10 - The Michigan Daily - Wednesday, November 1, 1995
'Lake' takes a month to tell its story
By Prashant Tamaskar
Daily Arts Writer
Loveis moreromantic in picturesque
European locales. Whether this is true
or not, movie producers often set their
romantic films in these places. They
provide a most fitting atmosphere. A
perfect example of this is John Irvin's
"A Month by the Lake" which uses the
lush scenery of Italy as a backdrop for
a surprising romance.
The film begins with Miss Bentley
(Vanessa Redgrave) returning to the
resort town of Como, for the first time
without her father who has recently
passed away. While there, she meets a
man named Major Wilshaw (Edward
Fox), towards whom she develops a
mysterious fancy. However, circum-
stances do not bring them together and
the Majorplans onleaving Como within
a week.
Yet Wilshaw is persuaded to stay by
a beautiful, manipulative American,
Miss Beaumont (Uma Thurman), who
A Month by
the Lake
Directed by John Irvin; with
Vanessa Redgrave and Uma
Thurman
At the State Theater
takes care of the children of some other
guests intheresort. Believing that some-
thing may form between himself and
the much younger Beaumont, the Ma-
jor begins to pursue her.
At the same time he develops a closer
friendship with Miss Bentley. Mean-
while, Miss Bentley herself responds
by dating a young, rich, local Italian
gentleman. The rest of the film con-
cerns itself with the development and
resolution of this situation.
Clearly, the most intriguing thing
about this movie is the relationship be-
tween MajorWilshaw and Miss Bentley.
While she is radiant, energetic and free
spirited,heis stodgy,stubbornand plain.
Yet even when they don't get along
(which is often), they seem to have a
nice chemistry together. This isn't nec-
essarily apparent early in the film, but it
gradually evolves in the rest of the plot.
And although you are really not sure
what Miss Bentley sees in him, for
some reason you want them to fall for
each other in the end.
However, what stands between the
Major and Miss Bentley is the tempting
Miss Beaumont. Being young and at-
tractive she enjoys the control that she
has over men; she abuses this power by
teasing the poor Major. Miss Beaumont
often psychologically and verbally tor-
ments the proud Wilshaw, even caus-
ing this stoic individual to lose his com-
posure in one scene. It is often uncer-
tain whether Miss Beaumont really un-
derstands what she is doing.
Unfortunately, the director seems to
treat this aspect in a trivial manner, as
evidenced by Miss Bentley's reaction
to the situation. Although at one point
shevehementlyreprimands Miss Beau-
mont for her behavior, she later seems
to forget all about it. This is surprising
considering the importance of this in-
stance in the film.
Despite these noteworthy interac-
tions, as well as the lavish Italian back-
drop,the initial portion ofthe film plods
along. Early scenes are intended to de-
velop the plot further, but appear to be
leading nowhere. Although the film's
lazy pace deliberately serves to parallel
the overall atmosphere of the location
where the film is set, its effectiveness is
questionable. Fartoo much ofthe movie
is complete before the plot begins to
quicken, a technique which may sacri-
fice the curiosity of many viewers.
Vanessa Redgrave and Uma Thurman don't seem to be having much fun in the sun.
Not to be overlooked in this film, expressing the emotions ofthe reserved what seems like a month to arrive at
however, are the remarkable perfor- Major. Finally, Thurman shines as the final point. The movie begins slo
mances of the three central characters. devilish Miss Beaumont. She brings a and drags along until, when only n
Redgrave is fantastic as Miss Bentley, freshness and naivete to the role, thus its finale, it displays signs of life. Th
masterfully playing the role of some- preventing her from becoming truly the patient viewer is ultimately tes
one who is lonely although not un- evil. with a fine final helping that leaves
happy. She works remarkably well with Although "A Month by the Lake"has wondering - like many in the mo
Fox, who excels in this movie by subtly the foundations for success, it takes - about what could have been.
Little Uma Thurman wears a big hat.
RECORDS
Continued from page 9
Various Artists
Working Class Hero -A Tribute
to John Lennon
Hollywood Records
Various Artists
In From The Storm - The Music
ofJimi Hendrix
BMG Music
In a day when just about anyone can
have a tribute album, two of rock's
mostinfluential artistsendupwiththeir
own retrospectives, but each album falls
so short of paying homage, you can
almost picture John Lennon and Jimi
Hendrix rolling over in their graves.
On "Working Class Hero - A Tribute
to John Lennon," various top name cur-
rent artists attack Lennon's legendary
music, some surviving, but in some
cases,theyendupmaulinghis acclaimed
worked.
The main problem with "Working
Class Hero" is that the collection tries
to be too hip and too timely. With bands
like Candlebox, Collective Soul and
Sponge, the album seems like a cheap
attempt to cash in on Lennon's music
and today's lame music scene.
Tracks like Mad Season's "I Don't
Wanna Be A Soldier" and the Red Hot
Chili Peppers' "I Found Out" are inter-
esting with their new twists on the clas-
sic versions, but they still fail to really
achieve anything all that impressive,
while Blues Traveler's "Imagine" is
Even though its not the
Jimi, "In From The Stori
grab his music by the I
vocals on "The Wind Cr
nice, as are Taj Mahal't
version of "Rainy Day, D
The most interesting<
line-ups is on "In From
whichfeaturesthebest in
bers - Corey Glover (L
on vocals, Eric Shenkmt
tors) on guitar, and Dav
(Pearl Jam) on drums.
But while both album
good tracks, the majority
end up as filler on wh;
uneventful records.
Various Artist
Latin Lingo
Rhino Records
Despite the criticisms,I
cal attacks, hip hop, and r
continue to gain interna
and admiration. The bir
rap groups everywhere fr
South Africa to Japan att
nowhere outside of thea
has hip hop had more ofa
in Latin America. Doze
and groups of Latino/Chi
have hit big in various La
countries, and a few ha
waves in the U.S.
Take Mellow MN
"Mentirosa," where he's
buster-ass girlfriend.C
style rap came directly fr
of '80s rap. Or, consider'
Puppet." In this song, f
first tribute to like Slick Rick's legendary "Bedtime
m" still fails to Story," rapper Hi-C describes the or-
horns. Sting's deal of having a relationship with a
ries Mary" on drug addict. His anti-dope stance and,
s on his jazzy even moreso, the storybook-like nature
)ream Away." of this song are also '80s hip-hop cre-
of the all-star ations.
fthe aStm," The Lighter Shade of Brown/Shiro
the Storm'" double-rap "On a Sunday Aftemoon" is
ex-bandmem- very Kid n' Play-ish with each rapper
iving Colour) stopping mid-sentenceallowingthe other
an (Spin Doc- to complete his thought. Compare this
e Abbruzzese with the determined, empowerment vibe
of "La Raza" (Kid Frost). Hard-edged
is offer some and unforgiving on the ear, "La Raza"
of the covers sounds much like the pride-instilling raps
at are mostly of Public Enemy.
Another interesting feature of'80s rap
Brian Gnatt was its discussion of sex. It wasn't as
hardcore then as it is now with Biggie
Smallsgettin' headorthesoundscoming
from Dr. Dre's "Doctor's Office." In the
80s music of guys like Doug E. Fresh,
Too Short and (especially) Luther
Campbell, sex was more comical, the
lies andpoliti- punchline ofa "knock knock"joke. Hi-C
ap in general, and Tony A are much like this in"Froggy
tional respect Style," explaining how Jeannie (of "I
th of popular Dream of Jeannie" fame) increased his
rom France to "maleness" and how a little green am-
est to this. Yet phibian taught him the complexities of
United States doin' tha "froggy."
tn impact than Throughout "Latin Lingo" rappers
ns of rappers more often than not use unvaried rapping
icano heritage schemes that stress the last word of every
atin American othersentencerhyming with the last word
ve even made of the sentence before it. This fossilized
rapping style, though comish-sounding
today, was used by every popular rapper
lan Ace's back in the day including Run DMC, the
talking to his L.A. Dream Team, and The Fat Boys.
Conversation- Further, a fair amount of Spanish is used
om the caldron in many songs, yet the amoynt of English
"I'm Not Your spoken allows the songs' meanings to
flowing much remaincleareven tothosewhocan'tpass
ionn Lennon, working cuss nero.
surprisingly weak.
Screaming Trees' version of "Steel
and Glass" is one of the few successful
tracks that actually pays "tribute" to
Lennon. Toad the Wet Sprocket's "In-
stant Karma!" is one of the album's
best, along with The Minus 5 (featuring
Mary Lou Lord, Peter Buck of R.E.M.
and Lee Ranaldo of Sonic Youth) cover
"Power to the People"
"In From The Storm - The Music of
Jimi Hendrix" has a different problem
from Lennon's tribute. "In From The
Storm" takes numerous top name clas-
sicandnew rockerslikeCarlos Santana,
Sting; Brian May and Corey Glover,
but turns Hendrix's hard rock master-
pieces into cheesy orchestrated pieces
of elevator music.
With heavy and dramatic orchestra-
tion, the album loses almost all its rock
appeal, and turns into a mushy over
dramatic insult to Hendrix. The scream-
ing guitars are drowned out by violins
and horns, and even though musically
the pieces may be exciting, they don't
have anything close to the edge Hendrix
intended.
Spanish 101.
While "Latin Lingo" offers nothi
new inthewayofcutting-edgehipho
still reminds us that the sphere of inf
ence that hip hip generates flows far I
yond the African-American diaspo
"Latin Lingo" incorporates everythi
from the serious to the flippant, a diri
reflectionofrapsmalleability.Whileth
deeply entrenced in '90s-style hip ,
may not enjoy this CD much, those al
to appreciate the importance of the 8
musical generation as an experimen
ground for the music we have today
withoutdoubtfallinlovdwithwhat"La
Lingo" has to offer.
-Eugene Bow
Mike Scott
Bring 'Em All In
EMI/Chrysalis
For 12 years, the Waterboys kept
moving. Theirsoundshuffledeffortles:
fromCelticfolktorockandroll tosoul
hom-laden anthems-often on the sa
album. The band's home base shifl
almostasquickly,fromLondontoDjub
to Galwayto New York City. MikeSc<
the bands singer andprincipal songvrit
reckonssometwodozenmusiciansplay
with the group.
But the revolving door stopped turni
after 1993's fine "Dream Harder," a
Scott found himself with a bunch oft
originals and no band to play them wi
The Waterboys disbanded, and Sott t
tured to his native Scotland and sart
to play solo.
If the Waterboys were the sound
fluid movement, "Bring 'Em AlluIn"
the sound of their leader finally settli
down. The furious fiddle solos, the th
derous piano, the saxophones and Scot
rasping, passionate howls are gone,
placed by a softer, folkier style.
Scott's acoustic strumming and h
monica serves as the only backdrop
most of the record's 13 intimate sor
Theyrange fromspiritualfolk("What
You Want Me To Do?," "Leaming
Love Him")togood-natured 12-barbli
("City Full of Ghosts") to sweet
songs ("I Know She's in the Buildin
"She is So Beautiful") to acoustic
thems ("Long Way to the Light").
As always, Scott sings with pass
and conviction. Even such self-reflect
lines as "Dublin is a city full of busk
playing old Waterboys hits ... the gh
of my glorious dissolute years ...
ghostofatimewhen I stillhadthePow
in "City Full of Ghosts" sound convi:
ing.
Even more convincing, though,
Scott's comments on returng to
homeland, "the old country welcom
me/like a prodigal son coming home,'
he sings in the anthemic "Long Way
the Light."Headdsin"EdinburghCast
"I scanned the skyline/it was like
backdropofaplay/Ineversawyourhe
less beauty/until I'd been away ... I
got to say it's justtotally great/to be b
in Glasgow again!"
Mike Scott hasgone home-wi
out the Waterboys. He's lost the ban
soulful,freewheelingjams,buthe'sgain
a more intimate, introspective voice. ]
not the "big music," but it is a fine s
effort.
-Jennifer Buck
Please See RECORDS, page
..., ....,b ..,.... ,
'Independence' full of strength and beauty
Mad Season are sure handsome fellows, eh?
SYRACUSE UNIVERSITY
LAW
IN LONDON
CLINICAL
INTERNSHIPS
May 28 - July 19, 1995
Division of International Programs Abroad
Summer Programs Office
Dept. AP
119 Euclid Avenue
Syracuse, NY 13244-4170
1-800-251-9674
E-mail: DIPASUM@suadmin.syr.edu
By Paul Spiteri
For the Daily
They say a picture can speak a thou-
sand words. On the flyers posted for
this weekend's production of Lee
Blessing's "Independence,"the picture
of four figures holding hands while one
is torn apart speaks at least that thou-
sand. Yet, if you just viewed the flyer
and caught some of the meaning behind
this tragic play, you missed the beauty
of hearing those words.
Takingplaceinthesmall townofInde-
pendence, Iowa, the action surrounds the
lives of four women. For Evelyn, mother
to the other three, the fear of being alone
and abandoned -as she has been before
-compels her to do anything to keep her
daughters home. The revelation of just
which daughter if any will sacrifice her-
self and stay comes only at the very end.
In its most dramatic moments, the play
feedsoffthistension,whichcomesacross
quite well in this production directed by
Musical Theater Program(MTP) sopho-
more T. Adam Hess.
Allison Lane (MTP '96), playing
Evelyn, appeared believable as the ulti-
mate domineering mother. Lane sank
her teeth into the challenging role, dif-
ficult especially forsomeone most likely
more empathetic to the daughters in the
play than their suffocating mother,
Without this empathy for Evelyn's ex-
SA rena Theater
October 27
pectancy of her daughter's sacrifice,
the play would fail. For even if this
traditional value is under fire, the pa-
thos of the Evelyn's condition at the
end of this play alone states at least
some truth behind it.
The validity of this tradition rests on
how much responsibility we owe to our
parents. When Evelyn says, "That's
what family means. Each generation
destroying itself willingly," she is talk-
ing about sacrifice parents make for
their children. Of course, the loyalty
now questioned is that of children to
their parents.
As Kess, Allison Buckhammer(MTP
'96), delivered a strong performance.
Playing the independent and strong-
willed daughter, Buckhammer held up
many ofperhaps the strongest moments
of the play. Contrasting her two sisters,
Kess becomes more vulnerable through-
out the play, her apparent impregnable
amour of aloofness to the family's situ-
ation crumbling more and more.
Buckhammer brought out this loss of
control.
In roles of Jo and Sherry, Brenda
McEldowney (MTP '96) and Laura
Heisler (MTP '97), respectively, cap-
tured their own due amount of the
audience's attention. Playing the ever-
giving middle child, Jo, McEldowney
held up many of the key moments of the
play - especially the end, with her
character's sudden change of heart. As
Sherry, Heisler playedup the role ofthe
rebellious uncontrollable daughter. In
the most melancholy moments,
Heisler's loud-mouthed lines kept the
performance dramatic and avoided
maudlin melodrama.
The sets were simple during the per-
formance, keeping all the attention on
the actors (as it should be). With assis-
tance from designertHeather Friesleben,
Hess' direction most notably appeared
in the dramatic lighting ofthe play. Yet,
the chemistry between the actors them-
selves - perhaps not as noticeably a
director's handiwork - showed off
best the talent and the hard work of
those on and off the stage.
In these challenging roles, not one a
loving character easy to slip into a com-
fortable sympathy with, the fact that
four skilled female actors were able to
be found for the play speaks well of the
Basement Arts program and its Univer-
sity resources.
IMPORTANT
b REGISTRATION
1811 INFORMATION
Effective with Registration for Winter Term 1996, students
will be receiving their registration appointment times
electronically. All registered students with an address on the
X.500 'vill receive their appointment via E-Mail the week of
November 6. Registration appointment start times will also
be available on Wolverine Access. Touch-Tone Registration
will begin on November 13 for selected units; on November
16 for undergraduates.
rmmmmmmmmmmmmmmmmmmu
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