- gaining the attention of Mailor
utes we become Callow, an elite prep school in
acquainted with Manhattan, where he is expected to
life in South excel both academically and on the
Bronx through school's basketball team.
ball games, Young 'The heart of the story begins as
apartment build- Jamal, on a dare, sneaks up into
William's apartment late at night.
ering through the Some of Jamal's composition books,
illiam Forrester accidentally left in William's apart-


*vground basketb
ap artists and tall
ings.
Perhaps we're pe
binoculars of W

ment, open up an avenue of commu-
nication between the two writers.
While at first weary of each other,
William invites Jamal into his apart-
ment and his visits become regular.
William is often harsh in critiquing
Jamal, both on his writing and his
urban African-American dialect. His
advice is useful, however: start writ-
ing, and the inspiration will soon fol-
low.
The rapport between Connery, an
old acting pro, and Brown, the
novice, is both fascinating and
delightful to watch. Connery's usual
scruffiness is put to good use here,
as an embittered old man whose been
given a second chance at friendship.
Brown handles his character well,
bringing the authoritative Forrester
down to earth and teaching him a
thing or two about life as well. The
most touching scene occurs at a
Knicks Game, where Forrester's
intense agoraphobia overcomes his
ability to handle the crowded
metropolis. Here, the two characters
gain a profound understanding of
each other's weaknesses without say-
ing a word.
The strong supporting cast bol-
sters the fi lii's atmosphere. Jaiial 's
brother Terrell is played by Busta
Rhymes, who provides a great deal
of humor and security to Janal 's li fe.
As Jamal's compassionate friend,
Claire Spence (Anna Paquin) helps
him adjust to the snobbery of the pri-
vate school. Though a thinly-written
role, the young Oscar winner handles
her scenes nicely, evolving from a
platonic friend to Jamal's quasi-love-
interest.
Professor Crawford (F. Murray
Abraham) is perhaps the most vital
character of the film. His doubting
of Jamal's writing abilities only fur-
ther encouraues him to try harder
and prove everyone wrong.
It's probably hard to ignore the
similarities between "Finding
Forrester" and another Van Sant
film, 1997's "Good Will Hunting."
This time around, however, the roles
are reversed, with' Conniry playing
the defiant intellectual and Brown as
the tame, enduring figure that just
won't quit.
"Finding Forrester" also finds its
own distinct mood, alternating
between the cluttered, filthy apart-
ment of Forrester and the unforgiv-
ing mahogany walls of the class-
rooii. Both movies are gritty, realis-
tic, and incredibly well executed.
In the end, though, one is more
likely to be reminded of "Dead Poets
Society." Like the teens in that
movie, Jamal is stifled creatively by
a hierarchy of intellectual bound-
aries.
Like "Dead Poets Society,"
"Finding Forrester" brings us to a
rousing conclusion. A rare gem in
this dull holiday season, "Finding
Forrester" will certainly give you
something to cheer for.

Hanks contemplates his lazy days on the deserted island in "Castaway."

'Cast Away'

examines one

man's quest for survival

i

By Andy Taylor-Fabe
Daily Ats Writer

Considering tha
most of "Cast Axva
the main characte
one thing: don't
Cast Away
Grade: B+
At Showcas,
and Qualty 16
ful phrase "I'll be

t there
V, theI
r stays

is almost no dialogue throuxgh
movie remains engrossing and
complex and interesting. Just

go in expecting a "Swiss Family
Robinson or "Gilligan's Island"
type of desert island movie. There
are 110 tree houses or monkey but-
lers to be seen. However, Ton
lanks gives a compelling perfor-
mance that ranks among his best.
Hanks plays Chuck Nolan, a dri-
venc FedEx executive who spends
his days trying to beat the clock and
sol ving the problemsi of FIdlx
offices around the world. While he
is home for holidays with his girl-
friend Kelly Frears (I-lelen Hunt),
he gets an emergency call and must
rush out the door on business and
catch a ride on a FedEx cargo plane.
Before he leaves, he utters the fate-
right back!"

Survivor, complete with a mess of sun-bleached dr ad-
locks.
All the scenes on the island are extremely well dgxc,
for the combination of Hanks' acting and Raort
Zemeckis' directing give all of the action a genuine el.
Chuck's desperation, loneliness and attempts to ac cpt
his situation are all conveyed perfectly by Hiaks'
remarkably expressive face. 'The use of facial exJ es-
sions as the only mcans of communicating fecing is
reminiscent of "The Quest for Firc," and "Cast A y"
achieves the same level of depth through Hanks' actlng.
There is also no musical score during his time oithe
island, which is effective in making Chuck seem ut rly
alone.
The island scenes are also impressive tecinie-aily.
Chuck's initial clumv attemntstotake care of hiiself
are fblloxtied'by moYe adept coconut tsphiting; ropc nk-
ing and fire starting, and the tools that he construets
(such as his ice-skate-blade axe) are realistic in T11Lir
simplicity. We are not subjected to any "MacGyvcer"
style inventions; Chuck deals with his situation the Way
that everyone would, and it is these little details t'hat
make him believable in the "everyman" role.
One of the most disappointing things about the film
was that there were no surprises thanks to the trailersIn
the tradition of so many trailers that walk you through
the entire plot, there are almost no major plot twists that
are unexpected by the time you actually see the movie.
The only area that is remotely unknown is what hap-
pens to him after he gets off the island, which has its
good and bad points. (Okay, one could make the argu-
ment that I just gave away something about the plot, but
come on, you had to know he would escape.)
It's not a typical Hollywood ending, and flanks and
Hunt both make it believable, but there are fleeting
moments when you feel a little manipulated, and
although they are few and far between, they are dis-
tracting, especially considering the authenticity of the
rest of the film.

Courtesy of Columba Pctures
.ob Brown and Sean Connery bridge the generation gap in "Finding Forrester."

While flying over the Pacific, there is an explosion on
the plane and he and the pilots are forced to ditch in the
ocean, which is one of the most frightening and heart-
pounding scenes in the film. Drifting in an inflatable
life raft, he eventually washes up on an' uninhabited
island.
Equipped only with his meager knowledge of survival
techniques and a few scattered FedEx packages, he
struggles to find food, shelter and ways to keep himself
sane. Speaking of sanity, most of the "dialogue" on the
island is between Chuck and his only companion: A vol-
leyball with a face painted on it that he names Wilson.
Over the course of his time on the island, we see him
transform from a pudgy workaholic to a painfully gaunt

assionate' uills' paints provocative picture of de Sade


By Lyle Henretty
Daily Film Editor
"Quills" is probably the only Academy
Award caliber film this year to make a hero
out of a guy that writes stories about sexual-
mutilating women. Despite the great
enjoyment I received from watching this
movie, I'm not sure this should be the start of
a trend. Director Philip Kaufman's story of'
the Marquis de Sade's final years is as deca-
dent and indulgent as the Marquis' porno-
graphic writings.
The story centers around the time the

able if slightly out of place in a period piece.
Certain scenes, such as when the Marquis
asks a priest if he'd blame the Bible if some-
one died trying to walk on water, seem
awfully contemporary.
Yet these possible anachronisms and a few
obnoxious (if expected) plot contrivances
aside, this is both a beautiful and a fun
movie, with some of the best acting of the
year. Everything you've heard about Rush's
performance is true. His Marquis is a tor-
tured child and a sly manipulator who likes
to push everyone's buttons.
Joaquin Phoenix, as the kindly priest yho
runs the asylum and says things like "Isn't it
better to paint fires than to start them?"' is
also in fine form. Phoenix has shed all of the
weight he gained from eating scenery in
"Gladiator" and his deep eyes are kindly, tor-
tured, and confused all at the same time. His
,presence here is strong enough to stand up to
veterans Rush and Caine.
Speaking of Caine, he has the misfortune
of playing the most two-dimensional charac-
ter in the film. He is pure evil as Dr. Rovar-

Quills
Grade: A-
Starts Friday at The
Michigan Theater

Marquis (Geoffery
Rush) spent in an insane
asylum at the end of his
life. The Marquis is glee-
fully writing his sala-
cious tales of orgies and
organs and slipping them
to his publisher via a
naughty young orderly
(Kate Winslet) who slips

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