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(09/22/05 1:25am)
In the romantic comedy "Just Like Heaven," ever-affable good-natured Mark Ruffalo moves into a "haunted" apartment in San Francisco. Its view and privately accessible rooftop make the place a mouth-watering find, though one does pause to wonder how he can see all of San Francisco from a third-story walk-up. Its only apparent drawback is a control freak spirit who keeps insisting he is invading her home and must move out immediately. \nTo back up a bit, we learn at the beginning of the film that the control freak, played by Reese Witherspoon, is a doctor at a local hospital. After being made an attending physician, she was tragically hit head-on by a semi truck. Ain't that just the break?\nBut even as we watch Ruffalo's well-intentioned David attempt to send Dr. Elizabeth toward the white light, it becomes clear they are developing a crush on each other. \nThrough a series of scenes that are cleverly written and involve several comic mishaps, David and Elizabeth get to know each other more intimately as they find out more about each others' past lives. It becomes clear the two will fall in love, if only they could solve that pesky problem of Elizabeth not being tangible.\n"Just Like Heaven" is a good romantic comedy, as modern-day movies go. It seems almost too much to ask for Hollywood romantic comedies to include interesting characters the audience themselves can actually picture liking. In Elizabeth, we have a heroine that is both imperfect and high-strung, but also smart, articulate and charming, a fair departure from the hooker-with-a-heart-of-gold phenomenon à la "Pretty Woman." Witherspoon's airy blonde ditz is all but left in the dust here, but none of that irrepressible energy is gone, solidifying my opinion that she just needs the right roles to be the best actress she can be. \nRuffalo, who has always taken interesting roles, makes a turn here for the more mainstream and with good results. He is affecting and sweet, and seems perfectly suited for Elizabeth, as they are both kind-hearted and quirky. His acting is also a good complement to Witherspoon's. They're both very talented and convey a sincerity that is rare in many Hollywood actors. \nThis film also marks a venture for Director Mark Waters from his foray into teen-world, having recently directed "Freaky Friday" and "Mean Girls." His earlier work, including the small treasure "The House of Yes," found more success on rental shelves than in theaters. But this turn will prove box office gold, as expected, no doubt, by its Hollywood producers. \nAnd though the movie is a little too sweet, edging on corny a times, it works. Its predictability is trumped by how involved we are with the love story, and how much we care about the lovers. Waters does well in developing the characters, and leaving the plot to sort of work itself out, concerning himself more with their stories and how much they grow to care about each other. He lets these two cute characters fall in cute love, and that's enough to ask for.
(08/04/05 4:00am)
When Joan Allen was making "The Contender," she jokingly asked co-star and screenwriter Mike Binder to write a movie for her. After tossing the idea around, Binder started writing "The Upside of Anger." This is one of the many anecdotes featured in a behind-the-scenes look at the movie on the recently released DVD. \nAllen has always been known for her wide acting range and strong supporting roles, and it is wonderful to see her in such a well-written lead in "Upside." She plays Terry Wolfmeyer, an abandoned wife, mothering four grown daughters, in the early stages of what could turn into severe alcoholism. Kevin Costner plays her drinking buddy Denny, a former baseball star who falls in love with both Terry and her daughters. The story grows from this premise, adding rich layers of family dramedy to Allen's stunning performance. \nIn the making-of featurette, all of the film's main characters are interviewed extensively and discuss how they came to the project and its meaning for them. The feature is excellent, giving much background detail and history of the project. Fans of Mike Binder will find his interviews particularly interesting as he talks about his writing style and comedy past. \nOther DVD highlights include several deleted scenes, a Binder/Allen commentary, some New Line trailers and well-designed menu screens. \nThe Binder/Allen commentary was informative and very interesting, however, I wished throughout that Allen would give more input on her evolution in the role and Binder's writing. Binder talks enough for both of them though, mostly on production aspects and how he came to write the screenplay. Film critic Rod Lurie moderates the conversation and is a close friend of Binder's, adding a few tidbits on Binder's previous films. In its casual nature, there are few lapses in dialogue, which makes the commentary a lot more fun to listen to. \nThe film quality is well-intact and the film is presented in widescreen format, which allows the viewer to see the extensive production value that went into the shoot. \nThe standard features and commentaries available on most new releases are all present here, with good sound and visual transfers. I was very satisfied with the movie and felt the DVD extras served well to enhance the experience.
(08/04/05 1:40am)
When Joan Allen was making "The Contender," she jokingly asked co-star and screenwriter Mike Binder to write a movie for her. After tossing the idea around, Binder started writing "The Upside of Anger." This is one of the many anecdotes featured in a behind-the-scenes look at the movie on the recently released DVD. \nAllen has always been known for her wide acting range and strong supporting roles, and it is wonderful to see her in such a well-written lead in "Upside." She plays Terry Wolfmeyer, an abandoned wife, mothering four grown daughters, in the early stages of what could turn into severe alcoholism. Kevin Costner plays her drinking buddy Denny, a former baseball star who falls in love with both Terry and her daughters. The story grows from this premise, adding rich layers of family dramedy to Allen's stunning performance. \nIn the making-of featurette, all of the film's main characters are interviewed extensively and discuss how they came to the project and its meaning for them. The feature is excellent, giving much background detail and history of the project. Fans of Mike Binder will find his interviews particularly interesting as he talks about his writing style and comedy past. \nOther DVD highlights include several deleted scenes, a Binder/Allen commentary, some New Line trailers and well-designed menu screens. \nThe Binder/Allen commentary was informative and very interesting, however, I wished throughout that Allen would give more input on her evolution in the role and Binder's writing. Binder talks enough for both of them though, mostly on production aspects and how he came to write the screenplay. Film critic Rod Lurie moderates the conversation and is a close friend of Binder's, adding a few tidbits on Binder's previous films. In its casual nature, there are few lapses in dialogue, which makes the commentary a lot more fun to listen to. \nThe film quality is well-intact and the film is presented in widescreen format, which allows the viewer to see the extensive production value that went into the shoot. \nThe standard features and commentaries available on most new releases are all present here, with good sound and visual transfers. I was very satisfied with the movie and felt the DVD extras served well to enhance the experience.
(06/23/05 4:00am)
There are several problems with "The Perfect Man," a few being a complete lack of authenticity, a simple plotline and the unbearable pretense of anything resembling comedy. Director Mark Rosman and screenwriter Gina Wendkos have pieced together such an unbelievably typical, ordinary movie that it is hardly worth the hour and half it takes to watch it, let alone the $8 it will take to gain admittance.\nThe movie features teen superstar Hilary Duff and former glam-soap star Heather Locklear, whose acting might not have been so bad if they hadn't been given such a mediocre script to work from. \nThe story follows teen matchmaker Holly Hamilton (Duff) as she watches her mother (Locklear) flit from one guy to another at a pace that can only be described as dizzying -- an upset in the life of Holly and her little sister. After having traveled the country, the family settles in Brooklyn. Mom finds a job at a bakery where a hair band fanatic, Mike O'Malley, sparks her interest. To keep her mom from making a mistake, Holly invents a secret admirer, borrowing her friend's uncle's name Ben as the elusive suitor. \nAnyone who has ever seen a movie before might be able to guess the next hour of the movie, so I won't bore you with too many more details. Suffice it to say, Uncle Ben (Chris Noth) is a charming and attractive man, financially viable, and well-liked by Holly. \nThe plot is thin and boring, made even more slow-moving by sideline plots featuring a love interest of Holly's and the aforementioned hair band fanatic. Duff is a saccharine-sweet teen, trying to save her mom from an endless line of "perfect men." But the real travesty here is Locklear, whose performance falls flat, which seems ironic given her character's tendency toward erratic behavior and general insanity. \nAnd though it might be appealing to watch Duff scurry about trying to make her mom fall in love with the "perfect man," it seems to have escaped the filmmakers' attention that her efforts are wasted on the dim-witted Locklear. \nIt should be noted that I'm awarding the movie a D, instead of an F. This is solely due to Chris Noth's surprisingly good performance, one that would have been better-suited in a decently written film.
(06/23/05 1:31am)
There are several problems with "The Perfect Man," a few being a complete lack of authenticity, a simple plotline and the unbearable pretense of anything resembling comedy. Director Mark Rosman and screenwriter Gina Wendkos have pieced together such an unbelievably typical, ordinary movie that it is hardly worth the hour and half it takes to watch it, let alone the $8 it will take to gain admittance.\nThe movie features teen superstar Hilary Duff and former glam-soap star Heather Locklear, whose acting might not have been so bad if they hadn't been given such a mediocre script to work from. \nThe story follows teen matchmaker Holly Hamilton (Duff) as she watches her mother (Locklear) flit from one guy to another at a pace that can only be described as dizzying -- an upset in the life of Holly and her little sister. After having traveled the country, the family settles in Brooklyn. Mom finds a job at a bakery where a hair band fanatic, Mike O'Malley, sparks her interest. To keep her mom from making a mistake, Holly invents a secret admirer, borrowing her friend's uncle's name Ben as the elusive suitor. \nAnyone who has ever seen a movie before might be able to guess the next hour of the movie, so I won't bore you with too many more details. Suffice it to say, Uncle Ben (Chris Noth) is a charming and attractive man, financially viable, and well-liked by Holly. \nThe plot is thin and boring, made even more slow-moving by sideline plots featuring a love interest of Holly's and the aforementioned hair band fanatic. Duff is a saccharine-sweet teen, trying to save her mom from an endless line of "perfect men." But the real travesty here is Locklear, whose performance falls flat, which seems ironic given her character's tendency toward erratic behavior and general insanity. \nAnd though it might be appealing to watch Duff scurry about trying to make her mom fall in love with the "perfect man," it seems to have escaped the filmmakers' attention that her efforts are wasted on the dim-witted Locklear. \nIt should be noted that I'm awarding the movie a D, instead of an F. This is solely due to Chris Noth's surprisingly good performance, one that would have been better-suited in a decently written film.
(05/26/05 4:00am)
Matt Dillon plays a veteran Los Angles cop in the new film "Crash." His anger and jealousy are racially manifested in the cruelest of ways toward a young black couple early in the story, when he subjects Christine (Thandie Newton) to a form of sexual harassment that is both original and horrifying. But this is not the pivotal moment in the arc of Dillon's narrative, which the viewer finds later in the film when he comes across a burning car wherein Newton is trapped and in desperate need of a rescuer. By far, the most successful and dramatic sequence in the film is neither the most simple nor the most easily explained. His reaction to the situation is both the theory and motive behind Paul Haggis's directing debut, a startling and refreshingly original look at the complexities of human relationships and perceptions of race in modern day America. \nI recently saw Haggis in a TV interview in which he explained to the talk show host that, living in L.A., one can witness both the kindness of human nature, and the devastating toll that racism and intolerance can take on the day-to-day life of a city. He described it as though it was a disease, something that affects not only people, but the city itself, deteriorating the human condition. However, he went on to explain that in living in L.A. he has discovered that racism is not simply a black and white issue. He said that people are three-dimensional, and so are the actions they take. Unlike the certainly dozens and maybe even hundreds of movies that have been made about race relations, Haggis's film dares to take a closer and unflinching look at what makes people do the things they do. And in this, his characters take on a multi-dimensional complexity; he does not simply reduce the small-minded bigot to a well-defined and culturally accepted stereotype, nor does he slot the idealist as a kind and open-hearted hero. \nAs a mainly independent feature, Haggis caught a break when casting Don Cheadle early, attracting other big names like Ryan Phillipe, Sandra Bullock, Brendan Fraser and Ludacris to the project. An ensemble feature, it follows several storylines in and around today's L.A. This may sound familiar to many, especially fans of Robert Altman or P.T. Anderson, and indeed the film does not escape without some minor flaws, most notably a few scenes that "borrow" ideas from films by the aforementioned directors. But the script is genuine and well-written, and the dialogue is true. Take for example a moment when a Hispanic locksmith tries to convince an Iranian store owner that his door needs fixing, not his lock, and the world-weary Iranian automatically assumes the locksmith is cheating him. We watch this scene with sadness and compassion for both characters; the locksmith because he is just trying to do his job and the Iranian because we understand how his experiences with Americans have left him jaded and untrusting. \nThe actors are all very good in their roles, with two remarkable performances by Matt Dillon and Michael Pena as the Hispanic locksmith working night and day to support the young daughter he loves with an almost painful acuteness. Pena's story maintains a complete and very distinctive quality, and I felt convinced his narrative alone would have made for a great film if expanded upon. \nIf you get the opportunity or are interested in seeing a film that not only asks the right questions, but also provides the right commentary, then see "Crash" and become a better person in the process.
(05/25/05 7:47pm)
Matt Dillon plays a veteran Los Angles cop in the new film "Crash." His anger and jealousy are racially manifested in the cruelest of ways toward a young black couple early in the story, when he subjects Christine (Thandie Newton) to a form of sexual harassment that is both original and horrifying. But this is not the pivotal moment in the arc of Dillon's narrative, which the viewer finds later in the film when he comes across a burning car wherein Newton is trapped and in desperate need of a rescuer. By far, the most successful and dramatic sequence in the film is neither the most simple nor the most easily explained. His reaction to the situation is both the theory and motive behind Paul Haggis's directing debut, a startling and refreshingly original look at the complexities of human relationships and perceptions of race in modern day America. \nI recently saw Haggis in a TV interview in which he explained to the talk show host that, living in L.A., one can witness both the kindness of human nature, and the devastating toll that racism and intolerance can take on the day-to-day life of a city. He described it as though it was a disease, something that affects not only people, but the city itself, deteriorating the human condition. However, he went on to explain that in living in L.A. he has discovered that racism is not simply a black and white issue. He said that people are three-dimensional, and so are the actions they take. Unlike the certainly dozens and maybe even hundreds of movies that have been made about race relations, Haggis's film dares to take a closer and unflinching look at what makes people do the things they do. And in this, his characters take on a multi-dimensional complexity; he does not simply reduce the small-minded bigot to a well-defined and culturally accepted stereotype, nor does he slot the idealist as a kind and open-hearted hero. \nAs a mainly independent feature, Haggis caught a break when casting Don Cheadle early, attracting other big names like Ryan Phillipe, Sandra Bullock, Brendan Fraser and Ludacris to the project. An ensemble feature, it follows several storylines in and around today's L.A. This may sound familiar to many, especially fans of Robert Altman or P.T. Anderson, and indeed the film does not escape without some minor flaws, most notably a few scenes that "borrow" ideas from films by the aforementioned directors. But the script is genuine and well-written, and the dialogue is true. Take for example a moment when a Hispanic locksmith tries to convince an Iranian store owner that his door needs fixing, not his lock, and the world-weary Iranian automatically assumes the locksmith is cheating him. We watch this scene with sadness and compassion for both characters; the locksmith because he is just trying to do his job and the Iranian because we understand how his experiences with Americans have left him jaded and untrusting. \nThe actors are all very good in their roles, with two remarkable performances by Matt Dillon and Michael Pena as the Hispanic locksmith working night and day to support the young daughter he loves with an almost painful acuteness. Pena's story maintains a complete and very distinctive quality, and I felt convinced his narrative alone would have made for a great film if expanded upon. \nIf you get the opportunity or are interested in seeing a film that not only asks the right questions, but also provides the right commentary, then see "Crash" and become a better person in the process.
(04/21/05 4:00am)
As any literature professor will tell you, the work of William Shakespeare is still read and renowned not only because of the Bard's gift of the written word in his own era, but also because the themes prevalent in almost all of his works still apply to society and human behavior today.\nFor the first 100 or so years after "The Merchant of Venice" was written, its central character Shylock was played by most actors as a two-dimensional villain. He was interpreted as an evil man, bloodthirsty and immoral. But for the first time in the sound era of film, Michael Radford has not only adapted a version of the play that clearly focuses on Shakespeare's intricate character detail but also presents to the viewer a completely new interpretation of the story.\nThe story centers on a venomous dispute between Shylock (Al Pacino), a Jewish money-lender in Venice, and Antonio (Jeremy Irons), the merchant of the play's title. In this era, anti-Semitism was rampant in Venice, and this theme plays prominently into the plot. After Antonio disrespects Shylock, he has the gall to ask him for a loan to finance his young friend Bassanio's (Joseph Fiennes) trip to Belmont to court the wealthy Portia (Lynn Collins) whom he intends to marry. But Antonio misjudges Shylock's contempt for him and when Shylock tells him he doesn't have to pay interest on the loan as long as he agrees to give him a pound of his flesh if he defaults, Antonio takes it as a joke and agrees to the terms. Inevitably, Antonio's ships are lost at sea and Shylock takes him to court, insisting that he pay his debt. \nRadford is a skilled director and screenwriter, not only faithful to Shakespeare's original work in most respects, but artful enough to make the project his own. The viewer will also be struck by the almost breathtaking attention to detail by art director Jon Bunker and the picturesque cinematography by Benoît Delhomme. The film captures the beauty of the era with all the varying tones and lucidity of a Renaissance painting. \nThe real achievement in this film is Radford's ability to weave rich imagery with extraordinary performances. Never does the richness of the film's technical detail or photography overshadow Shakespeare's dialogue or the standout performances by Pacino and Irons. Here, Irons finds a new level of intimacy with the screen in a multi-layered performance. However, Pacino's performance is the reason to see this film. Even if you've never been a fan of his previous work, his portrayal of the classic character will astound anyone who generally associates him with the tough-talking Italian mobster he has repeatedly portrayed in his career.
(04/20/05 5:16am)
As any literature professor will tell you, the work of William Shakespeare is still read and renowned not only because of the Bard's gift of the written word in his own era, but also because the themes prevalent in almost all of his works still apply to society and human behavior today.\nFor the first 100 or so years after "The Merchant of Venice" was written, its central character Shylock was played by most actors as a two-dimensional villain. He was interpreted as an evil man, bloodthirsty and immoral. But for the first time in the sound era of film, Michael Radford has not only adapted a version of the play that clearly focuses on Shakespeare's intricate character detail but also presents to the viewer a completely new interpretation of the story.\nThe story centers on a venomous dispute between Shylock (Al Pacino), a Jewish money-lender in Venice, and Antonio (Jeremy Irons), the merchant of the play's title. In this era, anti-Semitism was rampant in Venice, and this theme plays prominently into the plot. After Antonio disrespects Shylock, he has the gall to ask him for a loan to finance his young friend Bassanio's (Joseph Fiennes) trip to Belmont to court the wealthy Portia (Lynn Collins) whom he intends to marry. But Antonio misjudges Shylock's contempt for him and when Shylock tells him he doesn't have to pay interest on the loan as long as he agrees to give him a pound of his flesh if he defaults, Antonio takes it as a joke and agrees to the terms. Inevitably, Antonio's ships are lost at sea and Shylock takes him to court, insisting that he pay his debt. \nRadford is a skilled director and screenwriter, not only faithful to Shakespeare's original work in most respects, but artful enough to make the project his own. The viewer will also be struck by the almost breathtaking attention to detail by art director Jon Bunker and the picturesque cinematography by Benoît Delhomme. The film captures the beauty of the era with all the varying tones and lucidity of a Renaissance painting. \nThe real achievement in this film is Radford's ability to weave rich imagery with extraordinary performances. Never does the richness of the film's technical detail or photography overshadow Shakespeare's dialogue or the standout performances by Pacino and Irons. Here, Irons finds a new level of intimacy with the screen in a multi-layered performance. However, Pacino's performance is the reason to see this film. Even if you've never been a fan of his previous work, his portrayal of the classic character will astound anyone who generally associates him with the tough-talking Italian mobster he has repeatedly portrayed in his career.
(03/31/05 5:00am)
Compared to other World War I epics such as "Paths of Glory" and "All Quiet on the Western Front," Jean-Pierre Jeunet's recent entry, "A Very Long Engagement," holds its own in the arena. Whereas the aforementioned dramas focus on stories of soldiers and their frontline dramas, "Engagement" offers another take on the era, seen through the eyes of two forlorn lovers. \nThe story centers on a young woman, played aptly by Audrey Tautou (of "Amélie" fame), in search of a lost love she believes is still living even though he has been missing for three years. He was forced to leave his regiment as a result of a self-inflicted injury -- a scenario common on the frontlines of WWI when soldiers felt egregious injury or death would be a more kind sentence than trench warfare. \nThrough the quest, director Jean-Pierre Jeunet and cinematographer Bruno Delbonnel create a world of visual imagery so vivid and beautiful, we are reminded of sepia-toned photographs of the past and are aware of the time period in which the story is set. The film was nominated for Best Cinematography at this year's Academy Awards ceremony, and many critics have said this aspect of the film is what makes it worth seeing. \nThe cinematography is comparable with that of "Amélie," Jeunet's previous work also starring Tautou. Tautou is very good in this role, though that spontaneous pixie-like aura she personified in "Amélie" is absent from this work, which requires a much more somber portrayal. The cast does an excellent job of relaying mood of the time period, especially Marion Cotillard who plays Tina in a subplot where a young woman seeks revenge on the people who killed her soldier lover. The annoying intrusion of American actress Jodie Foster gives the viewer somewhat of a startle, but her performance is easily overlooked. \nWhile the love story is involving, Jeunet has an understanding of the horrors of war and splices historical accuracy with his lost love narrative. When the soldier Manech (Gaspard Ulliel) is condemned for injuring himself, he is sent to "No Man's Land" with fellow comrades. This expulsion mirrors real-life events, where soldiers who committed this crime were forced to make their way through neutral territory; most were shot by enemy forces upon traveling through these territories. This amounted to a type of slow death sentence, and its atrocity is not lost on Jeunet. \nThe weaknesses in "Engagement" can be summed up easily, mostly amounting to slow pacing and some badly placed flashbacks to summarize how the two lovers met. These seem like an obligatory addition, and aren't of much use to the narrative. \nHowever common wartime love stories have become, "Engagement" is an addition to the genre that will be worth the time it takes to watch and many viewers will be awestuck by the amazing visual accomplishments.
(03/30/05 5:15am)
Compared to other World War I epics such as "Paths of Glory" and "All Quiet on the Western Front," Jean-Pierre Jeunet's recent entry, "A Very Long Engagement," holds its own in the arena. Whereas the aforementioned dramas focus on stories of soldiers and their frontline dramas, "Engagement" offers another take on the era, seen through the eyes of two forlorn lovers. \nThe story centers on a young woman, played aptly by Audrey Tautou (of "Amélie" fame), in search of a lost love she believes is still living even though he has been missing for three years. He was forced to leave his regiment as a result of a self-inflicted injury -- a scenario common on the frontlines of WWI when soldiers felt egregious injury or death would be a more kind sentence than trench warfare. \nThrough the quest, director Jean-Pierre Jeunet and cinematographer Bruno Delbonnel create a world of visual imagery so vivid and beautiful, we are reminded of sepia-toned photographs of the past and are aware of the time period in which the story is set. The film was nominated for Best Cinematography at this year's Academy Awards ceremony, and many critics have said this aspect of the film is what makes it worth seeing. \nThe cinematography is comparable with that of "Amélie," Jeunet's previous work also starring Tautou. Tautou is very good in this role, though that spontaneous pixie-like aura she personified in "Amélie" is absent from this work, which requires a much more somber portrayal. The cast does an excellent job of relaying mood of the time period, especially Marion Cotillard who plays Tina in a subplot where a young woman seeks revenge on the people who killed her soldier lover. The annoying intrusion of American actress Jodie Foster gives the viewer somewhat of a startle, but her performance is easily overlooked. \nWhile the love story is involving, Jeunet has an understanding of the horrors of war and splices historical accuracy with his lost love narrative. When the soldier Manech (Gaspard Ulliel) is condemned for injuring himself, he is sent to "No Man's Land" with fellow comrades. This expulsion mirrors real-life events, where soldiers who committed this crime were forced to make their way through neutral territory; most were shot by enemy forces upon traveling through these territories. This amounted to a type of slow death sentence, and its atrocity is not lost on Jeunet. \nThe weaknesses in "Engagement" can be summed up easily, mostly amounting to slow pacing and some badly placed flashbacks to summarize how the two lovers met. These seem like an obligatory addition, and aren't of much use to the narrative. \nHowever common wartime love stories have become, "Engagement" is an addition to the genre that will be worth the time it takes to watch and many viewers will be awestuck by the amazing visual accomplishments.
(03/24/05 5:00am)
I realize some people lead fascinating, harrowing and complex lives. I'm also glad for this truth. The fact that some people have lives that are worthy of being adapted into biography films is not what concerns me. What concerns me is that these films, commonly called biopics, are being made and released with such alarming frequency that they are stomping on and casting shadows over other truly interesting and original films.\nIt seems lately that if a notable celebrity, politician, historical personality or infamous criminal has a life worthy of public attention, then his life story is patented, marketed and shoved onto an unwitting public in the form of a biopic. \nJust look at the evidence; at this year's Oscar ceremony, only one best actor nominee had not portrayed someone who actually lived. In the supporting actress category, three of the five nominees had roles based on living persons. Three of the best picture nominees were biopics. Also, other films like "Hotel Rwanda," "Vera Drake," "Kinsey" and "The Motorcycle Diaries," which were nominated in acting and screenwriting categories but not for best film, featured historical figures. This is to say nothing of the tremendous amount of biopics in Academy history that have been nominated for or won the statuette, 22 nonfiction-based feature films since 1999 by my count. \nSo what could account for this staggering lack of originality? Why is it filmmakers keep making true-life stories instead of working with original stories? There could be several reasons. One of the most dominant seems to be the availability of such engaging life stories. So many interesting people have lived and died and filmmakers like making films that pay tribute to their heroes. Films like "Schindler's List," "Lawrence of Arabia" and "Gandhi" remind us what heroes are made of and how some people can change the landscape of society for the better. \nThese films have their place in the annals of film history, and rightfully so. But what sets them apart from the seemingly excessive bunch of biopics being produced lately is that they are based on people whose lives changed history. They are stories that begged to be told, whereas it sometimes seems the current trend in biography filmmaking seeks to glorify personalities whose life stories are interesting to the people who make the films, and then turn around and tell the viewing public they should be interested in these people as well. \nThere is a light at the end of the tunnel however. There has been an interesting trend in the Academy Award's winning selections for two categories in the past five years. In the writing categories, Best Original Screenplay and Best Adapted Screenplay, the Academy has selected original works of fiction all but three times. Films like "American Beauty," "Lost in Translation" and "Gosford Park" have been honored with writing awards. And surprisingly at this past year's ceremony, all of the nominated biopics in writing categories were defeated by "Eternal Sunshine of the Spotless Mind" and "Sideways" -- two films many critics believe to be the best films of the year. \nSo what is the message being sent here? Write an original screenplay, make a good movie, get nominated for numerous awards and then get shoved aside at the ballot box and the box office for biopics that reek of Hollywood marketing and high production values. This sadly seems to be the trend and fate of so many good movies: movies that are ignored because some producer just decided that some noble dead person's life is worth the Hollywood fanfare it will inevitably receive. \nDon't get me wrong, I think biopics are sometimes very worthwhile. I won't deny that I wholeheartedly enjoyed "Ray" and Finding Neverland, interesting stories about interesting men who made good art. But can anyone argue that J.M. Barrie had the same effect as Mahatma Gandhi in the grand scheme of history?\nThat's not to say that only monumentally important historical figures deserve films made about them, but why such a high volume of films about people who simply wrote well, acted well, sang well or killed people? Some people even get multiple films made about them; John F. Kennedy was the subject of "JFK" as well as "Thirteen Days." One of my favorite film taglines continues to be for the film "Ruby," a biopic of the life of Jack Ruby, "the man who shot the man who shot JFK." Come on now, this is getting a little ridiculous. I'm not saying anything as radical as let's stop making movies about the life or assassination of JFK, but do we have to exhaust every possibility? Making films about his wife, his secretary of state and his assassin's assassin seems like taking the nation's fascination with the murder a little too far. \nThe film community and film-viewing public would be better-served if the Hollywood juggernaut stopped turning out biopics in industrial-sized bundles every year. True to life stories have their place, but let's try to keep at least some of them in the documentary category.
(03/23/05 4:30am)
I realize some people lead fascinating, harrowing and complex lives. I'm also glad for this truth. The fact that some people have lives that are worthy of being adapted into biography films is not what concerns me. What concerns me is that these films, commonly called biopics, are being made and released with such alarming frequency that they are stomping on and casting shadows over other truly interesting and original films.\nIt seems lately that if a notable celebrity, politician, historical personality or infamous criminal has a life worthy of public attention, then his life story is patented, marketed and shoved onto an unwitting public in the form of a biopic. \nJust look at the evidence; at this year's Oscar ceremony, only one best actor nominee had not portrayed someone who actually lived. In the supporting actress category, three of the five nominees had roles based on living persons. Three of the best picture nominees were biopics. Also, other films like "Hotel Rwanda," "Vera Drake," "Kinsey" and "The Motorcycle Diaries," which were nominated in acting and screenwriting categories but not for best film, featured historical figures. This is to say nothing of the tremendous amount of biopics in Academy history that have been nominated for or won the statuette, 22 nonfiction-based feature films since 1999 by my count. \nSo what could account for this staggering lack of originality? Why is it filmmakers keep making true-life stories instead of working with original stories? There could be several reasons. One of the most dominant seems to be the availability of such engaging life stories. So many interesting people have lived and died and filmmakers like making films that pay tribute to their heroes. Films like "Schindler's List," "Lawrence of Arabia" and "Gandhi" remind us what heroes are made of and how some people can change the landscape of society for the better. \nThese films have their place in the annals of film history, and rightfully so. But what sets them apart from the seemingly excessive bunch of biopics being produced lately is that they are based on people whose lives changed history. They are stories that begged to be told, whereas it sometimes seems the current trend in biography filmmaking seeks to glorify personalities whose life stories are interesting to the people who make the films, and then turn around and tell the viewing public they should be interested in these people as well. \nThere is a light at the end of the tunnel however. There has been an interesting trend in the Academy Award's winning selections for two categories in the past five years. In the writing categories, Best Original Screenplay and Best Adapted Screenplay, the Academy has selected original works of fiction all but three times. Films like "American Beauty," "Lost in Translation" and "Gosford Park" have been honored with writing awards. And surprisingly at this past year's ceremony, all of the nominated biopics in writing categories were defeated by "Eternal Sunshine of the Spotless Mind" and "Sideways" -- two films many critics believe to be the best films of the year. \nSo what is the message being sent here? Write an original screenplay, make a good movie, get nominated for numerous awards and then get shoved aside at the ballot box and the box office for biopics that reek of Hollywood marketing and high production values. This sadly seems to be the trend and fate of so many good movies: movies that are ignored because some producer just decided that some noble dead person's life is worth the Hollywood fanfare it will inevitably receive. \nDon't get me wrong, I think biopics are sometimes very worthwhile. I won't deny that I wholeheartedly enjoyed "Ray" and Finding Neverland, interesting stories about interesting men who made good art. But can anyone argue that J.M. Barrie had the same effect as Mahatma Gandhi in the grand scheme of history?\nThat's not to say that only monumentally important historical figures deserve films made about them, but why such a high volume of films about people who simply wrote well, acted well, sang well or killed people? Some people even get multiple films made about them; John F. Kennedy was the subject of "JFK" as well as "Thirteen Days." One of my favorite film taglines continues to be for the film "Ruby," a biopic of the life of Jack Ruby, "the man who shot the man who shot JFK." Come on now, this is getting a little ridiculous. I'm not saying anything as radical as let's stop making movies about the life or assassination of JFK, but do we have to exhaust every possibility? Making films about his wife, his secretary of state and his assassin's assassin seems like taking the nation's fascination with the murder a little too far. \nThe film community and film-viewing public would be better-served if the Hollywood juggernaut stopped turning out biopics in industrial-sized bundles every year. True to life stories have their place, but let's try to keep at least some of them in the documentary category.
(02/10/05 5:02am)
In intricately detailed and other-worldly images, photographers are capturing star constellations and far-away galaxies. Labeled astrophotography, this craft seeks to study and create art while photographing the night sky.\nBloomington resident Scott Johnson built his own stargazing facilities for this skilled artistry in 1998. The Starfire Observatory at 816 Automall Road No. 244, just outside the Hoosier National Forest, is a fully equipped astrophotography studio. On clear nights, Johnson looks up at the sky in the hopes of capturing a never-before-seen image of a nebula, galaxy or star constellation.\nIt can be tough work. Typically, astrophotographers find more work in the southwest regions of the country. In these areas, such as Arizona and Nevada, the night sky is clear and cloudless, allowing for better focus and a clearer image. In the Midwest, however, conditions are often complicated by cold fronts, overcast skies or precipitation. Coming across just the right weather and sky conditions can take months of waiting and preparation.\n"I photograph virtually every clear night that I can. It's really important that the atmosphere be steady," Johnson said. "I do my best work when the skies are clear, dark and steady."\nTaking an "astrophoto" requires a high amount of discipline and attention to detail. Specialized equipment is required to photograph distant objects deep in space. According to the book "Astrophotography for the Amateur" by Michael A. Covington, many celestial objects are faint, requiring long exposures to accumulate light on film and proper magnification. This is achieved by using powerful telescopes and extremely long exposure by a sophisticated camera. Covington points out that even though finding and using the correct technology might sound difficult, it is not hard to capture a clear image of Jupiter or Saturn. It's simply a matter of patience and practice.\n"I put quite a bit of time into making an image of a galaxy or nebula," Johnson said. "I spend about four or five hours exposing the subject. The longer the exposure, the more detail that can be captured." \nJohnson said there are many technical methods involved in producing a film-based photo, particularly reducing the grain (fuzz) on the negative. In the days before computer enhancement methods, two negatives of the same image, photographed back to back, were stacked on top of each other so the stars matched in register, Johnson said.\nStacks were then taped together and printed in the darkroom. This technique allowed for a clearer picture with grain reduction, as the more negatives that are stacked, the less grain in the final image. Today, as Johnson will attest, the advent of digital photography makes the process a lot less complicated. \n"Today, things have been made easier through the use of computers, scanners, software and digital printers," Johnson said. \nThere are many more advantages with computer technology, such as image quality and the ability to adjust levels of contrast and brightness when developing an astrophoto. In addition to technical feasibility, it is also important to have the right weather and environmental conditions to take a good photo. \nAnother aspect of this type of work is learning the necessary technology and skill required to produce such fantastic images. Computer processing is an integral part of imaging, and everything that can be accomplished in a traditional darkroom today can be accomplished digitally, Johnson said. \nFinding display space is another challenge for astrophotographers. Astronomy magazines and special-interest publications are one method, Covington writes, and privately advertising and selling photographs is another. \nThe Internet has also become a venue for photographers to share their work. \nJohn Chumack, an Ohio astrophotographer who sells his work at www.galacticimages.com, has found varying avenues for publishing his work. He first started taking astrophotos in the early 1990s and has since found it a successful enterprise.\n"I travel around the country selling my work at high-quality fine art shows and numerous galleries," Chumack said. "(I) participate in about 20 fine arts shows per year apart from my normal day job."\nChumack's work has been published in leading scientific magazines, a rare privilege for dedicated astrophotographers. He also sells his work in more than 21 foreign countries. A passion for stargazing and patience provide the best results, he said.\nJohnson's artwork can be purchased locally, though. He sells his images at the multimedia Wandering Turtle Art Gallery, 224 N. College Ave., run by Jaime Sweany.\n"He's got a really keen eye for taking these images from space and making them compositionally interesting," Sweany said. "He chooses images really well; he makes them into a cohesive unit." \nFor more information on astrophotography and Johnson's work, visit www.starfirestudios.com.\n-- Contact Staff Writer Olivia Morales at ormorale@indiana.edu.
(11/12/04 5:17am)
A girl kisses her beau on a city street outside a Paris café; a young movie star shares a moment with the camera on her first movie set; and a famous photographer contemplates his work from inside a New York gallery. All these scenes have found their ways into the select collection of photography now on display at the IU Art Museum.\n"This collection is Thomas Solley's own collected artwork ... This exhibition is just a small means of highlighting a certain selection," said Nan Brewer, the IU Art Museum's curator of works on paper. "We narrowed it down to 56 of 4,500 pieces, and decided to focus on two major cultural centers, New York and Paris."\nAlthough the collection does contain pieces that deviate from this overarching theme, many of the photographs are focused on subjects that have become part of the fabric of the two cities. The photographs feature architectural marvels, such as the Flatiron Building in New York, or subjects that are more personal, such as city goers in Paris.\nThe collection is titled "Cosmopolitan: New York and Paris." Society has often defined "cosmopolitan" in terms of the basic makeup of any city, but in this collection the museum attempted to take a more in-depth look at the meaning of this word.\n"(The works feature) New York's energy and vitality, and Paris' mystery and old-world charm," Brewer said. "(Solley's) collection of photography reflects his eye for elegant, sophisticated images with an emotional or historical resonance."\nSome of the works are more abstract in flavor, such as the avant-garde photo "Dovima with Elephants, Evening Dress" by Richard Avedon. This photo features a highly sophisticated and fashionable woman framed by two large elephants in a model's pose. The juxtaposition of the woman's typical model's pose is contrasted with the strange elephants that surround her.\nOn the opposite end of the societal spectrum, the photo titled "Children, Ambervillers," finds its way into the same collection. The subject is neither avant-garde nor highly sophisticated. It shows the angelic faces of two young street children peeking out at the viewer from their back-ally street surroundings. They are sullen, yet their wispily smiling faces belie the dismally sad and expansive background of which they are a part. \nAnother photograph, titled "Champ-de-Mars, from the Eiffel Tower, Paris," by Ilse Bing, allows the viewer to gaze at the city scene below through the grates of the Eiffel Tower. The figures on the street are like far-away walking black blurs. \nThese are just a few of the subjects this diverse collection showcases. The subjects of the photographs include the elite and the unfortunate, the sophisticated and the displaced, the beautiful and the archetypal city architecture, and those people who seem to belong as well as those who don't.\nBrewer said much of the allure of the works is that they are non-touristy: They feature places, such as a quaint back road, that you would normally see. Yet, in some cases, the interesting aspect of the photo lies in the technique of the photographer. \n"Toward the back corner, some of the black photos, where there is double exposure involved, it is interesting to see the creative process of the photographer," said senior visual arts education major Daniel Zapata.\nFor other viewers, the human form is the appeal of many of the photographs. \n"The composition of some of the photographs, such as the abstraction of the nude, where there is juxtaposition of light and dark, can make the figure seem abstract, even though it is a literal form," said Brian Garvey, a graphic designer and employee of the IUAM.\nThe sense of the city is felt through all of the collection, while many of the photographs rely on the appeal of the city subject to display a message or convey a thought of the photographer. For decades, society has defined and redefined what it believes to be the true meaning of the word "cosmopolitan." This collection shows the many facets of that idea through its variety of artwork. \n-- Contact staff writer Olivia Morales at ormorale@indiana.edu.
(10/12/04 4:23am)
Senior Meghna Mirchandani watched as her fellow Indian classmates exuberantly danced in celebration of the yearly Navratri festival. \nMirchandani, the president of the Indian Student Association, said a lot of planning goes into making the Navratri a celebrated occasion on the IU campus. The event was held Friday at the Marriott hotel.\n"We've been holding (Navratri) ever since the ISA came into being," she said. "We think it's important to spread awareness about Indian culture. Also, our international students can't go home to celebrate it, so they have someplace here to celebrate."\nThe festival is marked by lively dances called the Garba and the Dandiya-Raas, during which the performers strike traditional wooden sticks called dandiyas against other sticks held by the other dancers.\n"It started in Gujarat, but it has become mainstream, a celebration for all of India," said junior Tripti Singh, who is a member of the ISA. "It is a homecoming, a celebration of life." \nTraditionally held in October, the festival is one of joy, commemorated by eclectic music and frenetic group dances. \n"In Bombay, they have thousands of people who dance the Garba," Singh said. "The people dance in the fields for days."\nThe Garba dances consist of several people forming a circle around the idol Durga, the Divine Mother, and are performed in her worship. \nParticipants also danced the Dandiya-Raas with ceremonial dandiya sticks.\nAlmost everyone at the event wore traditional Indian clothes. These elaborate ensembles are made of traditional skirts, called lenghas for women or the salwar khameez for men. Many women also wear the salwar khameez. The khameez is the top part of the traditional garb. Salwar is a type of loose-fitting trouser, very long and elegant. Also, many women wear a sari, which is a long piece of fabric, often silk and died in rich colors such as red or blue, worn over the body.\n"The festival is good because you can exercise your culture far away from home and meet a lot of new people," said sophomore Nidhi Kansal. \nThe festival will commence with Diwali, the Indian New Year. Diwali, the festival of lights, commemorates the day when lord Rama returns to Ayodhya. Citizens lit his way with earthen oil lamps, or diyas, and this event is re-created every year by lighting rows of diyas and candles.\nISA will celebrate Diwali later this semester. Tryouts to perform at Diwali will be held at 6 p.m. Friday in the McNutt Flame Room.\n-- Contact staff writer Olivia Morales at ormorale@indiana.edu.
(09/15/04 4:34am)
The first page of the program for the annual Manhattan Short Film Festival boldly announces that this year is "undoubtedly the most exciting year in the festival's history." \nWith a total of 621 entrants, the most in the festival's history, each of the 12 finalists has been chosen for public viewing out of hundreds of internationally submitted films, as well as American films.\nIn her introduction, Theater Director Danielle McClelland said the Buskirk-Chumley Theater is very proud to bring a film festival of this nature to Bloomington audiences. The 12 films were shown to a packed house, and each audience member was asked to submit his or her choice for best film. \nFor the first time in the festival's history, the public will vote on the best short film and the winning filmmaker with receive the equipment and funds necessary to make a feature-length film. The films are being screened in six cities across the country, Bloomington being the first to have the opportunity to view the films. New York audiences will view the films Sept. 18, and shortly after, the winning film will be announced. \n"Danielle worked with them very closely to bring the festival here," said Katy Hall, the house manager and an IU graduate student. "It's so great that Bloomington is one of the satellite locations, especially since it has never been open to the public before."\nSeveral films viewed were exceptionally made and featured a variety of story lines, cinematography and scoring. The most well-received film was Ashvin Kumar's "Little Terrorist," from India. The film is about the journey of a young Muslim boy who innocently follows his cricket ball over the Pakistani border and into a minefield in India. Indian guards mistake him for a terrorist and chase him further into the desert, where he is saved by a kind but eccentric old schoolteacher. \n"I would have to say (my favorite film) is Ashvin Kumar's 'Little Terrorist,'" said Christopher Wisner, a sophomore communication and culture major. \n"It captured a great depiction of racial/religious barrier between the characters as well as the fading away of such a barrier."\nOther popular films included the comedy "Pol Pot's Birthday," by Talmage Cooley of the United States, and "The Silent Treatment," by Peter Lydon of the United Kingdom. "Pol Pot's Birthday" is a surprisingly funny look at a notoriously heinous historical figure. Pol Pot was a Cambodian dictator who ruthlessly murdered hundreds of people throughout the 1980s, but this film attempts to take a different view of the leader. The story is set in Pol Pot's office, where several of his staff members throw the dictator a surprise birthday party.\n"'Little Terrorist' was poignant and had a good message, but I knew most of the audience would vote for it," said Jodi Miskell, a senior journalism major. "So I voted for 'Pol Pot's Birthday.' It was just so hysterical."\nOther films included the computer-animated "Rock Fish," from the U.S., and "The Tooth," from Australia. The short "Self Help" by Tes Noah Asfaw was submitted by the UK and was also a popular film with the audience. The premise surrounds a young man named Peter who has been carried deep into his own depression. He attends a self-help seminar in search of some guidance, and instead finds solace not in the seminar, but in a fellow attendee named Rachel who is a fan of Curtis Mayfield and reminds him of a childhood dream. \nAfter the viewings, audience members discussed how appreciative they were that the Buskirk-Chumley brought the festival to Bloomington. \n"I'm very pleased that a fest of this caliber was brought to Bloomington," Wisner said. "It gave us an opportunity to see serious, professional works from around the globe."\n-- Contact staff writer Olivia Morales at ormorale@indiana.edu.
(09/07/04 5:19am)
For three straight years, Jan Ley entered the Bloomington Area Arts Council's annual postcard competition. The first two times, nothing happened. After two years of waiting and anticipating, this year, for the first time, she was selected among the top 10 in the competition with her photograph titled "Farmers' Market: August 5, 2000."\n"What's funny is that this is not my favorite photograph of the ones I entered," Ley said. "But it is the one they liked."\nLey's photograph of a truck filled with melons and pumpkins was an impromptu moment at the Farmers' Market four years ago. After taking the black-and-white photograph, Ley made some creative changes to the image. The melons and pumpkins in the photo are colored with green and orange tones to add a colorful depth to the composition.\n"I sprayed it to give it some teeth and add an extra layer," said Ley. "You have to spread it just right, you know. You can play with it."\nThe photograph was selected by a three-person jury judging photos on quality and originality. The theme of the competition is simply to submit a work that relates to Monroe County. Many of the winning pieces are photographs, but various creative arts made the top 10 as well, including watercolors and penciled sketches.\nLocal artist Joe Lee created a piece with a Hoosier twist on a famous artwork by renowned surrealist Rene Magritte. The work is titled "Blooming Man, after Magritte," and shows a man with a bowler hat surrounded by clouds whose face is covered by a basketball and whose lapel bears an IU label. The piece was drawn with colored pencil, pen and ink and was awarded an Honorable Mention.\nThe first place prize went to Marge Cornell for a photo of a snow-covered Bloomington quarry in winter titled "Icee Dawn." \nOther works, such as a watercolor by Robin Ripley, also are Bloomington scenes. Ripley's painting depicts the Buskirk-Chumley Theater and surrounding storefronts. \n"This watercolor is impressive because it is so tight, almost photographic," said Laura Best, a volunteer at the John Waldron Arts Center. "All of these works are deserving ... and some are by well-known area artists and others by student artists."\nTom Stio, a renowned photographer, won Honorable Mention for a photograph that features IU ballet dancers performing "Swan Lake." The dancers are caught in a moment of fluid motion, gracefully surrounded by their flowing costumes. Stio has photographed dancers for years.\n"The first time I did it, I loved it," said Stio, a former dancer. "I have been doing it for 20 years."\nAll of the winning artworks are now on display at the Flashlight Gallery in the John Waldron Arts Center, and each winning piece can be bought as a postcard in the gift shop for 50 cents. Some of the original pieces are also for sale. \n-- Contact staff writer Olivia Morales at ormorale@indiana.edu.
(04/15/04 5:27am)
Most plays do not open with a scene of two lesbian lovers caressing one another and talking candidly about sex. But the Bloomington Playwrights Project's new show, "Sex/Death II" is not the average showcase of the ins and outs of modern relationships, and so it's OK to bend the rules a little. Some very impressive rule-breaking was witnessed during this morbid play's two-hour run that is all at once dramatic, poignant, hysterical and shockingly violent.\nThe six-vignette show came to the producers, Gilana Alpert and David Mickler, by way of various submissions to the BPP. Following the success of "Sex/Death I," the pair chose stories that would run consistent to the expectations of the audience that loved the first, but would also feature new and interesting storylines.\n"I think that it's definitely different from the first, it's tamer. The first had a lot more nudity, a lot more violence," said director of "Sappho's Choice," Corine C. Blue. "It's a little more human."\nAssembling a show like "Sex/Death II" is no easy task. Each cadence must be free-flowing and coherent, aligned with the next. "Sex/Death II" pulled this off admirably well, allowing each vignette to stand on its own, but always clearly tied to the overall theme of the show. \nIn one of the funnier moments of the show, a woman engaging in casual sex with a relative stranger commented on the overlapping thoughts of men and women during such an encounter. \n"Well, at least he's motivated," she said during their tryst. When he failed to deliver on the desired level, she quickly got frustrated and "faked it" to get him to leave.\n"It's hysterical, because it's every woman," said Roshaunda Russ, the female actress in the segment. "It's a true-to-life representation."\nKris Lee, director of the segment "Period," thought it was important the actors be comfortable with their onstage actions. \n"We first had a really frank discussion," Lee said. "With a scene like this, you can't act it as much as mean it."\nAnother hilarious moment was during an online encounter in a segment called "Cyber Sex," where a couple of Internet junkies decide to venture into the world of fantasy sex. The female partner, portrayed hilariously by Renee Reed, and the male partner, an equally entertaining Matthew Pernic, have very different interpretations of online intimacy. \nA dramatic and poignant segment involved the troubled mind of a suppressed and disheartened scientist and the relationship he maintains with his estranged wife. The scene played beautifully, with pitch-perfect timing on the part of the director Jeremy Wilson. Kevin Roach, who portrayed the mentally unstable but insightful and brilliant scientist, played the part with utter confidence and complete submersion into his character's psyche of self-despair. \n"At first, I didn't really like it," said Roach, a sophomore majoring in theater. "The more I read it, the more I began to like it and realized it's not meant to be read, it's meant to be acted."\nThroughout the scene titled "Pink Skin," the lead actor is required to be completely nude. At first, this detail seemed like it would present some discomfort or distraction for the audience. However, because of the well-written storyline and intense dialogue, the viewer begins to forget about the nudity and concentrate on the substance of the scene. \nOther impressive moments included a hilarious scene between a groom-to-be and his best friend on the night of his bachelor party in the segment, "The Bachelor Party," and a beautifully choreographed performance art piece called "The Dance." In this piece, a group of sensually draped and sexually motivated dancers engaged in a tango of dance, while two actors in the forefront talked about the frustrations of desire and the joy involved in searching for the right lover.\n"Sex/Death II" had many recurring themes, the most basic being the obvious sex and violence. But in the end, it's a show that combines those elements and manages to be articulate and substantial in the process of shocking and entertaining its unsuspecting audience.
(04/08/04 5:52am)
For the Bloomington Playwrights Project, producing tales of morbidity and strangeness is a good way to get college students involved in theater. For years, the South Washington Street theater has produced shows that have entertained the Bloomington community, but lately the company has tried something new to please a larger crowd.\nThe Dark Alley series, which is a series of late-night plays shown at 11 p.m., is the BPP's invitation to a more adult world of entertainment. Often sexual, the Dark Alley series features plays written by experimental playwrights and targeted toward younger, more adventure-seeking audiences. \nBeginning today and running through April 17, the Dark Alley series will feature "Sex/Death II," a sequel in response to the overwhelming success of "Sex/Death."\n"The BPP has seven good reasons to stay up past your bedtime," boasts the theater's Web site. "The Dark Alley Series brings original plays, which are on the fringe, adult-themed and experimental to Indiana from playwrights all over the country." \n"Sex/Death II," which will be the fifth production in the year-long Dark Alley series, features six vignettes in various settings and featuring different casts. "Sex/Death" also featured six separate plays in one piece and shocked audiences with interesting and previously unexplored realms of theatrical possibility. Some of the play titles in "Sex/Death II" include "Pink Skin," "The Dance," "The Bachelor Party" and "Cyber Sex." \nProducer Gilana Alpert said "Sex/Death II" promises to be just as successful as the original, featuring several plays submitted by various writers to the BPP, compiled for this show because of their brave subject matter. \n"This show has become a personal thing, we're trying to make it better," Alpert said. "It's seductive, it's going to make you think and may even make you jump in your seat."\nAlpert, an IU senior, said the piece she directed titled "Cyber Sex," a story about what can happen online when "you take things too literally," is completely comical.\n"It's there for people just to have fun. We're just trying to make people laugh," she said. "The plays are so interesting because they are varied. We have two comical pieces, two dramatic, and pieces that are very avant-garde."\nThe BPP, which has been a cornerstone of Bloomington theater for numerous years, is popular with many theater students in the IU community.\n"I think (the BPP) is a great resource for theater majors," said Joyce Thompson, a freshman theater major. "They have a professional outlet, there's a reputable theater in Bloomington that's not related to IU. The Dark Alley series is such an awesome idea because it produces non-mainstream shows, and that's important."\nWhile sex, violence and drugs may be controversial subjects, the BPP uses the Dark Alley series to bring to life "tales of titillation and morbidity to amaze, astound, and give audiences plenty to talk about the next day."\n"The (Dark Alley) series is what experimental theater is all about," Thompson said. "You have to be controversial sometimes."\n-- Contact staff writer Olivia Morales at ormorale@indiana.edu.