1 - The Michigan Daily - Wednesday, May 24, 1995
Everything's just zen with Bush
By Matt Carlban much like Kurt Cobain's British counter- to strictly British antecedents.
Daily Arts Writer part, and though the band's music can of- Bowie sounded English; the Sex Pis-
"A lot of English bands come over here ten sound a bit too much like Alice In tots, the Clash. the Buancocks and the
carrying hype from the British press like Chains or the Stone Temple Pilots overly Jam sounded Engi h hI their Atc
SuedeandOasis,andthere'salmostasort met allic riff-driven discharge, Bush can punk conier . he P no e he
.f resentment again I being told what to beings together both British and An i Dr d B y iid In ci 'r aI
ii
fthd abm t i ise u Ivrhr it
Everydhrug's the wro ng way iroud."
The album is a dcccii pop-metal-
grunge record replete with the usual rock
themesof sex, deathandconformity ("Life
isjust sexanddeathreally," saidPulsford),
but is nothing overwhelmingly brilliant.
Bush is important for the fact that they
don't sound British at all. "It's maybe sort
of global, our music," Pulsford explained.
"I don't mind the fact that we come from
Great Britain, but Ilike the idea that we can
come from anywhere."
Though singer Gavin Rossdale cer-
tainly and unflatteringly sounds a bit too
ng nes wren ticuledhfrbrrwn
IfrirmlCruck Berry and Muddy Wate'rs
T1he probleoc iseems, is that Bu h has
folowed too closely upon the Amen i
"grunge" explosion. Rossdale sounding
like Cobainis likeChristreturningtoEarth
to usher in the Apocalypse two days after
the ascension.
Oasis may have released one of the
best albums of 1994 with "Definitely
Maybe,"but Bushhas broken a barrier that
has been insurmountable since the Beatles
and the Rolling Stones first landed on
American soil in the early '60s -namely.
to dehver a sound that doesn'treduce itself
'le oa
Bush just don't gt no respet.
4 different atmosphres in one Wniu4i#e
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1
I Kr-. Iic'.i o big nr ,c mi
li ' thisParis I t o lse.
I en has Ist thoms, Bill .urbei
and Kaieem. Abdut-Jabbar. What more
could a romantic comedy ask for?
Good question. Co-written, produced
by and starring Billy Crystal, "Forget
Paris" follows in the tradition of "When
Harry Met Sally...," another Crystal film.
This one, however, falls short, hinderedby
some not-so-humorous wisecracks. pre-
dictability and stagnancy.
Debra Winger and Crystal star as Ellen
and Mickey, two people from different
worlds who get together by a fluke. NBA
referee Mickey accompanies his father's
corpse to France for burial. When the air-
line loses the casket, one of their Paris ex-
ecutives, Ellen, helps him out. Several
amusing verbal spars and a week of
sightseeing later, Mickey and Ellen fall in
love. After another short Parisian interlude,
they marry.
But the honeymoon ends there. Nu-
merous obstacles put their relationship to
the test. First, there are job conflicts, as
Mickey and Ellen both attempt to exist out-
side of their chosen careers to please the
other. Then Ellen's ailing father-in-law,
played by William Hickey, moves in, re-
peatedly singing the Toyota slogan. To
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I toss Ileir and Mickey inst 105cvr
come ihelirumaritit troubles prosides1
res o f moie' esiaterial. Sure faTting
live, in Paris no less, is easy enough. Ev-
erything else ... well, that's another matter.
Crystal and Winger make an entertaining,
believable couple. The film's best mo-
Forget Paris
Directed by Billy Crystal
with Debra Winge
At Showcase and the State Theater
ments come thanks to Crystal's
characterisically manic delivery. Winger
gives a credible performance, holding her
own during the film's comedic scenes.
The saga of Mickey and Ellen is re-
counted during the engagement celebration
dinnerof Mickey's best friend, sportswriter
Andy (Joe Mantegna) and his fiancee,
(Cynthia Stevenson). After Andy starts
tale, adding to the narrative are two other
couples also friends of Mickey and Ellen.
T er amusing turn as the emotional, en-
raptured Liz, Stevenson generates laughs
in the absences of Crystal and Winger from
the sereen.
The predictability andecheesinessofithe
serious scenes in "Padis" weaken the film.
Screenwriter Crystal seems to be at aloss.
as the meaningful dialogue between
Mickey and Winger becomes far too sap
and sentimental. As a director, Crystal fa7ts
to create the genuine sincerity needed to
succeed in dramatic scenes. Because of his
blandness in style, these pars come off as
hokey and syrupy. Marc Shaiman's origi-
nal music doesn't help either: Shaiman
tries too hard to make it resemble a roman-
tic French film score. Cringes are appropri-
ate.
ErAiging and bilarious in parts, flat
arid most ridiculous in others, he fih
srrern hs outnumber irs sierknmesses. T
mins r'icks boh the Sir5 ofW rBhen Harry
"Wite You Weretei "Forget
Pad s."'then? Not entirely.
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