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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
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(Friday Afternoon Club)
4 - 7 TODAY
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