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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Jan. 27, 1989)
Page 8 I 1 $.50 OFF i !/PEw\ „??»«! ' ! mmum i75-6363 s ■ V M ADDRESS_ | I R^jmnirjr date_ ^*8**^^ EXPIRES 3-31-89 J. _______ l/WSlV ,3S=3EJ ! |§MM| 475-63631 i % Ml! * III! J Name_ ^jjUmr jr *°°res8-> EXPIRES 3-31-89 p r e s e n t s: I Kansas.February 4th J|j ShthtM 1. Purchase an official UNL Men's Basketball Program to enter. Four numbers will be selected from each of the programs from the Snonsored B : men’s basketball games shown above. t»2- Each part'C'P30* will shoot a free-throw to win $20. Make a half CONTACT TRAVEL court shot and qualify to win a trip for two to Hawaii. REBOUNDERS CLUB 3. In order to participate you must be at least 18 years of age and KFRX not a member of any interschoiastic or intercollegiate team. Daily Nebraskan Friday, January 27,1989 Radio talk show out of Denver the basis for movie ‘Talk Radio t ■ _c_ By Adam T. Branting Staff Reporter This may be the winter of Holly wood’s disconteni. The Christmas season introduced several unortho dox films into the mire of big budget spectacles. The most disturbing, cap tivating and electrifying movie is “Talk Radio.” WGAB Radio in Dallas is the home of ‘ ‘ shock jock Barry Cham - plain (Eric Bogosian), whose Night Talk radio show asks his listeners, “What the hell is wrong with Amer ica?” To the delight of the station man ager (Alec Baldwin), Champlain's insulting, arrogant, infuriating man ner sends the ratings high and gives Barry a chance for national radio syndication. Champlain’s search to find the soul ol America from ms raaio microphone is actually a search to find himself as he entraps his ex-wife, girlfriend and co-workers into a dark world of racism, fear and hate. Based on the life of Alan Berg, a Denver shock jock who was allegedly gunned down by neo-Nazis, “Talk Radio” was w ritten by Bogosian as a one-man show. It was rewritten for the screen by Bogosian and director Oliver Slone. Stone, who won critical acclaim for “Platoon” and “Wall Street,' is along for the ride on this one. His direction seems sparse, concentrat ing on camera work and lighting to give this film the ugly, trapped feel ing it needs. The supporting cast includes Ellen Greene (“Little Shop of Hor rors”) as Champlain's ex-wife, Leslie Hope as the producer and girl friend, and John C. McGinley (who keeps showing up in Oliver Slone shows) as Champlain's friend and technician all deserve nods for strong performances in very difficult roles. But they all take a back seal to the eieujll} lllg pWlMiliianw V^. vvm actor Bogosian. His deep, rich voice draws us into his radio booth and holds our attention as he weaves his own American flag with the threads of hypocrisy and rage from those w ho call in and from himself. He is as brutal with an older lady, chastising her for being ignorant about the w orld, as he is gentle with a rapist who can’t stop. The odd assort ment of phone calls becomes a bar rage of hate toward the world and Champlain himself, who feeds off their hate. It’s almost a weird “state of the nation’’ address by Bogosian that re veals the dark side that most people would simply ignore. The music of Stewart Copeland helps Bogosian play with the audi ence's emotions, leading them down the River Styx to an ending which is an orgasmic catharsis. No recent film is as transfixing as “Talk Radio.’’ It’s the highest cali ber movie of the season. “Talk Radio’ ’ is currently playing at the Pla/a Theaters. * i i i Au Kevoir Les tmtants spienaia rum despite some blurry, garish scenes By Micki Haller Senior Hditor In 1944, people in France carried on despite the wartime horrors. Chil dren went to school and grew up despite studying in dark bomb shel ters and watching Jewish classmates disappear with the authorities. - • ‘‘Au Revoir Les Enfants (Goo dbye Children)” tells the tale of Ju~ lien Quentin, a student in a Catholic boys’ school that sheltered Jews in World War II. In the film, Quentin deals with puberty, life in a Catholic school, World War II, but most importantly, why people make others into out casts. In the beginning of the film, Quentin is a popular, intelligent boy, but he soon finds a rival in the new boy, Jean Bonnet. Bonnet is brilliant at math, good at writing, and an ac complished musician. In wartime France, things arc hard for even rich boys in private schools. The boys must fast, and study in freezing schoolrooms, yet they carry on in many ways as if the war isn’t really happening. They play and fight like normal. Even the teac hers are determined to make life as war-free for the chil dren as they can. When the air raid sirens go off, a student says, “Great, air raid!” The stem geometry teacher says the lesson isn’t over, and the boys continue class in the dark catacombs beneath the school. Bonnet, as the new boy, is teased and roughed up constantly, but Quentin develops a grudging respect for the boy which turns into friend ship. However, Quentin has a suspi cion that perhaps his new' friend is a Jew. Quentin accepts Bonnet’s Jewish ness. Because the boys share many interests, religion or race don’t seem to matter very much to them. But Bonnet is in a very dangerous posi tion, and his background is almost a taboo subject. At one point, Quentin asks his older brother what crimes have the Jews committed. “Being smarter than us. And cru cifying Jesus,” the brother said with out really thinking. The film’s great strength is its analysis of prejudice. The movie has several powerful, thoughtful mo nients, such as when Quentin, his family, and Bonnet arc sitting in a restaurant w atching an elderly Jewish man being ejected by French “col laborators.” The ending also has a great deal of emotional impact. The film’s director, Louis Malle, wrote the script based on his experi ence in a Catholic school during World War II. “Au Revoir Les Enfants” has a touching realism — the kind that buries deep in the soul and reminds all that prejudice is wrong. The child actors continue the di rector’s vision, with Gaspard Ma ncsse and Raphael Fcjtb turning in excellent performances as Quentin and Bonnet, respectively. The movie is in French, but the English subtitles arc good. One problem with the film, how ever, is the quality of the print. At times, the movie has a very muddy, blurry look, and the colors seem almost garish. During the scenes in the dark (and there are a lot of dark scenes in this movie), the actors lake on a hellish appearance that perhaps wasn’t intended. Still, “Au Revoir Les Enfants” is well worth the time to sec it. OSCAR’S & KFMQ Presents the return of FAC (Friday Afternoon Club) 4 - 7 TODAY Featuring: Drink Specials 0 hors d'oeuvres OSCAR'S 800*0" St. Hay market Square i Madsen's Bowling | I & Billiards 1