8 - The Michigan Daily - Wednesday, November 15, 1995 Love and ambiguity in war-tom Frane Award-winning film documents universal, human struggles By Jessica Chaffin culture for which it is an integral, Daily Arts Writer omnipresence. She harbors the adcr "Les Roseaux Sauvages," or Thl1 f lIFUUib iM ,descent desire to be 10 years older, "Wild Reeds," is a beautifully mov- to elude the inevitable pains which: ing film set in France in 1962 at the resolution of accompany the transition into adult- time of the Algerian War. It tells the hood. Eventually she finds love . the story of four young people who in both a physical and emotional: inhabit the uncomfortable space be- sense - with Henri, a logical on- tween adolescence and adulthood. seFUUU.n of love emy. Each ascribe to certain extremist lust are Loss and mourning are also im- views in order to resolve themselves foportant themes in this film. The toss and the world around them of ambi- orte e of loved ones, the loss of Algeria,: guity. the loss of an idealized love. Once: Francois, Serge, Maite and Henri these characters have reconciled_ idealize and romanticize life in a into positions of extremity. Politics their feelings to their respective- desperate effort to simplify it. How- and love are the main tenants of this losses, they are able to mourn them. ever, throughout the progression of struggle between vitality and de- From there, they may continue the: featism. most difficult task of all - living: vEW The often-troubling resolution of The "Wild Reeds" of the title re- sexuality and the separation of love fer to a fable within the narrative. It Wild Reeds (Les from lust are major themes in this tells of the misleading fragilitylof film. Francois searches for his the Oak in the face of strong wind; Roseaux Sauvages) sexual identity in a society where as compared to the flexibility and Directed by Andre Techine same sex encounters seem preva- perseverance of the Reed. At the lent; they are often meaningless in- film's end these characters have At the Michigan Theater dicators of sexual preference. Ini- learned not to be uprooted like the tially, he struggles with his polar- Oak, but to sway and bend and sir- the film, experience teaches them ized emotions of shame and ideal- vive. to gently reexamine, even renounce, ized love, only to achieve balance "Les Roseaux Sauvages" was the their idealism in favor of a more and peace through his acceptance recipient of four 1995 French Cesar complex and realistic vision of the of his homosexuality. Awards, the equivalent of te world. Each character wrestles with In contrast to the lustful feelings American Academy Awards, includ- the fundamental human dilemma of of Francois is the alternate passion ing Best Picture, Best Screenplay, the purpose of existence, only to and repression of Maite. She is an as well as Best Director for Andre realize that to a certain extent one uncompromising supporter of the Techine. Each was richly deserved must embrace life's ambiguities, French Communist Party who re- for this poignant and subtle cih- rather than sequestering one's self jects the need for physical love in a ematic achievement. Accialmed period-instrument performers make a rare appearance 7hls evening at Rackham Auditorium, the University Musical Society hosts Tafelmusik, one of the world's most acclaimed group of period-Instrument performers. Specializing in Baroque music, the chamber ensemble became the first North nterican period-instrument orchestra to tour Europe. Tafelmusik was founded in Toronto in 1979, and Jeanne Lamon has Ifrected the group since 1981. She teaches at the University of Toronto and the Toronto Conservatory of Music, and has mgdicated herself to the performance of Baroque and Classical music on period instruments since 1972. Lamon contributes a -reputation as both a strong leader and an accomplished violinist. !afelmuslk will present a concert featuring several compositions by Henry Purcell. The concert begins at 8 p.m. Tickets are 526, $24, $18, and $14. For more information call UMS at (313) 764-2538. - Matthew Steinhauser Emmylou Harris Wrecking Ball Elektra/Asylum Records In a recent interview Emmylou Har- ris called this, her 25th album, "my weird record." Weird, because "Wreck- ing Ball" pairs the country siren - once a staunch Nashville traditionalist - with producer Daniel Lanois, best known for his work on U2's "The Joshua Tree" and Bob Dylan's "Oh Mercy." Weird, because Harris places her ver- sions of songs by Bob Dylan and Jimi Hendrix within 10 minutes ofeach other. Weird, because in choosing songs from different musical genres, Harris has produced an album as authentically country as any she's ever made. "Wrecking Ball" takes its title from Neil Young's bittersweet barroom song from the "Freedom" sessions. Young adds his unmistakable harmony to Har- ris' recording, and it's a perfect vocal marriage. Through Lanois' production, Young's high-pitched, wavering voice haunts the song's chorus, shimmering and ghostly as Harris sings "Meet me at the Wrecking Ball/I'll wear something pretty and white/and we'll go dancing tonight." It's ethereal and achingly lovely -- Harris sounds angelic, and the Wrecking Ball sounds like heaven. The album's centerpiece, though, is "Deeper Well," a song Harris co-wrote with Lanois and Dave Olney. Lanois surrounds Harris' wonderfully direct, twanging vocals with rumbling electric and harmonic bass, Larry Mullen Jr.'s echoing drums, engineer Malcom Burns' ringing keyboards and his own corrosive blasts of guitar noise. Lanois builds "Deeper Well" into a masterful, truly gothic track without drowning Har- ris' voice or cosmic American vision. Harris also presents a gorgeous ver- sion of Dylan's "Every Grain of Sand" (Harris sang with Dylan on his record "Desire") and a heartbreakingly lovely interpretation of Lucinda Williams' STUDENTS: VOTE TODAY FOR "Sweet Old World." Gillian Welch's "Orphan Girl" reveals Harris' voice at its most plaintive and pure. Despite Lanois' high-tech produc- tion values, Harris'voiceemerges stro- ger and more distinctive than ever oi "Wrecking Ball"'s 12 tracks. Its marvelous instrument - pure, warm, earthy, rich and sweet, with an angelic throatiness. Harris is a fine songwriter, but herreal genius lies in interpretation, in her ability to take the songs of others and make them her own. She succeeds on most of this album's 10 covers. Only her version of Hendrix's "May This Be Love" fails to measure up to the origi- nal; Lanois simply overdoes it, and the result is a breathy harmony engulfed by squalling guitars and ringing keyboards. "Wrecking Ball," though, is an incred- ible and important album, reaffirming Harris' relevance to both mainstream and country audiences. It's essential country and essential rock - a masterpiece. - Jennifer Buckley Zofia Kilanowicz with the K. Szymanowski State Philharmonic Orchestra, Cracow . Henryk Gorecki's SymphQny No. 3 EMI Classics With his Symphony No.3, Henryk G6recki unites the pleas of toliu- sands of oppressed peoples, direcj- ing them towards heaven Te Cracow Philharmonic Orchesa , under the direction of Jacik Kasprzyk and featuring sopraio Zofia Kilanowicz, echoes t ege pleas beautifully on their rejeas of G6recki's 'Symphony of Sorrow1 Songs,' recorded live at the 9,3 Wratislavia Cantans Festival ifPf- land. The Cracow Philharmonic wi'ois a controlled, yet powerful touch in the three somber Lento movements. They patiently control the tempo and the tone, especially in the 30 minute first Lento, sostenuto tranquillo ma cantabile movement. They achieve an eerie, growling effect in the opening phrases with the double basses. Each additional entrance adds a distinct, new cry, as the piece blossoms into a rich, mel- ancholic chorus of sorrowful voices. Near the middle of the movement, Kilanowicz enters for the first time with a slow, scalic plea that soars effortlessly with the violins above the ominous tones of the rest of the orchestra. Kilanowicz powerfully sings the words that G6recki adapted from the 15th century Holy Cross Lament, in which the Virgin Mary begs her dying son to share his pain with her. As the soprano approaches the climax of her appeal, the or- chestra deftly withdraws, leaving only the double basses to repeat their opening lines. In both of the shorter second and third movements, the orchestra nicely supports Kilanowicz's poi- DON'T BE A TURKEY! The Classified Department of he Michigan Daily wants our advertisers to note the following iGII A, - nr Tm-cvivin;-.