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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 18, 1999)
By Samuel McKewon Senior editor What was so disappointing about “Anywhere But Here” had nothing to do with its two stars, Susan Sarandon and Natalie Portman. Nor did it have to do with the main premise, a mother-daugh ter team constantly in conflict. It is, simply, a film that takes no chances. It plays the material so straight, so honestly, that there are no tricks up the movie’s sleeve. Unlike the novel it is based on by Mona Simpson, this movie lacks wit, whimsy and, most important ly, charm. Yes, “Anywhere But Here” lacks just what Sarandon’s character is supposed to have so-much of. Sarandon is Adele August, a 40 something free spirit. The movie plays her off as a fool, fudging on the reasons why she leaves Bay City, Wis., with her 14-year-old daughter, Ann (Portman), who fights the move. In early scenes, we see Adele throw Ann out of the car, speed off and inevitably come back. They settle in Beverly Hills, the slummy part, which is just barely inside die school district. Nothing is done with Ann’s experiences in school; she just goes to school and eventually graduates. Rather, director Wayne Wang (“The Joy Luck Club”) focuses on Adele’s inability to create stability, desire to flee adversity and willingness to give in to smarmy men. Ann sees this, cries a lit tle, plays the pragmatist and waits for her mother to make a fool of herself again. Sarandon returns to her earlier roots a little - her work as Adele reminds me of “Thelma and Louise” and “White Castle.” The difference here: Adele’s character never quite finds strength. And her reasoning for leaving Bay City is unreasonably selfish. Portman, then, comes off better than gold, which is a little unrealistic consid ering her teen-age status. She is fast making a career out of introspective girls wise beyond their years. In this movie, she’s a little too wise, a bit too composed. It might be time for her to go the way of Angelina Jolie and go nuts. The movie builds to a predictable conclusion and then ends, leaving me at Film Review Ho Facts Title: “Anywhere But Here” Director: Wayne Wang Stars: Susan Sarandon, Natalie Portman Rating: PG-13 (a number of useless curse words that does nothing for the movie). Grade: C Five Words: Warning! No chances taken here! this: What, really, was the point? In the end, only Adele and Ann are left, wrapped up in their self-contained universe of each other. When Ann wants to go away for college, we can only think: There’s no way either of them could handle being on their own. It might be biased, coming from the male point of view. There were women in the theater, tears in tow. The film isn’t incompetent, just overly reliable. The genre has been done better for Courtesy Photo Susan Sarandon and Natalie Portman star as the mother and daughter in con flict in “Anywhere But Here,” directed by Wayne Wang (“The Joy Luck Club”). mother and daughter relationships on Empty”). Despite its acting talent, (“Gas, Food, Lodging”) and wayward “Anywhere But Here” is not worth the parents with children stories (“Running formula it puts us through. Counting Crows “This Desert Life” DGC Records Rating: B+ A gQod dose of Cracker was just what Counting Crows needed. “This Desert Life,” the Counting Crows’ third album, helps restore the band from the minor sophomore slump of “Recovering the Satellites” without trying to redo the band’s impressive debut, “August And Everything After.” Produced by David Lowery (the frontman for Cracker and the defUnct genius band Camper Van Beethoven) and Dennis Herring, “This Desert Life” gives the band a shot in the arm of Cracker soul and Southern-tinged blues-rock to help contrast the heavy songs on the album. Elements once overwhelmed on former Counting Crows’ albums now move to the forefront or simply blend with the others. Singer/songwriter Adam Duritz’s piano has been toned down some, but the guitars have plugged in and been spiced up. Instead of simple acoustic guitars, bluesy electric guitars whine and bend excellently. From the opening of “Hanginaround” to the closing notes of the hidden track of “Kid Things,” “This Desert Life” is about balance. For every energetic and rollicking song such as “Hanginaround,” “Mrs. Potter’s Lullaby,” “St. Robinson In His Cadillac Dream” and “Kid Things,” there’s a somber and mellow tune such as “Amy Hit The Atmosphere” and “Colorblind.” The songs have gotten stronger and more involved, without ever stealing from anyone. It’s obvious, though, that Duritz loves both Van Morrison and Bob Dylan. It’s a combination of storytelling and meandering lyrics that have helped Duritz get into the listeners’ hearts. For example, from “Mrs. Potter’s Lullaby”: “When the last king of Hollywood shatters his glass on the floor/and orders another, Well I wonder what he did that for/That’s when I know that I have to get out ‘cause I have been there before/so I gave up my seat at the bar and I head for the door.” It’s an excellent blend of reminis cence and nostalgia mixed with an intriguing narrative. Still, at moments on “This Desert Life,” it seems as if Duritz is running dry on ideas. The rocket ship metaphor is tapped twice on this album alone, and “High Life” almost feels like “A Muider of Crows Pt. II.” - And yet, you have to give the band credit for its willingness to break out and try something new. Lowery’s intriguing approach to recording takes what could have been a semi-stale album and gives it a kick in the pants. Be sure to listen past the end of “St. Robinson In His Cadillac Dream” for “Kid Things” (which features Lowery himself on backing vocals) and the band screwing around in the studio. Hey, at least they’re having fun. “This Desert Life” is a good start to a new beginning for the Counting Crows, moving away from old sound and giving a new feel to a band that could have been on the way down. -CliffHicks Brando successful despite his setbacks BRANDO from 12 Wheeler Winston Dixon, film studies professor and department chairman at the University of Nebraska-Lincoln, said Brando’s act ing style broke tradition. “Before Brando, actors were told to enunciate. The older actors who still used the traditional style of act ing termed Brando’s acting as a part of the ‘Mumbling School of Acting,”’ Dixon said. “Still, Brando’s acting didn’t pro ject as much. He would underplay, not play, to the camera, and he tossed away dialogue and gestures.” Brando’s Method acting was rev olutionary and influenced numerous actors, such as James Dean, Gena Rowlands and Paul Newman. Along with teaching him Method acting, Manso said, Stella Adler also “took him over the edge.” “She believed in him and gave him permission to fail. He needed to know failure was acceptable in order to succeed,” he said. Brando’s first Broadway hit was “I Remember Mama,” followed by Tennessee Williams’ powerful play “A Streetcar Named Desire.” “Streetcar” displayed Brando’s ani malistic, raw and volcanic acting ability on stage. “No one had ever seen such truth pulled out of a performer,” Manso said. “Streetcar” also began Brando’s long-term collaboration with director Elia Kazan. “Kazan was the strong male fig ure he never had before in his life. He was non-threatening but could still draw a great performance,” Manso said. “Kazan was a genius at getting under actors’ skin - particularly Brando’s.” Theatrical performances brought Brando the dissatisfactions of fame. (6 “Great actors would pay $25 to watch him cross the street Peter Manso Brando biographer But ironically, he moved to fame-dri ven Hollywood in 1949, hoping to find cinematic satisfaction. Not only did “A Streetcar Named Desire” define Brando’s theatrical career and performance capabilities, the film adaptation of the play also began Brando’s film career. The film version won 12 Oscars. Brando’s Hollywood roles exhib ited his various performance capabil ities. His roles were as diverse as Mark Antony in “Julius Caesar” - a part that transcended his slurred voice stereotype - and the tough biker in “The Wild One.” Amid Brando’s early cinematic success, Elia Kazan - his father fig ure and mentor - confessed to the House Committee on Un-American Activities, revealing his contempo raries ’ involvement with the Communist Party. The controversy crushed Brando. After years of bitter relations, Brando eventually agreed to work with Kazan again. The role of Terry Malloy in “On the Waterfront,” directed by Kazan won Brando his first Oscar. “Apparently on the top of the world, the only place for Brando to go was down,” Manso said. What followed were numerous broken relationships with women, 15 children - many illegitimate - and 14 failed films. Much of Brando’s failure may have been attributed to his mother’s death, Manso said. “Brando no longer had anyone to prove himself to,” he said. With an increasing dissatisfaction and void, Brando attempted to use the fame he hated for civil rights activism on behalf of blacks and American Indians. Brando’s activism echoed his instinct to aid the underdog. His auto biography discusses his efforts. Manso said Brando was made an offer he couldn’t refuse with Francis Ford Coppola’s “The Godfather.” Brando’s, memorable perfor mance earned him another Oscar. Yet, instead of accepting the award, he allowed an American-Indian woman to advocate awareness of injustice amid the boos of the Hollywood audi ence. After the “Godfather” series, Brando appeared in Bernardo Bertolucci’s “Last Tango in Paris” and “Apocalypse Now.” The charac ters, one sexually explosive and one tragic, emulated Brando’s later life. During the production of the films, Manso said Brando had lost much of the passion he had once pos sessed for acting. Instead of memo rizing his lines, he wore an ear piece and had his lines spoken to him for him to repeat. Now, Brando lives as a recluse on a Tahitian island. Admirers of Brando’s talent find the tragedy poignant. Actor Anthony Hopkins told Manso, “I don’t get it. I can’t explain the waste, and I don’t understand what happened to Brando.” * 402-472-2588 , ^ 402-472-1761 (FAX) dn@unl edu $3.50/15 words (students) aneum.edu $0.15 each additional word 20 Nebraska Union ^ f -l$0.75 billing charge P.O. Box 880448 $0.75/line headline Lincoln, NE 68588-0448 Deadline: 3 p.m. weekday prior / ■' ..■.•E.-T - -ds&v.k:'.?*-V *• 2000 Models Are In! All ‘99’s are on sale Trek bikes starting at $199 All bikes come with lifetime free adjustments Cycle Works, 27th & Vine, 475-2453 Blue’s Bike & Fitness AU. 1999 BIKES ON SALE! Buy one bike, get 2ftd at 1/2 price (see store for details). We service aN brands. 3321 Pioneers Blvd. 488-2101, www.bkiesbike.com. - «__. IBM 486.100Mz, 32Mg RAM, Windows 95, CD ROM, 500MgHd, monitor, keyboard, mouse and speakers. 423-7477. Snowboards Clearance: Gnu’s starting at $180. Ub technologies starting at $225. Never Summers starting at $269. Boots/binttngs on sale. Drake. Northways, Tech-nine, Bent Metal. \fen, Switch. Cycle Works. 27th and Vine. 475-2453 | dailyneb.com Neil Diamond Concert Tickets Tuesday, November 30-8p.m. Omaha Civic Auditorium 4 seats on the floor side by side-$50.00 each CaM 730-6325 after 3:30p.m.-leave message Phish NEW YEARS EVE 1999 2 tickets for sale. 3 day show in southern Florida. Call 474-6339. Selling: A team tickets. Big 12 Championship. 15 yard line. 972-406-1120. ‘83 Fort Ranger 4X4, short box with tool box. 15’ tires and lift kit. Deep purple exterior, red interior. 25K on rebuilt engine. New dutch, exhaust manifold, and fan. $2,200 080,402/783-3301 after 7p.m. '89 Chevy Beretta loaded, looks good, runs great, $3,000 OBO. Call 476-7011 after 6pm. ‘91 Mazda 626DX, automatic. A/C, AM/FM cassette, 100K miles, excellent condition, $4,500. Call Moon at 465-8960.__ 1987 Grand Am, runs well in snow, needs paint. Must sell-make offer. Leave message at 423-2756. 1989 Dodge Daytona, automatic, low mileage, good condition, p/W, P/D, A/C, cruise, sun roof, CD player. S2.700 0B0. Call Kelly at 325-B559._ 1990 Mercury Cougar LS, red, 2 door sedan. P/S, P/B, P/W, A/C, AM/FM cassette, cruise, tilt, 3.8L V6. Newer tires, brakes, battery and alternator. Call 475-7966. 1994 Hyundai Excel, white, 80,000 miles, auto trans mission, brand new tires. $2,000.465-4262. Toyota Cressida, beige luxury sedan, in excellent run ning condition, $800. Please call (402) 341-9456 or e-mail Oyahoo.com for photos or more information. 300$ Ssn*mS|gj A Gift Of Life Open heart welcome arms, financial stability and lots of love await your newborn. Strictly confidential. Medi cal, legal and living expenses paid. Please cali Donna to« free anytime 1-888-479-5732 .