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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (April 13, 1987)
Monday, April 13, 1987 Daily Nebraskan Page 7 " i ic.n uioc:;lcr J it t c: in t! - c: be.: : at : . , t ,,, .... . : . i - ,. V ! - ' f c : : ; t il . 'ir v Li L w Lr. tl ? t r r . ' . f) . n ; ; a "1 ' ' 4 ft J r " ' ' 't f ' ' ' " , . it X -i. i i . . ... ) r - t' t. ..- l: ' ,. I . i. c.j V i I -ii "I . -. i L ..1, i " ' ....... A w ' K - -J l.J -" - ' . : - . c 'j g if ye a i . ..1 r '.. C 1 ai nave izzi cr 13 !o; .41 c . r." c:.. ::.:t.l.:rj to do, scid chDws to miners, A tJ 2 Cf 11.? The h"icc:2 tr:i "ClciM Ten dencies" (remember then from the mcvie "Ec-po-'Msn"?) is scheduled to rlsy April 3. Shcr.crd sdd Ches-terHe-d's eheuld be a place that peepis seek cut od cezi count ca L. ' 1 rcc.n r .:J.t cee; yLa trick. Wiebeck said that they have always tried to keep the dance room and the dir.ir room separate, arid that has usually worked. ight now Chesterfield's hopes to break even and establish a reputation so agencies will - . , to . w - v . V Jf . L. .... b k "- , it..... i...julla...1j.jt,i juj r V:r. ;tl ..'tr;ihi..cr.ey to t:rc rrc-l, r-1 C. "itlclJ's . . : r. ti t e ! c . p c : r p ; 1 : c j d j v. a to C3 to J3 to er.ecir::? patronage. The bar can seat about 500 people, and has a good location already in its favor. Suicidal Tendencies is a big gamble for several reasons. It is a national band and thus demands national prices, requiring a large crowd which may be unruly, espe cially far this band. The ehe-w also will te opened to miners the first time that Chester. eld's has mixed i ; ' .... t. ... . . j r . 1 4) Lr tve 1 r the-v - ..lleJ"Jlire'.intothe pre; r.trn t;; f zs ir.io a rs-- v w -1 w. v:. - w IT i.' c . r s - k 1 nee .r.s vail be taken. Wiebeck joked about putting "chicken wire Omaha's Linema Mashers and the Jailhreakers are scheduled to play in May. So far Chesterfield's is locking to see what dates open up for touring bands that could be filled at Chesterfield's. Wiebeck said that the bar has had to make some deals with agencies to get some bands. But if things stay afloat and gain a little momentum, bands will become more and more likely to seek out Chesterfield's and things will get easier, he said. aising Arizona satirizes child-rearing By Scott Harrah Entertainment Editor The American Southwest is imbued with both folklore and romanti cism. Pueblos, cactus farms, buttes, mesas and cowboys are all part of the legends behind it. But there is also a more sordid, commercial side. . . Re sort spas, condos, trailer parks, retire ment communities and rednecks. ! "Raising Arizona" is one of Holly- wood's first attempts to send up the I sunbelt's idiocies. It also adds some 1 marvplmiclvfaiv'i'al harho ahnnt rViHH- rearing and the family. Movie Review John Waters' 1972 cult classic "Pink Flamingos" was a scatological satire about seamy lower-middle-class Amer icana that shoved the celluloid needle of parody into a world where sprawling trailer parks and humanity's lower depths ruled in all their ignorant glory. Joel Coen, ("Blood Simple") and his brother Ethan take Waters' world a. satirical step further with their screen play, "Raising Arizona," and paint a portrait of middle-class family life that is hardly a paradigm of traditional two kid, two-car garage, white picket fense and Tupperwar serving-dish bliss. Nicholas Cage plays H.I. McDon nough, an ex-con who married his former booking officer, Edwina (Holly Hunter), and decides to settle down in a tawdry mobile home out in the mid dle of the Arizona desert. What comes next? What else kiddies! But, alas, poor Edwina can't have rug rats, and the couple's dreams of normalcy elude them. The two then read in the newspaper about "the Arizona Quints," five sque aling babies born to the wife of Nathan Arizona, a wealthy furniture-store mag nate who runs a chain called Unpainted Arizona. Edwina suggests that they kidnap one of the Arizona quints since they, "don't need that many kids and aren't gonna miss one." They steal Nathan Jr., supposedly the best baby, and take him home to raise as their own. But the Arizonas do indeed miss their tot and announce a $25,000 reward for the return of the child. tf if V I Courtesy of 2Gth Century Fox Nicholas Cags end Holly Hunter lounga in their desert backyard in "Raising Arizona." Wife-swapping and a cactus What follows is the typical bounty hunter tale of people who try to steal the kid back for bucks. However, the bounty hungers are less than conven tional. First, there's H.I.'s boss, Glen, the proud owner of a truckload of screaming brats. For some reason, his tacky wife, Dot, a suburban cretin with too many curlers in her hair, wants another child, but it seems that hubby has something "wrong with his semen." Glen breaks down and admits that he and Dot are "swingers" and that wife swapping would be a great way to solve matters. "Dot's pretty hot for you," Glen tells him. H.I. demurs because he's now a responsible member of society and it too busy being a normal person. Glen persists, so H.I. punches him, breaks his nose and sends him straight into the loving arms of a prickly cactus. Then H.I. has more problems. He, of course, loses his job, so while he's at the same convenience store he held up years ago, he pulls a gun on the cashier while he purchases some disposable diapers for little Nathan Jr. Next, Glen tries to blackmail him into giving up the baby, and a Harley-Davidson biker thug starts tracking him down. Ludicrous lunacy The plot is completely ludicrous, farcical lunacy, and the actors ham up their lines in every scene. When the baby is stolen, Edwina contorts her face a la Bette Davis as tears stream down her face and she hyperbolically howls, "Oh, ILL, I'm so happppeeee! I loooove him!" Exaggeration is the film's forte. From the overdone redneck Arizona drawls of the characters to outlandish visual puns and shots of terrified housewives, "Raising Arizona" never lets the satiri cal coating of the story melt. It is also a raunchy leveling of parental virtues that Dr. Spock would probably find repulsive. Coen's depictions of lower-middle-class domesticity reach into the ashes of the mortgaged hell that is suburbia and pull out some realistic, if not painfully American, shades of all that is overrated in family life and nor malcy itself. Perhaps the finest aspect of the film is its cinematography, which is far, far above average for a mainstream comedy. Shots of convicts digging their way out of prison and dogs chasing culprits are chronicled here with dizzying pace, adding more energy to a film already running on the treadmill of parody and hilarity. Camp for campers "Raising Arizona" may at times appear too slapstick for its own the matic and literate good, but without the numerous stunts, it might be too talky. Besides, the visual interpreta tions of the big desert gone condo that is Arizona form the camp for these worn-out campers. The only thing around about child rearing and parenthood that is more biting than "Raising Arizona" is its real-life counterpart, the Baby M case. But unlike that hyped courtroom drama, this film has much more to say when it speaks. "Raising Arizona" is rated PG-13 and is showing at the Douglas 3. Lincoln Symphony Orchestra to perform works by Verdi Lincoln Symphony Orchestra will appear in concert on Tuesday with soprano Kaaren Erickson and tenor Edward Sooter. The 8 p.m. perfor mance, under the direction of Robert Emile, will be at O'Donnel Audito rium on the Nebraska Wesleyan campus, 50th and Huntington streets. A pre-concert introduction to the evening's program will be given at 7:30 p.m. Ticket information is available through the symphony office, 474-5610. The first half of the program fea tures the work of Giuseppe Verdi, the "Overture to La Forza Del Des tine," and arias and duets from "Otello." The second half of the program includes arias from "Loh engrin" and ends with well-known arias from "La Boheme," "I Pagli acci" and "Fidelio." The orchestra also will play Berlioz's "Festival at the Capulet's" from "Romeo and Juliet."