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(04/26/06 11:06pm)
The Afrikaan word "tsotsi" roughly translates to "thug." On the surface, the film "Tsotsi" is about the life of a young street-raised gangster named Tsotsi, in the same vein as 2001's "City of God." However, below its skin the film is more a stark look at redemption and one man's desire to break away from the harsh innate life of the slums is South Africa. \n"Tsotsi" chronicles a group of South African hoods as they reap mayhem throughout their run down shantytowns and the upper class, bourgeois sectors of the city of Johannesburg. Tsotsi (newcomer Presely Chweneyagae in a daunting and brilliant debut) is the leader of the small gang of thugs who spend their days robbing business men on the subway, getting into bar fights and have little or no concern for the social struggles around them.\nOne night, while on a routine car jacking in a particularly rich sector of Johannesburg, Tsotsi holds a woman at gunpoint and takes her car, only to discover later that he stole more than he bargained for. To keep the film's element of surprise intact, I will stop here. The film's ambience and tone does a full 180 upon the discovery of what was left in the car.\n"Tsotsi" was this year's victor for Best Foreign Language Film at the Academy Awards, the first win for the nation of South Africa. Despite critics who say the Palestinian film "Paradise Now" was snubbed because of political reasons, the film is completely worthy of the praise and is one of the best foreign films I've seen in a long time.\nIt's rare these days to see a film come along that truly shows a bad character desiring to change his ways because of something as simple as an unexpected addition to a chaotic life. Tsotsi is a cold-blooded killer. He was born in the slums and will most likely die in the slums. What "Tsotsi" does, however, is present us with a character who, despite his cold demeanor and harsh upbringing, has a desire to do right with his life.\nThe film is gorgeously shot, accentuating the bleak landscape of the South African slums and utilizes a beautiful array of vibrant colors. The soundtrack is a beautiful mix of modern Afro-Pop, R&B and rap by South African artist Zola and the acting is brilliant, particularly with Chweneyagae, who manages to carry full scenes just through the emotion of his face and eyes.\nIn his acceptance speech at this year's Oscars, director/screenwriter Gavin Hood pleaded with the audience to accept foreign language films because they deal with the same important human themes as American films. \nWhile "Tsotsi" takes on themes that have indeed been done before, the film is an emotional triumph that bests many mainstream films being released today.
(04/26/06 9:58pm)
In the world of jazz there are the major players -- cats like Miles, Coltrane, Monk, Mingus, Bird, Gillespie -- then there are the musicians who, although were equally as talented and important to the music, did not gain the same colossal level of popularity as the bigger names. Trumpet legend and Indianapolis native Freddie Hubbard is one of these artists.\nWhile Hubbard had a strong early career as a backup player for bebop artists like Art Blakey and Sonny Rollins some of his most brilliant and often overlooked recordings came during the 1970s funk/fusion exploration era with collaborations with pianist Herbie Hancock, guitarist George Benson and bassist Ron Carter. \nHubbard's Red Clay was released a year after Miles Davis's monumental crossover into fusion territory Bitches Brew and four years before Hancock's hugely popular funk odyssey Headhunters. The album, while more straight jazz than the avant-garde sounds of Brew, might be one of the first escapades into the fusion of soul, funk and R&B, with conventional jazz sounds.\nHubbard blends his fiery trumpet licks with the cool mellow grooves of Hancock's legendary Fender Rhodes (an instrument that has since been forgotten) and Joe Henderson's dark yet slick tenor saxophone accompaniments. The players are at the top of the game and the songs have the kind of crisp delivery that resonates long after the opening chords are played.\nThe smooth grooving title track is one part Hancock's "Chameleon," one part Brew with a little Issac Hayes' Shaft! soul flavor thrown in to the equation. The 12 minute cut features a driving melodic funk beat, crisp drum chops by Lenny White and scorching trumpet solos by Hubbard.\nRed Clay is not Hubbard's most recognizable album and might not be his finest in terms of musical chops, however, for jazz enthusiasts or those just jumping into the genre, the album acts as a wonderfully accessible collection of '70s funk/jazz music that truly embodies the jazzism, "the birth of cool"
(04/20/06 4:00am)
A couple weekends ago while donning Showplace West 12 with my presence during a screening of the retched "The Hills Have Eyes," I saw a teaser trailer for yet another upcoming horror remake of the classic film, "The Omen." The trailer featured a lingering shot of a creepy-looking demon child, perched on a slow-moving swing set. The music was eerie, the Amish-looking child was motionless and the audience in the theater was silent. As I watched the fairly intriguing trailer, I began to think to myself, "Well, Warner, this is pretty much the only good that will come out of this film."\nThere seems to be a growing trend in Hollywood these days to treat film trailers like separate movie entities that serve as more than just short previews of what is in the works. Sometimes these trailer masterpieces even best the films they are promoting.\nIf you think about it, film trailers have become somewhat of an art form lately in the same vein of music videos. They are often extravagant, relying on flashy special effects and a glut of mindless eye candy. They will feature catchy songs or dramatic film scores and in many ways can become monumental cult phenomenon that flow across the Internet for months at time (i.e. "Star Wars: Episode One" trailer). Also, since the advent of the Internet and a plethora of wonderful nerd dream Web sites like Ain't It Cool News (www.aintitcoolnews.com), Youtube (www.youtube.com) or eBaums world (www.ebaumsworld.com), trailers are now more than ever a popular visual medium.\nThere are two kinds of trailers out there. There are the ones that create a level of intrigue and mystery of the film, creating a killer cliffhanger for fans to marinade in for the remaining time until the film's release. These trailers tend to flow with high-profile filmmakers or highly anticipated monumental films (a good example of this can be seen with the recently released teaser trailer of "The Simpsons" movie that has a 2007 release date).\nThe second type support films that -- chances are -- will blow. These trailers are fast-moving, loud and will usually give away all major plot points and flashy action scenes in a quick three-minute vignette, prematurely blowing the film's load all together. You will find these trailers for bad comedy money-makers (the fictional but highly probable "Big Momma's House 3: Momma's Gonna Knock You Out"), big-budget popcorn action movies (oh, I don't know, "True Lies 2: Truth Been Told") and are especially popular in the current string of bad horror films being released (how 'bout "Friday the 13th 13: Massacre in Morocco"). \nThen there are the trailers that are so well-made and so enticing to the viewer that they in turn create a level of gleeful anticipation that is so high that the film ends up becoming a major let down. \nCase in point: 2005's highly anticipated "Sin City," by flashy cult action film director Robert Rodriguez. Here was a trailer that let the drool flow from all film geeks' mouths across the country upon its release. The trailer featured the Rodriquez's highly glossy cool-looking digital cinematography, a baadassssss cast of Hollywood pretty players and cult film actors and a dark and driving song by an unknown British band called The Servant. To put it in simpler words: the trailer kicked ass. \nThe "Sin City" teaser contained everything that one would want from a stylized comic book adaptation by one of the Hollywood's slickest filmmakers and the level of anticipation it created was unlike anything I had seen in the past. Unfortunately, upon release, the film, while being extremely popular and critically acclaimed, somehow failed to live up to its extreme expectations. \nDid this wickedly cool film trailer actually hinder the film? Should people be worried that sometimes trailers can actually play out better than the actual film? Personally, I love walking into a film with no expectations or prior knowledge of what I'm about to see. At the same time, I frequently find myself venturing through Apple's Quicktime movie trailer Web site. Dilemma.\nIt is no secret that film trailers are made in order to entice filmgoers to return to their megaplexes for more. They take up coveted Super Bowl commercial spots, crowd DVDs and define the saying, "Don't worry, we're not gonna miss the film. There are still previews." And trailers should still set out to wow audiences and make them want to plop down eight more dollars to get their full fix. However, shouldn't there be a line drawn on how a trailer presents a film? After all it's extremely easy to compile a flashy two-minute trailer that pumps your adrenaline, however, creating a two-hour plus film to continue the hype is a bit more difficult.
(04/20/06 2:27am)
A couple weekends ago while donning Showplace West 12 with my presence during a screening of the retched "The Hills Have Eyes," I saw a teaser trailer for yet another upcoming horror remake of the classic film, "The Omen." The trailer featured a lingering shot of a creepy-looking demon child, perched on a slow-moving swing set. The music was eerie, the Amish-looking child was motionless and the audience in the theater was silent. As I watched the fairly intriguing trailer, I began to think to myself, "Well, Warner, this is pretty much the only good that will come out of this film."\nThere seems to be a growing trend in Hollywood these days to treat film trailers like separate movie entities that serve as more than just short previews of what is in the works. Sometimes these trailer masterpieces even best the films they are promoting.\nIf you think about it, film trailers have become somewhat of an art form lately in the same vein of music videos. They are often extravagant, relying on flashy special effects and a glut of mindless eye candy. They will feature catchy songs or dramatic film scores and in many ways can become monumental cult phenomenon that flow across the Internet for months at time (i.e. "Star Wars: Episode One" trailer). Also, since the advent of the Internet and a plethora of wonderful nerd dream Web sites like Ain't It Cool News (www.aintitcoolnews.com), Youtube (www.youtube.com) or eBaums world (www.ebaumsworld.com), trailers are now more than ever a popular visual medium.\nThere are two kinds of trailers out there. There are the ones that create a level of intrigue and mystery of the film, creating a killer cliffhanger for fans to marinade in for the remaining time until the film's release. These trailers tend to flow with high-profile filmmakers or highly anticipated monumental films (a good example of this can be seen with the recently released teaser trailer of "The Simpsons" movie that has a 2007 release date).\nThe second type support films that -- chances are -- will blow. These trailers are fast-moving, loud and will usually give away all major plot points and flashy action scenes in a quick three-minute vignette, prematurely blowing the film's load all together. You will find these trailers for bad comedy money-makers (the fictional but highly probable "Big Momma's House 3: Momma's Gonna Knock You Out"), big-budget popcorn action movies (oh, I don't know, "True Lies 2: Truth Been Told") and are especially popular in the current string of bad horror films being released (how 'bout "Friday the 13th 13: Massacre in Morocco"). \nThen there are the trailers that are so well-made and so enticing to the viewer that they in turn create a level of gleeful anticipation that is so high that the film ends up becoming a major let down. \nCase in point: 2005's highly anticipated "Sin City," by flashy cult action film director Robert Rodriguez. Here was a trailer that let the drool flow from all film geeks' mouths across the country upon its release. The trailer featured the Rodriquez's highly glossy cool-looking digital cinematography, a baadassssss cast of Hollywood pretty players and cult film actors and a dark and driving song by an unknown British band called The Servant. To put it in simpler words: the trailer kicked ass. \nThe "Sin City" teaser contained everything that one would want from a stylized comic book adaptation by one of the Hollywood's slickest filmmakers and the level of anticipation it created was unlike anything I had seen in the past. Unfortunately, upon release, the film, while being extremely popular and critically acclaimed, somehow failed to live up to its extreme expectations. \nDid this wickedly cool film trailer actually hinder the film? Should people be worried that sometimes trailers can actually play out better than the actual film? Personally, I love walking into a film with no expectations or prior knowledge of what I'm about to see. At the same time, I frequently find myself venturing through Apple's Quicktime movie trailer Web site. Dilemma.\nIt is no secret that film trailers are made in order to entice filmgoers to return to their megaplexes for more. They take up coveted Super Bowl commercial spots, crowd DVDs and define the saying, "Don't worry, we're not gonna miss the film. There are still previews." And trailers should still set out to wow audiences and make them want to plop down eight more dollars to get their full fix. However, shouldn't there be a line drawn on how a trailer presents a film? After all it's extremely easy to compile a flashy two-minute trailer that pumps your adrenaline, however, creating a two-hour plus film to continue the hype is a bit more difficult.
(04/13/06 4:00am)
The beauty of HBO's beautiful, often surreal family drama, "Six Feet Under," has always come from its actors and writers. Its brutally realistic ensemble cast and team of talented scribes truly gave the show its prolific backbone that set it apart from the more conventional television dramas outside HBO's realm. The show dealt with themes of death, both the sadness and humor behind it, but also served as a realistic and fascinating look into a family of not so uncommon Californians. \nIn the first season we were introduced to the Fisher family and the complex, sometimes funny politics of the funeral home industry. Season two explored the inner workings of the show's then minor characters; season three and four showed the characters at their most vulnerable, dealing with tragedy and personal vendettas. At first the fifth and final season appeared to be a culmination of all previous affairs, but ultimately became a unique and fresh look into the enchanting lives of the Fishers, full of shocking, yet smart twists and turns.\nNate (Peter Krause) and Brenda (Rachel Griffiths) finally tie the knot, only to discover that marriage isn't as easy as they had anticipated. Ruth (Frances Conroy) deals with the realities of her new husband George's (James Cromwell) mental condition. Keith (Matthew St. Patrick) and David (Michael C. Hall) pursue adoption, while also striving to revitalize their relationship. Claire (Lauren Ambrose) struggles with finding her calling in life and Federico (Freddy Rodriguez) attempts to patch things up with his separated wife. While these are the core plot points of the final season, the fascinating side stories and supporting cast members are what really add the flavor to the show's final hours. \nFrom the Quaker siren Maggie Sibley (Tina Holmes) to Ruth's boisterous and spirited sister Sarah played beautifully by Patricia Clarkson, season five continued the show's long tradition of being a medium for truly talented, often overlooked screen and stage actors working with prime material.\nThe five-disc-box set features all 12 episodes, including the 75 minute finale, some interesting commentary tracks on six episodes from writers, actors and creator Alan Ball; and a beautifully shot, two-part featurette chronicling the show's life since its creation. The featurette showcases cast/crew reflections of the show, their characters, favorite episode deaths and a number of other interesting tid bits that fans will no doubt be pleased with.\nThere are times when season five is difficult to watch. The characters that devout fans like myself have grown to love struggle with their lives and the hardships presented, however, it is this level of melancholy that makes the show so rewarding. Good drama will always tug at our emotions.\nIn a time where series finales often go terribly wrong (i.e. "Seinfeld," in my opinion "Friends" as well), "Six Feet Under's" final episode plays out more like the pinnacle of a symphony masterpiece than a long running television show. Like previous seasons, the final 12 windows into the Fisher's life will make you laugh and cry; you will feel anger and remorse, but ultimately it is the level of hope and understanding of the show's "Everything. Everyone. Everywhere. Ends" life mantra that makes us realize that Alan Ball truly created a captivating American masterpiece. Bravo.
(04/13/06 12:01am)
The beauty of HBO's beautiful, often surreal family drama, "Six Feet Under," has always come from its actors and writers. Its brutally realistic ensemble cast and team of talented scribes truly gave the show its prolific backbone that set it apart from the more conventional television dramas outside HBO's realm. The show dealt with themes of death, both the sadness and humor behind it, but also served as a realistic and fascinating look into a family of not so uncommon Californians. \nIn the first season we were introduced to the Fisher family and the complex, sometimes funny politics of the funeral home industry. Season two explored the inner workings of the show's then minor characters; season three and four showed the characters at their most vulnerable, dealing with tragedy and personal vendettas. At first the fifth and final season appeared to be a culmination of all previous affairs, but ultimately became a unique and fresh look into the enchanting lives of the Fishers, full of shocking, yet smart twists and turns.\nNate (Peter Krause) and Brenda (Rachel Griffiths) finally tie the knot, only to discover that marriage isn't as easy as they had anticipated. Ruth (Frances Conroy) deals with the realities of her new husband George's (James Cromwell) mental condition. Keith (Matthew St. Patrick) and David (Michael C. Hall) pursue adoption, while also striving to revitalize their relationship. Claire (Lauren Ambrose) struggles with finding her calling in life and Federico (Freddy Rodriguez) attempts to patch things up with his separated wife. While these are the core plot points of the final season, the fascinating side stories and supporting cast members are what really add the flavor to the show's final hours. \nFrom the Quaker siren Maggie Sibley (Tina Holmes) to Ruth's boisterous and spirited sister Sarah played beautifully by Patricia Clarkson, season five continued the show's long tradition of being a medium for truly talented, often overlooked screen and stage actors working with prime material.\nThe five-disc-box set features all 12 episodes, including the 75 minute finale, some interesting commentary tracks on six episodes from writers, actors and creator Alan Ball; and a beautifully shot, two-part featurette chronicling the show's life since its creation. The featurette showcases cast/crew reflections of the show, their characters, favorite episode deaths and a number of other interesting tid bits that fans will no doubt be pleased with.\nThere are times when season five is difficult to watch. The characters that devout fans like myself have grown to love struggle with their lives and the hardships presented, however, it is this level of melancholy that makes the show so rewarding. Good drama will always tug at our emotions.\nIn a time where series finales often go terribly wrong (i.e. "Seinfeld," in my opinion "Friends" as well), "Six Feet Under's" final episode plays out more like the pinnacle of a symphony masterpiece than a long running television show. Like previous seasons, the final 12 windows into the Fisher's life will make you laugh and cry; you will feel anger and remorse, but ultimately it is the level of hope and understanding of the show's "Everything. Everyone. Everywhere. Ends" life mantra that makes us realize that Alan Ball truly created a captivating American masterpiece. Bravo.
(04/06/06 4:20am)
If a break from studying from exams is necessary this weekend, the Foster/McNutt Spring Block Party can be a scapegoat.\n"Students are stressed out, it's close to finals and people aren't going to get a break until after exams," said freshman Ben Siebert, vice president of programming at Foster student government. "This is something to give back to the \nstudents." \nThe Foster Residence Center Student Government, in collaboration with the McNutt Student Government, will sponsor an all-day spring block party festival starting at 10 a.m. Saturday outside the Foster Quadrangle in the circle drive. The event, which bears the tag line, "I Want To Rock," will feature free food, live music, late-night movie screenings, raffle prize give-a-ways and a number of other games and activities for students to put their minds at ease, Siebert said.\n"It's a fully student-run event that serves to bring together people on campus," said Foster Graduate Supervisor D.J. Hilley. "It's a good way for the campus to get together and enjoy music and food." \nThis year, because of a merge with the McNutt Student Government and raffle contributions from various local businesses and establishments, the annual event will have more to offer, including a rock-climbing wall, free gift certificate give-a-ways from local businesses and a diverse group of musical acts.\n"There is going to be so much for students to do," Siebert said. "You can just sit and listen to music or just participate in the many activities."\nFreshman Wyatt Legrand, a McNutt resident and guitarist for The Red Label, one of the rock bands to be featured at the event, said the block party is a good way for students to hear a diverse array of local bands, many of which normally play in 21 or older bar settings.\n"If you want to get your music out there, the best way to do it is through students," Legrand said. "I think our music is really good rock 'n' roll that everybody likes and never gets old. Everyone appreciates what sounds good."\nIn addition to The Red Label, the block party will feature the bands AutoVaughn and Metal in the Microwave, as well as singer/songwriter Michael Kelsey, all of whom will perform at various times throughout the day.\n"I think the whole music aspect will bring in a lot more people," Legrand said. "I don't think you can go wrong whenever there are so many students and many of them are\ninto music."\nIn addition to the music and other activities, a portion of all raffle and game proceeds will go toward fundraising for the Katie Jerome Cancer Foundation and the Middle Way House, two local assistance and support organizations.\n"I think it's important that (the students) are celebrating and creating something fun for the students but are also doing something good with their money," Hilley said. "It's a good part of giving back to the community."\nThe event is free to all students and will run from 10 a.m. until sundown outside Foster and then will move to McNutt until midnight, where there will be film screenings. \n"We just hope people have a good time," Siebert said. "The overall goal is for it to be a success. Everyone has put so much into it"
(04/06/06 4:00am)
Bloomington car lovers don't need Xzibit to pimp their rides. They do it themselves. Ten-switch hydraulics, custom paint and window designs, crushed velvet interior and enough bass to wake up Martinsville are featured in rides pimped right here in Bloomington. \nFor more than 10 years, members of Bloomington car club, "The Player$," have been traveling to car shows to show off their rides. Many of them have been obsessed with cars their whole lives, buying their first show car at age 16. The love of bikes started at age five for Doug Smith, 26, manager of Ackerman Auto Detail who rode dirt bikes before he could get a street bike. \nAckerman Auto Detail and Shakespearience Car Audio are stationed next to each other on North Jackson Street, near 17th street, to pimp Bloomington's rides. Shakespearience Car Audio provides amps, security systems, remote start and CD changers in addition to speakers, and Ackerman's flyer advertises itself as complete reconditioning specialists who do interior and exterior detailing. \nBloomington resident Brian Clarke has spent the last decade transforming his '94 Mitsubishi Eclipse into Vegas on wheels. A thorough, vivid paint job on the hood depicts his car on the Vegas strip in front of the fictional "Player$ Hotel" with great detail. Almost every inch of the car is decked out in the Vegas theme, with dice and cards etched into the windows by Visual Alterations' Chris White, who also did the vibrant paint work. The newest addition is a shamrock cut out of canvas on the rear window. \nIt was no surprise that Clarke's self-made, crushed velvet dice design won the trophy for best interior at Phi Kappa Sigma's philanthropy event. The green and black velvet puffs out of the car as it thumps chest-rattling bass and rocks 10 different ways with its custom hydraulics. \nClarke says the car doesn't ride that smoothly because of all the work he has put into it, but loves the way it looks. \n"I've been adding to it whenever I can," Clarke says. "I've been in over 100 shows and I think the car is finally just how I want it." \nEager to get the car back on the road after having been in storage all summer, he blasts the sound system to deafening levels. With two 12-inch subwoofers and two Rockford amps from Shakespearience Car Audio, the car is rocking even when the 10-switch hydraulic system is off. \nBloomington's audio guru Joe Richards, 29, who manages Shakespearience Sound, has given his car the pimping it deserves. His white 1971 Chevy Impala Custom has truly become customized since Richards started work on it when he was 16. A 10-switch, four-pump hydraulic system bounces on wide white wall tires, which he says make the car just right. \nHe used his audio expertise to hook up two 15" subwoofers, two amps and four other speakers hidden throughout the black swirl velvet interior. Richards did all of the paint, stereo and hydraulic work on the Impala himself and says he drives the ride as much as possible. He's had the car for 13 years, and has won a number of awards despite only showing it for three years. \nRichards estimates they do custom work on one car a week at Shakespearience Sound. Just last week he did custom sub and amp work on a Subaru STI and a Mercedes AMG. He enjoys restoring cars so much he plans to completely redo his seemingly perfect Impala this winter. \n"I'm ready for something new," Richards says. "I'm always looking for a new challenge." \nDetailing in Bloomington is fairly common. Smith says they do over 40 details a week in the summer and had a stretch of eight months where they did 500 jobs. \nSmith brought his '03 Suzuki 750 yellow motorcycle to the show and popped wheelies and raced up and down the parking lot, exciting spectators. The thrill of the crotch rocket comes with a couple of setbacks though. Smith says he has had to go to defensive driving class four times and has had driving privileges suspended three times. He wasn't even caught cruising at top speed, claiming he has peaked at 150 M.P.H. \nIU students are part of the "ride pimping" as well. Freshman Neil Mohan has been working on the audio for his 2002 black BMW car for two and a half years. He has created a dynamic sound system, with two 12-inch aluminum subs and 14 speakers all together. \nWhile Richards and Clarke are concerned with flair, Larry Wells is more concerned with what's under the hood. His yellow 1966 Chevelle Super Sport won best in show at the Phi Kappa Sigma auto show due to its power and style. The Super Sport packs around 550 horsepower under the hood, with enough chrome to pimp half a dozen rides. \nHe bought the car in 1977, used it in drag racing in the '80s, and took it off the frame in '97 to do a complete restoration. Wells is protective of his car and wanted to make sure he had someone who shared his passion before he gave him the project. \n"I've been a paint and body guy for 48 years," Bob Lake told Wells. "And if I could go back and do it all over again, you know what I'd be? A paint and body guy." \nWells was convinced Lake was right for the job and allowed the Bloomington resident to be a part of the restoration. He used numerous custom built pieces, a vintage air conditioning system and a custom tri-coat florescent paint job to give the car its flourish. Lake takes on three antique cars a year and is currently working on a '67 Firebird convertible with a '68 Mustang planned next. As summer approaches, the cars will start coming out of storage, cruising the streets of Bloomington. If the hydraulics and sound don't catch your eye, look for the cast metal, brass plated "Player$" signs on a couple of the tricked out rides.
(03/30/06 5:00am)
No matter how often the media poke fun at his bizarre and reclusive lifestyle or how many times Dave Chappelle ranks on his quirky, sexual purpleness, Prince is still one hell of a talented musician. Which is why listening to 3121, the newest addition to the artist formally known as the artist formally known as Prince's repertoire, is so disappointing.\nFollowing in the footsteps of 2004's Musicology, a highly successful, but fairly mediocre album, Prince attempts to return to the '80s synth-pop rhythms and sounds that made him exclaim, "Baby I'm a star," and mixes things up with a bit of hip-hop and Latin instrumental flavor. Unfortunately, the result is an album that tries hard to rekindle a sound of the past, but ultimately comes out lost and confused in an age where rap and hip-hop make up mainstream pop.\nThe album opens up with the title track, a funky, amusing little electro house beat about what we can only imagine is Prince's address to his personal garden of Eden. With lyrics like, "Put your clothes in the pile on the floor / Take your pick from the Japanese robes and sandals / Drink champagne from a glass with chocolate handles / Don't you want to come? 3121," one can't help but assume that this album is more a personal invitation into the secret and opulent lifestyles of the billionaire Jehovah's witness than anything else. \nIn the world of 3121, at least in the first six tracks, every day seems to be a party, a party with a bad girl named "Lolita," lots of "Incense and Candles," "Black Sweat" and of course "Love." In fact, the first half of the album plays out more like a self-indulged string of sexual infused funk beats (which might or might not be fantasy), than the catchy pop songs from the '80s that Prince is most commonly known for.\nThe album picks up the pace during the second half, however, with a number of tracks that are reminiscent of the pop life of Prince's past. \n"Fury," which is the best song on the album, feels like a highly polished B-Side cut from any of Prince's truly classic masterpieces, the flawless Purple Rain, the politically charged Sign 'O' the Times and even the campy but boisterous 1999. The song opens with a driving drum beat, catchy keyboard hook that nicely resembles the works of former Revolution member Lisa Coleman and fiery axe licks that remind us Prince is still a guitar virtuoso. \nAccording to the liner notes 3121 was produced, arranged, composed and performed by Prince himself, a feat that shows both musical chops but also quite possibly control issues. There are a couple 'guest per4mers' including funk saxophone maestro Maceo Parker, some shouts and sexual grunts from Prince's '90s band lineup, The New Power Revolution and a surprisingly soulful balladic duet, "Beautiful, Loved and Blessed," featuring R&B singer Tamara, who nicely compliments Prince's highly feminine voice in the same way Shelia E. did back in the purple velvet decade of the '80s. \nOverall the album seems to be lost somewhere between classic Prince fare and the sexual soul world of someone like Barry White. It's quite generous of Prince to invite us to his purple, sexual soirée, however, it's difficult to truly get into the world of 3121 while we're doing our normal daily routines like walking to class or riding the C-bus. Perhaps incense and Japanese sandals do in fact make the listening experience all the more rewarding.
(03/30/06 4:50am)
The lights dim and a sea of colored luminescent lights flood the busied café. The musicians take stage -- rhythm in the back and horns, trumpet and saxophone up front. The ensemble rustles its music then turns to the sax player who begins to snap his fingers. The room is silent save the uniform tapping of the feet to the recognized beat. The foot is understood. After the count off, the horns blare and the players begin to craft their musical art. \nFor the players in The Mike Epstein Quintet, a local IU student jazz combo, this musical ritual embodies their typical Friday night. \n"There's almost a mysticism to the people who play jazz," said Epstein, a senior and jazz drummer. "You have to keep an open mind about each performance because every time you play, it is going to be completely different from the last time. That element of spontaneity is what makes jazz exciting for me."\nEpstein and his quintet of fellow jazz studies majors are just a small part of the vast Bloomington jazz scene.\n"Bloomington is a pretty diverse place, and having jazz played here adds to the diversity and wide range of activities for students to get involved with," Epstein said.\nWhile it could be argued that the jazz scene in Bloomington dates back to the roaring '20s with the musical contributions of local jazz legend Hoagy Carmichael, the true origins of modern jazz in Bloomington as we know it date back to 1966 with the arrival of IU jazz faculty member and current director of jazz studies David Baker, said David Miller, a local jazz musician and director/founder of the weekly Jazz Fables series at Bear's Place. \n"There have been many talented jazz musicians in Bloomington throughout the years because of the IU jazz studies program and David Baker," Miller said. "He continues to be one of the most prolific of all jazz musicians." \nBaker was one of the first to pioneer jazz education and was responsible for the establishment of a Bachelor's degree in jazz studies through IU's Jacobs School of Music, said Miller. Baker, with the help of others, also helped establish a concrete music scene in Bloomington, outside of IU jurisdiction, which enables local musicians to be heard.\n"I think Bloomington has a very vibrant and healthy jazz scene," said Baker. "And this is why kids do so well when they leave here."\nToday Bloomington features a number of different venues for every kind of jazz listener. Whether you prefer the quiet concert hall settings or the busier café/bar atmosphere, Bloomington offers something for all musical palates. \n"The power that this scene has is that all these talented musicians are coming here for a reason," Miller said. "Each venue has its own appeal and niche audience, and that's healthy, as long as we don't step on each other's toes."\nBear's Place, which hosts one of the longest running jazz concert series in Bloomington, has continued to present audiences with live acts on a weekly basis. \n"We have one of the best music schools in the country, and I think that since jazz is an American tradition it's good to keep it going," said Bear's manager Jim Reef.\nBear's Thursday night Jazz Fables series, started by Miller in 1989, features nationally renowned artists, local musicians and IU jazz faculty members and serves as a jazz showcase for people serious about listening to the many different styles of jazz music -- everything from Be-Bop to more modern, Avant Garde jazz.\n"At Fables everyone understands that the prime goal is to come and enjoy the music," Miller said. "People can eat and drink, but the primary goal is to present concerts. It's about the only place that does this."\nWhile Bear's tends to cater to the more acute of patrons and is a 21 and older bar, there are a number of places that offer jazz for more passive ears. \nCafé Django, where the Mike Epstein Quintet is a regular act, offers a more relaxed environment for all types of jazz listeners and serves an assorted spread of food dishes, desserts, drinks and coffee. \nKunyang Norbu, who opened the café in 1999, says the small setting offers Bloomington residents a nice, romantic place to hear live jazz. She also believes hosting gigs is a good way to support local musicians.\n"My impression was it would be a wonderful place for music students to have a place to show their talents," Norbu said. "This is a good place to play for your friends and get used to performing in front of an audience."\nJoel Pietropaolo, the general manager of Tutto Bene wine cafe, a fairly new addition to the jazz scene in Bloomington, said supporting local jazz is crucial because of Bloomington's wealth of talent. However, he would like to see the jazz scene flourish more.\n"I think the collection of musicians we have in this town is unprecedented," Pietropaolo said. "The only thing lacking is more venues. It would be cool to have Bloomington become more supportive of the jazz scene." \nEpstein is happy with the venues here.\n"I think that we're really lucky to have places like Djangos and Tutto Béne since Bloomington is so small," Epstein said. "People generally associate jazz with big cities."\nJunior Anna Roberts, a regular at Café Django, Tutto Béne and the IU Musical Art Center's jazz events, said she enjoys the relaxed atmosphere at live jazz performances more than anything else.\n"I think jazz music is something that everyone should get more involved in," Roberts said. "People don't realize how good we have it here. Everyone should be a part of it, even if they aren't the biggest fans."\nFor those who prefer larger events and concert hall performances, the Jazz from Bloomington organization, a local society that supports Bloomington jazz musicians, offers a number of large scale events every year, ranging from concerts by musicians of national caliber like Joshua Redman and John Scofield, to showcases of local, pre-college age talents.\n"Jazz is the one and only style to be created in the U.S. without outside help," said Monika Herzig, the vice president of Jazz From Bloomington. "One of the reasons (jazz) isn't as popular is people aren't exposed to it. Once people learn about it, it's an eye-opening experience."\nThe future of the Bloomington jazz scene is uncertain. Baker and others said the music is as popular as ever and that the future of this American tradition lies in the country's youth. He is thrilled that businesses continue to support the scene and hopes that they continue their ties with the school and local musicians.\n"Someone once said, 'Keep on keeping on!'" Baker said. "As long as we do that, we're going to be in great shape"
(03/29/06 11:17pm)
No matter how often the media poke fun at his bizarre and reclusive lifestyle or how many times Dave Chappelle ranks on his quirky, sexual purpleness, Prince is still one hell of a talented musician. Which is why listening to 3121, the newest addition to the artist formally known as the artist formally known as Prince's repertoire, is so disappointing.\nFollowing in the footsteps of 2004's Musicology, a highly successful, but fairly mediocre album, Prince attempts to return to the '80s synth-pop rhythms and sounds that made him exclaim, "Baby I'm a star," and mixes things up with a bit of hip-hop and Latin instrumental flavor. Unfortunately, the result is an album that tries hard to rekindle a sound of the past, but ultimately comes out lost and confused in an age where rap and hip-hop make up mainstream pop.\nThe album opens up with the title track, a funky, amusing little electro house beat about what we can only imagine is Prince's address to his personal garden of Eden. With lyrics like, "Put your clothes in the pile on the floor / Take your pick from the Japanese robes and sandals / Drink champagne from a glass with chocolate handles / Don't you want to come? 3121," one can't help but assume that this album is more a personal invitation into the secret and opulent lifestyles of the billionaire Jehovah's witness than anything else. \nIn the world of 3121, at least in the first six tracks, every day seems to be a party, a party with a bad girl named "Lolita," lots of "Incense and Candles," "Black Sweat" and of course "Love." In fact, the first half of the album plays out more like a self-indulged string of sexual infused funk beats (which might or might not be fantasy), than the catchy pop songs from the '80s that Prince is most commonly known for.\nThe album picks up the pace during the second half, however, with a number of tracks that are reminiscent of the pop life of Prince's past. \n"Fury," which is the best song on the album, feels like a highly polished B-Side cut from any of Prince's truly classic masterpieces, the flawless Purple Rain, the politically charged Sign 'O' the Times and even the campy but boisterous 1999. The song opens with a driving drum beat, catchy keyboard hook that nicely resembles the works of former Revolution member Lisa Coleman and fiery axe licks that remind us Prince is still a guitar virtuoso. \nAccording to the liner notes 3121 was produced, arranged, composed and performed by Prince himself, a feat that shows both musical chops but also quite possibly control issues. There are a couple 'guest per4mers' including funk saxophone maestro Maceo Parker, some shouts and sexual grunts from Prince's '90s band lineup, The New Power Revolution and a surprisingly soulful balladic duet, "Beautiful, Loved and Blessed," featuring R&B singer Tamara, who nicely compliments Prince's highly feminine voice in the same way Shelia E. did back in the purple velvet decade of the '80s. \nOverall the album seems to be lost somewhere between classic Prince fare and the sexual soul world of someone like Barry White. It's quite generous of Prince to invite us to his purple, sexual soirée, however, it's difficult to truly get into the world of 3121 while we're doing our normal daily routines like walking to class or riding the C-bus. Perhaps incense and Japanese sandals do in fact make the listening experience all the more rewarding.
(03/09/06 5:00am)
There is a current cinematic furor in East Asia known as New Asian Horror. The trend is not unlike previous thriller film fads of the past (Italian splatter and American slasher films come to mind) in the sense that these films set out to go to extremes in blood, guts and mayhem. It's only fitting that the new short horror film compilation by three of the genre's finest directors is called "Three Extremes."\n"Extremes" is not unlike horror collections such as "Creepshow," HBO's "Tales from the Crypt" and most recently Showtime's "Masters of Horror" series, which all teamed talented filmmakers in the thriller genre to make short films. The problem with this kind of cinematic venture is if one film fails, the others tend to go down with the ship, which is the unfortunate case of "Extremes."\n"Extremes" starts out with "Dumplings," a gruesome, disturbing and repugnant little short by Hong Kong's Fruit Chan. The story revolves around a vain woman who seeks out every method of revitalizing her beauty, even going to extreme measures by eating a special kind of "magic" dumpling made with something too gruesome to mention here. This short is undoubtedly the most gory and gruesome of the lot, but not in a good way. It's the kind of film that tries to present a message to the audience about vanity, but ultimately is just unpleasant.\nThe second film, "Cut," is by Korean director Chan-wook Park, who is best known for his twisted revenge tales "Sympathy for Mr. Vengeance" and most recently the fascinating, yet disturbing, "Oldboy." "Cut" does not stray away from the vengeance genre and has some striking moments, but similar to "Dumplings," it tries to go to overboard with the blood and guts instead of mastering a strong storyline. Elaborate deaths and torture don't always bring thrills.\nThe final "extreme tale" is "Box" by Japan's Takashi Miike ("Audition"), probably the best known director of the bunch. The film strays away from Miike's previous sanguinary ventures instead presenting us with a fascinating little ghost story that brilliantly shifts from dream state to reality. "Box" is slow moving, relying on silence, long shots and the haunting physical expressions of the characters. The film is mature in its nature, taking its time with the thrills, building suspense the old fashioned way.\nThe film's two-disc DVD could have done so much in terms of bringing attention to this newfound horror genre, but ultimately is bare boned. There is an interesting commentary track by Miike on "Box," in which he discusses his reasons for making the film. The second disc features a full-length version of "Dumplings" that, while bridging lots of plot points and giving more character depth, still makes the film a harsh (on your eyes/stomach) waste of time. \n"Three Extremes" could have been something brilliant. The players are all top of their game and the story ideas were interesting; however, going to grisly extremes doesn't always make for a good scare.
(03/09/06 4:52am)
Besides being prominent musicians in their respective fields, what do artists Bob Dylan, Lyle Lovett, Willie Nelson, Sonic Youth, Steve Earle, Emmylou Harris and Kris Kristofferson have in common? They all make up the growing cult fan base of singer songwriter Townes Van Zandt and play a part in a new documentary based on the late artist's music and life.\nBloomington's Buskirk-Chumley Theater, in conjunction with The Ryder Film Series, will be presenting the film, "Be Here to Love Me: A Film About Townes Van \nZandt," a documentary about the life and death of Townes Van Zandt at 7 p.m. Friday, followed by a screening at Bear's Place on Sunday at 5:15 p.m. Tickets are $5 at the door.\nThe film, which was released by Palm Pictures, an independent film distribution company, is part of Ryder's popular "Movies for Moderns" film series. \n"I think because of the demographic at IU, where there is possibly a cult fan base of Townes Van Zandt, people might be interested in learning more about his life," said Nathaniel Baruch, of Palm Pictures.\nThe documentary covers the life of Van Zandt, the Texan-born musician who has often been said to be the "songwriter's songwriter," because of his wide array of influence on musicians as diverse as Bob Dylan, Norah Jones, and even the Arizona punk group The Meat Puppets. \nVan Zandt, who died of a heart attack in 1997, released a number of folk/country studio and live albums beginning in the 1960s and managed to make a name for himself in the music industry as a one of the unique voices in songwriting, according to the artist's Web site, www.townesvanzandt.com.\nPalm Pictures, the distributor of the film, specializes in releasing projects that merge music and film markets, with a focus on foreign cinema, music documentaries and music video collections, according to its Web site, wwww.palmpictures.com.\n"We definitely have an eclectic taste here," Baruch said. "We're just trying to put out things that are quality"
(03/08/06 9:11pm)
There is a current cinematic furor in East Asia known as New Asian Horror. The trend is not unlike previous thriller film fads of the past (Italian splatter and American slasher films come to mind) in the sense that these films set out to go to extremes in blood, guts and mayhem. It's only fitting that the new short horror film compilation by three of the genre's finest directors is called "Three Extremes."\n"Extremes" is not unlike horror collections such as "Creepshow," HBO's "Tales from the Crypt" and most recently Showtime's "Masters of Horror" series, which all teamed talented filmmakers in the thriller genre to make short films. The problem with this kind of cinematic venture is if one film fails, the others tend to go down with the ship, which is the unfortunate case of "Extremes."\n"Extremes" starts out with "Dumplings," a gruesome, disturbing and repugnant little short by Hong Kong's Fruit Chan. The story revolves around a vain woman who seeks out every method of revitalizing her beauty, even going to extreme measures by eating a special kind of "magic" dumpling made with something too gruesome to mention here. This short is undoubtedly the most gory and gruesome of the lot, but not in a good way. It's the kind of film that tries to present a message to the audience about vanity, but ultimately is just unpleasant.\nThe second film, "Cut," is by Korean director Chan-wook Park, who is best known for his twisted revenge tales "Sympathy for Mr. Vengeance" and most recently the fascinating, yet disturbing, "Oldboy." "Cut" does not stray away from the vengeance genre and has some striking moments, but similar to "Dumplings," it tries to go to overboard with the blood and guts instead of mastering a strong storyline. Elaborate deaths and torture don't always bring thrills.\nThe final "extreme tale" is "Box" by Japan's Takashi Miike ("Audition"), probably the best known director of the bunch. The film strays away from Miike's previous sanguinary ventures instead presenting us with a fascinating little ghost story that brilliantly shifts from dream state to reality. "Box" is slow moving, relying on silence, long shots and the haunting physical expressions of the characters. The film is mature in its nature, taking its time with the thrills, building suspense the old fashioned way.\nThe film's two-disc DVD could have done so much in terms of bringing attention to this newfound horror genre, but ultimately is bare boned. There is an interesting commentary track by Miike on "Box," in which he discusses his reasons for making the film. The second disc features a full-length version of "Dumplings" that, while bridging lots of plot points and giving more character depth, still makes the film a harsh (on your eyes/stomach) waste of time. \n"Three Extremes" could have been something brilliant. The players are all top of their game and the story ideas were interesting; however, going to grisly extremes doesn't always make for a good scare.
(03/06/06 7:22am)
8 p.m.:With a wonderfully amusing video featuring past Oscar hosts passing on the role of Emcee to Jon Stewart, the Oscars kicked off in full force with some smart and quirky laughs.
(03/02/06 5:00am)
"North Country" is yet another film that chronicles a significant real life legal battle in which the underdog goes up against the system. It's a nice little combination of "Norma Rae" mixed with a pinch of "Erin Brockovich," "A Civil Action" and pretty much any other movie dealing with women fighting to have the same rights as men. \nWhile the story might seem formulaic to some, overall it is still a very good film.\n"Country" tells the story of Josey Aimes (Charlize Theron), a woman who decides to leave her abusive husband and take her children back to her hometown to start a new life in a small Northern Minnesota mining community.\nAfter running into her old friend Glory (Frances McDormand), who tells her there are openings for female workers up at the steel mine, Aimes quits her remedial hair styling job, grabs some work clothes and heads for the hills.\nWhile she gets the job, working with a small group of other female miners, it is clear from the beginning that she is not welcomed by her male counterparts, including her own father, played wonderfully by Richard Jenkins ("Six Feet Under"). It's not long before she is victim to nasty pranks, perverse verbal abuse and eventually attempted rape. While her fellow female workers tell her this is natural and she has to earn her keep, she becomes fed up with the system and seeks legal aid.\n"North Country" is based on the true story of the first class action sexual harassment case in American history. Aimes and the other women are underdogs working in a male dominated work place, yet shouldn't they have the same rights as everyone else? Shouldn't they be able to go to work without fear of humiliation or harm? These moral questions run rapid throughout this film.\nThe director, Niki Caro (the wonderfully dazzling "Whale Rider"), handles the subject matter well and gets a lot out of her ensemble cast, proving that she has a promising career ahead of her. \nThe acting in the film is excellent, however, is not quite Oscar material, even though both Theron and McDormand received acting nods this year. Theron is effective as Aimes and McDormand is good enough but essentially revisits the role and accent that earned her an Oscar in "Fargo."\nThe film's DVD includes an interesting featurette about the real case the film was based on with fascinating interviews/accounts from the original female miners. There are also a handful of mediocre deleted scenes and the film's trailer.\nOverall, "North Country" is an enjoyable, feel good legal drama that carries the slogan, 'Based on true events' nicely. However, once you've seen it, revisiting it down the road probably won't be necessary, unless you enjoy seeing Theron getting down and dirty.
(03/02/06 12:02am)
"North Country" is yet another film that chronicles a significant real life legal battle in which the underdog goes up against the system. It's a nice little combination of "Norma Rae" mixed with a pinch of "Erin Brockovich," "A Civil Action" and pretty much any other movie dealing with women fighting to have the same rights as men. \nWhile the story might seem formulaic to some, overall it is still a very good film.\n"Country" tells the story of Josey Aimes (Charlize Theron), a woman who decides to leave her abusive husband and take her children back to her hometown to start a new life in a small Northern Minnesota mining community.\nAfter running into her old friend Glory (Frances McDormand), who tells her there are openings for female workers up at the steel mine, Aimes quits her remedial hair styling job, grabs some work clothes and heads for the hills.\nWhile she gets the job, working with a small group of other female miners, it is clear from the beginning that she is not welcomed by her male counterparts, including her own father, played wonderfully by Richard Jenkins ("Six Feet Under"). It's not long before she is victim to nasty pranks, perverse verbal abuse and eventually attempted rape. While her fellow female workers tell her this is natural and she has to earn her keep, she becomes fed up with the system and seeks legal aid.\n"North Country" is based on the true story of the first class action sexual harassment case in American history. Aimes and the other women are underdogs working in a male dominated work place, yet shouldn't they have the same rights as everyone else? Shouldn't they be able to go to work without fear of humiliation or harm? These moral questions run rapid throughout this film.\nThe director, Niki Caro (the wonderfully dazzling "Whale Rider"), handles the subject matter well and gets a lot out of her ensemble cast, proving that she has a promising career ahead of her. \nThe acting in the film is excellent, however, is not quite Oscar material, even though both Theron and McDormand received acting nods this year. Theron is effective as Aimes and McDormand is good enough but essentially revisits the role and accent that earned her an Oscar in "Fargo."\nThe film's DVD includes an interesting featurette about the real case the film was based on with fascinating interviews/accounts from the original female miners. There are also a handful of mediocre deleted scenes and the film's trailer.\nOverall, "North Country" is an enjoyable, feel good legal drama that carries the slogan, 'Based on true events' nicely. However, once you've seen it, revisiting it down the road probably won't be necessary, unless you enjoy seeing Theron getting down and dirty.
(02/23/06 5:00am)
At its core French film auteur Jean Renoir's "La Bête Humaine," translated as "The Human Beast," appears to be a film with metaphoric undertones regarding the transition to the industrial age. The opening five minutes of the film are devoted to the inner workings of the steam powered train and the illustrious shots of it blazing through the French countryside, as if it were its own character. In many ways it is. \nMade in 1938, 35 years after Edwin S. Porter astounded audiences with his stunning locomotion cinematography in "The Great Train Robbery," "Humaine" tells the story of Jacques Lantier (played wonderfully by Renoir usual Jean Gabin), a humble train engineer with a troubled past who yearns to find love in his life.\nEarly on we see him meticulously work on the train engine he names Lison with the same gentle care and persistence that one would normally give to a fellow human. Is Lison Lantier's true love? Are trains his true solidarity in life? At first the answers to these questions seem to be yes. \nWhile initially "Humaine" appears to be another one of Renoir's social commentary pieces, in the tradition of his magnificent "Grand Illusion" (one of the first and best anti-war films) or his undisputed masterpiece "Rules of the Game" (an unforgiving critique of French bourgeois social politics), the film unfolds as more of a psychological thriller than anything else.\nLantier gets involved with a classic Lady Macbeth, Séverine Roubaud (Simone Simon), who, after being forced into helping to murder her godfather/possible lover by her husband, desires to rid herself of the burden of guilt by planning to murder her own husband. She turns to Lantier for aid in her dirty deeds.\nIt is written that "La Bête Humaine" may be one of the first cinematic escapades into the film noir genre. There are undoubtedly levels of suspense riddled throughout the film and Roubaud's classic femme fatale character only backs the noir theory. However, while all this maybe true, Renoir seems to convey an underlying social statement with the film that is never fully realized. \nLike always the people at Criterion took their time with this impressive DVD package. There is a great introduction to the film by Renoir himself, in which he discusses the difficulties of filming on a real train and Gabin's utter devotion to learning the ropes of a train engineer (he actually had a train operator's license throughout production). There is also an interview with contemporary filmmaker Peter Bogdanovich about the film's importance and three detailed historical essays.\nWhile "La Bête Humaine" is not Renoir's best work (that title still goes to "Illusion" and "Game") it is still a fascinating look at early French cinema in its prime. Renoir's actors devour their roles, often working without a script, own the cinematography is beautifully stylized and noir fans will be pleasantly surprised by the psychological thrills and bittersweet melancholy that flood this film.
(02/22/06 11:26pm)
At its core French film auteur Jean Renoir's "La Bête Humaine," translated as "The Human Beast," appears to be a film with metaphoric undertones regarding the transition to the industrial age. The opening five minutes of the film are devoted to the inner workings of the steam powered train and the illustrious shots of it blazing through the French countryside, as if it were its own character. In many ways it is. \nMade in 1938, 35 years after Edwin S. Porter astounded audiences with his stunning locomotion cinematography in "The Great Train Robbery," "Humaine" tells the story of Jacques Lantier (played wonderfully by Renoir usual Jean Gabin), a humble train engineer with a troubled past who yearns to find love in his life.\nEarly on we see him meticulously work on the train engine he names Lison with the same gentle care and persistence that one would normally give to a fellow human. Is Lison Lantier's true love? Are trains his true solidarity in life? At first the answers to these questions seem to be yes. \nWhile initially "Humaine" appears to be another one of Renoir's social commentary pieces, in the tradition of his magnificent "Grand Illusion" (one of the first and best anti-war films) or his undisputed masterpiece "Rules of the Game" (an unforgiving critique of French bourgeois social politics), the film unfolds as more of a psychological thriller than anything else.\nLantier gets involved with a classic Lady Macbeth, Séverine Roubaud (Simone Simon), who, after being forced into helping to murder her godfather/possible lover by her husband, desires to rid herself of the burden of guilt by planning to murder her own husband. She turns to Lantier for aid in her dirty deeds.\nIt is written that "La Bête Humaine" may be one of the first cinematic escapades into the film noir genre. There are undoubtedly levels of suspense riddled throughout the film and Roubaud's classic femme fatale character only backs the noir theory. However, while all this maybe true, Renoir seems to convey an underlying social statement with the film that is never fully realized. \nLike always the people at Criterion took their time with this impressive DVD package. There is a great introduction to the film by Renoir himself, in which he discusses the difficulties of filming on a real train and Gabin's utter devotion to learning the ropes of a train engineer (he actually had a train operator's license throughout production). There is also an interview with contemporary filmmaker Peter Bogdanovich about the film's importance and three detailed historical essays.\nWhile "La Bête Humaine" is not Renoir's best work (that title still goes to "Illusion" and "Game") it is still a fascinating look at early French cinema in its prime. Renoir's actors devour their roles, often working without a script, own the cinematography is beautifully stylized and noir fans will be pleasantly surprised by the psychological thrills and bittersweet melancholy that flood this film.
(02/16/06 5:36am)
Ever since he was 14 years old, local folk-rock musician Ron Vanzo has played the guitar. While he never truly considered himself a professional musician until recently, having worked odd jobs for much of his life to pay the bills, Vanzo always wanted his music to be heard.\n"I've pretty much been a full-time musician in the past year or so," said Vanzo. "I'm gradually going in that direction."\nVanzo and his backup band, The Voyagers, will be headlining a show at 8 p.m. tonight at The Buskirk-Chumley Theater in honor of the release of Vanzo's first album, "Vanished." \n"Vanished" is Vanzo's first official solo release of original songs. He describes his music as folk-rock and lists a diverse array of musicians as personal influences, including Neil Young, Tom Waits and Bob Dylan.\nJennifer Weiss, a friend and long-time supporter of Vanzo, describes him as a talented musician who tries to raise awareness of important issues through his songs.\n"The beautiful thing about Ron's music is I don't think it's preachy at all," Weiss said. "Music can raise awareness without shaking a finger."\nVanzo said a portion of the show's proceeds will be donated to the Indiana Forest Alliance and the Citizens for Appropriate Rural Roads. \n"I'd hope that anything I can do for them can benefit their cause," Vanzo said. "I think since there are so many things that need help right now, we need to focus on immediate things in our own backyard."\nBoth groups work to preserve Indiana's forests and wildlife, with CARR also focusing on the current legislation to build Interstate 69 and the possible privatization of some state highways. \nWeiss, who is a volunteer at IFA and helped promote the show and organize the benefit proceeds, said she hopes the show will create some awareness to the causes. \n"It's actually a real critical time for both these issues," Weiss said. "Part of the reason for the show is to celebrate the work of these groups and to just enjoy the moment."\nAs for Vanzo's future, he said he hopes to keep playing and writing music. He has a second album in the works and aspires to take his show on the road to venues outside of Bloomington. \n The Voyagers will be preceded by two opening acts. Tickets are $8 and are on sale at Bloomingfoods and at the door.
