Vae Widn OaFathers and sons
To celebrate their new books, 'Beyond Translation' and 'The Shield of
Achilles and the Poetics of Ekphrasis,' A.L. Becker and Andrew Sprague
Becker, respectively, will read at Shaman Drum at 4p.m. Free. P
Page 5A
Monday,
November 20, 1995
James Bond is back
with a vengeance
A reach beyond
By Christopher Corbett
Daily-Arts Writer
Early in "Goldeneye," James Bond
plants explosives in a chemical-weap-
ons plant. Dozens of soldiers fire into
the- warehouse at him. Alarms blare.
For a moment, amid the chaos, we see
his face. It remains smooth, relaxed,
composed. He might as well be picking
up his suit from the tailor's. And we
won'der, as he makes a fantastic escape
that would put Indiana Jones to shame,
"James Bond, where the hell have you
been?!"
RVREW
Goldeneye
Directed by Martin
Campbell; with Pierce
Brosnan and Sean Bean
At Briarwood and Showcase
Yes, 007 is still very cool-and-the-
gang after a six-year absence. And, in
contrast to characters who have arrived
since, who have maniacally screamed
"Well, alrighty then!" or mindlessly
droned "I'LL BE BACK," Bond is so
full of wit and intelligence that he comes
across as sharp as a lightning bolt.
This guy thrills us when he takes on
an evil thug and does it armed with
nothing but a bath towel. Then he makes
us laugh when he wipes his brow with it
while the thug tumbles down the stairs.
This is not Joe Sausage Head,
"GoldenEye" reminds us; this is Bond,
and he will kill and shoot his Walther
PPK with class, dammit!
Rest assured, he's still accepting the
most impossible of missions. He's also
running into the baddest of women.
"Goldeneye" gives us the raven-haired
Xenia-youcan tell alot about a person
from her name-Onnatop, and she's a
fuh-reak and a half. She can crush more
than macadamia nuts with those legs of
hers.
Really, there's areason"GoldenEye"
saves Bond's most familiar lines until
he's got that girl Onnatop. Just before
he says "Bond, James Bond," he orders
a martini, shaken not stirred. She re-
plies, "I like it straight up, with a twist."
We like it too, because we imagine
Bond meeting the challenge of this vil-
lainess. Bad Bond women such as
Onnatop are like dreamsicles: They send
shivers down our spines and make our
mouths water, but dang, are they cold!
Bond eventually hooks up with
Natalya Simonova, a squeaky-clean
computer specialist whose life is in
constant jeopardy after she survives a
terrorist attack. Izabella Scorupco, as
Natalya, gets us to care for her charac-
ter, whose whole world turns upside
down. But Famke Janssen as the chilly
Xenia is, well, all that and much more.
Likewise, Pierce Brosnan becomes
as pleasant a surprise as Bond's outra-
geous, hilarious escapes. As tons better
than that stiff Dalton dweeb (who starred
in the last two 007 films), Brosnan has
fun with the character. Whether leaping
from a burning balcony with his gun
blasting away or asking his pretty psy-
chologistfora"thorough examination,"
he proves he has an ear for comedy and
a flair for high-energy action.
He also has the brains to respect the
Bond legend. As Bond reports to his boss
By Kerry Klaus
For the Daily
It has often been mused that the opti-
mist sees the donut, while the pessimist
sees the hole. Photographer Anthony
Hamilton skillfully contradicts this no-
tion with his black and white nude photo
exhibit, "Clothes and Color Can Distract
from the Model's Beauty," currently on
display in the Art Lounge of the Michi-
gan Union. While his compositions rec-
ognizethe simplicity ofthe human form,
they also reach beyond the naked figures
by exploring the negative space around
them.
A photograph entitled "Raw" is a good
example of Hamilton's use of negative
space. Bright light forms shadows over
portions of a figure's torso and legs,
creating a contrast between the body and
the large black space around it. "Maybe"
also successfully conveys this idea, fea-
turing a model sitting on a window sill.
The model's face is directed at the cam-
era, and light bursts through her torso
and above her knees. Hamilton captures
a dark frame around the window, giving
the illusion of a picture within a picture.
Hamilton takes this idea even further
in two other photographs, in which he
highlights negative space around fig-
ures, and within them. "Evil" features a
close shot of a face and upper torso. A
long shadow runs down the side of the
face, as well as across both sides of the
nose, creating amakeup-like effect. Con-
trasting light also creates a dark valley
running down the cleavage of the model.
"Dark WhiteChocolate" shows the over-
shadowing of a figure's entire face, as
well as around the body.
Hamilton also uses other techniques
to reach beyond the naked obvious. Sev-
eral of the photos employ net or lace to
create texture and shadows. "Love in the
90's" shows two figures lying in open,
-EVIEW
Anthony Hamilton
Photo Exhibit
Art Lounge at the Michigan
Union
November 12-23
vulnerable positions, bound by a large net.
The net creates an intricate pattern of
shadows over the models, who are posi-
tioned facingforward with theirarms above
their heads. The photographer effectively
conveys a struggle between freedom and
limitation.
In "Chaos" and "Morning," Hamilton
uses the effects of a lace curtain coupled
with soft light to create shadows. Upon
first examination, the body parts are un-
recognizable, lending a sense of mystery.
The delicate lace and warm light give the
photos a feeling of early morning or dusk.
Again, the artist highlights negative areas,
even when using less extreme light con-
trasts.
Some of the photos create aggressive
directions, using woodsy nature settings.
"Alone" displays a crouched figure at the
bottom of a cluster of split tree trunks. The
trees, shaped like a teepee, lead one's eyes
from the apex to the model at the bottom.
"La Limbs" shows a standing figure with
arms outstretched, running parallel with a
log that reaches over a stream. The eye
initially wants to run vertically down the
standing figure, but the log and arms tease
them to scan horizontally.
Hamilton displays much beauty and
potential in his works, particularly in the
photographs which explore the use ofnega-
tive space. The artist's use of various
techniques creates images that are both
delicate and bold, reaching beyond the
obvious grace of the human form.
"Forget 'Mrs. Doubtflre,' and 'Remington Steele,' I am Bond and I am a slut."
M, gets fatherly advice from mad-inven-
tor Q ("Grow up, 007") and lobs heaps of
sexual innuendo Miss Moneypenny's
way, we never think of him as "That
Remingtion Steele Guy;" Brosnan is
James Bond in "Goldeneye."
Perhaps Brosnan, Janssen and direc-
tor Martin Campbell ("No Escape")
grew up enjoying James Bond as much
as the other two billion people who,
since the early '60s, have seen the films
which have offered such images as that
naked, golden girl on a bed. They work
hard to please us despite having a thin
storyline which takes too long to un-
fold. And they succeed.
As the villains push agent 007 into
increasingly complex traps, we wonder
time and again, "How can he get out of
this one?" But then, like in the best
James Bond films, suspense (along with
the great characters) makes "Golden-
eye" fun. Or as Bond tells Natalya,
"Just trust me."
Enjoyable Concord Trio is well-rounded
By Nikhilesh Chawla
For the Daily
Mtr I
Even the slushy snow could not keep Q
the Concord Trio from having a sold-
out concert, featuring a diverse pro-
gram comprised of pieces by Faure,
Ives, and Mendelssohn. Formed in 1993,
the Concord Trio featured violinist duocombinedfors
Andrew Jennings, cellist Norman phrases in the se
Fischer, and pianist Jeanne Kierman. times in unison,t
The concert was the second in the Uni- final Allegro viv
versity of Michigan Museum of Art's played with a res
1995-96 Chamber Concert Series. that was in line wit
The performance opened with the the composition.
Trio in D minor, Op. 120 by the French What followedm
Romantic composer Gabriel Faure. Trio for Violin,
Faure didn't write any symphonies or Jennings introduc
concertos, but is more well known for book of Ives," wh
his song and chamber music composi- on a complex an
tions, which always embody a French, through the easte
lyrical romantic flavor. This mood was quotations from f
brought out by the trio quite nicely in sic. Familiar tun
the first movement, Allegro ma non dominant in the
troppo, with the violin and piano play- TSIAJ, or This
ing major roles and the piano forming a (scherzo, in Italia
background setting. The violin and cello the piece proved1
The Daily Arts section is
oncord Tr
Museum of 2
November
P io
Art
17
some delightful little
cond movement, at
before entering the
o movement. They
trained forcefulness
th the overall style of
was the Charles Ives'
Cello, and Piano.
ed the trio as a "text-
ich takes the listener
id dissonant journey
rn countryside with
olk and popular mu-
nes were quite pre-
second movement
Scherzo is a Joke
an, means joke), but
to be as much of a
workout for the listener as it was for the
performers.
The group concluded the evening with
a performance of the Trio No. 2 in C
minor, Op. 66, by Felix Mendelssohn. In
this piece, the piano's role was equal to
the other two instruments, especially in
some very lyrical and gracefully played
passages in the second movement, An-
dante espressivo. The scherzo move-
ment that followed was reminiscent of
Mendelssohn's incidental music to "A
Midsummer Night's Dream." Here
Jennings displayed his virtuosity in nifty,
short notes and off-the-string playing.
The Concord Trio displayed a well-
rounded ability in playing music of quite
different stylistic periods. This reviewer
was more impressed with the subtle com-
munication between the three players
during the performance, which is a mark
of an excellent ensemble. The Museum
of Art was a fitting venue forthis concert
because it offered a hall with a lively
sound, and served as an intimate cham-
ber music setting.
Here we see the sweet, darling little Olsen twins, Lucifer and Mary-Satan.
Two'notches above it
By Neal C. Carruth
Daily Arts Writer
"It Takes Two" is an innocuous family
film that is unexceptional in perhaps ev-
ery respect. While it is far from a disaster,
the movie can't really be recommended
for anyone much above the mental or
chronological age of 12. It's predictable
fare, with the requisite simplicity and lack
of subtlety, buttressed by a storyline that
manages to neatly tie together all the
strings. "It Takes Two" is old-fashioned,
pasteurized fun for the kids that's certain
not to ruffle the feathers of parents.
The film stars Kirstie Alley, Steve
Guttenberg and those darned Olsen twins
(Mary-Kate and Ashley, for your infor-
mation), who combined their dramatic
It Takes Two
Directed by Andy
Tennant; with Kirstie Alley
and Steve Guttenberg
At Briarwood and Showcase
talents as Michelle Tanner for eight sea-
sonson the popular sitcom "Full House."
The plot centers on Diane Barrows
(Alley),acase workerin aNew York City
orphanage who longs for the perfect man
At least the Olsen
twins are not the
lifeless, cue-ard
reading
automatons that
they were on 'Full
House'
and family which includes one of the
orphans, Amanda (Mary-Kate Olsen).
When the kids are taken to a summer
camp, Amanda becomes confused with
Alyssa, (Ashley Olsen) daughter of wid-
owed multi-millionaire Roger Callaway
(Guttenberg) whose summer home is
across the lake from the camp. He too
yearns for the brand of love that Barrow
seeks, but is engaged to shrewish socialite
Clarice Kensington (Jane Sibbett). With
echoes of "The Parent Trap," Amanda
and Alyssa use their interchangeable iden-
tities to orchestrate an elaborate scheme
to bring together Barrows and Callaway.
Atthe least, it can be saidthatthe Olsen
twins are not the lifeless, cue-card read-
ing automatons that they were on "Full
House." Provided they don't venture down
ie average
the road of Drew Barrymore or Gary
Coleman or,they may have a productive
career ahead of them. This is not to say
that they are capable actresses, but over
time they may attain the nuance neces-
sary for screen acting.
As for the other actors, Alley seems
distracted in her performance and this
film can be chalked up as another dud for
her on the heels of such turkeys as "Vil-
lage of the Damned" and "Look Who's
Talking Now." The amiable Steve
Guttenberg is rather improbable as a
wealthy tycoon and it's not a surprise
when his character tells us that he came
into money through sheer dumb luck.
Philip Bosco, a delight, has a small role
as Vincenzo, Callaway's assistant and
Alyssa's confidant. He delivers a charm-
ing and bright-eyed performance.Jane
Sibbett's Clarice Kensington isthethrow-
away character of the film, but she is
rendered with cartoonish grandiosity.
Considering the limitations of this
genre, director Andy Tennant has crafted
a film that rates a few notches above the
average family film.
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readers up-to-date on the local art scene. Do you
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Editor Emily Lambert a call at 763-0379.
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