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Friday, October 6, 1995 Page 12
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Jeff Randall
Columnist
thrives on
real cheese
As a great man (or woman, I’m not
really sure) once put it, “One man’s
trash is another man’s treasure.”
I still don’t know who first uttered
those sage words of advice, but I’m
pretty sure he/she got a good look at
my collection of movies, music and
clothes before being inspired to do
so.
I revel in the less-appreciated rem
nants of pop culture from days gone
by, I worship at the altar of the scan
dalously gaudy, and I choke back
tears of joy at the sight of anything
truly cheesy.
Cheese — for some, it’s only a
dairy product; for me, it’s a way of
life.
For a solid affirmation of this state
ment, one need only look in my record
bin, where albums as diverse as
“Frank Sinatra Sings for Only the
Lonely,” “Sammy Davis Jr., Mr.
Entertainment,” and Neil Diamond’s
“The Jazz Singer” soundtrack lie
nestled beneath a scattering of the
latest in local rock bands and other
“respectable” musicians.
This isn’t to say that artists such as
Sinatra and Davis are truly terrible
vocalists. I’m merely suggesting that,
to members of my generation, they
aren’t considered high priorities.
My taste for fi lm, however, doesn ’ t
run along a very high road at all in
any respects. I, sadly enough, find the
utmost pleasure in exploitation cin- ’
ema at its worst.
“Shaft,” “Dolemite,” and
“Superfly” have grown to be icons of
my existence. I know they were hor
rible films that exploited African
Americans beyond all belief; but,
God help me, I think they’re hilari
ous.
This weakness is a guilty plea
sure, at the very least, but it is also
one that I think may be shared by a
multitude of other members of my
generation. (That’s right, kids. I’ve
seen you eyeing that “Campus Cult
Classics” wall at Blockbuster.)
These films not only inspire my
cinematic selections, but they have
also given me insight into the subtle
workings of fashion that, for many,
remain shrouded in an air of mystery
and blasphemy from previous gen
erations.
my ciosei: i ne most prized items
I possess are pinstriped, wide-lapeled,
at least 50-percent polyester suits
that never wrinkle, never fade, and
never (in my book) go out of style.
At this point I own four of them, at
a total cost of about $13.75. This is
just one of the side benefits of shop
ping for clothes from an era gone by.
I may not be on the cutting edge
according to Mr. Blackman (or what
ever his name is), but I’m enjoying
myself. And, to top it off, I’m doing
it cheaply.
If there is a God, I’m pretty sure
he’s respectful of my choices. And
I’m also pretty sure he’s wearing one
of my suits and listening to “Bim
Bam Baby” by Old Blue Eyes.
Randdl is a sophomore news-editorial
major andaOally Nebraskan senior reporter.
I French film explores chaos of social strife
By Fred Poyner
Film Critic
Too many novels have been ruined in the
process of transfer to ihe big screen. “Germi
nal " a French film by director Claude Berri, is
not counted among them.
Berri has taken Emile Zola’s written account
of French mine worker exploitation circa late
1800s, and created an interesting film about
commitment and human dig
nity amidst the chaos of re
bellion.
The story opens with
Etienne Lantier, a drifter
played by French protest
singer Renaud, who has the
great luck to be hired as a
replacement worker at the
Voreaux coal mine. Maheu
(Gerard Depardieu) is a fel
low mine worker, who
quickly becomes Etienne’s friend and confi
dante.
The duo sets the stage for a general strike that
alternates in intensity from all-out revolt (a mob
destroying a local mineworks) to moments of
quiet despair (the death of Maheu’s 12-year-old
daughter).
Despite the film’s background, it does not
wallow in revolutionary jargon or plunge the
viewer into a pit of pointless suffering.
The imagery, due in no small part to the
cinematography of Yves Angelo, accurately
describes the life of tum-of-the-century north
ern France through Zola’s views of mining
conditions. Vertical shots down mine shafts and
using shades of darkness to enhance the mood of
each scene testify to Berri’s eye for details.
What would seem to be a flaw on first inspec
tion is the portrayal of Renaud’s character. From
the onset, it appears he is the predictable natural
leader for the miner’s plight. Yet Renaud’s gift
for subtle intensity and unwavering gaze is used
for far more. ,
His position is incidental from the start. In
reality he is a man of many options, which
invariably draw in those surrounding him, often
Film: “Germinal”
Stars: Gerard Depardieu, Renaud, Judith
Henry
Director: Claude Berri
Rating: R
Grade: A
Five Words: Captivating tale of social
injustice
with conflicting and tragic results.
Depardieu’s performance as a family man
with much to lose and everything to gain from a
successful strike, ultimately proves to be the
more conventional role of the two. The combi
nation of the actors is dynamic, and builds in
energy as the film progresses.
See GERMINAL on 13
*—- I■ ■■■ y Tf • iiw'Mnnr - r r "mmmmm’ mr—KSM&mmmiz&iinMimamaB
Courtesy of Columbia Pictures
Nicole Kidman stars in “To Die For,” opening today.
Four good releases
opening in Lincoln ■
By Gerry Beltz
Film Critic
As the midterms of the fall se
mester begin to pile up, new movie
releases become more frequent.
And this week, Lincoln moviego
ers have four good releases to
_ choose from.
Movie open
Preview Although it
has already
been released
on a limited
basis, “To Die
For” opens in
Lincoln to en
tertain the
Nicole Kidman
fans.
Kidman stars as Suzanne Stone,
a woman obsessed with becoming
a well-known TV personality, who
decides to have her husband killed
to help things along.
Action lovers need not worry.
In “Assassins,” Sylvester Stallone
— still trying to recover from this
summer’s loser “Judge Dredd” —
stars as Rath, an expert hitman
who tries to quit the business.
Unfortunately, Rath’s protege
Bain, (Antonio Banderas) decides
that he is the next in line of history’s
greatest assassins, and the only
thing in his way from making his
mark is Rath.
The directorial team of Albert
and Allen Hughes (“Menace II
Society") brings another white
knuckle drama to the big screen
with “Dead Presidents," a tal?
about four war veterans who, upon
realizing there are no jobs for them
now that the war is over, decide to
rob an armored car to gain some
“dead presidents" — a slang term
for cash.
Rounding out this foursome is
“How To Make an American
Quilt," which features an all-star
cast, including Winona Ryder,
Maya Angelou and Alfre Woodard.
Finn (Ryder) spends the sum
mer at the home of her grand
mother and great aunt, intent on
finishing her thesis on the “rituals
of women’s handiwork in tribal
cultures."
Through the quilting bee held
at the house, however, Finn’s eyes
are opened to what life can hold for
anyone.
And for those people seeking
“family-friendly" entertainment,
the latest Disney flick
“Pocahontas" opens in second-run
at the Starship 9 today, as well.
Old 97’s mixes country, rock
By Cliff A. Hicks
k/lusic Critic -
Since the end of Uncle Tupelo, fans may have
found themselves craving rock with that strong
country flair. Like an itch they just can’t scratch.
Lincoln fans are in luck tonight as the Old
97’s comes to town for a CD release show at
Knickerbockers, 901 O St.
The show is in support of the
group’s new CD, “Wreck
Your Life.”
Old 97’s succeeds fairly
well where so many other
bands fail — walking a fine
line between country and
rock when combining the two
styles, rather than leaning
too far one way or the other.
Rhett Miller has a voice
cut out for the rock/country ballads that are the
staple for “Wreck Your Life.” Murry Hammond’s
bass can occasionally get drowned out, although
for the most part, there is always a trace of it.
Philip Peeples keeps the tempo on the trap kit
with a perfect swing.
Acoustic or electric, it really doesn’t matter
too much for a lot of the album. But quite a bit
of the songs are played acoustically—a refresh
ing change of pace from the heavy-distortion
world.
Perhaps the most distinct element of “Wreck
Your Life” is Ken Bethea’s guitar. Although he
plays several different types of guitars on “W reck
Your Life,” from acoustic to electric, the one
that grabs the listener tjie most is a cagey, buzzy
sound, like a droning bee swirling around.
It stands out notably on songs like “Bel Air,”
“Victoria” and “Goin’, Goin’, Gone,” bringing
back ... dare I say, surf thoughts?
True, not everything on the album comes out
spotless. “W-I-F-E” pushes over too much into
the country realm, abandoning almost all rock
elements, and the song comes off about as fitting
on the album as a zebra would in a lion’s cage.
The most interesting aspect, however, is that
the album features a Disney song. That’s right,
“You Belong To My Heart” from “The Three
Caballeros” gives the album a bit of flavor one
might not expect.
See OLD 97’S on 13
Courtesy of Big West Productions
Alternative country band Old 97’s
plays at Knickerbockers tonight.