Monday March 24, 2003 michigandaily.com mae@michigandaily.com ARTS 7A King's latest 'Dream' a nightmare By Zach Mabee Daily Arts Writer IN DEVASTATION, VIOLENCE By Ryan Lewis Daily Film Editor First-time Brazilian director Fernando Meirelles' "City of God" transports viewers to a decrepit, violent place that most of us will never visit during a time of supreme insta- bility that most of us could never imagine or ever hope to witness. In every facet of the story and _______ its construction, Meirelles confronts a harsh reality with an abrupt lens. City of God Sometimes the imagery is so powerful At the Michigan it prompts disgust and turns heads, but Theater at all times, the omnipresent camera Miramax captivates and sdmehow transforms ugliness - inhumane and insufferable - into a picture as profound as it is beautiful. From the opening images of a knife sharpening and a chicken chase that leads to guns ablaze, the situation encompassing the wandering innocence of the hopeful photographer Rocket (Alexandre Rodrigues) explodes with the impending death and violence that he cannot escape. Following one of the more overused recent cine- matic trends, "City of God" explores temporal shifts and non-linear storytelling; but it manages itself to the utmost effectiveness. In the 1960s, the city was less than a barrio; it served as a home for transients and the poor, built to prevent con- tamination in the tourist attraction of Rio de Janeiro. Overwrought with scum and hoods, the city's kids take it upon themselves to live via the gun. Rocket's brother' Goose and two other boys form the Tender Trio, the gang that supersedes all others in the shanty town. This band of misfits soon breaks up and two end up dead, leaving the power in the hands of a young Li'l Ze, who becomes a star-crossed and feuding warmonger. What becomes even more wondrous than the kids' Couteyof Desires of the kids in the City of God fall by the wayside because of drugs and violence. Rocket finds an escape through his pictures; others are not so lucky. Courtesy of Mirarnax I pull the trigger until it goes click! lifestyles is the intrinsic violence and apathy amongst the people. No matter how hard any individual tries, the destruction prevents them from escaping. The 1960s bleed into the 1970s, the dust-pit of life turns into a neighborhood and the gangs become dealers with power backed by firepower. The explosive personalities inside the city, especially the gang leaders, darken the hopefuls and kill off the innocent. Even those who try their hardest to stay away from the trouble manage to get sucked into the unholy war. At first glance, "Cidade de Deus" - the Portuguese translation of "City of God"- seems more a label rife with irony and distaste. According to name, what should be a beacon of light and joy, Cidade de Deus envelopes a delineation more apt for hell than heaven. But the intrica- cies of the movie, the sad but beautiful impossibilities in the lives of these young men, implant a deeply significant, almost divine meaning into its pain and unfathomable evil. Some overly utilized and Hollywoodized editing and camera tricks are employed in a fresh and elegant manner. What would be construed as cliche and trite by American standards only furthers the plot and fits in unobtrusively. While at some points hard to watch, the shaky camera lends itself to inspiring compositions and a fitting feeling. Meirelles has a distinct power in his storytelling that intertwines each of his characters in a unique and devas- tating fashion. Watching each of these people who never have a chance, who never even know something else exists - those who do never realize it - is heartbreak- ing, but the life that thrives underneath the grime is impossible to turn away from and even harder to watch fall. After all the killing is done, the hardest factto coin: prehend, and possibly the most devastating, is that the story is true. This place really exists. Only, it's so danger- ous even still that the film had. to be shot on another city's streets. Perhaps the effect of Meirelles' tone finds the most meaning, even in light of "City of God's" amazing qualities, after the story has already finished its telling. MOVIE REVIEW Stephen King's novels are traditionally ideal for cinematic adaptations, as seemingly every book he writes successfully finds its way to theatres. However, "Dreamcatcher," his most recently filmed horror tale, proves utterly unsuitable for the screen and amounts to an incoherent alien thriller that certain- ly will not please his most devoted horror fans. Pete (Timothy Olyphant), Henry (Thomas Jane), Beaver (Jason Lee) and Jonesy (Damien Lewis) lead independent yet closely linked-lives, forever bonded by a shared child- hood experience in their hometown of Derry, Maine. They rescued a boy, known to them as Duddits (Donnie Wahlberg), from local bullies. He joined their circle of friends and bestowed upon them all a penchant for premonitions and superhuman foresight. Arriving at the cabin where they com- memorate their brotherhood with annu- al hunting trips, the men are met by a ferocious blizzard that essentially Dreamcatcher detaches them from civilization. At Quality 16 and Beaver and Jonesy come across a Showcase beleaguered hunter and Henry and Pete Wamer Bros. flip their car to avoid a stranded older lady. Both the hunter and the lady are having brutal stomach pains and are marked by red rashes on their faces. Aliens emerge from both people's bodies, killing Beaver and injuring the others rather seriously. The men discover that the area in which they camp is quarantined by a renegade military offi- cer,' Col. Abraham Kurtz (Morgan Freeman). The ensuing action pits the men, Kurtz and his team against an alien force Just like the drink, only not spelt the same. that only they, with the help of Duddits, can vanquish. "Dreamcatcher" builds very promising initial suspense, as the vignettes from the characters' lives and the trek into the mountains build an ominous foundation for the rest of the film; however, this opening, well-crafted suspense is soon left by the wayside. The alien attacks, while technically sound, are unfulfilling and deflate any existent tension and suspense within audi- ence members. Furthermore, Freeman's role as a deranged alien hunter extraordinaire comes across as more comic than threatening. Generally, all that follows the initial complica- tion is anticlimactic. Whether this failed plot resolution and lack of desired sus- pense and terror is the fault of King as storyteller or of the filmmakers is ambiguous. Regardless, "Dreamcatcher" fails to capitalize on the potential it initially boasts. 'Dragon' ballet breaks from convention By Lynn Hasselbarth Daily Arts Writer FIN£E AR R SP EW We live in world where political dif- ferences are played out on the battle- field and lessons are learned after tragedy passes. However, for centuries, artists have stepped in when dialogue has turned to vio- lence and created an alternative out- let. Fred Ho has done just this throughout his career as a musi- cian, composer, Voice of the Dragon Tomorrow at 8 p.m. $20 Students $25 Adults At the Power Center fable from the Ching Dynasty, "Voice of the Dragon" revolves around the fate of the Shaolin Temple and the ancient scripts hidden within its walls. The deceitful nun, Gar Man Jang, allies herself with the Manchu imperi- al forces in an attempt to destroy the temple. As the temple walls catch fire, the stage transforms into a spec- tacle of flames and chaos. During this time, Gar Man Jang confiscates the treasured scrolls of the temple, whose contents reveal the age-old tradition of martial arts. Though Ho's production defies all categories of performance art, "Voice of the Dragon" can best be described as a martial arts ballet. Ho's vision incorporates dramatic theater, humor- ous narrative as well as intricate cho- reography'and' awe-inspiring martial arts. Within this cross-disciplinary performance lays what Ho calls "political.art:" art that evokes a con- sciousness of the present and inspira- tions for social change. "Art that doesn't have social impact is simply frivolous, decedent and ulti- mately meaningless," says Ho. A self- identified cultural activist, Ho declares that most mainstream art is simply backdrop, entertainment and appeals to audiences on a superficial level. With "Voice of the Dragon," Ho urges audiences to question our per- ceptions of the prevalent multi-cultur- al images of mainstream art. He critiques the use of "fly-by-the-night multi-cultural fakery" and insists on deeper knowledge, sensibility and respect for differences among cul- tures. Ho strives for a. "revolutionary internationalism" where people recog- nize the innate complexity of cross- cultural images and ideas. As an Asian American, Ho refuses to give up any aspect of his identity for a clearly defined nationality. He is° a "genre-buster" in all areas df'his life and "Voice of the Dragon" is no exception. Ho describes his work as "fresh, explosive, and satiricalawhile being martial and music driven, a fantasy but political, very sophisti- cated, sensitive, soulful and tremen- dously fun." writer and activist. His latest production is a martial ait'ballethat will be per- formed Tuesday night at the Power Cen- ter. "Voice of the Dragon: Once Upon a Time In Chinese America" i a full- scale epic fantasy and martial arts ballet that evokes social consciousness and cultural awareness. Based on a 17th century Chinese Minus the Bear maul Detroit By Laura Haber Daily Arts Writer For those who like labels with their rock, Minus the Bear, originally a side project of members from three of Seat- tle's most prominent indie bands, is often ghettoized as math rock, a less than glamorous subset of indie rock. The debate over what exactly constitutes math rock and if Minus qualifies is just as exciting and productive as arguing over whether or not Weezer or Jimmy Eat World should be considered emo. Labels aside, Minus the Bear is cur- rently touring in support of their debut LP Highly Refined Pirates. Friday night at the Majestic they proved that though many eyes may be on the Detroit, Seat- tle remains a breeding ground for cre- ative and promising acts. Opening for Michigan's Small Brown Bike and Cursive, Minus the Bear faced a half-full house of jaded Detroit scenesters anxious for enter- tainment. Entertain they did with a, sampling of tracks drawn mostly from Highly Refined Pirates that showcased their penchant for pop hooks, tapped guitar leads and unrecognizable time signatures. Due to time constraints, the set was decisively, but suitably, rock in nature, leaving out many of the ambient 'math' instrumentals that characterize Highly Refined Pirates. Singer and guitarist Jake Snider's vocals, delivered in a pleasantly relaxed manner on record, came to life in a raspier, more urgent incarnation live. On "Thanks for the Killer Game of Crisco Twister" guitarist David Knudson's terse, frenetic tapped guitar leads call into the question the necessity of any- thing existing below the neck of his gui- tar. Their ode to Paris, "Absinthe Party at the Fly Honey Warehouse" provided the sing-along moment of the evening. As Snider crooned of park benches older than his country and the dilemma of choosing between Rodan and the Orsay, it was impossible not to be swept up in the moment. One could practically see the audience mentally plan trips to the city of lights as the song ended. Minus the Bear filled its role Friday with dignity, hopefully wining over new fans in the process. Their infec- tious songs and strong stage presence add up to a great live band with a promising future. 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