4 "With Nobody" This coming of age film by "U" alum Michael Joshua plays today at 4 p.m. at the Modern Language Building Auditorium 2. michigandaily. com/arts OReSita Iai ARTS FRIDAY OCTOBER 12, 2001 4 Willis, Thornton show silly sides in Levinson' s 'Bandits' By Andy TaylorFabe Daily Film Editor Bad wigs, bank robberies and Bruce Willis. "Bandits" has all the elements to be a successful comedy/action film. With clever, if bizarre, dialogue and a strange and entertaining atmosphere, this heist film is a nice break from the Lincoln Center to bring orchestral jazz to a new level By Jim Schiff Daily Fine/Performing Arts Editor The Lincoln Center Jazz Orches- tra may be the most exciting show Bandits Grade: B At Showcase and Quality 16 mot:°s,'' ^ "Reservoir Dogs" clones that hit the market. However, the film is not perfect, for there are times when the plot drags and the characters lose their charm. Joe (Bruce Willis) is a handsome, suave and altogether irresistible bank robber, and his partner in crime, Terry (Billy Bob Thornton), is a hypochondriac who imagines symptoms from numb lips to brain tumors at the mere mention of an illness. After making a daring and reckless escape from prison, the two men re-embark upon their careers as bank robbers, but Terry, the brains of the outfit, decides to change their game plan. Instead of dealing with guards, bank tellers and pain in the ass customers, they decide to kidnap the bank manager in his own home the night before the heist, wait with him until the next morning and stroll in and out of the bank without a struggle. With a slightly slow witted stuntman Lincoln Center Jazz Orchestra Hill Auditorium Sunday at 4 p.m. you'll see all year. Comprised of 15 of the finest American jazz musicians, the LCJO has brought this musical style to a new level. Under artistic director Wyn- ton Marsalis, the group has rocked the world with their wannabe as their driver, the "Sleepover Bandits" make their way across the coun- try, gaining notoriety for their non-violence, their cunning techniques and their good nature. Along the way they pick up a bored and unappreciated housewife (Cate Blanchett), who immediately takes a liking to the two men, causing an unusual love triangle. "Bandits" is full of hilariodis and unexpected dialogue, mainly from Thornton and Willis. Willis is in top form with dry humor at every turn, and Thornton's whiny, manic, even nonsensical interactions with everyone around him, com- bined with his constant imagined illnesses, yield a unique character - Try to imagine a hybrid of Cameron Frye and Mr. Pink in a bad early '70's Neil Young wig (by the way, that was "Everybody Knows This is Nowhere"). Blanchett is fantastic as a wide-eyed, energetic woman who has an affinity for crappy soft rock tunes, which she belts out with little prompting. The interactions, both humorous and serious, between the three main characters are well-timed and School of Music pr courtesy or MUM Hey, Thornton and Willis - Rudy Ray Moore called. He wants his hats back. delivered, and considering the somewhat asinine situations that they find them- selves in, their chemistry sort of works. To enjoy this movie, all expectations of logic and rational human behavior must be checked at the door, because the majority of the encounters that the two men have are thoroughly unrealistic. Joe is so damn enticing that he can politely hijack a woman's car by complimenting her dress, leaving her slightly confused but still swooning. Every person whose house they break into is as polite as can be, and one teenage girl even makes them coffee in the morning after being caught the night before making out with her boyfriend when the two burgeoning criminals burst into the house. Beginning to understand? This is not "Heat" or "The Score." There is minimal violence, and it is not pre- sented as particularly intense or vicious. The heists themselves are not really the focus of the film, because most of the film takes place between the actual rob- beries (which mostly go relatively smoothly). The action sequences are well doie, but the surprises are not surprises to anyone who watches closely. Howev- er, the middle of the film is slow as they get bogged down in the details of the romantic situation between the characters, which, frankly, is sometimes repetitive and played out. The three-way relationship between them only works in short bursts, but when it becomes the focus, the movie loses momentum. fessor Ellen Rowe extensive repertoire and phenome- nal playing ability. This season, the LCJO has embarked on their most extensive national tour in their history, called "United in Swing." Although they're touring dozens of cities over the course of nine months, the LCJO is devising a different pro- gram for each night. The group selects their songs from the history of jazz, ranging from obscure older pieces to popular favorites by Duke Ellington, Count Basic, Charles Mingus and Thelonius Monk. Sunday's performance will include works by Mingus, a new piece by Marsalis and other compo- sitions written by LCJO members. "'United in Swing' is one of the best representations of jazz that the audience will ever see," said LCJO bassist Rodney Whitaker. "They'll have a good time. People say that they've never seen jazz and liked the LCJO." Marsalis is perhaps one of the most accomplished musicians of the twentieth century. Born-in 1961, he began his classical training on trum- pet and entered The Julliard School at age 17. Since 1982, Marsalis has recorded more than 30 classical and jazz compilations, which have earned him nine Grammy awards. Four years ago, he became the first jazz musician to win the Pulitzer Prize for music, for his compilation "-Blood on the Fields." He also regu- larly hosts the "Jazz for Young Peo- ple" series at the Jazz at Lincoln Center in New York and was recent- ly named a United Nations Messen- ger of Peace by UN Secretary-General Kofi Annan. The LCJO is as equally commit- ted to education as they are to per- forming. The group travels to junior highs and high schools and works with students in music programs. Each musician gives master classes and pre-concert lectures that allow the communities to get to know the band. In addition, Whitaker is the Director of the Jazz Studies pro- gram at MSU. "To travel the world playing great music - it's a great opportunity," said Whitaker. "It's almost as if you're in graduate school - you get to be exposed to some of the best people in every walk of life." The group's performance in Ann Arbor is a welcome trip home for Whitaker, who was born and raised in Detroit. Musicians such as Paul Chambers, Doug Watkins and Louis Hayes all got their start in the motor city. "It's a homecoming," Whitaker said. "I get to see some of my fami- ly and friends - it's great.to see a community that has supported me as a musician." In 1999, the White House Millen- nium Council Program named the LCJO as Cultural Ambassador of the United States. To Whitaker, this honor carries a special connotation. "From a cultural standpoint, jazz is America's only uniquely true art form - everything else comes from Europe," he said. "And Jazz is America - it represents everything that America is ... a spirit of democracy and improvisation and a spirit that makes you use everything you have in the face of adversity." & E I debuts new recording at Firefly Club By Denis Naranjo Daily Arts Writer Ellen Rowe gets to smile wide, finally. For too long she's counted the days to a weekend like this. Tomor- row night at the Firefly Club she'll jump forjoy with a debut recording and CD release party. But it's more than mere celebration. It's a personal statement about the qualities of her educator's role and international piano playing career. At the School of Music she directs the jazz band ensemble and does master piano classes. Come night- time she dishes up hearty piano soloing as a featured Firefly Club headline artist. But through the years, she always championed an idea for cutting her own record. It's time to tip some fluted champagne with her recording Sylvan Way. "I've always been challenged about balancing my work, whether teaching, playing or writing," said Rowe, an associate professor of jazz studies. "I've been lucky since I focus on educating students. Play- ing and teaching really feed off each other for me." For Sylvan Way Rowe actually opted not to shop for a major record label deal. Her standards were too high and she wanted to capture an ideal performance with a precise blend of tunes. Using the jazz-blues specialists and Ann Arbor-based BOPO Records, Rowe says she bankrolled her own expenses and controlled the final end product. Since her playing and arranging on Syl- 'Ualum to de By Jenny Jetes Daily Arts Writer Moviegoers will often encounter unexpected surprises one knows little about; "Mission" is a film well worthc University of Michigan alum, who recently wrote, dire sion," made the film in the San Francisco community of sion prospered with many young adults out of colleg explains a little more about this experience for him and ot "It's autobiographical to some extent. The main chara from New York and is sort of green, and he is changed thought that was an archetypical story for people that car time. A lot of people came there because they were ur were, or they didn't know quite what they were doing, occurred to them to try something else out and see if it'dt eventually" In "Mission," Marvin (Chris Coburn), a struggling wri co to write a novel, yet his meticulous plan changes w Leonard), a crazy, "hapless womanizer," as Marsh describ "I couldn't find the guy to play Jay ... no one I met cou Marsh was impressed when Leonard auditioned. At th finishing up the "The Blair Witch Project," which quickly "I saw that he did this movie called 'The Blair Witch P And I was like: 'Yeah, I'm sure that was very interesting,) do' ... he was perfect for the role and was exactly what IN During filming, Marsh included almost all of his favo along wuith his very own apartment, where Marvin and familiar friends and faces in obvious abundance, Marsh va g S in M sI ti an Way delivers all the goods, all label recruiting will ladly have to wait. Reflective moments permeate Rowe's acoustics on >ylvan Way. Her composing hand tapped the refresh- ng outdoors at her parent's family cabin in upstate aine for compositional inspiration. A quick listen hows she nimbly injects dazzling color and warmth me and again. Four standards receive artful grace with her popular local trio (bassist Paul Keller, drum- mer Pete Siers). "Like other jazz musicians, I know I certainly get a fair amount of inspiration from the nat- ural world," she said. Her four original pieces, like the title track, soar with emotion andexpression, bowing to influences distilled from hearing Bill Evans' piano soliloquies. On playful mainstream fare like "Funk In Deep Freeze" and "The Phoenix," Rowe gets to shift gears and stretch out. Her excitable phrasing ably uplifts the in-the-pocket groove, the latter featuring Andrew Bishop's soprano sax. Elsewhere, Rowe alters her trio accompaniment, leaning to West coast stalwarts John Clayton (bass) and Joe LaBarbera (drums) for a pen- sive, yet penetrating mood-set on "Hymn." Rowe's CD release party tomorrow also doubles as a fundraiser for her sister-poet Judy Michael. On Sun- day at 3 p.m. at the Firefly, Rowe and Michael, a sur- vivor of ovarian cancer, aim to raise dollars for Gilda's Club in Detroit, a branch of the nationwide organiza- tion named after comedian Gilda Radner of "Saturday Night Live" fame. Rowe graduated from the Eastman School of Music and previously served as director of jazz studies at the University of Connecticut. She's won the Hartford, CT Advocate Readers' Poll for "Best Acoustic Jazz,' and has performed throughout the U.S. plus tours of Ger- mnnv Hland Swit.erland Ireland. Poland and Aus- Courtesy of U-M Schoolof iMusic rmally, o I1 1d1, ~ .C1a1., lca , iva ar - Professor, writer, musician: Ellen.Rowe. tralia. !but independent 'Mission' and theirs by including them in the film. While filming a Halloween party scene, for example, Marsh had all of his friends come in costumes (even though it was August) and basically just throw a party. Filming was almost secondary at the time, if they seek out films that as he ventured around with his actors, having them deliver their lines among the exploring. Loren Marsh, a crowd. cted and produced "Mis- Marsh began experimenting with film here at the University. At the University of the same name. The Mis- London during a semester abroad, he had an opportunity to be part of a film club e in the '90s, and Marsh that funded the production of short films written by its members. hers. "Mission" is definitely a film worth viewing on the big screen. With little fund- cter (Marvin) comes there ing, it is unusual for independent films to use special costly techniques, such as the by his experience there. I wide screen format known as Cinemascope. However, Marsh found a way to use it. ne to San Francisco at that "It's a luxurious format because it's wider. I thought the cinematography was nsatisfied with where they great and that the cinematographer did a great job. It was just so pretty and I love or for a lot of reasons it the music in the movie too." work better, and then leave It's always interesting to hear where directors and writers have gotten their inspi- ration. "Raging Bull," directed by Martin Scorsese, is one of Marsh's favorite films. ter, comes to San Francis- "That movie changed my life. I didn't know that a movie could be so profound. hen he meets Jay (Joshua it was a transcending experience, and when I saw it, I realized what movies could es him. do and that a movie could be as powerful as any experience ... That movie really ld do it right." inspired me' me time, Leonard had been Marsh also wrote, directed and produced "Virginity," which was about a man soared to success. with a new theory about women and what exactly encompasses their "first time." roject' that wasn't out yet. Amanda Peet had a lead role in "Virginity" before moving on to star in "The Whole but show me what you can Nine Yards" and "Saving Silverman:' wanted." "Invitation to a Suicide" is the next Marsh film, and it is a comedy about a man rite places in the Mission, who sends invitations for people to witness his own death. Marsh likes to incorpo- Jay resided. With real-life rate irony in his work and "Mission" explores this irony in a wonderful sort of way. used this to his advantage "I want people to leave the movie feeling they've been there. uty U The LCJO looking awfully dapper behind their instruments. Wishnia will read tonigt at the Drum By Alyson Scott and Sarah Stewart an encapsulating way. For the Daily If you are interested in hearing one "Exit 25 Utopia: $teven Wishnia Shaman Drum Tonight at 8 p.m. A Great American Punk Rock Novel" will be read by author Steven Wishnia today at the Shaman Drum Bookstore. Wishni a's background as not only the "High Times" editor but a believer in the '60's revolution qualifies his as a more-than-rele- man's account of a lost decade, or if you would never have the balls to do what this guy has done, come and hear him speak. This is the opportunity to live vicariously through someone else, at last for a couple of hours. With the artistic drive of William S. Burroughs and the strength of Kerouac, the read- ing is sure to inspire. The event will take place at 8 p.m. Call Shaman Drum at 662-740 if you need more information. I ___________________________________ Su- mimer May 9, 2002 - July 9, 2002 J k U J