The Michigan Daily - michigandaily.com Friday, February 5, 2010 - 5 The Michigan Daily - michigandailycom Friday, February 5, 2010 - 5 Gainsbourg sees the light "Maybe if you stopped hiding things like this from me, we could let you out of the garage more often." Gibson's dull 'Edge' Derivative story and execution taint Mel's return to the screen By NICK COSTON Daily Arts Writer Imagine you're spending the day at an amusement park. You've already been on a couple awesome rollercoasters. One had four loops in a row. Another had a 90-foot vertical drop. The third ride, however, creaks along at about five miles an hour. There DarkeSS are no twists, no turns, At Quality16 no loops, no shocks. It wasn't a memorable ride, and Showcase but hey, at least you're Water Bros. not at work or in class. The same is true of "Edge of Darkness," Mel Gibson's first starring vehicle since 2002's "Signs." In "Darkness," Mel repris- es his patented anguished dad role from "Ransom" and "The Patriot." He kills some anonymous bad guys, and narrative incon- sistencies are largely ignored. You'll be perfectly content to watch how the events unfold; -you just won't-eare why they're unfolding. Mel is Boston detective Thomas Craven. After his daughter takes a fatal shotgun blast to the guts, Craven begins the inves- tigation assuming the hit was intended for him. He soon realizes that his daughter was working for a company with shady business practices and sets out to avenge her death and bring down the evil dudes with a conviction that only a grieving father can possess. It's not entirely surprising that "Dark- ness" would color so completely within the lines, as it's helmed by Martin Campbell. Campbell struck creative gold with 2006's "Casino Royale," but has otherwise deliv- ered a career filled with standard action fare. He seems to value simplicity and clar- ity over all other artistic tenets of filmmak- ing: His camera moves in straight lines, his editing is conventional and the per- formances he gets from his actors clearly separate hero from villain without much engagement from the audience. These things do not unmake a film - they merely inhibit its reach. Case in point: the opening of "Dark- ness." The viewer sees grainy home video footage of Craven's daughter as a toddler. There's a timestamp in the corner of the screen. The daughter addresses the cam- era as "Daddy," so we know Craven is the one filming her. But there's no cut to cur- rent Mel watching it on his TV. There's no off-screen dialogue about how it's time to put the camera down. The scene sim- ply switches to Craven at the train station waiting for his now-adult daughter (Bojana Novakovic, "Drag Me to Hell"). There's no indication that this footage exists for any -other-reason than to flatly-and lazily edu- cate the audience of Craven's love for his daughter. This indolent footage is rendered fur- ther useless by the validity of Mel's pained performance. Few leading men can deliv- er the blank face of loss like Mel, and his admirable delivery conflicts with one of the central problems of the film. "Darkness" continually flips its emo- tional output like a new driver alternating between the gas and brakes. Cravenbreaks into an apartment and has a body-slam contest with the man inside, but imme- diately thereafter stands solemnly in his daughter's room, contemplating the brev- ity of her life. Compare such a sudden contrast with the strength of the scenes in which Cra- ven hallucinates that he's communicating with a younger version of his daughter - far more believable than the magical home movies. The second crippling error is Jedburgh, the character played by Ray Winstone ("Beowulf"). Jedburgh is some sort of shady federal cleaner whose every action is above the law. He converses publicly with both Craven and the ever-growing laundry list of bad guys, from CEOs to senators to CIA operatives, without any fear for his security. It's never clear who he works for, what his motivations are or what his purpose is besides the maintenance of the plot even when he, not Mel, concludes the volatile events of the film. It's an enor- mous oversight and an aggravating deus ex machina, and the character is not even close to being effective.r "Edge of Darkness" could have been worlds better. The loss of a child is a bottomless,-well-of drama upon-which filmmakers can draw and find new per- spectives. Though Mel demonstrates his own grasp of such drama, the film around him alters its course at inoppor- tune moments, leaving the viewer ulti- mately apathetic to his behavior. And speaking of Mel's behavior, if you're worried about it, don't be. The film is 100-percent kosher. By SASHA RESENDE Daily Arts Writer Charlotte Gainsbourg was born to make music. The songstress and occa- sional actress is the daughter of two of the 20th century's most gifted European artists, giving her the genes and w the connections to fruit- iOtte fully pursue her own creative endeavors. Her GHlsbouI father, the late French IRM pop singer Serge Gains- Because Music bourg, was one of the most exalted figures in the '70s Parisian rock scene. Charlotte's mother Jane Birkin is equally talented, renowned for her own musical and direc- torial pursuits and as a frequent collabo- rator with Serge. With such a formidable artistic pedi- gree, it's surprising that IRM, Gains- bourg's most recent effort, is only her third full-length album. The album and its 2006 predecessor, 5:55, follow a 20-year gap in the singer's recording history. Per- haps apprehensive of endless compari- sons to her parents, Gainsbourg spent her formative years pursuing creative works outside the realm of music, before finally returning to her singingcareer. Produced - and almost entirely written - by Beck, her latest record is an engaging collabora- tion of talent and a testament to Gains- bourg's own artistic roots. A near fatality inspired Gainsbourg to record her latest album. After a minor fall while water-skiing, she suffered a brain hemorrhage that nearly killed her. In the ensuing months, Gainsbourg became increasingly preoccupied with her recov- ery, undergoing a series of magnetic reso- nance imaging (MRI) scans to check on her brain's recuperation. This brush with death jolted the singer toward a period of artistic creation, which led her to collabo- rate with musical virtuoso Beck. Drawing inspiration from the MRI's hissing distortion, the record is an atmo- spheric wonder that touches upon various disparate genres, from rugged blues to Francophone balladsto angstyrock'n'roll. The album's title, IRM, is the French ver- sion of MRt. While Beck's influence is clearly present, Gainsbourg dominates throughout and the album is decidedly her own work. A simplistic banjo chord opens the album on first -thack "Master's Hand." Despite the song's bluesy feel, it hardly defines the rest of the record. Oscillat- ing between Gainsbourg's breathy whis- pers and distorted vocals, the song adds a spark of experimentation to an otherwise uncomplicated track. The succeeding track, "IRM," takes the album in an entirely different direc- tion. Drawing inspiration from the album's namesake MRI soundwaves, this abrasive cut alternates between jar- ring electro-scratches and Gainsbourg's steady voice before erupting into a pure atmospheric haze. The sharp juxta- position of these introductory tracks signals the album's diversity, prepar- ing the listener for an electronic-tinged trip through various musical genres. Although the varied mix of styles can feel abrupt at times, it allows the two art- ists to explore the depth of their creative potential. The remaining cuts off of IRM exem- plify Gainsbourg's and Beck's willing- ness to experiment within the confines of established musical genres. From boom- ing rocker chords ("Trick Pony") to heav- ily distorted sonics ("Greenwich Mean Time") to wistful balladry ("In The End"), the work crosses into various musical planes, relying on Beck's inspired direc- tion to guide the path. The two artists col- laborate directly on the cutesy "Heaven Can Wait," featuring a spirited duet that recalls some of Elliott Smith's more opti- mistic efforts. Art from a near- death experience. The brooding "Le Chat Du Cafe Des Artistes" is the sole song written entire- ly by Gainsbourg. Sung in her native French, the track combines her flut- tery vocals with sharp strings, evoking a caustic tension between the singer and the instrument. Lacking Beck's signa- ture electro-beats and distorted touches, the track is drastically different from IRM's remaining selections. Nonetheless, Gainsbourg's exquisite voice still radiates -without these embellishments, proving that Beck's absence isn't necessarily a detriment. On her latest album, Gainsbourg has finally cut away from her parents' legacy and now stands as a musician in her own right. While Beck's participation in IRM is evident throughout, Gainsbourg's voice gives the album life and stands as its most important element. By exploring a multi- plicity of genres, Gainsbourg has branded herself as a multifaceted musician with enormous potential. Laughing at death's door Midlake goes green on 'Courage' By ANU ARUMUGAM Daily Arts Writer Theater is at its best when it can make you die from laughter and maybe even laugh at death. Tackling the issues of death and the media's response to it, the dark comedy "After After Ashley Ashley," a play presented by student-run theater Tonight organization Basement at7 p.m. Arts, successfully accom- and 11 p.m., plishes these two tasks in tomorrow a sensitive and thought- at 7 p.m. provoking piece. Walgreen "After Ashley," writ- Drama Center ten by Gina Gionfriddo, Free follows the life of Jus- tin Hammond, a teenager whose mother Ashley has been brutally murdered. Ham- mond's story focuses on his grief follow- ing his mother's murder, juxtaposed with how the media covers the tragedy. "What it focuses on is how in our culture the media has become a tool of exploitation for tragedy. If something terrible happens to a family, it becomes everybody's issue. The whole nation knows about it, and it gives people an opportunity to adopt other people's trag- edies," said director Emilie Samuelsen, a Music, Theatre & Dance junior. "You hear about a terrible news story, and you feel bad. On the surface, you (empathize), but when it gets deeper, what you're really doing is taking some- one else's tragedy and pretending it's your own. That's kind of what the show explores," she added. "After Ashley" also revolves around a memoir Hammond's father writes to honor his deceased wife. However, the father's portrayal of Ashley causes con- flict within his son. "It also deals with how people are remembered after they have passed away. One of the main frustrations that (Justin) deals with is that everyone is remembering his mother as this saintly, cartoon version of who she was, instead of recognizing her flaws and shortcom- ings," Samuelsen said. "Is it better that we remember them as these sugar-coated, rose-colored versions of themselves or should we remember them for who they are despite their flaws?" Samuelsen's point brings to mind recent celebrity deaths. The faces of Michael Jackson and Brittany Murphy were plas- tered all over the Internet and dominated the news upon their deaths. Despite their eclectic media lives before their deaths, Jackson's and Murphy's careers were por- trayed in an extremely positive light upon their passing. We weren't told to remem- ber them for both their fortes and their failings. This notion of looking favorably upon the dead is just one of the concepts that "After Ashley" seeks to explore. So, as opening day approaches, how do the cast and crew feel about bringing the play to the stage? "Everyone is really excited. The thing about doing a theatrical production is that it is stressful because it's a lot of pressure and work, buteveryone is so invested in the proj- ect that even though you are overwhelmed, you are happy to be so," Samuelsen said. Samuelsen hopes that students will come and see the play for many reasons. "Everybody loves a dark comedy," she said. "It's the perfect balance between funny and heartbreaking because it is dealing with death. The characters are Staging the media's portrayal of death. so smart and the dialogue is so sharp that even though you are watching small, inti- mate interactions between two or three people, it's such smart conversation that it really holds your attention. It makes you think about things that you'd never con- sider before." Samuelsen's personal investment in the performance is evident from her enthusi- asm. "For me, that's one of the main reasons that I love theater, because what you're doing is you're watching these stories unfold that make you reconsider things in your own life," she said. "Shows don't nec- essarily aim to change how you live your life, but what they want to do is make you think about how you live your life." Mi Smith natur He h ten about ing d cliffs being tic in th centu song the si more "Chas in D establ deer-I 2006' panth album all th earth. the T with which By EMMA GASE tric guitars for an all-around For the Daily denser production. Rather than drawing listeners in with vivid dlake lead singer Tim visions of early settlers-rough- must be some kind of ing it in the woods, The Courage e freak. ofOthers holds off on the details as writ- both lyrically and musically, songs attempting to connect,butnever chas- Midlake quite getting there. Midlake leer off seems to be lost in the woods and The Courage this time around a rus- of Others Tracks like "Core of Nature" pioneer Bella Union and "Winter Dies" ponder phil- ie 19th osophical man-versus-earth ry. His issues in slow, dark minor key titles have ranged from settings. Smith's dusky tenor imple "Branches" to the is buried beneath the mix and descriptively named affected with a new droning iing After Deer." Based quality that lacks inflection. On enton, Texas, Midlake "Small Mountain," it isn't dif- ished its tree-hugging, ficult to picture Smith singing hunting reputation with with his mouth barely moving s The Trials of Van Occu- as the vocals murmur on monot- er, a wonderfully crafted onously. that waxes poetic on Even so, Midlake has ings woodsy and of-the- matured considerably. Cour- . After a long four years, age is evidence of a band with a exas quintet followed up firm grasp of its musical direc- The Courage of Others, tion, even if the end result may pursues the same vein as not be too warm or inviting. The ness for greatness. A few songs do stand out, however, namely the single "Acts of Man," which leads in with a medieval-sound- ing guitar and reaches the most Van Occupanther, but without the enchanting and visual qual- ity of its predecessor. If Van Occupanther is Stevie Nicks-era Fleetwood Mac, then The Courage of Others is the band's homage to Jethro Tull. Courage wouldn't sound out of place in King Henry VIII's court, or even as the soundtrack to "A Midsummer Night's Dream" - all that's missing is a lute. Instead of understated key- boards, harmonies and acoustic guitars, Midlake has altered its sound to include sampled wood- winds, flutes and heavier elec- S t satisfying crescendo on the whole album. Likewise, "The The 1lack Horn" serves as the best exam- ple of the album's tendency to be p am n intertwine crunchy guitars with heep among softer flutes. :he bearded The CourageofOthers maybe an enjoyable listen, but it lacks band flock, punch. Though it falls some- what flat after the stellar Van Occupanther, Midlake stays true to its ideals, eschewing any out- umentation is impeccable, side expectations. Unlike other the overall effect is lack- bearded, pastoral bands like rr. Throughout the record, Fleet Foxes and Blitzen Trapper, music floats on, fluttering Midlake focuses not on man's ly in the background and harmonious relationship with r quite transcending pretti- nature, but on the struggle and pursuit of meaning within its boundaries. The record doesn't try for the same commercial appeal of Midlake's previous album, but aims to convey the trouble and hardship of "earthly minds" interacting with a high- er being (as stated on "Core of Nature"). Still, the albumlacks a big, sweeping chorus that could garner Midlake any radio play, like its superb indie-hit "Ros- coe" did in 2006. Midlake is already an excel- lent live band, and maybe what the songs need is an injection of life on the stage. Until then, the would-be mountaineers of Midlake will probably still be wandering through a pine for- est, ever ruminating on their next attempt to deepen their ties with Mother Nature. instr but luste the gent neve JOIN DAILY FILM. IT'S A CLUSTERCUSS OF FUN. E-mail join.arts@umich.edu for information on applying.