The Michigan Daily — michigandaily.com Arts Wednesday, March 30, 2016 — 5A Unconventional rom- com ‘Doris’ a success By ANA LUCENA Daily Arts Writer An elderly woman pursu- ing her hot, younger coworker could sound like a straightfor- ward, uncre- ative story, but “Hello, My Name Is Doris” creates an arc as much about an endearing woman explor- ing society as it is about her lust. The film is about Doris Miller, a shy packrat in her late 60s who works at a hipster fashion company in New York City, played wonderfully by Sally Field (“The Amazing Spider-Man 2”). She hasn’t had much of a chance to live freely as she has been dutifully living with her mother, a hoarder who passes away at the beginning of the film. After attending a lecture by a motivational speaker, Doris is inspired to make a change. Right from the get-go we see Doris’s internal conflict. Her world is turned upside down with the timely arrival of new handsome coworker John Fremont (Max Greenfield, “Veronica Mars”). After being sensually squished together in a cramped elevator at work, Doris becomes smitten with John. At first I was concerned she would wreak havoc on John’s life as she becomes obsessed with her love for him, like in the 2003 French film “He Loves Me … He Loves Me Not” that also has a plot sparked by a chance encounter. Thankfully, Doris’s integrity as her own person is consistent throughout, keeping her from seeming silly as she chases a man decades younger than her. The way she falls in love at first doesn’t feel so cliché after knowing her restrained past, keeping the focus on Doris growing. With her tough best friend Roz (Tyne Daly, “Judging Amy”) and Roz’s granddaughter (Isabella Acres, “Sofia the First”) by her side, Doris successfully enters a friend group of millennial coworkers who appreciate her interesting fashion sense. These millennials provide much needed insight into the younger generation as she navigates spending time with John. The plot takes dramatic turns, keeping Doris from feeling wacky. It also grounds her in the real struggles of reaching old age, making her story go beyond the surface humor to incorporate striking perspectives on aging as well. Sally Field is completely lovable as Doris, one of the best elements of the film in spite of her eccentricities and far-fetched goals. Not even her addiction to romance novels can make the way she tackles her affection for John predictable, nor the outcomes of her attempts to pursue him. Her frequently amazed face conveys a delightful optimism you would expect to have been extinguished by her age. Seeing an older woman so resolved to enjoying life and loving more reminds me of another talented actress, Ruth Gordon as Maude in “Harold and Maude.” I’m happy that Field is able to land another stellar role in her long career as she nears 70, knowing that actresses tend to struggle to find leading roles as they age. Though Field is very funny, the humor of the film fell flat at times. As Doris makes friends with young adults, there were jokes about the growing reliance on technology and the increased visibility of the LGBTQ community. While never mean-spirited, they did a poor job of showing the difficulty of Doris’s dream to get with her young coworker by illustrating how wide the age gap is between them. The most exciting thing about “Hello, My Name Is Doris” is Field’s return as a leading lady. The film revolving around Doris to incorporate its commentary on millennials and New York City, is successful overall, though not overwhelmingly so. But with the lead being as comic yet realistic as Doris, rooting for her is entertaining from start to finish. COMMUNITY CULTURE PREVIEW SMTD performs adapted ‘Invalid’ By KELLY MARTINEK Daily Arts Writer The School of Music, Theatre & Dance’s Department of Theatre & Drama will close their 2015- 2016 season in the coming weekends with a production of “The Imaginary Invalid,” direct- ed by Daniel Cantor, associ- ate professor of Theatre, Acting and Directing. “The Imagi- nary Invalid” is a farce written by 17th century French play- wright Molière, one of the “iconic playwrights of the West- ern canon,” according to Cantor. The play tells the story of Argan, a severe, albeit fiscally cheap, hypochondriac who devises a plan to receive free healthcare by marrying his daughter off to a doctor. SMTD will be performing a 1999 translation and adaptation of the piece by James Magruder for the Yale Repertory Theater. Since Magruder’s adaptation includes musical interludes that reference New Haven, Connecti- cut and other specific references to the Yale Repertory Theatre, Cantor and his team got permis- sion to change those references to pertain to their production on campus. Cantor has 30 years of profes- sional theatre experience under his belt, both acting and direct- ing. He has chosen to set this pro- duction in the period of the Belle Époque, between 1890 and 1900, instead of the 17th century, in which it was originally written. “Based on my interpretation of the themes in the play, it encour- aged me to set it in this period,” Cantor said. “This period has a particular kind of aesthetic, so the set, costumes, the music are all influenced by that period and that aesthetic.” To create the aesthetic, Can- tor has the help of an artistic team made up of both undergraduate students and faculty. According to a press release, the show’s lighting designer is School of Music, The- atre & Dance junior Abbey Koji- ma and the costume designer is School of Music, Theatre & Dance senior Lindsay Balaka. Both are BFA design & production majors in the Department of Theatre & Drama. Vincent Mountain, associ- ate Professor of Theatre & Drama Vincent Mountain is the play’s scenic designer. The sound design is by School of Music, Theatre & Dance and Business senior Billy Cedar with music direction by School of Music, Theatre & Dance senior Alex Bonoff. After the performance on Fri- day, there will be a “Curtain Call,” a post-performance discussion about the play with Cantor and members of the cast and produc- tion team, which will be free and open to all. On stage, the cast is made up of 18 actors, including an ensemble of seven who will sing, dance and play instruments during the musi- cal interludes throughout the play. “It’s a heightened style. It’s somewhat broad; it’s pretty fast,” Cantor said. “It requires a cer- tain degree of actors really hav- ing chops, like having technical, mechanical chops to be able to perform almost with a kind of athleticism, and it’s very physi- cal, too, so you need physically skilled performers. So it requires a high degree of skill, but like with any comedy, there’s the style of it, and then inside the style of it you still have to be a character who is trying to get something and who wants something and who really feels things.” The play includes elements of true satire and social commentary, but most of all, Molière is known for his comedy. “He’s one of the greatest comic writers who ever, ever lived,” Can- tor said. “So if you do his plays well, and hopefully we’ll do them well, it is just an absolutely great time … I think seeing a really high- energy, vital, hilarious, smart, fun play makes you feel good.” Evolving Cardiknox By CATHERINE BAKER Daily Arts Writer “Just another girl from a small town with big dreams / Just another wild heart who’s looking to break free / And the locks on the doors only make me want more of the crown / In the black of the night, there’s a hum you can feel in the ground.” The opening lyrics of Cardiknox’s breakthrough full-length album Portrait set the stage for the inventive and experimental tracks that follow. Breaking free of traditional pop guidelines, the New York-based electronic pop duo set a new precedence of mixing ’80s beats with modern pop elements. Raised in the suburbs of Seattle and introduced through a mutual friend, Lonnie Angle’s classical piano training and Thomas Dutton’s punk roots combined to release the synth- infused Portrait on March 11, 2016. Starting off soft and steady, “Earthquake” tests out new instruments and electronics to find Cardiknox’s voice. As Angle’s vocals soar over the background beats, multiple layers and echoes make the duo sound like a full band. “Doors” leads with a cappella and a steady drumbeat, slowing things down for a vocal showcase. With untraditional and catchy hooks, the methodical and repetitive chorus puts the listener in a trancelike state as Angle sings, “I cannot be defined by the present or the past.” Channeling The 1975, “Into the Night” mutes its intro and speaks of regrets and moving on. As Angle croons, “Baby, I remember everything you forgot to say to me / Left me feeling blue / I’m thinking that maybe I was looking for something that could save me / But it wasn’t you,” the juxtaposition between simple verses and a heavy, ’80s inspired chorus is the perfect example of the kind of music Cardiknox makes. “Bloodlust” takes on the role of an experimental rock song with dense electric guitars and constant drumsticks. It’s seductive and captivating, using quick-witted lyrics like, “I see you in my sleep / A vision in the heat / I want to see what you’ve got,” to draw the listener in. Closing with piano-based “Shadowboxing” gives Angle a chance to showcase her classical training while still adding electronic elements to supplement Dutton’s style. The swelling vocals feel like an appropriate culmination to the edgy and innovative album, bringing the listener down from the preceding fast-paced tracks and providing a chance to reflect on the experience. The sweet and clear vocals talk about fighting off demons as Angle sings, “I’m fighting someone / But no one’s there / I’m throwing punches into the air / I’m shadowboxing.” It simultaneously feels nostalgic and hopeful and leaves the album on a bittersweet note, ready for Cardiknox’s next project. “Earthquake’s” closing lyrics about sum up Cardiknox’s next move when Angle proclaims, “And when my feet land on the dirt / You’ll feel the ground shake / I’m gonna make my mark / I’m coming like an earthquake.” ROADSIDE ATTRACTIONS Stacey’s grandma has got it going on. FILM REVIEW B+ Hello, My Name is Doris Michigan Theater Roadside Attractions The Imaginary Invalid Mar. 31 & April 7 at 7:30 p.m., April 1, 2, 8 & 9 at 8 p.m. April 3 & 10 at 2 p.m. Arthur Miller Theater $28 GA, $12 w/ Student ID UK sex-fueled meta- horror comedy ‘Nina’ By MADELEINE GAUDIN Daily Arts Writer Your exes will haunt you forever — literally. In the debut film from directing duo brothers Chris and Ben Blaine, “Nina Forever,” the afterlife meets this life in the bedroom. Emotionally haunted by the untimely death of his girlfriend Nina (Fiona O’ Shaughnessy “Outcast”), Rob (Cian Berry “Help Point”) finds love again with his coworker Holly (Abigail Hardingham “Sasquatch”). Then the emotional haunting becomes literal haunting, as Nina returns every time the couple tries to have sex. For a horror/romantic drama with a whacked-out plot, “Nina Forever” is shot beautifully and cleverly. Shots of the three leads in bed show the messiness of their relationship. Holly and Rob are always, in some way, obscured by Nina. As the two bicker about what to do with the corpse in the room, the classic over-the-shoulder shot is played with, shooting the dialogue over Nina’s shoulders. The film begins dangerously close to Manic Pixie Dream Girl territory. Holly thinks Rob’s suicidal depression is totally hot. The pair first interact in the storeroom of the grocery shop over a shared pair of headphones. Rob is dark and brooding. Holly is desperate to show him how dangerous and free she can be. At first, the looming question in “Nina Forever” is “when is Zooey Deschanel going to show up?” But then things get weird and it’s great. After the initial horror of ghosts not only being real, but also watching you have sex sinks in, the three fall into a weird, semi- polyamorous relationship. Oddly enough, Nina’s bloodied corpse lying on the bed next to them doesn’t seem to be a mood-killer. But what haunts them more than Nina’s physical presence is the implications it carries. What happens when someone you love dies? What happens when you try to love again? Through attempts at answering these questions, “Nina Forever” transcends campy horror and becomes something philosophically charged. While it asks more questions than it answers, when the film does come to terms with the harsh truths of love, it soars. The pair must grapple with how to both honor Nina and move on from her. Holly gets Nina’s name tattooed on her lower back (weird) and the pair try having sex on Nina’s grave (even weirder). There is no real resolution for this problem, and that is why “Nina Forever” is so wonderful. It doesn’t have all the answers and it doesn’t pretend to. While most of the questions “Nina Forever” leaves unanswered are large and profound, some simple plot points are left untouched. There’s quick mention of a weird flirtation between Rob and Nina’s mom and a glazing over of the large age gap between Holly, who seems to be a college freshman, and Rob, who already has a PhD. Yes, these aren’t the questions “Nina Forever” wants to spend its time answering, but why further complicate an already twisted plot? The elevator pitch of “Nina Forever” could easily sound like another sex-fueled horror- comedy of the post-“Scream” era. But because it chooses to wrestle with the hard questions that underlie any film in this genre, it becomes something beautiful, heartbreaking and wholly its own. FILM REVIEW B Nina Forever Jeva Films Google Play, iTunes, Amazon Instant Video WARNER BROS. RECORDS They should faceswap. ALBUM REVIEW JEVA FILMS “Paint me like one of your French girls.”