100%

Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue

Share

Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

May 03, 1995 - Image 13

Resource type:
Text
Publication:
Michigan Daily Summer Weekly, 1995-05-03

Disclaimer: Computer generated plain text may have errors. Read more about this.

Wednesday, May 3, 1995 - The Michigan Daily - 13

KISS 'of Death' rocks n' rolls all nite
3y Scott Plagenhoef "Kiss of Death," based on the 1947 Caruso has already cemented on tele-
)aily Arts Editor film of the same name, is the story of a pa- vision the reputation of being a likable
Combining an eclectic group of roled and would-be reformed criminal performer, even when he is not always
ver-so quirky lesser characters and a (David Caruso) being pulled between the doing likable things. Caruso does lay a
ecycled inverted view of decency and underworld and the law, each of which groundwork for a future film career by
norality, Barbet Schroeder's "Kiss of seek only to use him for their own ends. lassoing some of the passion of his tele-
)eath" is immediately grabbing, yet - The film is, of course, of primary iterest, vision character and remainitg a calm-
rhimpers to a slow finish straining in as the ideally film star-making vehicle for ug, stable, cohesive presence throughout
ts effort to be the "next big thing." David Caruso who left the highly success- the film. He is of course doing so by re-
ful and high quality television drama flecting many of the same hard-nosed,

"NYPD Blue" for a film career. Histori-
cally (see Shelly Long and Farrah Fawcett)
this is not a good idea, yet Caruso is a legiti-

Kiss of Death
Directed by Barbet
Schroeder; with David
Caruso and Nicholas Cage
At Briarwood and Showcase
Certainly Quentin Tarantino didn't in-
'ent the crime movie, just as James
Jgney, Edward G. Robinson, and Arthur
'enn hadn't before him, but he did lay
own a tremendous gauntlet that aiready
llmmakers areattemptingto meet.The re-
>irthofnoir, spurred less by Tarantino, and
nore by "TheGrifters,"CarlFranklin, and
ohn Dahl, seems an appropriate cycle for
he '90s, marked both by recycled culture
elabeled as postmodernism and an in-
eased detection of the dark and covert on
ur own streets, alleyways, and (as re-
*cted by Dahl and the militias) farm-
ouses.

righteous street smarts he displayed in
"NYPD Blue," although this time he his
on the other side of the law.
Caruso's straight man to the over dra-
matics of Michael Rappaport and Nicholas
Cage are interesting pairings early in the
film. Yet as the narrative moves on, the re-
lationships change and without each other
to balance, Caruso and Cage's
collectiveness and unpredictability shift to
dullness and ridiculousness respectively.
It really is here that the film falls
apart. Once Caruso's allegiances are
made, the film unwinds with yawning
predictability. The two-sided charac-
ters have long since been eliminated
and what remains, not necessarily
separated by cop and criminal, are the
wholly good and the wholly bad. As a
.result, who is punished and who finds
redemption is no. mystery. The means
to the end are even predictable, as they
are considered the method for
ensnarement throughout the film.

David Caruso wants to be a movie
star, really, really bad.

'ontinued from page 10
tion.
As a result we only skate around the
fringe ofCarroll's talent, neverreally being
invited toshareinhisexperience. The lows
af his drug experience are evident, mainly
Ianks to DiCaprio. The introspection is
never clear in the script. We are shown that
Carroll carries with him a private manu-
script book, his diary, and that it is the one
>recious thing in his life. He can sever ties
with family, school, friends, even basket-
>all, but not his writing. Yet we are given
>nly small doses of what is inside and
smaller doses of Carroll's subconscious
:onnection to reality. It is apparent only by
:omparison to his more careless and nihil-

istic friendsincluding one portrayed by ex-
rapper and Calvin Klein model, the artist
formerly known as Marky Mark, Mark
Wahlberg.
These individuals, Carroll and his
peers, are members of the so-called un-
derbelly of society. Their situations and
their lives are dark and frank, not glossy
and heightened. This is Jim Carroll, six-
teen-year old street hustler and junkie,
not Jim Morrison, world renowned and
recognized rock star. Carroll's life did
not need to be inappropriately invaded
by Morrison's, nor Kalvert's. He is not
the California hippie spewing free love
in San Francisco in a Doors song, but the
misfit searching for his mainline in a
Velvet Underground one.
This film, unfortunately only leaves

its mark, as further testimony to the al-
ready tangible talent and boundless poten-
tial of DiCaprio, still only 20years old..

St. Johnny lets it
come down at the
Shelter
St. Johnny has very good
connections. The likes of Thurston
Moore from Sonic Youth, David Baker
of Mercury Rev and Shaky and Dave
Fridmann of Mercury Rev all drool
over this New York band, and with
good reason: on the band's three
albums "High as a Kite," "Speed is
Dreaming" and their newest "Let It
Come Down," St. Johnny twists sonic
landscapes in a way similar to both
Sonic Youth and Mercury Rev. "Let It
Come Down," however, sees the band
develop their own style. While the
band still has uber-distorted guitars
like Sonic Youth and la-la choruses
like Mercury Rev, neither band has written songs like "Scuba Diving," "Deliver
Me," or "Bluebird." Besides, wacky song titles like "Hey Teenager!" "Wild Goose
Chasing" and "Fast, Cheap and Out of Control" are just plain cool. Come down to
the Shelter to see St. Johnny next Tuesday, May 9. It's an 18 and over show,
tickets are a mere $6, and Hardvark and the extremely cool Radial Spangle open.
Call (313) 961-MELT for more information.
o D
Go To Blazes key-soaked voice of Ed Warren, the
. punchy guitarofTomHeyman and asolid
Anytime...Anywhere rhythm section courtesy of Ted
East Side Digital Pappadopoulos andKeith Donnellan. This
Stmightforwardnock'n'olljustisnotthe is a music born of basements and tiny
hippest thing around right now but that does clubs, of and late nights and beer, a bit
not stopGoToBlazesfromchuming itouton southem, a bit rural, a bit honky-tonk and
their latest, "Anytime...Anywhere."All of more than a bit Stonesy, from the
the ingredients are here: the wild and whis- SEE RECORDs, PAGE 14
STOP LOOKING!
We've searched through all the newspapers,
apartment guides and the yellow pages, and
then listed all the best apartment communities.
The places you would really want to live.
e*
Ulniversity
536 S. Forest Ave.
Ann Arbor, Mi. 48104
1-313-761-2680
* 8, 9, or 10 Month Leases
* Fully Furnished Studio, 1, 2, & 3 Bdrm. Apts.
* Rec Room / Big Screen Community TV
* Free Computer System On Line With MTS
* Swimming Pool / Exercise Room
" 24 Hour Maintenance
" 24 Hour Attended Lobby
And, UNIVERSITY TOWERS are easy to
find. They are conveniently located on
U of M campus.

If you are looking for a
funky dance scene,',don't
miss DJ Ri No,
Bubblicious, Hans,
andmore at the Majestic
Theater in Dettit this
Saturday; May 6. It starts
at 10:00 pm, and is
located at 4140 Woodward
Avenue. Be prepared to
shake it hard.

I

Ann Arbor Civic Theatre
MainStage Productions
BooL f T Ihc ns Afechan - Lyrics b\ Martin
Cinink iri Msiby ChaSt)snn D -i ectedf)'
Wtbe-itn . h'tin Ic iann I n annin t
O agindl n tin Direted b iStin Cli y-
Presented on Broadway ke Nichols
Produced by nin tweirt SinpevtR rridan.
LeĀ« i Atten "*Atin ANikrotnd ast}iilatnteInc.
for lh erformin rs
Lydia Mendelssohn Theatre
May 3-6, 1995
Wednesday through Saturday at 8
p.m.; Saturday Matinee at 2 p.m.
Call 971-AACT for tickets, informa-
tion; beginning May 1, call 763-1085
special Children/Youth Ticket Prices
lised on "Litle Orpian Annie" By P'ermnission
of The Tribune Media Seices, Inc.

I 1
1 1
1 1
1 !
I 1
1 1
I 1
1 1
1 1
1 !
1 1
I 1
1 1

Give them a call today or stop by for
your personal tour!

\4,

.

Back to Top

© 2020 Regents of the University of Michigan