2D - The Michigan Daily - New Student Edition - Fall 2005 ARTS OCTOBER 12, 2005 Politiking Hollywood This year has seen a much-commented- upon glut of political documentaries. The John Kerry biopic "Going Upriver," a denunciation of FOX News in the form of director Robert Greenwald's "Outfoxed" and the conservative Liberty Film Festival which took place in Hollywood at the beginning of October were just some of the more prominent offerings from the last few months. Of course, the granddaddy of them all was Michael Moore's polemical take on the Bush admin- istration, "Fahrenheit 9/11." Moore's block- buster has even promoted cinematic responses in the form of the conservative "Celsius 41.11: The Truth Behind the Lies of Fahrenheit 9/11," the title snappily refers to the "temperature at which the brain begins to die." For the most part these productions are fee- ble attempts to influence electoral outcomes by showcasing the typically tortured political logic of the documentarian. Their tendentious tones are a poor substitute for serious political theorizing and tend to miss the most intrigu- ing questions of politics: Who wins and why? In their 1993 classic "The War Room," D.A. Pennebaker and Chris Hegedus begin to answer these questions. D.A. Pennebaker, the legendary documentarian renowned for his films on musical legends like Bob Dylan, Jimi Hendrix and David Bowie, and his longtime collaborator Chris Hegedus teamed up to cap- ture the evolution of Arkansas Gov. Bill Clin- ton's 1992 campaign for the presidency. From the opening scene in the snows of the New Hampshire primary campaign to the victori- ous celebration in Little Rock, the filmmakers meticulously reveal the arc of the presidential campaign from a perspective that focuses on strategies. "The War Room" is an ode to real- ism - the realism of both cinema verite and politics. While Moore constructs grandiose theories and scans the world for footage and facts that appear to support his ideas, Penne- baker and Hegedus merely let the tactics and personalities speak for themselves. While Moore inserts himself into the narrative with his pompous philosophizing and wild hijinks, Pennebaker and Hegedus take the fly on the wall approach instead. This signature style allows the film to inspect the process behind political victory. Much of the campaign staff's time is spent on the inanities and inefficiencies of a cam- paign. One of the most enjoyable moments of the film shows senior aides squabbling over whether there should be hand-drawn signs or printed signs during Clinton's acceptance speech to the Democratic National Con- vention. As this argument is taking place, approximately 40 campaign staffers are forced to twiddle their thumbs. The film takes place during the ascendancy of cable news's importance in political campaigns and much of "The War Room" is spent watching the Clinton campaign's attempts toharness this new form of media to its advantage. Deputy Campaign Manager George Stephanopoulos spins television reporters with devastating skill and campaign staffers delve into oppo- sition research with merciless glee. This was the first presidential campaign to be fought in a rapid-response style with the intention of controlling the news cycle, and Clinton's staff spends much- of its time devising creative means to get its candidate the best coverage and make both President George H.W. Bush and Reform Party nominee Ross Perot look like fools. To all those who hope to generate political change through their art: Give up now. You'll miss out on the better story and probably become a cheap hack in the process. Instead, embrace the simple pleasures of political com- bat and leave the conspiracy theories behind. - Zac's secretly planning his own political documentary. Give him a hand by e-mailing him at zpeskowi@umich.edu. Courtesy of MGM/UA Cheadle and Okonedo were nomi- nated for Academy Awards for their roles In "Hotel Rwanda."' 0 FULL- SERVICE ' HOTEL' CHEADLE'S EMOTIONAL PERFORMANCE ANCHORS DRAMA 0 By Zach Borden JANUARY 31, 2005 Daily Staff Writer FI LM R EVI EW * N In 1994, the civil war in Rwanda reached a climax when extremist members of the Hutu tribe attempted to wipe out the entire Tutsi tribe. Nearly one mil- lion Tutsis were massacred while most of the world turned a blind eye. In the midst of all this tur- moil is Paul Ruseabagina (Don Cheadle), the talented man- ager of the lush, four-star Hotel Milles Collines in Kigali. Paul knows how to do his job and Hotel Rwanda MG M/UA Director and co-writer Terry George has done a superb job with "Hotel Rwanda." He has taken an ambitious subject and focused it correctly and made a highly informative film. Unfortunately, the movie falters when George tacks on moments clearly meant to manipulate audiences. Despite the film's efficacious imagery showing just how brutal the killings of the Tutsi were, there are extrane- ous moments when the tragedy of the murders is brought up for the sake of added emotional weight. Also, Paul's devotion to his wife (Sophie Okonedo, "Dirty Pretty Things") becomes overemphasized, and the focus on the Rwandan orphans seems like a ploy to make watchers feel guilty. Still, George wisely keeps the focus of this true story on Paul's evolution as a person, rather than con- centrating entirely on the genocide. The film is very much Paul's story, and works incredibly well because of Cheadle's flawless performance. Moving up from reliable supporting player, Cheadle proves that he has what it takes to be an charismatic leading performer. Cheadle reaches deep as a man who is at first inter- ested in his family's survival, but soon discovers that his skill in dealing with people can only go so far. Cheadle effortlessly conveys Paul's desperation and quick thinking, as well as his fears, frustration and growing courage. Besides Cheadle, the supporting performances are also impressive. Okonedo holds her own as Paul's Tutsi wife Tatiana, whose sadness rightfully tugs at the heart, but whose familial love brings the conflict- ed manager much inner strength. Nick Nolte plays up his gruffness, as usual, as a United Nations peace- keeper who essentially can do nothing, but does his best to help Paul save the refugees. "Hotel Rwanda" is a significant film, one that was clearly made to tell an empowering if less- familiar story to a wide audience. Despite the chilling subject matter, the movie perfectly encom- passes messages of love, survival and compassion. The story hits all the right emotional chords, and Cheadle delivers a powerhouse performance. "Hotel Rwanda" is an astounding reminder of the cruelty of apathy, the constant existence of incon- gruous hatred and proof that one man can make an altruistic difference. please his guests. Yet when the political situation becomes much more intense, Paul finds himself tak- ing in Tutsi refugees at his hotel. As Rwanda faces total anarchy, he must use his connections, special resources and bribery to keep them safe. Ultimately, Paul saved nearly 1,300 lives with his efforts. 0 'HITCH'-SLAPPED SMITH, JAMES CAN'T SAVE ROMANTIC-COMEDY By Amanda Andrade FEBRUARY 4, 2005 Daily Staff Writer After slumming hard in progres- sively idiotic summer bombast, Will Smith has finally succumbed to the most natural forum for his ebul- lient charm - the romantic comedy. The vehicle in ques- tion, "Hitch," would be a fine showcase Hitch Sony Pictures for Smith's considerable on-screen charisma if only it relied on some- thing - anything - more than its marquee star to make the movie worthwhile. The setup is straightforward enough: Alex "Hitch" Hitch- ens (Smith) is a date doctor who teaches fumbling men how to woo their dream girls. One particularly desperate client is Albert (Kevin James, TV's "King of Queens"), a CPA in love with his classy heiress client, Allegra. Eva Mendes ("2 Fast 2 Furious") plays the gossip colum- nist assigned to cover the medica- tion-monikered celebrity, and turns out to be the girl Hitch can't seem to crack. Screenwriter Kevin Bisch apparently felt the obvious theme of relationship complexity warranted two meandering plots in lieu of one solid story. Intriguingly, the myriad geeky Help wanted at the bookstore men Hitch strives to help are always after women absurdly out of their physical-attractiveness league. But, that's okay, of course, because all of these men are actually enamored by their ladies' "personalities" rather than their supermodel good looks. Although maybe that's less surpris- ing considering the New York of the film is the city in which aver- age-looking women just don't seem to exist. But what the movie misses in gender sensitivity, it at least partial- ly recoups in a reluctance to build on racial stereotypes. It's a noble effort, especially when so many scenes between James and Smith are veritable invitations for the kind of sophomoric sitcom-level cheap shots that Smith has built a pretty tidy career around. It's refresh- ing to see the gifted comedian rise above it. Echoing that decidedly nice-spir- ited side of the film are the per- formances from both male actors. Smith has a breezy, affable, old- Hollywood charm that resonates in most of his scenes. James is the real surprise, holding his own and main- taining a sympathetic performance. The actresses in the film, however, are almost complete blanks. That's not wholly surprising for a movie that counts among its many rev- elations: "Whoa, women are, like, human beings and stuff." Mendes and her prescription cohort are beautiful, sophisticated, supposedly STAR WARS Continued from page 1D than channeling the late Alec Guin- ness, McGregor's Obi-Wan Kenobi epitomizes the Jedi and provides the necessary foil for Anakin. But "Revenge of the Sith" rises above the poor writing and card- board performances to deliver hun- gry thrills and spectacle. Everyone going to see the movie knows how it's going to end, but they can still enjoy the ride. And no film in the series has been as action-packed as this one. The special effects have finally caught up to Lucas's vision, and the viewer becomes immersed in dazzling locales and futuristic tech- nologies. The fiery finale on the lava planet, an evocative visualization of hell, perfectly encapsulates "Episode III" as powerful eye candy. Constant light-saber battles and stark visuals should be more than enough to draw in even the most casu- intelligent and always impeccably dressed. It's not the fault of the actresses so much as the script, which gives the leading ladies little else to do but look winsome for their oafish or unstable suitors. Bisch's screenplay also has occasional trouble relating the parallel plots, as well as finding anywhere to take the story. Even- tually the climax has to rest on a contrived misunderstanding rather than anything organic or systemic, like say, the fact that Hitch's entire livelihood rests on women sleeping with men they wouldn't normally touch - a loveable, harmless GHB for the well-meaning man. With little success, "Hitch" tries to play on issues of insecurity, interpersonal trust and a slew of other topics that are beyond the scope of a formulaic studio come- dy. By tackling the issues in a half- hearted, manipulative sort of way, the film only ends up with a wildly inconsistent tone. One minute it's a light-hearted comedy, the next a preachy meditation on human vul- nerability. The result is a middling star vehicle, overlong and awkward. It's pretty reminiscent of a first date, actually, and those feeling particu- larly benevolent may assume that's the point. They may also assume that Smith is going to personally refund their nine dollars - it's all the hope that "Hitch" has left once the theater lights go up again. al "Star Wars" fan, yet "Revenge of the Sith" delivers beyond just those simple promises. It offers a storyline that's more complex than the simple black- and-white, good-versus-evil tale of the original. While it's not completely successful in creating a conflicted and tortured fallen hero, Anakin's descent into the Dark Side is still difficult to watch for any ardent fan. Here is a man who every viewer knows becomes the embodiment of evil, yet his transfor- mation creates the tragedy that Lucas so desperately wanted to display. And so it ends - at least until the eventual digitally re-mastered re- releases of the prequels hit the big screen. Fans who have stuck with this disappointing second trilogy will be rewarded with a film that reminds them exactly why they fell in love with "Star Wars" in the first place. If this is truly where the saga ends, then "Star Wars" will maintain its place as a series that transcended its cine- matic medium to become a part of the American consciousness. Added benefits: A 20% discount on textbooks AND up to a 35% discount on store merchandise Flexible hours to fit your schedule Career opportunities in our Bestseller Management Training Program Please call for more details or pick up an application in the store or on-line Pierpont Commons Bookstore Michigan Union Bookstore I I WITH TIS All RECEIVEF I